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  1. Art History Articles
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  4. The Bauhaus and the Tea Ceremony

Le Figaro magazine , Paris, 14 Jan , colour illus. Pierre Bonnard , London, , cover colour illus. Pierre Bonnard , London, Bonnard , London, , colour illus. Originally published in french as Bonnard; ou, Le bonheur de voir.

Art History Articles

Neuchatel, Ides et Calendes, Matisse e Bonnard, Viva la pittura! A face to the world: on self-portraits , 'Mirrors', London, , colour illus.

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Bonnard and his environment , New York, , 98 colour illus. Bonnard , London, , , colour illus.

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Bonnard , Paris, , colour illus. Pierre Bonnard , Zurich, , , colour illus. Title Self portrait circa circa About A founder member of the French Nabi movement and a radiant colourist, Pierre Bonnard painted almost a dozen self-portraits, most of them in later life. Details Other Title Self portrait in dressing room mirror. Media category Painting. Dimensions Not dated. Our gaze is thence deflected by myriad smaller reflections and by the eyeglasses that mask his modest gaze. Completed during the increasingly austere and dangerous years of the German Occupation in France, when Bonnard was living in Le Cannet near Cannes, this self-portrait echoes his growing sense of personal fragility and impending mortality.

In the Surrealist poet Louis Aragon predicted: 'painting will become an anodyne amusement for young girls and old provincials'. Their attacks had disturbed him and may have prompted the series of probing late self-portraits. In deep concentration, with an undiminished desire to understand and fulfil himself as an artist, Bonnard's self-portraits defied the climate of the times: 'I am working a lot, immersed more and more deeply in this outdated passion for painting.

Perhaps with a few others, I am one of its last survivors'. Terrasse called this 'an internal examination of self' which showed an artist who 'lived at a remove from the world, sacrificing all to the passion for art' see Antoine Terrasse, 'Bonnard: The Colour of Daily Life', trans. Laurel Hirsch, Thames and Hudson, London , p. Bonnard continues: '… those [painters] who were able to extricate themselves from it [the motif] had a very personal defence.

Bonnard letter to his nephew, Charles Terrasse, , quoted in Antoine Terrasse, , pp. Reproduction requests. The last gaze. From Van Gogh to FaceTime. Edmund Capon, Look , 'And then there were two', pg. Jack Flam, Pierre Bonnard: the late still lifes and interiors , 'Bonnard in the history of twentieth-century art', pg. Sasha Grishin, The Canberra times , 'Reflecting the artist's self', pg.

Sunday supplement. Peter Laverty, Art and Australia Vol.

Taken together, these practices point towards the profound influence of the Japanese ink-painting tradition on pedagogical method employed at the Itten-Schule. On another occasion at the Japanese embassy, Itten met another painter, Takehisa Yumeji, employing him at the school from February to June These were devoted to an array of subjects, from a general exploration of Japanese culture, to a comparison of European and Japanese painting, as well more specific issues, like the role of emptiness in Japanese painting.

By the mids, the most influential art schools in Japan, such as Tokyo University of the Arts, had projects originating in various Bauhaus workshops. Dissatisfied, she resigned from the school on 1 March Imai also found the Prague Academy too traditional. Each wrote back to the college that, like Japan, Czechoslovakia had yet to produce designs appropriate for modern times. Subsequently, the two women travelled to Vienna, visiting Josef Hoffmann, then continuing on to Budapest, Frankfurt, Munich and Halle before arriving in Berlin, where they made contact with the Yamawakis, their intention being to enroll at the Bauhaus.

However, due to administrative issues they decided to study at the Itten-Schule instead. Study at the Itten-Schule was dramatically different from the overly academic style of teaching the two women had encountered in Prague. Itten, an aficionado of Japanese art, stayed in touch with the two women following their departure, remaining very influential to Imai and Yamamuro after their arrival back in Japan.

Imai also attended the Reimann-Schule, founded in The school was very popular, especially among female students. For three months Imai attended classes at the Reimann-Schule every day after her lessons at the Itten-Schule, 35 taking classes in stage design, textiles and commercial window display. Ruth kept in touch with both women, and in a letter dated 14 July , wrote that she had learned a lot from Takehisa Yumeji and his lectures.

