Zeitschrift für gestaltende Arbeit.
Vol. 4, 1929. Issue 10. Edited by Walter Riezler.
Berlin, Verlag Hermann Reckendorf 1929.
Pp. (2), 241-272, (2) with numerous photo illustrations.
30 x 21 cm. Original wrappers, with fine photo illustrated covers.
One of the most important issues of the magazine with a very interesting provenance.
Main topic photography and film art. Contains among other texts the contributions: Film als Gestaltung, by Theo van Doesburg. Fotogramm und Grenzgebiete, by Moholy-Nagy. Filmkunst in Frankreich, by Roger Ginsburger.
With ownership inscription of [Peter] Keler. Peter Keler (1898-1982) was an artist from the generation of Bauhaus students, with skills in painting, furniture design, graphic art, architecture and interior design. He enrolled at the Weimar Bauhaus in 1921, where he took the preparatory course with Johannes Itten and also mural painting with Schlemmer and Kandinsky. He had the opportunity to put theory into practice in the design of the offices of the "Faguswerk" in Alfeld, aproject led by Walter Gropius. He executed first furniture designs for the 1923 Bauhaus exhibition, among them his most acknowledged work, a cradle of geometric bodies painted in the fundamental colors (1922). This work, consisting of a blue circle, a yellow triangle and a red square, is proof of the enormous influence of the color theories of his teacher Wassily Kandinsky. The "Rote Kubus" (Red Cube) also counts among the important pieces of furniture from his Bauhaus years, a chair in an austere design that was made in 1925 and is also known as "D 1".