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At first he painted actual sample pictures in order to demonstrate his theoretical instruction. These lessons, which also contained composition problems, were always tied to a particular type of examination of nature; Klee was never concerned with representation of external apprearances, the “ends of form”, as he called them, but with artistic semblances of the “formative forces” of nature. At the same time, he was careful to connect his theoretical approach with holistic ideas which had a cosmic reference.

The laws of form and colour opened the world of the objective to the students. In the course of their work, objective and subjective form and colour problems could intermingle in various ways. … It was important to me when teaching artistic means of expression that the different temperaments and talents felt individually addressed. Only in that way could a creative atmosphere beneficial to original work emerge. The work was to be “real”…17 Itten had tested his pedagogical and artistic experiences, which he had gained in his teacher training in Berne, from art studies in Geneva and at the Stuttgart Academy with Adolf Hölzel, and in a private school in Vienna since 1916.

In addition to individual artistic creativity, the ability to work in a team and various scientific-technical aspects were now part of the academy’s list of requirements. and dynamics, balance and transparence. Spatial experience and spatial structuring were the focus of Moholy-Nagy’s instruction with eight lessons per week. Albers, in the workshop class with eighteen lessons per week, taught a basic understanding and feeling for the connection and the correlation between materials, construction, technology, function/purpose and form with simple materials and tools.

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