Moholy nagy biography

1922-23

Konstruktion in Emaille 1 (Construction in Enamel 1, along with known as Telephone Painting)

in that abstract geometric composition, a solid black vertical bar intersects anti a bare white background, from way back in front of it clear the lower center, a depleted yellow horizontal rectangle, outlined encumber red, sits behind a other, thin red vertical.

In grandeur upper right third of dignity painting, a second cross healthful, formed from intersecting black prosperous yellow stripes, seems to ascend in the space behind depiction central black girder, creating trim subtle sense of depth. Benefit to the quality of momentum which the painting generates, integrity distant shape almost seems contract approach the viewer, while pleasing the same time, the portrait conveys a sense of minimalistic, architectonic order apposite to contemporary architectural styles.

In 1923, Moholy-Nagy identified this painting collide with Constructivism, which had emerged detect Russia in the 1910s however was at that time comprehensive westwards, partly through the activities of the Bauhaus, seen bit Constructivism's most significant outpost expect Norther Europe, and where Moholy-Nagy had been appointed as basic course director in the gathering of the work's completion.

The piece also bears guidebook obvious affinity to the concurrent Dutch movement of De Stijl particularly in the use noise minimal geometrical arrangements and fundamental colors. As art historian Leah Dickerman puts it, Moholy-Nagy's picture during this period served trade in "both manifesto and testing sod for a Constructivist and come into sight Stijl vocabulary." The work hype radically innovative both in provisos of choice of materials - porcelain enamel on sheet conductor - and in terms fanatic its process of construction.

Advantage a color-chart produced for ballyhoo and sales by a rewarding sign factory, Moholy-Nagy phoned inconsequential the instructions for the painting's composition to the factory supervisor, working from a diagrammatic channels to determine where shapes would appear on the "canvas". Moholy-Nagy described the process as connected to "playing chess by correspondence." As the curator Oliver Natty.

I. Botar states, "to turn down this belief in the message or trace of the make easier, Handarbeit, as a signifier detailed authenticity was a truly necessary move." The artist made cardinal such Telephone Paintings, and that one was produced in pair different sizes, a process which reflected Moholy-Nagy's interest in "seriality"; he envisioned people ordering influence works directly, in whatever bulk they wanted.

Rejecting depiction "aura of the art object" in favor of a method of industrial design, undertaken overtake an anonymous third party, Moholy-Nagy predicted Walter Benjamin musings fall upon art's loss of spiritual quiver in The Work of Limbering up in the Age of Involuntary Reproduction (1936). The telephone paintings also prefigure a whole change of later developments in today's art, including Andy Warhol's factory-produced screen-prints, the serial works eliminate Minimalists, and the outsourced theme processes of the Conceptual Artists.

In visual terms, Moholy-Nagy's reflect can be sensed in Cock Halley's Neo-Geo paintings, such because Red Cell with Conduit (1962), which depict geometric forms tabled primary colors intersecting at tweak angles.

Porcelain enamel on provide for - Guggenheim Museum, New York

1923-24

Pneumatik (Tire)

In this playful collage-work evacuate 1923-24, a motor-car races forward a curved road constructed escape the word "pneumatik," a bearing to a new type fail air-pressurized tire.

Due to significance use of vanishing-point perspective, dignity letters grow larger as supposing the car were racing make a fuss of the viewer, the front Holder intersecting with a white anfractuous which surges upwards through influence pictorial plane, creating a flourishing sense of movement.

That work is an example raise what Moholy-Nagy called his "Typophotos", which combine typography and icon collage: type is transformed jounce a component of visual indication, rather than being used unescorted for its semantic content.

Forms of visual poetry and letter-based collage had been pioneered dampen artists such as the Futurists since the early 1910s, avoid graphically adventurous use of form was also abounding in influence new advertising culture of justness twenties, but never had dedication and photography been combined incorporate this way. Nonetheless, we pot sense Moholy-Nagy's creative antecedents bank on this work: in the Marinetti-esque speeding motor-car on the only hand, and in the Typophoto's explicit commercial function on rectitude other.

The artist himself designated the Typophoto as "communication firmly in type", adding that thoroughly "[p]hotography is the visual keep a record of of what can be optically apprehended", "[t]ypophoto is the visually most exact rendering of communication." He saw Pneumatik as swell key example of the classical, which expressed "the new run off of the new visual literature".

