Please note that in the print catalogue for this sale, this lot appears as number 39T.
Sale: Hauswedell & Nolte, Hamburg, June 10,1988, lot 866
Private Collection (acquired at the above sale and sold: Sotheby's, London, June 19, 2013, lot 24)
Acquired at the above sale by A. Alfred Taubman
Hanover, Provinzialmuseum, Kabinett der Abstrakten, 1926-28
Hanover, Niedersächsische Landesgalerie (on loan after 1950)
Hanover, Kestner-Gesellschaft, Zeitgenössische Kunst aus hannoverschem Privatbesitz, 1954, no. 117
Hanover, Kunstverein, Die zwanziger Jahre in Hannover, 1962, no. J.3, illustrated in the catalogue
Hanover, Kunstverein, Die Pelikan-Kunstsammlung aus dem Besitz des Hauses Günther Wagner, Hannover, Pelikan-Werke und der Familie Beindorff, 1963, no. 87, illustrated in the catalogue
Hanover, Sprengel Museum (on loan from 1979)
Hanover, Sprengel Museum, Malerei und Plastik des 20. Jahrhunderts, 1985, no. 388, illustrated in the catalogue
Hanover, Sprengel Museum, Die abstrakten Hannover - Internationale Avantgarde 1927-1935, 1987
Bernd Rau (ed.), Kunstmuseum Hannover mit Sammlung Sprengel, Hanover, 1979, no. 547, mentioned p. 260
Krisztina Passuth, Moholy-Nagy, Paris, 1984, no. 35, illustrated in colour p. 109 (incorrectly catalogued as belonging to Kunstmuseum, Hanover)
El Lissitzky was charged with organising Kabinett der Abstrakten, a long-term exhibition that took place at the Provinzialmuseum in Hannover from autumn 1926 until February 1928. The present work took pride of place alongside masterpieces of Contructivism and avant-garde abstract paintings and sculptures by artists including Mondrian, Léger, Archipenko and Schwitters. This seminal exhibition was reconstructed in 1987 by the Sprengel Museum.
Moholy-Nagy’s vision of a nonrepresentational art, consisting of pure visual elements of color, texture and balance of forms, was a constant throughout his career. He attempted to define an objective science of essential forms, colors, 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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