László Moholy-Nagy (1895-1946) is arguably one of the greatest influences on post-war art education in the United States. A modernist and a restless experimentalist from the outset, the Hungarian-born artist was shaped by Dadaism, Suprematism, Constructivism, and debates about photography. When Walter Gropius invited him to teach at the Bauhaus, in Dessau, Germany, he took over the school's crucial preliminary course, and gave it a more practical, experimental, and technological bent. He later delved into various fields, from commercial design to theater set design, and also made films and worked as a magazine art director. But his greatest legacy was the version of Bauhaus teaching he brought to the United States, where he established the highly influential Institute of Design in Chicago.
Moholy-Nagy believed that humanity could only defeat the fracturing experience of modernity - only feel whole again - if it harnessed the potential of new technologies. Artists should transform into designers, and through specialization and experimentation find the means to answer humanity's needs.
Moholy-Nagy's interest in qualities of space, time, and light endured throughout his career and transcended the very different media he employed. Whether he was painting or creating "photograms" (photographs made without the use of a camera or negative) or crafting sculptures made of transparent Plexiglass, he was ultimately interested in studying how all these basic elements interact.
© 2018. All images are copyrighted © by László Moholy-Nagy or assignee. The use of any image from this site is prohibited unless prior written permission is obtained.
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| 1920-30, Der Schädel des Negerhäuptlings Makaua |
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| 1920-40. (Untitled) |
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| 1921, Yellow Circle detail |
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| 1923, Bauhaus Ausstellung Weimar |
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| 1923, Composition 2 |
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| 1923, Composition from Masters' Portfolio of the Staatliches Bauhaus |
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| 1923, composition A XI |
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| 1923, Composition |
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| 1923, Q 1 Suprematistic |
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| 1923, QXXI |
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| 1923, Staatliches Bauhaus in Weimar |
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| 1923, Staatliches Bauhaus Weimar |
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| 1923, Untitled (Composition), ohne Titel (Komposition)) from the periodical Der Sturm, vol. 13, no. 1 |
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| 1923, Untitled from Konstruktionen. Kestnermappe 6 |
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| 1923, Untitled from Konstruktionen. Kestnermappe 6,2 |
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| 1923, Untitled from Konstruktionen. Kestnermappe 6 |
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| 1923-24, Composition No. 2 |
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| 1923-24, Composition No. 4 |
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| 1923-25, Untitled |
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| 1923-28, Bauen in Frankreich, Bauen in Eisen, Bauen in Eisenbeton |
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| 1924, Bauhausbücher 5 |
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| 1924, Dream of Boarding School Girls |
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| 1924, Kompozicija Z VIII |
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1924-31, Bauhausbücher 11 (Bauhaus Books 11)
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| 1925, Bauhausbücher |
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| 1925, composition A XXI |
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| 1925, Love Your Neighbor: Murder on the Railway |
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| 1925, Structure of the World |
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| 1925, The Law of Series |
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| 1925, Z II |
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| 1926, A Lightplay - Black White Gray |
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| 1926, A Lightplay- Black White Gray |
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| 1926, Composition |
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| 1926-31, Eine Zusammenfassung |
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| 1927, Bauhausbücher 8, Malerei, Fotografie, Film |
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| 1928, Bauhüttenarbeit |
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| 1928, Berlin |
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| 1928, Blick vom Funkturm |
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Die neue Linie, September 1929
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| 1929, Großsiedlung e.V |
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| 1929, Wollen Sie ein eigenes Heim? |
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| 1930, Deutsche Messingwerke, Metallprofile für jeden Verwendungszweck |
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Die neue Linie, Februar 1930
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| Die neue Linie, Juni 1930 |
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| Die neue Linie, Dezember 1931 |
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Die neue Linie, Mai 1931
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| Die neue Linie, Juli 1932 |
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| 1932, Ortsgruppe Berlin, Film-Foto-Typographie |
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| 1935, Untitled |
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| 1935-36, The New Isokon Chair |
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| 1936, In the Cradle of the Deep |
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| 1936, Space Modulator L3 |
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| 1936, telehor, Internationale Zeitschrift für optische Kultur |
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| 1936, Your Fare From This Station (Poster for London Transport) |
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| 1937, Bill of Fare, Gropius Dinner, March 9 |
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| 1937, Quickly Away, Thanks To Pneumatic Doors |
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| 1942, Untitled |
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| 1946, Project For The Sculpture Bennett |
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| Composition |
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