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Max Bill (* 1908 in Winterthur, Switzerland; † 1994 in Berlin, Germany) completed an apprenticeship
as a silversmith at the Kunstgewerbeschule in Zurich and studied at the Bauhaus in Dessau under, among others,
Josef Albers, Wassily Kandinsky and Paul Klee. In 1929, he returned to Zurich where he worked as an architect,
painter, graphic designer and sculpture and later as a product designer. From 1932 to 1936, Max Bill was a
member of the Paris artists’ group “Abstraction-Création” and developed friendly contacts with Hans Arp, Piet
Mondrian and Auguste Herbin. In 1936, he formulated the “Principles of Concrete Art”. In 1937, he worked on
a monograph of Le Corbusier and joined the “Allianz”, the association of modern Swiss artists. In 1944, Bill
founded the magazine “abstrakt konkret”, organized an exhibition under the same name at Kunsthalle Basel and
obtained a post to teach formal structures at the Kunstgewerbeschule in Zurich. As the spiritual creator
and architect of the Hochschule für Gestaltung in Ulm and then, from 1952, as the rector and head of the
architecture and product design departments, Bill attempted to continue the tradition of the Bauhaus in
Dessau. In 1954 he designed the Ulmer Hocker for the students at the college, one of his most famous
furniture pieces. From 1967 to 1974, he held a professorship in environmental design at the Staatliche
Hochschule für Bildende Künste in Hamburg. A number of monumental sculptures are created during the 1980s.
Amidst all these areas of activity, the name Max Bill is primarily associated with concrete art and
environmental design. In addition, as a student of the Bauhaus and contributor of theoretical publications,
Bill became one of the most important stimulators of modern-concrete art in post-war Europe.
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