johannes itten, wassily kandinsky, paul klee, lyonel feinger, oskar schlemmer, laszlo moholy-nagy and josef albers and others were all emplyed by gropius.

Johannes Itten: Die Begegnung, 1916
taken from http://www.schools.net.au/edu/lesson_ideas/optics/optics_opart1.html




Wassily Kandinsky (1866-1944)
Transverse Line, 1923
141 x 202 cm
Oil on canvas
Kunstsammlung Nordrhein-Westfalen, Dusseldorf
taken from http://www.abstract-art.com/abstraction/l2_Grnfthrs_fldr/g029b_kandinsky_tr_ln.html

paul klee

“Southern (Tunisian) Gardens”, 1919, by Paul Klee
taken from http://kathryndarrow.wordpress.com/2008/07/20/sidi-bou-said-where-paul-klee-discovered-the-rainbow-carthage-fragments-of-an-ancient-city/

lyonel feinger

Lyonel Feininger, Oberweimar, oil on canvas, 1921.
Image source: Bauhaus - Masters and Students by Themselves.

oskar schlemmer

Oskar Schlemmer. (German, 1888-1943). Bauhaus Stairway. 1932. Oil on canvas, 63 7/8 x 45" (162.3 x 114.3 cm).
taken from http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5219&page_number=2&template_id=1&sort_order=1

laszlo moholy-nagy

László Moholy Nagy - Untitled Construction - 1922

Bau|haus (bou'hous'), n. a school founded in 1919 by Walter Gropius at Weimar, Germany, and later located successively at Dessau, Berlin, and Chicago, to develop a functional architecture based on a correlation between creative design and modern industry and science. [ German Bauhaus: bauen = build + Haus = house .
taken from http://www.writedesignonline.com/history-culture/bauhaus.htm

josef albers

Josef Albers, Figure, 1921
Glass Assemblage mounted on brass sheet,
54.6 x 39.4 cm
The Metropolitan Museum of Art, New York.
taken from http://cnl.salk.edu/~iris/albers.html

johannes itten

We know that he's credited with changing the way people see color, but why? First of all, Itten's approach to color theory was revolutionary because he looked at color not only in terms of the physics of how light is absorbed or reflected by matter, and not only in terms of how one color looks when situated beside another.
Itten looked also at how color affects a person psychology and spiritually; he believed that there were certain characteristics inherent in particular colors that would have a direct influence on how the viewer felt.
taken from http://www.dezignare.com/newsletter/Johannes_Itten.html

Wassily kandinsky

As the Der Blaue Reiter Almanac essays and theorizing with composer Arnold Schoenberg indicate, Kandinsky also expressed this communion between artist and viewer as being simultaneously available to the various sense faculties as well as to the intellect (synesthesia). Hearing tones and chords as he painted, Kandinsky theorized that, for examples, yellow is the color of middle-C on a piano, a brassy trumpet blast; black is the color of closure and the ends of things; and that combinations and associations of colors produce vibrational frequencies akin to chords played on a piano. Kandinsky also developed an intricate theory of geometric figures and their relationships, claiming, for example, that the circle is the most peaceful shape and represents the human soul. These theories are set forth in Point and Line to Plane (see below).
taken from http://en.wikipedia.org/wiki/Wassily_Kandinsky

paul klee

1932; Oil on canvas, 100 x 126 cm (39 x 49 in)

Klee's studies in the related fields of natural history, comparative anatomy and anthropology had brought Klee to the belief that nature was characterized by the permutation and movement of fundamental units of construction. He wanted to achieve an equivalent way of working in painting. In addition to his interest in the natural world. Klee also turned to theories of both color and music. As he worked on the basis of units of construction taken from nature, Klee tried to create linear improvisations which he likened to the melody of the work. Klee evolved a system of color organization in which all the colors of the spectrum were conceived of as moving around a central axis dominated by the three pigmentary colors - red, yellow and blue.

From 1923 Klee created a series of imaginative color constructions which he called 'magic squares' in which he applied his theories. This series came to a conclusion in 1932 with Ad Parnassum. Klee likened each element in the painting to a theme in a polyphonic composition. He defined polyphony as 'the simultaneity of several independent themes'. In addition. each artistic element in Ad Parnassum is itself a distillation of several ideas and personal experiences. For example. the graphic element illustrates the gate to Mount Parnassus, the home of Apollo and the Muses, and also may refer to the Pyramids which Klee saw in 1928, and to a mountain near Klee's home.
taken from http://www.ibiblio.org/wm/paint/auth/klee/

I am unable to find the "innovative and articulate in theory" for lyonel feinger oskar schlemmer, laszlo moholy-nagy and josef albers. So if you have please put it up here....