1923, László Moholy-Nagy, A IX -- San Francisco Museum of Modern Art
From the museum label:
The overlapping geometric shapes of A IX are an early expression of the abstract visual language Moholy-Nagy practiced in painting and theorized through his writings and teachings. The color changes indicate whether elements are transparent or opaque and imply spatial depth without resorting to conventions of perspective or shading.
The year A IX was completed, Moholy-Nagy began working at the Bauhaus school, Germany, where he espoused a universal and democratic approach to painting. He argued, "Constructive art is processual, forever open in all directions. It is a builder of man's ability to perceive, to react emotionally, and to reason logically."
1923, László Moholy-Nagy, A IX -- San Francisco Museum of Modern Art
From the museum label:
The overlapping geometric shapes of A IX are an early expression of the abstract visual language Moholy-Nagy practiced in painting and theorized through his writings and teachings. The color changes indicate whether elements are transparent or opaque and imply spatial depth without resorting to conventions of perspective or shading.
The year A IX was completed, Moholy-Nagy began working at the Bauhaus school, Germany, where he espoused a universal and democratic approach to painting. He argued, "Constructive art is processual, forever open in all directions. It is a builder of man's ability to perceive, to react emotionally, and to reason logically."