Moholy nagy laszlo biography sampler

1922-23

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

in that abstract geometric composition, a thickset black vertical bar intersects contradict a bare white background, long-standing in front of it suggestion the lower center, a slender yellow horizontal rectangle, outlined speak red, sits behind a newfound, thin red vertical.

In prestige upper right third of loftiness painting, a second cross pervert, formed from intersecting black leading yellow stripes, seems to growth in the space behind loftiness central black girder, creating wonderful subtle sense of depth. Scrutiny to the quality of repositioning which the painting generates, interpretation distant shape almost seems cling on to approach the viewer, while pretend the same time, the picture conveys a sense of minimalistic, architectonic order apposite to synchronous architectural styles.

In 1923, Moholy-Nagy identified this painting strip off Constructivism, which had emerged satisfaction Russia in the 1910s however was at that time allembracing westwards, partly through the activities of the Bauhaus, seen gorilla Constructivism's most significant outpost slope Norther Europe, and where Moholy-Nagy had been appointed as opening course director in the origin of the work's completion.

The piece also bears scheme obvious affinity to the at the same time Dutch movement of De Stijl particularly in the use make stronger minimal geometrical arrangements and preeminent colors. As art historian Leah Dickerman puts it, Moholy-Nagy's craft during this period served by the same token "both manifesto and testing minister for a Constructivist and prison term Stijl vocabulary." The work give something the onceover radically innovative both in provisions of choice of materials - porcelain enamel on sheet mixture - and in terms admire its process of construction.

Playful a color-chart produced for hype and sales by a commercialized sign factory, Moholy-Nagy phoned huddle together the instructions for the painting's composition to the factory shopwalker, working from a diagrammatic convolution to determine where shapes would appear on the "canvas". Moholy-Nagy described the process as consanguine to "playing chess by correspondence." As the curator Oliver Well-organized.

I. Botar states, "to decline this belief in the hand over or trace of the uplift, Handarbeit, as a signifier get the message authenticity was a truly elementary move." The artist made fivesome such Telephone Paintings, and that one was produced in connect different sizes, a process which reflected Moholy-Nagy's interest in "seriality"; he envisioned people ordering loftiness works directly, in whatever immensity they wanted.

Rejecting distinction "aura of the art object" in favor of a figure of industrial design, undertaken uninviting an anonymous third party, Moholy-Nagy predicted Walter Benjamin musings critique art's loss of spiritual pulse in The Work of Becoming extinct in the Age of Automatic Reproduction (1936). The telephone paintings also prefigure a whole coverage of later developments in pristine art, including Andy Warhol's factory-produced screen-prints, the serial works tip off Minimalists, and the outsourced paper processes of the Conceptual Artists.

In visual terms, Moholy-Nagy's way can be sensed in Cock Halley's Neo-Geo paintings, such bring in Red Cell with Conduit (1962), which depict geometric forms cultivate primary colors intersecting at skillful angles.

Porcelain enamel on blade - Guggenheim Museum, New York

1923-24

Pneumatik (Tire)

In this playful collage-work distance from 1923-24, a motor-car races legislative body a curved road constructed stay away from the word "pneumatik," a indication to a new type out-and-out air-pressurized tire.

Due to magnanimity use of vanishing-point perspective, influence letters grow larger as on the assumption that the car were racing in the vicinity of the viewer, the front Owner intersecting with a white bend which surges upwards through illustriousness pictorial plane, creating a dynamical sense of movement.

That work is an example sign over what Moholy-Nagy called his "Typophotos", which combine typography and ikon collage: type is transformed collide with a component of visual note, rather than being used solitarily for its semantic content.

Forms of visual poetry and letter-based collage had been pioneered unhelpful artists such as the Futurists since the early 1910s, near graphically adventurous use of group was also abounding in goodness new advertising culture of ethics twenties, but never had label and photography been combined timely this way. Nonetheless, we pot sense Moholy-Nagy's creative antecedents demonstrate this work: in the Marinetti-esque speeding motor-car on the given hand, and in the Typophoto's explicit commercial function on birth other.

The artist himself ostensible the Typophoto as "communication tranquil in type", adding that eventually "[p]hotography is the visual feat of what can be optically apprehended", "[t]ypophoto is the visually most exact rendering of communication." He saw Pneumatik as a- key example of the session, which expressed "the new whip of the new visual literature".

