Color Plates A–H

Color Plate A.

László Moholy-Nagy, photogram, 1939. Size unknown, private collection.

(Courtesy Hattula Moholy-Nagy.)

Color Plate b.1.

El Lissitzky, Proun 19D, gesso, oil, varnish, crayon, colored papers, sandpaper, graph paper, cardboard, metallic paint and metal foil on plywood, 97.5 × 97.2 cm (38¾ × 38¼ in.), 1920 or 1921. Katherine S. Dreier bequest. (© Artists Rights Society [ARS], New York. Digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.)

Color Plate b.2.

László Moholy-Nagy, Architecture or Eccentric Construction (Architektur or Excentrische Konstruktion), oil, metallic paint and graphite on burlap, 75.6 × 48.9 cm (29¾ × 19¼ in.), c. 1921. (© Solomon R. Guggenheim Museum, New York. Gift, Andrew Powie Fuller and Geraldine Spreckels Fuller Collection, 2000.42.)

Color Plate C.1.

László Moholy-Nagy, Architecture 1 (Construction on a Blue Ground) (Architektur 1 [Konstruktion auf blauem Grund]), oil, metallic paint and graphite on canvas, 65.2 × 55.4 cm (25¾ × 21¾ in.), c. 1922. (© The Salgo Trust for Education, New York.)

Color Plate C.2.

László Moholy-Nagy, Nickel Construction, nickel-plated iron, welded, 35.9 × 17.5 × 23.8 cm (14 1⁄8 × 6 7⁄8 × 9 3⁄8 in.), 1921. Gift of Mrs. Sibyl Moholy-Nagy. (© Artists Rights Society [ARS], New York. Digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.)

Color Plate D.1.

Kazimir Malevich, Combined Suprematist Composition (Feeling of Metallic Rustling, Dynamic; Pale-metallic Tone), graphite pencil on gray-white verge paper, 20.8 × 16.3 cm, 1927. Bauhaus edition, fig. 77. Top left inscribed by Malevich: One of the combined Suprematist compositions / of elements and feeling of metallic / rustling with strongly dynamic tendency. / Tone of a pale metallic copper scale / 1915. (Kunstmuseum Basel, Kupferstichkabinett, Schenkung Marguerite Arp-Hagenbach. Photo: Kunstmuseum Basel, Martin P. Bühler.)

Color Plate D.2.

Kazimir Malevich, Suprematist composition (Feeling of magnetic attraction), graphite pencil on sketchpad sheet, 26.5 × 20.5 cm, 1927. Bauhaus edition, fig. 81. Top left inscribed by Malevich: Suprematist group of elements / feeling of magnetic attraction /1914. (Kunstmuseum Basel, Kupferstichkabinett, Schenkung Marguerite Arp-Hagenbach. Photo: Kunstmuseum Basel, Martin P. Bühler.)

Color Plate E.1.

Glyphs of the expressive dimensions (EDs) of three different photographic papers. (© Paul Messier)

Color Plate E.2.

Size and photographic paper type of original photograms (in cm²) against time and location of work's production. Horizontal lines indicate standard sizes of photographic papers commonly available in Europe and the United States. (© Krista Lough and Paul Messier)

Color Plate F.

Fgm75 (left image): László Moholy-Nagy, photogram (untitled), ca. 1923–1925, gelatin silver print, 24 × 17.9 cm (AM1994-223); fgm246 (right image): László Moholy-Nagy, photogram (untitled), ca. 1925–1928, gelatin silver print, 23.9 × 17.9 cm (AM1994-224); and their respective glyphs of expressive dimensions, separated (left) and overlapped (right). (© Krista Lough and Paul Messier) Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France. (© Artists Rights Society [ARS], New York. Digital image © CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY. Repro-photo: Jacques Faujour.)

Color Plate G.1.

Regional standard photographic paper sizes plotted against Moholy-Nagy's location. (© Krista Lough)

Color Plate G.2.

Catalogue raisonné's categories of surface fi nish against measured gloss. (© Krista Lough and Paul Messier)

Color Plate H.

Photograms (left) with their revaluations (right) and overlapping expressive dimension glyphs (center). Row 1: fgm256, Photogram, ca. 1925, 26.1 × 23.2 cm (1981.2163.0019) and...