Color education is an important part of Bauhaus education system, which was founded by john eaton and developed on the basis of the rigorous theoretical system of Hungarian artists such as Nagy, paul klee and Kandinsky. Color course makes it possible to combine art with industrial design. ? Setting up color education, even basic courses, was not planned in Gropius at first. John eaton's insight persuaded Gropius to offer preparatory courses, which was why Bauhaus was more famous than other schools at that time. The preparatory course mentioned here soon became a compulsory course in Bauhaus school, and even students who did not perform well in the basic course were not allowed to enter the workshop for training. Preparatory courses and workshop training: These two elements are the basic pillars of Gropius's ideal Bauhaus. However, in 19 19, everyone must have thought that this ideal would never be realized. ? Eaton was a master of color art from the beginning, and he often used it as his trademark. The two exercises he asked students to do are particularly important: the first exercise requires students to play with various textures, figures, colors and tones, both plane exercises and three-dimensional exercises; The second exercise requires the analysis of artistic works with rhythmic lines, so that students can master the inner spirit and performance of the original. Eaton also asked his students to observe and explain the real world. He asked them to describe natural objects-stones, vegetation and the like-which is not an end in itself. The real purpose is to hone students' visual perception and explore and explain nature. You could say that. Any exercise designed by Eaton is not an end in itself. They are just a kind of preparatory work, they are just a step towards independence and creativity. Eaton believes that when considering color, it is impossible to separate graphic factors, and vice versa, because the two are interdependent. It is the easiest for people to thoroughly understand certain geometric figures, and their basic elements include circles, squares and triangles. Every possible graphic is quietly hidden in these graphic elements. Those who want to see it can see it, but those who don't want to see it can't. Graphics are also colors. Without color, there would be no graphics. Graphics and colors blend together. Colors in the spectrum are the easiest to understand. Every possible color is quietly hidden in it. Those who want to see it can see it, but those who don't want to see it can't see it ...? Geometric figures and colors in the spectrum are the simplest and most emotional figures and colors, so they are the most appropriate means of expression for a work of art. Without colors, figures cannot exist. Graphics can't exist without some relevant context restrictions: some details are essential. So the core content of Eaton's theory is the concepts of contrast and tension. For the study of color contrast, Eaton chose seven different types as his research basis. These seven types of contrast include: simple contrast between two colors, contrast between a bright color and a dark color, contrast between a warm color and a cool color, and contrast between complementary colors. Eaton also compared quality and quantity. The purpose of designing these contrast exercises is to discover the basic properties of related colors and give full play to their effects. Because of Eaton's thinking about color, he designed a color ball instead of a color circle. He said that this color ball is "the most effective shape to express the color order". It also "enables people to show the laws of complementary colors, explain all the basic relationships between these complementary colors, and explain their relationship with black and white". Around the "equator" of the colored ball, the color distribution changes from red. For Eaton, the essence of color is definitely not limited to some optical properties. He believes that color conveys a universal emotional state to people-graphics also convey similar information. After studying three basic geometric shapes, Eaton found that they have some similarities with specific colors. This similarity refers to emotional and spiritual similarity. For example, a square symbolizes peace, death, black, darkness and red, while a triangle symbolizes warmth, vitality, white and yellow. In addition, the circle symbolizes "unity, infinity and tranquility". The circle also symbolizes blue. Therefore, every figure is born with its own color, as Eaton said: the emotion expressed by the figure and the color must match; If a painter wants to achieve a balanced and harmonious effect in his works, he must pay attention to these natural affinity combinations: square and red, triangle and yellow, circle and blue. This theory is the embryonic form of color emotion and the emotional function of color. Eaton had a great influence in Bauhaus, and even Gropius thought that his position as principal had been damaged, so he left Bauhaus on 1923. However, it is undeniable that Eaton's color education has had a far-reaching impact on Bauhaus-not only the basic course, but also the design course. His scientific color theory and scientific body composition theory are important and solid for laying the foundation of visual expression. After that, color education was taken over by Kandinsky, who taught at Bauhaus on 1922. His theory has many similarities with Eaton's. Kandinsky knew from an early age that he had a gift for comprehensive aesthetics, that is to say, when one sense is stimulated, the other will respond at the same time. As for himself, when he sees a scene or even a color, he will also hear some voices; Or conversely, when listening to music, he will see some colors or scenes. What he saw and heard was very special. For example, it may be a note played on an instrument. In Bauhaus, he brought his talent to the extreme. Colors and sounds can also cause quite special feelings in his mind. Although the emotion he experienced in his heart is inevitably subjective, Kandinsky still wants to explain it. Because of this, he has been trying to explore and define its universal law. Kandinsky's research on preparatory courses is divided into two parts: one is analysis and drawing, and the other is theoretical research on color and graphics. He first examined colors and figures in isolation, then related them to each other, and finally, he related them to the "foundation"? All two-dimensional images can be displayed on a plane. Kandinsky defined the "four main colors" of color in a comprehensive aesthetic way: bright warm color, dark warm color, bright cold color and dark cold color. This is what we call color emotion. According to his theory, the factor that determines the color temperature of any color is whether the color tends to yellow (absolutely warm color) or blue (absolutely cool color). However, each color not only has a color temperature, but also has a symbolic meaning. "Yellow is a typical secular color" and "Blue is a typical paradise color", and many other characteristics will be derived from these characteristics. Yellow enterprising, beyond the limit, enterprising, active and unstable; On the contrary, blue is reserved, restrained, shy and negative. Yellow is hard and sharp: blue is soft and submissive. The taste of yellow is exciting, and the blue one makes people feel that they have tasted fresh figs. The horns are yellow and the organs are blue. Because green is a mixture of completely opposite yellow and blue, it creates a perfect sense of balance and harmony, negative and self-satisfied. Kandinsky has a comment on the meaning of green. From this note, we can see to what extent he is prepared to digress in order to explain the characteristics of color: "The position occupied by pure green is the position occupied by the so-called bourgeois in the human world: it is a firm element, content with its own position, and it is limited in all aspects." On the other hand, red is full of energy, anxiety and strength. Mix red and yellow to get orange. Orange and purple (red and blue mixed colors) constitute Kandinsky's last couple? "Significant contrast". The principle that applies to the contrast between yellow and blue also applies to the contrast between orange and purple, although it is slightly unsuitable. So, on the gap between yellow and blue, red built the bridge. Kandinsky arranged many exercises in his lecture. The purpose is to let students find the right counterpoint between colors and graphics. He declared that if the primary colors should correspond to the basic shapes to form yellow triangles, red squares and blue circles, then the mixing of graphics must always be accompanied by the mixing of colors. A Pentagon is a mixture of squares and triangles, so it must be orange. Broken lines and curves also have their own suitable colors. There are also some exercises to explore this effect. Even if these exercises can't confirm Kandinsky's assertion, they usually look beautiful enough. Kandinsky developed such a system, not only to reveal the so-called relationship between color and line, but also to apply it to the whole composition design. His starting point is to divide applications into different types. Horizontal programs are warm and vertical programs are cold. The composition that forces the eyes to move up is free and light, while the composition that forces the eyes to move down is heavy and depressing. The composition that forces the eyes to move to the left is risky and liberating. On the contrary, it is familiar and safe. This "method" can create visual harmony and contrast, and can also express subtle psychological feelings with composition. Later, teacher Kelly also made great contributions to the color course. Like Kandinsky and Eaton's theory, Klee's color theory is also rooted in Goethe's theory, and, to a great extent, he borrowed other people's theories: Runge, Delacroix? (Delacroix), Kandinsky himself and Delaunay, the latter's paper on light effect was translated into German by Klee in 19 12. Like Eaton, Klee started with spectral colors. He painted these colors into a circle, which is slightly more conventional than the sphere used by Eaton. In the visual experience, color is the most abundant side, lines only have length, tones only have measurement and concentration, and color adds a third element: nature, that is, Kelly asked them to measure the weight of various colors with metaphorical scales (for example, red is heavier than blue) and think about the gradual changes of various colors, one of which is from purple to red. The purpose of Klee's instruction in all these trainings is not to make any rules. He just gave all the raw materials to the students and let them draw their own conclusions. In Bauhaus's color teaching, in addition to the research on color theory in basic courses, there is also the research on the application of color in mural workshops. Using color to directly serve the shaping of space, or how to use color in architecture, is the core content. The young teachers of Bauhaus mural studio developed a new method to decorate the basic architectural space with large color plane paintings, and gradually got rid of the traditional concept of using large abstract paintings as interior wall decoration. Bauhaus's practice in this field has had a far-reaching impact on the color application of architecture and indoor space in the future, and has made new development in contemporary western architectural practice. 1922, kandinsky was responsible for guiding the color application research of mural workshop. Consistent with the form and color theory he taught in the basic courses, Kandinsky made a detailed color research plan in the mural workshop. ? Kandinsky linked the physical and chemical properties of color (such as the properties of paint and adhesive) with various technical work, linked the psychological characteristics of color with various analysis and creation experiments, and defined two basic aspects of color application research, which was structurally consistent with his teaching of color theory. On the basis of Kandinsky's theoretical discussion on the psychological effect of color, some outstanding apprentices in mural workshops, such as Schindler Shepard and Arndt, gradually got rid of the method of using large abstract paintings as interior decoration, and considered using the plane painting method of large colors to describe the interface in space with different colors, so as to strengthen or change the feeling of basic architectural space. This idea was groundbreaking at that time, and no one has put forward a complete set of theories or methods about the application of color in space. In the Bauhaus mural workshop, on the basis of Kandinsky's theoretical discussion on the psychological effect of color, some outstanding apprentices in the mural workshop, such as Schindler Shepard and Arndt, gradually got rid of the method of using large-area abstract painting as interior decoration, and considered using the plane painting method of large colors to describe the interfaces in the space with different colors, so as to strengthen or change the feeling of basic architectural space. Later, due to political reasons, that is, from the Nazi point of view, Bauhaus was one of the most prominent strongholds of Jewish Marxist concept of "art". Bauhaus was forced to close down, some teachers and students emigrated, and promoted Bauhaus's educational philosophy in the local area, making Bauhaus famous all over the world. Since then, Bauhaus's basic courses have been accepted by people, and we are still conducting the same courses until now.

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