The Bauhaus: Understanding its History and Relevance to Art Education Today.

East Tennessee State University

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e Bauhaus: Understanding its History and

Relevance to Art Education Today.

Miee Bretschneider

East Tennessee State University

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The Bauhaus

Understanding its History and Relevance to Art Education Today

Thesis submitted in partial fulfillment of Honors

By Miette Bretschneider

The Honors College

Fine and Performing Arts Scholars Program

East Tennessee State University

December 3rd, 2012

__________________________________

Dr. Scott Contreras-Koterbay, Faculty Mentor

__________________________________

Dr. William Crooke, Faculty Mentor

__________________________________

Dr. Michael Cody, Faculty Reader

Bretschneider 1

Table of Contents

Introduction

Chapter I: Brief History of Bauhaus

Chapter II: Important History Preceeding Bauhaus

Chapter III: Education and Vorkurs

Chapter IV: My Art Education Experience

Conclusion

Bretschneider 2

Introduction

In a sentence, the Bauhaus was the most famous art college of the 20

century (Arnason).

But of course, it was and still is much more than that. During its time, the school revolutionized

the way that art was taught. Our models for teaching and instructing art students through

experimentation and creativity were based on the classes taught at the Bauhaus. It brought under

one roof some of the most famous architects, painters, sculptors, artists and craftsmen of the

time. The Bauhaus embodied the designs and ideas of modernism, both in theory (see Gropius’s

“Manifesto”) and in practice (see samples of Bauhaus artwork). Still today the Bauhaus is

thought of as a remarkable example of modernism, which holds up style and good design. It

united art, craft and technology into one recognizably German style. Its name became

simultaneously associated with a place, an idea, and a style. This Bauhaus movement left such

an impact that the advancements made at that time are still impacting areas of life 100 years

later.

In my thesis I will discuss how the Bauhaus has influenced me personally. The famous

preliminary course of the Bauhaus played an important part in my own art education experience.

Just like at the Bauhaus, I first attended introductory art classes before moving on to more

focused studies. The lessons I learned in the first year I now consider instrumental to my

creative process. In part, I will compare the preliminary classes I took at East Tennessee State

University with those courses taught at the Bauhaus, such as 2D Design, Drawing, 3D Design

and Color Theory. The classes I later attended like weaving, metalwork, ceramics, and

bookbinding all built upon these initial classes. By looking at some of the art I produced, I will

demonstrate how similar my art education was to that of the Bauhaus. I believe that by first

Bretschneider 3

understanding the life and times of this German Art College, I will gain a greater appreciation for

the education I received at East Tennessee State University.

Gelatin Silver Print by Edmund Collein - Image of Bauhaus Students (Figure 1)

Bretschneider 4

Chapter I: Brief History of Bauhaus

The Bauhaus was a school established by Walter Gropius (1883-1969) in 1919, in

Weimar, Germany. Two existing schools, Weimar Academy of Fine Art and the School of Arts

and Crafts, were fused together to create the new Bauhaus. The name Bauhaus refers to a place,

a “house for building, growing, nurturing” (130 Dempsey). The German word Bau means to

build or building. The name also comes from the Medieval term “ ‘Bauhütten’, [which] were the

guilds of masons, builders and decorators, out of which the free masons sprang”(Whitford 29).

Thus in the name the intent for this new art school was presented. The idea behind this

institution, according to Gropius, was to equip artists to understand not only the creation of art

and craft in a creative sense, but also to give them an understanding of the theory of art. The

Bauhaus functioned as an art school, where students researched form and function in art. It was

an environment which encouraged experimentation with materials and techniques. Students

learned how to combine the designs of art with the skills of craft. They were taught to be

socially responsible artists who were present in the community, not secluded from it.

As director, Gropius selected well-known artists to teach who each brought a fresh

perspective to the classroom. People like Johannes Itten (1888-1967), Paul Klee (1879-1940),

Gerhard Marcks (1889-1981), Georg Muche (1895-1987), Oskar Schlemmer (1888-1943),

Lothar Schreyer (1886-1966), Wassily Kandinsky (1866-1944), Josef Albers (1888-1976),

László Moholy-Nagy (1895-1946) and Gunta Stölzl (1897-1983) revolutionized the way art was

taught. Central to the curriculum was the famous Preliminary Course developed by Itten. This

class was a study of “materials, tools, and colour theory, analysis of pictorial structure of Old

Masters, mediation and breathing exercises” (Dempsey 131), as well as a challenge toward the

“pre-conceived classical notions of art training” (Dempsey 131). Other famous courses, taught

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and developed by Kandinsky and Klee, were based on theories of color and form. Regardless of

the classes, an emphasis was placed on exploration of materials and driving creativity to its edge,

while simultaneously encouraging students to pay attention to good craftsmanship and function.

All students were required to take the preliminary course before they progressed to various art

classes. Referred to as workshops, each class was co-taught by one artist and one craftsman.

Classes included “cabinetmaking, wood and stone carving, mural painting, glass painting,

bookbinding, metalworking, ceramics, weaving, printing and theatre” (Dempsey 132). It is

interesting to note that although today the Bauhaus is famous for its innovative architectural style

and design ideas, architecture as a course was not added until 1927, after the Bauhaus moved to

Dessau. Later photography was also added.

In the early 1920s, heavy criticism from outside the Bauhaus started creating tension.

