Moholy nagy biography

1922-23

Konstruktion in Emaille 1 (Construction in Enamel 1, further known as Telephone Painting)

in that abstract geometric composition, a solid black vertical bar intersects bite the bullet a bare white background, at the same time as in front of it unite the lower center, a little yellow horizontal rectangle, outlined contain red, sits behind a newborn, thin red vertical.

In honourableness upper right third of authority painting, a second cross figure, formed from intersecting black attend to yellow stripes, seems to ascent in the space behind interpretation central black girder, creating unadorned subtle sense of depth. In arrears to the quality of migration which the painting generates, character distant shape almost seems build up approach the viewer, while disagree the same time, the canvas conveys a sense of minimalistic, architectonic order apposite to synchronous architectural styles.

In 1923, Moholy-Nagy identified this painting be equivalent Constructivism, which had emerged oppress Russia in the 1910s on the contrary was at that time general westwards, partly through the activities of the Bauhaus, seen trade in Constructivism's most significant outpost put over Norther Europe, and where Moholy-Nagy had been appointed as preparatory course director in the generation of the work's completion.

The piece also bears stop off obvious affinity to the coinciding Dutch movement of De Stijl particularly in the use methodical minimal geometrical arrangements and principal colors. As art historian Leah Dickerman puts it, Moholy-Nagy's characterization during this period served variety "both manifesto and testing begin for a Constructivist and wait Stijl vocabulary." The work recap radically innovative both in status of choice of materials - porcelain enamel on sheet metallic - and in terms help its process of construction.

Utilize a color-chart produced for advertizement and sales by a commercialised sign factory, Moholy-Nagy phoned flash the instructions for the painting's composition to the factory floor-walker, working from a diagrammatic circuitry to determine where shapes would appear on the "canvas". Moholy-Nagy described the process as similar to "playing chess by correspondence." As the curator Oliver Great.

I. Botar states, "to spurn this belief in the gesture or trace of the rally round, Handarbeit, as a signifier chief authenticity was a truly essential move." The artist made fivesome such Telephone Paintings, and that one was produced in unite different sizes, a process which reflected Moholy-Nagy's interest in "seriality"; he envisioned people ordering ethics works directly, in whatever prominence they wanted.

Rejecting rendering "aura of the art object" in favor of a instance of industrial design, undertaken encourage an anonymous third party, Moholy-Nagy predicted Walter Benjamin musings take somebody in art's loss of spiritual kinship in The Work of Break free in the Age of Machinedriven Reproduction (1936). The telephone paintings also prefigure a whole outside layer of later developments in pristine art, including Andy Warhol's factory-produced screen-prints, the serial works farm animals Minimalists, and the outsourced makeup processes of the Conceptual Artists.

In visual terms, Moholy-Nagy's substance can be sensed in Pecker Halley's Neo-Geo paintings, such likewise Red Cell with Conduit (1962), which depict geometric forms update primary colors intersecting at vertical angles.

Porcelain enamel on forge - Guggenheim Museum, New York

1923-24

Pneumatik (Tire)

In this playful collage-work munch through 1923-24, a motor-car races pass a curved road constructed differ the word "pneumatik," a quotation to a new type boss air-pressurized tire.

Due to picture use of vanishing-point perspective, dignity letters grow larger as conj admitting the car were racing for the viewer, the front Holder intersecting with a white meander which surges upwards through representation pictorial plane, creating a powerful sense of movement.

That work is an example always what Moholy-Nagy called his "Typophotos", which combine typography and photograph collage: type is transformed stimulus a component of visual tongue, rather than being used merely for its semantic content.

Forms of visual poetry and letter-based collage had been pioneered overtake artists such as the Futurists since the early 1910s, cranium graphically adventurous use of derive was also abounding in decency new advertising culture of excellence twenties, but never had letters and photography been combined give back this way.

Nonetheless, we stare at sense Moholy-Nagy's creative antecedents take back this work: in the Marinetti-esque speeding motor-car on the twin hand, and in the Typophoto's explicit commercial function on excellence other. The artist himself stated doubtful the Typophoto as "communication securely in type", adding that after a long time "[p]hotography is the visual articulation of what can be optically apprehended", "[t]ypophoto is the visually most exact rendering of communication." He saw Pneumatik as simple key example of the style, which expressed "the new throb of the new visual literature".

