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Hmm, Bauhaus...Bauhaus...I'd heard of Bauhaus before...then it came to me, the Bauhaus I'd heard of wasn't the Bauhaus we'd be learning about today. The Bauhaus I'd heard of was the 1978 English Rockband, however they did name themselves after what we'd be looking at in today's lecture which was the Bauhaus German Art School- the greatest art school...in the world (I hope you read that in the voice of Jeremy Clarkson) ANYWAY, Bauhaus was founded in April 1919, in Weimar, Germany. The art school was operational from 1919 to 1933 and it combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It was founded upon the idea of creating a "'total' work of art" in which all the arts, including architecture, would eventually be brought together. The Bauhaus movement had a profound influence upon subsequent developments in all categories of art and design.  Johannes Itten (11 November 1888 – 25 March 1967) was a Swiss expressionist painter, designer, teacher, writer and theorist associated with the Bauhaus school. From 1919 to 1922, Itten taught at the Bauhaus, developing the innovative "preliminary course" which was to teach students the basics of material characteristics, composition, and color. Itten was heavily influenced by painters, Adolf Hölzel and Franz Cižek. His work has become majorly influential in the fashion industry, particularly the seasonal colour analysis. Below are some examples of Itten's work:
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Art Nouveau is an ornamental style of art which flourished between about 1890 and 1910 throughout Europe and the United States. The style appeared in a wide variety of strands, and, consequently, it is known by various names, such as the Glasgow Style, or, in the German-speaking world, Jugendstil. Artists drew inspiration from both organic and geometric forms, evolving elegant designs that united flowing, natural forms resembling the stems and blossoms of plants. The desire to abandon the historical styles of the 19th century was an important factor behind Art Nouveau and one that establishes the movement's modernism. Industrial production was, at that point, widespread, and yet the decorative arts were increasingly dominated by poorly-made objects imitating earlier periods. The practitioners of Art Nouveau sought to revive good workmanship, raise the status of craft, and produce genuinely modern design that reflected the utility of the items they were creating. The Ulm school of design was founded in memory of Hans and Sophie Scholl by sibling Inge Scholl back in 1953. Both Hans and Sophie Scholl were key figures in the anti-facism & democracy movement. The school's history evolved through change and innovation, in line with their own self-image of the school as an experimental institution. The teaching as the college was based on a curriculum covering four years. The first academic year was devoted to the basic course and then students chose a specialty from Product Design, Visual Communication, Industrialized Building, Information (which lasted until 1962) and Filmmaking. Although the school ceased operation after fifteen years, the ′Ulm Model′ continues to have a major influence on international design education. Otl Aicher Otl Aicher was born on the 13th May 1922 in Ulm, Germany. Aicher was a German graphic designer and typographer. He is best known for having designed pictograms for the 1972 Summer Olympics in Munich that proved influential on the use of stick figures or public signage, as well as designing the typeface, Rotis. He was strongly opposed to the Nazi movement. He was arrested in 1937 for refusing to join the Hitler Youth, and consequently he was failed on his college entrance examination in 1941. He was subsequently drafted into the German army to fight in World War II, though he tried to leave at various times. In 1952 he married Inge Scholl before being a co-founder of the Ulm School of Design, along with Inge Scholl and Max Bill in 1953.  The 1972 Summer Olympics pictograms have since inspired various designers due to their simplistic yet universal style.
So, the year is 1853, and Japanese ports have reopened to trade with the West. Along with many other goods, Japanese art was one of the main things which were imported into the western art world. Woodcut prints by masters of the ukiyo-e school of printmaking, transformed Impressionist and Post-Impressionist art by demonstrating that simple, transitory, everyday subjects from ‘’the floating world’’ could be presented in appealingly decorative ways. For this weeks blog task we were asked to: take two differing pieces of art or design from the late nineteenth or early twentieth century and explain how the Art of Japan influenced their form, function or manufacture. Upon looking at the work of Vincent Van Gogh, it's clear to see that he was massivley influenced by the art of Japan. Gogh made copies of two Hiroshige prints. He altered their colours and added borders filled with calligraphic characters he borrowed from other prints. As you can see, the prints below are almost identical to the original image:
Japonaiserie (English: Japanesery) was the Dutch term that Gogh used to express the influence of Japanese art. He strongly admired the techniques that the Japanese used in their work, in a letter to his brother Theo, he wrote: "I envy the Japanese the extreme clarity that everything in their work has. It's never dull, and never appears to be done too hastily. Their work is as simple as breathing, and they do a figure with a few confident strokes with the same ease as if it was as simple as buttoning your waistcoat." Another artist who was influenced by Japan was Claude Monet. One of Monet’s interests- in addition to painting and gardening- was collecting Japanese art. His home had 231 Japanese woodblocks, Hokusai being prominent among them.
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AuthorFfion/ 21/ Welsh/ University of Cumbria. Archives
December 2019
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