László Moholy-Nagy
Hungarian painter and photographer / From Wikipedia, the free encyclopedia
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László Moholy-Nagy (/məˌhoʊliˈnɒdʒ/; Hungarian: [ˈlaːsloː ˈmoholiˌnɒɟ];[2] born László Weisz; July 20, 1895 – November 24, 1946) was a Hungarian painter and photographer as well as a professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts. The art critic Peter Schjeldahl called him "relentlessly experimental" because of his pioneering work in painting, drawing, photography, collage, sculpture, film, theater, and writing.[1]
László Moholy-Nagy | |
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Born | László Weisz (1895-07-20)July 20, 1895 Bácsborsód, Austria-Hungary |
Died | November 24, 1946(1946-11-24) (aged 51) Chicago, Illinois, US |
Resting place | Graceland Cemetery |
Nationality | Hungarian American (1946) |
Known for | Painting, photography, sculpture, film |
Notable work | Light Prop for an Electric Stage (1928–1930, also called Light-Space Modulator posthumously) |
Style | Constructivism[1] |
Movement | Bauhaus |
Spouses |
He also worked collaboratively with other artists, including his first wife Lucia Moholy, Walter Gropius, Marcel Breuer, and Herbert Bayer.[3][4] His largest accomplishment may be the School of Design in Chicago, which survives today as part of the Illinois Institute of Technology, which art historian Elizabeth Siegel called "his overarching work of art".[3] He also wrote books and articles advocating a utopian type of high modernism.[3]