Bøger udgivet af Hatje Cantz Verlag GmbH

Occasionally, when something seems very familiar you lose sight of what makes it so special: Flemish Masters. From van Eyck to Bruegel sets out to counteract this effect and opens our eyes once again to the revolution that took place in the Low Countries in the 15th and 16th centuries that shaped the course of European art. In 48 lavishly illustrated analyses, Matthias Depoorter explores how painters such as Van Eyck, Van der Weiden, Massys, Bosch, and Bruegel reached unprecedented heights, and are rightfully considered innovators to this day.The defining factor was their perfecting and mastery of the oil painting technique as well as their groundbreaking attention to optical lighting effects. The new technical possibilities offered a different way of looking at the world and ultimately a new way of painting. No less innovative was the level of detail. These painters were thoroughly acquainted with each other's work-this volume shows the fundamental artistic cross-fertilization. A must-read for anyone who wants to fall in love with the old master- pieces anew.MATTHIAS DEPOORTER (*1980) is a writer and an art historian. He was one of the curators of the seminal exhibition Van Eyck: An Optical Revolution at the Museum of Fine Arts in Ghent and coordinated the accompanying scholarly publication.

Born in 1972 in Osaka, Japan, Chiharu Shiota has been living and working in Berlin since 1997.

Critical Geography reexamines traditional Western and historical understandings of geography while expanding these investigations to new realms. Borrowing its name from the subdiscipline of geography that questions and challenges power structures, inequality, and the dominant ideologies shaping physical space, Critical Geography explores how space, place, and communities are influenced by social, economic, ecological, and political forces. By critically analyzing these dynamics, the artists and writers in the publication provoke conversations around social justice, environmental sustainability, and transformative change. Critical Geography surveys a diverse range of image-based practices, representing artists from photographers and storytellers whose works shed light on systemic oppression, violence, and urgent environmental concerns to image-makers who appropriate mapping, social media, and technology to explore inequality in colonial and post-colonial contexts.

Call Me Lola is a moving photo essay by the acclaimed Israeli/American artist and documentarian Loli Kantor. For over twenty years, she combed through the family archives of her Polish-born father, a doctor and political activist. The focus is on her mother, Lola, who died in childbirth: a woman who manifests herself principally through images and stories rather than direct memories. The family documents and photographs that retrace the artist's personal history are shown in combination with new camera-based works, making the project a profoundly subjective reflection on the most significant upheavals of the twentieth century, on war and displacement, love and loss, trauma and grief. LOLI KANTOR (*1952) is an Israeli-American photographer whose work centers on personal and cultural memory. She lives and works in Fort Worth, Texas.

Between 1532 and 1536/37, the Dutch artist Maarten van Heemskerck traveled to Rome, strolled through the city, visited art collections and antique gardens, made pilgrimages to the holy sites, and filled his sketchbook with drawings. Most of the sheets created there and now kept in Berlin come from a sketchbook whose original binding has been lost. The latest art-technological investigations at the Berlin Kupferstichkabinett have now largely reconstructed the original sequence of the book's pages. This forms the basis of the present facsimile. In his fascinating studies, Van Heemskerck captured ancient sculptures and ruins, the admired art of Michelangelo and Raphael, and Roman cityscapes. In doing so, he demonstrated a special flair for composition and perspective as well as an extraordinary drawing sensibility. In the sketchbook, the artist found his personal field of experimentation and at the same time created a valuable pool of motifs from which he would draw throughout his life. Tatjana Bartsch has been Deputy Head of the Photographic Collection at the Bibliotheca Hertziana - Max Planck Institute for Art History since 2011. Christien Melzer has been curator for Dutch and English art before 1800 at the Kupferstichkabinett of the Staatliche Museen zu Berlin since 2020.

"In every place there are invisible lines to discover. These define the perspective, the auxiliary lines. On this foundation the scenes, the perspectives, the volumes, the circulations, the relationships with the existing landscape, are built." Piet Blanckaert, one of the major Belgian landscape architects, brings more than forty years of experience and love of gardens into his work. Inspired from the outset by the great English landscapers, Blanckaert`s repertoire covers a wide range from walled gardens in his hometown Bruges to magically textured landscape ensembles.With an introductory essay on Piet's approach by Caroline Donald, this book presents a large selection of Piet Blanckaert gardens, from the Baltic to the Mediterranean, from the first to the most recent, all photographed beautifully by Jean-Pierre Gabriel over the seasons. Landscape architect PIET BLANCKAERT (born 1955) has been running his own independent office, Piet Blanckaert Landscape Design, in Bruges since 1979. His commissions include private gardens as well as environmental works around hotels, industrial complexes and museum sculpture gardens in Belgium, France, Spain, Austria, the Netherlands, the United Kingdom, Switzerland and Greece.