In hindsight, we crapper see that Moholy-Nagy's Typophotos obstruct the visually adventurous uses firm footing language made both by successive commercial designers and by consequent avant-garde art and poetry movements. As well as predicting ulterior developments like the Concrete Chime movement of the 1950s-60s, incredulity can sense the influence hold Moholy-Nagy's 1920s graphics on pristine designers such as Neville Brody, Peter Saville and David Carson.

Collage - Louisiana Museum match Modern Art, Humblebaek, Denmark

1925

Malerei Photographie Film (Painting Photography and Film)

Moholy-Nagy was responsible for the entity and graphic design of work hard but three instalments of righteousness Bauhaus Bücher ("Bauhaus Books") leanto, issued through the publishing agitation of the Bauhaus.

This presence shows the cover of climax own book Malerei Photographie Peel ("Painting Photography and Film") (1925), the eighth volume in greatness series. It is considered practised landmark work, showcasing Moholy-Nagy's experimental achievements across all three media; the front cover is well-organized photographic study featuring various nonrepresentational shapes outlined in white, form boldly ruled sans-serif letters touch a chord red and white.

To greatness left and right, diagonal planes of light materialize, suggesting primacy photographic trace of an item, in the style of Moholy-Nagy's "photograms". The design continues fix it the back of the unspoiled, as the left diagonal reveals itself to be a dishabille of film. For the manager, the book-cover represented a single design opportunity, a kind grip double-sided picture plane, on which the spirit of the book's themes and contents could put in writing materialized, thus making the stumble on a crucial creative element aristocratic the work in the pneuma of the Gesamtkunstwerk, or total number work of art.

Moholy-Nagy played a leading role embankment launching the Bauhaus Bücher suite in 1924; it would represent on to publish an iconic and canonical range of artists' books. His pioneering designs stake out the series radically transformed ratiocinative around book publishing, which do something had previously criticized for cause dejection "monotonous grey" linearity.

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

At times age has its own chart forms and, accordingly, its amateur typography; and the latter, life a visual form, has bring out take account of the heavy-going psycho-physical effects upon our means of vision; the eye."

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

Moholy-Nagy's book and saying designs also influenced Gyorgy Kepes, his assistant during the calumny 1920s, who later founded description Center for Advanced Visual Studies, promoting collaboration between the field and sciences, at the Colony Institute of Technology. Moholy-Nagy's significance have also played a noteworthy role in guiding the path digital design, influencing contemporary code designers such as Ben Crackle, Casey Reas, and John Maeda.

Letterpress printed book - Righteousness Museum of Modern Art, Novel York

1926

Photogram

This famous early Photogram shows the reverse-silhouette of the artist's hand, intersected by a splurge rectangular grid of white pass the time and overlaid with the make of a paintbrush, across which a further ghostly set hint at digits is embossed.

Moholy-Nagy was engrossed with the life unacceptable form-giving effects of light roundabouts his career, and nowhere decline that obsession more clear facing in his photograms, in which light is the very agency of visual composition: "the means of expression of plastic expression", as be active put it. As the vanguard historian Leah Dickerman notes, yet, the photogram also represents depiction "trace of physical contact," wise having a strongly tactile property also and slyly suggesting depart the "artist's touch" could flaw as significant to the contemporary medium of photography as essential parts was for painting.

Photograms were camera-less photographs, created vulgar exposing photosensitive paper to trivial in controlled conditions, with objects placed over the 'canvas' suck up to leave white patches unaltered fail to notice the darkening effects of trickster on page. The technique abstruse been pioneered by Henry Slyboots Talbot in the early-to-mid ordinal century, and Moholy-Nagy also construct immediate precedents in the Schadographs and Rayographs of his Dadaist contemporaries Christian Schad and Guy Ray.

But Moholy-Nagy's Photograms substitute for a more concerted, considered desert of the medium, backed test not by a Dadaist crave to break down medium-boundaries, however by an earnest belief populate the life and art-enhancing domain of photography.

Moholy-Nagy old images of hands in orderly number of his Photograms: they take on a quality which is at once archetypal person in charge anonymous, and yet infused approximate a sense of personal presentday bodily agency; the fact give it some thought the artist's left thumb was shattered by shrapnel during rulership service in World War Give someone a ring grants a sense of combat to the motif of bright power.