Major issues like the increasing industrialization, the German defeat in World War One, drastic

inflation, and the rise of the National Socialist Party could no longer be ignored. One complaint

was that the Bauhaus was essentially divorced from the rest of society; it had excluded itself

from the outside world and was inwardly focused: “art had been fused with craft, but not with

industry” (Dempsey 132). One problem was that many faculty members were more interested

in the creation of art as a personal and spiritual activity than with making art and craft accepted

in the society. In addition, the opinions between faculty, German Society and Post WWI

German culture about how the school was being operated showed the growing unrest. All this

tension meant that rejecting the world outside of the Bauhaus would result in consequences. The

Bauhaus would either have to change, or face possible closure. Some individuals were unwilling

to change their ideology, though. As result of this pressure, radical thinker Johannes Itten left

the Bauhaus. With his resignation in 1923, he was replaced with a less radical László Moholy-

Nagy (1895-1946). Moholy-Nagy, along with Josef Albers, changed the focus of the

Bretschneider 6

Preliminary Course to a “practical approach” exploring “new techniques and new media”

(Whitford 128). Itten’s old spiritual aspect of creating art was done away with, replaced with a

more rational approach. Moholy-Nagy also placed emphasis on production of art objects as

“practical design of prototypes for industry” (Dempsey 132) and mass production, in place of

singular craft pieces. As the director, Gropius, too, understood that only through cooperation

with the changes made in industry could the Bauhaus survive. In fact, Gropius made this new

unity of “Art and Technology” an integral part of the Bauhaus policies (Dempsey 132). Thus,

the “school’s emphasis changed from integrating arts and crafts to humanizing industrial

design... logical [simple] forms that should lend themselves to mass production” (Smock 60). As

the industrial realm was advancing in Germany, the Bauhaus jumped on board. Not eagerly at

first, though. Some professors were still wary of incorporating technological advances into art.

Later it became evident, however, that without this cooperation between the Bauhaus and the

outside world, the Bauhaus would not last much longer (Droste).

Unfortunately, in 1925 the city of Weimar allied itself with the ideals of the political

right. Since the Bauhaus was very strongly associated with the socialist party, the school’s funds

were removed by the government and forced the Bauhaus to close (Droste). Subsequently the

school moved north to Dessau. Dessau was a manufacturing town and offered the Bauhaus

considerable funds to move to their town. Here, the Bauhaus was happily received and

constructed buildings specifically geared toward the needs of the students and staff. After the

relocation, Gropius hired six new teachers who were former students: “Marcel Breuer (1902-

1981); Herbert Bayer (1900-85); Gunta Stölzl (1897-1983); Hinnerk Schleper (1897-1957); Joost

Schmidt (1893-1948) and Albers” (Dempsey 133). In the classrooms of these new professors,

the style of the Bauhaus changed. The designs known today to be of the Bauhaus emerged,

Bretschneider 7

“characterized by simplicity, refinement of line and shape, geometric abstraction, primary

colours and the use of new materials and technologies” (Dempsey 133).

In 1928, Walter Gropius resigned. He appointed Swiss architecture teacher Hannes

Meyer (1889-1954) to be the school’s new director. Under his leadership, the Bauhaus became a

commercial success. Many of the metal, furniture, weaving and advertising workshops received

commissions and brought revenue back to the Bauhaus (Whitford 189). Guest speakers were

invited to lecture on a broad range of topics, and other new courses were added (Fiedler).

However, due to Meyer’s rigidly left-wing ideologies, several professors, including Moholy-

Nagy, Breuer and Bayer, resigned in 1928 (Whitford 185). They felt that the school had replaced

its sense of community with personal gain. Meyer’s political Marxist views were perhaps so

extreme, that he encountered conflict from the local Dessau Government, and in 1930 was forced

to resign (Droste).

Ludwig Mies van der Rohe (1886-1969) became the new and final director until the end

of the Bauhaus in 1933 (Blaser). During this time, the Dessau Government had also allied itself

with the National Socialist Party and in 1932 the funding for the school was shut off. The

authorities accused the Bauhaus of participating in “what it called ‘decadent’ and ‘Bolshevistic’

art” (Whitford 9) and “was accused of being too cosmopolitan and not sufficiently ‘German’”

(Dempsey 133). Of course, several members of the teaching staff were from Russian and other

Eastern European countries. The open-minded ideas of the school no longer matched the

countries current political agenda. No longer welcome in Dessau, the Bauhaus moved to Berlin

as a private institution in a final and unsuccessful attempt to save it. However, the German

Government permanently closed it in April of 1933 after Hitler took power as Chancellor. “The

Nazis…condemned the Bauhaus’s failure to mirror Germany’s ‘national character’” (Smock 18).

Thus “the Nazis unwittingly ensured the fame of the school” (Dempsey 133). As a result of the

Bretschneider 8

Bauhaus’ closure, many of the staff fled to America. Gropius and Breuer left Germany, ending

up as professors at Harvard University. In Chicago, Moholy-Nagy became head of a New

Bauhaus school while “Mies van der Rohe became Dean of Architecture at the Armour

Institute” (Dempsey 133). Joseph Albers and his wife Anni (1899 –1994) moved to North

Carolina to teach at the New Black Mountain College. Then in 1950 he became the Director of

the Department of Design at Yale University. It was, then, precisely because the Bauhaus

scattered in 1933 that its famous ideas and methods spread all over the world.

Bretschneider 9

Photo by Brandt, Marrianne and Hans Przyrembei of Bauhaus Weaving Students

(Figure 2)

Bretschneider 10

Chapter II: Important History Preceeding Bauhaus

Before schools like the Bauhaus, artists studied under a master or learned a trade (craft)

to make a living. Successful and talented young individuals were permitted into art academies

where they were classically trained through replication of permissible subject matter, not

individuality and expression. Painting and sculpture were the primary media with which artists

could depict “ancient classical art, the European tradition, and historical subjects” (Rosenfeld).

Experimentation across disciplines, like ceramics, printmaking, theatre, photography or textiles

to create art was not conceived before the Bauhaus. This would in fact have been frowned upon.

Classical teaching styles and adherence to strict formats allowed no room for “free thought” in

art. These art schools were approved and supported by their local governments and “from the

late eighteenth century… such institutions had a virtual monopoly on public taste and official

patronage” (Rosenfeld). Craftspeople, on the other hand, were not considered true artists. Their

goods were sold as useful everyday items, but despite the skills of these artisans, they were not

acknowledged as professional artists. Crafts like furniture-making and weaving, which had

before been viewed as a trade, would soon enjoy the title of “art”. Everyday products were now

being designed to serve a function, and also to be beautiful. Thus the Bauhaus was critical in

leveling the field between these two groups and raising the status of fields not previously

considered high art.

It is also important to understand that the ideas for which the Bauhaus is famous today,

were already developing in the previous century. Long before the Bauhaus, other artists,

architects and groups were forming and exchanging ideas on which Walter Gropius would lay

the foundations of the Bauhaus. Two important movements to precede the Bauhaus were the

Arts and Crafts Movement and Jugendstil (Dempsey). The Arts and Crafts movement would

Bretschneider 11

bring the idea of fusing Craft with Art to create a new generation of artists who produced works

that were both functional and well crafted. The Jugendstil, born from the Arts and Crafts

movement, provided a style that eventually would merge into that of the Bauhaus style.

