Contemporary magazine rack / residential / steel / lacquered metal
steel, lacquered metal
Material & Colour
blue, yellow, red and white lacquered, wickerwork of natural cane wickerwork, steel pipe laquered
Peter Keler (1898 1982)
Bauhaus-Cradle according to the preliminary course of Wassily Kandinsky
»The cube was king, and its sides were yellow, red, blue, white, grey, and black. They gave these Bauhaus cubes to their children to play with and to Bauhaus snobs as a gimmick. The square was red. The circle was blue. The triangle was yellow. You sat and slept on the colourful geometry of the furniture.« In 1930, this is how the second Bauhaus director, Hannes Meyer, described the products of the formal, geometric Bauhaus period between 1922 and 1924, which can also be taken to include, with some qualification, Walter Gropius directors chair. Peter Kelers cradle is of course a particularly typical
example of this phase in terms of furniture, and originally formed part of a bed design for man, woman and small child. The mans part of this bed had rectangular head and feet sections, while those for the womans section formed a semi-circle. The childs cradle then complemented the male and female forms with the triangle, and can be understood in terms of its colour scheme as a three-dimensional interpretation of Kandinskys relationship between colour and form within the Bauhaus curriculum. Kelers cradle marks a transition for the Bauhaus: the expressive articulation of the first Bauhaus phase under Itten is rejected; art should not decorate products, but instead, artistic forms and colour schemes should be seen as a unified whole.