Konstruktion in Emaille 1 (Construction in Enamel 1) or Telephone Painting, 1922 - 1923
Cover and design for Malerei Photographie Film (Painting Photography and Film), Bauhaus Bücher (Bauhaus Books), 1925
Photogram, 1925
Massenpsychose (Mass Psychosis), 1927
Light Space Modulator, 1930
Photogram Mondgesicht (Moonface) or Self-Portrait in Profile, 1926
The Bicyclist (Still Life), 1920 - 1921
Kreissegmente (Circle segments), 1921
Großes Eisenbahnbild (The Big Railroad Picture), 1920
László Moholy-Nagy in his atelier, Weimar 1923
Bauhaus Building, Dessau 1926
After a short stay in Vienna, in the early 1920s he settled in Berlin. The German capital was a real treat for artists: a bustling metropolis full with opportunities. He was influenced by international Dadaism, Russian Constructivism and by representatives of these trends such as Raoul Hausmann or El Liszickij.
From 1922 on he exhibited regularly in the contemporary gallery of Herwarth Walden (a German writer and art patron) called Der Sturm, and published his new-wave industrial landscapes in the journal also edited by Walden. His works was also on display in the left-wing Novembergroup, which was a a supporter of the Weimar Bauhaus, founded in 1919 by Walter Gropius.
Shortly after Gropious saw the works of Moholy-Nagy in Der Sturm, elected him Professor of the Weimar Bauhaus to replace the resigning Johannes Itten.
“In a way, that's why Gropius chose him. Gropius wanted a man who thinks like him, but isn't too famous to be his rival.”
He was responsabile for the metal workshop and teacher of the introductory course, but he also worked on the creation of graphic folders, the design of the new, modern Bauhaus typography, as editing of a series of Bauhaus books.
“In 1929 he wrote the book From Material to Architecture, in all lower case - a revolutionary form breakdown of Bauhaus typography with symbolic social significance.”
In the spring of 1920 Moholy met Lucia Schultz, a Czech photographer with whom she was married in 1921. Lucia played a key role in bringing Moholy’s talent for photography to the surface culminating in 1922 with his first photograms based on light play.
Following Gropius' example he left the Bauhaus in 1928 and settled in Berlin with his wife. Lucia and Moholy-Nagy's marriage gradually deterioreted so later that year they divorced. In 1930, at the Werkbund exhibition in Paris, he presented his early kinetic structure, Light-Space Modulator, which gave rise to the abstract film called Black-White-Gray.
