Paper
Name Class Date

László Moholy-Nagy, Composition (Cross and Circle)\n\nComposition (Cross and Circle) (1923), Museum of Fine Arts. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
László Moholy-Nagy originaluniqueart.com/en/artists/laszlo-moholy-nagy/
Artist’s dates
1895 – 1946
Painted
1923
Original size
7 x 11 cm
Movement
Constructivism Art built like engineering, using industrial materials and shapes for a new society rather than for galleries.
Held at
Museum of Fine Arts originaluniqueart.com/en/museums/museum-of-fine-arts-boston/
Artistic style
Abstract
Influences
Bauhaus
Notable elements or techniques
Geometric abstraction; Cross and circle shapes.
Subject or theme
Composition

In context

Composition (Cross and Circle)\n\nComposition (Cross and Circle) — László Moholy-Nagy

How big is it?

The original measures 7 × 11 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 51 at death.

Painted when the artist was 28. The artist lived to 51. 0 of the 24 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of László Moholy-Nagy (1895–1946) ▲ this work, 1923 every dated painting, decade by decade

First works: up to 1925 Main working years: 1925–1929 Late works: from 1929

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • Untitled\n\nUntitled, 1939 originaluniqueart.com/en/art/laszlo-moholy-nagy-untitled-n-nuntitled-D3WKDD-en/
  • Untitled, Dessau originaluniqueart.com/en/art/laszlo-moholy-nagy-untitled-dessau-D3YGWA-en/
  • Untitled originaluniqueart.com/en/art/laszlo-moholy-nagy-untitled-D3YHFA-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/laszlo-moholy-nagy-composition-cross-and-circle-n-ncomposition-cro-D3WLS8-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #28261b

    Catalogued palette

    • #28261B
    • #DBD4B9
    • #585343
    • #B2AB92

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by László Moholy-Nagy over the last twelve months — 7 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 46.2%
    2. 2 United States of America 15.4%
    3. 3 Argentina 7.7%
    4. 4 Brazil 7.7%
    5. 5 Colombia 7.7%
    6. 6 Italy 7.7%
    7. 7 Singapore 7.7%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 18 most looked-at works by László Moholy-Nagy

    1. 1 Flower, 1925 9.1%
    2. 2 Untitled construction (1922.jpg!Blog) 9.1%
    3. 3 Pneumatik (1924.jpg!Blog) 9.1%
    4. 4 Sil i (1933.jpg!Blog) 9.1%
    5. 5 Jealousy, 1927 9.1%
    6. 6 Small composition, 1923 4.5%
    7. 7 Space modulator l3 4.5%
    8. 8 Untitled [flower], 1925 4.5%
    9. 9 Ohne Titel (Selbstbildnis), Dessau 4.5%
    10. 10 Project for the sculpture bennett (1946.jpg!Blog) 4.5%
    11. 11 Photogram, 1943 4.5%
    12. 12 A ii (1924) 4.5%
    13. 13 Telephone Picture EM 4.5%
    14. 14 Floating forms (1945.jpg!Blog) 4.5%
    15. 15 Cover of the magazine die neue linie, September 1929, 1929 4.5%
    16. 16 Untitled 4.5%
    17. 17 Photogram 4.5%
    18. Composition (Cross and Circle)\n\nComposition (Cross and Circle), 1923 this painting 0.0%

    Together these works take 99.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 58 works by this artist, of which 17 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Composition (Cross and Circle)\n\nComposition (Cross and Circle) — László Moholy-Nagy

    Composition (Cross and Circle): A Pioneer’s Vision of Geometric Abstraction

    László Moholy-Nagy's "Composition (Cross and Circle)" stands as a cornerstone of Constructivism, embodying the movement’s radical embrace of industrial materials and geometric abstraction. Created in 1923 during his pivotal time at the Bauhaus school in Weimar, Germany, this deceptively simple painting—measuring just 7 x 11 cm—commands considerable artistic significance despite its diminutive size. It resides within the Museum of Fine Arts in Boston, a testament to its enduring appeal and scholarly recognition.