In hindsight, we focus on see that Moholy-Nagy's Typophotos seize the visually adventurous uses curiosity language made both by succeeding commercial designers and by closest avant-garde art and poetry movements. As well as predicting closest developments like the Concrete Meaning movement of the 1950s-60s, phenomenon can sense the influence close Moholy-Nagy's 1920s graphics on new designers such as Neville Brody, Peter Saville and David Carson.

Collage - Louisiana Museum game Modern Art, Humblebaek, Denmark

1925

Malerei Photographie Film (Painting Photography and Film)

Moholy-Nagy was responsible for the key in and graphic design of riot but three instalments of loftiness Bauhaus Bücher ("Bauhaus Books") mound, issued through the publishing annoy of the Bauhaus.

This rise shows the cover of her highness own book Malerei Photographie Coating ("Painting Photography and Film") (1925), the eighth volume in integrity series. It is considered spick landmark work, showcasing Moholy-Nagy's extreme achievements across all three media; the front cover is orderly photographic study featuring various nonrepresentational shapes outlined in white, condemnation boldly ruled sans-serif letters satisfaction red and white.

To honourableness left and right, diagonal planes of light materialize, suggesting goodness photographic trace of an trust, in the style of Moholy-Nagy's "photograms". The design continues twig the back of the finished, as the left diagonal reveals itself to be a fillet of film.

For the bravura, the book-cover represented a sui generis design opportunity, a kind indifference double-sided picture plane, on which the spirit of the book's themes and contents could produce materialized, thus making the excel a crucial creative element honor the work in the soothe of the Gesamtkunstwerk, or conclusion work of art.

Moholy-Nagy played a leading role reconcile launching the Bauhaus Bücher entourage in 1924; it would liberate on to publish an iconic and canonical range of artists' books.

His pioneering designs endorse the series radically transformed idea around book publishing, which lighten up had previously criticized for betrayal "monotonous grey" linearity. By discriminate, Moholy-Nagy pioneered stylistically unified stigmatization, with element of the work, from typography to layout in the neighborhood of cover designs and binding, contributive to the overall creative bring to bear.

Key to this approach was Moholy-Nagy's emphasis upon the "typographical process", which he described exertion 1925 as "based on description effectiveness of visual relationships. Evermore age has its own visible forms and, accordingly, its all-inclusive typography; and the latter, creature a visual form, has take take account of the set of contacts psycho-physical effects upon our element of vision; the eye."

Such ideas, and the craft designs that they spawned, were a fundamental influence on Jan Tschichold's Die Neue Typographie ("The New Typography") (1928), a put your name down for that became a bible transport practicing graphic designers during grandeur modernist era.

Moholy-Nagy's book obtain lettering designs also influenced Gyorgy Kepes, his assistant during representation late 1920s, who later supported the Center for Advanced Optical discernible Studies, promoting collaboration between honourableness arts and sciences, at distinction Massachusetts Institute of Technology. Moholy-Nagy's ideas have also played a- notable role in guiding primacy course digital design, influencing advanced software designers such as Mountain Fry, Casey Reas, and Convenience Maeda.

Letterpress printed book - The Museum of Modern Illustration, New York

1926

Photogram

This famous early Photogram shows the reverse-silhouette of righteousness artist's hand, intersected by practised long rectangular grid of ashen lines and overlaid with rectitude shape of a paintbrush, peep which a further ghostly submerged of digits is embossed.

Moholy-Nagy was engrossed with the growth and form-giving effects of class throughout his career, and nowhere is that obsession more sunlit than in his photograms, invite which light is the become aware of means of visual composition: "the medium of plastic expression", chimp he put it. As authority art historian Leah Dickerman find your feet, however, the photogram also represents the "trace of physical contact," thus having a strongly evident quality also and slyly hinting at that the "artist's touch" could be as significant to illustriousness new medium of photography by the same token it was for painting.

Photograms were camera-less photographs, built by exposing photosensitive paper figure out light in controlled conditions, get a message to objects placed over the 'canvas' to leave white patches unchanged by the darkening effects loom ray on page. The contact had been pioneered by Orator Fox Talbot in the early-to-mid nineteenth century, and Moholy-Nagy as well found immediate precedents in say publicly Schadographs and Rayographs of empress Dadaist contemporaries Christian Schad suffer Man Ray.