Throughout his career, soil continued to return to influence Photogram as an enduring mean of expression, and his bride, the artist Lucia Schulz, who had studied philosophy and divulge history and was also graceful gifted photographer, also began experimenting with photograms in 1922. Try to be like the School of Design inspect Chicago, which Moholy-Nagy founded forecast 1939, courses in the "light laboratory" were a core bring forward of the program, with profuse students creating photograms in class style of their teacher.

Moholy-Nagy's photograms influenced subsequent artists with Arthur Siegel, who studied be more exciting him, and, more recently, Clocksmith Ruff.

Gelatin silver print - The Metropolitan Museum of Split up, New York

1926

Puppen, Ascona (Dolls, Ascona)

This uncharacteristically macabre image shows one dolls from an aerial angle, lying on a white in good physical shape of cloth on a light concrete balcony.

The balcony's laborious screen diagonally transverses the upland left corner, casting a onerous grid of shadows across blue blood the gentry balcony and the dolls. Position doll on the left curvings with an animated expression towards the other doll that legend, legless, with its eyes done and head back, as on the assumption that injured.

The aerial perspective impressive nod to Constructivist compositional interconnections through the use of shadow-play create a jarring contrast deal with the connotations of violence advocate internment, which seem to authenticate with biographical pointedness to blue blood the gentry horrors of World War Sole, a conflict in which Moholy-Nagy had served bravely.

Moholy-Nagy took this photograph while private eye vacation with Oskar Schlemmer, block up artist and fellow Bauhaus guardian, at Casa Fantoni in Ascona, Switzerland. Moholy-Nagy, though he favored to concentrate on his Photograms and on images of architectonics, explored a surprisingly wide number of photographical styles, and again held that it was greatness true medium of the ordinal century: "[i]t is not illustriousness person ignorant of writing on the other hand the one ignorant of photography", he asserted, "who will engrave the illiterate of the future." This particular image shows high-mindedness influence of Straight Photography deal its use of harsh differentiate, dramatic shadow play and well thoughtout clean lines, but the boughless, lifeless, yet anthropomorphic protagonist pushes it into the uncanny environment of Surrealism.

Publishing the picture in the second edition get the message Painting, Photography and Film contain 1927, Moholy-Nagy included the next caption: "[t]he organization of illustriousness light and shade, the criss-crossing of the shadows removes prestige toy into the realm stir up the fantastic."

As Karole Vail, curator of the Guggenheim's Moholy-Nagy: Future Present exhibition derive 2016 stated, the artist "believed you could use radical suggest unexpected angles to foster another perceptions of the world." Small fry this sense, this image level-headed a quintessential example of government exploration of the craft comatose photography.

Gelatin Silver Print - The Metropolitan Museum of Sham, New York, New York

1927

A 19

Moholy-Nagy's first abstract paintings features curious geometric shapes reminiscent of righteousness works of El Lissitzky spreadsheet Kazimir Malevich, yet A 19 shows him evolving a one and only idiom that emphasizes translucency misfortune solidity, foregoing the iconic geometric shapes favored by those artists.

As he said, he desirable painting "not with colors, on the other hand with light." The cross topic that appears in his steady oil and graphite works - an obvious nod to Malevich's Suprematism - is here large and doubled, and the tight and black crossbeams, overlapping go on other with varying levels neat as a new pin transparency, create a sense identical dynamic movement, with their diversified diagonals and triangles.

The grey circle, revealing the colors time off the crossbeams beneath it, evokes a kind of photogram have a tiff, as it intersects asymmetrically industrial action columns behind it.

Moholy-Nagy had mixed feelings about portraiture as a medium, sensing go wool-gathering the notion of individual cleverness that it represented was teach superseded in the machine cover, and that the creative lighten needed to find a novel way of interacting with boss accepting the mechanical and picture robotic in their work.

As yet he remained engaged with developments in "fine art" going boon around him, including the emanation of Constructivism and De Stijl by the early 1920s.

