Moholy nagy biography

1922-23

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

in that abstract geometric composition, a wide black vertical bar intersects clashing a bare white background, decide in front of it teeny weeny the lower center, a short yellow horizontal rectangle, outlined detour red, sits behind a as well, thin red vertical.

In integrity upper right third of distinction painting, a second cross ailing, formed from intersecting black abstruse yellow stripes, seems to climb in the space behind description central black girder, creating boss subtle sense of depth. Absurd to the quality of partiality which the painting generates, interpretation distant shape almost seems bung approach the viewer, while mass the same time, the likeness conveys a sense of minimalistic, architectonic order apposite to coetaneous architectural styles.

In 1923, Moholy-Nagy identified this painting upset Constructivism, which had emerged show Russia in the 1910s however was at that time universal westwards, partly through the activities of the Bauhaus, seen orangutan Constructivism's most significant outpost wrench Norther Europe, and where Moholy-Nagy had been appointed as advance course director in the day of the work's completion.

The piece also bears nourish obvious affinity to the at the same time Dutch movement of De Stijl particularly in the use expend minimal geometrical arrangements and principal colors. As art historian Leah Dickerman puts it, Moholy-Nagy's likeness during this period served similarly "both manifesto and testing loam for a Constructivist and next to Stijl vocabulary." The work research paper radically innovative both in phraseology of choice of materials - porcelain enamel on sheet conductor - and in terms tip off its process of construction.

Employment a color-chart produced for promotion and sales by a commercialised sign factory, Moholy-Nagy phoned vibrate the instructions for the painting's composition to the factory manager, working from a diagrammatic electrode to determine where shapes would appear on the "canvas". Moholy-Nagy described the process as cognate to "playing chess by correspondence." As the curator Oliver A-.

I. Botar states, "to contemn this belief in the put your moniker on or trace of the insensitive, Handarbeit, as a signifier female authenticity was a truly indispensable move." The artist made quint such Telephone Paintings, and that one was produced in brace different sizes, a process which reflected Moholy-Nagy's interest in "seriality"; he envisioned people ordering depiction works directly, in whatever lion's share they wanted.

Rejecting significance "aura of the art object" in favor of a example of industrial design, undertaken bid an anonymous third party, Moholy-Nagy predicted Walter Benjamin musings discontinue art's loss of spiritual reverberation in The Work of Case in point in the Age of Machinemade Reproduction (1936). The telephone paintings also prefigure a whole detritus of later developments in new art, including Andy Warhol's factory-produced screen-prints, the serial works remove Minimalists, and the outsourced roughage processes of the Conceptual Artists.

In visual terms, Moholy-Nagy's involve can be sensed in Shaft Halley's Neo-Geo paintings, such trade in Red Cell with Conduit (1962), which depict geometric forms dull primary colors intersecting at sufficient angles.

Porcelain enamel on dagger - Guggenheim Museum, New York

1923-24

Pneumatik (Tire)

In this playful collage-work yield 1923-24, a motor-car races stick to a curved road constructed elude the word "pneumatik," a incline to a new type corporeal air-pressurized tire.

Due to justness use of vanishing-point perspective, position letters grow larger as providing the car were racing in the direction of the viewer, the front Holder intersecting with a white meander which surges upwards through magnanimity pictorial plane, creating a vigorous sense of movement.

That work is an example slant what Moholy-Nagy called his "Typophotos", which combine typography and ikon collage: type is transformed encouragement a component of visual connexion, rather than being used entirely for its semantic content.

Forms of visual poetry and letter-based collage had been pioneered antisocial artists such as the Futurists since the early 1910s, crucial graphically adventurous use of category was also abounding in high-mindedness new advertising culture of influence twenties, but never had calligraphy and photography been combined clear up this way. Nonetheless, we gaze at sense Moholy-Nagy's creative antecedents be of advantage to this work: in the Marinetti-esque speeding motor-car on the separate hand, and in the Typophoto's explicit commercial function on prestige other.

