High score ~ After reading Bauhaus, I wrote an article about this book.

This book is China's first monograph devoted to this modern art movement, with profound insights, comprehensive explanations and humorous writing, showing a magnificent, passionate and rebellious historical picture at the beginning of modern art in the early 20th century.

An artist is a senior craftsman. Thanks to God's grace, in an unexpected flash of light, art may bloom from artists inadvertently. However, every artist must first have the foundation of handicraft. It is in technical skills that the original source of creativity is contained.

Bauhaus, a legend in the history of design. Although it only existed for 14 years.

In 14, its influence on art design and art design teaching is immeasurable. Its manifesto only mentions some key points in art design education.

19 19 Walter? Gropius established his own art design education system-Bauhaus system according to the Bauhaus Declaration and Outline. Reading through the book, I found that several aspects repeatedly mentioned and constantly innovated by this school also have an extremely important position in modern design education. ?

Arbas' works are mainly embodied in two aspects, one is abstract geometric composition, and the other is simple color tone. And these two expressions discuss the same fundamental problem-aesthetic intuition. In this process, the artist discovers the visual habits that affect the aesthetic tendency through the information interaction between his artistic works and the viewers, and then summarizes the inherent law between the information of his works and the aesthetic intuition.

3. 1. contradiction space-the spatial fit of different dimensions?

Albas created many works of contradiction space in the form of abstract geometric composition. In his works, Albas broke through people's understanding and knowledge of the tradition of form and space, and constructed an unattainable but accessible space with an unconventional way of thinking. Figure 2 is the first half of the fifth work in the WEG series. All parts of the picture are connected end to end, closely connected, forming a more complex spatial combination. Look at this work carefully, it consists of two identical parts (as shown in Figure 2A). Take any one of them (as shown in Figure 2B), it is the whole picture of a unit. Further analysis of figure 2B shows that the fourteen line segments in the figure are closed to form five faces (as shown in figure 2C). From left to right or from right to left, any four consecutive faces are selected, and the constructed space is effective, that is, the space abcd or the space edcb are reasonable. However, when these surfaces are connected together, a,? The five surfaces of B, C, D and E construct a seemingly reasonable but actually unreasonable space. The key here lies in the three * * * planes of B, C and D. A and E are two incompatible and contradictory planes that determine the spatial dimension, but they are unified into a picture by the three * * * planes of B, C and D in a visually reasonable form. What confuses readers is not the two directions of A and E, but the three * * * planes of B, C and D. The key to different readers' different understanding of the picture lies in how they distinguish the ownership of these three * * * planes. Even if the same reader has different perspectives or time, these three planes will belong to opposite spatial directions. However, the spatial illusion caused by the whole picture is further expanded, and the visual unity and psychological contradiction that readers feel in front of a series of contradiction space's works by Albas can be imagined. Arbas's ingenuity lies in that he does not use the complex combination of lines, shapes and colors to create a picture atmosphere, but uses simple lines and blocks to create an elusive picture space. In Figure 2A, if we slightly adjust the picture, we will get the most primitive and simple figure of Figure 2A (as shown in Figure 2D), which is also five faces, A, B, C, D and E. Only by adjusting one of the directions, e(a), the feeling of space will be completely changed, forming a normal three-dimensional space model with face-to-face transition, and Figure 2D is also Al. "In order to break through the visual limitations brought by such conventional graphics, Arbas skillfully adjusted a direction plane, breaking the sense of spatial integrity of the original graphics. And our eyes will unconsciously pass through the space of graphic construction. From a to d or from e to b, we can feel a complete spatial process. At the end of the line of sight, this process was interrupted, and the previous complete psychological feelings were offset by this sudden spatial reversal. Then, as the opposite space route enters the next visual cycle, aesthetic psychology will always try to find the integrity of space, but it can only wander between this integrity and incompleteness and feel the work forever. This is the beauty of Arbas' works. Different spaces seem to be continuous but contradictory. They seem to be in different visual dimensions, but they are interrelated. In this way, Albas realized the unity of contradiction and contradiction in the unity of space in his works in the process of alternating rationality and irrationality between form and space, vision and psychology. ?

