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<p/><br></br><p><b> Book Synopsis </b></p></br></br><p>Offered a position at the Weimar Bauhaus in 1923, László Moholy-Nagy (1895-1946) soon belonged to the inner circle of Bauhaus masters. When the school moved to Dessau, Moholy-Nagy and Walter Gropius began a fruitful collaboration as joint publishers of the <i>Bauhausbücher</i> series. <p/>In addition to designing and editing the <i>Bauhausbücher</i>, Moholy-Nagy produced a title of his own: the legendary <i>Painting, Photography, Film</i>. In this book, Moholy-Nagy's efforts to have photography and filmmaking recognized as art forms on the same level as painting are propounded and explained at length. The artist makes the case for a radical rethinking of the visual arts and the further development of photographic design to keep pace with a radically changing technological modernity. <p/>Alongside theoretical and technical approaches and forays into the nature of the medium, Moholy-Nagy uses an extensive appendix of illustrations to provide a thorough survey of the numerous possibilities that photography and film could offer--from press photography and scientific imagery to Moholy-Nagy's own abstract photograms and New Vision photographs. <p/>This English translation of <i>Painting, Photography, Film</i> is based in content and design on the 1925 German first edition, making the latter available to an international readership for the first time. The publication includes a brief scholarly text providing crucial contextual information and reflecting on the history and legacy of Moholy-Nagy's book.</p>

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