At the same time, authority work shows a more overarching interest in the life-giving thing of light. As the gossip critic James Wilkes notes, probity "beautifully modulated tones of initiative iconic painting such as Unadulterated 19 are clearly a explication of Moholy-Nagy's deepening interest deck light...by 1923 he thought representative light as a 'new loose-limbed medium', analogous to 'color detour painting and tone in music'." The title's combination of longhand and numbers reflects the artist's belief, also dating from high-mindedness early 1920s, that titles obligated to suggest an objective order, alike to a scientific formula.

Kind he later wrote, he was interested in art's "primordial, undecorated elements, the ABC of representation itself."

Oil and graphite check canvas - The Art Alliance of Chicago

1927

Massenpsychose (Mass Psychosis)

This Dada-inspired collage consists of figures example from magazines clustered in one tubular shapes that seem gap resemble test tubes.

To loftiness lower left of the appearance, appearing closest to the beholder, a group of tribal Individual men form a ring, their arms linked as they movement upon the ground. A girl crouches on the upper outlook of the circle, aiming first-class rifle towards an anatomical plot of a man, a stetson perched absurdly on his sense.

Above him, a second mortal aims a billiard cue go in for a group of women pimple negligees, while in the grounding a German army officer stands erect in an empty cabal. The overall effect is awkward, suggesting a series of unlikely, arbitrary and potentially violent interactions between a disparate range pay the bill individuals, all of whom non-standard like simultaneously isolated, and at rank merges of forces beyond their control.

Moholy-Nagy felt go that photomontage - what forbidden called the "Photoplastic" - was capable of portraying "concentrated situations", creating sets of pithy inter-associations and metaphors that could tweak immediately and instinctively apprehended. Dwell in this case, the connotations well the test tube, and position range of social, ethnic, coupled with cultural types represented by leadership cut-out figures, suggests an parallel between social unrest and physical chemical reaction, while the pillage and billiard cue, both placid to strike, imply some forthcoming eruption or flashpoint.

The findings is similar to that locate contemporary photomontage work by Dadaists such as Hannah Höch title John Heartfield.

Like overmuch of Heartfield and Höch's sort out, this Photoplastic, also known gorilla In the Name of dignity Law, refers to a express political event. In July 1927, there were massive protests blessed Vienna against the acquittal director a group of right-wing agitators accused of having killed cardinal innocent bystanders - one shambles them a child, the niche a war veteran - at hand a street skirmish earlier fall apart the year.

Protestors occupied justness Austrian Parliament and set earnestness to the Palace of Justice; in response, the police unfasten fire on the crowd, insult 89 demonstrators. Thus, as influence art historian Stefan Jonsson has noted, the artist is donation an acerbic evocation of rectitude volatile excesses of group crack-brained, "referencing, with tongue in impertinence, Freud's book Group Psychology view the Analysis of the Susceptibilities (1921)".

Photo-montage - George Artificer House, Rochester, New York

1928 -29

Funkturm Berlin (Berlin Radio Tower)

Taken deprive the top of the Songster Radio Tower - a "purposefully disorienting vantage point", as rank art historian Christopher Phillips puts it - Moholy-Nagy's famous 1928-29 photograph appears more like spick complex interplay of geometric forms than a city-scene, as glory narrow tower, formed from convincing diagonals, seems to intersect ingenious vertical pictorial plane as cry plunges to the ground.

Interpretation interplay of triangles and intensified by the strong discriminate of light and shadow, equitable replicated in the smaller enwrap clustered around the grid manage the tower's base, the entire effect strikingly similar to unpractical geometric paintings, of the disinterested that Moholy-Nagy and his Constructivist peers were creating around that time.

The difference, of path, is that this is besides an image with a precise subject-matter, and thus a plot of modern technology's conduits capture information and energy. As blue blood the gentry critic Lynne Warren notes, justness "dense and abstract pattern" assessment "implicitly celebrating the technological be first industrial shaping of modern life."

Moholy-Nagy took a array of photographs of the Songwriter Radio Tower, a 450-foot-tall form completed in 1926; employing ethereal perspective, the series exemplifies significance artist's belief that photography's relevant function was to allow blue blood the gentry viewer to engage with point in previously impossible ways: conj albeit new levels of detail, newborn kinds of focus and color, perspective and scope.

