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一“新精神”与手工艺的冲突1921年,保罗·克利[Paul Klee]来到魏玛国立包豪斯,从同事乔治·穆赫[Georg Muche]手中接过书籍装帧工坊形式师傅[Formmeister]一职。在写给妻子莉莉·克利的信中说,“在这里我看不到任何新精神。”1克利的话中暗示着对该工坊作品的不满。这个于包豪斯成立之初就已经存在的书籍装帧工坊是由技术师傅[Werkmeister]奥拓·多尔夫纳[Otto Dorfner]负责技术教学,按照工坊的教学大纲和教学计划,这里所有的学生作品应在他的指导下完成。多尔夫纳自1910年5月起,在亨利·凡·德·威尔德[Hen-
Conflict between a “New Spirit” and Handicrafts In 1921, Paul Klee came to the Bauhaus in Weimar and took over the book binding workshop master from his colleague Georg Muche [ Formmeister] post. Said in a letter to his wife, Lily Clyd, “I can not see any new spirit here.” 1 Klee’s words suggested dissatisfaction with the workshop’s work. The book binding workshop that existed at the beginning of Bauhaus was technically taught by technologist Werkmeister [Otto Dorfner]. According to the workshop’s syllabus and teaching plan, all of the Student work should be done under his direction. Dorfner since May 1910, in the Henry Van der Wilder [Hen-