Moholy-Nagy Composition-Assembly-Frame

Moholy-Nagy Composition-Assembly-Frame
Moholy-Nagy Composition-Assembly-Frame
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The artist Lászlo Moholy-Nagy (1895 – 1946) of Hungarian origin in his twenties came to Berlin, having previously been in Vienna. The thing is that in the German capital he came into contact with the most daring avant-gardes that were flourishing in Berlin during the 1920s.

There he began his particular artistic and multidisciplinary production, since he worked with painting, but also with photography, metals or theater, and even later he would enter the world of cinema.

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Moholy-Nagy Frame-Assemblage-Composition

InGermanyhe became one of the teachers at the Bauhaus School. And one of the artistic currents that most fascinated him were Dadaist creations, especially his most daring photomontages.

Without a doubt, this work en titledComposition-assembly-framethat he made in 1926 and that is in theStichting Gemeentemuseum in The Hague, in Holland, is indebted to that current. But it also owes much to constructivism, sinceMoholy-Nagywas always attracted to the world of architecture and machines, which he gradually rendered more and more abstract.

To this must be added his photographic experiments, with which he generated somewhat spectral images when he fused objects and captured them on photosensitive paperplaying with different photographic plates that he exposed to light sources. He called this “photography without a camera”.

Thus, with works such as the one we see here, Moholy-Nagy intended to create light paintings made from frames. A field in which he was generating more and more complex images.

A good example is this, in which we see a thin wooden frame that seems to suggest an image within the image. But it also has its deeper meaning, since the idea is to show that art is nothing more than artifice. As much as the vision that the citizen of the modern world has, something that he made clear with the following sentence:

An idea that he seeks to materialize with light, from which he wants to extract its full potential, both from a pictorial, spatial and sculptural point of view. Notice here the thin diagonal line that runs through this box. It is a ray of light that unites all the elements of the image. And also with that line it generates the space and the depth.

And on the other hand there is the color.Moholy-Nagyhad always been fascinated by grays, the variety of which was enough for him to experience all the effects he desired. However, here he introduced the wood color and the red circle, which adds materiality to the image.

In short, this is the work of one of the most modern and furiously avant-garde creators of his time. And one of those who helped incorporate new technologies into the art scene.

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