His content 2 were expressed in an important photography book published in 1927 suitably titled Neue Sehen ("New Vision") which, as Lynne Excavate notes, explores "the perspectives offered by the modern city - its high-rises and dramatic deliberate, its geometries of contrast, wellfitting industrial patterns and texts."

In its brilliant simultaneous conjuring of the geometric principles sharing contemporary abstract art and dignity contemporary urban and technological surroundings, this photograph is arguably suspend of Moholy-Nagy's most exemplary deeds.

It can be read strike up a deal reference to the development leave undone Straight Photography during the Decennary, but also as a ditch which pushes at the theoretical boundaries of Constructivist principles, readmitting content and theme into illustriousness geometric composition.

Gelatin silver handwriting - The Art Institute hook Chicago

1929

Stage Set Design for Tales of Hoffmann

Tales of Hoffman was Moholy-Nagy's first full theatre think of.

He created not only ethics set but also the costumes, and even aspects of prestige lighting scheme, for the Kroll Opera House's production of Jacques Offenbach's famous work. The oeuvre was generally produced in topping gothic, romantic style suited envision Offenbach and Hoffman's era, support lavish sets and costumes, however Moholy-Nagy defied expectations in government use of contemporary urban sprinkling such as stainless steel cots and plain white walls.

Renovation he stated in interview, "[l]et us test the staying stretch of so-called great music moisten having fun with its finery. If we insist on costly opera, let us see vision as contemporaries." Hoping that birth production would exemplify his certificate of "vision in motion" - an idea of mobile exquisite form which would approach blue blood the gentry complexity and subtlety of natty living entity, rooted in climax engrossment with light - illegal began with a series arrive at geometrical drawings.

Created in sunshiny colors, they were intended "to create space out of brilliance and shadow [...] everything not bad transparent and all these transparences contribute to an elaborate [...] pattern of shapes."

Warrant the Bauhaus, Moholy-Nagy had mannered with his friend and accomplice Oskar Schlemmer in the school's stage department; Tales of Sculpturer was the first theatrical business he undertook after he locked away left the school for Songwriter in 1928.

In Berlin, powder would become known for empress theater designs, with Tales atlas Hoffman followed shortly by stagings of Madame Butterfly and Representation Merchant of Berlin. For culminate treatment of Hoffman's famous ghastly tales, Moholy-Nagy pioneered the creepy of mirrors, film projection, survive even amplification in set conceive of.

As the critic Edith Tóth has noted, he also ornate "the idea of musical automata," as "the magnification and double of the actor's gestures owing to the use of mirrors, obscurity, and close-up film projection, very last simultaneous amplification of their voices, brought about interplay between thespian distancing and intensification of bodied presence." The art historian Tool Heyworth adds that "[m]achinery become peaceful human emotion ...

interact and as to reflect the hesitancy that gives the opera university teacher special flavor."

Moholy-Nagy's Carver set was seen as expert breakthrough in modern operatic mise-en-scène, and also as being abruptly well-suited to the subject-matter. In the same way the philosopher and art judge Ernst Bloch asked, what could be "more truly Hoffmanesque amaze this power to bring ghosts into our world?

Without nightgowns, but with machinery? In nobility cold, phosphorescent world of machines, in the empty chambers addendum our time, what is covert is here liberated in loftiness form of what is differ come."

Gelatin silver print - George Eastman House, Rochester, Original York

1930

Light Prop for an Stimulating Stage (Light Space Modulator)

Moholy-Nagy niminy-piminy with engineer Istvan Sebok famous technician Otto Ball to effect his vision for Light Shore for an Electric Stage, along with known as the Light Duration Modulator.

Standing at about quintuplet feet tall and powered descendant an electric motor, the lessons consists of a large round base supporting various moving components: a number of metal rectangles which jerk around in fishy fashion, a series of pierced metal discs designed to expulsion a small black ball classify a certain point in their rotation, and a glass whorl which rotates to create birth illusion of a cone doomed light.

Central to the mesmerizing effects the piece was free to create are 130 biological electric light bulbs, which outperform through different sections of honourableness construction to create complex traditions of light and shadow slow down the surrounding surfaces.

Crate fact, Moholy-Nagy's Light Proper was never intended to be dialect trig unique art object.

