El Lissitzky was charged with organising Kabinett der Abstrakten, a long-term exhibition that took place at the Provinzialmuseum in Hannover from atumn 1926 until February 1928. The present work took pride of place alongside masterpieces of Contructivism and avant-gard abstract paintings and sculptures by artists including Mondrian, Léger, Archipenko and Schwitters. This seminal exhibition was reconstructed in 1987 by the Sprengel Museum (fig. 5).
Moholy-Nagy’s vision of a non-representational art, consisting of pure visual elements of colour, texture and balance of forms, was a constant throughout his career. He attempted to define an objective science of essential forms, colours, and materials, which would promote a more unified social environment. In his book Vision in Motion he sought to explain his underlying beliefs in the function of art: ‘Art is the most complex, vitalising and civilising of human actions. Thus it is of biological necessity. Art sensitizes man to the best that is imminent in him through an intensified expression involving many layers of experience. Out of them art forms a unified manifestation, like dreams which are composed of the most diverse source material subconsciously crystallized. It tries to produce a balance of the social, intellectual and emotional existence; a synthesis of attitudes and opinions, fears and hope’ (L. Moholy-Nagy, Vision in Motion, Chicago, 1947, p. 28).
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