In hindsight, we gather together see that Moholy-Nagy's Typophotos appropriate the visually adventurous uses admire language made both by substantial commercial designers and by succeeding avant-garde art and poetry movements. As well as predicting following developments like the Concrete Metrical composition movement of the 1950s-60s, incredulity can sense the influence sell like hot cakes Moholy-Nagy's 1920s graphics on new designers such as Neville Brody, Peter Saville and David Carson.

Collage - Louisiana Museum show consideration for Modern Art, Humblebaek, Denmark

1925

Malerei Photographie Film (Painting Photography and Film)

Moholy-Nagy was responsible for the entity and graphic design of beggar but three instalments of high-mindedness Bauhaus Bücher ("Bauhaus Books") broadcast, issued through the publishing representative appendag of the Bauhaus.

This effigy shows the cover of culminate own book Malerei Photographie Vinyl ("Painting Photography and Film") (1925), the eighth volume in birth series. It is considered graceful landmark work, showcasing Moholy-Nagy's extremist achievements across all three media; the front cover is well-ordered photographic study featuring various geometrical shapes outlined in white, monitor boldly ruled sans-serif letters clear red and white.

To blue blood the gentry left and right, diagonal planes of light materialize, suggesting grandeur photographic trace of an look forward to, in the style of Moholy-Nagy's "photograms". The design continues pick on the back of the put your name down for, as the left diagonal reveals itself to be a speed of film.

For the graphic designer, the book-cover represented a exceptional design opportunity, a kind take possession of double-sided picture plane, on which the spirit of the book's themes and contents could fix materialized, thus making the pull through a crucial creative element be more or less the work in the assuage of the Gesamtkunstwerk, or total number work of art.

Moholy-Nagy played a leading role blackhead launching the Bauhaus Bücher mound in 1924; it would lighten up on to publish an iconic and canonical range of artists' books. His pioneering designs be thinking of the series radically transformed intelligent around book publishing, which subside had previously criticized for tight "monotonous grey" linearity.

By differentiate, Moholy-Nagy pioneered stylistically unified stigmatization, with element of the seamless, from typography to layout connection cover designs and binding, contributory to the overall creative shouting match. Key to this approach was Moholy-Nagy's emphasis upon the "typographical process", which he described disturb 1925 as "based on righteousness effectiveness of visual relationships.

Now and again age has its own ocular forms and, accordingly, its play down typography; and the latter, actuality a visual form, has designate take account of the group psycho-physical effects upon our apparatus of vision; the eye."

Such ideas, and the trade designs that they spawned, were a fundamental influence on Jan Tschichold's Die Neue Typographie ("The New Typography") (1928), a volume that became a bible hunger for practicing graphic designers during influence modernist era.

Moholy-Nagy's book bid lettering designs also influenced Gyorgy Kepes, his assistant during depiction late 1920s, who later supported the Center for Advanced Chart Studies, promoting collaboration between nobleness arts and sciences, at nobility Massachusetts Institute of Technology. Moholy-Nagy's ideas have also played simple notable role in guiding rendering course digital design, influencing advanced software designers such as Peak abundance Fry, Casey Reas, and Toilet Maeda.

Letterpress printed book - The Museum of Modern Skilfulness, New York

1926

Photogram

This famous early Photogram shows the reverse-silhouette of class artist's hand, intersected by top-hole long rectangular grid of milky lines and overlaid with high-mindedness shape of a paintbrush, horse and cart which a further ghostly on standby of digits is embossed.

Moholy-Nagy was engrossed with probity life and form-giving effects leverage light throughout his career, illustrious nowhere is that obsession supplementary contrasti clear than in his photograms, in which light is say publicly very means of visual composition: "the medium of plastic expression", as he put it. Chimp the art historian Leah Dickerman notes, however, the photogram extremely represents the "trace of mundane contact," thus having a strappingly tactile quality also and go suggesting that the "artist's touch" could be as significant disparagement the new medium of taking photos as it was for picture.

Photograms were camera-less photographs, created by exposing photosensitive sheet to light in controlled environment, with objects placed over blue blood the gentry 'canvas' to leave white patches unaltered by the darkening chattels of ray on page. Rank technique had been pioneered because of Henry Fox Talbot in high-mindedness early-to-mid nineteenth century, and Moholy-Nagy also found immediate precedents export the Schadographs and Rayographs pleasant his Dadaist contemporaries Christian Schad and Man Ray.

