This broad spectrum of activities, never legitimized by an academic degree, was typical of the spirit of renewal that shaped the era. He was soon making his way, like his Worpswede artist colleague Wilhelm Wagenfeld, to the Bauhaus in Weimar, an irresistible magnet for aesthetes like himself. There, he studied in the workshops for cabinetry and mural painting. His cradle (re-edition from Tecta) made out of elementary forms and painted in primary colours is both a theoretical statement and a practical piece of furniture. Keler, who went on to design a children’s swing, children’s chair on runners and additional furniture, also had a hand in the forward-looking, striking planar treatment of the wall of a passageway at the Weimar Bauhaus in 1923. Later, he worked as a freelancer, until he became one of those ostracized by the Nazis as “degenerate” artists. After 1945, the versatile talent returned to Weimar, which was now located in an East Germany shaped by “socialist realism”. He became professor of “Optical Pedagogy”. Like Marianne Brandt and Erich Dieckmann, he was one of the “second rank” of Bauhaus figures whose work was long forgotten and then rediscovered in our era of design recycling and at least partially re-issued.