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Brief history of bauhaus
Essay on the bauhaus movement
Essay on the bauhaus movement
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The Bauhaus was a school for art, design and architecture founded in Weimar, Germany with a core objective “to reimagine the material world to reflect the unity of all the arts.” The Bauhaus intended to create products that were simple in design which as a result could be easily mass produced. The works produced by the Bauhaus were entirely diverse as there was no distinct “style.” Students began with a preliminary course that taught the basic Bauhaus theory and then were allowed to enter into specialized workshops. Throughout the years, it moved to Dessau and then Berlin and ending with the closure by Nazi soldiers. As a result of its existence, the Bauhaus had a major impact on art, design, and architecture trends throughout the rest of the century.
The ideology of the Bauhaus was conceived when Walter Gropius, a German architect, sought for a unification of the arts through craft. Gropius wanted to end the division between industry and art by training students equally in both crafts and fine arts. In 1919, the Weimar Academy of Arts and the Weimar School of Arts and Crafts merged together into what is known as the Bauhaus, or “house of construction.” Walter Gropius was appointed director and described the school as “a utopian craft guild combining architecture, sculpture, and painting into a single creative expression” in his Proclamation of the Bauhaus. Gropius soon developed a curriculum in which he combined elements of both fine arts and design education which would turn out artisans and designers effective in creating useful and beautiful objects. Gropius employed some of the most outstanding and well known artists of the 20th century. The curriculum began with a mandatory six month preliminary course taught by visual artists Johannes Itten, Josef Albers, Laszlo Moholy Nagy, Paul Klee, and Vasily Kandinsky. This introductory course prepared students for more specialized studies by immersing students in the study of materials, color theory, and formal relationships.
After passing the six month preliminary course, the students chose to refine their skills in any of the advanced workshops, which included carpentry, metalwork, pottery, sculpture, stained glass, wall painting, weaving, graphic arts, typography, and stagecraft. The advanced workshops were almost always taught by two instructors, an artist and a craftsman. The artist, also known as the Form Master, emphasized theory and design, while the craftsman was responsible for teaching the proper techniques and technical processes. The student received a journeyman’s diploma after completing three years of this advanced workshop instruction.
Marcel Breuer, born in the early 1900’s in Hungary, was one of the first and youngest students to learn under the Bauhaus style, taught by Walter Gropius. Breuer started his career designing furniture, using tubular, or “handle bar like”, steel (Dodd, Mead, and Company 32). One of the most popular of these furniture designs was his Club Chair B3designed in 1922. In the 1930’s, Breuer moved to the United States to teach and practice architecture. In the 1950’s, he received the Medal of Honor from the New York Chapter of the American Institute of Architects (AIA). Between 1960 and 1980, Breuer was honored with several honorary doctoral degrees from several universities around the world. After retiring in 1976 due to poor health, Breuer was awarded several other awards, and his work was displayed in exhibitions around the world. Breuer died on July 2nd, 1981, at the age of 79 (Marcel Breuer Associates 6).
Art Deco as an art mover has had a lot of influence in the history of arts and was under the influence of the past art movements and different cultures, the present lifestyle and the societies of the life changing World War I and II. In design Art Deco was glamorous and in style it was luxurious. Major influences were the styles of art and the French crafts of high standards, different cultures and avant-grade art. It wasn’t just a normal style that reflected adventure, entertainment and leisure but a highly enjoyed taste by all classes of people with different minds after Second World War. It handed down its concepts of design and traditional and modern visual styles to younger generations while at the same time its styles influencing many present-day designers (Hillier & Escritt, 2004).
Efland, A. (1990). A history of art education: Intellectual and social currents in teaching the
Cubism was a movement that started in 1908 and ended roughly by the end of the 1920’s and is often synonymous with the works of Pablo Picasso and Georges Braque, two of the most influential and important of the cubist painters, each coming up with their own first cubist painting near 1908. They tended toward the structural and architectural form of Cubism that was hinted at by post-impressionist Paul Cézanne, whose death would provoke an exhibition of work for future cubists and other modern painters to admire and learn from. On the other hand, near 1912-14, cubism took a different turn with the help of Picasso’s papier collé, (Golding 120, Green Synthesis 88, Gopnik 81). The collages produced by papier collé managed to change analytical cubism,
Frank Lloyd Wright and Walter Gropius are widely regarded as the prionneering masters of modern architecture.The Johnson Wax Building and Bauhaus as their symbolic and critical masterpieces shared similar style of form but different idea of interpreting design. Wright’s simplicity approach and Gropius ‘less is more’ idea are seemingly related, but varied by their self preference in most aspects.
Cubism (a name suggested by Henri Matisse in 1909) is a non-objective approach to painting developed originally in France by Pablo Picasso and Georges Braque around 1906. The early, "pre-Cubist" period (to 1906) is characterized by emphasizing the process of construction, of creating a pictorial rhythm, and converting the represented forms into the essential geometric shapes: the cube, the sphere, the cylinder, and the cone. Between 1909 and 1911, the analysis of human forms and still lifes (hence the name -- Analytical Cubism) led to the creation of a new stylistic system which allowed the artists to transpose the three-dimensional subjects into the flat images on the surface of the canvas. An object, seen from various points of view, could be reconstructed using particular separate "views" which overlapped and intersected. The result of such a reconstruction was a summation of separate temporal moments on the canvas. Picasso called this reorganized form the "sum of destructions," that is, the sum of the fragmentations. Since color supposedly interferred in purely intellectual perception of the form, the Cubist palette was restricted to a narrow, almost monochromatic scale, dominated by grays and browns. A new phase in the development of the style, called Synthetic Cubism, began around 1912. In the center of the painters' attention was now the construction, not the analysis of the represented object -- in other words, creation instead of recreation. Color regained its decorative function and was no longer restricted to the naturalistic description of the form. Compositions were still static and centered, but they lost their depth and became almost abstract, although the subject was still visible in synthetic, simplified forms. The construction requirements brought about the introduction of new textures and new materials (cf. paper collages). Cubism lasted till 1920s and had a profound effect on the art of the avant-garde. Russian painters were introduced to Cubism through the works bought and displayed by wealthy patrons like Shchukin and Morozov. As they did with many other movements, the Russians interpreted and transformed Cubism in their own unique way. In particular, the Russian Cubists carried even further the abstract potential of the style. Some of the most outstanding Cubist works came from the brush of Malevich, Popova, and Udal'tsova.
