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An unprecedented study of an important 20th-century artist and his diverse body of work This exceptional book offers a fresh and extensive examination of the work of pioneering artist László Moholy-Nagy (1895–1946). The first major American survey of his oeuvre in nearly a half century and the most extensive English-language book on the artist in thirty years, the catalogue offers an integrated presentation of Moholy’s production across a range of art forms including painting, sculpture, photography, graphic design, film, advertising, and theater.   Distinguished scholars offer new insights into Moholy's materials and working methods; the relation among writing, administration, and art making in his practice; and his influence on contemporary art. Particular emphasis is given to Moholy's American years and his leadership of the Chicago Bauhaus as well as his reception as a painter. Over 300 works are illustrated in color, including the artist's early paintings and photograms, his whimsical photomontages---all of which are reproduced together here for the first time---and late works in Plexiglas. Beautifully designed and produced, with a PVC plastic jacket printed on the inside and a foil stamped casewrap, the book is a marvelous tribute to this phenomenally innovative artist. 

Features recently discovered, previously unpublished materials from the archives of the Kunstbibliothek in Berlin by Bauhaus professor and renowned avant-garde artist László Moholy-NagyIncludes work by Moholy-Nagy, Guillaume Apollinaire, F.T. Marinetti, Theo van Doesburg, Herbert Bayer, Walter Dexel, and El LissitzkyPublished concurrently with an exhibition at the Staatliche Kunstbibliothek in BerlinThe 1920s in Germany witnessed a revolution in visual communication, typography, and graphic design that still influences us today. In 1929, Hungarian avant-garde artist and Bauhaus professor László Moholy-Nagy was invited to design a room dedicated to the future of typography at the Martin-Gropius Bau in Berlin as part of a larger exhibition called New Typography ("Neue Typographie").The exhibition was organized by the Ring of New Advertising Designers ("ring neue werbegestalter"), a group started by Kurt Schwitters in 1927 which consisted of 12 avant-garde designers and artists who explored a common vision of modernity in advertising and graphic design. In five years, the Ring put on over 20 shows in Germany, and invited guest artists to exhibit with them. Moholy-Nagy's room in the New Typography show was called "Where is Typography Headed?". He created 78 freestanding panels with work by himself, other artists, and contemporary printed matter, which addressed the current trends and future direction of typography. The panels are reproduced together in this book for the first time, along with an Abcdarium of terms and concepts by a roster of noted typography and design historians.

A design classic. A must have for any Bauhaus fan.

Inspects the photographs and examines the innovations of the visionary Hungarian artist and photographer, paying attention to his impact on the Weimar Bauhaus, the Chicago School of Design, and artistic development during the 1920s and 1930s

Inspects the photographs and examines the innovations of the visionary Hungarian artist and photographer, paying attention to his impact on the Weimar Bauhaus, the Chicago School of Design, and artistic development during the 1920s and 1930s

This companion volume to a major exhibition of the work of Laszlo Moholy-Nagy highlights the extraordinary range of his prolific career. Throughout his career Moholy-Nagy produced brilliant works in painting, film, photography, sculpture, set design and typography. A leading proponent of the Bauhaus School, he strove to apply artistic principles to every aspect of daily life. This companion volume to a retrospective features 170 works from all phases of Moholy-Nagy's career. Essays on his involvement with the Bauhaus School; his late paintings; his photographs, photograms, and photosculptures; and his accomplishments in the field of graphic art are complemented by numerous color illustrations. The book also documents the reconstruction of a never completed work, The Room of Today, which incorporates the most important themes Moholy-Nagy brought to his art. Readers viewing his work for the first time, along with those already possessing a deep appreciation for his art, will celebrate this long-overdue volume.

Features recently discovered, previously unpublished materials from the archives of the Kunstbibliothek in Berlin by Bauhaus professor and renowned avant-garde artist László Moholy-NagyIncludes work by Moholy-Nagy, Guillaume Apollinaire, F.T. Marinetti, Theo van Doesburg, Herbert Bayer, Walter Dexel, and El LissitzkyPublished concurrently with an exhibition at the Staatliche Kunstbibliothek in BerlinThe 1920s in Germany witnessed a revolution in visual communication, typography, and graphic design that still influences us today. In 1929, Hungarian avant-garde artist and Bauhaus professor László Moholy-Nagy was invited to design a room dedicated to the future of typography at the Martin-Gropius Bau in Berlin as part of a larger exhibition called New Typography ("Neue Typographie").The exhibition was organized by the Ring of New Advertising Designers ("ring neue werbegestalter"), a group started by Kurt Schwitters in 1927 which consisted of 12 avant-garde designers and artists who explored a common vision of modernity in advertising and graphic design. In five years, the Ring put on over 20 shows in Germany, and invited guest artists to exhibit with them. Moholy-Nagy's room in the New Typography show was called "Where is Typography Headed?". He created 78 freestanding panels with work by himself, other artists, and contemporary printed matter, which addressed the current trends and future direction of typography. The panels are reproduced together in this book for the first time, along with an Abcdarium of terms and concepts by a roster of noted typography and design historians.

