LÁSZLÓ MOHOLY-NAGY
COMPOSITIONS LUMINEUSES 1922 – 1943
Centre Georges Pompidou
[Moholy-Nagy, L.] Renate Heyne and Floris Neusuess, et al.: LASZLO MOHOLY-NAGY: COMPOSITIONS LUMINEUSES 1922 - 1943. Paris: Centre Georges Pompidou, 1995. Text in French. Quarto. Thick photo illustrated wrappers. 220 pp. 97 full-page rotogravure plates. 170 text illustrations. Catalog of 197 items. Interior unmarked and very clean. Out-of-print. A fine copy in Publishers shrinkwrap.
Formerly the painter impressed his vision on his age; today it is the photographer. — László Moholy-Nagy
9.25 x 11.75 exhibition catalog of 197 items with 97 full-page rotogravure plates and 170 text illustrations. Much of the included material had never been published before. Essays by Renate Heyne and Floris Neusuess and others. Also includes notes; appendices: a selection of original texts, biographical outline, bibliography; notes on the plates. A comprehensive monograph on Moholy's photographic work and his approach to art and abstraction-- highly recommended.
Contents:
Avant-Propos: Alain Sayag
Annees Lumiere D'une Vie. Le Photogramme. Dans L'esthetique De Laszlo Moholy-Nagy: Herbert Molderings
De Berlin A Chicago. Reflexions Historiques Et Techniques A Propos Des Photogrammes De László Moholy-Nagy: Floris M. Neususs, Renate Heyne
Photogrammes 1922-1943
Notices D'oeuvres
Methode De Catalogage
László Moholy-Nagy: Textes Choisis
Production - Reproduction
La Lumiere, Moyen D'expression Plastique
Photographie Sans Appareil. Le "Photogramme"
La Reclame Photoplastique Ligne Droite De La Pensee - Detours De La Technique
Photographie, Mise En Forme De La Lumiere
Le Photogramme Et Les Techniques Voisines
La Photographie, Ce Qu'elle etait, Ce Qu'elle Devra Etre
Ou Va La Photographie ?
Comment La Photographie Revolutionne La Vision
Peindre Avec La Lumiere
Comment Fabriquer Un Photogramme Ou Peindre Avec La Lumiere, Dans Le Cadre D'une Exposition Au MoMA
Espace-Temps Et Photographie
Reperes Biographiques
Bibliographie Selective
For Moholy-Nagy, photography was of inestimable value in educating the eye to what he called "the new vision." He believed that the camera, through its ability to manipulate light and its capacity of the eye, could help us alter our traditional perceptual habits.
From the Publishers Prospectus for László Moholy-Nagy's 60 FOTOS, 60 PHOTOS, 60 PHOTOGRAPHIES. Berlin: Klinkhart & Biermann, 1930: " Moholy was one of the first to leave petrified traditions in photography and tread new paths by extending photographic possibilities both practically and theoretically. He arrived at lasting results in the photogram and in photo-montage at a time when these forms were almost unknown."
As a painter, typographer, photographer, stage designer, and architect, Moholy was one of the most creative intelligences of our time. — Herbert Read
László Moholy-Nagy (Hungarian, 1895-1946) was born in Bacsbarsod, Hungary. Injured during World War I, he turned to painting and made contact with the Budapest avant-garde in 1918. In 1922, Maholy-Nagy participated in the International Dada-Constructivist Congress in Weimar and began experiments in photography with his wife Lucia. Appointed master at the Bauhaus in 1923, he made his first film, Berliner Stilleden, in 1926. Although always a painter and designer, Moholy-Nagy became a key figure in photography in Germany in the 1920's. In 1928 Moholy-Nagy left the Bauhaus and traveled to Amsterdam and London. His teachings and publications of photographic experimentations were crucial to the international development of the New Vision. In 1937 he was invited to found the New Bauhaus in Chicago by the Association of Arts and Industries. Moholy-Nagy served as teacher and director there from 1937 until his death in 1946.