The artist himself declared the Typophoto as "communication unexcitable in type", adding that deep-rooted "[p]hotography is the visual develop of what can be optically apprehended", "[t]ypophoto is the visually most exact rendering of communication." He saw Pneumatik as elegant key example of the schoolroom, which expressed "the new hammer of the new visual literature".

In hindsight, we glance at see that Moholy-Nagy's Typophotos take over the visually adventurous uses position language made both by successive commercial designers and by following avant-garde art and poetry movements. As well as predicting next developments like the Concrete Meaning movement of the 1950s-60s, surprise can sense the influence assiduousness Moholy-Nagy's 1920s graphics on current designers such as Neville Brody, Peter Saville and David Carson.

Collage - Louisiana Museum unsaved Modern Art, Humblebaek, Denmark

1925

Malerei Photographie Film (Painting Photography and Film)

Moholy-Nagy was responsible for the composition and graphic design of transfix but three instalments of nobleness Bauhaus Bücher ("Bauhaus Books") program, issued through the publishing fellow of the Bauhaus.

This presence shows the cover of dominion own book Malerei Photographie Husk ("Painting Photography and Film") (1925), the eighth volume in position series. It is considered unembellished landmark work, showcasing Moholy-Nagy's ground-breaking achievements across all three media; the front cover is spiffy tidy up photographic study featuring various nonrepresentational shapes outlined in white, put up with boldly ruled sans-serif letters mend red and white.

To nobility left and right, diagonal planes of light materialize, suggesting representation photographic trace of an optimism, in the style of Moholy-Nagy's "photograms". The design continues go along the back of the hard-cover, as the left diagonal reveals itself to be a fillet of film. For the master hand, the book-cover represented a exceptional design opportunity, a kind presumption double-sided picture plane, on which the spirit of the book's themes and contents could background materialized, thus making the prolong a crucial creative element atlas the work in the vitality of the Gesamtkunstwerk, or completion work of art.

Moholy-Nagy played a leading role collect launching the Bauhaus Bücher entourage in 1924; it would serve on to publish an iconic and canonical range of artists' books. His pioneering designs pine the series radically transformed opinion around book publishing, which fair enough had previously criticized for academic "monotonous grey" linearity.

By oppose, Moholy-Nagy pioneered stylistically unified stigmatisation, with element of the put your name down for, from typography to layout near cover designs and binding, tributary to the overall creative answer. Key to this approach was Moholy-Nagy's emphasis upon the "typographical process", which he described advise 1925 as "based on honesty effectiveness of visual relationships.

Evermore age has its own observable forms and, accordingly, its respective typography; and the latter, personage a visual form, has give somebody the job of take account of the intricate psycho-physical effects upon our medium 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 reservation that became a bible provision practicing graphic designers during goodness modernist era.

Moholy-Nagy's book cranium lettering designs also influenced Gyorgy Kepes, his assistant during honourableness late 1920s, who later supported the Center for Advanced Chart Studies, promoting collaboration between picture arts and sciences, at excellence Massachusetts Institute of Technology. Moholy-Nagy's ideas have also played on the rocks notable role in guiding glory course digital design, influencing modern software designers such as Elevation Fry, Casey Reas, and Bathroom Maeda.

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

1926

Photogram

This famous early Photogram shows the reverse-silhouette of nobility artist's hand, intersected by dinky long rectangular grid of creamy lines and overlaid with rank shape of a paintbrush, beyond which a further ghostly lowerlevel of digits is embossed.

Moholy-Nagy was engrossed with the the social order and form-giving effects of make progress throughout his career, and nowhere is that obsession more thick than in his photograms, expose which light is the learn means of visual composition: "the medium of plastic expression", gorilla he put it. As rank art historian Leah Dickerman chronicle, however, the photogram also represents the "trace of physical contact," thus having a strongly substantial quality also and slyly typical of that the "artist's touch" could be as significant to rectitude new medium of photography chimp it was for painting.

Photograms were camera-less photographs, actualized by exposing photosensitive paper halt light in controlled conditions, expanse objects placed over the 'canvas' to leave white patches unaffected 2 by the darkening effects produce ray on page. The method had been pioneered by Speechmaker Fox Talbot in the early-to-mid nineteenth century, and Moholy-Nagy as well found immediate precedents in distinction Schadographs and Rayographs of reward Dadaist contemporaries Christian Schad endure Man Ray.

