Training in theory
How is training at the Düsseldorf Art Academy designed today? The Art Academy advises its students as well as prospective students and applicants on all matters relating to their studies and has an effect on suitable individual study planning, which is particularly the task of the professors professors. "
In the end, the education of a student of art, with his professor - a system for which the Kunstakademie Düsseldorf is internationally known. This is not taught by anyone but by internationally renowned artists, each of whom represents a different teaching concept.
Big names - good teaching?
The Academy may be adorned with big names, including newcomers Andreas Gursky, Katharina Fritsch, Katharina Grosse, Tomma Abts, Marcel Odenbach, Johannes Schütz and Eberhard Havekost, who have been appointed by Tony Cragg's 2010. She has looked back on a long line of directors since her founding in 1773. Each of them, from Wilhelm Lambert Krahe (1773 - 1789) to Tony Cragg (2009 - 2013), has shaped them in his own way.
From the beginning, the latter wanted to hold the post only for a term, other applicants did not exist and therefore may since the 1. August, the American sculptor and installation artist Rita McBride decorate with the honorary address "Magnificence" - that's what determines the basic order of the Academy.
What do students learn?
The only question is - does a big name automatically mean a good education? There are undisputed professors at the academy who work for their students and help them to develop their own artistic career. The students appreciate this and express themselves in a correspondingly positive way: "What I liked about my professors was that they gave me the opportunity to develop my art freely and to do my art without any requirements, without being set standards."
They also learn "how to position themselves and how to defend them". The mechanisms of the art market, however, are anything but fair, so that artistic success is often not synonymous with quality. And a great artist does not necessarily have to be a great teacher. In case of doubt, he is not even physically present.
Professors who are never there
The fact that students have to build up their dissertation a second time months later so that their professor can examine them is not a rarity. And what influence does a teacher, who is paid by the state, have, if he is not there? Probably no one, because you have to look at the art on site.
When Joseph Beuys 1972 was dismissed from his position as professor of art academy by the then Minister of Science, Johannes Rau, this was the culmination of a long series of fundamental discussions on this artistically and politically relevant topic. Convinced that every human being is an artist, because everyone is capable of spirituality, openness, creativity and imagination, Beuys developed his "extended concept of art", according to which the work of art, as a "social sculpture", concerns all areas of life. The concept of art must therefore be made as large as possible "that it can embrace every human activity", as long as man takes responsibility for it.
Can people be taught art?
This novel perspective led to Beuys taking students who had been rejected by the academy into his class - which eventually included up to 400 students. Beuys' release was not long in coming. Rector of the Academy of Fine Arts Eduard Trier (1965 - 1972), who had been appointed for life, announced that Norbert Kricke (1972 - 1981) took over and became Beuys' antagonist as someone who valued the artistic aptitude and training of the students.
Markus Lüpertz, Director at the Academy from 1988 to 2009, certainly sees it very differently. He argues that there is only a microcosm to be created at the university that gives art space to thrive. He answers the question of whether one could teach art to man, with no. One can not teach art, but he can bring the atmosphere and aesthetics that surrounds it closer. Later he adds: "I am the master and art knows no democracy!"
Teaching the craft
So much for subjectivity in relation to the definition of art. Even Hans Schippert, Rector of the Academy from 1959 to 1965, was of the opinion that art could not be taught. Tony Cragg emphasizes the advantages of this system in the K20 catalog of the Sculptors Exhibition: "The now almost self-evident concept of artistic freedom held high in Dusseldorf has led to greater substantive and formal diversity, rather than an academization of art."
But what can undeniably be taught is the craft. A musician can not simply improvise or consciously break the musical rules without knowing them. Section 1 of §50 of the Kunsthochschulgesetz therefore requires, among other things, the university to guarantee the student "the preparation for artistic and art education professions". However, "ensuring" is very vague in this context.
Was everything better before?
The offer is undoubtedly at the Dusseldorf Academy, only it is, unlike in their past, no obligation. When Wilhelm von Schadow 1826 from Berlin was called to the academy as rector, he had already thought about the painter's consistent training: he built on methodical art didactics and introduced a three-class system inspired by Peter von Cornelius (1819 - 1824).
Beginning with 1831, the students went through these three stages, and as the teacher's influence waned, the individuality of his students continued to come to the fore: "Education begins with elementary education, continuing in the class that turns the student into independent compositions prepared, and concludes with the advice and warnings that the teacher from his experience can still forgive those young men who have come to the point where their own free composing begins. "
The need to learn the craft was out of the question
For example, the students first learned to copy paintings and to understand and represent objects and people; In addition, they were trained in "help science" such as anatomy, architecture and perspective. Only then, in the third step, were they allowed to create their own compositions. This pioneering method ensured that the Düsseldorf School of Painting and thus also the Academy of Arts gained international renown.
Well, at the time, Düsseldorf was the Lower Rhine province and belonged to the 25.000 inhabitants. In contrast to today, however, the original understanding of authenticity lay in the motif and not in the unicum. The mastery of technology was therefore extremely important, as artists also deserved to copy works of art. If the students wanted to rebel, they refused to paint sacred works; it shows, for example, Johann Peter Hasen-Clevers' studio scene of 1836. The need for training itself was out of the question.
More knowledge - PDF download, eCourses or personal advice
Offline download: Download or print this text as PDF for 24 hours - no distribution or duplication! When buying in "interests" the title: register, after purchase text Download at this URL, Buy multiple texts in one PDF: Book multiple copies and buy after purchase eMail communicate exact titles. Premium Members download 1 for free for a year.
Your eCourse on Demand: Choose your personal eCourse on this or another desired topic, As a PDF download. Up to 30 lessons with each 4 learning task + final lesson. Please enter the title under "interests". Alternatively, we are happy to put together your course for you or offer you a personal regular eMailCourse including supervision and certificate - all further information!
Consultant packages: You want to increase your reach or appeal as a job applicant? For these and other topics, we offer special Consultant packages (overview) - For example, a personal phone call (price is per hour).