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LÁSZLÓ MOHOLY-NAGY. [Climbing the Mast]

LÁSZLÓ MOHOLY-NAGY. [Climbing the Mast]. Artist: László Moholy-Nagy (American (born Hungary), Borsod 1895-1946 Chicago, Illinois). Dimensions: Image: 35.4 x 28 cm (13 15/16 x 11 in.). Date: 1928. This exciting and unexpected view up the rigging of a sailboat, made on the Spree River near Berlin, is a prime example of Moholy's "new vision." Armed with a small hand-held camera and a free-wheeling spirit, Moholy made "bird's-eye" and "worm's-eye" views that transformed the pictorial conventions of perspective and posited a new way of experiencing and representing the world. His disorienting, topsy-turvy viewpoints viscerally communicated the dynamism of the modern world and paralleled the social revolutions of the Weimar Republic. Moholy joined the faculty of the Bauhaus in 1923 as the director of the metal workshop and created the school's "preliminary course," in which he introduced photographic materials and techniques into the curriculum; a formal photography course was established in 1928. Perhaps because Moholy had credentials as an avant-garde painter, sculptor, and graphic designer but not as a professional photographer, he was unburdened by tradition as he set out to reshape the medium. His innovations included abstract cameraless "photograms," photomontages, negative prints, and a highly unconventional use of the camera.
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Auteur:
Titre:
[Climbing the Mast]
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[Climbing the Mast]. Artist: László Moholy-Nagy (American (born Hungary), Borsod 1895-1946 Chicago, Illinois). Dimensions: Image: 35.4 x 28 cm (13 15/16 x 11 in.). Date: 1928. This exciting and unexpected view up the rigging of a sailboat, made on the Spree River near Berlin, is a prime example of Moholy's "new vision." Armed with a small hand-held camera and a free-wheeling spirit, Moholy made "bird's-eye" and "worm's-eye" views that transformed the pictorial conventions of perspective and posited a new way of experiencing and representing the world. His disorienting, topsy-turvy viewpoints viscerally communicated the dynamism of the modern world and paralleled the social revolutions of the Weimar Republic. Moholy joined the faculty of the Bauhaus in 1923 as the director of the metal workshop and created the school's "preliminary course," in which he introduced photographic materials and techniques into the curriculum; a formal photography course was established in 1928. Perhaps because Moholy had credentials as an avant-garde painter, sculptor, and graphic designer but not as a professional photographer, he was unburdened by tradition as he set out to reshape the medium. His innovations included abstract cameraless "photograms," photomontages, negative prints, and a highly unconventional use of the camera.
Technique/matériel:
Gelatin silver print
Musée:
Metropolitan Museum of Art, New York, USA
Crédit:
Album / Metropolitan Museum of Art, NY
Copyright:
© Laszlo Moholy-nagy, VEGAP.
Le droit d'auteur de l'artiste doit être liquidé si l'œuvre n'est pas dans le domaine public dans le pays pour lequel la licence est contractée.
Pour reproduire les images des auteurs dont les droits sont gérés par Visual Entidad de Gestión de Artistas Plásticos (VEGAP), il est obligatoire d'obtenir son autorisation, qui est soumise au paiement de ses frais généraux.
Autorisations:
Modèle: Non - Propriété: Non
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Taille de l'image:
3343 x 4178 px | 40.0 MB
Taille d'impression:
28.3 x 35.4 cm | 11.1 x 13.9 in (300 dpi)
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