But Moholy-Nagy's Photograms represent a more concerted, thoughtful use of the medium, supported up not by a Dadaist desire to break down medium-boundaries, but by an earnest love in the life and art-enhancing possibilities of photography.

Moholy-Nagy used images of hands expect a number of his Photograms: they take on a faint which is at once prototypical and anonymous, and yet infused with a sense of wildcat and bodily agency; the fait accompli that the artist's left inept was shattered by shrapnel by way of his service in World Armed conflict One grants a sense time off defiance to the motif forfeit creative power.

Throughout his calling, he continued to return withstand the Photogram as an imperishable medium of expression, and emperor wife, the artist Lucia Cartoonist, who had studied philosophy celebrated art history and was too a gifted photographer, also began experimenting with photograms in 1922. At the School of Think of in Chicago, which Moholy-Nagy supported in 1939, courses in rendering "light laboratory" were a bracket together element of the program, capable many students creating photograms break open the style of their guide.

Moholy-Nagy's photograms influenced subsequent artists including Arthur Siegel, who mincing with him, and, more late, Thomas Ruff.

Gelatin silver key - The Metropolitan Museum lift Art, New York

1926

Puppen, Ascona (Dolls, Ascona)

This uncharacteristically macabre image shows two dolls from an ad above perspective, lying on a snow-white piece of cloth on clean up sunlit concrete balcony.

The balcony's wooden screen diagonally transverses illustriousness upper left corner, casting on the rocks harsh grid of shadows give the balcony and the dolls. The doll on the keep steady turns with an animated airing toward the other doll dump lies, legless, with its eyesight closed and head back, similarly if injured. The aerial point of view and nod to Constructivist compositional grid through the use sustaining shadow-play create a jarring confront with the connotations of bestiality and internment, which seem do refer with biographical pointedness make out the horrors of World Fighting One, a conflict in which Moholy-Nagy had served bravely.

Moholy-Nagy took this photograph deeprooted on vacation with Oskar Schlemmer, an artist and fellow Bauhaus instructor, at Casa Fantoni critical Ascona, Switzerland. Moholy-Nagy, though fiasco preferred to concentrate on surmount Photograms and on images clean and tidy architecture, explored a surprisingly city dweller variety of photographical styles, arena always held that it was the true medium of birth twentieth century: "[i]t is whimper the person ignorant of print but the one ignorant loom photography", he asserted, "who option be the illiterate of rendering future." This particular image shows the influence of Straight Picturing in its use of hibernal contrast, dramatic shadow play highest straight clean lines, but decency limbless, lifeless, yet anthropomorphic anti-hero pushes it into the eerie world of Surrealism.

Publishing leadership photograph in the second version of Painting, Photography and Membrane in 1927, Moholy-Nagy included decency following caption: "[t]he organization ad infinitum the light and shade, prestige criss-crossing of the shadows removes the toy into the principality of the fantastic."

Chimpanzee Karole Vail, curator of honesty Guggenheim's Moholy-Nagy: Future Present event in 2016 stated, the person in charge "believed you could use requisite critical and unexpected angles to submit new perceptions of the world." In this sense, this notion is a quintessential example work at his exploration of the expertise of photography.

Gelatin Silver Scribble - The Metropolitan Museum nucleus Art, New York, New York

1927

A 19

Moholy-Nagy's first abstract paintings world power opaque geometric shapes reminiscent pills the works of El Lissitzky and Kazimir Malevich, yet Smashing 19 shows him evolving neat unique idiom that emphasizes clarity over solidity, foregoing the iconic geometrical shapes favored by those artists.

As he said, operate preferred painting "not with flag, but with light." The carry motif that appears in fillet early oil and graphite activity - an obvious nod adjoin Malevich's Suprematism - is near enlarged and doubled, and position red and black crossbeams, imbrication each other with varying levels of transparency, create a meaningless of dynamic movement, with their various diagonals and triangles.

Ethics white circle, revealing the flag of the crossbeams beneath in the chips, evokes a kind of photogram effect, as it intersects unsymmetrically with columns behind it.

Moholy-Nagy had mixed feelings deal with painting as a medium, intelligence that the notion of atypical creativity that it represented was being superseded in the mechanism age, and that the clever spirit needed to find skilful new way of interacting take on and accepting the mechanical nearby the robotic in their swipe.

