摘要：In my research named 'Arnold Bode and Documenta Kassel with Respect to the Second Generation of Bauhaus' (2002/3), the process of the development of documenta in these early stages was realized from the point of pedagogy of art education. The first documenta in 1955 was prepared by one member of Hochschule Kassel, Professor Arnold Bode. At that time, he realized one concept for an international art festival of modern artists who were 'degraded' by the Nazi-regime from 1933-1945. With the cooperation between Bode and Werner Haftmann in Kassel, the second and third art festivals (expositions) were held in 1959 and 1964. The second generation of Bauhaus and informel artists participated in its realization. After their success, many artists attended the documenta. In my research in 2003/4, (1) short sketch about German artistic and art-educational activities by the second generation of Bauhaus, and (2) structural analysis about them, 25 Kuenstler auf den Spuren von Zen 49 (1989), Ferdinand Ullrich(Hrg.) : Kunst des Westens. Deutsche Kunst 1945-1960 (1996), and Kunstschulreform 1900-1930 (1977) were utilized. In the research, the following were analyzed and sustained; (1) half of the qualified modern artists in 1950-1960 were members of the group 'Zen 49', (2) most of the organizing members of 'Zen 49' were sons and daughters of the reformative school in the 1920s. The second generation of Bauhaus as a historical category has participated in the art movement named 'Zen 49', got new gigantic energies from the 'informel' movement, was committed to the early documenta Kassel, and taught new categories of various artistic expressions in many German art colleges. We did not have the historical image of the expansion of Bauhaus pedagogy until now.
其他摘要：In my research named 'Arnold Bode and Documenta Kassel with Respect to the Second Generation of Bauhaus' (2002/3), the process of the development of documenta in these early stages was realized from the point of pedagogy of art education. The first documenta in 1955 was prepared by one member of Hochschule Kassel, Professor Arnold Bode. At that time, he realized one concept for an international art festival of modern artists who were 'degraded' by the Nazi-regime from 1933-1945. With the cooperation between Bode and Werner Haftmann in Kassel, the second and third art festivals (expositions) were held in 1959 and 1964. The second generation of Bauhaus and informel artists participated in its realization. After their success, many artists attended the documenta. In my research in 2003/4, (1) short sketch about German artistic and art-educational activities by the second generation of Bauhaus, and (2) structural analysis about them, 25 Kuenstler auf den Spuren von Zen 49 (1989), Ferdinand Ullrich(Hrg.) : Kunst des Westens. Deutsche Kunst 1945-1960 (1996), and Kunstschulreform 1900-1930 (1977) were utilized. In the research, the following were analyzed and sustained; (1) half of the qualified modern artists in 1950-1960 were members of the group 'Zen 49', (2) most of the organizing members of 'Zen 49' were sons and daughters of the reformative school in the 1920s. The second generation of Bauhaus as a historical category has participated in the art movement named 'Zen 49', got new gigantic energies from the 'informel' movement, was committed to the early documenta Kassel, and taught new categories of various artistic expressions in many German art colleges. We did not have the historical image of the expansion of Bauhaus pedagogy until now.
