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By László Moholy-Nagy

The hot imaginative and prescient and summary of an Artist'' via Laszlo Moholy-Nagy. layout and typography by way of Paul Rand. long island: Wittenborn: 1947. The files of contemporary paintings quantity 3, letterpress version, edited via Robert Motherwell. and visually expresses Moholy-Nagy's Bauhaus modernist imaginative and prescient via artwork, structure, sculpture, monitors, motion picture units, furnishings, etc.

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6 1 , eighty ok in e tic four three , four 7 , four nine within the around four three Roman four five South Sea four 6 Semper, G. sixteen Sensory stories 1 1 ,1 7 ,2 three , fifty seven, fifty eight, sixty three Seurat, G. 38 Severini, G. 35 Sheeler. Ch. 6 four * Siegel, A . 6 four * S lo w -m o tio n digicam fifty three Sociobiology 2 2 , five four , 7 nine Sorensen-Popitz, I. four 7 * area five. 6, three 6 -3 nine , four nine , five 6 -6 four , eight four . eight 6 house m od u l. a. to r eight 6 Space-tim e three three . 38, four zero . four nine , 6 zero ninety two experts 14 level four zero , 6 three * Static four nine S tructure five. 2 five * - 2 eight , 31. 33, 36, fifty one Sturm , Der four nine unconscious three zero . sixty eight Sullivan, L. 2 zero S uperim place 37, 7 6 Suprem atism three 2 . 38 floor tre a tm e n t 2 five . 2 6 * , 2 7 * . 34, three five , fifty one Surrealism 32, four zero image three zero T T a ctile routines 2 three . 24 T a c tilis m 2 four , 28 T a le n t 17 T aylo r-syste m sixteen T echnics 7 nine expertise 15. sixteen. three zero . 6 zero . seventy two T ele h o r eight stress four nine , eighty four Testa, A . 2 eight * T e stin g 15 T e xtu re 2 five . 2 6 * . 2 7 , three 1 . five 1 , 7 nine , eighty three T ih a n yi. L. sixty eight T ou ch -d ia gra m 24 T ra d itio n 31 Transparency three nine * . 6 four , seventy two, 7 five , eighty four, 86 T u b u los angeles r fu rn itu re 86 Tzara, T . eight zero U U to p ia 18 V Van de Velde. H . 2 zero V an Doesburg, T. five 2 , eight zero V an Eesteren, C. eight zero Van Gogh, V . three five . 38. sixty eight Vantongerloo. G. four eight * . eight zero V an Vossen, T . four four * V a tica n eight zero Verne. J. 18 V e rtic a l 6 2 V ie n n a seventy two V irtu a l four 7 * V ision , b in o cu los angeles r seventy five V ision , m onocular seventy five V isio n in m otio n 7 five . 7 6 . 86 V isual elem ents sixty seven V o lu m e four 1 -5 five . fifty eight, 6 zero . 6 2 . 86 Vydra, J. 31 W W alden. H. eighty W e lls, H. G. eight W eltanschauung seventy six W e rkb u n d 2 zero W rig h t, F. L. 2 zero . 6 2 * Z Z abel. G. four 6 * Vision in movement via L. Moholy-Nagy Of all modern artists who've got world-wide reputation none is extra flexible than I. Moholy-Nagy. Herbert learn, popular paintings editor of London says: "As a painter, typographer, photographer, stage-designer and architect he's probably the most artistic intelligences of our time. " definitely, nobody is healthier certified to write this nice e-book of our time, that may good turn into the blue-print for educa­ tion via paintings. A pioneer-participant within the sleek inventive and highbrow stream­ ments in Europe, Moholy provides during this, his newest publication, the essence and summation of his philosophy upon which the academic software o f the Institute of layout in Chicago is based. In transparent comprehensible language, without unintelligible words, Moholy clarifies the relation of contemporary layout, portray, literature, structure, the cinema, technology and undefined. He makes the main thorough inquiry to date tried into the gap- time fact of recent guy and his emotional life. a robust suggest of the interrelatedness of all humon actions Moholy makes a passionate plea for the in­ tegration of up to date artwork, know-how, technology and social plannings with existence. within the trust that the main forceful statements are supplied via illustrations the writer amplifies his textual content lavishly with pictorial fabric, one of the illustrations there's a huge number of media and subject material reminiscent of commercial layout and adver­ tising paintings; modern portray together with cubism and summary paintings; images, photograms, photomontages, collages and photographs from movies; sculpture, structure and so on.

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