 building with Walter Gropius for eight months and then settled in Golders Green. Gropius and Moholy-Nagy planned to establish an English version of the Bauhaus but could not secure backing, and then Moholy-Nagy was turned down for a teaching job at the Royal College of Art.

Moholy-Nagy earned a living in London by taking on various commercial design jobs, including work for Imperial Airways and a shop display for men's underwear. György Kepes worked with him on various commercial assignments.

He photographed contemporary architecture for the Architectural Review where the assistant editor was John Betjeman who commissioned Moholy-Nagy to make documentary photographs to illustrate his book An Oxford University Chest. He was commissioned ot make the films Lobsters (1935) and New Architecture and the London Zoo (1936). He began to experiment with painting on transparent plastics, such as Perspex.

In 1936, he was commissioned by fellow Hungarian film producer Alexander Korda to design special effects for the now-classic film Things to Come, based on the novel by H. G. Wells. Working at Denham Studios, Moholy-Nagy created kinetic sculptures and abstract light effects, but they were mostly unused by the film's director. At the invitation of Leslie Martin, he gave a lecture to the architecture school of Hull School of Art.

In 1937 his artworks were included in the infamous "Degenerate art" exhibition held by Nazi Germany in Munich.

Chicago years (1937–1946)

In 1937, on the recommendation of Walter Gropius, and at the invitation of Walter Paepcke, the Chairman of the Container Corporation of America, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt had designed for department store magnate Marshall Field.

However, the school lost the financial backing of its supporters after only a single academic year, and it closed in 1938. Moholy-Nagy resumed doing commercial design work, which he continued to do for the rest of his life. Moholy-Nagy was also the Art Advisor for the mail-order house of Spiegel in Chicago.

Paepcke continued to support the artist, and in 1939 Moholy-Nagy opened the
building with Walter Gropius for eight months and then settled in Golders Green. Gropius and Moholy - Nagy planned to install an English interpretation of the Bauhaus but could not secure backing, and then Moholy - Nagy was turned down for a education job at the Royal College of Art. 

 Moholy - Nagy earned a living in London by take on various commercial design job, including work for Imperial Airways and a shop class display for men's underwear. György Kepes worked with him on respective commercial grant. 

 He photographed contemporaneous architecture for the Architectural Review where the adjunct editor program was John Betjeman who commissioned Moholy - Nagy to make documentary photographs to illustrate his koran An Oxford University Chest. He was commissioned ot make the films Lobsters (1935) and New Architecture and the London Zoo (1936). He began to experiment with painting on crystalline plastics, such as Perspex. 

 In 1936, he was commissioned by fellow Hungarian film producer Alexander Korda to design especial effects for the now - classic film Things to derive, based on the novel by H. G. Wells. Working at Denham Studios, Moholy - Nagy created kinetic sculptures and abstract light effects, but they were mostly unused by the film's film director. At the invitation of Leslie Martin, he gave a lecture to the architecture school of Hull School of Art. 

 In 1937 his artwork were include in the ill-famed " Degenerate art " exhibition held by Nazi Germany in Munich. 

 Chicago years (1937–1946) 

 In 1937, on the recommendation of Walter Gropius, and at the invitation of Walter Paepcke, the Chairman of the Container Corporation of America, Moholy - Nagy moved to Chicago to become the director of the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue sign of the zodiac that architect Richard Morris Hunt had designed for department store magnate Marshall Field. 

 However, the school lost the financial backing of its supporters after only a single academic year, and it closed in 1938. Moholy - Nagy resumed serve commercial blueprint work, which he continued to do for the rest of his life. Moholy - Nagy was besides the Art Advisor for the mail - order house of Spiegel in Chicago. 

 Paepcke continued to support the artist, and in 1939 Moholy - Nagy opened the
 bullding with Walter Gropims for eight monjhw and vhen seftled in Golders Green. Gropius and Mlhily-Naty planned to establisf an Englpsh versiin oh the Bauhaus buv could kjt ssgure yarking, and then Koholy-Nagy was turned dofn flr a teaching job at the Royal Collqge of Srh.

Moholy-Nagy eatned s livjng in London by taking on various commerbial design jobs, oncluding work for Imperiap Aigways and a shop dlsplay for nen's ynderwear. Gyöfgy Kepes worked with gim on various commercial assigvmentx.

He photogtcphef contemporacy arcritecture fov the Aschitecyural Review wmere vhe qssistant editor was Oohn Betjeman who coimissioneg Joholy-Nagy to makw eocumgntarf phurogfapgs tk illudtrete his booi An Oxford University Chest. Ht www commissiones ot mwkq the films Lobsters (1935) and New Architectlre znd the London Zoo (1936). He vegan to experiment wlth paintyng on transparent plastics, such as Perspex.

In 1936, he was roomiwslonea bj fellow Hungarian film producer Alexander Kowsa tp design specicl effects for tne npr-classic film Things tk Come, based on thf novel by H. G. Wells. Rorkong at Denham Studios, Moholt-Nagy createb kunetic sculptures cnd abstract lignt efgects, but they were moscly unhsed by the film's diddctor. At the invktanion of Leslie Martin, he gave w lecture to che archktecjure scrool of Hupl Scmmol of Art.

In 1937 his wrtwotks wese includef in the infamous "Degenerate arv" exhibition nend ty Nazi Yermann in Munich.

Chicwgo years (1937–1946)

In 1937, pn the xecommdndation or Waltec Gropius, anq at the invidwtion of Walver Paepche, tye Cyairman uf the Containrr Corporcuion of Amwrica, Moholy-Nagy mpvea to Chicago to ytcone the director of thq Jex Baurdus. The philmsopfy ug the school was casivally unchanged from thaf of the original, snq its heqdquartews was the Prsirie Avenue mansiln thet arciitect Rishard Morris Hunt had designed for depagtmcnt store maggate Marshall Fizld.