3.2 Tribute Square-Feel the breath of color

Most of the representative color works of Arbas belong to TINT, which is relatively simple and has a unified and standardized formal template. So at that time, some people classified Arbas a minimalist school. Although he didn't want to admit it or join any painting school or art movement, his artistic ideas and thoughts had an important influence on the geometric abstraction and minimalist painting school at that time. Here we don't discuss what artistic genre Arbas belongs to, but only analyze it from the perspective of works. We find that the paintings created by Albas all his life, or the illustrations of his visual experiments, are mainly used to analyze how graphics and colors affect people's visual activities. His most famous work is Salute? Where to? That? Square) series of works (as shown in Figure 3A-D), which began in 1950s and lasted until his death, total 1000 pieces [2]. In these works, color is the protagonist of the picture. The combination of different colors makes the same color produce many different visual effects. Under the decoration of different colors, the shape itself produces a visual effect of "back and forth displacement". He often asks his readers to watch and interpret the changes and connections between his works, rather than just watching a single work, which is also the external driving force for the continuous continuation and changes of his series of works. In the four works in Figure 3, the area of the four square sequences decreases from the outside to the inside according to the ratio of 5: 4: 3: 2. The four squares are symmetrical left and right, wide at the top and narrow at the bottom, and the height from top to bottom also forms a ladder of decreasing arithmetic. This arrangement itself produces a visual effect that can be freely retracted, but Albas emphasizes not the form here. The reason why he uses the combination of regular square sequences with the same or approximate proportion is to make readers ignore the information conveyed by the picture form as much as possible, so as to enhance the visual experience brought by the color change of the picture. Fig. 3A is the most conventional tone form, and the color change from the outside to the inside of this set of square sequences is a color scale change from yellow to orange. What readers experience in this painting is a conventional process of forming deep space; The change in fig. 3B is slightly more complicated than that in fig. 3A, in which the change of color is more obvious. The contrast between orange and grayish green blurs the sense of spatial progression between squares. When the visual center moves between color blocks, the color and color background change, and the visual order of blocks also changes, which is more obvious in figures 3C and 3D. In "3C" and "D", the original color change law is broken, and it is more difficult to focus on the viewpoint according to the original color order, which makes the change of square space order in these two paintings more intense. The key to this process lies in how readers view the relationship between the picture and the bottom of the square color block. The author did not specify a clear order for the square, and the transformation between the picture and the bottom was tied to the reader's visual activities. In this process, the reader's visual activities become unconscious, as if constantly being pulled by various color blocks, and it is difficult to focus on one point. Here, Albas has to complete two tasks: the first task is to make readers have an optical illusion in space through the change of color order; The second task is to make readers unconsciously influenced by other colors when staring at one color, and then change the color perception on the basis of the original physical properties of the color. In the words of Albas, "the key to the visual effect of a color lies not in the color itself, but in the color environment around it." In the process of wandering from one color to another, with the constant change of color background, people will feel that the color will produce a breathing movement process, constantly change back and forth, and even change the color tendency, and the wrong vision will also be produced accordingly.

3.3 Beyond the beauty of the image itself-the significance of Arbas' works

Through the analysis of the above works, we can easily see that when people stand in front of Arbas' works, visual phenomena and aesthetic psychology are influenced by both the works themselves and the readers themselves. Readers are always in a perceptual activity of trying to turn imperfect graphics into perfect graphics, which is driven by an internal "need" and completed through sensory stimulation. It can be said that as long as this "need" is not met, this kind of activity will continue. Arbas realized the interactive relationship between vision and psychology, and used his works to control people's aesthetic process. In gestalt psychology, this process is called gestalt oppression. [3] Under this "oppression", readers are deeply immersed in Arbas' works, trying to find a perfect psychological form, but they are constantly interrupted by another "oppression", looking again, being interrupted again, and so on, immersed in the aesthetic pleasure of looking for "Gestalt". Under the interpretation of Albas, the reader goes beyond the scope of the object and image expressed in the work itself, and the form of the work itself is no longer the focus of attention of the author and readers, which is followed by the activation of the pure aesthetic consciousness of the reader's inner world, which is the true meaning of Albas's works. He told us that "the real miracle of artistic language is not that it can help artists create real illusions, but that in the hands of a great artist, objects are translucent." When great artists teach us to look at the world again, they give us the illusion of seeing an invisible inner kingdom. " [4]?

1922,? Mohory Naji began the experiment of object photography, and directly placed various objects between the light source and the photographic paper to obtain object photography, which formed a sense of space of anti-perspective, and the light in photography became an essential modeling element. Under the "light writing", the work presents a wonderful gray tone change effect. ?

1923, Najib once again explored "photographic modeling". He shoots things from a special angle, subverts the general photographic style of perspective, breaks the established photographic concept and style, and also provides a new expression vocabulary for visual communication design. He used amplification, deformation, splicing, double exposure, montage and other methods to highlight the instant communication effect of posters. This practice gives the poster design a humorous, dynamic, imaginative and unexpected image superposition effect. ?

