◇ Haus des weißen Mannes

Johannes Itten’s 1921 lithograph presents a radical vision of living through the lens of early Bauhaus mysticism. The composition is a stark, rhythmic arrangement of cubic volumes and sharp verticalities that challenge the viewer’s perception of domestic space. There is a profound silence in its monochromatic execution, capturing a moment when the European avant-garde sought a spiritual "new beginning" through pure, unadorned geometry.

Why We Picked It
This piece is a definitive example of Itten’s mastery over light-dark contrast, a core pillar of his "Preliminary Course" at the Bauhaus. The interplay of dense, textured blacks against the luminous white of the paper creates an optical vibration that makes the structure feel both monumental and ephemeral. We chose it for its raw, hand-pulled quality; unlike later, more clinical modernist works, the subtle irregularities in the lines reveal the artist’s hand and the experimental energy of the Weimar era.

Notable Context
Created for the first Bauhaus portfolio, New European Graphics, this work reflects the intense ideological friction of post-WWI Germany. At the time, Itten was a leading figure in the Mazdaznan movement, a cult-like spiritual philosophy that emphasized purity and internal light. It was intended as a symbolic pinnacle of modern dwelling—a temple-like structure for the "new man." This work represents the "expressionist" phase of the Bauhaus before the school shifted toward industrial mass production, making it a vital record of the school's esoteric origins and Itten's eventual departure due to his clashes with Walter Gropius over these very philosophies.

About the Artist
Johannes Itten (1888–1967) was a Swiss painter and teacher whose influence on 20th-century design is peerless. As the creator of the Bauhaus Vorkurs (Preliminary Course), he redefined how we understand color theory and material contrast. While he is often celebrated for his "Color Star," his graphic works like this lithograph demonstrate his belief that form and contrast were spiritual tools. His pedagogical legacy lives on in every modern art foundation course worldwide.