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The results of their experiments with form on long paper rolls took Richter and Eggeling directly to film. Their abstract formal studies became the basis for film scores. They and Walter Ruttmann (1887-1941) count as pioneers of the abstract film. 
The Bauhaus was a special place where the different arts could develop symbiotically. Many of the masters teaching fine art there were extraordinarily interested in music, like for example Wassily Kandinsky, Oskar Schlemmer, (1888-1943) and László Moholy-Nagy (1895-1946). Paul Klee (1879- 1940) also repeatedly included motifs from music in his drawings and water-colours. He discovered a relationship between painting and music at a very early stage. He put it like this in his diary: «The main disadvantage for the observer or re-creator is that they are faced with an end, and seems to be going in the opposite direction as far as genesis is concerned. […] Musical works have the advantage of being taken up again in the sequence in which they were conceived, and on repeated hearing the disadvantage of being tiring because of the evenness of the impression they make. For the ignorant, creative work has the disadvantage being at a
loss about where to begin, and for the intelligent the advantage of varying the sequence strongly while taking it in.»  Klee perceived space as time, like Delaunay, to whom he had been introduced through Kandinsky in 1912. Instead of the concept of simultaneity that Delaunay had introduced, Klee used polyphony: «Polyphonic painting is superior to music in that temporal qualities are more spatial here. The concept of simultaneity merges more richly here. To illustrate the backward movement that I think out for music, I remember the reflection in the side windows of a moving tram.» 
Klee also claimed the category of time for painting. Differently from Leonardo, he sees time as the element that links the individual arts. His water-colours produced around 1921, which include «Fuge in Rot» (Fugue in Red), greatly influenced experiments with light projections taking place in the Bauhaus.
Klee's colour compositions stimulated Ludwig Hirschfeld-Mack (1893-1965), who was still registered as