gri_2003_m_46_b06_f11_024

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72171037 - glt
WINNER - 72256506 - highc51239
72702865 - Preacher357
72838825 - gorgan
73339214 - Zooniverse2017
73425637 - darryluk

72171037 - glt

2
It was not the purpose of the Bauhaus to train specialists but to provide sound, broad foundations for the student's personal work. Klee fitted this pattern by offering in the Sketchbook 'basic clarities and points of departure'. The Bauhaus ideal of educating the individual in the interests of the community was obviously in Klee's mind when he wrote in a lecture (published in 1925): 'The people are not with us. But we seek a people. We began over at the Bauhaus'. On the other hand, a weaker point in the Bauhaus structure was Gropius' belief in the possibility of a total-work of art, an architectural rather than a musical composite but basically a Wagnerian fancy.
Giedion relates Klee with Bauhaus from another angle. He points out that the Pedagogical Sketchbook is shaped by concerns similar to those working in the technical parts of the school. In Klee's theory 'everything is the outcome of movement' (2), and technological movement - from adjustable furniture to the gestures of the assembly line - occupied the technicians. Though Moholy Nagy has been represented as the Bauhaus 'champion of youth' (3) compared to the fuddy-duddy mystics Klee and Kandinski, both in their 40s, the fundamental link is there. As early as 1919 Klee was concerned the 'the dynamics and psychology of lines' and defined rest as 'an accidental obstruction of matter' (4).
Klee and Kandinski both took Bauhaus students in the important

WINNER - 72256506 - highc51239

It was not the purpose of the Bauhaus to train specialists but to provide sound, broad foundations for the student's personal work. Klee fitted this pattern by offering in the Sketchbook 'basic clarities and points of departure'. The Bauhaus ideal of educating the individual in the interests of the community was obviously in Klee's mind when he wrote in a lecture (published in 1925): 'The people are not with us.' But we seek a people. We began over at the Bauhaus'. On the other hand, a weaker point in the bauhaus structure was Gropius' belief in the possibility of a total-work of art, an architectural rather than a musical composite but basically a Wagnerian fancy.
Giedion relates Klee with the Bauhaus from another angle. He points out that the Pedagogical Sketchbook is shaped by concerns similar to those working in the technical parts of the school. In Klee's theory 'everything is the outcome of movement' (2), and technological movement -from adjustable furniture to the gestures of the assembly line - occupied the technicians. Though Moholy Nagy has been represented as the Bauhaus 'champion of youth' (3) compared to the fuddy-duddy mystics Klee and Kandinski, both in their 40s, the fundamental link is there. As early as 1919 Klee was concerned with 'the dynamics and psychology of line' and defined rest as 'an accidental obstruction of matter' (4).
Klee and Kandinski both took Bauhaus students in the important

72702865 - Preacher357

2 It was not the purpose of the Bauhaus to
train specialists but to provide sound, broad foundations for
the student's personal work. Klee fitted this pattern by of-
fering in the Sketchbook 'basic clarities and points of depart-
ure'. The Bauhaus ideal of educating the individual in the
interests of the community was obviously in Klee's mind when
he wrote in a lecture (published in 1925): 'The people are
not with us. But we seek a people. We began over at the
Bauhaus'. On the other hand, a weaker point in the Bauhaus
structure was Gropius' belief in the possibility of a total-work
of art, an architectural rather than a musical composits but bas-
ically a Wagnerian fancy.
Giedion relates Klee with the Bauhaus from another angle.
He points out that the Pedagogical Sketchbook is shaped by con-
cerns similar to those working in the technical parts of the
school. In Klee's theory 'everyting is the outcome of move-
ment' (2), and technological movement - from adjustable furni-
ture to the gestures of the assembly line - occupied the tec-
hnicians. Though Moboly Nagy has been represented as the Bau-
haus 'champion of youth' (3) compared to the fuddy-duddy mystics
Klee and Kandinski, both in their 40's, the fundamental link is
there. As early as 1919 Klee was concerned with 'the dynamics
and psychology of lines' and defined rest as 'an accidental ob-
struction of matter' (4).
Klee and Kandinski both took Bauhaus students in the important

