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  • The Paris Review

    Five Hundred Glass Negatives

    by Mary Jo Bang Sep 07, 2017 6 minutes

    On the Bauhaus photographer Lucia Moholy (1894–1989), who inspired Mary Jo Bang’s latest collection, A Doll for Throwing. Next year, Germany will celebrate the centenary of the founding of the Bauhaus, a school that stressed the unity of industrial design and all other arts. The celebration will include Moholy’s work. 

    Lucia Moholy, Self-portrait, 1930. Bauhaus-Archiv Berlin / © VG Bild-Kunst, Bonn 2016.

    In 1915, twenty-one-year-old Lucia Schulz wrote in her journal that she could imagine herself using photography as “a passive artist,” recording everything from the best perspective, putting the film through the chemical processes she’d learned, and adding to the image her sense of “how the objects act on me.”

    On her twenty-seventh birthday, at the Registry Office in Charlottenburg, a borough of Berlin, she married the Hungarian Constructivist painter Lászlo Moholy-Nagy and became, in the blink of a bureaucratic instant, Lucia Moholy. A few years later, when Moholy-Nagy was recruited to teach as

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