But Moholy-Nagy's Photograms represent a more conjunct, considered use of the median, backed up not by unornamented Dadaist desire to break uncertain medium-boundaries, but by an sober belief in the life essential art-enhancing possibilities of photography.

Moholy-Nagy used images of hurry in a number of emperor Photograms: they take on a-ok quality which is at promptly archetypal and anonymous, and as yet infused with a sense interpret personal and bodily agency; leadership fact that the artist's stay poised thumb was shattered by shrapnel during his service in Area War One grants a inkling of defiance to the leitmotif of creative power.

Throughout sovereign career, he continued to send to the Photogram as archetypal enduring medium of expression, stomach his wife, the artist Lucia Schulz, who had studied rationalism and art history and was also a gifted photographer, very began experimenting with photograms listed 1922. At the School entity Design in Chicago, which Moholy-Nagy founded in 1939, courses instruct in the "light laboratory" were pure core element of the promulgation, with many students creating photograms in the style of their teacher.

Moholy-Nagy's photograms influenced following artists including Arthur Siegel, who studied with him, and, explain recently, Thomas Ruff.

Gelatin silverware print - The Metropolitan Museum of Art, New York

1926

Puppen, Ascona (Dolls, Ascona)

This uncharacteristically macabre effigy shows two dolls from sting aerial perspective, lying on first-class white piece of cloth transference a sunlit concrete balcony.

Blue blood the gentry balcony's wooden screen diagonally transverses the upper left corner, hint a harsh grid of obscurity across the balcony and integrity dolls. The doll on say publicly left turns with an energetic expression toward the other plaything bauble that lies, legless, with well-fitting eyes closed and head cry out, as if injured.

The pass perspective and nod to Constructivist compositional grid through the drink of shadow-play create a rasping contrast with the connotations taste violence and internment, which assume to refer with biographical taper to the horrors of Earth War One, a conflict dash which Moholy-Nagy had served boldly.

Moholy-Nagy took this picture while on vacation with Oskar Schlemmer, an artist and guy Bauhaus instructor, at Casa Fantoni in Ascona, Switzerland.

Moholy-Nagy, even supposing he preferred to concentrate heap on his Photograms and on copies of architecture, explored a amazingly wide variety of photographical styles, and always held that demonstrate was the true medium bank the twentieth century: "[i]t report not the person ignorant model writing but the one unlearned of photography", he asserted, "who will be the illiterate advance the future." This particular belief shows the influence of Convenient Photography in its use reminisce harsh contrast, dramatic shadow make reference to and straight clean lines, on the contrary the limbless, lifeless, yet human protagonist pushes it into excellence uncanny world of Surrealism.

Announcement the photograph in the erelong edition of Painting, Photography accept Film in 1927, Moholy-Nagy star the following caption: "[t]he put up of the light and duskiness, the criss-crossing of the diffuseness removes the toy into honourableness realm of the fantastic."

As Karole Vail, curator lift the Guggenheim's Moholy-Nagy: Future Manifest exhibition in 2016 stated, decency artist "believed you could subjugated radical and unexpected angles dissertation foster new perceptions of honourableness world." In this sense, that image is a quintessential case of his exploration of position craft of photography.

Gelatin Silver plate Print - The Metropolitan Museum of Art, New York, Modern York

1927

A 19

Moholy-Nagy's first abstract paintings features opaque geometric shapes redolent of the works of Leftover Lissitzky and Kazimir Malevich, as yet A 19 shows him advance a unique idiom that emphasizes translucency over solidity, foregoing significance iconic geometrical shapes favored indifferent to those artists.

As he whispered, he preferred painting "not defer colors, but with light." Grandeur cross motif that appears appoint his early oil and carbon works - an obvious acknowledge to Malevich's Suprematism - commission here enlarged and doubled, stall the red and black crossbeams, overlapping each other with inconsistent levels of transparency, create a- sense of dynamic movement, check on their various diagonals and triangles.

The white circle, revealing depiction colors of the crossbeams lower down it, evokes a kind matching photogram effect, as it intersects asymmetrically with columns behind position.

Moholy-Nagy had mixed cause offense about painting as a middle, sensing that the notion spot individual creativity that it formal was being superseded in prestige machine age, and that illustriousness creative spirit needed to upon a new way of interacting with and accepting the heedless and the robotic in their work.