...e schools philosophy as ‘anit-german’. [15] In 1933 the Gestapo closed down the Berlin school. Staff and students left Berlin continuing to spread the concepts of the Bauhaus to other countries, most fled to America where Bauhaus artist were more successful in spreading their designs. In contrast to the Bauhaus, the Memphis Group had no political involvement towards the movement. However the Memphis Group was conceived as a fad and form of ‘political’ statement that intended to shake the foundations of the design world, in order to break down the barriers between high and lower class design. Sottass had decided to end the group by 1988. [16]
The impact of Bauhaus on education and design has been very significant over the years. Its main objective was to unify craft, art, and technology. This is the approach that was incorporated in its curriculum. The institution had a preliminary course, referred to as the Bauhaus Vorkurs, which greatly relied on the integration of application and theory. Students in their first years of study learned some of the basic principles of design and experimented on a large rage of materials as well as
Founded by Walter Gropius in 1919, the Bauhaus was a German art school that initiated the combination of art and crafts innovatively to produce goods for everyday use, which influenced and shaped modern life. The Bauhaus value is still effective today since we can still see the impact of the Bauhaus. For example, contemporary furniture are mostly minimalist, which is one of the values from the Bauhaus. This essay will discuss the failure of the Bauhaus in achieving its mass-produce ideal through examining three Bauhaus production, the Wassily Chair, the chess set and Model No. MT49 tea infuser. Through the aspects of artistry and utility, the Bauhaus pursued to generate reasonably priced mass-production by taking the forms and materials into
Burton, David. "Exhibiting Student Art." Virginia Commonwealth University Journal 57.6 (2004): 41. eLibrary. Web. 30 Oct. 2013.
...erfect atmosphere to convey speed, efficiency, and technology of the time. This open floor plan not only functions as an efficient visual element but also incorporates the idea of communal work. Customers, store leaders, associates, tech gurus etc. are all free to wander and work together without office walls or boundaries to separate them. The change in the use of light began during the Bauhaus era when lampshades which used to block light and create harsh separations were replaced with broad flood lights evenly spaced to create equal lighting throughout. The use of pure white walls and metal trim also make direct reference to the Bauhaus ideals. Likewise there is an egalitarian principle evoked in the designs. Built to human scale and made clearly for use by people rather than large monumental or overly scaled buildings that often promote power and authority.
The Bauhaus was one of the most influential modernist art schools of the 20th century, not to say the most influential one. Their main concern was to teach, and to understand art 's relationship to society and technology. The school was founded by the German Architect: Walter Gropius. Consequently, The Bauhaus of Design had a huge impact in Europe which is the central continent of art and the United States even after it has been closed, and has forever shape the development of Art history from now on. According to the art story website, the Bauhaus of Design was shaped by the 19th and early 20th centuries trends such as Arts and Crafts movement, which had sought to level the distinction between fine and applied arts, and to reunite creativity and manufacturing. Which later on has had affected some major artwork such as architecture and graphic design and as a result, had also inspire the romantic medievalism of the school 's early years, in which it pictured itself as a kind of medieval crafts guild. But in the mid-1920s the medievalism gave way to a stress on uniting art and industrial design, and it was this which ultimately proved to be its most original and important achievement (Art Story). The school is also known for its faculty, which included some of the most talented artists such as : Wassily
Gesamtkunstwerk is a term that literally means the total work of art. However, it contains too many conceptions in itself. First appearance of this term is in Richard Wagner’s Die Kunst und die Revolution [“The Art and Revolution”], dated 1849. Roughly, Gesamtkunstwerk is a notion that “heaping together the various arts – architecture, landscape painting, dance, drama and music” (Daverio, 1986). However, this Wagnerian concept brought a discussion around the totality of an art work. In other words, the definition of this concept has been extended to a wider aspect, even a wider geography or contrarily constricted to so much narrower scope, which Wagner, maybe, could not imagine. To understand the Gesamtkunstwerk, one must refer to these various definitions and conceptions. Roberts (2005) argues in his essay that, “the term may be German, but the concept refers to a recurrent dream of European modernism, aesthetic nature but religious and/or political in intent”. At this point, partly wider than John J. Daverio’s definition, Roger Formoff, gives 4 different definitions to the Gesamtkunstwerk in his book The Total Work of Art:
The teaching practices that were involved in the Bauhaus were based around the idea of having two types of educators. One would have been more artistically minded, masters of form. The second was more technical, workshop masters. Gropius made the first appointments once his directorship was confirmed. His first appoin...
I’m not taking very many classes to prepare for my future career although I am taking art 2-D Fundamentals. It somewhat involves an area of fashion designing, that area being sketching. I r...