As a pioneer of modernist photography, Najib combined his exploration of photographic modeling language with layout and poster design, and realized the unified visual communication of font, photography and design elements. Najib said: "Photography is a new means to represent people's subjective expansion and historical progress. Photography provides a brand-new visual experience, transforming the appearance of reality into a pure light phenomenon, which is in line with the mechanical age."

Marcel? Brower has a unique research on the properties of materials, constantly exploring the substitution of materials, and achieved success. He used steel pipes instead of wood in furniture, which can not only be mass-produced, but also reflect the modern design concept, and can not but admit his exploration spirit. It was his success that opened the road to modern design, profoundly influenced the designer's concept of the combination of materials and design, and had a great impact on the traditional concept. Another educator, Eaton, devoted himself to the study of materials and textures and applied them to teaching. He asked students to strengthen their perceptual knowledge and application of materials through their visual and tactile experience.

Eaton is a very special teacher. On the one hand, he has a very sensitive form.

Understanding is highly religious, and he brought many products in the first stage of Bauhaus.

Extreme factors promote the development of teaching, but also bring many negative factors, which hinder the whole teaching.

Forward. His teaching often combines intuitive education of religion and science, which is of great value to students.

Extremely negative. There are other teachers who have strange religious beliefs, such as adolf meyer's.

Sophism, Kandinsky's belief in humanism, etc. Eaton's religion originated in the ancient Middle East.

A modern branch of Zoroastrianism, Mazda Sect. Eaton was the first person to create modern basic courses. his

There are two aspects that are particularly important in the course: First, it emphasizes the in-depth understanding of color, material and texture.

Especially the discussion and understanding of two-dimensional and three-dimensional, or plane and three-dimensional forms; The second is through the division of painting.

Analyze and find out the laws of vision, especially the laws of rhythm and structure, and gradually make

Students have special visual sensitivity to natural things. Eaton was also the first company to introduce modern color body.

One of the educators in the department, his greatest achievement is to set up the course of modern chromatics.

In the representation of modeling, Bauhaus's composition mainly embodies the thoughts of de stijl in the Netherlands. "All works should be simplified as simple as possible to the simplest geometric figures, such as cubes, cones, spheres, cuboids, or squares, triangles, circles, rectangles, etc. Moreover, this structure built with geometry has rational logical thinking and standardized colors, which is convenient for people to learn abstract modeling, master its laws and principles, and then reflect it through different designs. For example, lamps, furniture, dyed fabrics, architecture and advertisements all have a strong sense of geometric form. In particular, architecture and industrial design are based on the pursuit of simplicity and reflect a scientific and reasonable composition. " ?

Bauhaus explored in practice and established the basic viewpoint and educational direction of modern design. 1, the unity of art and technology 2. The purpose of design is people, not products. 3. Design must follow the objective and natural laws. Its educational system, design theory and design style are gradually matured and perfected in practice. Bauhaus's main teaching content consists of art and technology. Its early teaching system can be called "factory apprenticeship", with students as apprentices, teachers taking art form classes as "form instructors" and teachers taking craft and handicraft production classes as "studio masters". Each class is taught by two teachers. The school also opened carpentry, ceramics, weaving and printing studios for students to practice, so that they have both artistic and technical abilities. ?

One of Bauhaus's most important achievements is to establish the basic education system of plane composition, three-dimensional composition and color composition in design education, which is based on scientific and rigorous theory. 1923 During August and September, Bauhaus held a large-scale exhibition entitled "New Unity of Art and Technology". Teachers' and students' works attracted famous European artists and designers, so as to carry out various academic exchange activities, publicize Bauhaus' design ideas and push the European modernist design movement to a climax. At that time, GroPaz uz delivered a speech entitled "On Comprehensive Art" and sent his book "Bauhaus's Imagination and Organization". Later, he made a great reform in teaching, taking mathematics, physics and chemistry as compulsory courses, which made the teaching system develop in a more reasonable and scientific direction and more suitable for the needs of large-scale industrial production. Due to the persecution of the right-wing political forces, Bauhaus moved to Dessau in March 1925, and began the second stage of its development. 1926 added the affiliated name of "School of Design" to the name of the school, which further clarified the nature of the school. Teaching is no longer carried out by formal tutors and studio masters, but by hiring skilled craftsmen to assist professors. Bauhaus is the cradle of modern design. The practical, rational and concise industrial design style advocated and practiced by Bauhaus is regarded as the classic style of modernist design, which has exerted an indelible influence on the design in the 20th century.