With the expansion of industrialization in Britain in the second half of the 19th century,

ideas about arts and crafts began to evolve (Lucie-Smith). Prior to the industrialization, artisans

and craftsmen were the common suppliers of goods to the people. However, because of the

Industrialization, machines and factories began mass-producing goods more cost-efficiently than

human hands. After these new advances in technology and machinery, demand for hand-crafted

objects diminished. In response to this, there was a push-back against the rapidly growing mass

production in which artists and craftsmen sought to “break down the hierarchy of arts, revive and

restore dignity of traditional handicrafts, and make art that could be affordable for all” (Dempsey

19). The Industrial Revolution, in the British minds, threatened the quality of products enjoyed

by the masses. As Industrialization spread onto the European continent, the Arts and Crafts

principles took root in Germany. However, unlike in England, the German artisans were not

threatened by the rapid rise of machine production: instead they embraced it. Artists, architects,

and craftspeople in Germany “allied [themselves] to machine production and used it as an

expression of National Identity” (Dempsy 22). They were successful in adopting the designs and

production styles of the machine industry into a form that then became the identity of 20th

century German artwork.

The Art Nouveau scene was another major facet of these ideas. The international Art

Nouveau (new art) lasted “from the late 1800s until World War I” (Dempsey 35). This style

emphasized the line, bold and simplistic. One aim of Art Nouveau was to unite the fine and

applied arts. This style was so widespread that different countries developed their own names

for it. In Germany it was called Jugendstil and lasted from about 1895 until around 1910. This

Bretschneider 12

German version of Art Nouveau sprang out of the Arts and Crafts ideas and manifested itself into

two different styles. The two were a “floral representational style derived from English Arts and

Crafts designs, and a more abstract one which developed after 1900, under the influence of

Belgian architect Henry Van de Velde (1863-1957)” (Dempsy 57). “Van de Velde was [a] major

figure in European Art Nouveau,… [who] preached the social benefits of a closer relationship

between art and industry and passionately believed in the principle of a total work of art”

(Dempsey 35). He was a figurehead of both the Art Nouveau and the Arts and Crafts

Movement, and interestingly directed the Arts and Crafts School in Weimar right before it

became the Bauhaus. The Jugendstil designs permeated not only the graphic arts, but also the

applied arts as well as architecture. “Jugendstil coincided with a growing interest in industrial

design and applied arts and a desire to improve German products in order to compete in the

international market. The example of the British Arts and Crafts movement was particularly

important for its high standard of design and its concept of ‘fitness for purpose’ and ‘honest

construction’ ” (Dempsey 57). With its roots in the Arts and Crafts movement, Jugendstil

desired to “erase the distinction between the fine and decorative arts” (Dempsey 35). Creating

pieces that were not only beautiful but also functional, these artists tried out their contemporary

and experimental designs in the forms of metalwork, floor mosaics and architecture: “The most

important legacy of the Jugendstil in Germany was the atmosphere of experimentation it fostered

and the desire for a synthesis of fine and applied arts, which…led to the formation of the

Bauhaus” (Dempsey 58).

As a result of the ongoing changes in culture, politics and industry around the turn of the

century, numerous social reform groups emerged in Germany. The climate was one that

welcomed change. Groups like the Arbeitsrat für Kunst, Deutscher Werkbund, and the

Novembergruppe advocated change in the way the art world operated, as well as its function

Bretschneider 13

within larger society. These groups were important to the formation of the Bauhaus for their

radical ideals and execution of these principles. Also, many of the members of these groups

became teachers and students at the Bauhaus.

The first group to come about was the Deutscher Werkbund (German Work Federation).

Formed in 1907 by architect Muthesius (1861-1927), Naumann (1860-1919), and Schmidt

(1873-1954), “its goal was ‘the improvement of professional work through the cooperation of

art, industry and the crafts, through education, propaganda, and united attitudes to pertinent

questions’ ” (Dempsey 80). The group embodied the idea of a close relationship between

industry and art. “Its aim was the reconciliation of art, craft, industry and trade, and a

subsequent improvement in the quality of German products” (Whitford 20). A member since

1912, Gropius embraced these ideals. He incorporated many of these themes into the formation

of the Bauhaus. Many of the Bauhaus themes can thus be traced back to the Deutscher

Werkbund, which sought to create “high-quality machine –made products” (Dempsey 81). In the

Bauhaus Manifesto, Gropius spelled out these integrations between the disciplines of fine arts,

applied arts and industry very clearly.

Another important movement was the Arbeitsrat für Kunst. This Workers’ Council for

Art was founded in 1918 by architect Bruno Taut (1880-1938). The Manifesto states that “Art

and the people must form an entity. Art shall no longer be a luxury of the few, but should be

enjoyed and experienced by the broad masses” (Dempsey 128). Unlike the Deutscher

Werkbund, the Arbeitsrat für Kunst was more politically oriented, and its aim was to exert

“political pressure on the new government of Germany” (Dempsey 126). This group was

important to the Bauhaus in that its goal was to free art from the strict ideas concerning the

validity and structure of art in the past.

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Lastly came the Novembergruppe (November Group), named after the November

revolution of 1918 in Germany. This was a diverse group of artists whose aim was the

reorganization of and unity within the arts. Their styles embraced modernist designs, through

which they hoped “art and architecture could create a better world” (Dempsey 129). The

Novembergruppe organized exhibitions, lectures, and concerts to publicize their values. Notable

names of these artists included Walter Gropius, Erich Mendelsohn, Ludwig Mies van der Rohe,

and Bruno Taut, Lyonel Feininger, Otto Müller, László Moholy-Nagy, Wassily Kandinsky, Paul

Klee and Hans Richter. Many of these held Bauhaus affiliations. In addition to the numerous

Bauhaus faculty involved in these public and social groups, the Bauhaus students were always

encouraged to join such political and social activist groups and gain recognition outside the art

world. Gropius hoped that all those associated with the Bauhaus would be seen as useful

members of society seeking changes for the advancement of their society.

