The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 128
While teaching at the Bauhaus, Breuer often rode a bicycle, a pastime that led him to what is perhaps the single most important innovation in furniture design in the twentieth century: the use of tubular steel. The tubular steel of his bicycle's handlebars was strong and lightweight, and lent itself to mass-production. Breuer reasoned that if it could be bent into handlebars, it could be bent into furniture forms.
The model for this chair is the traditional overstuffed club chair; yet all that remains is its mere outline, an elegant composition traced in gleaming steel. The canvas seat, back, and arms seem to float in space. The body of the sitter does not touch the steel framework. Breuer spoke of the chair as "my most extreme work . . . the least artistic, the most logical, the least 'cozy' and the most mechanical." What he might have added is that it was also his most influential work. An earlier version of this chair was designed by Breuer in 1925, and within a year, designers everywhere were experimenting with tubular steel, which would take furniture into a radically new direction. The chair became known as the "Wassily" after the painter Kandinsky, Breuer's friend and fellow Bauhaus instructor, who praised the design when it was first produced.