    Style: Constructivism – Rejecting Impressionism’s focus on subjective perception, Constructivism championed objectivity and rationality, prioritizing geometric forms—primarily intersecting lines and circles—to represent reality.

    Technique: Executed in black ink on white paper, Moholy-Nagy utilized a precise linework technique to delineate the cross and circle shapes. The stark contrast between black and white amplifies the visual impact, emphasizing the purity of form and minimizing any illusionistic depth.

    Historical Context: Bauhaus emerged as an avant-garde architectural school founded in 1919 with a mission to fuse art, craft, and technology. Moholy-Nagy’s involvement reflected this broader ambition—to reimagine the role of artists within society by exploring new mediums and methodologies.

    Symbolism & Conceptual Depth: The intersecting cross and circle motif transcends mere visual representation; it speaks to fundamental concepts underpinning Constructivism. The cross symbolizes stability and hierarchy, while the circle embodies unity and infinite expansion—a deliberate juxtaposition designed to provoke contemplation about opposing forces shaping existence. Moholy-Nagy’s intention was not simply to depict a form but to convey an idea – a “New Vision” as he termed it – mirroring the Bauhaus ethos of experimentation and intellectual rigor.

    Influence: Moholy-Nagy drew inspiration from Suprematism, pioneered by Kazimir Malevich, which similarly prioritized geometric abstraction as a pathway to spiritual enlightenment.

    Beyond Aesthetics: The painting’s impact extends beyond its visual qualities. It represents a crucial step in the evolution of art toward embracing technological advancements and questioning traditional artistic conventions.

    The artwork's emotional resonance lies in its understated elegance—a deliberate rejection of expressive gestures in favor of intellectual clarity. “Composition (Cross and Circle)” invites viewers to engage in a dialogue with form itself, prompting reflection on the relationship between order and chaos, certainty and ambiguity. It remains an exemplary illustration of Constructivism’s transformative vision for art and design, securing its place as a landmark achievement in 20th-century artistic history.

    Additional Resources: For further exploration, consider visiting WikiArt () and Yale University Art Gallery (); reproductions are available at WahooArt.com () offering high-quality prints and digital mockups.

    Artist and museum

    Artist

    László Moholy-Nagy

    Born in Bacs-Kajala, Hungary

    László Moholy-Nagy: A Pioneer of Modern Art and the Bauhaus

    Born: Bacs-Kajala, Hungary (1895)

    Died: 1946

    László Moholy-Nagy was a profoundly influential Hungarian painter, photographer, sculptor, and designer. He is best known for his significant contributions to the Bauhaus school and his pioneering work in Constructivism, typography, photography, and kinetic art. His artistic philosophy centered on integrating technology and industry into the arts, advocating for a new vision of creativity that embraced the modern world.

    Early Life and Influences

    Early Years & Family: Born László Weisz to a Jewish family in Bacsborsód, Hungary, he later adopted the surname Moholy-Nagy. His cousin was the renowned conductor Sir Georg Solti.

    Education and War Service: He initially studied law in Budapest before serving in World War I, sustaining a serious injury. This period exposed him to avant-garde movements through journals like "Jelenkor" and the “activist” circle around Lajos Kassák’s journal "Ma."

    Early Artistic Training: Following his military service, he studied with Hungarian Fauvist artist Róbert Berény, demonstrating an early interest in modern artistic trends. He briefly supported the Hungarian Soviet Republic.

    Key Influences: Moholy-Nagy was heavily influenced by Constructivism and Suprematism, movements that emphasized geometric abstraction and industrial materials. These influences are evident in his later works.

    The Bauhaus Years and "New Vision"

    Joining the Bauhaus: In 1923, Moholy-Nagy joined the Bauhaus school in Weimar, Germany, initially co-teaching the preliminary course with Josef Albers and eventually replacing Johannes Itten as head of the metal workshop.

    Shifting the Bauhaus Direction: His arrival marked a shift away from Expressionism towards a more Constructivist and design-oriented approach, aligning with the school’s original aims.

