Visiting Stuttgart in the spring of 1933, Alfred H. Barr, Jr., the founding director of The Museum of Modern Art, discovered that an exhibition by Schlemmer had closed after a brutal and intimidating review in a Nazi paper. Barr responded by cabling Philip Johnson, already a frequent donor to The Museum of Modern Art, to ask him to acquire Bauhaus Stairway as an eventual gift. Barr acted, he later wrote, "partly to spite the Nazis just after they had closed [Schlemmer's] exhibition."
Schlemmer painted Bauhaus Stairway three years after leaving his teaching post at the Bauhaus, the famous school of modern art, architecture, and design. The work's gridded structure celebrates Bauhaus design principles, and its upward movement, including the man en pointe at top left (Schlemmer had worked in dance), evokes the school's former optimism. Encouraging our involvement in this mood are the figures facing the same way we do, some of them partly cut off by the frame, as if they were in our space. Their simplified, almost modular shapes giving them an Everyman quality, they step up into the picture and then on up the stair.
Schlemmer's several staircase scenes of the early 1930s may reflect a desire to transcend a threatening period in German history. He exhibited this particular work soon after hearing that the Nazis had shut down the Bauhaus.
Bauhaus Stairway. 1932