The Bauhaus wall painting workshop : Mural painting to wallpapering, art to product / Morgan Ridler

Ridler, Morgan
Bib ID
vtls002096434
出版項
Ann Arbor, Michigan : ProQuest Information and learning, 2016.
稽核項
1 online resource (406 pages).
電子版
附註項
數位化論文典藏聯盟
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$a 1 online resource (406 pages).
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$a Dissertation Abstracts International ; $v 77-06A(E)
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$a Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
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$a Adviser: Rose-Carol Washton Long.
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$a Thesis $b (Ph.D.)-- $c City University of New York, $d 2016
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$a Includes bibliographical references
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$a Access restricted to Tamkang University users.
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$a The wall painting workshop at the Bauhaus was established in fall 1919, the first semester of the famed and influential German school of art, architecture, and design. Over the course of the next thirteen years, the workshop experimented with many techniques, philosophies, and strategies for painting, coloring, and covering wall surfaces. This dissertation analyzes the evolving approaches of the Bauhaus wall painting workshop. Early Masters of Form, Oskar Schlemmer and Wassily Kandinsky, oversaw abstract and figurative murals like those developed for the 1923 Bauhaus exhibition, and the student wall painters used color to form and mold architectural spaces in, for example, Walter Gropius's colored office and the experimental Haus am Horn. In 1924 Kandinsky identified color as the workshop's medium, which was applied in a variety of approaches by the former students and later leaders of the workshop, Hinnerk Scheper and Alfred Arndt. Arndt's painting scheme in Haus Auerbach and Scheper's supervision of the coloration of the new Bauhaus Dessau school building are central to this dissertation and provide excellent examples of these two wall painters' approaches and differing philosophies. In 1929, during Hannes Meyer's directorship at the Bauhaus, a new opportunity arose for the workshop to design mass-produced wall color, which would enable color to be more efficiently, cheaply, and uniformly applied. Subsequently, Bauhaus wallpaper became the most profitable Bauhaus product and was quickly hanging on the walls of large housing estates and in retail stores throughout Germany. Murals, wall painting schemes, and wallpapers beyond the Bauhaus, in the architecture of, for example, Bruno Taut and Le Corbusier, provide comprehensive and international comparisons for the Bauhaus projects. This dissertation explores the many restored and recreated Bauhaus wall paintings, while addressing the frictions inherent in collaborations between architect and wall painter and the tension in merging color with architectural form at the Bauhaus.
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$a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2016
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$a Mode of access: World Wide Web
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$a English
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$a 數位化論文典藏聯盟 $b PQDT $c 淡江大學(2017)
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$a Art History.
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$a European history.
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$a Electronic books. $2 local
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$a Long, Rose-Carol Washton, $e thesis advisor
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$a ProQuest Information and Learning Co.
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$a City University of New York. $b Art History.
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$a Dissertation Abstracts International ; $v 77-06A(E).
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叢書名
Dissertation Abstracts International ; 77-06A(E)
Dissertation Abstracts International ; 77-06A(E).
標題
摘要
The wall painting workshop at the Bauhaus was established in fall 1919, the first semester of the famed and influential German school of art, architecture, and design. Over the course of the next thirteen years, the workshop experimented with many techniques, philosophies, and strategies for painting, coloring, and covering wall surfaces. This dissertation analyzes the evolving approaches of the Bauhaus wall painting workshop. Early Masters of Form, Oskar Schlemmer and Wassily Kandinsky, oversaw abstract and figurative murals like those developed for the 1923 Bauhaus exhibition, and the student wall painters used color to form and mold architectural spaces in, for example, Walter Gropius's colored office and the experimental Haus am Horn. In 1924 Kandinsky identified color as the workshop's medium, which was applied in a variety of approaches by the former students and later leaders of the workshop, Hinnerk Scheper and Alfred Arndt. Arndt's painting scheme in Haus Auerbach and Scheper's supervision of the coloration of the new Bauhaus Dessau school building are central to this dissertation and provide excellent examples of these two wall painters' approaches and differing philosophies. In 1929, during Hannes Meyer's directorship at the Bauhaus, a new opportunity arose for the workshop to design mass-produced wall color, which would enable color to be more efficiently, cheaply, and uniformly applied. Subsequently, Bauhaus wallpaper became the most profitable Bauhaus product and was quickly hanging on the walls of large housing estates and in retail stores throughout Germany. Murals, wall painting schemes, and wallpapers beyond the Bauhaus, in the architecture of, for example, Bruno Taut and Le Corbusier, provide comprehensive and international comparisons for the Bauhaus projects. This dissertation explores the many restored and recreated Bauhaus wall paintings, while addressing the frictions inherent in collaborations between architect and wall painter and the tension in merging color with architectural form at the Bauhaus.
附註
Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
Adviser: Rose-Carol Washton Long.
Thesis
Includes bibliographical references
English
數位化論文典藏聯盟
合著者
ISBN/ISSN
9781339406930