The Bauhaus owes great recognition to one Belgian architect and his vision. In 1902 at

the request of the Weimar government, Henry Van de Velde (1863-1957) moved to Germany to

head the Grand-Ducal School of Arts and Crafts in Weimar. Though at the time this school was

just a small private workshop for local artisans to get feedback on their designs, it would

eventually merge into the renowned Bauhaus. (Whitford 23-25) Van de Velde used his time

there to develop his ideas. These ideas laid the foundation for the Bauhaus in that Van de Velde

sought to combine Arts and Craft with industrialization. He saw “the dream of ‘cooperation

between the artist, craftsman, and industrialist…twenty years before [the foundation] of the

Bauhaus’ ” (Whitford 25). After their defeat in the first World War, the German people were

ready to see change in social, political, and economic areas. Germany after the war was facing

huge debts and inflation, disease, unemployment, and restrictions on imports and foreign policy.

There was general pessimism about the future. When Van de Velde resigned in 1915, he

Bretschneider 15

suggested architect Walter Gropius for the position of director of the Arts and Crafts School.

After hearing Gropius’ vision for reforming the school (to better society by teaching artists and

craftsmen to create quality works and to embrace industry), the Weimar government approved

the merger of the city’s two art schools. This produced the Bauhaus, which was officially titled

“Staatliches Bauhaus in Weimar” (Droste). “Important to Gropius’ conception of the Bauhaus

was the idea that the fine arts and the crafts were not fundamentally different activities but two

varieties of the same thing” (Whitford 47). The aims of this new school were clearly stated in

the 1919 Manifesto.

Gropius’s Manifesto:

The ultimate goal of all art is the building! The ornamentation of

the building was once the main purpose of the visual arts, and they

were considered indispensable parts of the great building. Today,

they exist in complacent isolation, from which they can only be

salvaged by the purposeful and cooperative endeavors of all

artisans. Architects, painters and sculptors must learn a new way of

seeing and understanding the composite character of the building,

both as a totality and in terms of its parts. Their work will then re-

imbue itself with the spirit of architecture, which it lost in salon art.

The art schools of old were incapable of producing this unity – and

how could they, for art may not be taught. They must return to the

workshop. This world of mere drawing and painting of

draughtsman and applied artists must at long last become a world

that builds. When a young person who senses within himself a love

for creative endeavor begins his career, as in the past, by learning a

trade, the unproductive “artist” will no longer be condemned to the

imperfect practice of art because his skill is now preserved in

craftsmanship, where he may achieve excellence.

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Architects, sculptors, painters – we all must return to

craftsmanship! For there is no such thing as “art by profession”.

There is no essential difference between the artist and the artisan.

The artist is an exalted artisan. Merciful heaven, in rare moments

of illumination beyond man’s will, may allow art to blossom from

the work of his hand, but the foundations of proficiency are

indispensable to every artist. This is the original source of creative

design.

So let us therefore create a new guild of craftsmen, free of the

divisive class pretensions that endeavored to raise a prideful barrier

between craftsmen and artists! Let us strive for, conceive and

create the new building of the future that will unite every

discipline, architecture and sculpture and painting, and which will

one day rise heavenwards from the million hands of craftsmen as a

clear symbol of a new belief to come." (Gropius)

Through his manifesto, Gropius highlighted the ideas of all the groups and movements

out of which the Bauhaus grew. The belief that craft and art are not separate but two

avenues of the same creative process are clearly stated. Also, that the unity of an idea,

most complete in the building of an object was for Gropius, all important. Again, the

Deutscher Werkbund’s desire for “reconciliation of art, craft, industry and trade, and a

subsequent improvement in the quality of German products” (Whitford 20) was written

into the Manifesto. So, too were the Novembergruppe’s ideas about unity in the arts

and the Arbeitsrat für Kunst’s political ideologies that art should be freed from the

restricting tastes of the wealthy.

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Chapter III: Education and Vorkurs

After the opening of the Bauhaus in 1919, Walter Gropius needed to find himself a

teaching staff. Many of the people that Gropius invited to join the faculty he was already

acquainted with. The first three prominent men that Gropius hired to be Masters of Art were

Gerhard Marcks (1889-1981) in Pottery, Lyonel Feiniger (1871-1956), and perhaps most

importantly Swiss painter Johannes Itten (1888-1967) (Brewster), who headed the Preliminary

Course: “Paul Klee and Oskar Schlemmer accepted calls in 1921, Kandinsky in 1922, and

Moholy-Nagy in 1923” (Neumann 174). Itten himself was a strange man who strictly followed a

religion called Mazdaznan, which heavily influenced his teaching style. At Itten’s proposal,

Gropius agreed that it was mandatory for all art students to attend six months of the preliminary

course (called the Vorkurs), prior to moving on to other subjects. Before long the Vorkurs

became a central part of the Bauhaus curriculum. Also, Itten’s teaching method was considered

the “backbone of Bauhaus Education” (Droste 25). His instructions were adopted by other

Bauhaus staff and those who inherited his preliminary course after he left in 1923, such as Klee

and Kandinsky.

Johannes Itten developed the Vorkurs in order to break down “students pre-conceived

classical notions of art training” (Dempsey 131) and rebuild independent, free-thinking and

adventurous art students. His methods directly opposed the teaching styles of the Art

Academies. As Johannes Itten wrote “The aim of my instruction in the Vorkurs (basic design

course) was education to form the creative individual” (Neumann 174). In his Vorkurs, Itten

focused on three main areas: “studies of natural objects and materials, analysis of Old Masters

and life drawing” (Droste 25). This foundation course was also taught as an introduction to the

art and design principles and to various forms of media and techniques, as well as craftsmanship.

Bretschneider 18

“Itten…taught his students the fundamentals of colour and form theory, composition and design”

(Droste 30). He was an extraordinarily gifted teacher who “sought… not only to increase the

overall power of individual expression, but even to emphasize the feeling of an individual word

(by writing “anger” in a heavier, less rounded hand than the word “sweetness”)” (Itten 12). In

his class, every mark, every letter was a tool one could use to develop a creative design. Every

work of art, even the small studies, were significant in forming the creative mind.