A central figure in the history of the diffusion of Bauhaus-inspired ideas in Japan, Kawakita was born in Tokyo in He graduated from the Architecture department of the Tokyo Institute of Technology, and in received fourth prize in the international competition for the design of the Ukraina Theatre in Harkow. A close friend of other students who had visited the Weimar Bauhaus in the s, he founded Seikatsu Kosei Kenkyusho together with two former Bauhaus students, Mizutani Takehiko and Nakada Sadanosuke. Kawakita also began publishing a magazine, Architecture and Design, I See All , in November of the same year, using it as a platform to broadcast ideas about international architecture and urban lifestyle in Japan, as well as to publicize his institute.

The school was progressive, basing its curriculum on the Bauhaus.

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Like the Bauhaus itself, the school was fairly short-lived: the Ministry of Education refused to grant it a permit. Amid the rising fervor of Japanese militarism, it was forced to shut down in And as with the Bauhaus, the connections between Shinkenchiku kogei gakuin and other institutions abroad, along with its foreign ethos, appeared suspicious to the increasingly nationalistic regime.

But its long-term cultural impact in Japan was indeed profound. This study has aimed to show the complex network of institutions and individuals circulating between Japan and Europe in the interwar period.

Albums et singles de Shin-ichi Fukuda

Progressive schools such as the Bauhaus played a major role in the transformation of the artistic scene and the development and creation of Gesamtkunstwerk s in different fields. Furthermore, places such as the Bauhaus, the Itten-Schule, and in broader terms, the city of Berlin itself all became transnational hubs and crossroads. This study has mapped a fragment of this network, focusing on progressive educators such as Johannes Itten, Obara Kuniyoshi and others.

This transnational experience was fundamental to Michiko becoming a progressive weaver not solely beholden to modernist paradigms. Rather, her work and life displayed a hybridity in which elements from both Japanese and Euro-American tendencies found expression. This aspect of her work is indicative of the kinds of cross-fertilizations that fed many other artists, designers and architects of her generation.

My taking up a transnational approach based on researching multilingual sources has proved fruitful in bringing evidence of the mutuality of the relationship between Japanese and European creators and pedagogues that the Bauhaus helped to foster. With this text I have attempted to open up an area of research that still suffers from a lack of translation and cross-cultural communication in the hope that others will follow.

She studied transnational visual culture and Japanese studies in Prague and London.

Books: The Human Revolution Vol. | Daisaku Ikeda Website

The German empire had collapsed, Russia had undergone a revolution and a second revolution in Germany was in the process of being suppressed. Throughout Germany people felt the necessity for a social and intellectual change. Even though the progressive artists of the interwar period ultimately failed in their plan to realize the new, egalitarian society they had envisioned, their influence was lasting. The international avant-garde produced some of the most important artists of the twentieth century.

The results, however, are quite unique. This is precisely what Klee sought to achieve with his classes at the Bauhaus: to point to paths of design so that the formal language is not arbitrary, without, however, prescribing predetermined outcomes. Views into the mural painting, metal and weaving workshops in Weimar and Dessau, — It was the special qualities of the Swiss artist Johannes Itten, whose career as a primary and secondary school teacher was characterized by adherence to the principles of reform pedagogy, to have introduced a stabilizing structural element into the still unstable early years of the Bauhaus: the preliminary course which—in addition to the dual concept of teaching artistic and manual skills and thinking—was to remain a core part of Bauhaus pedagogy, despite considerable historical changes and some critical objections, until the closure of the school in My artistic practice working primarily with abstract folded paper objects led me to Josef Albers and his similar obsession with paper as an instructional medium.

Initially looking for pleated paper forms and to learn more about the history of these techniques, I have since been swept up in the maelstrom of Albers' pedagogical mindset. It's difficult to look at one area of his thinking and not get pulled into many other directions, finding yourself challenged at every turn. Mazdaznan had a significant although often misunderstood impact on the life and work of Johannes Itten, a key figure in the development of the Weimar Bauhaus.

The Bauhaus and the Tea Ceremony

A devout practitioner of Mazdaznan, he was responsible for introducing it to students of the Bauhaus in the early s. This essay explores the intimate relationship between Itten, Mazdaznan and the Bauhaus and, in so doing, also underscores how in its infancy the Bauhaus was very different from its later incarnation as a school associated primarily with technical innovation. In the late nineteenth century the self-styled Dr.