著者

藪 亨

出版者

日本映像学会

雑誌

映像学 (ISSN:02860279)

巻号頁・発行日

vol.38, pp.48-57, 1989

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<p>&emsp;In 1920s a group of avant-garde artists were eagerly searching for a new art to take the place of painting. This group found what they sought after in photography, film and light display – the "new mechanical art". At about the same time, Bauhaus, the art and design school founded in 1919 in Weimar, Germany by architect Walter Gropius, was developing a marked tendency towards the acceptance of this new under competent guidance of Laszlo Moholy-Nagy, one of the representatives of this new art. This paper, making full use of abundant source material, deals with the works and theories of the new art in 1920s, and attempts to throw an additional light on the reception of the new art at Bauhaus. The author maintains that the early influence of the new art laid one of the most impotant foundations for "a new unity of art and technology" at Bauhaus.</p>