By G. James Daichendt
“The philosophy of the artist-teacher isn't really a brand new phenomenon. actually, many artists operating in the Bauhaus, 19th century colleges of layout, and the elemental layout move all utilized this technique of pondering to their instructing. The Artist-Teacher explores the numerous points of this system, and many of the methods artwork has been taught over the centuries, utilizing a number of vital artist-teachers (George Wallis, Walter Gropius, Richard Hamilton, Hans Hoffman) to demonstrate the wealthy and deep methods artists may be able to facilitate learning.”
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Additional resources for Artist-Teacher: A Philosophy for Creating and Teaching
D. dissertation, Raleigh: North Carolina State University. Dow, A. W. , New York: Doubleday, Page and Co. Efland, A. (1990), A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts, New York: Teachers College Press. Egan, K. (2002), Getting it Wrong from the Beginning: Our Progressivist Inheritance from Herbert Spencer, John Dewey, and Jean Piaget, New Haven: Yale University Press. Elkins, J. (2001), Why Art Cannot be Taught, Chicago: University of Illinois Press.
Romanticism gained strength during the industrial revolution, representing a revolt against the intellectual and industrial changes of the time (Curtis, 1982). Unsatisfied with the conditions brought about through development, the romantics rejected rationalism, which they felt was foundational to social, economic, and religious thought. Passion, impulses of mankind, uniqueness, and aesthetic and artistic experiences were of great importance. Inundated by mediocrity, 46 The Artist-Teacher: From the Classical Era to the 21st Century Curtis (1982) communicates the frustration artists had with an environment they could not control or influence: “The romantics looked back to the past; in particular, they rediscovered the Middle Ages and Medieval Christianity, considering them the pinnacle of inspiration and beauty” (p.
Students still at this point in history worked for a master with whom they most likely lived and performed duties similar to an apprentice during the Middle Ages. Once accepted as students in the academy, students were either in a lower or higher class. The lower class studied master’s drawings, whereas the higher class worked from the fi gure. In addition, students could look forward to lectures on perspective, geometry, and anatomy. The fine arts experienced additional support for reclassification during the 18th century when they were separated from mechanical arts in Charles Batteux’s (1746/1970) Les beaux arts réduits à même principle or The Fine Arts Reduced to a Single Principle (Stankiewicz, 36 The Artist-Teacher: From the Classical Era to the 21st Century 2001).