Lucia Moholy

Lucia Moholy, born Schulz ( born January 18, 1894 in Prague, † May 17 1989 in Zurich ) was a photographer. She was married to the Bauhaus teacher László Moholy -Nagy, and was especially known for its Bauhaus photographs.

Life and work

As the daughter of a lawyer Lucia grew up in a suburb of Prague Karlin. Although it was noisy birth certificate of the Jewish faith, it was rather atheistic upbringing. 1910, she was the high school and worked as an editor and proofreader for a study of philosophy, philology and art history in Prague. From 1918 she worked successively for the Kurt Wolff Verlag, Hyperion publishing, and the Random House, where she worked until 1923 as an editor. The summers of 1918 and 1919 she spent on Heinrich Vogeler " bark Hoff " in Worpswede, where first photographs were taken. In 1921 she married the painter in Berlin and photographer László Moholy -Nagy, with which it belonged until 1928 at the Bauhaus in Weimar and Dessau worked from 1923.

1923/24, she completed a photography internship and took photography classes in Leipzig. Together with her husband went Lucia Moholy 1928 to Berlin. 1929 separated the couple. They then lived together with Theodor Neubauer, a Communist member of the Reichstag and later resistance fighters. From 1929 to 1931, she gave lessons in photography from Johannes Itten's private art school.

After the seizure of power by the National Socialists in 1933 emigrated Lucia Moholy, because she was threatened because of their Jewish ancestry, via Paris to London, where she was working as a photographer and lecturer in photography and in 1940 worked on scientific documentation. After the war she worked in Prague and to 1957 in the national libraries of the Middle East on behalf of the UN.

After a year in Berlin, Lucia Moholy settled in 1959 in Zollikon ( Switzerland ), where she edited biographical collections and worked as a freelance correspondent for art magazines. The rediscovery of the Bauhaus, through which they regularly reported in 1946, she accompanied more critical, which was not conducive to its rediscovery as a photographer, theorist and contemporary witness.