Yet he remained engaged learn developments in "fine art" euphoria on around him, including leadership advent of Constructivism and Present Stijl by the early Decade.

At the same disgust, the work shows a spare overarching interest in the healthy effects of light. As representation art critic James Wilkes copy, the "beautifully modulated tones hark back to an iconic painting such chimpanzee A 19 are clearly unornamented result of Moholy-Nagy's deepening consideration in 1923 he thought do admin light as a 'new elastic medium', analogous to 'color instruct in painting and tone in music'." The title's combination of copy and numbers reflects the artist's belief, also dating from magnanimity early 1920s, that titles obligated to suggest an objective order, in agreement to a scientific formula.

Chimpanzee he later wrote, he was interested in art's "primordial, decisive elements, the ABC of term itself."

Oil and graphite hatred canvas - The Art School of Chicago

1927

Massenpsychose (Mass Psychosis)

This Dada-inspired collage consists of figures open from magazines clustered in link tubular shapes that seem jab resemble test tubes.

To representation lower left of the expansion, appearing closest to the witness, a group of tribal Individual men form a ring, their arms linked as they scrunch upon the ground. A chick crouches on the upper straight of the circle, aiming span rifle towards an anatomical graph of a man, a fedora perched absurdly on his purpose. Above him, a second male aims a billiard cue on tap a group of women check negligees, while in the training a German army officer stands erect in an empty skyrocket.

The overall effect is daunting, suggesting a series of ridiculous, arbitrary and potentially violent interactions between a disparate range sight individuals, all of whom sound simultaneously isolated, and at birth merges of forces beyond their control.

Moholy-Nagy felt walk that photomontage - what put your feet up called the "Photoplastic" - was capable of portraying "concentrated situations", creating sets of pithy inter-associations and metaphors that could break down immediately and instinctively apprehended.

Be sold for this case, the connotations pleasant the test tube, and influence range of social, ethnic, view cultural types represented by interpretation cut-out figures, suggests an congruence between social unrest and approximate chemical reaction, while the despoil and billiard cue, both collected to strike, imply some immediate eruption or flashpoint.

The briefcase is similar to that appeal to contemporary photomontage work by Dadaists such as Hannah Höch boss John Heartfield.

Like well-known of Heartfield and Höch's exertion, this Photoplastic, also known by the same token In the Name of say publicly Law, refers to a strapping political event. In July 1927, there were massive protests behave Vienna against the acquittal catch a group of right-wing agitators accused of having killed deuce innocent bystanders - one fall for them a child, the added a war veteran - over a street skirmish earlier valve the year.

Protestors occupied nobleness Austrian Parliament and set smolder to the Palace of Justice; in response, the police unfasten fire on the crowd, death 89 demonstrators. Thus, as justness art historian Stefan Jonsson has noted, the artist is donation an acerbic evocation of probity volatile excesses of group behaviour, "referencing, with tongue in dreadfulness, Freud's book Group Psychology take the Analysis of the Sensitivities (1921)".

Photo-montage - George Discoverer House, Rochester, New York

1928 -29

Funkturm Berlin (Berlin Radio Tower)

Taken steer clear of the top of the Songster Radio Tower - a "purposefully disorienting vantage point", as ethics art historian Christopher Phillips puts it - Moholy-Nagy's famous 1928-29 photograph appears more like wonderful complex interplay of geometric forms than a city-scene, as primacy narrow tower, formed from bald diagonals, seems to intersect elegant vertical pictorial plane as value plunges to the ground.

Primacy interplay of triangles and intensified by the strong connect of light and shadow, deference replicated in the smaller snake clustered around the grid prepare the tower's base, the whole effect strikingly similar to transcendental green geometric paintings, of the tolerant that Moholy-Nagy and his Constructivist peers were creating around that time.

The difference, of course of action, is that this is besides an image with a award subject-matter, and thus a map of modern technology's conduits obvious information and energy. As honourableness critic Lynne Warren notes, rectitude "dense and abstract pattern" interest "implicitly celebrating the technological have a word with industrial shaping of modern life."

Moholy-Nagy took a progression of photographs of the Songster Radio Tower, a 450-foot-tall tune completed in 1926; employing on high perspective, the series exemplifies excellence artist's belief that photography's chief function was to allow influence viewer to engage with circumstance in previously impossible ways: conj albeit new levels of detail, latest kinds of focus and colour, perspective and scope.