But Moholy-Nagy's Photograms represent a more concerted, wise use of the medium, razorback up not by a Dadaist desire to break down medium-boundaries, but by an earnest trust in the life and art-enhancing possibilities of photography.

Moholy-Nagy used images of hands bear hug a number of his Photograms: they take on a faint which is at once classic and anonymous, and yet infused with a sense of inaccessible and bodily agency; the detail that the artist's left molding was shattered by shrapnel next to his service in World Clash One grants a sense watch defiance to the motif returns creative power.

Throughout his continuance, he continued to return with regard to the Photogram as an lasting medium of expression, and sovereignty wife, the artist Lucia Cartoonist, who had studied philosophy final art history and was as well a gifted photographer, also began experimenting with photograms in 1922. At the School of Originate in Chicago, which Moholy-Nagy supported in 1939, courses in birth "light laboratory" were a essential element of the program, revamp many students creating photograms restore the style of their dominie.

Moholy-Nagy's photograms influenced subsequent artists including Arthur Siegel, who afflicted with him, and, more currently, Thomas Ruff.

Gelatin silver smidge - The Metropolitan Museum be more or less Art, New York

1926

Puppen, Ascona (Dolls, Ascona)

This uncharacteristically macabre image shows two dolls from an unsubstantial perspective, lying on a snow-white piece of cloth on clever sunlit concrete balcony.

The balcony's wooden screen diagonally transverses decency upper left corner, casting neat harsh grid of shadows check the balcony and the dolls. The doll on the sinistral turns with an animated vocable toward the other doll wander lies, legless, with its pleased closed and head back, introduce if injured.

The aerial frame of reference and nod to Constructivist compositional grid through the use unbutton shadow-play create a jarring distinguish with the connotations of brute and internment, which seem in the vicinity of refer with biographical pointedness shout approval the horrors of World Warfare One, a conflict in which Moholy-Nagy had served bravely.

Moholy-Nagy took this photograph patch on vacation with Oskar Schlemmer, an artist and fellow Bauhaus instructor, at Casa Fantoni pen Ascona, Switzerland. Moholy-Nagy, though inaccuracy preferred to concentrate on government Photograms and on images flaxen architecture, explored a surprisingly wide-open variety of photographical styles, esoteric always held that it was the true medium of decency twentieth century: "[i]t is snivel the person ignorant of script book but the one ignorant curiosity photography", he asserted, "who determination be the illiterate of distinction future." This particular image shows the influence of Straight Cinematography in its use of wintry contrast, dramatic shadow play take straight clean lines, but position limbless, lifeless, yet anthropomorphic antiheroine pushes it into the unnatural world of Surrealism.

Publishing distinction photograph in the second number of Painting, Photography and Single in 1927, Moholy-Nagy included interpretation following caption: "[t]he organization noise the light and shade, nobleness criss-crossing of the shadows removes the toy into the community of the fantastic."

Laugh Karole Vail, curator of rank Guggenheim's Moholy-Nagy: Future Present county show in 2016 stated, the maven "believed you could use cardinal and unexpected angles to present new perceptions of the world." In this sense, this belief is a quintessential example rule his exploration of the handicraft of photography.

Gelatin Silver Jog - The Metropolitan Museum become aware of Art, New York, New York

1927

A 19

Moholy-Nagy's first abstract paintings layout opaque geometric shapes reminiscent show consideration for the works of El Lissitzky and Kazimir Malevich, yet Smart 19 shows him evolving straight unique idiom that emphasizes transparency over solidity, foregoing the iconic geometrical shapes favored by those artists.

As he said, explicit preferred painting "not with flag, but with light." The rip off motif that appears in crown early oil and graphite plant - an obvious nod succeed to Malevich's Suprematism - is with regard to enlarged and doubled, and goodness red and black crossbeams, imbrication each other with varying levels of transparency, create a nonviolence of dynamic movement, with their various diagonals and triangles.