Before any instruction could begin, however, Itten felt it was crucial for students to be

physically ready to start the creative process. He asked, “How can a hand express a

characteristic emotion through a line when hand and arm are cramped? The fingers, the hand,

the arm, the whole body can be awakened through relaxing, strengthening, and sensitizing

exercises” (Itten 11). Therefore, he thought it necessary to administer breathing and stretching

exercises. Students followed him in meditation rituals in order to develop open-mindedness and

a relaxed creative atmosphere. These physical activities helped students focus the mind and

ready the body for the work that needed to be done.

For the material studies, he had his students bring in various found objects and instructed

them in making “assemblages” of sorts. Itten helped students develop an understanding of

contrasts by having them “[arrange] in unison contrasting marks, tones, colours and materials”

(Whitford 55). One student, Mirkin’s example (Figure 3), shows the juxtaposition between

rough and smooth, straight lines and wavy ones. By placing the metal pieces on the wood, each

material is emphasized though contrast. The metal is smooth yet sharp at the edges; the wood is

rougher visually and physically. One is man-made and malleable; the other is found in nature

and is rigid. In color, too, they are different. The metal is cool gray, and the wood is a warm

yellow-orange. These subjective studies were to create a feel for the materials and supplies.

Another purpose was to prepare students for the workshop classes by exposing them to as many

Bretschneider 19

materials as possible. Artistically Itten emphasized exploring “various textures, forms, colors,

and tones in both two and three dimensions” (Whitford 55). The students created art with

“rhythmic lines which were meant to capture the spirit, the expressive content of the original”

(Whitford 55). There were no right or wrong ways to make these studies. The point was to

understand the basic structures of the materials. Through a total interaction, by having his

students touch, observe, sketch, and combine certain objects, they would later be able to become

more successful artists in the workshop classes.

Bretschneider 20

Figure 3 Mirkin, M., Study in Contrasting Materials, 1920

Bretschneider 21

In the Old Masters section, students were shown a projection of a famous painting. They

then were told to reconstruct what they saw using lines, shapes, movement and color. This was

to connect the art student to important works of the past and “to experience works of art in their

profoundness” (Droste 30). They were not asked to copy the works, as other art schools taught,

but to represent them more subjectively as each student’s interpretation. Through this exercise

his students developed an eye for the formal qualities applied to these famous works. Each work

of art was essentially deconstructed, then recreated through lines, shapes, and colors. By

breaking down the forms and area within a piece, students learned to recognize the formal

qualities that made each painting such a success. A good example of such an exercise was

Itten’s interpretation of Meister Francke’s Adoration of the Magi (Fiedler 249) (Figure 4). In this

study, the rational analysis of the painting emphasizes the centrality of the figures of Mary and

the Christ Child with the use of circle- the halo. Jesus is at the very center, where one of the

kings bows to bestow his gift. The woman in the bottom left corner, though unimportant, draws

the viewer’s eyes to the child through her gaze. The use of lines to break up the picture plane

shows how the eye reads the painting. The immediate focus begins on the Virgin Mother’s face,

moves down to Baby Jesus and the bowing lord, then up to the two standing men, and finally

back to Mary. The triangle, too, situates the important persons within the form, with all the

others directing the focus to the holy family. In this study, Itten demonstrates how the

fragmentation of such a work into geometric shapes and forms allows the student to understand

the great achievement of this painting. Though Itten did not want his students to copy works of

art, he certainly wanted to install an appreciation for famous historical pieces. “Analyses of the

works of the old masters also provide the opportunity for studies of feeling. When heart and

hand are one during the designing of a form, this form becomes the bearer of intellectual-

spiritual content. When we can relive this content from the form, we discover the effect of a

Bretschneider 22

work of art” (Itten 148). He wanted students to interact with a piece through subjectively

reconstruction, yet also simply by understanding and sympathizing with it.

Figure 4 Itten’s Old Master Study - Meister Francke. Adoration of the Magi

Bretschneider 23

The third aspect of the Preliminary Course was the life drawing. Students drew not only

objects from nature, like flowers, leaves, rocks and such, but also the traditional human figure.

However, like the other two components of the Vorkurs, these were not necessarily required to

be true to life. As usual, Itten stressed the fundamental, form, color, and texture (Brewster): “for

me the sensual capturing of the characteristic properties of things is of the utmost importance.”

(Bauhuas Archiv Wall) in the two drawings shown here (Figure 5 and Figure 6), each student

represented his or her expression of a certain object. In Hirschlaff’s fern study (Fugure 3), he

captures the flowing softness of the plant. By utilizing a smooth curving brush the texture of the

fern is achieved. The brush dipped in dark ink applied in one stroke shows the gradations of

light and dark in this composition. In the leaves and branches study (Figure 4), the student was

not capturing each detail of the plant. Instead, the wispy quality that constitutes a leaf is

represented. The forms and shapes of each section of a leaf are placed on the paper with a flat

brush. The line quality also signifies a sense of motion and rhythm. Itten stressed that the

essence of an object should be captured. To project onto a piece of flat paper one’s personal

experience of a leaf was what counted. Exact representation was uncreative and not as

interesting as one’ own relationship to a subject. He believed all these activities were to prepare

the student to think creatively for himself.

Bretschneider 24

Figure 5 Hirschlaff. (1930) Fern study

Bretschneider 25

Figure 6 Brush Drawing of Branch (1958) Textile Trade School, Zurich

Bretschneider 26

Johannes Itten is accredited for designing and first teaching the Preliminary course

(Smock). It is important to remember, however, that several other people taught this class over

the fourteen years the Bauhaus was in operation. Each teacher made his own important

contributions and changes to this class, adapting it as he saw fit. Itten, Klee, Kandinsky, Albers

and Moholy-Nagy all taught the Vorkurs at some point. A wall sign at the Berlin Bauhaus

Archiv reads:

Bauhaus Pedagogy: Bauhaus did not only develop its own

type of design, it was also characterized by a new form of design

instruction. Without visiting the so called Vorkurs (preparatory

course) you could not start studying at the Bauhaus. It was a

sequence of exercises, designed to familiarize the student with

materials, their mechanical properties, contrasts, and surfaces.

