바우하우스의 J.Itten, Moholy-Nagy, W.Kandinsky의 기초조형교육에 관한 비교 연구 = A comparative study of Johannes Itten, Moholy Nagy and Wassily Kandinsky of Bauhaus
저자
발행사항
전주: 전북대학교 교육대학원, 2009
학위논문사항
학위논문(석사)-- 전북대학교 교육대학원 교육대학원: 교육학(미술교육) 2009. 8
발행연도
2009
작성언어
한국어
주제어
DDC
372.52
발행국(도시)
전북특별자치도
기타서명
A comparative study of Johannes Itten, Moholy Nagy and Wassily Kandinsky of Bauhaus
형태사항
ix, 94p: 도판; 26cm
일반주기명
전북대학교 논문은 저작권에 의해 보호받습니다.
지도교수:임승택
참고문헌 : p.76-79
소장기관
Bauhaus is a comprehensive geometric art school that was established by the president Walter Gropius. It is a specialist school whose main focus is geometric art that combines art and craft. These days Bauhaus is known as the mother of geometric.
Although the Bauhaus has had many troubles in its brief fourteen year history, it met the requirements of the 20th century and created flexible courses that were ahead of its time. It provided Advanced geometric art education including removing the value system linked to fine art and applied art, by using machines as creative tools to solve problems associated with mass production and handcraft.
Bauhaus began as National Bauhaus in Weimar in 1919. It then moved to Dessau in 1926 and Berlin in 1932. Finally, Bauhaus became known as New Bauhaus in 1937 but was disbanded in the US in the same year.
To achieve its principle of comprehensive geometric art combining art and technology, Bauhaus created a course of study comprised of preparatory, major and integrated components. Among these, the preparatory course was obligatory for all new students. This course introduced the fundamental meaning of Bauhaus and the principles of all its teaching methods. Also, the course allowed students to start developing a sense of geometric art by purely experiencing its sensations to help them exhibit their own natural talents adequately.
Bauhaus was influenced significantly by Johannes Itten, Moholy Nagy and Wassily Kandinsky, who taught fundamental courses at the school and were involved with the development of geometric art education in different ways.
Johannes Itten was an expressionist and a romanticist. He pursued sensitivity-based education that emphasized individuality and a sense of art. He focused on unlocking creativity by exploring relationships between scientific technology and human psychology. As part of this exploration he emphasized the texture, color, form and rhythm of materials in his classes. Even though Itten put great effort into establishing the foundations of geometric art education within Bauhaus, he ended up resigning due to differences of principle with Gropius. As the successor to Johannes Itten, Moholy Nagy took over the teaching of fundamental geometric art.
Moholy Nagy, who was a constructionist, emphasized the active use of machines in a methodical manner. He focused on fundamental geometric art accomplished in a scientific and logical way with the aim of educating specialists to emphasize social responsibility. This rational teaching method regarded experience as an important element and affected fundamental geometric art education in the later Bauhaus years and all over world.
Wassily Kandinsky was another one responsible for fundamental geometric art education alongside Moholy Nagy in Dessau. He developed students’ geometric art ability ranging from practice to theory by teaching them to think analytically and in an integrated manner by analysing and formatting pictorial elements. Students aimed to develop integrated production work using these rules, rather than simply learning to become artists. Also Kandinsky described and suggested an inseparable relationship between morphology and chromatology, both theoretically and scientifically. Later, morphology and chromatology became foundations for Kandinsky as he pioneered abstract art.
As such, the fundamental geometric art teachings of Johannes Itten, Moholy Nagy and Wassily Kandinsky were significant in relation to Bouhaus education. They set the direction for geometric art education and played an essential role in improving it. Their characteristic ideas regarding geometric art and their educational philosophies became a pivotal foundation for the study of fundamental geometric art education.
The purpose of this essay is to renew appreciation of the significance of geometric art education by comparing and analysing Johannes Itten, Moholy Nagy and Wassily Kandinsky’s pursuits of education theory.
Additional creative and progressive art education theory is expected to emerge in the art education field.
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