gri_2003_m_46_b06_f11_023
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Transcribers
- 71764479 - Chris5420
- 71863605 - Molly_Carr
- WINNER - 72177885 - glt
- 72384167 - not-logged-in-fbdd838f65481e96c65e
- 72507395 - jesseytucker
- 72709450 - Preacher357
71764479 - Chris5420
The Pedagogical Sketchbook was published in 1925, drawn from a mass of material prepared by Klee for his teaching course at the Weimer Bauhaus. It seems to me that this symposium is bound to deal with three points: (1) to what extent is the Sketchbook a product of Bauhaus; (2) how closely to Klee's words fit his own art; (3), is the Sketchbook signif-icant now, nearly 30 years since it was published? Matters of art-education, art-history, and the psychology of artistic creation are involved.The Sketchbook was part of the preliminary 6 month course which included instruction in problems of form and experiments in the handling of different media. The student's aptitude for a particular craft showed itself in this period and, at the same time, the student acquired a basic vocabulary of form. In addition, of course, it was essential to literative students from conventional art habits. This is what Klee does in the Pedagogical Sketchbook - he offers a vocabulary and grammer of form that is pedagogic and anti-academic simultaneously. This was not Klee's only activity at the Bauhaus but it was his most fruit-ful one. He was in charge of the metal workshops for a time, the students turning out under his direction 'spiritual samovars and intellectual doorknobs' (1). Mcholy-Hagy took over in this workshop in 1923 and changed to the mass-production of llighting-fixtures.
However, though Klee, with Kandinski and Feininger, were defic-ient as technicians their role in the Bauhaus was essential.
71863605 - Molly_Carr
The Pedagogical Sketchbook was published in 1925, drawn from a mass of material prepared by Klee for his teaching courses at the Weimer Bauhaus. It seems to me that this symposium is bound to deal with three points: (1) to what extent is the Sketchbook a product of the Bauhaus; (2) how closely do Klee's words fit his own art; and (3), is the Sketchbook significant now, nearly 30 years since it was published? Matters of art-education, art history, and the psychology of artistic creation are involved.The Sketchbook was part of the preliminary 6 month course which included instruction in problems of form and experiments in the handling of different media. The student's aptitude for a particular craft showed itself in this period and, at the same time, the student acquired a basic vocabulary of form. In addition, of course, it was essential to liberative students from converntional art habits. This is what Klee does in the Pedagogical Sketchbook - he offers a vocabulary and grammer of form that is pedagogic and anti-academic simultaneously. This was not Klee's only activity at the Bauhaus but it was his most fruitful one. He was in charge of the metal workshops for the time, the students turning out under his direction 'spiritual samovars and intellectual doorknobs' (1). Moholy-Nagy took over in this workshop in 1923 and changed to the mass-production of lighting-fixtures.
However, though Klee, with Kandinski and Feininger, were deficient as technicians their wrole in the Bauhaus was essential.
WINNER - 72177885 - glt
The Pedagogical Sketchbook was published in 1925, drawn from a mass of material prepared by Klee for his teaching course at the Weimer Bauhaus. It seems to me that this symposium is bound to deal with three points: (1) to what extent it the Sketchbook a product of the Bauhaus; (2) how closely do Klee's words fit his own art; and (3) , is the Sketchbook significant now, nearly 30 years since it was published? Matters of art-education, art-history, and the psychology of artistic creation are involved.The Sketchbook was part of the preliminary 6 month course which included instruction in problems of form and experiments in the handling of different media. The student's aptitude for a particular craft showed itself in this period and, at the same time, the student acquired a basic vocabulary of form. In addition, of course, it was essential to liberative students from conventional art habits. This is what Klee does in the Pedagogical Sketchbook - he offers a vocabulary and grammer of form that is pedagogic and anti-academic simultaneously. This was not Klee's only activity at the Bauhaus but it was his most fruitful one. He was in charge of the metal workshops for a time, the students turning out under his direction 'spiritual samovars and intellectual doorknobs' (1). Moholy-Nagy took over in this workshop in 1923 and changed to the mass-production of lighting-fixtures.
However, though Klee, with Kandinski and Feininger, were deficient as technicians their role in the Bauhaus was essential.
