She became the first woman to attend the metalworking studio.

Marianne Brandt German (1893-1983). There she became a student of Hungarian modernist theorist and designer László Moholy-Nagy in the metal workshop.

Though Bauhaus welcomed “any person of good repute, without regard to age or sex”, there was still a strong gender bias.

One of her early projects was the ME78B hanging lamp (1926). Post-Dada Visual Experiments in the Bauhaus Photomontages of László Moholy-Nagy and Marianne Brandt, in: NEC. In 1939, she became a member of the Reich Chamber of Culture, yet she did not join the NSDAP.

It was later admitted to Brandt that the instructors believed there was no place in the metal workshop for women. Marianne Brandt is, without a doubt, one such artist whose works are considered to be the building blocks of modern industrial design.

Form predominates over ornament and there is a clear sense of at least symbolic compatibility with modern mass-production technology. Marianne successes allowed her to rise to the top of her profession despite those against her. She also took courses taught by Paul Klee and Wassily Kandinsky. The reproduction rights to Brandt's tea set[which?]

These professions were often looked at as male-dominated professions. She died on January 29, 1995 in Munich, Bavaria, Germany. He was in charge of the preliminary course, where he formulated a pioneering approach to art education. were granted to Alessi, an Italian metalware design company, in 1985.

Her reputation was established above all by her industrial products made from metal and glass. In 1919 she married the Norwegian painter Erik Brandt, with whom she travelled in Norway and France.

Study in Balance, from László Moholy-Nagy's Preliminary Course, author: Marianne Brandt / photo: Lucia Moholy, 1923.

[1], Beginning in 1926, Brandt also produced a body of photomontage work, though all but a few were not publicly known until the 1970s after she had abandoned the Bauhaus style and was living in Communist East Germany. Anni Albers originally wanted to be a painter, but it was at the loom where she found artistic freedom at the Bauhaus. Bauhaus-Archiv Berlin / © VG Bild-Kunst, Bonn 2016. After many years of living apart, she and Erik Brandt officially divorced in 1935.

Bauhaus-Fotomontagen von Marianne Brandt, Berlin. The instructors felt displeasure having her there and purposely gave the women dull, dreary work to do. Some of Marianne Brandt’s most notable and influential work falls under the field of industrial design. Fotomontagen und Foto-Text-Collagen, Diplomarbeit, Berlin.

She quickly rose to the position of workshop assistant and succeeded Moholy as the workshop's acting director in 1928, serving in the post for one year and negotiating some of the most important Bauhaus contracts for collaborations with industry.

[5], During the 1930s and 1940s, Brandt lived in near isolation, despite having many opportunities available to her after her time at Bauhaus. The delicate artistic touch could always be felt amongst the roughness of industry, and with its exponential advancement in the recent history, many artists have left their mark within the field. In 1949, Mart Stam appointed her as a lecturer at the HfBK Dresden.

Following her intuition and instilled artistic tendencies, she attended painting and sculpture classes before becoming a student of Weimar’s Bauhaus in 1924.

[1] She also created photomontages.

Brandt was born into a prominent family in Chemnitz as Marianne Liebe.

Brandt overlooked this stereotype and continued painting, sculpting and metalwork. László Moholy-Nagy quickly recognised her unique talent.

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