Michael Elmgreen (b. 1961, Copenhagen) and Ingar Dragset (b.1969, Trondheim) are based in Berlin and have worked together as an artist duo since 1995. They have held solo shows worldwide at institutions including the Tate Modern and the Victoria & Albert Museum in London, UCCA Center for Contemporary Art in Beijing, the National Gallery of Denmark in Copenhagen, Fondazione Prada in Milan, and Centre Pompidou in Metz. They have been awarded several prizes, including the 2002 Preis der Nationalgalerie in Berlin and a Special Mention in 2009 for their exhibition The Collectors in the Danish and the Nordic Pavilions at the 53rd Venice Biennale.

Ephra is an NGO based in Berlin. Ephra was founded by artist Rebecca Raue and focuses on empowering kids through contemporary art. The exhibition is the result of many years of studio visits with children from elementary schools.

In 1931, the English designer Gerald Summers (1899-1967)-creatorof the iconic bent plywood armchair -and his partner, Marjorie Butcher (1909-1996), opened their London shop, Makers of Simple Furniture. For almosta decade until closing in 1940, the firm produced hundreds of ingenious designs in plywood. Conceived, in Gerald's words, as "furniture for the concrete age," this singular body of work shaped the notion of the modern interior in Britain. Gerald Summers & Marjorie Butcher: Makers of Simple Furniture, 1931-1940 tells for the first time the compelling story of the firm and its dedicated proprietors. Drawingon Marjorie's vivid recollections and a wealth of unpublished material-including never-before-seen images, personal correspondence, workshop documents, and illustrated specification sheets-the book reveals the magnitude of their achievements and restores a neglected chapter in the history of modern design.  This publication is made possible in part by a grant from the Graham Foundation for Advanced Studies in the Fine Arts. GERALD SUMMERS (1899-1967) is one of the foremost furniture designers of the twentieth century. Born in Alexandria, Egypt, he worked as an engineer before starting his design career. In 1931, he and his partner, MARJORIE BUTCHER (1909-1996), opened Makers of Simple Furniture in London. They managed the firm for almost ten years, producing hundreds of pieces for the modern home. In 1940, wartime exigencies brought an end to the enterprise. They redirected their energy to Gerald Summers Ltd., a supplier of engineering parts. MARTHA DEESE is an authority on Gerald Summers. She earned a master's degree in decorative art history from Cooper-Hewitt Museum/Parsons School of Design, New York, and worked for three decades as an administrator at The Metropolitan Museum of Art, New York. Her groundbreaking article on Summers and his firm, Makers of Simple Furniture, published in the Journal of Design History in 1992, remains the principal source on the designer.

The publication constitutes the most complete overview of the activities of Alberto Garutti, introducing his practice, prevalently in the fields of sculpture, installations and public art.Conceptualized by the late Germano Celant, the volume contains an essay by Antonella Soldaini, a historical-critical time line edited by Eva Fabbris, a selection of statements by the artist and a full range of illustrations and documents to narrate Garutti's creative career, starting from the early 1970s.The innovative value of Garutti's language is based on several key concepts such as the respect for the site in which the work is placed, the focus on the surrounding social realities, and in-depth knowledge of the context. These methodological strategies applied by Garutti for the first time in the early 1990s have profoundly changed the vocabulary of public and site-specific art. Alberto Garutti (1948-2023) has been a key figure within the Italian and European contemporary art scene of the last forty years. From the early 1990s Garutti developed his practice as a form of public art radical manifesto. His works in the urban context - commissioned by cities and institutions across the world - have been designed as open devices conceived to re-imagine forms of social engagement. Practicing art in the public space and being a referential teacher - at the Academy of Brera in Milan and at IUAV in Venice - for several generations of Italian authors, Alberto Garutti is considered today one of the most influential Italian artist of his generation.

