During Laszlo Moholy-Nagy’s time at the Bauhaus as a Painting Professor he sometimes wondered into the photography scene. He created Our Big Men in 1925. It was a Gelatin Silver Print, in the genre of photomontage. It is in the Hattula Moholy-Nagy Collection.

Moholy-Nagy was known for his distinct photoplastic images during the 19th century. This technique was also known as photomontage. These photoplastic’s were extremely rich in psychological themes, presenting them simply as examples of a new visual genre. He managed to combine images he found with drawings to create striking visual compositions.  He made a smooth transaction to create an experience from one medium into the other. Bringing together these two works caused a lot of people to become aware of his photographic abilities.  The Bauhaus did not make photography apart of their curriculum until 1928; however Moholy-Nagy’s unique use of photography encouraged the school to move the school into a direction of photography. Franz Roh wrote that Moholy-Nagy’s photomontage often had a “lively-fanciful mood” and still contained depth. Roh praised Moholy-Nagy in his three mastered areas of photography: reality photo, the photogram, and the photomontage. “His ‘new photography’ could unlock the world picture of today and tomorrow” (Roh) Moholy-Nagy’s photographs of the 1920s explains his interest in advertising, a medium that controls meaning, and his photoplastics which are clearly subjective statements of his political views.

His ability to create art work that reveals some of the scandalous truth behind his communities government, family, lifestyles, and understanding. “With their delight in visual puns, biting social commentary and not least a readiness to ridicule the imperial pretensions and narrow-mindedness of Weimar, Germany, these images show the lasting influence of Dada on Moholy’s work” (Irene-Charlotte Lusk) The title pokes fun at the possible powerless hype of the politicians as they stand with their hats off to the significantly smaller man in the center. Although the shadows of both Hindenburg and Stresemann are big according to scale of their bodies, it does not compare to the shadows of the unknown man in the middle of their triangle.

Dada or Dadaism is a cultural movement that began in Zurich, Switzerland, during World War I  from 1916 to 1922. The movement was mostly about visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design.  It concentrated its anti-war politics through a rejection of the standards in art through anti-art cultural works. Its purpose was to ridicule the meaninglessness of the modern world.


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