Commencing with the Bauhaus in Germany as a reformatory educational institution for multidisciplinary artists and designers, the present thesis examines its continuation in the USA where due to the takeover of power in Germany by the National Socialists many of the Bauhaus members emigrated during the thirties. After an explanation of the term ?Bauhausgedanke?, the situation in America starting at 1900 is outlined through a chronological table which considers the main political and cultural events and an overview of the different integration situations with which the staff and students had to contend is presented.The thesis places its emphasis on the two educational institutions New Bauhaus and Black Mountain College as well as on the creative work of the three former Bauhaus teachers connected to these institutions; László Moholy-Nagy and Josef and Anni Albers.From 1937 the New Bauhaus in Chicago lead by László Moholy-Nagy sought to train a new generation of industrial designers. Despite this focus, Moholy-Nagy endeavoured to retain the Bauhaus aspiration of uniting artistic disciplines and introduced an obligatory preliminary course based on the ?Bauhaus Vorkurs?. Josef and Anni Albers had been appointed to teach at the Black Mountain College in North Carolina in 1933, which became orientated towards the Bauhaus-curriculum and put an emphasis on the ?Bauhausgedanke? of a holistic education, with the ?Bauhaus Vorkurs? also making up an elementary part of the educational program.Following this research, individual students were chosen as examples to show the influence that the former Bauhaus-teachers probably had on them.The establishment in 1950 of the Hochschule für Gestaltung in the German city of Ulm is discussed as it is believed to be the continuation of the Bauhaus. In conclusion, the presence of the Bauhaus today and the fact that it is still maintaining its influence on art education, artists, architecture and design is examined.