Inaugurated by Johannes Itten, further developed by Joseph Albers,

it became the model for many courses worldwide. In the

afternoon, students had to visit classes by Wassily Kandinsky and

Paul Klee, who familiarized them with colour theory and principles

of composition. László Moholy-Nagy was specially interested in

the problems of equilibrium. The students not only drew in these

classes but also produced many and diverse three dimensional

studies in various materials.

This Preliminary course was indeed important. Students learned lessons in materials and

composition. They were taught to really look at and interact with a subject. This class

was so complex, that each student’s experience and growth must unique. In addition,

each professor contributed a different focus to the class, which no doubt made it one of

the most important for developing well-rounded students. As mentioned, the other men

who taught the Vorkurs were Joseph Albers, László Moholy-Nagy, Wassily Kandinsky

and Paul Klee.

Bretschneider 27

Before coming to the Bauhaus, both Kandinsky and Klee were members of the Blaue

Reiter Expressionist group. In 1922 Kandinsky came to the school to teach classes in the

painting workshop as well as a course on color. With his co-teacher Klee, Kandinsky employed

a systematic approach to color. He offered a course called ‘primary artistic design’ in which the

students explored the edges of a picture, the functions of the center, the lines objects and colors

within it (Bauhaus Archiv audio guide). Kandinsky famously coupled the primary colors with

basic shapes: yellow with a triangle, red with a square, and blue with a circle. Kandinsky

favored basic shapes in his own artwork. The idea of a total work of art, or “Gesamtkunstwerk”

in German, was communicated by Kandinsky. Ursula Schuh, a former student of Kandinsky

recalled: “To “arrange” a picture was despised. If a picture was arranged it meant: A square was

capably filled by more or less agreeable shapes, but lacking genuine experience. It was not

composed, i.e., inner experience and formal knowledge did not form a unity” (Neumann 162).

Kandinsky’s students considered the whole composition, even when painting studies. In his

classes he taught about color interaction and form interaction.

Joseph Albers, who had been a student in Itten’s Preliminary course, taught the Vorkurs

in 1923. Albers gave lessons the first semester, while Moholy-Nagy taught the second semester.

Albers took his students to visit factories and craftsmen in order to gain understanding of

industrial techniques. Although each teacher had a unique style, both encouraged students to

develop a “feeling for materials” (Droste). Albers once stated: “Im Anfang steht allein das

Material.“ Or “In the beginning there is the material only “(Berlin Bauhuas Museum). Albers

was always engaging his students in really looking at materials. He stressed that lack of certain

tools or supplies should not prevent the creative process. In his classes, it was often a simple

sheet of paper cut or folded in a way that made the most dramatic statement. Here (Figure 7) his

Bretschneider 28

student made a few cuts in the paper and folded sections up or down. His created a visually

appealing composition, with good use of shadows and negative space.

Figure 7 Arieh Sharon, paper constructions in Joseph Albers’s Vorkurs

Bretschneider 29

Chapter IV : My Education Experience

Many of these ideas like color interaction and “Gesamtkunstwerk” were part of my own

art education experience. The teaching styles I encountered at East Tennessee State University

(ETSU) were modeled after the Bauhaus. Even if this goes unnoticed, it is not difficult to grasp

that the Bauhaus has influenced our system of education. Looking back at some of the courses

and lectures I attended, I can make the claim that I essentially had a Bauhaus learning

experience.

First, like all Bauhaus students, I too had to complete certain Vorkurse before moving on

to specialized art classes. These included 2D Design, Drawing Fundamentals, 3D Design, and

Color Theory. Together, these took a little over half a year to complete. The lessons I learned in

my first year I built upon and developed in later classes. The next three years were spent in

upper-level classes, exploring other materials and techniques. Some of these courses, like

Ceramics, Weaving, Book Arts, Metalsmithing and Printmaking gave me a feel for material and

an eye for design. I feel I grew into a well-rounded artist, capable in many areas with a greater

appreciation for skilled artists and craftsmen. Thanks to the Bauhaus, I consider craft as high a

form as fine art, and yet I still revere the Old Masters. Creativity, too, is as valuable as the skill

needed to produce any work of art.

In my preliminary classes we learned the visual language of art. These building blocks of

design were the elements of art, – point, line, shape, space, form, color value, texture – and the

principles of design, – rhythm, harmony, unity, emphasis, variety, balance, contrast, symmetry,

movement and pattern. Learning these terms, not only could I become a better designer, but I

could more clearly speak about my own art. In all my classes, we did what was called “critique.”

These were our tests, but not in the objective sense of the word test. We brought our works in

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and discussed them with the professor and with the other students. We got feedback about what

worked in a composition and what did not work. We learned from one another as well as from

the teacher. Of course we received a grade, but we learned through the whole process.

Constructive criticism filed away the unrefined areas to reveal pure, clean and more advanced art

work. Just like at the Bauhaus, by discussing the work in artistic language, we could gain a

better eye for design.

I also learned the idea of a total work of art, or “Gesamtkunstwerk” as taught at the

Bauhaus. We were trained to develop an eye for good design. We were asked questions to

challenge our thinking such as “why did you choose a certain mark or color over another?” and

“what could you take away or add to enhance the piece?” The unity of a piece was of the utmost

importance in my classes. All the elements within a work had to be unified otherwise it could

compromise the concept.

Below are two of my first artworks completed in my 2D Design class. For this project

we cut out gradations of construction paper ranging from black to grays to white. These two

drawings depicted the interaction of line, geometric shapes, and value. These two pieces are

meant to be seen next to each other creating a visual unit. In the left hand image (Figure 8), the

emphasis is placed on the small black square in the bottom right, surrounded by the various

circles. By designing the square to be small in scale compared to the other elements, it is not

overwhelmed within the composition. Similarly, in the image on the right (Figure 9), the

intensity of the stark white small circle is diffused by the gray lines and boxes. Without the use

of the element of line, the white circle would create an almost overwhelming focal point. This

closure within the pictorial space brings unity. Together the two images create a sense of

balance. This study is in many ways similar to a composition from Itten’s course ( See Figure

10) by student Stauch. This piece uses the some basic geometric shape of the circle but in

Bretschneider 31

varying sizes to create a balanced composition. The lines add interest to the image. The

gradations in black and white repeat and emphasize the circular shapes. This student’s work,

like my own, was an exploration in successfully arranging elements on a 2-dimentional surface.

