We take a look at some iconic artists from numerous disciplines who have left an enduring and indelible mark on today’s creators.
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Great website dedicated Moholy-Nagy moholy-nagy.org Untitled, Chicago 1943 Untitled, 1930 Untitled, Dessau 1925 A XI, 1923 A 19, 1927
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Stairway in the Bexhill Seaside Pavillion gelatin silver print 50.5 x 40.3 cm 1936 View from the Pont Transbordeau, Marseille – Iron Column gelatin silver print 49.9 x 40.0 cm 1929 special ef…
… in some series one can sense Moholy-Nagy’s intervening hand, in others he himself remains entirely passive, as though waiting for the material to show what it can do by itself. This (…
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Stairway in the Bexhill Seaside Pavillion gelatin silver print 50.5 x 40.3 cm 1936 View from the Pont Transbordeau, Marseille – Iron Column gelatin silver print 49.9 x 40.0 cm 1929 special ef…
Moholy-Nagy was born László Weisz in Bácsborsód to a Jewish-Hungarian family.[2] His cousin was the conductor Sir Georg Solti. He attended Gymnasium (academic high school) in the city of Szeged. He changed his German-Jewish surname to the Magyar surname of his mother's Christian lawyer friend Nagy, who supported the family and helped raise Moholy-Nagy and his brothers when their Jewish father, Lipót Weisz left the family. Later, he added “Moholy” ("from Mohol") to his surname, after the name of the Hungarian town Mohol in which he grew up. One part of his boyhood was spent in the Hungarian Ada town, near Mohol in family house. In 1918 he formally converted to the Hungarian Reformed Church (Calvinist); his Godfather was his Roman Catholic university friend, the art critic Ivan Hevesy. Immediately before and during World War I he studied law in Budapest and served in the war, where he sustained a serious injury. In Budapest, on leaves and during convalescence, Moholy-Nagy became involved first with the journal Jelenkor (“The Present Age”), edited by Hevesy, and then with the “Activist” circle around Lajos Kassák’s journal Ma (“Today”). After his discharge from the Austro-Hungarian army in October 1918, he attended the private art school of the Hungarian Fauve artist Róbert Berény. He was a supporter of the Communist Dictatorship (known as “Red Terror” and also “Hungarian Soviet Republic”), declared early in 1919, though he assumed no official role in it. After the defeat of the Communist Regime in August, he withdrew to Szeged. An exhibition of his work was held there, before he left for Vienna around November 1919. He left for Berlin early in 1920. en.wikipedia.org/wiki/L%C3%A1szl%C3%B3_Moholy-Nagy Moholy-Nagy taught at the Bauhaus in Germany between 1920 and 1933. He began his career as a painter, but in the mid-1920s he came to regard photography as the universal visual language of the modern era because it was mechanical and impersonal and, therefore, objective—no matter how unexpected the results might be. Perhaps it was precisely the unpredictability of photography that he loved, because it unveiled fresh experiences. In 1925 he published a picture book titled Painting, Photography, Film, which illustrated the many ways in which photography challenged old habits of seeing—by showing very distant or very small things, for example, or by looking up or down. The great majority of the illustrations were the work of scientists, journalists, amateurs, and illustrators—not of artists. The message was clear: photography had revolutionized modern vision without the aid of "art." www.moma.org/collection/browse_results.php?criteria=O%3AA...
Stairway in the Bexhill Seaside Pavillion gelatin silver print 50.5 x 40.3 cm 1936 View from the Pont Transbordeau, Marseille – Iron Column gelatin silver print 49.9 x 40.0 cm 1929 special ef…
László Moholy-Nagy led an incredible life between World War I and II, pioneering various forms of art and design.
Stockholm, Photo by László Moholy-Nagy, 1930
A retrospective of László Moholy-Nagy’s work, at the Guggenheim, reveals surprising hints of soulfulness in his technological experimentation.
Stairway in the Bexhill Seaside Pavillion gelatin silver print 50.5 x 40.3 cm 1936 View from the Pont Transbordeau, Marseille – Iron Column gelatin silver print 49.9 x 40.0 cm 1929 special ef…
