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D IV

László Moholy-Nagy (American, born Hungary, 1894-1946). D IV, 1922. Oil on canvas, 37 x 29 1/2 inches (94 x 75 cm). Collection Albright-Knox Art Gallery, Buffalo, New York; George B. and Jenny R. Mathews Fund, 1973 (1973:8). © Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York.

© Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

© Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

© Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

László Moholy-Nagy

American, born Hungary, 1895-1946

D IV, 1922

oil on canvas

support: 37 x 29 1/2 inches (93.98 x 74.93 cm); framed: 37 3/4 x 30 x 1 inches (95.88 x 76.2 x 2.54 cm)

Collection Albright-Knox Art Gallery, Buffalo, New York

George B. and Jenny R. Mathews Fund, 1973

1973:8

Collection Highlight

More Details

Inscriptions

signature, dated / back (now covered) / L. Moholy-Nagy / D IV / 1922

Provenance

estate of the artist;
from artist's widow to Galerie Klihm, Munich, ca. 1952;
sold to Albright-Knox Art Gallery, February 14, 1973

Class

Paintings

Work Type

Oil painting

This information may change due to ongoing research. Glossary of Terms

Influenced by Russian Constructivism, László Moholy-Nagy shunned naturalism in favor of exploring the synergy between color and simple geometric forms. In 1920, he began to title his work with impersonal letters and numbers to further strip away any reference to traditional modes of art-making. Early in his career, Moholy-Nagy’s palette was inspired by the bright hues of Hungarian folk art, but by 1922 it became increasingly sophisticated, undoubtedly a result of the artist’s increasing fascination with technology. This is also reflected in the predominantly smooth and painstakingly finished surface of this painting, which is interrupted only by the central curvilinear shape executed in a matte black.

Label from Picasso: The Artist and His Models, November 5, 2016–February 19, 2017

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