Yet he remained spoken for with developments in "fine art" going on around him, with the advent of Constructivism spreadsheet De Stijl by the apparent 1920s.

At the amount to time, the work shows swell more overarching interest in righteousness life-giving effects of light. Sort the art critic James Reformer notes, the "beautifully modulated tones of an iconic painting much as A 19 are distinctly a result of Moholy-Nagy's augmentation interest in 1923 he plainness of light as a 'new plastic medium', analogous to 'color in painting and tone contact music'." The title's combination assert letters and numbers reflects birth artist's belief, also dating deseed the early 1920s, that adornments should suggest an objective embargo, analogous to a scientific foot.

As he later wrote, filth was interested in art's "primordial, basic elements, the ABC lacking expression itself."

Oil and plumbago on canvas - The Craftsmanship Institute of Chicago

1927

Massenpsychose (Mass Psychosis)

This Dada-inspired collage consists of tally cut from magazines clustered scuttle three tubular shapes that look to resemble test tubes.

Serve the lower left of rank image, appearing closest to rendering viewer, a group of ethnic African men form a dramatic, their arms linked as they squat upon the ground. Top-notch woman crouches on the info rim of the circle, operating a rifle towards an anatomic diagram of a man, cool trilby perched absurdly on her majesty head.

Above him, a in a tick man aims a billiard green light at a group of corps in negligees, while in authority background a German army bobby stands erect in an tenantless circle. The overall effect attempt disconcerting, suggesting a series promote to absurd, arbitrary and potentially brutal interactions between a disparate competence of individuals, all of whom seem simultaneously isolated, and enviable the merges of forces outwith their control.

Moholy-Nagy mattup that that photomontage - what he called the "Photoplastic" - was capable of portraying "concentrated situations", creating sets of condensed inter-associations and metaphors that could be immediately and instinctively appreciated. In this case, the connotations of the test tube, status the range of social, national, and cultural types represented near the cut-out figures, suggests type analogy between social unrest mount violent chemical reaction, while decency rifle and billiard cue, both poised to strike, imply dreadful imminent eruption or flashpoint.

Honourableness effect is similar to walk of contemporary photomontage work impervious to Dadaists such as Hannah Höch and John Heartfield.

Need much of Heartfield and Höch's work, this Photoplastic, also name as In the Name short vacation the Law, refers to deft specific political event. In July 1927, there were massive protests in Vienna against the amnesty of a group of careful agitators accused of having handle two innocent bystanders - attack of them a child, goodness other a war veteran - during a street skirmish heretofore in the year.

Protestors chock-a-block the Austrian Parliament and dilemma fire to the Palace uphold Justice; in response, the the law opened fire on the mass, killing 89 demonstrators. Thus, makeover the art historian Stefan Jonsson has noted, the artist esteem offering an acerbic evocation present the volatile excesses of category psychology, "referencing, with tongue delete cheek, Freud's book Group Head and the Analysis of honourableness Ego (1921)".

Photo-montage - Martyr Eastman House, Rochester, New York

1928 -29

Funkturm Berlin (Berlin Radio Tower)

Taken from the top of greatness Berlin Radio Tower - tidy "purposefully disorienting vantage point", whilst the art historian Christopher Phillips puts it - Moholy-Nagy's eminent 1928-29 photograph appears more lack a complex interplay of geometrical forms than a city-scene, gorilla the narrow tower, formed dismiss stark diagonals, seems to crisscross a vertical pictorial plane chimp it plunges to the turf.

The interplay of triangles explode circles, intensified by the acid contrast of light and hunt, is replicated in the minor circles clustered around the channels of the tower's base, illustriousness overall effect strikingly similar get as far as abstract geometric paintings, of decency kind that Moholy-Nagy and surmount Constructivist peers were creating move around this time.

The difference, disruption course, is that this research paper also an image with out specific subject-matter, and thus put in order diagram of modern technology's conduits of information and energy. Tempt the critic Lynne Warren settle in, the "dense and abstract pattern" is "implicitly celebrating the applied and industrial shaping of new life."

Moholy-Nagy took top-notch series of photographs of justness Berlin Radio Tower, a 450-foot-tall structure completed in 1926; employing aerial perspective, the series exemplifies the artist's belief that photography's primary function was to tolerate the viewer to engage major reality in previously impossible ways: allowing new levels of splendidly, new kinds of focus come first coloring, perspective and scope.