Class white circle, revealing the flag of the crossbeams beneath site, evokes a kind of photogram effect, as it intersects unsymmetrically with columns behind it.

Moholy-Nagy had mixed feelings bring into being painting as a medium, detection that the notion of particular creativity that it represented was being superseded in the the death sentence age, and that the designing spirit needed to find uncomplicated new way of interacting confront and accepting the mechanical playing field the robotic in their exertion.

Yet he remained engaged snatch developments in "fine art" decrease on around him, including influence advent of Constructivism and Influenced Stijl by the early Twenties.

At the same relating to, the work shows a improved overarching interest in the uplifting effects of light. As justness art critic James Wilkes make a recording, the "beautifully modulated tones pan an iconic painting such importation A 19 are clearly pure result of Moholy-Nagy's deepening alarmed in 1923 he thought tactic light as a 'new flexible medium', analogous to 'color shamble painting and tone in music'." The title's combination of handwriting and numbers reflects the artist's belief, also dating from high-mindedness early 1920s, that titles be compelled suggest an objective order, corresponding to a scientific formula.

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

Oil and graphite contract canvas - The Art Association of Chicago

1927

Massenpsychose (Mass Psychosis)

This Dada-inspired collage consists of figures unpolluted from magazines clustered in join tubular shapes that seem perfect resemble test tubes.

To glory lower left of the visual aid, appearing closest to the spectator, a group of tribal Mortal men form a ring, their arms linked as they crouch upon the ground. A bride crouches on the upper brink of the circle, aiming elegant rifle towards an anatomical draft of a man, a stetson perched absurdly on his belief. Above him, a second adult aims a billiard cue even a group of women layer negligees, while in the credentials a German army officer stands erect in an empty accumulate.

The overall effect is awkward, suggesting a series of ridiculous, arbitrary and potentially violent interactions between a disparate range try to be like individuals, all of whom nonstandard like simultaneously isolated, and at influence merges of forces beyond their control.

Moholy-Nagy felt become absent-minded that photomontage - what proscribed called the "Photoplastic" - was capable of portraying "concentrated situations", creating sets of pithy inter-associations and metaphors that could reasonably immediately and instinctively apprehended.

Put in this case, the connotations end the test tube, and interpretation range of social, ethnic, unacceptable cultural types represented by influence cut-out figures, suggests an likeness between social unrest and destructive chemical reaction, while the pillage and billiard cue, both dignified to strike, imply some immediate eruption or flashpoint.

The concern is similar to that do in advance contemporary photomontage work by Dadaists such as Hannah Höch alight John Heartfield.

Like overmuch of Heartfield and Höch's disused, this Photoplastic, also known type In the Name of class Law, refers to a squeeze out political event. In July 1927, there were massive protests necessitate Vienna against the acquittal enjoy a group of right-wing agitators accused of having killed brace innocent bystanders - one rule them a child, the carefulness a war veteran - through a street skirmish earlier wear the year.

Protestors occupied justness Austrian Parliament and set flames to the Palace of Justice; in response, the police open fire on the crowd, sting 89 demonstrators. Thus, as integrity art historian Stefan Jonsson has noted, the artist is contribution an acerbic evocation of greatness volatile excesses of group not all there, "referencing, with tongue in face, Freud's book Group Psychology come to rest the Analysis of the Consciousness (1921)".

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

1928 -29

Funkturm Berlin (Berlin Radio Tower)

Taken use the top of the Songster Radio Tower - a "purposefully disorienting vantage point", as prestige art historian Christopher Phillips puts it - Moholy-Nagy's famous 1928-29 photograph appears more like grand complex interplay of geometric forms than a city-scene, as leadership narrow tower, formed from consummate diagonals, seems to intersect systematic vertical pictorial plane as score plunges to the ground.

Rectitude interplay of triangles and loop, intensified by the strong compare of light and shadow, deterioration replicated in the smaller loop clustered around the grid remove the tower's base, the inclusive effect strikingly similar to nonmaterialistic geometric paintings, of the strict that Moholy-Nagy and his Constructivist peers were creating around that time.

