Jaïna Schlemmer, Death Anniversary
2 December 1922 – 2 February 2010
Daughter of Tut and Oskar Schlemmer
A stage and costume designer, Ute Jaïna devoted her life to preserving the legacy ofher father, Oskar Schlemmer, with particular dedication to his stage and dance works.
For Jaïna, the true significance of her father’s œuvre resided in its artistic value alone, never in its monetary worth. Marked by the enduring shadow of the Nazi past, Jaïna — like her mother, Tut Schlemmer — harboured a profound aversion to the auctioning of artworks. The idea that her father’s works of art might be sold at auction to cover legal fees — an occurrence since 2025 — rather than safeguarded for posterity, would have been deeply disturbing to her.
C. Raman Schlemmer reflects on his mother: “I am grateful for what Jaïna taught me — integrity, moral bearing ‘Haltung’, resilience, preservation, a commitment to justice, a sense of proportion, and style — which continue to guide me to date, as well as for the stories she told and the memories she shared. At the age of thirteen, my mother took me at Easter to Florence to discover the art of the Renaissance — a lasting awakening experience, which I was reminded of when I visited the Fra Angelico exhibitions in Florence in December 2025. Jaïna’s contribution to the legacy and to ‘Erinnerungskultur’ is of lasting significance.”
For further reading, please refer to JAÏNA SCHLEMMER in the MENU.
Jaïna Schlemmer at Heure Bleue, Essaouira, 24 December 2009
© Photo Archive C. Raman Schlemmer
A stage and costume designer, Ute Jaïna devoted her life to preserving the legacy ofher father, Oskar Schlemmer, with particular dedication to his stage and dance works.
For Jaïna, the true significance of her father’s œuvre resided in its artistic value alone, never in its monetary worth. Marked by the enduring shadow of the Nazi past, Jaïna — like her mother, Tut Schlemmer — harboured a profound aversion to the auctioning of artworks. The idea that her father’s works of art might be sold at auction to cover legal fees — an occurrence since 2025 — rather than safeguarded for posterity, would have been deeply disturbing to her.
C. Raman Schlemmer reflects on his mother: “I am grateful for what Jaïna taught me — integrity, moral bearing ‘Haltung’, resilience, preservation, a commitment to justice, a sense of proportion, and style — which continue to guide me to date, as well as for the stories she told and the memories she shared. At the age of thirteen, my mother took me at Easter to Florence to discover the art of the Renaissance — a lasting awakening experience, which I was reminded of when I visited the Fra Angelico exhibitions in Florence in December 2025. Jaïna’s contribution to the legacy and to ‘Erinnerungskultur’ is of lasting significance.”
For further reading, please refer to JAÏNA SCHLEMMER in the MENU.
Jaïna Schlemmer at Heure Bleue, Essaouira, 24 December 2009
© Photo Archive C. Raman Schlemmer
Oskar Schlemmer
Abstrakte Figur, Freiplastik G |Abstract Figure, Sculpture in the Round G,1921/1923
Abstrakte Figur, Freiplastik G |Abstract Figure, Sculpture in the Round G,1921/1923
Schlemmer transformed the dynamic essence of dance into static forms through
geometric abstraction, conveying movement and spatial interaction. As sculptural forms in The Triadic Ballet, the sculpture exemplifies his pursuit of movement and abstraction. The interplay of concave and convex surfaces, along with the contrasts of light and shadow, generates a sense of dynamism.
geometric abstraction, conveying movement and spatial interaction. As sculptural forms in The Triadic Ballet, the sculpture exemplifies his pursuit of movement and abstraction. The interplay of concave and convex surfaces, along with the contrasts of light and shadow, generates a sense of dynamism.
© Photo Archive C. Raman Schlemmer