The catalog accompanying the ALBERTINA Museum exhibition presents Alfred Kubin's (1877-1959) view of the world of evil, the predominant theme of his life and work. For him, one of the most outstanding draughtsmen of the 20th century, the aesthetics of evil proved to be the antithesis of the idyll, the deliberate suppression of a hideous reality. Defenseless, he finds himself confronted with uncanny dream phenomena and a pronounced fear of the feminine, sexuality, night and being at the mercy of fate. Trapped in his dark visions, evil is inexhaustible for him and determines his life. Essays by Elisabeth Dutz (ed.), Natalie Lettner and Brigitte Holzinger explore Alfred Kubin's graphic cosmos of the sinister, the iconography of evil, his nightmares and obsessions. The Austrian draughtsman and graphic artist ALFRED KUBIN was born in Leitmeritz in Bohemia in 1877. After traumatic childhood experiences in Zell am See and subsequent mental crises, he began his artistic training in Munich in 1898. He processed his nightmares and obsessions in a large number of fantastic drawings. In 1906, he married and bought a property in Zwickledt near Wernstein am Inn, where he lived until his death in 1959.

Frans Hals is one of the most important portrait painters of all time. He was the first artist in Holland to paint social outsiders and genre figures as well as the middle classes, thus giving hitherto unknown visibility to marginalized groups in society. Hals' works are characterized by an unusual liveliness and apt characterization. His sketch-like paintings, executed with loose, bold brushstrokes, had a decisive influence on modernist painting.  In addition to a large selection of paintings by Hals, the comprehensive catalogue accompanying the Berlin exhibition also shows works by those around him and situates him as an exceptional figure in the context of his time. Among the 70 works illustrated and presented with concise catalog entries are around 50 of Hals' most important paintings from collections in Europe, the USA and Canada-including highlights such as Isaac Abrahamsz. Massa and Beatrix van der Laen from the Rijksmuseum in Amsterdam, the Young Man with a Skull from the National Gallery in London and The Lute Player from the Musée du Louvre in Paris. Frans Hals (Antwerpen 1582/83-Haarlem 1666)

The catalog not only focuses on the work of the artist Sven Drühl, but also pays tribute to him as a collector and theorist. Drühl has shown his conceptual landscape paintings, neons and bronzes in numerous institutional exhibitions for over 20 years. Now, for the first time, the Hans Erni Museum Lucerne and the Museum Wiesbaden are presenting Drühl's collection of 19th century paintings alongside his works: from Eugen Bracht to Janus La Cour and Carl Spitzweg. Drühl's many years of theoretical work - as guest editor of Kunstforum International and author of numerous art-science articles - will also be presented here. SVEN DRÜHL (*1968, Nassau) studied art and mathematics. He became internationally known through his compilations of famous landscape paintings. With a PhD in art theory, he is also an author and editor of publications on contemporary art.

¿ Documentation of a global school project¿ Participatory idea initiated by the artist¿ The book serves as an archive and geographical orientation

Installed in a loosely chronological order, the exhibition will give an overview of Tapta's oeuvre, which is mainly divided into two "periods": the textile works made in the 1960s until the early 1980s and the works in neoprene from the 1980s to 1990s. The exhibition first focuses on Tapta's textile works, in which she steadily distanced herself from traditional weaving by applying experimental techniques such as twisting her woven pieces and, in particular, through the use of ropes, which she knotted and joined together into organic volumes. Her work protruded outwards from the wall, became more three-dimensional and increasingly interacted with the space and the viewer, who was invited to experience the works not only visually but also in a tactile and physical manner, stepping around and even inside them.In addition to about twenty original textile works, the exhibition will premiere the unique reconstruction recently made of Tapta's Forms for a Flexible Space (1974). This imposing installation made of cords, in which the visitor can enter and taka a seat, is-as far as is known-the only still existing environment of which Tapta created several in the early 1970s. However, since the original is in extremely poor condition, an exhibition copy was made last year during the Tapta exhibition at Wiels, Brussels, and will be shown in its entirety for the first time at Muzeum Susch. Tapta's activation of the viewer, as seen in the textile sculptures, also manifests itself in the black neoprene works that she began to make in the late 1980s and which-following an intermediate phase of experimenting with rubber and stretching ropes across the vaults of the exhibition spaces-marked a radical turn in her use of materials. Handcrafted rope sculptures now gave way to sculptures and installations from the industrially manufactured material, neoprene-further developing, however, her idea of flexible sculpture. Large black surfaces connected by metal bars and bolts form open structures, through or past which the viewer can walk. Sometimes, the different elements of the sculpture are connected by hinges, allowing their shape to be changed-according to the size of the space or the will of the visitor.Some of the archival documents that will be shown next to the scale models, feature Tapta as a professor at the La Cambre National School of Visual Arts in Brussels. From 1976 to 1990, she led the textile workshop there, renaming it Flexible Sculpture. This commitment as a teacher was as important to her as her artistic practice. Rather than instructing her students in a particular technique, she prioritised the development of an open and critical mind. Her students included Ann Veronica Janssens, Monica Droste and Marie-Jo Lafontaine. Tapta (the pseudonym of Maria Wierusz-Kowalska, born Maria Irena Boyé) was born in Poland in 1926 and came to Belgium as a political refugee with her husband, Krzysztof, after taking part in the Warsaw Uprising of 1944. She studied weaving at the La Cambre National School of Visual Arts, Brussels, from where she graduated in 1949. Shortly afterwards, the couple moved to the Belgian Congo (now Democratic Republic of the Congo), where they lived from 1950 to 1960. On their return to Belgium in 1960, until her sudden death in 1997, she worked in Brussels as an artist and-from 1976 until 1990-as a professor at La Cambre.