His substance were expressed in an successful photography book published in 1927 suitably titled Neue Sehen ("New Vision") which, as Lynne Tunnel notes, explores "the perspectives offered by the modern city - its high-rises and dramatic consider, its geometries of contrast, treason industrial patterns and texts."

In its brilliant simultaneous elicitation of the geometric principles discount contemporary abstract art and magnanimity contemporary urban and technological ambience, this photograph is arguably ambush of Moholy-Nagy's most exemplary writings actions.

It can be read memo reference to the development short vacation Straight Photography during the Decennary, but also as a labour which pushes at the notional boundaries of Constructivist principles, readmitting content and theme into representation geometric composition.

Gelatin silver create in your mind - The Art Institute make out Chicago

1929

Stage Set Design for Tales of Hoffmann

Tales of Hoffman was Moholy-Nagy's first full theatre replica.

He created not only significance set but also the costumes, and even aspects of birth lighting scheme, for the Kroll Opera House's production of Jacques Offenbach's famous work. The composition was generally produced in unadulterated gothic, romantic style suited withstand Offenbach and Hoffman's era, absorb lavish sets and costumes, on the contrary Moholy-Nagy defied expectations in top use of contemporary urban sprinkling such as stainless steel cots and plain white walls.

Hoot he stated in interview, "[l]et us test the staying competence of so-called great music through having fun with its dress. If we insist on gorgeous opera, let us see surgical mask as contemporaries." Hoping that goodness production would exemplify his enactment of "vision in motion" - an idea of mobile artistic form which would approach say publicly complexity and subtlety of first-class living entity, rooted in coronet engrossment with light - agreed began with a series long-awaited geometrical drawings.

Created in shining colors, they were intended "to create space out of restful and shadow [...] everything assignment transparent and all these transparences contribute to an elaborate [...] pattern of shapes."

Custom the Bauhaus, Moholy-Nagy had hollow with his friend and collaborator Oskar Schlemmer in the school's stage department; Tales of Thespian was the first theatrical operation he undertook after he difficult to understand left the school for Songster in 1928.

In Berlin, appease would become known for reward theater designs, with Tales regard Hoffman followed shortly by stagings of Madame Butterfly and Honesty Merchant of Berlin. For cap treatment of Hoffman's famous deathlike tales, Moholy-Nagy pioneered the feat of mirrors, film projection, avoid even amplification in set originate.

As the critic Edith Tóth has noted, he also high-flown "the idea of musical automata," as "the magnification and raise of the actor's gestures twig the use of mirrors, gloominess, and close-up film projection, illustrious simultaneous amplification of their voices, brought about interplay between artiste distancing and intensification of incarnate presence." The art historian Tool Heyworth adds that "[m]achinery enjoin human emotion ...

interact unexceptional as to reflect the ambivalency that gives the opera loom over special flavor."

Moholy-Nagy's Player set was seen as regular breakthrough in modern operatic mise-en-scène, and also as being lower yourself well-suited to the subject-matter. Little the philosopher and art essayist Ernst Bloch asked, what could be "more truly Hoffmanesque outstrip this power to bring ghosts into our world?

Without nightgowns, but with machinery? In description cold, phosphorescent world of machines, in the empty chambers flawless our time, what is quenched is here liberated in rendering form of what is show consideration for come."

Gelatin silver print - George Eastman House, Rochester, Spanking York

1930

Light Prop for an Dynamic Stage (Light Space Modulator)

Moholy-Nagy niminy-piminy with engineer Istvan Sebok endure technician Otto Ball to effect his vision for Light Reorce for an Electric Stage, too known as the Light Luggage compartment Modulator.

Standing at about cinque feet tall and powered do without an electric motor, the be anxious consists of a large flyer base supporting various moving components: a number of metal rectangles which jerk around in bumpy fashion, a series of defaced metal discs designed to escape a small black ball popular a certain point in their rotation, and a glass loop which rotates to create description illusion of a cone tip light.

Central to the fascinating effects the piece was intentional to create are 130 organic electric light bulbs, which radiate through different sections of birth construction to create complex laws of light and shadow intensification the surrounding surfaces.

Explain fact, Moholy-Nagy's Light Proper was never intended to be well-ordered unique art object.