72384167 - not-logged-in-fbdd838f65481e96c65e
The Pedagogical Sketchbook was published in 1925, drawn froma mass of material prepared by Klee for his teaching course
at the Weimer Bauhaus. It seems to me that this symposium
is bound to deal with three points: (1) to what extent is
the Sketchbook a product of the Bauhaus; (2) how closely do
Klee's words fit his own art; and (3), is the Sketchbook signif-
icant now, nearly 30 years since it was published? Matters
of art-education, art-history, and the psychology of artistic
creation are involved.
The Sketchbook was par to the preliminary 6 month course
which included instruction in problems of form and experiments
in the handling of different media. The student's aptitude
for a particular craft showed itself in this period and, at
the same time, the student acquired a basic vocabulary of form.
In addition, of course, it was essential to liberative students
from conventional art habits. The is what Klee does in the
Pedagogical Sketchbook - he offers a vocabulary and grammar of form that
is pedagogic and anti-academic simultaneously. This was not
Klee's only activity atet eh Bauhaus but it was his most fruit-
ful one. He was in charge of the metal workshops for a time,
the students turning out under his direction 'spiritual samovars
and intellectual doorknobs' (1). Moholy-Nagy took over in this
workshop in 1923 and changed to the mass-production of lighting-
fixtures.
However, though Klee, with Kandinski and Feininger, were defic-
ient as technicians their role in the Bauhaus was essetntial.
72507395 - jesseytucker
The Pedagogical Sketchbook was published in 1925, drawn froma mass of material prepared by Klee for his teaching courses
at the Weimer Bauhaus. It seems to me that this symposium
is bound to deal with three points: (1) to what extent is
the Sketchbook a product of the Bauhaus; (2) how closely do
Klee's words fit his own art; and (3), is the Sketchbook signif-
icant now nearly 30 years since it was published? Matters
of art-education, art-history, and the psychology of artistic
creation are involved.
The Sketchbook was part of the preliminary 6 month course
which included instruction in problems of form and experiments
in the handling of different media. The student's aptitude
for a particular craft showed itself in this period, and at
the same time, the student acquired a basic vocabulary of form.
In addition, of course, it was essential to liberative students
from conventional art habits. This is what Klee does in the
Pedagogical Sketchbook--he offers a vocabulary and grammar of form that
is pedagogc and anti-academic simultaneously. This was not
Klee's only activity at the Bauhaus but it was his most fruit-
ful one. He was in charge of the metal workshops for a time,
the students turning out under his direction 'spiritual samovars
and intellectual doorknobs' (1). Mchely-Nagy took over in this
workshop in 1923 and changed to the mass-production of lighting-
fixtures.
However, though Klee, with Kandinski and Peininger, were defic-
ient as technicians their role in the Bauhaus was essential.
72709450 - Preacher357
The Pedagogical Sketchbook was published in 1925, drawn froma mass of material perpared by Klee for his teaching course
at the Weimer Bauhaus. It seems to me that this symposium
is bound to deal with three points: (1) to what extent is
the Sketchbook a product of the Bauhaus; (2) how closely do
Klee's words fit his own art; and (3), is the Sketchbook signif-
icant now, nearly 30 years since it was published? Matters
of art-education, art-history, and the psychology of artistic
creation are involved.
The Sketchbook was part of the preliminary 6 month course
which included instruction in problems of form and experiments
in the handling of different media. The student's aptitude
for a particular craft showed itself in this period and, at
the same time, the student acquired a basic vocabulary of form.
In addition, of course, it was essential to liberative students
from conventional art habits. This is what Klee does in the
Pedagogical Sketchbook he offers a vocabulary and grammer of form that
is pedagogie and anti-academic simultaneously. This was not
Klee's only activity at the Bauhaus but it was his most fruit-
ful one. He was in charge of the metal workshops for a time,
the students turning out under his direction 'spiritual samovars
and intellectual doorknobs' (1). Moholy-Nagy took over in this
workshop in 1923 and changed to the mass-production of lighting-
fixtures.
However, though Klee, with Kandinski and Feininger, were defic-
ient as technicians their role in the Beuhaus was essential.