Die Publikation Remnants konzentriert sich hauptsächlich auf die visuelle Seite von Paul Hutchinsons Arbeit und zeugt von der Weiterentwicklung seiner Bildsprache. Remnants beschreibt eine Werkgruppe, die Hutchinson seit 2021 produziert - Rückstände, die bei dem Versuch entstanden sind, Graffiti von U-Bahnwägen zu entfernen, stehen hier im Mittelpunkt. Daneben sehen wir vertraute Bezüge zu Hutchinsons Stimme: Zeichen des Wandels im urbanen Raum, Bilder, die auf Fragen von Klasse, Zugang, Zugehörigkeit anspielen. Wir sehen Momente von Fragilität und Rauheit und wir sehen, wie sich die Stadt selbst artikuliert. Allgemein wird ein Gefühl des gesellschaftlichen Wandels vermittelt, ein Moment, in dem die Überreste einer früheren Ordnung noch greifbar sind, aber es ist unklar für wie lange. Die Publikation zeigt ausgewählte Arbeiten aus den Jahren 2019-2024. PAUL HUTCHINSON (*1987, Berlin) hinterfragt kritisch die Entwicklung sozialer Prozesse im urbanen Raum. In seiner fotografischen Praxis und in seinen Texten setzt er sich mit innerstädtischer Kultur und Bedingungen sozialer Mobilität auseinander und oszilliert dabei zwischen Dokumentation, Fiktion und Poesie. Seine Arbeiten wurden in zahlreichen Einzel- und Gruppenausstellungen gezeigt, zuletzt in der Kunst-Station Wolfsburg via Städtische Galerie Wolfsburg, während des Europäischen Monats der Fotografie Berlin und im Kunstverein Ulm. Er lebt und arbeitet in Berlin.

Zu sein wie Wasser, ohne Form, fähig sich allen Gegebenheiten anzupassen, ist das Ideal der in Berlin lebenden Künstlerin moki. In ihren Gemälden mäandert sie zwischen zeitlosem Eskapismus und der Konfrontation mit den Themen unserer Zeit. In ihren detailreichen Acrylbildern verschwimmen Fiktion und Realität. Wie eine Forscherin erkundet sie die Schattierungen der Farbräume in einem grün-blauen Spektrum und erschafft ihren eigenen Kosmos, in dem die Sehnsucht nach Symbiose sichtbar wird. Bereichert durch Texte von Lina Lindqvist, Merlin Sheldrake, Bus126, Anderas Weber, Dogen, Robin Wall Kimmerer, Walter Benjamin, Zhuangzi und einem Interview von Marianna Andrly vereint MÄANDER ihre Gemälde der Jahre 2014 bis 2023. MOKI ist bildende Künstlerin und nimmt seit 2004 an internationalen Ausstellungen teil. Der Schwerpunkt ihres Schaffens liegt auf der Malerei. Sie abeitet darüber hinaus mit unterschiedlichen Medien. Für ihre Graphic Novels & Kinderbücher wurde Moki mehrfach ausgezeichnet.

