László Moholy-Nagy’s life was not a calm one. After his father, Lipót Weisz, left the family at the time of his birth, in 1910 his uncle, dr. Gusztáv Nagy took them under his patronage.

 He and his siblings moved to Mohol and then to Szeged in 1905, where he was enrolled in the State High School (where Mihály Babits also taught).

 In 1910, in honor of their uncle, he and his siblings changed their surname to Nagy.

 His first artistic attempts proved to be successful, in 1913 the Szegedi Napló published some of his poems. After graduation, he moved to Budapest, where he began to study law, but the World War intervened.

 In 1916, he was drafted into the Royal Hungarian Army as an artillery observer. He was ordered to the Eastern Front, where he made hundreds of drawings of everyday life at the front; on folder pages and field postcards, which he sent home initially from the front, then after he was wounded in 1917, from the military hospital in Odessa.

 He was demobilized in 1918 and returned home to Budapest to continue his law studies, but he did not pass his final exams and left the university at the end of the semester. He presented himself to the public for the first time that same year, and his works were exhibited in the framework of the exhibition "Hadviselt Münvészek".

 At this time, in addition to painting, he also wrote for the newspaper Jelenkor.

In March 1919, he also signed the joint revolutionary declaration of Hungarian activists, but he did not participate in the events of the Soviet Republic. In the meantime, he changed his name again, adding the name of his beloved uncle's residence, Mohol, in front of his last name, so from then on his drawings, paintings and other works were labeled "Moholy-Nagy". After the fall of the Commune, fearing reprisals, he fled to Vienna, where he soon joined Kassák and other emigrant Hungarian artists and writers, traveling with them to Berlin at the beginning of 1920.

In April 1920, he met Lucia Schultz, his later wife, who introduced him to the artistic world of photography. They were married in 1921.

In February 1922, his exhibition organized together with László Péri at the Der Sturm gallery was a resounding success, and his name quickly became known throughout the city and the country. Also in this year, his work edited together with Kassák, the book of New Artists, was published. Moholy-Nagy supplied Lajos Kassák and Ernő Kállai with artistic illustration material in the magazines Ma, Tett, Die Aktion, Der Sturm.

His success can be attributed to the fact that Walter Gropius asked him in 1923 to replace the departing Johannes Itten as one of the instructors at the Bauhaus in Weimar. He was among artists such as Paul Klee, Wassily Kandinsky, Oskar Schlemmer, and although he was considered unknown next to them, he nevertheless became one of the trademarks of the idealism of the Bauhaus. Between 1921 and 1928, he wrote two books entitled Painting, Photography, Film (1925) and From Material to Architecture (1927), and he was also the co-author of the volume The Theater of the Bauhaus.

1928 was a busy year in his life, he left the Bauhaus together with Walter Gropius, divorced his wife, and moved back to Berlin, where he took on photographic, typographic and advertising graphic work, while also designing theater sets (Hoffmann's Tales, The Berlin Squid, Miss Butterfly), and in his spare time light design dealt with problems.

In 1929, he tried his hand at filmmaking, shooting his first larger-than-life film entitled Marseille, old port. In 1931, he created the light-space modulator (Lichtrequis) as a sort of solution to the problems of light formation, which is a kinetic plastic, metal and plastic sculpture - and the light projected on it creates a colorful play of light on the surrounding walls. This also inspired his films Black-White-Gray (1932) and City Gypsies (1932).

At the end of 1931, he met Sybille Pietzsch, whom he married in 1933, and their first daughter, Hattula, was also born this year. Due to the advance of Nazism, they moved to Amsterdam in 1934, where Moholy-Nagy was employed as a typographic consultant for a local printing house. It was at his workplace that he dealt with color photography for the first time in his life. His second daughter, Claudia, was already born there.

Since they did not feel very well, they moved to London in May 1935, where a much more exciting life awaited them. He tried his hand at almost all areas of design, from shop window design to film set design (for Sándor Korda's film Eljövendő sólk, also of Hungarian origin), while also publishing three photo albums.

In 1936, he was one of the signatories of Károly Tamkó Sirató's Dimensionist Manifesto.

In the summer of 1937, at the suggestion of Gropius, he was asked to manage the Bauhaus school, which had moved overseas in the meantime, under its new name New Bauhaus. They moved to America in July, and the college opened its doors in Chicago in October 1937.

His earlier concerns were confirmed in 1938, when his works were deemed "degenerate art" and removed from all German galleries and museums.

In 1939, Moholy-Nagy and a few of his colleagues founded the School of Design institute, also in Chicago, without significant capital, which rose to the rank of a college in 1944 under the name Institute of Design. He was the head of the institution until his death two years later.

After several bouts of illness, he was hospitalized for the first time in 1945, where doctors diagnosed him with leukemia. Since the era did not yet know any cure for the disease, just over a year after the death of Béla Bartók, who also suffered from leukemia, he also died on November 24, 1946. His ashes were buried in Chicago, Walter Gropius gave a eulogy over his grave.

His posthumous work, published in 1947 under the title Vision in Motion, includes the entirety of his pedagogical program and artistic objectives.

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Details of the painting:

Technique: oil on cardboard

Size without frame: 16 x 27 cm

Size with frame: 20 x 31 cm

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