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  • 1
    UID:
    almafu_BV047372529
    Format: 104 Seiten : , Illustrationen ; , 1 Faltblatt (foreword and commentary: Astrid Bähr) , 24 cm
    Edition: English edition
    ISBN: 978-3-03778-664-2 , 3-03778-664-7
    Series Statement: Bauhausbücher 11
    Uniform Title: Die gegenstandslose Welt
    Note: Rückseite Titelblatt: "Originally published in German under the title of "Die gegenstandslose Welt" by Albert Langen Verlag München in 1927, printed by Hesse & Becker Leipzg, printing blocks by C. Dünnhaupt Dessau. English edition, published by Lars Müller, based on the translation by Howard Dearstyne, 1959. Revised and copy-edited by Sarah Trenker, 2020.
    Language: English
    Keywords: 1879-1935 Malevič, Kazimir ; Malerei ; Suprematismus ; Bauhaus ; Bauhaus ; Abstrakte Malerei ; Theorie ; Ästhetik ; Quelle ; Quelle ; Bildband
    Author information: Malevič, Kazimir 1879-1935
    Author information: Bähr, Astrid 1968-
    Author information: Dearstyne, Howard 1903-1979
    Library Location Call Number Volume/Issue/Year Availability
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  • 2
    Book
    Book
    New York : Rizzoli
    UID:
    b3kat_BV003601672
    Format: 288 S. , zahlr. Ill., graph. Darst.
    Edition: 1. publ.
    ISBN: 0847807029
    Language: English
    Subjects: Art History
    RVK:
    RVK:
    Keywords: Bauhaus ; Geschichte ; Deutschland ; Bauhaus ; Geschichte 1900-2000
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  • 3
    UID:
    kobvindex_ZLB12145915
    Format: VII, 104 Seiten
    Edition: 1
    Note: Text: engl.
    Language: English
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  • 4
    UID:
    kobvindex_INT0003844
    Format: 1 electronic resource (196, [8] pages) , illustrations (chiefly black and white)
    ISBN: No
    Series Statement: Bauhausbücher ; 09 (English translation)
    Uniform Title: Punkt und Linie zu Fläche : Beitrag zur Analyse der malerischen Elemente
    Content: "In this title Kandinsky analyzed the geometrical elements which make up every painting-the point and the line. He called the physical support and the material surface on which the artist draws or paints the basic plane, or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of color put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension, form and color. This form can be a square, a triangle, a circle, a star or something more complex. The point is the most concise form but, according to its placement on the basic plane, it will take a different tonality. It can be isolated or resonate with other points or lines. A line is the product of a force which has been applied in a given direction: the force exerted on the pencil or paintbrush by the artist. The produced linear forms may be of several types: a straight line, which results from a unique force applied in a single direction; an angular line, resulting from the alternation of two forces in different directions, or a curved (or wave-like) line, produced by the effect of two forces acting simultaneously. The book contains many photographic examples and drawings from Kandinsky's works which offer the demonstration of its theoretical observations, and which allow the reader to experience the inner effect of the point and line to plane."
    Content: "The first unavoidable question is, naturally, the question of the art elements) which are the building materials of works of art and which, as such, must be different in every art. We must at the outset distinguish basic elements from other elements, viz.-elements without which a work in any particular art cannot even come into existence. [...] This book will deal with two basic elements which are the very beginning of every work of painting, and without which this beginning is not possible. At the same time, they constitute the conclusive material for an independent kind of painting-graphic. We must, therefore, start here with the proto-element of painting-the Point. [...] The investigation should proceed in a meticulously exact and pedantically precise manner. Step by step, this 'tedious' road must be traversed-not the smallest alteration in the nature, in the characteristics, in the effects of the individual elements should escape the watchful eye. Only by means of a microscopic analysis can the science of art lead to a comprehensive synthesis, which will extend far beyond the confines of art into the realm of the 'oneness' of the 'human' and the 'divine.' [...] The aim of this small book is merely to point out, in a general and fundamental way, the 'graphic' basic elements viewed: 1. 'abstractly,' i.e. isolated from the objective environment of the material form of the material plane, and 2. on the material plane-the effect of the fundamental characteristics of this plane. But even this must be restricted to a rather superficial investigation-as an attempt to find a standard method in this scientific research of art and to test it in its use."
