Please note that in the print catalogue for this sale, this lot appears as number 62T.
Galleria Galatea, Turin
Private Collection (acquired from the above in 1975 and sold: Sotheby's, London, June 19, 2007, lot 32)
Acquired at the above sale by A. Alfred Taubman
Mannheim, Städtische Kusthalle Mannheim, Laszlo Moholy-Nagy, 1961
London, Marlborough Fine Art, Painters of the Bauhaus, 1962, no. 150 (with incorrect measurements)
London, Marlborough Fine Art, Moholy-Nagy, 1968, no. 8, illustrated in color in the catalogue (with incorrect measurements)
Chicago, Museum of Contemporary Art, László Moholy-Nagy, 1969, no. 12
Genoa, Accademia di Belle Arti e Palazzo Reale, Immagine per la città, 1972
Moholy-Nagy’s vision of a nonrepresentational art, consisting of pure visual elements of color, texture, light 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 hopes" (L. Moholy-Nagy, Vision in Motion, Chicago, 1947, p. 28).
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