为庆祝包豪斯艺术和设计学院（School of Art and Design）成立100周年，这本书籍通过对该学院最被低估的一批成员进行的一场视觉探索，对包豪斯的成立表达敬意。当该学院为女性提供新教育机会的同时，女性也在面对无法理喻的家庭期待，教员和行政部门模棱两可的态度、过时的社会常规、以及**性的，来自纳粹政权的政治压迫。《包豪斯女孩》在当代文学中史无前例地通过文字和摄影肖像形式呈现了87位艺术家和艺术工匠，而其中的许多文字和肖像都是**次出版。最近对档案资料的新发现复兴了知名天才的传记。20世纪20年代，书籍《包豪斯女孩》不着痕迹地表达了对勇于逃离传统性别角色，建立一个与众不同创新未来的年轻女性的欣赏。这些女性包括玛丽安·布兰德(Marianne Brandt )，被包豪斯金属加工课程录取的**位女性，她的设计至今仍被意大利公司艾烈希(Alessi)使用；格特鲁德·阿恩特 （Gertrud Arndt），受到学院劝阻而不再学习建筑，转而通过摄影和地毯设计发挥才华；以及露西娅·莫霍利（Lucia Moholy），她的标志性摄影作品中以包豪斯建筑为内容，但她的余生却竭尽全力收回从她处扣留的摄影底片。此外，这本书籍让我们想起那些姓名几近被遗忘，但同时也作为早期先锋人物为性别平等挺身而出的女性艺术家。她们拒绝追随社会和她们的家庭坚持让她们走的已辟蹊径。《包豪斯女孩》包含了1919年至1933年之间拍摄的将近400张肖像摄影作品，打造了一个在20世纪最具革新性艺术学校就读的女性艺术家群体的视觉印象，并且她们从这所学校毕业后每每改变了艺术、建筑、设计甚至政治的世界。书中的传记资料以新的角度分析了每位艺术家面对逆境时个人的奋斗和坚持，以及她们让世人难以想象的成就。在这本恢弘大气的家庭相册中，我们找到了一个独特的开拓者群体，而她们的名声和遗产为后来的女性艺术家们开拓了道路。

Celebrating the centennial of a groundbreaking School of Art and Design, this volume marks the founding of the Bauhaus with a visual exploration of its most underrated members. While the institution provided women with new opportunities in education, along the way, they were faced with unreasonable family expectations, the ambiguous attitude of the faculty and administration, outdated social conventions, and, ultimately, the political repression of the Nazi regime. Unprecedented in current literature, Bauhaus madels presents 87 artists and artisans through texts and photographic portraits, many published for the very first time. Recent archival discoveries revive the biographies of better-known talents. In the 1920s, the title "Bauhaus girl" expressed a silent admiration for the young women who courageously eluded traditional gender roles to build a different, creative future. These include Marianne Brandt, the first woman to be admitted to the Bauhaus metalworking program whose designs are used by Alessi to this day; Gertrud Arndt who, dissuaded by the faculty from studying architecture, instead shone through her photography and rug design; and Lucia Moholy, who photographed the Bauhaus buildings in iconic shots, but spent the rest of her life trying to retrieve the negatives which were withheld from her. Moreover, the volume reminds us of other women artists whose names, nearly forgotten, also stand for early pioneers of gender equality, refusing to follow the beaten tracks society and their families insisted on. With almost 400 portrait photographs taken between 1919 and 1933, Bauhausmadels creates a visual impression of the women artists who attended the most progressive art school of the 20th century and, departing from there, often changed the world of art, architecture, design, and even politics. Biographical data sheds light on each artist's individual struggle, persistence in the face of