Text: English (translation) Original Language: Hungarian, German

Very slightest of wear, no writing or highlighting. A very nice copy. All our books are individually inspected, rated and described. Never EX-LIB unless specifically listed as such.

Among the early twentieth-century's avant-garde, Hungarian-born photographer Lszlo Moholy-Nagy (1895-1946) was one of the most ardent seekers of the "New Vision." His preoccupation with the phenomenon of light was a defining influence on every period of his work, and one of his great strengths lay in his effortless skill in translating light and spatial dimensions from one medium to another. By the time the first color photographic processes became widely available in the early 1930s, he had mastered black-and-white, and he turned immediately to this next big thing. Color proved to be one of his most important mediums, not only during his early years in Germany, but also as he reestablished himself at the New Bauhaus and the Institute of Design, both of which he initiated upon moving to the United States and settling in Chicago. Until now, with only a few exceptions, his work in color has been unknown. Color in Transparency presents 100 pieces including advertisements, portraits, urban views, New Bauhaus studies and abstract compositions--created between Moholy-Nagy's first experiments with the medium in 1934 and his death in 1946. A foreword by his daughter, Hattula Moholy-Nagy, and an essay and captions by art historian and critic Jeannine Fiedler, along with a chronology and bibliography, elucidate the history of this appealing and accessible area of Moholy-Nagy's work, as well as its significance in his oeuvre.

This companion volume to a major exhibition of the work of Laszlo Moholy-Nagy highlights the extraordinary range of his prolific career. Throughout his career Moholy-Nagy produced brilliant works in painting, film, photography, sculpture, set design and typography. A leading proponent of the Bauhaus School, he strove to apply artistic principles to every aspect of daily life. This companion volume to a retrospective features 170 works from all phases of Moholy-Nagy's career. Essays on his involvement with the Bauhaus School; his late paintings; his photographs, photograms, and photosculptures; and his accomplishments in the field of graphic art are complemented by numerous color illustrations. The book also documents the reconstruction of a never completed work, The Room of Today, which incorporates the most important themes Moholy-Nagy brought to his art. Readers viewing his work for the first time, along with those already possessing a deep appreciation for his art, will celebrate this long-overdue volume.

This beautifully illustrated book highlights the contrasts and correspondences in the lives and work of two of  Modernism’s greatest innovators, Josef Albers (1888 1976) and László Moholy-Nagy (1895 1947). Beginning in the 1930s, Albers and Moholy-Nagy each developed a rigorously abstract language that condensed art to its visual fundamentals: line, color, texture, light, and form. This language experienced a creative explosion during their Bauhaus years, when both artists moved freely between media and disciplines. Essays by leading scholars follow the artists’ separate paths through to their emigration to the United States, where each continued to push tirelessly the conventions of artistic practice Albers at Black Mountain College in North Carolina and then at Yale University, and Moholy-Nagy in Chicago at the New Bauhaus School and the Institute of Design. As highly influential teachers, Albers and Moholy-Nagy became important catalysts for the transmission of Modernist ideas from Europe to America.Spanning four decades and featuring works in a variety of media, including painting, collage, glass, moving sculpture, photography, film, furniture, and graphic design, Albers and Moholy-Nagy reveals for the first time the range of achievement of these two important figures and is essential to our understanding of the evolution of Modernism.

190p colourfully illustrated large paperback produced to accompany the 2006 Tate exhibition, excellent condition, uncreased and well preserved

This beautifully illustrated book highlights the contrasts and correspondences in the lives and work of two of  Modernism’s greatest innovators, Josef Albers (1888 1976) and László Moholy-Nagy (1895 1947). Beginning in the 1930s, Albers and Moholy-Nagy each developed a rigorously abstract language that condensed art to its visual fundamentals: line, color, texture, light, and form. This language experienced a creative explosion during their Bauhaus years, when both artists moved freely between media and disciplines. Essays by leading scholars follow the artists’ separate paths through to their emigration to the United States, where each continued to push tirelessly the conventions of artistic practice Albers at Black Mountain College in North Carolina and then at Yale University, and Moholy-Nagy in Chicago at the New Bauhaus School and the Institute of Design. As highly influential teachers, Albers and Moholy-Nagy became important catalysts for the transmission of Modernist ideas from Europe to America.Spanning four decades and featuring works in a variety of media, including painting, collage, glass, moving sculpture, photography, film, furniture, and graphic design, Albers and Moholy-Nagy reveals for the first time the range of achievement of these two important figures and is essential to our understanding of the evolution of Modernism.

