Visual arts has been a topic of concern among the architectural world for as long as the spirit of art came into being. It mainly gave emphasis on the complete structuring of buildings which constituted the noblest functions of fine arts. Art, defined by the combination of painters, architects and sculptors who had to acknowledge and understand all the components of a building as an entity and in its independent segments, existed in seclusion and can only be reclaimed by conscious and cooperation of all craftsmen.
As a result of the unity that lacked in most schools and the inability to teach art, several tactics were introduced for efficient creation of art with one being establishment of a workshop where different groups of the young artist were nurtured for the fulfilment of better artistic skills, with their aim being an excellent achievement. For one to develop into an excellent artist, he or she had to begin from the crafts. 1 To achieve this, the artist had to have a creative imagination in combination with inspirations from his will to better his work, and most of all having the grace of God.
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The program of the Staatliche’s Bauhaus in Weimar by Walter Gropius which was founded by the merging of two art schools laid emphasis on the quality of art produced by combining all creative efforts of art into one whole entity by unifying all the segments of practical arts. Its aim is to nurture all craftsmen of all different categories according to their capabilities towards a better working community with future artists and craftsmen’s who are knowledgeable in designing quality buildings to the latter
Different principles were employed in the program for the efficient production of art. Art students were subjected to vigorous training in crafts that were acquired in the developed workshops and in experimental and practice establishments. In addition to that, the system collaborated with outside studios for improved apprentice training. These principles guided the manner in which the teachings in the workshops were done. The principles stated that all apprentices were to strictly maintain discipline while at the same time avoid all manner of rigidities and their liberty of uniqueness i . Furthermore, they were to take part in all the masters and journeyman examinations conducted by the council of masters of the Bauhaus or other outside masters. 2 Additionally, this principles facilitated the collaboration of students with the masters and mutual planning and construction of buildings that provided them with a motivation of working towards a better future of improved architecture.
The training of apprentices required that they are instructed on both practical and scientific parts of their works. They are trained in crafts, drawing, and painting as well as in science and theory. The basis for being a good artist was formulated from craft training as every student was required to learn the craft to be allowed to train as an artist. All other programs were supplements when it came to artistic creations. As it was required, the training of students was conducted through courses of instructions, for apprentices, journeymen and junior masters whereby each individual was assigned an instructing master and was required to participate in all other courses.
The Bauhaus drive was to produce a new generation of experienced craftsmen without any distinction between a craftsman and an artist. They were to build a future of artistry which clinched to painting, architecture, and sculpture in a unifying manner thus creating a representation of ne w fidelity.
1 Gropius Walter, Program Of The Staatliches Bauhaus In Weimar (Massachusetts: he MIT Press, Cambridge, 1919), 49
2 Ibid., 50
i Ibid., 50
Bibliography
Walter, Gropius. Program Of The Staatliches Bauhaus In Weimar . Massachusetts: he MIT Press, Cambridge, 1919.