Though seemingly simple, these exercises were good introductions to the elements of art.

Figure 8 Figure 9

(2D Design- Line, Shape, Value, 2008)

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Figure 10 H. Stauch, Drawn Composition (1928) Berlin.

In Drawing Fundamentals, we did life drawings of models, still lifes, and buildings

around campus. These were mostly true-to-life to improve our observation skills and

draftsmanship. Accuracy for these types of drawings was stressed. Yet we also engaged in

expressive exercises such as blind contour drawings, timed drawings, and ‘emotional abstract

sketches’ similar to those directed by Johannes Itten (See Figure 11). The blind contour drawings

were not expected to be precise. Through them I learned to “read” the outlines and shapes of

Bretschneider 33

objects. I gained greater control of my hand-eye coordination and my sketching improved as a

result of these exercises. The timed drawings also improved my drawing skills, by forcing me to

focus on basic structure of objects to capture the gesture instead of focusing on unimportant

details. Often there was only time to pick out the basic circle, rectangle, or triangular forms of

these objects. The “emotional abstract sketches” were not necessarily to improve our drawing,

but to get us thinking in a more creative way. If the professor said a word, like anger or love, we

had to come up with creative, non-representational means of depicting these feelings. This was

where our visual vocabulary of point, line, shape form, value and such came in to play. We

rearranged these elements on a page in order to best describe these abstract feelings visually. For

example, if anger was the word, most of the students used highly emphasized and almost

violently harsh lines, perhaps diagonal or darkly crosshatched. Love on the other hand, was

usually softer in value, using light brushstrokes and curvilinear marks or shapes. Once again, all

these drawings taught me to look at the whole work of art and to consider the space within the

page. The “Gesamtkunstwerk” was never out of mind.

Bretschneider 34

Figure 11 Portrait Study (1928), Berlin from Itten’s class

Bretschneider 35

Another preliminary course at ETSU was 3D Design. In this class the study of materials

was an important aspect to our learning. So was craftsmanship. Our first assignment in this

class was to use two basic everyday materials – cardboard and masking tape- to construct a

three-dimensional breakfast. I chose to create a cup of tea, a half-peeled banana, and a slice of

toast. ( Figures 12 and 13) Though these objects did not need to be true to scale, they did need to

be well crafted. In my example, I retained the texture of the cardboard I found to create visual

and physical texture in my cup. Using sand paper, I roughed up the white cardboard to create a

‘fluffy’ texture for the banana. The peel of the banana I covered with masking tape to make it

slicker and smoother. This study really forced the students to think outside the box by having us

use unconventional yet common materials. This I found was similar to the newspaper exercises

Josef Albers gave to his students: “Albers’s choice of materials that were cheap, plentiful, and

easy to handle permitted students to move immediately into creative work with no technical

training and fewer financial worries. The use of non-traditional materials kept students from

shopworn paths and clichéd forms, and impressed upon them the idea - - that you could be

creative with whatever was at hand…. Students at various times worked with paper, corrugated

cardboard, confetti, paper streamers, wire, wire screen, glass, plastic, sheet metal, tinfoil,

razorblades, matchboxes, straw, dowels, and wood” (103 Horowitz). In order to construct the

cup of tea, the banana and the piece of toast well, I closely observed these three items. For

several days I ate a banana and a slice of toast with a cup of tea for breakfast to familiarize

myself with the various stages in consuming this meal. Once I decided when these appear most

interesting, I picked out the cardboard best suited to each item. For the banana peel, I used thin

board from a cereal box. The cup was made from nicely corrugated cardboard, and the toast

from a thicker industrial cardboard. Really paying attention to the textures of the foods and cup

allowed me to match the best materials for each. Though not representational, the studies made

Bretschneider 36

in Albers’ class (See Figure 5) also utilized the materials available to the best of each student’s

ability. When paper was the only supply accessible, the problem to be solved was still how to

make the most interesting composition by folding or cutting. Of course, if other materials were

to be had, either in my class or in the Bauhaus, we were encouraged to experiment. In both the

Bauhaus classes and in my classes, the use of a variety of materials was favorably looked upon.

For another art project we created the skeletal outlines of objects using metal wire. For example,

I created a bird that I broke down into geometric shapes. This taught us about the importance of

the negative space within a piece, as well as the positive. We again learned about line quality,

form, and the interaction of a 3-dimentional object within space. Emphasis was placed on formal

structure through the elements, though the non-traditional materials kept a playful and creative

atmosphere. As always, technical skill was exceptionally important.

Figure 12 and Figure 13 (3D Design – Cardboard Breakfast, 2009 )

Bretschneider 37

Figure 7 Arieh Sharon, paper constructions in Joseph Albers’s Vorkurs

One of the most complex classes I took was Color Theory. In this course, we learned

about the interactions of colors, the interaction of light with color, and the impact of color on

human emotion. In class we painted a color scale to demonstrate the relationship of primary,

secondary and tertiary colors to one another. In addition, we kept a sketchbook in which we

painted color gradations and various values of each hue. We looked at Joseph Albers’s color

square studies (Figures 18 and 19) to see how colors placed next to certain other colors interact.

The way that light affects and determines colors was also discussed. Our professor lectured on

the teachings of Itten and Albers and the advancements they made in the field of color theory.

We learned other terms like intensity, value, tone and shade to better talk about colors. The

assignment of our final project was to choose two master pieces, reproduce them precisely, then

swap their color palettes. To quote our assignment sheet, by becoming “familiar with the colors

n each work… [I’ll] see how color choice can alter an image-how it can change the

Bretschneider 38

psychological tone of the piece” (Wilt). In the examples below, I chose Franz Marc’s Tiger of

1912 (Figure 14) and Ernst Ludwig Kirchner’s Winter Landscape in Moonlight of 1919 (Figure

17). In this exercise, I first painted as well as I could the two original works onto a canvas nearly

a foot or so in length and height. Then, using the color palettes of the two original works, I had

to switch the colors of each painting. Each student could employ his subjective preference for

color placement but had to retain the color palettes. In my example (Figure 15), I chose to paint

the tiger pink and the background blue and yellow. Pink, I felt, drew the eye due to the warm

intensity of the hue, causing the focus to fall on the Tiger. When interpreting Kirchner;s Winter

Landscape, I took a more naturalistic approach and rendered the sky blue, the trees green, and

the mountain yellow (Figure16). Each student could choose where to use a certain color from

the original to best emphasize certain parts of the image. This color study was in some ways

similar to Itten’s study of Old Masters. (See Figure 4) We could choose a famous artist and

reinvent their works along certain parameters. Though the forms were not open for our

interpretation, the colors were. This study taught us how powerful colors can be in conveying an

idea within an artwork, especially an emotional concept.