72838825 - gorgan

It was not the purpose of the Bauhaus to
train specialists but to provide sound, broad foundations for
the student's personal work. Klee fitted this pattern by of-
fering in the Sketchbook 'basic clarities and points of depart-
ure'. The Bauhaus ideal of educating the individual in the
interests of the community was obviously in Klee's mind when
he wrote in a lecture (published in 1925): 'The people are
not with us. But we seek a people. We began over at the
Bauhaus'. On the other hand, a weaker point in the Bauhaus
structure was Gropius' belief in the possibility of a total-work
of art, an architectural rather than a musical composite but bas-
ically a Wagnerian fancy.
Giedion relates Klee with the Bauhaus from another angle.
He points out that the Pedagogical Sketchbook is shaped by con-
cerns similar those working in the technical parts of the
school. In Klee's theory 'everything is the outcome of move-
ment' (2), and technological movement - from adjustable furni-
ture to the gestures of the assembly line - occupied the tec-
hnicians. Though Koholy Nagy has been represented as the Bau-
haus 'champion of youth' (3) compared to the fuddy-duddy mystics
Klee and Kandinski, both in their 40s, the fundamental link is
there. As early as 1919 Klee was concerned with 'the dynamics
and psychology of lines' and defined rest as 'an accidental ob-
struction of matter'(4).
Klee and Kandinski both took Bauhaus students in the important

73339214 - Zooniverse2017

2

It was not the purpose of the Bauhaus to
train specialists but to provide sound, broad foundations for
the student's personal work. Klee fitted this pattern by of-
fering in the Sketchbook 'basic clarities and points of depart-
ure'. The Bauhaus ideal of educating the individual in the
interests of the community was obviously in Klee's mind when
he wrote in a lecture (published in 1925): 'The people are
not with us. But we seek a people. We began over at the
Bauhaus'. On the other hand, a weaker point in the Bauhaus
structure was Gropius' belief in the possibility of a total-work
of art, an architectural rather than a musical composite but bas-
ically a Wagnerian fancy.
Giedion relates Klee with the Bauhaus from another angle.
He points out that the Pedagogial Sketchbook is shaped by con-
cerns similar to those working in the technical parts of the
school. In Klee's theory 'everything is the outcome of move-
ment' (2), and technological movement - from adjustable furni-
ture to the gesture of the assemby line - occupied the tec-
hnicians. Though Moholy Nagy has been represented as the Bau-
haus 'champion of youth' (3) compared to the fuddy-buddy mystics
Klee and Kadinski, both in their 40s, the fundamental link is
there. As early as 1919 Klee was concerned with 'the dynamics
and psychology of lines' and defined rest as 'an accidental ob-
struction of matter' (4).
Klee and Kandinski both took Bauhaus students in the important

73425637 - darryluk

2

It was not the purpose of the Bauhaus to train specialists but to provide sound, broad foundations for the student's personal work. Klee fitted this pattern by offering in the Sketchbook 'basic clarities and points of departure'. The Bauhaus deal of educating the individual in the interests of the community was obviously in Klee's mind when he wrote in a lecture (published in 1985): 'The people are not with us. But we seek people. We began over at the Bauhaus'. On the other hand, a weaker point in the Bauhaus structure was Gropius' belief in the possibility of a total-work of art, an architectural rather than a musical composite but basically a Wagnerian fancy.

Giedion relates Klee with the Bauhaus from another angle. He points out that the Pedagogical Sketchbook is shaped by concerns similar to those working in the technical parts of the school. In Klee's theory 'everything is the outcome of movement (2) and technological movement - from adjustable furniture to the gestures of the assembly line - occupied he technicians. Though Moholy Nagy has been represented as the Bauhaus 'champion of youth' (3) compared to the fuddy-duddy mystics Klee and Kandinski, both in their 40s, the fundamental link is there. As early as 1919 Klee was concerned with 'the dynamics and psychology of lines' and defined rest as 'an accidental obstruction of matter' (4).

Klee and Kandinski both took Bauhaus students in the important

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