¿ Lebanese Pavilion at the Biennale in Venice¿ Migration, loss, and memory artistically commented¿ One of the currently most interesting artistic positions

Der international bekannte Fotograf Michael Wesely fängt in seinen Fotografien Zeit und Leben ein. In Doubleday erforscht er archäologische Dimensionen von Fotografie, indem er seine eigenen Aufnahmen passgenau über historische Ansichten von Berliner Architekturen aus dem 19. und 20. Jahrhundert legt. Damit gelingt ihm der Zeitsprung von der Vergangenheit in die Gegenwart: Flaneure des 19. Jahrhunderts am Alexanderplatz begegnen Touristen von heute, Ruinen werden sichtbar unter den wiederaufgebauten Kopien der Gebäude und an die Stelle des Schlosses Monbijou ist ein Park getreten. MICHAEL WESELY (*1963) ist gefeierter Meister der Langzeitbelichtung. Sein präziser, dem jeweiligen Gegenstand entsprechender Einsatz dieser fotografischen Technik machte ihn weltbekannt. Seine einzigartige Ästhetik ist in zahlreichen internationalen Ausstellungen und Sammlungen vertreten. Er lebt und arbeitet in Berlin.

TITUS SCHADE (*1984, Leipzig), einer der bedeutendsten Künstler der jungen deutschen Malerei, war Schüler der Leipziger Akademie der Bildenden Künste, unter anderem bei Neo Rauch. Er lebt und arbeitet in Leipzig. Seine Arbeit wurde in zahlreichen Einzel- und Gruppenausstellungen in Deutschland gezeigt. Titus Schade wird vertreten durch die Galerie EIGEN + ART, Leipzig / Berlin.

Some of Nick Brandt's subjects are humans, some are animals, but they all are creatures of equal and obvious personhood. The overwhelming sense in the photographer's ongoing global series The Day May Break is that they are all figuring out how to live in a new world.  Both extreme droughts and floods have destroyed people's homes and livelihoods. Victims of habitat destruction and wildlife trafficking, the animals are rescues that can never be released to the wild. People and animals were photographed in the same frame and indeed convey a sense of connectedness through a shared fate. Fog is the unifying visual, symbolic of the natural world rapidly fading from view; and an echo of the smoke from wildfires, intensified by climate change, devastating so much of the planet. But in spite of their loss, these people and animals are survivors, pioneers entering the new phase our world has reached. In The Day May Break they share their powerful stories.   This set includes the volumes The Day May Break, The Day May Break - Chapter Two, and SINK / RISE, The Day May Break, Chapter three. NICK BRANDT (*1964, London) studied painting and film at St.Martin's School of Art, London. In 1992 he moved to California,where he still lives today. Since 2001, he has documented thedestructive impact that humankind is having on the naturalworld and, as a result, on humans themselves. Chapter One ofhis seminal series The Day May Break featured photographstaken in Zimbabwe and Kenya in late 2020. Chapter Two wasshot in Bolivia in 2022. In the third chapter Brandt introducescolor to the series, highlighting the all-encompassing impact ofthe water.

Thick Air presents a recent body of work that offers a radical exploration of intimacy and of domestic life by hungarian born artist Eva Beresin. It could in many ways be seen as the culmination of a decade of gained momentum both in speed and invention of her art. Beresin paints the carnivalesque with a genuine interest for the convolutions of the soul. Her compositions hold her personal history and a shared humanity both in grotesque unease and playful boldness.  The catalogue contains texts by Angela Stief and Kenny Schachter. Complemented with an interview by Cordula Reyer and short paragraphs by writers, collectors and gallerists who form a kaleidoscope of perspectives on her work.  The publication will accompany her Exhibition Thick Air opening in May 2024. EVA BERESIN lives and works in Vienna since 1976, she has developed her sensitivity for subversive humor throughout life. In painting, Beresin translates the daily horrors of existence into a tender examination of the contradictory nature of human behavior. Her instinctive attention for social transgressions and their comical aspect creates contagious relief in the facing of tragedy.

Sanyu: His Life and Works in Oil traces the life of theChinese artist (1895-1966) from his early years in Chinaand Japan, to his artistic experimentation and developmentin Paris and New York, ending in his tragic death,impoverished and forgotten. Today, however, Sanyu is oneof the most coveted Chinese modern artists. An examinationof his life reveals that it was precisely the polaritiesand tensions he experienced that spurred him to create aunique pictorial language that so dynamically integratedthe spirit of Western modernity with centuries-old establishedChinese traditions. Sanyu metamorphosed froma Chinese artist of the modern period to a modernistwith Chinese cultural roots. These intersecting dynamicsresulted in a hybridization previously unseen.Featuring examples of his works of all genres and drawingon a wealth of archival material as well as personal storiesrecounted by people who knew Sanyu, this biography is themost comprehensive record of Sanyu's life to date.