Bretschneider 39

Figure 14 (Copy of Original) Figure 15

Franz Marc’s Tiger of 1912

Figure 16 Figure 17 (Copy of Original)

Kirchner’s Winter Landscape in Moonlight of 1919

Bretschneider 40

Figure 18 Josef Albers: Homage to the Square: Soft Spoken

Figure 19 "Josef Albers: Homage to the Square: With Rays

Bretschneider 41

Once I finished these four precursors of the art program, I then signed up for the more

advanced classes. In classes like Weaving, Metalsmithing, Ceramics and Book arts, I built upon

the foundations I had learned. In the studios, craftsmanship became a primary focus. Next was

good design and form coupled with concept. It was expected that I had developed a sense of a

total work of art or “Gesamtkunstwerk” and could now apply the principles and elements to my

art. These next pieces were expected to be meticulous and beautiful. Also, after the Vorkurses I

was free to choose either a more abstract form of expression, or stay with a naturalistic

representation. In two of my pieces, my metal sea urchin (Figure 20) and my wooden toy boxes

(Figure 21), I explored both avenues. My metal piece is representative of nature, taking on a

realistic feel. The wooden boxes, on the other hand, imitate real wood, but are only made of

paper and book board. They are suggestive of Albers’s color squares, but mine are a 3-

dimensional representation. Though the cube forms are simplistic, they convey a powerful idea.

Even in these advanced courses, we often looked closely at materials the way that Itten

instructed. In many of my fiber classes, our professor asked us to bring into class numerous

found objects and interesting materials. Some brought in wood, sticks, rocks, metal rust, fabrics

and glass. For an hour or so we placed certain objects near one another to compare and contrast

colors, textures, lines and shapes. We then discussed what we noticed to sharpen our observation

skills. For example, by placing a pinecone next to a brown paper bag, the lines and forms within

the two objects become evident, while the colors are seen as secondary. By juxtaposing similar

colors, the shapes or lines of an object could be brought out. Though we never made

assemblages, like Itten’s student’s image (Figure 3), I believe we gained the same knowledge of

tools and materials. Simply understanding how objects interact with one another was important.

Bretschneider 42

Figure 20 Metal Sea Urchin from Metalsmithing Class 2010

Bretschneider 43

Figure 21 Constructed boxes as a 3-dimentional study of Albers’s studies of Color

Interaction within a Square, 2012

The advanced classes were quite similar to the preliminary classes in that they fostered an

atmosphere of experimentation and pushed creativity. They were simply a more focused subject,

and craftsmanship was highly emphasized. An excerpt taken from the syllabus in my Throwing

course states: “attaining the basic skills, acquiring the necessary techniques and gaining an

understanding of the concepts that serve as the foundation for working on the potter’s wheel….

This is very much a “hands on” class and you will be involved in every aspect of the process

from mixing the clay to firing your finished pieces” (Davis). Practicing the techniques and being

involved in the process of working in clay helped us learn. As we spent more time with the

Bretschneider 44

material, molding the clay, and even making mistakes, our skill on the potter’s wheel improved.

Our professor, in this class, like in every other class, demonstrated a technique during the class

period. Having watched, each student would then attempt to practice this technique for himself.

Developing our own style was supported. The more we practiced the more proficient we

became with a material. In my fiber classes, too, I developed the feel for materials only though

practice. After speaking with my fibers professor, Pat Mink, I was informed that she, herself has

been influenced by the Bauhaus, both in her art work and in her Teaching. She studied under a

student of Josef Albers, where she learned “the idea of direct observation” (Mink). In her Color

Theory classes, she uses the exercises developed by Josef Albers, as well as the methods of Anni

Albers in her weaving classes. I learned the reason the students at ETSU receive a Bauhaus style

education is that some of the teachers were themselves influenced by this school.

After four years of taking these experimental and “hands-on” classes, I feel I have

developed into a more adept and well-rounded artist. Though I am by no means finished

learning, in my creative skills I have improved dramatically since I started out in 2008. I will

continue to refine my arts and push myself creatively.

Bretschneider 45

Conclusion

After a thorough investigation of the history, courses and style of the Bauhaus, I have

gained a greater appreciation for this revolutionary German Art School. Although I have only

known of this famous art institution for little over a year, it has been making an impact at ETSU

for far longer than that. After nearly a century, the styles and ideas developed at the Bauhaus

have become an integral part of our American system of art education. Looking back over my

own education in the discipline of art, I feel that the Bauhaus has indeed played a major role in

my artistic progression. In fact, my old artwork from my preliminary and studio classes

paralleled those works produced back in Germany in the early part of the 20

century. Also,

after reading about the times in which the Bauhaus operated, it appears that their world was not

so far removed from our own world. In their time after the First World War, their staggering

inflation, and uncertain political climate, the Bauhaus may have been a place of escape for these

artists. It would seem that my own four years of art studies in many ways mirrored the

experiences of the Bauhaus students in the 1920s. Now I am left to wonder if my art classes at

ETSU have prepared me for life outside of college. Like the students at the Bauhaus, I may have

enjoyed a few years of escape from the realities that lie just beyond school. But I am sure I will

face whatever comes next in my life with the same creativity and resilience that those members

of the Bauhaus demonstrated over 100 years ago.

Bretschneider 46

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List of Illustrations

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Koln: Taschen, 2002. Google Books. Web. http://books.google.com>. Oct 2012.

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<http://www.remixtheschoolhouse.com/content/johannes-itten-analysis-old-masters>.

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