Bauhaus Photographs 1919-1933

Originally, photography seems to have been rejected by sensitive artists at the beginning of the twentieth century as a cold, mechanical, and "technoid" image producer. Therefore, the entrance of Moholy-Nagy into the Bauhaus must have been like the incursion of a strange power or like the end of art itself. Paul Klee and Lyonel Feininger spoke out in dismay. Feininger feared Moholy as "nothing but optics, mechanics, taking the 'old' static painting out of service" and he was most concerned that Moholy's "influential opinions (would be) considered by Gropius to be the most important at the Bauhaus." Klee spoke of "template intellectuality." They were referring in that vein to Moholy's stroke of genius, Malerei, Photographie, Film (Painting, Photography, Film; Bauhaus Book No. 8) published and developed with the strong support of photographer Lucia Moholy. The 1925 book replaced the material handicraft of painting with the immaterial, optical, and technical procedures for the construction of images overnight.Bauhaus Photographs 1919-1933, was published 2004 under ISBN 9780929445120 and ISBN 0929445120.