包浩斯學校群英(BAUHAUS, 1919-1933)的慶生會：Walter Gropius( 1883 –1969)40歲慶生大會； Anni ALBERS 直升機為 Paul Klee (1879~1940)慶生； Wassily Kandinsky (1866~1944) 60 壽慶1926
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Walter Gropius( 1883 –1969)40歲慶生大會 參考包豪斯 / 让尼娜.菲德勒, 彼得.费尔阿本德编著 ; 查明建等翻译
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Wassily Kandinsky (1866~1944) 60 壽慶1926 參考BAUHAUS月刊
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Anni ALBERS 直升機為 Paul Klee (1879~1940)慶生......參考 漢清講堂 206 包浩斯群英(BAUHAUS, 1919-1933)
Josef Albers and Anni Albers, two pivotal figures in 20th-century art, embodied the concept of seeing and feeling life through their groundbreaking work in the Bauhaus movement during the 1920s and 1930s. The Bauhaus school, founded in Germany by Walter Gropius in 1919, emphasized the integration of art, design, and everyday life. This movement introduced a new way of perceiving the world, where aesthetics and function were interconnected, and it laid the foundation for modern design. Josef Albers’ work in abstract art, particularly his "Homage to the Square" series, focused on the perception of color and form, urging viewers to see beyond the surface and appreciate the complexity within simplicity. Anni Albers, a textile designer and weaver, explored the textures and patterns of materials, turning ordinary fabric into powerful expressions of form and feeling. Their works were part of a broader intellectual shift that emphasized the need to engage deeply with the world around us, seeing marvels in the most subtle aspects of life.
The Albers’ belief in the mystery of life and the importance of awareness also parallels the rise of existentialism in the mid-20th century. In the 1940s and 1950s, philosophers like Jean-Paul Sartre and Albert Camus grappled with the complexities of human existence, focusing on the individual's ability to find meaning within a seemingly indifferent world. Their ideas suggested that while life may remain mysterious, it is through active engagement and awareness that we find purpose and beauty. This existentialist philosophy resonated deeply with artists and intellectuals of the time, who sought to capture the intricacies of human experience in their work. The Albers, in their own way, contributed to this understanding, advocating for a mindful approach to life and art that continues to inspire artists and designers today.
約瑟夫·阿爾博斯和安妮·阿爾博斯是 20 世紀藝術領域的兩位關鍵人物，他們在 20 世紀 20 年代和 30 年代的包浩斯運動中透過開創性的作品體現了觀察和感受生活的概念。包浩斯學校由沃爾特·格羅皮烏斯於 1919 年在德國創立，強調藝術、設計和日常生活的融合。這項運動引入了一種新的世界觀，美學與功能相互交織，為現代設計奠定了基礎。約瑟夫·亞伯斯的抽象藝術作品，尤其是他的「廣場致敬」系列，專注於對色彩和形式的感知，鼓勵觀眾透過表面看本質，欣賞簡單中的複雜性。紡織品設計師和織工安妮·阿爾伯斯 (Anni Albers) 探索了材料的紋理和圖案，將普通的織物變成了形式和感覺的強大表達。他們的作品是更廣泛的思想轉變的一部分，強調需要深入參與我們周圍的世界，在生活的最微妙之處發現奇蹟。
阿爾伯斯夫婦對生命之謎和意識重要性的信念也與 20 世紀中葉存在主義的興起相呼應。 1940 和 1950 年代，讓-保羅·薩特和阿爾貝·卡繆等哲學家努力探究人類生存的複雜性，並專注於個人在看似冷漠的世界中尋找意義的能力。他們的想法表明，儘管生命可能仍然神秘，但只有透過積極參與和認識，我們才能找到目的和美麗。這種存在主義哲學在當時的藝術家和知識分子中引起了深刻的共鳴，他們試圖在作品中捕捉人類經驗的複雜性。阿爾伯斯夫婦以自己的方式促進了這種理解，提倡以正念的方式對待生活和藝術，並繼續激勵當今的藝術家和設計師。
#包浩斯 #藝術 #設計 #現代主義 #JosefAlbers #AnniAlbers #感知 #存在主義 #創造力 #意識
包浩斯中的女性- 維基百科
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