Color Plates A–H
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Color Plates A–H
Color Plate A. László Moholy-Nagy, photogram, 1939. Size unknown, private collection. <br/><br/>(Courtesy Hattula Moholy-Nagy.)
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Color Plate A.

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

(Courtesy Hattula Moholy-Nagy.)

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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.)
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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.)
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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.)

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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.)
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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.)
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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.)

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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.)
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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.)
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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.)

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Color Plate E.1. Glyphs of the expressive dimensions (EDs) of three different photographic papers. (© Paul Messier)
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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)
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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)

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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.)
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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.)

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Color Plate G.1. Regional standard photographic paper sizes plotted against Moholy-Nagy's location. (© Krista Lough)
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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)
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Color Plate G.2.

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

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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 fgm256A, Photogram, ca. 1925, 26 × 23.1 cm (1981.2163.0018). Row 2: fgm116, Goerz, 1925, 30.2 × 22.5 cm (1981.2163.0026) and fgm116A, Goerz, 1925, 30 × 22.4 cm (1981.2163.0002). Row 3: fgm84, Photogram, ca. 1923, 38.6 × 29.6 cm (1981.2163.0025) and fgm84A, Photogram, ca. 1923, 38.4 × 28.6 cm (1981.2163.0023). All gelatin silver prints, purchased with funds from Eastman Kodak Company, George Eastman Museum. (Glyphs © Krista Lough and Paul Messier)
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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...