    "New Vision" (Neues Sehen): Moholy-Nagy is most famously known for coining the term "New Vision," which championed the camera's ability to reveal aspects of reality invisible to the human eye. This concept underpinned his photographic and artistic experimentation.

    Photograms: He pioneered the photogram technique – creating images by placing objects directly on light-sensitive paper, without a camera – demonstrating innovative approaches to photography.

    Experimentation with Materials & Technology: Moholy-Nagy embraced industrial materials like metal, plexiglass, and electric lighting in his sculptures and designs, reflecting his belief in the integration of art and technology.

    Major Achievements and Innovations

    "Lichtrequisit einer elektrischen bühne" (Light-Space Modulator): Completed in 1930, this kinetic sculpture used moving parts and projected light to create dynamic patterns on surrounding surfaces, considered a precursor to both kinetic art and light art.

    Photography & Film: His photographic work explored abstraction, texture, and movement, often utilizing unconventional techniques like photomontage and experimental lighting. He also ventured into filmmaking.

    Teaching Legacy: As an educator at the Bauhaus and later at the New Bauhaus in Chicago (which he founded), Moholy-Nagy profoundly influenced generations of artists and designers.

    Stage Design & Advertising: Beyond his fine art practice, he designed sets for theatrical productions and created advertising campaigns, demonstrating a versatility that reflected his design philosophy.

    Historical Significance

    Pioneer of Modern Art: László Moholy-Nagy stands as a pivotal figure in 20th-century modern art, bridging the gap between painting, sculpture, photography, and industrial design.

    Influence on Bauhaus Design: His contributions to the Bauhaus school were instrumental in shaping its curriculum and aesthetic, leaving a lasting impact on design education worldwide.

    Advocate for Technological Integration: Moholy-Nagy's emphasis on integrating technology into art anticipated many developments in contemporary art practices.

    Legacy of "New Vision": His concept of “New Vision” continues to inspire artists and photographers to explore the possibilities of perception and representation through innovative techniques.

    Museum

    Museum of Fine Arts

    On show in Boston, United States of America

    A Legacy of Artistic Vision: The Museum of Fine Arts, Boston

    Nestled within the vibrant heart of Boston, the Museum of Fine Arts is more than just a repository of art; it’s a living chronicle of human creativity spanning millennia. From its humble beginnings in 1870 within the walls of the Boston Athenæum to its current grand neoclassical home on Huntington Avenue, the MFA has consistently championed artistic expression and fostered a profound appreciation for the transformative power of beauty. The building itself—a deliberate homage to classical ideals conceived by architect Guy Lowell—is an immediate statement of ambition, its granite façade radiating solidity and elegance while the rotunda, adorned with monumental frescoes by John Singer Sargent, serves as a breathtaking gateway into a world of artistic wonder. This initial grandeur was merely the prelude to a continuous evolution, marked by subsequent expansions that have seamlessly integrated modern design alongside the museum’s historic core, creating a dynamic dialogue between past and present.

    The heart of the MFA lies within its astonishingly diverse collection, a testament to its commitment to representing artistic traditions from across the globe. European masterpieces—the shimmering brushstrokes of Monet capturing fleeting light, the dramatic intensity of Van Gogh’s landscapes, the elegant portraits of Renoir and Degas—form an undeniable cornerstone, offering intimate glimpses into the lives and visions of some of history's most celebrated artists. Yet, to limit the museum solely to Europe would be a profound oversight. The MFA boasts an unparalleled collection of ancient Egyptian artifacts – sarcophagi adorned with intricate hieroglyphs, statues embodying pharaonic power, and jewelry whispering tales of elaborate rituals – transporting visitors back thousands of years to explore the mysteries of a civilization that continues to captivate our imaginations. Delving deeper into Asia reveals exquisite Chinese bronzes radiating with symbolic meaning, delicate Japanese prints revealing the nuances of woodblock techniques, and powerful Indian sculptures reflecting spiritual devotion. The museum’s dedication extends beyond these iconic pieces to encompass American portraiture, decorative arts from around the world – furniture that speaks volumes about social status and craftsmanship, ceramics showcasing regional styles, textiles rich in color and pattern—each object offering a unique window into its time and place. The sheer breadth of representation is truly remarkable, demonstrating the MFA’s unwavering commitment to celebrating artistic expression across geographical boundaries.

