Photos of the designer’s residence probably 1933
Gaston Eysselinck BE
silver gelatin print
donated by the designer’s heirs,1978
Architect Gaston Eysselinck made these photos of his hypermodern home, for which he also designed the serving trolley that can be seen a bit further on. As the sole Ghent representative of the avant-garde, Eysselinck was familiar with the Bauhaus and with related movements such as Russian constructivism and De Stijl. Although the Bauhaus only opened a photography department late in its existence, the rise in the 1920s of photography as an artistic medium was clearly tangible earlier already at the school. According to László Moholy-Nagy the technical process of photography and the magic of light opened up a new way of looking that was necessary in the new, post-war society. Students and other lecturers pictured life at the school through photos. Just as Eysselinck did with these photos, they experimented with ground-level shots and bird’s-eye views (and thus with the reduction of objects to abstract forms), with light and shadow, and with the positioning of photos in a way that brings about new relations between pictures.
Katherine C. Ware, Fotografie aan het Bauhaus, in: Jeannine Fiedler en Peter Feierabend (red.), Bauhaus, Könemann, Keulen, 2000, pp. 506-529;
Met dank aan Marc Dubois.