Schlemmer’s architectural sculpture reliefs are of particular significance for the early development of his work because they complete the step from the spatial illusion in painting to true sculpture, not without transferring Schlemmer’s principles of design to the three-dimensional realm. In 1919, in the same year, Schlemmer also developed a pronounced interest in movement in space, and thus in dance, the foundation of which provides the tectonic laws of his human figures.
