György Kepes

Untitled [abstract shapes]

Frank Roth (American, 1936-2019), Untitled, Oil and Wax Medium on Paper with Collage Elements, 1962, signed and dated upper right, painted wood frame. Image: 10" H x 11" W; frame: 17...

Beverly Hallam (American, 1923-2013), "Queen Anne's Shadow 6:17p.m. II", Acrylic with Conte on Rag Paper, 1993, signed in pencil lower right, inscribed with artist studio label verso...

Willard MacGregor (American, b. 1901-1993), Abstract Composition, Crayon and Ink Wash on Paper, 1983, signed lower left, giltwood frame. Image: 12" H x 8.75" W; frame: 17.5" H x 13....

Al Held (American, 1928-2005), Untitled (Cubes), Lithograph on Strathmore Paper, 1969, signed in pencil and numbered edition "67 / 100" to verso, Strathmore blindstamp lower right co...

Sorry for the reflection on the plexi. In the early 1980s, the Polaroid Foundation invited Hungarian-born painter and photographer György Kepes (1906-2001) to use the 20x24 Polaroid camera. The resulting carefully staged compositions summarize many of his artistic concerns, employing such objects as prisms, flowers, and graphic papers to manipulate the effects of light and form. György Kepes 1906-2001 was a Hungarian-born painter, photographer, designer, educator, and art theorist. After emigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1967 He founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974. Kepes was born in Selyp, Hungary. His younger brother was Imre Kepes, ambassador in Argentina, father of András Kepes journalist, documentary filmmaker and author. At age 18, he enrolled at the Royal Academy of Fine Arts in Budapest, where he studied for four years with Istvan Csok, a Hungarian impressionist painter. In the same period, he was also influenced by the socialist avant-garde poet and painter Lajos Kassak. Kepes gave up painting temporarily and turned instead to filmmaking. In 1930, he settled in Berlin, where he worked as a publication, exhibition and stage designer. Around this time, he designed the dust jacket for Gestalt psychologist Rudolf Arnheim's famous book, Film als Kunst (Film as Art), one of the first published books on film theory. In Berlin, he was also invited to join the design studio of Laszlo Moholy-Nagy, the Hungarian photographer who had taught at the Dessau Bauhaus. When, in 1936, Moholy relocated his design studio to London, Kepes joined him there as well. Kepes was lured to Brooklyn College by Russian-born architect Serge Chermayeff, who had been appointed chair of the Art Department in 1942. There he taught graphic artists such as Saul Bass. In 1944, he published Language of Vision, an influential book about design and design education. In part, the book was important because it predated three other influential texts on the same subject: Paul Rand, Thoughts on Design (1946), László Moholy-Nagy, Vision in Motion (1947), and Rudolf Arnheim, Art and Visual Perception (1954). In 1947, Kepes accepted an invitation from the School of Architecture and Planning at MIT to initiate a program there in visual design, a division that later became the Center for Advanced Visual Studies (c1968). Some of the Center's early fellows included artists Otto Piene, Vassilakis Takis, Jack Burnham, Wen-Ying Tsai, Stan Vanderbeek, Maryanne Amacher, Joan Brigham, Lowry Burgess, Peter Campus, Muriel Cooper, Douglas Davis, Susan Gamble, Dieter Jung, Piotr Kowalski, Charlotte Moorman, Antoni Muntadas, Yvonne Rainer, Keiko Prince, Alan Sonfist, Aldo Tambellini, Joe Davis, Bill Seaman, Tamiko Thiel, Alejandro Sina, Don Ritter, Luc Courchesne, and Bill Parker...

Artist: Man Ray (American born, 1890 - 1976) Title: ABSTRACT RAYOGRAPHY Date Of Negative: 1927 Type Of Print: Authentic Vintage Sheet Fed Photogravure/Heliogravure. Date Of Print: 19...

It's really majestic piece. It's grand in size and its got a very beautiful and impressive contrast in shades. This piece is something very special... two Luminograms in one work of...

Photography by Luigi Veronesi in 1937. Gelatin silver bromide print from the original negative in 1974. Measures: 21 x 23 cm without frame 65 x 92.5 x 1.5 framed Handsigned in the lo...