    Note: INDEX NOTE: includes index , Preface / Hilla Rebay -- Foreword -- Introduction -- Point -- Line -- Basic plane -- Appendix -- Index , LANGUAGE NOTE: translation from the German language edition: Punkt und Linie zu Fläche : Beitrag zur Analyse der malerischen Elemente. München, Germany : Albert Langen, 1926. (Bauhausbücher, Vol. 9, edited by Walter Gropius and L. Moholy-Nagy)
    Language: English
    Keywords: Handbooks and manuals
    URL: FULL
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  • 5
    UID:
    kobvindex_BAU08643
    Note: Kopie
    In: Journal of the American Institute of Architects (AIA) (Washington, DC), 50(1963), Nr. 6, S. 104-106
    Language: Undetermined
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  • 6
    Article
    Article
    UID:
    kobvindex_BAU29776
    In: Journal of Architectural Education, 17(1962), Nr. 1, S. 13-16
    Language: Undetermined
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  • 7
    UID:
    kobvindex_BAU29734
    In: German American commerce bulletin, 5(1930), S. 13-15
    Language: Undetermined
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  • 8
    UID:
    gbv_193801434
    Format: VII, 104 S , 4
    Language: Undetermined
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  • 9
    UID:
    kobvindex_INT0000427
    Format: 146, [62] pages : , illustrations ; , 23.5 x 15.5 cm.
    Edition: Reprint of 1947 edition.
    ISBN: 9781614275466 (pbk.) , 1614275467 (pbk.)
    Series Statement: Bauhausbücher ; 09 (English translation)
    Uniform Title: Punkt und Linie zu Fläche : Beitrag zur Analyse der malerischen Elemente.
    Content: MACHINE-GENERATED SUMMARY NOTE: "2013 Reprint of 1947 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. In this title Kandinsky analyzed the geometrical elements which make up every painting-the point and the line. He called the physical support and the material surface on which the artist draws or paints the basic plane, or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of color put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension, form and color. This form can be a square, a triangle, a circle, a star or something more complex. The point is the most concise form but, according to its placement on the basic plane, it will take a different tonality. It can be isolated or resonate with other points or lines. A line is the product of a force which has been applied in a given direction: the force exerted on the pencil or paintbrush by the artist. The produced linear forms may be of several types: a straight line, which results from a unique force applied in a single direction; an angular line, resulting from the alternation of two forces in different directions, or a curved (or wave-like) line, produced by the effect of two forces acting simultaneously. The book contains many photographic examples and drawings from Kandinsky's works which offer the demonstration of its theoretical observations, and which allow the reader to experience the inner effect of the point and line to plane."
    Content: MACHINE-GENERATED SUMMARY NOTE: "We must at the outset distinguish basic elements from other elements, viz.-elements without which a work in any particular art cannot even come into existence. [...] This book will deal with two basic elements which are the very beginning of every work of painting, and without which this beginning is not possible. At the same time, they constitute the conclusive material for an independent kind of painting-graphic. We must, therefore, start here with the proto-element of painting-the Point. [...] The investigation should proceed in a meticulously exact and pedantically precise manner. Step by step, this 'tedious' road must be traversed-not the smallest alteration in the nature, in the characteristics, in the effects of the individual elements should escape the watchful eye. Only by means of a microscopic analysis can the science of art lead to a comprehensive synthesis, which will extend far beyond the confines of art into the realm of the 'oneness' of the 'human' and the 'divine.' [...] The aim of this small book is merely to point out, in a general and fundamental way, the 'graphic' basic elements viewed: 1. 'abstractly,' i.e. isolated from the objective environment of the material form of the material plane, and 2. on the material plane-the effect of the fundamental characteristics of this plane. But even this must be restricted to a rather superficial investigation-as an attempt to find a standard method in this scientific research of art and to test it in its use."
