By G. James Daichendt
“The philosophy of the artist-teacher isn't really a brand new phenomenon. in reality, many artists operating in the Bauhaus, 19th century colleges of layout, and the elemental layout circulation all utilized this system of considering to their educating. The Artist-Teacher explores the numerous aspects of this system, and a number of the methods artwork has been taught over the centuries, utilizing a number of very important 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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Extra info for Artist-Teacher: A Philosophy for Creating and Teaching
His methods differed greatly from other methods practiced at that time. Originality was of great importance to him. He would demonstrate a principle and then request students create an original design based upon the principle modeled. The designs produced by the students had to be practical, in the form of a wall decoration or for furniture, and were subjected to critique when finished (Macdonald, 1970). Macdonald stresses, “Wallis always praised originality and fitness for purpose” (p. 91). 45 Artist-Teacher: A Philosophy for Creating and Teaching Even if students desired to reproduce a design, Wallis urged them to recreate it a different size.
91). 45 Artist-Teacher: A Philosophy for Creating and Teaching Even if students desired to reproduce a design, Wallis urged them to recreate it a different size. By making the image larger, they did not fall back into curriculum that was taught at the academies and schools of art. This instruction is evidence that Wallis was quite liberal in his educational views for the mid-19th century. His emphasis on originality was in stark contrast to the traditional curriculum of copying in design education.
The use of the term “artist-teacher” serves both purposes—establishing the significance and understanding the origin. The history of the artist-teacher is thus presented chronologically, not as a progression of ideas, but rather as an organizational tool to better understand the use of the term in the field of art education (Erickson, 1979). Classical Education in the Arts Although the art of the Classical era is a major fi eld of study, not much is known about the methods of instruction for training artists in ancient Greece.