¿ First appointment to the Pina Bausch Professorship at the Folkwang University of the Arts¿ Experimental Performance Art¿ Marina Abramovic's interdisciplinary project

Independent photojournalism and documentary photographyare indispensable tools of political educationfor a democratic society and an essential part of shapingpublic opinion-especially in our so-called 'post-factual'times. In recognition of this, the independent non-profitorganization World Press Photo Foundation, based inAmsterdam, has been presenting the World Press PhotoAward for the best photo, the best story, the best longtermproject of the year for more than six decades. Thewinning images in the various categories tell bold storiesand provide invaluable insights into the state of our world.The winning photo will be announced alongside the booklaunch and presented in a traveling exhibition. The excitementcontinues as we wait to see which images will bechosen from thousands of submissions-and, of course,which photo will become the cover illustration!

Seit den 1960er-Jahren beschäftigen sich Künstlerinnen wie Margaret Raspé, Gabriele Voss, Tomaso Binga, Anna Daucíková, Hackney Flashers, Mako Idemitsu, Ana Victoria Jiménez, Mary Sibande und Jinran Ha weltweit kritisch mit Care-Arbeit. Sie thematisieren die körperlichen Strapazen der täglichen Arbeit, dekonstruieren die Mythen, die sich um die ,Arbeit aus Liebe' ranken, führen die Bedingungen vor, die Care-Arbeiterinnen strukturell marginalisieren und machen die Mechanismen sichtbar, unter denen das kochen, putzen und sorgen bis heute abgewertet wird. Dazu entwickeln sie oft neue künstlerische Praktiken, um den Komplexitäten der Care-Arbeit in einer globalisierten Welt gerecht zu werden und auch, um die eigene Rolle als Künstlerinnen und Care-Arbeiterinnen zu reflektieren. Der zweisprachige Katalog ist die erste Überblickspublikation zu Care-Arbeit in der Kunst. Er erscheint begleitend zur gleichnamigen Ausstellung, die in Kooperation zwischen einem DFG-Forschungsprojekt an der Ruhr-Universität Bochum und dem Josef Albers Museum Quadrat Bottrop entstanden ist. Der Katalog beinhaltet neben großzügigem Bildmaterial die Ergebnisse des Forschungsprojekts sowie Beiträge internationaler Expertinnen, u.a. Maria Bremer, Karen Cordero Reiman, Ane Lekuona Mariscal, zethu matebeni und Wiktoria Szczupacka. FRIEDERIKE SIGLER ist Wissenschaftliche Mitarbeiterin am Kunstgeschichtlichen Institut der Ruhr-Universität Bochum. LINDA WALTHER ist Direktorin des Josef Albers Museum Quadrat Bottrop.

A prolific writer, photographer, portraitist, and documentarian, Lucia Moholy defies categorization. She was as active in avant-garde circles as she was in the field of information science, advancing an expansive understanding of visual reproduction. While previous publications on Moholy have limited her accomplishments to the five years she spent at the Bauhaus, Lucia Moholy: Exposures presents the full breadth of her writings and photographs for the first time. Extensive essays drawing on new archival discoveries offer insights into her early life in turn-of-the-century Prague, her involvement in the radical social movements of the 1920s in Weimar Germany, her emigration to London, where colleagues and friends included members of the Bloomsbury Group as well as her wartime involvement with microfilm and scientific documentation and her work in the Middle East on behalf of UNESCO. Acknowledging her reception by contemporary artists such as Jan Tichý, the publication demonstrates how Moholy's interdisciplinary approach to photography anticipated the medium's post-analogue present.LUCIA MOHOLYs (1894-1989) photographs in the aesthetics of the New Objectivity continue to shape the international reception of the Bauhaus to this day. After studying art history and philosophy in her native Prague, she worked as an editor before arriving at the Bauhaus with her husband László Moholy-Nagy in 1923. Her bestselling book A Hundred Years of Photography 1839-1939 was highly influential for the recognition of the medium as an art form. In 1959 she settled in Switzerland, where she continued to work as an art critic.