Brandt is also remembered as a pioneering photographer. She created experimental still-life compositions, but it is her series of self portraits which are particularly striking. These often represent her as a strong and independent New Woman of the Bauhaus; other examples show her face and body distorted across the curved and mirrored surfaces of metal balls, creating a blended image of herself and her primary medium at the Bauhaus.
玛丽安娜 布兰德
（1893年10月10日--1983年6月18 年 月 日 年 月 ），德国钢琴家 雕刻家， 德国钢琴家,雕刻家 日），德国钢琴家 雕刻家，摄影 家，也曾在包豪斯学校学习成为设 计者， 计者，1982年，他成为金属车间的 年 领导。如今， 领导。如今，布兰德为家庭事物的 设计，比如灯， 设计，比如灯，烟灰缸和茶壶的设 计被认为是现代工业设计的预兆。 计被认为是现代工业设计的预兆。
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. The photomontages came to public attention after Bauhaus historian Eckhard Neumann solicited the early experiments, stimulated by resurgent interest in modernist experiment in the West. These photomontages often focus on the complex situation of women in the interwar period, a time when they enjoyed new freedoms in work, fashion and sexuality, yet frequently experienced traditional prejudices. Brandt's montage works were subject of the touring exhibition entitled "Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt," organized by Elizabeth Otto, which appeared at the Bauhaus Archive in Berlin, Harvard's Busch-Reisinger Museum and the International Center of Photography in New York from 2005 to 2006. Otto's catalogue of the same name explores these works and Brandt's life.
Brandt died in Kirchberg, Saxony at the age of 89. While the Bauhaus was generally reviled as "decadent" during much of the GDR period, by the end of her life Brandt had a loyal group of students from her many years as a teacher of design.
传记
布兰德出生在开姆尼斯，她嫁给一位挪威的钢 琴家Erik Brandt，她和这位钢琴家走遍了挪威和 法国。1923年在她加入魏玛之前是作为一位钢琴 家练习的。她在金属车间的时候成为匈牙利现代 理论家和设计者的学生。后来迅速上升为车间助 理的职位，1928年她成功地成为车间的领导者。 在过去为车间效力的一年间，她与一些极其重要 的工业领域的合作者签订合同。这些关于生产灯 和其他金属车间设计的合同，这些设计是车间帮 助创建学校的一个很典型的例子。1929年她离开 包豪斯建筑学校去了柏林，在她的柏林的摄影室 为沃尔特·格罗佩斯工作。接下来，在哥达拉佩尔 她成为了金属设计的领袖人物，那是她一直保留 的地方，直到1932年出现持续的财务危机中期她 市区工作的时候。
During the period of National Socialism in Germany, Brandt attempted to find work outside of the country, but family responsibilities called her back to Chemnitz. She was unable to find steady work throughout theபைடு நூலகம்period of the Third Reich. In 1939 she did become a member of the "Reichskulturkammer," the official Nazi organization of artists, in order to obtain a few art supplies, which had otherwise been forbidden to her. However, Brandt was never a member of the National Socialist Party. After many years of living apart, she and Erik Brandt officially divorced in 1935.
工作
布兰德主要设计金属烟灰缸、茶具 和咖啡具、灯具和其他家庭日用品， 被认为是魏玛和德绍两城市中鲍豪斯 学派中最好的设计。而且，它们是少 数鲍豪斯设计中在两次战争期间进行 大批量生产的设计，其中的好多设计 经过多次复制后现在也还在使用。在 2007年12月的一次拍卖会上，布兰德 的一个型号MT49的内置茶壶以破纪录 的$361,000的价格出售。
包豪斯时期著名设计师—
—玛丽安娜·布兰德
Marianne Brandt (1 October 1893 – 18 June 1983),German painter , sculpoter , photographer and designer who studied at the bauhaus school and became head of the metal workshop in 1928. Today, Brandt's designs for household objects such as lamps, ashtrays and teapots are considered the harbinger of modern industrial design.
Biography
• Brandt was born in chemnitz as Marianne Liebe. In 1919 she married the Norwegian painter Erik Brandt, with whom she traveled in Norway and France. She trained as a painter before joining the weimar Bauhaus in 1923. There she became a student of Hungarian modernist theorist and designer László Laszlo Moholy-Nagy in the metal workshop. She quickly rose to the position of workshop assistant and succeeded Moholy as the workshop's director in 1928, serving in the post for one year and negotiating some of the most important Bauhaus contracts for collaborations with industry. These contracts for the production of lights and other metal workshop designs were a rare example of one of the workshops helping to fund the school. After leaving the Bauhaus for Berlin in 1929, Brandt worked for Walter Gropius in his Berlin studio. She subsequently became the head of metal design at the Ruppel firm in Gotha, where she remained until losing her job in the midst of the ongoing financial depression in 1932.