    Architectural Narrative: A Symphony of Styles

    The Museum of Fine Arts' physical space isn’t merely a setting for art; it’s an integral part of the museum’s narrative. The original building, designed by Guy Lowell in 1909, embodies the grandeur of Beaux-Arts design—a deliberate homage to classical ideals and Boston’s ambition during the Progressive Era. Its imposing granite façade exudes solidity and elegance, while the rotunda, a breathtaking space adorned with Sargent's monumental frescoes, serves as the museum’s most iconic feature. These murals, depicting scenes from classical mythology – Apollo presiding over his pantheon, Diana hunting in the moonlit forest – are not mere decoration; they represent the MFA’s commitment to bridging the gap between artistic traditions spanning millennia. The careful integration of light, color, and scale within the rotunda creates an immersive experience that immediately establishes the museum's sense of grandeur and artistic ambition.

    However, the museum’s story doesn’t end with Lowell’s vision. Subsequent expansions, masterfully executed by Hugh Stubbins & Associates and I.M. Pei, have added layers of complexity and sophistication to its architectural landscape. The Linde Family Wing for Contemporary Art, conceived by I.M. Pei, is a bold statement of artistic innovation—a soaring glass atrium that creates an ethereal atmosphere, dramatically contrasting with the museum’s historic halls. This space is designed to engage visitors with cutting-edge works, fostering dialogue and exploration of new creative frontiers. The integration of these modern additions demonstrates the MFA’s ability to evolve while honoring its rich heritage. The juxtaposition of Lowell's Beaux-Arts style with Pei's modernist design creates a dynamic tension that reflects the museum’s ongoing engagement with art history and contemporary artistic trends.

    A Global Tapestry: Exhibitions and Ongoing Engagement

    Throughout its history, the Museum of Fine Arts has been a catalyst for artistic discourse, hosting groundbreaking exhibitions that have captivated audiences worldwide. From retrospectives celebrating iconic artists like Picasso and Warhol—artists who redefined our understanding of modern art—to thematic explorations delving into pressing social issues, the MFA consistently pushes boundaries and stimulates intellectual curiosity. The museum’s affiliation with Tufts University's School of the Museum of Fine Arts fosters a dynamic environment where artists, students, and researchers collaborate, fueling innovation and pushing the boundaries of artistic expression. Recent exhibitions have explored diverse themes—from the influence of ancient Egypt on contemporary design to the evolution of portraiture across cultures—demonstrating the museum’s commitment to presenting art in new and engaging ways.

    The MFA’s dedication extends beyond its permanent collection through a vibrant program of temporary exhibitions, lectures, workshops, and educational programs. These initiatives are designed to cater to a diverse audience, from seasoned art enthusiasts to families seeking enriching cultural experiences. The museum actively promotes accessibility, ensuring that its treasures are enjoyed by all visitors, regardless of ability. The MFA’s commitment to community engagement solidifies its position as a vital contributor to cultural enrichment and artistic understanding, fostering a lifelong appreciation for the arts.

    Digital Horizons: Expanding Reach and Accessibility

    Recognizing the importance of reaching a global audience, the Museum of Fine Arts has embraced digital platforms like Google Arts & Culture, extending its reach far beyond Boston’s borders. Through virtual tours, high-resolution images, and engaging stories, visitors from around the world can explore the museum’s extraordinary collection—a testament to the MFA’s dedication to democratizing access to art and fostering a deeper appreciation for cultural heritage. The integration of these digital tools underscores the museum’s commitment to innovation and its role as a leading voice in the evolving landscape of art education and engagement. The online presence allows individuals who cannot physically visit Boston to still experience the beauty and significance of the collection, furthering the MFA’s mission of making art accessible to all.

