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The Global ETD Search service is a free service for researchers
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Showing 1 to 6 of 6 (0.033 seconds)Spelling suggestions: "subject:"schlemmer"" "subject:"schlemmers""
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Einflüsse der Bauhausbühne in den USA : eine Unterschung zur Verbindung von Bauhausbühne und amerikanischer Bühnenperformance und Postmodern Dance unter ästhetischen und pädagogischen Aspekten /Pawelke, Sigrid. January 2005 (has links)
Zugl.: Erlangen-Nürnberg, Universiẗat, Diss., 2000.
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"Mensch und Kunstfigur" Oskar Schlemmers intermediale ProgrammatikZimmermann, Friederike January 2005 (has links)
Zugl.: Freiburg (Breisgau), Univ., Diss., 2005/2006
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Creative Expression: An Imminent Clash as Experienced by Three ArtistsGoodhue, Laura January 2005 (has links)
Thesis advisor: Judith Bookbinder / The Nazis arranged an exhibition of "degenerate" art (Entartete Kunst), shown in Munich in 1937 to insult and degrade artists who are recognized today as some of the most talented artists of the twentieth century. The success of the exhibition affected each artist in a different manner. Many fled Germany and ventured to the United States while others unwilling to leave their homeland suppressed their creative impulses for a life of fear and psychological torture in Germany. The horrific and irreversible effects on the German artists and culture can only be adequately discussed in the context of the time period preceding the exhibition. The movement toward abstraction and expression in art clashed with the rise of Nazi aesthetics to culminate in the exhibition of "degenerate" art. The lives of three artists Ernst Barlach, Max Beckmann and Oskar Schlemmer are detailed in this paper. / Thesis (BA) — Boston College, 2005. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Fine Arts. / Discipline: College Honors Program.
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"Mensch und Kunstfigur" : Oskar Schlemmers intermediale Programmatik /Zimmermann, Friederike. January 2007 (has links)
Diss. Albert-Ludwigs-Univ. Freiburg, 2005/06.
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Själsfränder : Om Tora Vega Holmström och Adolf Hölzel / Soul Mates : About Tora Vega Holmström and Adolf HölzelSchuff, Karin January 2020 (has links)
This thesis is concerned with the artists Tora Vega Holmström and Adolf Hölzel. Hölzel taught students in painting in the Dachau art colony, where TVH attended his classes in 1903. A thorough investigation of her notes provides us with novel information concerning his teaching and his theoretical outlook on art.
Their correspondence extended 30 years past her stay in Dachau and over the years their relationship evolved into a cordial friendship between two likeminded colleagues. Tora Vega Holmström often came to visit Adolf Hölzel in Stuttgart, where he had come to teach at the art academy. She became a member of the group of avant-garde artists known as the Hölzel circle („Hölzel-Kreis“).
On a visit to Sweden in 1911, Adolf Hölzel came into contact with the Swedish progressive educational movement at the community college ”Hvilan” in Scania, which was led by Tora Vega Holmströms father. We establish that through Hölzel, there was an indirect influence from this institution on the methods of teaching employed in the early Bauhaus in Weimar. Throughout the 1920s, Tora Vega Holmström spent time in France and became a intermediary between the cubists in Paris and the Hölzel circle in Stuttgart. Through a brief analysis of some of her works we show how firmly her style of painting is grounded in Hölzel’s formalism and his theories of colour.
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Uralt, ewig neuHennewig, Lena 13 November 2020 (has links)
Ausgehend von Oskar Schlemmers (1888-1943) Bauhaus-Signet aus dem Jahr 1923 analysiert diese Arbeit den Zusammenhang zwischen Mensch und Raum im Œuvre des Bauhaus-Meisters. Die bei Betrachtung des Signets aufkommende These, Mensch und Raum – die zwei tradierten Pole des Schaffens Schlemmers – bedingten sich gegenseitig, wird untersucht, hinterfragt und um die Kategorie der Kunstfigur erweitert.
Das erste Kapitel beleuchtet den Menschen als Maß aller Dinge. Der angestrebte Typus entsteht einerseits über Schlemmers Analyse des menschlichen Körpers mittels tradierter Proportionsstudien und Geometrisierung, die zu einer zumindest scheinbaren Berechenbarkeit führen. Betrachtet werden hierbei die Ausführungen Leonardo da Vincis, Albrecht Dürers und Adolf Zeisings. Andererseits nutzt Schlemmer die physiognomischen Überlegungen Richarda Huchs und Carl Gustav Carus‘ für seine Zwecke der Darstellung einer Entindividualisierung des Menschen.
Hierauf aufbauend befasst sich das zweite Kapitel mit dem Raum. Es zeigt, dass Schlemmers Überlegungen zu theoretischem und gebautem Raum ihren Ursprung in Albert Einsteins Relativitätstheorie nehmen und von Debatten am Bauhaus genährt werden: Schlemmer betrachtet den Raum als wandelbar und abhängig vom Menschen, was unter anderem durch eigene Schriften und den einzig überlieferten Architekturentwurf Schlemmers gefestigt wird.
Zur Untersuchung einer umgekehrten Einflussnahme des Raumes auf den menschlichen Körper erweitert das dritte Kapitel die zwei tradierten Pole des Schlemmer’schen Œuvres um einen weiteren: die Kunstfigur. Diese, so belegt das Kapitel, generiert ihre eigene Körperlichkeit über den Einfluss des veränderlichen Raumes, darüber hinaus aber auch durch die Abstrahierung des zugrundeliegenden menschlichen Körpers mittels des Kostüms und der Maske. Über diese beiden wiederum vollzieht sich auch eine Wandlung des Menschen. / Taking the Bauhaus signet, designed by Oskar Schlemmer in 1923, as a starting point, the present thesis examines the relationship between man and space – the two consistently named poles of Schlemmer’s work – within the œuvre of the Bauhaus master. It analyzes, questions and expands the assumption, at first glance suggested by the signet, that space and man are mutually dependent:
The first chapter deals with man as the measure of all things. The type pursued by Schlemmer results, on the one hand, from his analysis of man via proportion and geometric studies by Leonardo da Vinci, Albrecht Dürer and Adolf Zeising that lead to a certain calculability. On the other hand, Schlemmer uses physiognomic ideas of Richarda Huch and Carl Gustav Carus to depict a certain de-individualization.
Based on the results of the first chapter, the second chapter deals with questions of space. It shows that Schlemmer’s considerations of theoretical space and architecture stem from Albert Einstein’s theory of relativity and are fed by Bauhaus debates on that same topic: Schlemmer regards space and architecture as subject to change and dependent on man; this theory is also strengthened by his writings and his only surviving architectural design.
To examine the reverse influence of space on the human body, the third chapter adds the Kunstfigur (art figure) as another category to the established two poles of Schlemmer’s œuvre discussed in the literature: man and space. The chapter proves that the Kunstfigur generates its own corporeality through the influence of space, which is modifiable by movement. Besides that, said corporeality is also determined by an abstraction, in turn caused by costumes and masks. These items also influence the outer appearance of man.
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