Laszlo Moholy-Nagy (1895-1946) was a major innovator of the avant-garde and one of the twentieth century's most important art theoreticians. He experimented ceaselessly with new ways of seeing - using photo-montages, photograms, film and kinetic sculpture - and proposed the camera as a way of complementing and perfecting the human eye. Other artists in this series include: Eugene Atget, Mathew Brady, Wynn Bullock, Julia Margaret Cameron, Joan Fontcuberta, David Goldblatt, Nan Goldin, Graciela Iturbide, Andre Kertesz, Dorothea Lange, Mary Ellen Mark, Joel Meyerowitz, Boris Mikhailov, Lisette Model, Eadweard Muybridge, Eugene Richards, W. Eugene Smith, Shomei Tomatsu, Joel-Peter Witkin

Among the early twentieth-century's avant-garde, Hungarian-born photographer Lszlo Moholy-Nagy (1895-1946) was one of the most ardent seekers of the "New Vision." His preoccupation with the phenomenon of light was a defining influence on every period of his work, and one of his great strengths lay in his effortless skill in translating light and spatial dimensions from one medium to another. By the time the first color photographic processes became widely available in the early 1930s, he had mastered black-and-white, and he turned immediately to this next big thing. Color proved to be one of his most important mediums, not only during his early years in Germany, but also as he reestablished himself at the New Bauhaus and the Institute of Design, both of which he initiated upon moving to the United States and settling in Chicago. Until now, with only a few exceptions, his work in color has been unknown. Color in Transparency presents 100 pieces including advertisements, portraits, urban views, New Bauhaus studies and abstract compositions--created between Moholy-Nagy's first experiments with the medium in 1934 and his death in 1946. A foreword by his daughter, Hattula Moholy-Nagy, and an essay and captions by art historian and critic Jeannine Fiedler, along with a chronology and bibliography, elucidate the history of this appealing and accessible area of Moholy-Nagy's work, as well as its significance in his oeuvre.

Marking the centenary of the birth of Laszlo Moholy-Nagy (1895–1946), this book offers a new approach to the Bauhaus artist and theorist’s multifaceted life and work—an approach that redefines the very idea of biographical writing. In Laszlo Moholy-Nagy, Louis Kaplan applies the Derridean deconstructivist model of the "signature effect" to an intellectual biography of a Constructivist artist. Inhabiting the borderline between life and work, the book demonstrates how the signature inscribed by "Moholy" operates in a double space, interweaving signified object and signifying matter, autobiography and auto-graphy. Through interpretative readings of over twenty key artistic and photographic works, Kaplan graphically illustrates Moholy’s signature effect in action. He shows how this effect plays itself out in the complex of relations between artistic originality and plagiarism, between authorial identity and anonymity, as well as in the problematic status of the work of art in the age of technical reproduction. In this way, the book reveals how Moholy’s artistic practice anticipates many of the issues of postmodernist debate and thus has particular relevance today. Consequently, Kaplan clarifies the relationship between avant-garde Constructivism and contemporary deconstruction.This new and innovative configuration of biography catalyzed by the life writing of Moholy-Nagy will be of critical interest to artists and writers, literary theorists, and art historians.

Over-sized soft cover book titled LASZLO MOHOLY-NAGY, Fotogramas, 1922-1943. Published in 1997 by Museo Nacional Centro de Arte Reina Sofia. Text in Spanish. Illustrated with numerous black and white reproductions of this photographer's work. See my photographs (5) of this book on main lsiting page. Bookseller since 1995 (LL-Base2-E-top) rareviewbooks

Over-sized soft cover book titled LASZLO MOHOLY-NAGY, Fotogramas, 1922-1943. Published in 1997 by Museo Nacional Centro de Arte Reina Sofia. Text in Spanish. Illustrated with numerous black and white reproductions of this photographer's work. See my photographs (5) of this book on main lsiting page. Bookseller since 1995 (LL-Base2-E-top) rareviewbooks

Offered a position at the Weimar Bauhaus in 1923, László Moholy-Nagy (1895–1946) soon belonged to the inner circle of Bauhaus masters. When the school moved to Dessau, Moholy-Nagy and Walter Gropius began a fruitful collaboration as joint publishers of the Bauhausbücher series. In addition to designing and editing the Bauhausbücher, Moholy-Nagy produced a title of his own: the legendary Painting, Photography, Film. In this book, Moholy-Nagy’s efforts to have photography and filmmaking recognized as art forms on the same level as painting are propounded and explained at length. The artist makes the case for a radical rethinking of the visual arts and the further development of photographic design to keep pace with a radically changing technological modernity. Alongside theoretical and technical approaches and forays into the nature of the medium, Moholy-Nagy uses an extensive appendix of illustrations to provide a thorough survey of the numerous possibilities that photography and film could offer―from press photography and scientific imagery to Moholy-Nagy’s own abstract photograms and New Vision photographs. This English translation of Painting, Photography, Film is based in content and design on the 1925 German first edition, making the latter available to an international readership for the first time. The publication includes a brief scholarly text providing crucial contextual information and reflecting on the history and legacy of Moholy-Nagy’s book.