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Lucia Moholy and the Image of Modernism extended until 02/26/23


he exhibition at the Bröhan Museum is dedicated to the photographs of Lucia Moholy, the wife of Bauhaus teacher Lazlo Moholy-Nagy, to whom she was married until 1929.

Lucia Moholy

Master Houses Dessau, northeast view of Gropius House, 1926, vintage print, Galerie Berinson

© Kischreport

Usually her husband Lázló Moholy-Nagy is in the focus of Bauhaus exhibitions, this time the exhibition deals with Lucia Moholy’s contribution to the breakthrough of the Bauhaus art movement. In particular her photographs succeeded in bringing the spirit of Bauhaus architecture and designs to the world outside. Undoubtedly she would be celebrated as a brand photographer today, who artfully showcased the ideas of the Bauhaus. The importance of her photographs for a successful Bauhaus brand strategy are undisputed, yet her name was hardly known for decades.

“All, except myself, have used and admit to having used my photographs […] and often without mentioning my name. All, except myself, have derived advantage from the use of my photographs, either directly or indirectly, whether in the form of money or prestige or both.” (*Quotation Lucia Moholy from 1954, exhibition Bröhan Museum)

She gave a statement that everyone had benefits from her ideas and photographs except herself. Her works were claimed by other Bauhaus members, without giving her name* – …this statement is very depressing, when you see how stylistically confident she implemented the ideas of the Bauhaus in her photographs and what expressive power the architecture and objects have in her photographs.

Lucia Moholy
master houses Dessau (1925 1926), House Gropius, Westside
, Collection K, courtesy Galerie Derda Berlin

© Kischreport

Many photos were taken for brochures or catalogs and show the products or houses from unusual perspectives and angles. Her pictures shaped the documentation about the Bauhaus, but copyright was ignored. Her name was all too often not mentioned, despite close collaboration with the architects and artists. Since she was never officially employed and/or paid by Walter Gropius, she was never officially at the Bauhaus. After the Nazi takeover, she was a Jewish fugitive and the omission of her name, also by Walter Gropius himself, meant that the name Lucia Moholy did not appear among her photographs for decades. Gropius let her believe that the film negatives had been destroyed in a bombing raid, although he himself owned the negatives and used and also published countless prints. Lucia Moholy conducted protracted court cases with Gropius, which only resulted in the 1950s in Gropius having to return part of the original negatives to her (approx. 500-600 glass negatives); of 560 prints made at the Bauhaus, 330 glass negatives are still missing*.

Alexander Schawinsky, Scene from the Circus, first performance in 1924, Bauhaus, image below The Bauhaus Band, Hans Hoffmann, Heinrich Koch, Rudolph Paris, Andreas Weininger ©Kischreport
Lucia Moholy, Chess Table by Heinz Nösselt, 1924, Vintageprint, Private collection, Netherlands, courtesy Galerie Derda Berlin ©Kischreport

The exhibition shows how Lucia Moholy shaped the image of modernism and has been extended until 2/26-23.

When?           01.10.22 – 26.02.23

Where?          Bröhan Museum, Schloßstraße 1a, 14059 Berlin

Tickets?        8 Euro/ Reduced 5 Euro

Opening Hours?   Tuesday-Sunday 10-18 Uhr

Info?              www.brö

Every Saturday at 3 pm there is a free guided tour of the exhibition (plus admission), every 2nd Saturday also in sign language. Without registration.

A free digital guide is available for information and background on the exhibition.



Cover photo/contribution photo: Lucia Moholy, Master House, garden terrace, view from Lucia Moholy’s window, 1926, vintage print, private collection, Germany ©Kischreport