László Moholy-Nagy. Q 1 Suprematistic. 1923

László Moholy-Nagy Q 1 Suprematistic 1923

  • The Museum of Modern Art, Floor 5, Collection Galleries

In 1922 the First Russian Art Exhibition in Berlin first exposed Moholy-Nagy (then living in Germany) and Western European audiences in general to the extensive artistic experimentation that had taken place in Russia after the revolution of 1917. This work illustrates Moholy-Nagy's commitment to the ideas of Russian avant-garde artists such as Kazimir Malevich, whose aesthetic theory, known as Suprematism, espoused "the rediscovery of pure art, which, in the course of time, had become obscured by the accumulation of things," Malevich wrote. Moholy-Nagy interpreted Russian artistic ideas within the context of the Bauhaus (he became a faculty member in 1923) and incorporated aspects of them into his teaching. In this work, titled "Suprematistic" to acknowledge the influence of Malevich, the painted surface—no longer bound by the rules of traditional pictorial perspective—provides an opportunity for what Moholy-Nagy called "the primal human reaction to color, light and form."

Gallery label from 2011.
Medium
Oil on canvas
Dimensions
37 1/2 x 37 1/2" (95.2 x 95.2 cm)
Credit
The Riklis Collection of McCrory Corporation
Object number
1051.1983
Copyright
© 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Department
Painting and Sculpture

Installation views

MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos.

If you notice an error, please contact us at digital@moma.org.

This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.

[Galerie Klihm, Munich, by 1961] [1]. Acquired by the McCrory Corporation (Meshulam Riklis), by 1977 [2]; The Museum of Modern Art, New York, 1983 (The Riklis Collection of McCrory Corporation).
[1] Likely on loan from Klihm to the exhibition Moholy-Nagy, Kunsthalle Mannheim, July 14-August 13, 1961 (no. 19). Also lender to the exhibition Moholy-Nagy, Stedelijk van Abbemuseum Eindhoven, January 20-March 5, 1967 (no. A17).
[3] Included in the exhibition Aspekte Konstruktiver Kunst Aspekte Konstruktiver Kunst: Sammlung MccCrory Corporation, Kunsthaus Zurich, January 14 to February 27, 1977 (no. 119). See also Rotzler, Willy, ed. Constructivism and the Geometric Tradition: Selections from the McCrory Corporation Collection. Buffalo: Albright-Knox Art Gallery, 1979 (no. 132).

Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email provenance@moma.org or write to:

Provenance Research Project
The Museum of Modern Art
11 West 53 Street
New York, NY 10019

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at firenze@scalarchives.com. Motion picture film stills or motion picture footage from films in MoMA's Film Collection cannot be licensed by MoMA/Scala. For licensing motion picture film footage it is advised to apply directly to the copyright holders. For access to motion picture film stills please contact the Film Study Center. More information is also available about the film collection and the Circulating Film and Video Library.

If you would like to reproduce text from a MoMA publication or moma.org, please email text_permissions@moma.org. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to archives@moma.org.

This record is a work in progress. If you have additional information or spotted an error, please send feedback to digital@moma.org.