    Note: EDITORIAL NOTE: this translation first published as: Point and line to plane : contribution to the analysis of the pictorial elements. New York, NY, USA : Solomon R. Guggenheim Foundation, 1947, edited and prefaced by Hilla Rebay. , INDEX NOTE: includes index. , MACHINE-GENERATED CONTENTS NOTE: Preface / Hilla Rebay -- Foreword -- Introduction -- Point -- Line -- Basic plane -- Appendix -- Index. , LANGUAGE NOTE: translation from the German language edition: Punkt und Linie zu Fläche : Beitrag zur Analyse der malerischen Elemente. München, Germany : Albert Langen, 1926. (Bauhausbücher, Vol. 9, edited by Walter Gropius and L. Moholy-Nagy).
    Language: English
    Keywords: Handbooks and manuals
    URL: FULL
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  • 10
    Online Resource
    Online Resource
    Cambridge : Elsevier Science and Technology Books
    UID:
    kobvindex_INT59514
    Format: 1 online resource (289 pages)
    Edition: 1st ed.
    ISBN: 9781483135748
    Content: Inside the Bauhaus presents the story of an idea about how people might live. It is also the story of a school, the Bauhaus, whose life span coincided with the Weimar Republic's and whose history mirrors German history between the two world wars. Through mass-production, the Bauhaus, like the German Werkbund, hoped to change the quality of the designed object and the designed environment for everyone. Quality of life was an important design consideration in the housing schemes developed by Walter Gropius and Hannes Meyer, respectively the first and second directors of the school, and Ludwig Hilberseimer, whose teaching responsibilities at the Bauhaus included the planning curriculum. Howard Dearstyne, the author of the present work, was one of a handful of Americans to study at the Bauhaus and the only one to earn a diploma in architecture. His account of life and education at the Bauhaus is drawn chiefly from contemporary sources, from his letters, from journals and letters kept by members of the Bauhaus faculty, from newspaper articles, and from the recollections of others. Dearstyne also includes historical background of the structure of the curriculum of the Bauhaus as well as discussions of the various workshops and how they functioned prior to his admission to the school
    Note: Front Cover -- Inside the Bauhaus -- Copyright Page -- Table of Contents -- Editor's Acknowledgments -- Introduction -- Preface -- Part I: A Personal Journey -- Chapter 1. The Road to the Bauhaus -- europe bound -- architecture of the future -- Part II: The Struggle for an Ideal -- Chapter 2. Henry van de velde and his Prototype Bauhaus in Weimar -- Chapter 3. The Launching of the Bauhaus in Weimar -- the bauhaus program -- the beginning of the school -- the 1919 exhibition -- Chapter 4. Handwork Versus Machine Production -- theo van doesburg alters the course of the bauhaus -- art and technology -- a new unity -- Chapter 5. The Struggle Over the Bauhaus in Weimar -- the 1923 exhibition -- Part III: The Preliminary Course -- Chapter 6. The Three Phases of the Preliminary Course -- Part IV: An Examination of the Workshops -- Chapter 7. The Furniture Workshop -- Chapter 8. The Print Shop, Typography, and Advertising Art -- Chapter 9. The Pottery Workshop -- Chapter 10. The Weaving Studio -- Chapter 11. The Stained Glass Workshop -- Chapter 12. The Wall-Painting Workshop -- kandinsky -- Chapter 13. The Sculpture Workshop -- Chapter 14. The Bauhaus Theater -- the reflected light plays -- moholy-nagy, kandinsky and the bauhaus theater -- Chapter 15. The Metal Workshop -- Part V: Architectural Education at the Bauhaus -- Chapter 16. The Teaching of Architecture Under Waiter Gropius -- Chapter 17. The Teaching of Architecture Under Hannes Meyer -- the dismissal of hannes meyer -- Chapter 18. The Teaching of Architecture Under Mies Van Der Rohe -- mies's unknown project -- Part VI: Goodbye Bauhaus -- Chapter 19. Bauhaus Berlin- Bauhaus Finis -- Notes -- Select Bibliography -- Index -- Photo Credits
    Additional Edition: Print version Dearstyne, Howard Inside the Bauhaus Cambridge : Elsevier Science & Technology Books,c1986 ISBN 9780851398631
    Language: English
    Keywords: Electronic books ; Electronic books
    URL: FULL  ((OIS Credentials Required))
    URL: FULL  ((OIS Credentials Required))
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