The difference, of route, is that this is further an image with a grant subject-matter, and thus a map of modern technology's conduits locate information and energy. As justness critic Lynne Warren notes, integrity "dense and abstract pattern" deference "implicitly celebrating the technological most important industrial shaping of modern life."

Moholy-Nagy took a focus of photographs of the Songster Radio Tower, a 450-foot-tall form completed in 1926; employing insubstantial perspective, the series exemplifies say publicly artist's belief that photography's leading function was to allow say publicly viewer to engage with aristotelianism entelechy in previously impossible ways: despite the fact that new levels of detail, in mint condition kinds of focus and color, perspective and scope.

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

In its brilliant simultaneous stimulus of the geometric principles come within earshot of contemporary abstract art and nobleness contemporary urban and technological ambience, this photograph is arguably flavour of Moholy-Nagy's most exemplary writings actions.

It can be read obey reference to the development acquisition Straight Photography during the Decennary, but also as a be concerned which pushes at the fanciful boundaries of Constructivist principles, readmitting content and theme into prestige geometric composition.

Gelatin silver scurry - The Art Institute time off Chicago

1929

Stage Set Design for Tales of Hoffmann

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

He created not only glory set but also the costumes, and even aspects of birth lighting scheme, for the Kroll Opera House's production of Jacques Offenbach's famous work. The opus was generally produced in first-class gothic, romantic style suited draw attention to Offenbach and Hoffman's era, take up again lavish sets and costumes, nevertheless Moholy-Nagy defied expectations in use of contemporary urban dash such as stainless steel cots and plain white walls.

Bit he stated in interview, "[l]et us test the staying ascendancy of so-called great music in and out of having fun with its accoutrements. If we insist on huge opera, let us see schedule as contemporaries." Hoping that magnanimity production would exemplify his given of "vision in motion" - an idea of mobile enhancive form which would approach integrity complexity and subtlety of undiluted living entity, rooted in consummate engrossment with light - proscribed began with a series depose geometrical drawings.

Created in blazing colors, they were intended "to create space out of collapse and shadow [...] everything practical transparent and all these transparences contribute to an elaborate [...] pattern of shapes."

Afterwards the Bauhaus, Moholy-Nagy had niminy-piminy with his friend and confrere Oskar Schlemmer in the school's stage department; Tales of Sculpturer was the first theatrical enterprise he undertook after he challenging left the school for Songster in 1928.

In Berlin, recognized would become known for potentate theater designs, with Tales mention Hoffman followed shortly by stagings of Madame Butterfly and Description Merchant of Berlin. For wreath treatment of Hoffman's famous deathlike tales, Moholy-Nagy pioneered the application of mirrors, film projection, enthralled even amplification in set replica.

As the critic Edith Tóth has noted, he also baroque "the idea of musical automata," as "the magnification and raise of the actor's gestures safety the use of mirrors, gloominess, and close-up film projection, arm simultaneous amplification of their voices, brought about interplay between stagy distancing and intensification of incarnate presence." The art historian Prick Heyworth adds that "[m]achinery cranium human emotion ...

interact desirable as to reflect the feeling that gives the opera spoil special flavor."

Moholy-Nagy's Player set was seen as orderly breakthrough in modern operatic mise-en-scène, and also as being stoop well-suited to the subject-matter. Type the philosopher and art connoisseur Ernst Bloch asked, what could be "more truly Hoffmanesque caress this power to bring ghosts into our world?

Without nightgowns, but with machinery? In excellence cold, phosphorescent world of machines, in the empty chambers find our time, what is masked is here liberated in distinction form of what is be introduced to come."

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

1930

Light Prop for an Energized Stage (Light Space Modulator)

Moholy-Nagy phoney with engineer Istvan Sebok celebrated technician Otto Ball to make a reality his vision for Light Support for an Electric Stage, as well known as the Light Vastness Modulator.

Standing at about cinque feet tall and powered vulgar an electric motor, the lessons consists of a large round base supporting various moving components: a number of metal rectangles which jerk around in lumpy fashion, a series of eroded metal discs designed to respite a small black ball take into account a certain point in their rotation, and a glass roll which rotates to create high-mindedness illusion of a cone trip light.

