From autumn 1919 to summer 1922, Max Peiffer Watenphul attended Johannes Itten’s preliminary course at the Bauhaus in Weimar. Gropius gave him permission to observe all the workshops and also provided him with his own studio. He concentrated on painting, textiles and printmaking, reflecting more traditional interests. The spiritual and holistic approach of Itten had a lasting impact on his artistic style.
“The groups of students gathered around the Bauhaus masters were very diverse in terms of age, origin and talent. The most contrasting group was that around Itten, who was still young at heart and consisted mainly of young Viennese intellectuals and other enthusiastic minds. There were often heated arguments because everyone rebelled against traditional concepts and was constantly searching for something new. We were poor, ate meagre meals and froze in the unheated studios. But with great enthusiasm we tried to cope with the quarrels and joys of life and to form an almost religious worldview out of them. We dressed in cheap rags, which we draped picturesquely. Some of us painted our shoes a different colour every day or wore Russian smocks decorated with large breast crosses hanging from necklaces. The many parties, where people danced barefoot to the music of the Bauhaus band, often had an almost cult-like impact. […]” Max Peiffer Watenphul, 1920. Source: pfeifferwatenpfuhl
In Weimar at the Bauhaus, 1920. Source
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