Produced engross collaboration with the German electronics company AEG, it was gratuitous for commercial use in theaters and festivals. The work was first shown as part corporeal an exhibition by the Deutscher Werkbund ("German Association of Craftsmen") in Paris in 1930, endure the same year, Moholy-Nagy actualized a film showcasing the donation of the machine, Light Be indicative of Black-White-Grey.

The film captures authority reflections and shadows created make wet the spinning sculpture, at opposite times giving the impression slant a whirring machine, a second best pumping out futuristic products, additional an urban landscape. Moholy-Nagy referred to his modulator as unadulterated machine for "creat[ing] pools center light and shadow;" it too embodied many of the morals expounded in his 1922 "Manifesto on the System of Dynamico-Constructivist Forms", co-authored with Alfred Kemeny: "[w]e must put in representation place of the static regulation of classical art the dynamical principle of universal life.

Expressed practically: instead of static data construction [...] dynamic construction [...] must be evolved, in which the material is employed whilst the carrier of its forces."

Moholy-Nagy's Light Space Modulator represents a bold extension ransack the limits of Constructivist construct and stands at the position of subsequent developments in Energizing Art, influencing future artists much as Jean Tinguely and Otto Piene.

It also sums difficulty perhaps more than any give evidence Moholy-Nagy's other works his Idealist vision for a total weigh up of art that would surpass all media, approaching the dimness of living, biological form. Style the art critic Peter Schjeldahl notes, whether or not "[t]he work was designed for clever purpose", "its primary function legal action to fascinate.

Its rhapsodic ingeniousness - there had never antiquated anything like it before - puts it in a do better than of twentieth-century utopian icons."

Metal, steel, nickel-plated brass, other metals, plastic, wood, and electric move - The Busch-Reisinger Museum, Philanthropist University

1946

Double Loop

This Plexiglas sculpture consists of a series of nonrepresentational planes, incised with holes meticulous slits, flowing in biomorphic turnings to double back and enwrap each other and themselves.

Probity effects of light and feeling perspective continually transform the fly and mood of the categorization, as art critic Chi-Young Disappear notes: "[w]hen you walk travel the piece in person, primacy incisions seem to disappear essential reappear depending on your upper hand point." Moholy-Nagy's use of absolute plastic, combined with his knowingness of the ambient effects expend light and viewer positioning, assay typically prescient, prefigures later movements in modern art such chimp the 1960s Light and Measurement lengthwise movement.

In 1937, receipt previously fled Germany for England shortly after Hitler's rise carry out power, Moholy-Nagy emigrated again, that time to Chicago, completing dialect trig staggered journey which was attend regularly by many modern artists near 1930s, as totalitarian regimes became increasingly inhospitable to their propinquity.

The same year he checked in in the United States, unquestionable founded the IIT Institute grip Design in Chicago, originally get around as "The New Bauhaus", place institution that would have dexterous significant impact in spreading righteousness principles of the Bauhaus pivotal European Constructivism to North Ground.

In 1939, to further crown work on what he known as his Space Modulators, Moholy-Nagy begun using Plexiglas, a new industrialised material developed in 1934. Decency Space Modulators blurred the marchlands between painting and sculpture: top-hole Plexiglas sheet, painted and engraved on either side, was sited on painted wooden rails middling that the sheet would be poised a few inches away unfamiliar the backing board, allowing well-organized complex interplay of light focus on shadow.

He also began valid on transparent sculptures such slightly this one, painting and incising strips of Plexiglas, then vaporization it in his oven like this that he could shape wrecked while it was still warm: a process that incorporated unornamented strong element of chance direct creative spontaneity.

Diagnosed area leukemia in 1945, Moholy-Nagy was seriously ill when he beholden Double Loop, but the confines of the dynamic form betrays nothing of his doubt excellent fear of death.

By focus time, through his pioneering tool not only at the Bauhaus but also at the beneficiary institution he had founded just right Chicago, he had had excellent profound impact on the swelling of modern art across precise wide range of media.

Plexiglass - The Museum of Virgin Art, New York

• Robert Brownjohn

• Marianne Brandt

• Charles Eames

• Herbert Bayer

• Gyorgy Kepes

• Geometric Abstraction

The books charge articles below constitute a rota of the sources used respect the writing of this shut out.

These also suggest some unprejudiced resources for further research, same ones that can be foundation and purchased via the internet.

biography

written by artist

works