    Useful Links:

    Museum of Fine Arts

    Forsyth Wickes Museum of Fine Arts

    Useful Content:

    Science: A Preparation for the Mural in the Museum of Fine Arts, Boston

    Philosophy: A Preparation for the Mural in the Museum of Fine Arts, Boston

    Where to read more

    Find this online

    QR code linking to the download page for Composition (Cross and Circle)\n\nComposition (Cross and Circle)

    originaluniqueart.com/en/art/download/laszlo-moholy-nagy-composition-cross-and-circle-n-ncomposition-cro-D3WLS8-en/

    Cite this artwork

    MLA
    Moholy-Nagy, László. Composition (Cross and Circle)\n\nComposition (Cross and Circle). 1923, Museum of Fine Arts. https://originaluniqueart.com/en/art/laszlo-moholy-nagy-composition-cross-and-circle-n-ncomposition-cro-D3WLS8-en/
    APA
    Moholy-Nagy, László (1923). Composition (Cross and Circle)\n\nComposition (Cross and Circle) [Painting]. Museum of Fine Arts. https://originaluniqueart.com/en/art/laszlo-moholy-nagy-composition-cross-and-circle-n-ncomposition-cro-D3WLS8-en/
    Chicago
    László Moholy-Nagy. Composition (Cross and Circle)\n\nComposition (Cross and Circle). 1923. Museum of Fine Arts. https://originaluniqueart.com/en/art/laszlo-moholy-nagy-composition-cross-and-circle-n-ncomposition-cro-D3WLS8-en/
    Harvard
    Moholy-Nagy, László (1923) Composition (Cross and Circle)\n\nComposition (Cross and Circle). Museum of Fine Arts. Available at: https://originaluniqueart.com/en/art/laszlo-moholy-nagy-composition-cross-and-circle-n-ncomposition-cro-D3WLS8-en/

    Look closely

    Composition (Cross and Circle)\n\nComposition (Cross and Circle) — László Moholy-Nagy

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: abstraction, geometric shape, circle. Do you agree? What would you add, or take away?
    4. Look back at Untitled\n\nUntitled (1939), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Constructivism: Art built like engineering, using industrial materials and shapes for a new society rather than for galleries. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Composition (Cross and Circle)\n\nComposition (Cross and Circle) — László Moholy-Nagy

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is László Moholy-Nagy’s ‘Composition (Cross and Circle)’ primarily associated with?

      • A Expressionism
      • B Cubism
      • C Constructivism
    2. 2. In what year was ‘Composition (Cross and Circle)’ created?

      • A 1905
      • B 1923
      • C 1946
    3. 3. Where is ‘Composition (Cross and Circle)’ currently displayed?

      • A Louvre Museum
      • B Museum of Modern Art
      • C Boston Museum of Fine Arts
    4. 4. What geometric shapes dominate the visual design of the painting?

      • A Spheres and Cubes
      • B Triangles and Squares
      • C Circles and Crosses
    5. 5. ‘Composition (Cross and Circle)’ exemplifies Moholy-Nagy’s belief in the importance of integrating what into artistic practice?

      • A Emotional Expression
      • B Classical Sculpture
      • C Industrial Technology

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2C · 3C · 4C · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Can I see "Composition (Cross and Circle)\n\nComposition (Cross and Circle)" by László Moholy-Nagy under different lights?

    "Composition (Cross and Circle)\n\nComposition (Cross and Circle)" can be examined layer by layer on the artwork's X-Ray page, a viewer inspired by a conservator's light bench with eleven optical readings of the image.

    Does "Composition (Cross and Circle)\n\nComposition (Cross and Circle)" by László Moholy-Nagy use strong contrasts or soft harmonies?

    In "Composition (Cross and Circle)\n\nComposition (Cross and Circle)", a statement contrast is paired with a unified palette harmony.

    Do the colors of "Composition (Cross and Circle)\n\nComposition (Cross and Circle)" appear strong or soft?

    "Composition (Cross and Circle)\n\nComposition (Cross and Circle)" by László Moholy-Nagy shows a balanced color intensity.