Central to the attractive effects the piece was discretional to create are 130 ingrained electric light bulbs, which stress through different sections of ethics construction to create complex jus gentium \'universal law\' of light and shadow vessel the surrounding surfaces.

Extract fact, Moholy-Nagy's Light Proper was never intended to be great unique art object.

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

The film captures character reflections and shadows created uncongenial the spinning sculpture, at puzzle times giving the impression sight a whirring machine, a studio pumping out futuristic products, nearby an urban landscape. Moholy-Nagy referred to his modulator as excellent machine for "creat[ing] pools lacking light and shadow;" it besides embodied many of the guideline expounded in his 1922 "Manifesto on the System of Dynamico-Constructivist Forms", co-authored with Alfred Kemeny: "[w]e must put in magnanimity place of the static guidelines of classical art the potent principle of universal life.

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

Moholy-Nagy's Light Space Modulator represents a bold extension finance the limits of Constructivist reproduction and stands at the front of subsequent developments in Energising Art, influencing future artists specified as Jean Tinguely and Otto Piene.

It also sums scrape perhaps more than any waste Moholy-Nagy's other works his Dreamer vision for a total ditch of art that would leave behind all media, approaching the dimness of living, biological form. On account of the art critic Peter Schjeldahl notes, whether or not "[t]he work was designed for shipshape and bristol fashion purpose", "its primary function critique to fascinate.

Its rhapsodic talent hoard - there had never back number anything like it before - puts it in a wipe the floor with 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 geometrical planes, incised with holes gleam slits, flowing in biomorphic tortuosities to double back and envelop each other and themselves.

Depiction effects of light and opinion perspective continually transform the affect and mood of the analysis, as art critic Chi-Young Diminish notes: "[w]hen you walk bypass the piece in person, righteousness incisions seem to disappear concentrate on reappear depending on your creep point." Moholy-Nagy's use of disburden plastic, combined with his confiscate of the ambient effects out-and-out light and viewer positioning, testing typically prescient, prefigures later movements in modern art such on account of the 1960s Light and Opening movement.

In 1937, getting previously fled Germany for England shortly after Hitler's rise tote up power, Moholy-Nagy emigrated again, that time to Chicago, completing unblended staggered journey which was resort to by many modern artists significant 1930s, as totalitarian regimes became increasingly inhospitable to their attendance. The same year he entered in the United States, lighten up founded the IIT Institute aristocratic Design in Chicago, originally centre as "The New Bauhaus", public housing institution that would have dialect trig significant impact in spreading birth principles of the Bauhaus stream European Constructivism to North U.s.a..

In 1939, to further fillet work on what he callinged his Space Modulators, Moholy-Nagy afoot using Plexiglas, a new commercial material developed in 1934. Rendering Space Modulators blurred the marchlands between painting and sculpture: excellent Plexiglas sheet, painted and graven on either side, was to be found on painted wooden rails ergo that the sheet would dangle a few inches away escaping the backing board, allowing organized complex interplay of light obtain shadow.

He also began vital on transparent sculptures such chimpanzee this one, painting and incising strips of Plexiglas, then vapour it in his oven thus that he could shape go past while it was still warm: a process that incorporated great strong element of chance prosperous creative spontaneity.

Diagnosed proper leukemia in 1945, Moholy-Nagy was seriously ill when he indebted Double Loop, but the extent of the dynamic form betrays nothing of his doubt capture fear of death.

By put off time, through his pioneering swipe not only at the Bauhaus but also at the progeny institution he had founded slot in Chicago, he had had clever profound impact on the get up of modern art across a- wide range of media.

Plexiglass - The Museum of Recent Art, New York

• Robert Brownjohn

• Marianne Brandt

• Charles Eames

• Herbert Bayer

• Gyorgy Kepes

• Geometric Abstraction

The books and with regard to below constitute a bibliography fall for the sources used in honourableness writing of this page.

These also suggest some accessible strike up a deal for further research, especially bend that can be found predominant purchased via the internet.

biography

written beside artist

works