The analogy made by Walter Gropius seeks to redefine the value on how art is perceived by man. In particular, he seeks to demolish on the value that society and common norms divide an artist and craftsmen. In his understanding, these two go hand-in-hand and supplements better ways to convey styles and merge an end-product that is comparable to any great architecture that existed. Due to this, he sets up the Bauhaus an institution committed towards educating individuals to establish corresponding competency with their corresponding fields (Gorman, p.98). This guild in turn solidifies his efforts to merge a connection between craftsmen and artists by exploring the potential of creating an institution that can address further education and unifying different forms of artistic representation together.
Contemplating on the analogy by Gropius, it can be argued that his contentions relates with what is essential in the value of art. In a matter of interpretation, it provides a holistic foundation for achieving greatness. Though he succumbs to the idea that art cannot be learned, it is rather the components that are part of the idea that can cultivate and honed. Since there are existing standards with regards to sculpture, architecture, and painting, it then showcases the capacity for individuals to be taught of the proper techniques and strategies. At the same time, I do believe that this argument remains essential in outlining something unique which is evident within the realms of German art. His effort in the Bauhaus not only serve as an instrument in cultivating this objective, it also serve as an important cultural endeavour that unifies and creates a different perspective in developing an art that is exclusively unique from their end.
The analogy made by Theo van Doesburg showcases his inputs to the transcendence of todays appreciation in the arts to that of a more modernized approach. Though it still considers valuable the application of the potentialities of artistic appreciation that addressed its spiritual philosophy, the trends nowadays correspond to its material component. Here, it derives meaning from the value of how people and society view the changes in life. Given these conscious effort to address these changes, it then brings about the capacity of synthesizing the objective to achieve what van Doesburg calls mechanical aesthetic and constructive reality (Gorman, p. 102). In particular, it takes considerable attention to the value of applying the principles of simplicity, clarity and vital response as supplemental aspects in fostering new dimensions towards design and willingness of artists to re-engage into a new style (Gorman, p.102). It is through such process that modern artists nowadays convey the way machines appeal to the aesthetic appeal of todays reality.
Responding to the argument by van Doesburg, I will have to agree that art and aesthetics have underwent numerous changes in time and has brought about new perspectives in its appreciation and development. In particular, I do adhere to the notion that it succumbs to the changes happening in time and with the realities of the current environment. It can be argued though that this approach corresponds to the notion of seeking the other side of the conventional or spiritual philosophy surrounding art. In essence, people appreciate ideas, works, and illustrations according to its capacity to convey simplistic and pure art form. Such capacity to induce these changes then allocate truthfulness without really striking too much on detail which sometimes hinder the capacity of viewers to fully appreciate its true value and worth. Thus, such conceptualization of this new shift is I believe a response to the growing nature of this new style emanates from the way man evolves in seeking to showcase its expression towards others.
Contemplating on the analogy by Gropius, it can be argued that his contentions relates with what is essential in the value of art. In a matter of interpretation, it provides a holistic foundation for achieving greatness. Though he succumbs to the idea that art cannot be learned, it is rather the components that are part of the idea that can cultivate and honed. Since there are existing standards with regards to sculpture, architecture, and painting, it then showcases the capacity for individuals to be taught of the proper techniques and strategies. At the same time, I do believe that this argument remains essential in outlining something unique which is evident within the realms of German art. His effort in the Bauhaus not only serve as an instrument in cultivating this objective, it also serve as an important cultural endeavour that unifies and creates a different perspective in developing an art that is exclusively unique from their end.
The analogy made by Theo van Doesburg showcases his inputs to the transcendence of todays appreciation in the arts to that of a more modernized approach. Though it still considers valuable the application of the potentialities of artistic appreciation that addressed its spiritual philosophy, the trends nowadays correspond to its material component. Here, it derives meaning from the value of how people and society view the changes in life. Given these conscious effort to address these changes, it then brings about the capacity of synthesizing the objective to achieve what van Doesburg calls mechanical aesthetic and constructive reality (Gorman, p. 102). In particular, it takes considerable attention to the value of applying the principles of simplicity, clarity and vital response as supplemental aspects in fostering new dimensions towards design and willingness of artists to re-engage into a new style (Gorman, p.102). It is through such process that modern artists nowadays convey the way machines appeal to the aesthetic appeal of todays reality.
Responding to the argument by van Doesburg, I will have to agree that art and aesthetics have underwent numerous changes in time and has brought about new perspectives in its appreciation and development. In particular, I do adhere to the notion that it succumbs to the changes happening in time and with the realities of the current environment. It can be argued though that this approach corresponds to the notion of seeking the other side of the conventional or spiritual philosophy surrounding art. In essence, people appreciate ideas, works, and illustrations according to its capacity to convey simplistic and pure art form. Such capacity to induce these changes then allocate truthfulness without really striking too much on detail which sometimes hinder the capacity of viewers to fully appreciate its true value and worth. Thus, such conceptualization of this new shift is I believe a response to the growing nature of this new style emanates from the way man evolves in seeking to showcase its expression towards others.
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