The New Vision and Abstract of an Artist by László Moholy-Nagy

By László Moholy-Nagy

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

no isbn in simple terms asin: B000T67Z30

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8. Many forms in one. Pluralism. A contour refers to several forms. 9. Objects: Letter types, envelopes, table, tableleg, guitar, violin, fruit, fruit bowl, glass, bottle, face, dead bird, fish, panel, playing card, pipe, tobacco wrapper. ) 10. Materials and technique for surface treatment: Corrugated cardboard, wallpaper, marble, grainy wood, sand, newspaper print, marble dust, wire-mesh, combing, sanding, scratching of the pigment. Now the picture-plane itself begins to be the subject for analysis.

Cubism employs the following distinctive means: 1. Distortion. 2. Twisting of objects: the profile simultaneously turned en face (the pipe, tableleg, and glass look like pressed flowers). 3. Sections: using parts instead of the whole. 4. Shifting: dislocation of parts. Refraction of lines, and breoking continuous lines. 5. Superimpositions of different views of the objects. 6. Introduction of geometrically exact lines, straight and curved. 7. Change of positive-negative planes or lines. 8. Many forms in one.

This has become the activating force in the construction of a new life. Beginning with the French Revolution the idea of truth wos one of the funda­ mentals of XIX century ideology. The "truth of the two dimensional plane" belongs to painting. This is perhaps one of the reasons why the romanticists and loter the impressionists started to paint entirely flat without the usual modeling of objects. Mondrian's significance is that in order to enjoy the really elemental color sensa­ tion, he reduced the color of his palette to red, yellow and blue, the subtractive primaries; that he sacrificed his knowledge about the mixtures of colors, except tinted white and black.

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