Moholy-Nagy


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Moholy-Nagy

Laszlo or Ladislaus . 1895--1946, US painter and teacher, born in Hungary. He worked at the Bauhaus (1923--29)
References in periodicals archive ?
Galerie Gmurzynska, based in Switzerland, has been working with these artists since 1965, handling especially the work of Rodchenko, El Lissitzky, Gabo, Moholy-Nagy, and Klutsis.
In chapter 4, McBride further expands her theory of montage by exploring the writings, photography, and typography of Moholy-Nagy, who emerges as McBride's second-most important source (next to Benjamin) for establishing the aesthetic nexus between narrative, image, and montage.
HE IS AT WORK ON ART IN THE FIRST SCREEN AGE: LASZLO MOHOLY-NAGY AND THE CINEFICATION OF THE ARTS (UNIVERSITY OF CHICAGO PRESS).
It debuted at Schwarzenberg Palace as an exhibition of Moholy-Nagy University of Art and Design in the framework of the guest country programmes of Hungary.
14) Max Dupain and Laszlo Moholy-Nagy both had a camouflage way of thinking.
In this issue the distinguished scholar Rose-Carol Washton Long examines the life and photographic production of this trained photographer, who frequently collaborated with her husband, Laszlo Moholy-Nagy, during his tenure at the Bauhaus in the 1920s.
In a similar approach to Rodchenko, Moholy-Nagy set out the "objective standards" for painting, whose intention he stressed was not to demonstrate only individual inventions, but rather the standards of a new vision employing "neutral geometric forms" (Moholy-Nagy, 1932).
La experiencia de "dibujar con luz" esta en el origen de la fotografia, artistas como Man Ray o Moholy-Nagy ya comenzaron a plantear este uso derivado de la luz que encontramos en Inma Femenia.
He apprenticed in Paris with Le Corbusier and in London with Laszlo Moholy-Nagy before coming to the United States in the late 1940s and establishing Paul Weidlinger Consulting Engineer in 1949.
A distinguished theoretician, painter, photographer and artist associated with the Bauhaus, Moholy-Nagy appears to have had a significant impact on Pone's visual aesthetics, as well as his passion for attempts at a new synthesis of artistic disciplines.
The section will feature works by Marcel Breuer, Laszlo Moholy-Nagy and Erno Goldfinger, whose name Ian Fleming spitefully immortalised as a Bond villain because of personal antagonism.