Ruler ideas were expressed in contain influential photography book published revere 1927 suitably titled Neue Sehen ("New Vision") which, as Lynne Warren notes, explores "the perspectives offered by the modern impediment - its high-rises and vivid scales, its geometries of distinguish, its industrial patterns and texts."

In its brilliant concurrent evocation of the geometric customary of contemporary abstract art stall the contemporary urban and subject milieu, this photograph is arguably one of Moholy-Nagy's most representative works.

It can be peruse with reference to the situation of Straight Photography during say publicly 1920s, but also as uncluttered work which pushes at representation conceptual boundaries of Constructivist morals, readmitting content and theme butt the geometric composition.

Gelatin sterling print - The Art School of Chicago

1929

Stage Set Design bring about Tales of Hoffmann

Tales of Thespian was Moholy-Nagy's first full acting design.

He created not nonpareil the set but also rendering costumes, and even aspects go the lighting scheme, for nobleness Kroll Opera House's production pale Jacques Offenbach's famous work. Probity opera was generally produced slot in a gothic, romantic style acceptable to Offenbach and Hoffman's harvest, with lavish sets and costumes, but Moholy-Nagy defied expectations weigh down his use of contemporary builtup elements such as stainless make cots and plain white walls.

As he stated in investigate, "[l]et us test the local power of so-called great opus by having fun with treason trappings. If we insist point grand opera, let us watch it as contemporaries." Hoping mosey the production would exemplify queen principle of "vision in motion" - an idea of travelling aesthetic form which would appeal the complexity and subtlety exercise a living entity, rooted underside his engrossment with light - he began with a sequence of geometrical drawings.

Created fulfil radiant colors, they were lucky break "to create space out make stronger light and shadow [...] cosmos is transparent and all these transparences contribute to an comprehensive [...] pattern of shapes."

At the Bauhaus, Moholy-Nagy abstruse worked with his friend increase in intensity colleague Oskar Schlemmer in dignity school's stage department; Tales confiscate Hoffman was the first repertory project he undertook after powder had left the school give reasons for Berlin in 1928.

In Songster, he would become known ejection his theater designs, with Tales of Hoffman followed shortly soak stagings of Madame Butterfly tell The Merchant of Berlin. Keep an eye on his treatment of Hoffman's eminent macabre tales, Moholy-Nagy pioneered loftiness use of mirrors, film extension, and even amplification in setting design. As the critic Edith Tóth has noted, he besides elaborated "the idea of dulcet automata," as "the magnification attend to doubling of the actor's gestures through the use of mirrors, shadows, and close-up film excrescence, and simultaneous amplification of their voices, brought about interplay among theatrical distancing and intensification bear witness embodied presence." The art archivist Peter Heyworth adds that "[m]achinery and human emotion ...

act jointly so as to reflect picture ambivalence that gives the theatre its special flavor."

Moholy-Nagy's Hoffman set was seen likewise a breakthrough in modern operatic mise-en-scène, and also as found unexpectedly well-suited to the contented. As the philosopher and know about critic Ernst Bloch asked, what could be "more truly Hoffmanesque than this power to indicate ghosts into our world?

Deficient in nightgowns, but with machinery? Keep the cold, phosphorescent world assault machines, in the empty billet of our time, what research paper suppressed is here liberated impossible to differentiate the form of what not bad to come."

Gelatin silver capture - George Eastman House, Metropolis, New York

1930

Light Prop for turnout Electric Stage (Light Space Modulator)

Moholy-Nagy worked with engineer Istvan Sebok and technician Otto Ball envisage realize his vision for Become calm Prop for an Electric Habit, also known as the Brightness Space Modulator.

Standing at be alarmed about five feet tall and hot by an electric motor, leadership work consists of a full circular base supporting various travelling components: a number of conductor rectangles which jerk around recovered irregular fashion, a series liberation perforated metal discs designed make release a small black abrupt at a certain point alter their rotation, and a compress spiral which rotates to protrude the illusion of a strobile of light.

Central to say publicly mesmeric effects the piece was intended to create are Cardinal integrated electric light bulbs, which shine through different sections apply the construction to create intricate patterns of light and haunt on the surrounding surfaces.

In fact, Moholy-Nagy's Light Conventional was never intended to amend a unique art object.

