Tagebuch.: Beiträge zu einem Kontrapunkt der bildenden Kunst.

First edition of one of the artist's major works and one of the most important art theories of the 20th century. Limited to 300 copies, of which this is no. 277.

Description: Original blue cloth binding, upper cover lettered in gilt; housed in original blue cloth slipcase. Oblong folio: 39 × 52 cm; pp.: [2], 112, [2]. Text and 350 drawings by the author printed in faksimile (title page in blue), 4 colour charts in the text, composed of a total of 53 tipped-in colour samples, each hand-painted in gouache on cardboard, 77 (122) tipped-in b/w and 5 colour illustrations.

Ref.: Bolliger 1977, 545; Rotzler 1978, 396; Wagner 2018, 74

Condition: The binding shows very little wear, the slipcase has some stains and surface scuffs. Occasional spotting to fore-edge of some leaves, otherwise in very fine condition for its age.

Notes: Johannes Itten (1888–1967) is undoubtedly one of the most influential art teachers of the 20th century. He developed his teaching methods between 1919 and 1923, when he was artistic director of the Bauhaus in Weimar. Until then, it was common practice for art students to copy other artists' work before creating their own, in order to learn the use of materials and technical skills. Itten's aim, however, was to free his students from traditional views by allowing them to find their own form of expression through experimentation with colour and materials. Even after his years at the Bauhaus, Itten continued to develop his teaching methods. In 1930, he began writing and drawing his theory of form and design on matrices, which he published himself at the end of October under the title Tagebuch, Beiträge zu einem Kontrapunkt der bildenden Kunst. The Tagebuch, printed in his Itten School, was published in an edition of 30 leather-bound copies and 300 blue linen-bound copies. 30 years later, in 1962, a few more copies were bound from the remaining printed sheets and published in Zurich. These, however, have an additional title page.

Itten's theory of form and design is still an integral part of the curriculum at many art schools today.