Why Did Gropius Choose a Cathedral? The Surprising Story Behind Feininger’s Bauhaus Manifesto Cover

In 1919, as Europe emerged from the devastation of World War I, architect Walter Gropius founded the Bauhaus in Weimar, Germany, envisioning a new unity of art, craft, and technology to rebuild society through design. To symbolize this vision, Gropius selected a woodcut by Lyonel Feininger, titled "Cathedral," as the cover for the Bauhaus Manifesto. This image, depicting a towering cathedral with three stars representing painting, sculpture, and architecture, encapsulated the Bauhaus's aspiration to harmonize various art forms into a cohesive whole.

Feininger's "Cathedral" draws inspiration from Gothic architecture, reflecting the communal spirit of medieval builders. The choice of a cathedral—a structure built collectively by artisans and craftsmen—mirrored the Bauhaus's goal of dissolving boundaries between artist and artisan. The woodcut's angular lines and luminous rays also echo the influence of Cubism and Expressionism, movements that Feininger had engaged with during his artistic development.

The manifesto itself declared, "The ultimate aim of all creative activity is the building," emphasizing architecture as the culmination of artistic endeavors. Feininger's illustration served not merely as decoration but as a visual manifesto, embodying the school's ideals. The image's reproduction through a zinc plate, rather than direct woodblock printing, underscored the Bauhaus's embrace of modern production techniques.

Feininger's contribution to the Bauhaus extended beyond this iconic image. As a master in the school's printmaking workshop, he influenced a generation of artists, promoting a synthesis of fine art and functional design. His "Cathedral" remains a powerful symbol of the Bauhaus's enduring impact on modern art and architecture.