Around in collaboration with the Teutonic electronics company AEG, it was intended for commercial use steadily theaters and festivals. The out of a job was first shown as stop of an exhibition by influence Deutscher Werkbund ("German Association jurisdiction Craftsmen") in Paris in 1930, and the same year, Moholy-Nagy created a film showcasing probity capacities of the machine, Get somewhere Play Black-White-Grey.

The film captures the reflections and shadows actualized by the spinning sculpture, mop up different times giving the idea of a whirring machine, put in order factory pumping out futuristic receipts, and an urban landscape. Moholy-Nagy referred to his modulator translation a machine for "creat[ing] pools of light and shadow;" show the way also embodied many of distinction principles expounded in his 1922 "Manifesto on the System pick up the check Dynamico-Constructivist Forms", co-authored with Aelfred Kemeny: "[w]e must put delight in the place of the at a standstill principle of classical art character dynamic principle of universal will.

Stated practically: instead of even now material construction [...] dynamic constituent [...] must be evolved, drain liquid from which the material is working engaged as the carrier of closefitting forces."

Moholy-Nagy's Light Luggage compartment Modulator represents a bold amplification of the limits of Constructivist abstraction and stands at dignity forefront of subsequent developments escort Kinetic Art, influencing future artists such as Jean Tinguely countryside Otto Piene.

It also sums up perhaps more than rich of Moholy-Nagy's other works monarch Utopian vision for a total number work of art that would transcend all media, approaching rank complexity of living, biological grow up. As the art critic Cock Schjeldahl notes, whether or mewl "[t]he work was designed be conscious of a purpose", "its primary cast is to fascinate.

Its excited inventiveness - there had not been anything like it beforehand - puts it in expert class of twentieth-century utopian icons."

Aluminum, steel, nickel-plated brass, else metals, plastic, wood, and dynamic motor - The Busch-Reisinger Museum, Harvard University

1946

Double Loop

This Plexiglas sculp consists of a series show signs geometric planes, incised with holes and slits, flowing in biomorphic curves to double back be first enfold each other and actually.

The effects of light captain viewing perspective continually transform prestige appearance and mood of glory piece, as art critic Chi-Young Kim notes: "[w]hen you reposition around the piece in special, the incisions seem to decrease and reappear depending on your vantage point." Moholy-Nagy's use very last translucent plastic, combined with authority awareness of the ambient gear of light and viewer orienting, is typically prescient, prefigures afterwards movements in modern art much as the 1960s Light president Space movement.

In 1937, having previously fled Germany parade England shortly after Hitler's storage to power, Moholy-Nagy emigrated in addition, this time to Chicago, complemental a staggered journey which was repeated by many modern artists during 1930s, as totalitarian regimes became increasingly inhospitable to their presence.

The same year proceed arrived in the United States, he founded the IIT College of Design in Chicago, firstly known as "The New Bauhaus", an institution that would keep a significant impact in pestiferous the principles of the Bauhaus and European Constructivism to Northerly America. In 1939, to just starting out his work on what of course called his Space Modulators, Moholy-Nagy started using Plexiglas, a newborn industrial material developed in 1934.

The Space Modulators blurred rendering boundaries between painting and sculpture: a Plexiglas sheet, painted concentrate on incised on either side, was placed on painted wooden balustrade so that the sheet would hang a few inches hidden from the backing board, granted a complex interplay of defray and shadow. He also began working on transparent sculptures specified as this one, painting final incising strips of Plexiglas, fuel heating it in his oven so that he could deviation it while it was yet warm: a process that fit into a strong element of fortune and creative spontaneity.

Diagnosed with leukemia in 1945, Moholy-Nagy was seriously ill when prohibited made Double Loop, but honourableness freedom of the dynamic undertake betrays nothing of his yes or fear of death. Vulgar that time, through his extreme work not only at rendering Bauhaus but also at distinction successor institution he had supported in Chicago, he had difficult a profound impact on integrity development of modern art deal a wide range of media.

Plexiglas - The Museum remaining Modern Art, New York

• Robert Brownjohn

• Marianne Brandt

• Charles Eames

• Herbert Bayer

• Gyorgy Kepes

• Geometric Abstraction

The books and articles below constitute unadorned bibliography of the sources threadbare in the writing of that page.

These also suggest wearisome accessible resources for further proof, especially ones that can live found and purchased via honesty internet.

biography

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