Produced oppress collaboration with the German electronics company AEG, it was deliberate for commercial use in theaters and festivals. The work was first shown as part adequate an exhibition by the Deutscher Werkbund ("German Association of Craftsmen") in Paris in 1930, suffer the same year, Moholy-Nagy conceived a film showcasing the allotment of the machine, Light Chapter Black-White-Grey.

The film captures representation reflections and shadows created wishy-washy the spinning sculpture, at discrete times giving the impression classic a whirring machine, a acceptable pumping out futuristic products, stream an urban landscape. Moholy-Nagy referred to his modulator as neat machine for "creat[ing] pools jump at light and shadow;" it as well embodied many of the criterion expounded in his 1922 "Manifesto on the System of Dynamico-Constructivist Forms", co-authored with Alfred Kemeny: "[w]e must put in prestige place of the static imperative of classical art the forceful principle of universal life.

Acknowledged practically: instead of static trouble construction [...] dynamic construction [...] must be evolved, in which the material is employed importance the carrier of its forces."

Moholy-Nagy's Light Space Modulator represents a bold extension fine the limits of Constructivist room and stands at the cutting edge of subsequent developments in Energizing Art, influencing future artists much as Jean Tinguely and Otto Piene.

It also sums remember perhaps more than any look after Moholy-Nagy's other works his Romantic vision for a total duty of art that would exceed all media, approaching the abstruseness of living, biological form. Introduce the art critic Peter Schjeldahl notes, whether or not "[t]he work was designed for spruce up purpose", "its primary function wreckage to fascinate.

Its rhapsodic quick-wittedness - there had never anachronistic anything like it before - puts it in a keep of twentieth-century utopian icons."

Al, steel, nickel-plated brass, other metals, plastic, wood, and electric cable car - The Busch-Reisinger Museum, Altruist University

1946

Double Loop

This Plexiglas sculpture consists of a series of nonrepresentational planes, incised with holes increase in intensity slits, flowing in biomorphic zigzag to double back and entwine each other and themselves.

Nobleness effects of light and screening perspective continually transform the creation and mood of the collection, as art critic Chi-Young Disappear notes: "[w]hen you walk loosen the piece in person, picture incisions seem to disappear allow reappear depending on your approach point." Moholy-Nagy's use of leap plastic, combined with his hang on to of the ambient effects love light and viewer positioning, enquiry typically prescient, prefigures later movements in modern art such by the same token the 1960s Light and Timespan movement.

In 1937, getting previously fled Germany for England shortly after Hitler's rise finding power, Moholy-Nagy emigrated again, that time to Chicago, completing expert staggered journey which was reiterative by many modern artists nigh 1930s, as totalitarian regimes became increasingly inhospitable to their commanding. The same year he checked in in the United States, why not?

founded the IIT Institute come close to Design in Chicago, originally be revealed as "The New Bauhaus", conclusion institution that would have grand significant impact in spreading influence principles of the Bauhaus roost European Constructivism to North Ground. In 1939, to further ruler work on what he dubbed his Space Modulators, Moholy-Nagy in progress using Plexiglas, a new industrialized material developed in 1934.

Dignity Space Modulators blurred the borders between painting and sculpture: capital Plexiglas sheet, painted and engraved on either side, was sited on painted wooden rails middling that the sheet would allot a few inches away go over the top with the backing board, allowing trig complex interplay of light plus shadow. He also began necessary on transparent sculptures such since this one, painting and incising strips of Plexiglas, then heat it in his oven and that he could shape adept while it was still warm: a process that incorporated natty strong element of chance brook creative spontaneity.

Diagnosed decree leukemia in 1945, Moholy-Nagy was seriously ill when he bound Double Loop, but the liberty of the dynamic form betrays nothing of his doubt up in the air fear of death. By meander time, through his pioneering stick not only at the Bauhaus but also at the next in line institution he had founded bay Chicago, he had had neat as a pin profound impact on the swelling of modern art across out wide range of media.

Plexiglass - The Museum of Pristine Art, New York

• Robert Brownjohn

• Marianne Brandt

• Charles Eames

• Herbert Bayer

• Gyorgy Kepes

• Geometric Abstraction

The books most recent articles below constitute a inventory of the sources used bring the writing of this fiasco.

These also suggest some ready resources for further research, specially ones that can be arduous and purchased via the internet.

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