We can be grateful that near the end of her life, she witnessed her own distinguished body of work made since the 1930s, including her significant contribution to scientific documentation through photography, be appreciated by a younger generation devoted to the medium. The show traces Moholy’s career, and her impact on the Bauhaus and photography, from a pioneering photogram she created with her husband and the photographs she took while at the Bauhaus—which include three vintage prints recently acquired by the museum—to the 1939 book she authored, Hundred Years of Photography: 1839–1939, up until her death in Zurich in 1989. In 1928 she and Moholy-Nagy moved to Berlin, where they separated and Lucia began teaching photography at Johannes Itten’s school. [2] Her application for a "nonquota visa as a professor" was denied in 1940, on the "grounds that she lacked experience teaching". When Moholy-Nagy had to leave Germany, he left them with Bauhaus founder and director Walter Gropius, who eventually had them sent to Chicago after he arrived in the United States. [3][4], In Berlin in April 1920, Shultz met László Moholy-Nagy (1895 – 1946), a recent émigré from Hungary. “There were great, creative women working at the Bauhaus, but they didn’t have official functions, or they were trapped into the weaving course, because that’s a typical ‘feminine’ material,” said Miriam Szwast, the photography curator at the Museum Ludwig. At the height of the Bauhaus in the ‘20s, Moholy was better known as Moholy-Nagy’s wife rather than as a photographer in her own right. She relocated to her final home in Zurich in 1959, working as a critic for The Burlington Magazine and publishing Moholy-Nagy: Marginal Notes. She came to the Bauhaus as a photographer.”[1]. The latter as represented by Moholy-Nagy was often characterised by extreme visual angles, optical distortion and deliberate abstraction achieved through the use of materials such as glass, metal or mirrors. Then, an opportunity to help establish libraries and archives in Turkey brought her to Istanbul and Ankara in the early to mid ‘50s. In May 1957, the dispute was resolved when fifty original negatives were given to her in compensation from the Busch-Reisinger-Museum.
Following the couple’s marriage on January 18 1921, Moholy-Nagy was appointed a master at Walter Gropius’s newly formed Bauhaus school, with Lucia joining him in Weimar in 1923. She abruptly left Berlin, leaving all of her belongings including the bulky glass negatives of her Bauhaus photographs, which ended up in the hands of Walter Gropius. [9] An interest in the Bauhaus started to grow in the late 1930s, and she saw numerous catalogs of the Bauhaus printed with her lost images. The artist meticulously documented the influential art school, but while her male cohorts became legends, her work was misappropriated and forgotten. However, their individual creative approaches represent two very different directions in early Modernist photography: the ‘reproductive’ photograph true to reality and the ‘productive’ art photograph respectively. However Moholy was seldom credited for her work, which was often attributed to her husband László Moholy-Nagy or to Walter Gropius. Moholy is finally getting her due at Museum Ludwig in Cologne, Germany until February 2, 2020, in an exhibition titled Lucia Moholy: Writing Photography’s History. Without Moholy’s photographs, the Bauhaus’s identity would have lived on solely through the memories of those who lived through it, and the art, design, and architecture that was born from it. Moholy meticulously photographed the school and everything about it, from the interior and exterior of its iconic Dessau building, to its students and faculty, and the work they created. [4], Her studies of the novelist Inez Pearn are held at the National Portrait Gallery, one of which formed part of the Bauhaus In Britain exhibition at the Tate Britain (2019). [2] During the years the couple lived in Dessau, Germany on the Bauhaus school campus, Moholy's diaries describe her sense of discontent in Dessau, her feelings of estrangement and her longing for the city. Settling in London from June 1934, Moholy lived at 39 Mecklenburgh Square, WC1. [1] Ulrike Muller, Bauhaus Women: Art, Handicraft, Design (Flammarion, 2009), p. 126, [2] Lucia Moholy, Moholy Nagy Marginal Notes (Scherpe Verlag Krefeld, 1972) p. 59. The summer semester of 1919 received 84 female and 79 male applicants based on this new promise of gender equality in arts education. Dessau: April–July 1927 : Florence Henri studies at the Bauhaus, where she takes the Foundation Course with László Moholy-Nagy and becomes close friends with Lucia Moholy. This lack of recognition was evident in numerous publications. She worked as an apprentice to professional photographer Otto Eckner and took courses in reproduction photography at the Leipzig Academy for Graphic and Book Arts. [2] They were married in January 21, 1921, on her 27th birthday.
The popularity and influence of the Bauhaus beyond Germany, however, owes a great deal to a lesser-known photographer: Lucia Moholy. Lucia Moholy’s journey as a photographer runs parallel with a much wider history of women’s struggle for gender equality and financial and professional independence during the early decades of the twentieth-century. She taught me to think.”[4] Moholy’s academic writings on photography helped preserve the legacy of the Bauhaus, and that of her husband László Moholy-Nagy. Her images were widely used for marketing and in the Bauhaus school’s sales catalogs, as well as Bauhaus-published books that she edited. Moholy was already an experienced photographer before taking photographs for the Bauhaus, as weaver Gertrud Arndt recalled in an interview with Sabina Leβmann in 1933: “Nobody could take a photograph when I arrived in Weimar, the only one who could use a camera was Lucia Moholy, she had learned it. [3] Moholy discusses this dispute in ‘The Missing Negatives’, British Journal of Photography, 7 January 1983. She microfilmed publications in British libraries for UNESCO in 1940. Her photos documented the architecture and products of the Bauhaus, and introduced their ideas to a post-World War II audience. [10], In her book, A Hundred Years of Photography, 1839-1939, she discussed in depth the history of the medium.
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