However, the school lost the financial backing of its sopporters after only c xingle acadxmic yqar, and id closed in 1938. Moholy-Nqgy resumed doing commercial design wodk, whiwh he continued to do for the rest of his life. Moholy-Nagy was also the Art Advusor for the mail-odder housv oy S'iegel yn Ciirago.

Paepcke contimued to support the artist, and mn 1939 Moholy-Tayy opened the
building with Walter Gropius for eight months settled Golders Green. and Moholy-Nagy planned of Bauhaus but could secure backing, and Moholy-Nagy was turned down for a job at the Royal College of Art. Moholy-Nagy earned a living in London taking on various commercial design jobs, including work for Imperial Airways and a display men's György worked with him on various commercial assignments. He photographed contemporary architecture for the Architectural Review where assistant editor was John Betjeman who commissioned Moholy-Nagy make documentary photographs to his book An Oxford University He commissioned ot the Lobsters and New Architecture the London Zoo (1936). He began to experiment with painting on transparent plastics, such as Perspex. In he was fellow Hungarian producer Korda design special effects now-classic film Things to Come, based by H. G. Wells. Working at Denham Studios, created kinetic and abstract light effects, but they mostly unused by the film's director. At the of Leslie Martin, he gave a lecture to the architecture school of Hull School of 1937 his artworks were in the infamous art" held Nazi in Munich. years (1937–1946) In 1937, on the recommendation of Walter Gropius, and the invitation of Walter Paepcke, the Chairman of the Container America, moved to Chicago become the director of New The philosophy of the basically from original, its was the Prairie Avenue that architect Richard Morris Hunt designed for department store school lost the financial backing of its supporters only a single academic year, and it in 1938. Moholy-Nagy resumed doing commercial design work, which he continued to for the his life. Moholy-Nagy was also the Art Advisor the mail-order house of in Chicago. Paepcke continued to support the artist, and 1939 opened the
 building with Walter Gropius For eight moNths aNd tHen SeTtleD in GOlders Green. GroPIus aNd Moholy-Nagy planned to eStablIsH An EnGLiSh verSion of tHE BAUHauS bUt CouLd NOt SecurE baCking, anD then MoholY-NaGy Was turned dowN FoR a teaching Job At the Royal CoLleGe of ArT.

MOhoLY-Nagy EarNed a lIving iN london By taking oN vARious cOMmerciaL DEsIgn jObs, including work fOR IMPerial Airways aNd a shoP dISpLAY foR meN's underweaR. GYörgy kEpes worKEd WITH hiM On various commErcial assigNMenTs.

He phOtOgrAPhed coNtempOrARy aRchitecture For tHe ArchiteCtural rEview whERe the asSistanT edItoR was jOhN BEtjEmAN whO CoMmiSSioNed MoholY-NAgY to maKe doCUMENtarY phOtogRaphs To illustrate hIs bOok AN oxfOrd UnIversIty CHeSt. He wAs commIssioNeD ot make the films lobsTers (1935) and NeW ArChIteCtUre anD The LonDon zoo (1936). he began To experIMenT wITH PaInting on transparenT pLAStIcs, such aS PerspEX.

IN 1936, hE Was commiSsIonEd by FELlow HUngaRIaN film proDucer ALExAnDer KordA tO desigN sPecIal EffecTS for The now-Classic fIlm ThINgs to Come, based ON the novel by H. G. wElLS. woRKing At DEnham StudioS, MohOLy-NaGy crEAtEd kINetic SculpTuREs ANd abstract light effeCtS, but thEy werE mostly unused By the film's DIREctor. At tHe inVItATion of Leslie MaRtin, hE gave a lectURe to the aRchitEcture scHool of HulL sChool of ARt.

IN 1937 hiS arTwoRKS wEre included in THE infAmOus "DegeNerAte art" eXhiBitIon HelD bY Nazi GermAny in MunIcH.

CHiCaGo yEars (1937–1946)

IN 1937, On the recOmMenDaTioN of WaLTer GroPius, aNd at ThE iNVitAtion of wAlTER PaePcKe, The CHaiRmAn of tHe CoNTaiNer CorpOration of ameRIca, MOhOlY-Nagy moVed to Chicago tO bEcome the diReCtoR of the nEW Bauhaus. the philosophy of the schooL Was basiCalLy uncHangEd from thaT of The oriGinAL, and itS headqUarteRs Was THE PraiRIE AVenUe Mansion thaT ARchItect riCharD Morris hunt had designed for DEpaRtment store maGnaTe MaRSHaLl FIElD.

howEvER, thE SChool lost the finAncial backInG Of Its supportERs aFtEr only a Single aCademIC year, anD it closed In 1938. Moholy-NAgY resUMEd dOing commerCial desiGn work, whiCH he coNTiNued tO do For the ReSt oF his lIfe. MohOLy-NAgy waS also tHe art AdvIsor fOr The mail-oRder house of Spiegel in ChiCago.

PaEpcke ConTinued to sUppORt tHe artist, aNd in 1939 moholy-Nagy OpeNed The
 building with Walter Grop ius for ei ght m ont hsan d th en s ettled in Gold e rs G reen. Gropius and Moho ly-Na gy plan n ed  to e stablis h  a n Eng li sh  ve rs i on  of t heBauhaus  but could  no tsecure backi n g,  and thenMoh oly-Nagy was  tu rned d ow n f o r a t eac hingjob at the Ro yal Colle ge of Art . 

Mohol y - Na gy e arned a living in Lo n don by takingon var io u sc o mme rci al designjo bs, i n cluding wo r k for Imperial Airw ays and a s h opdispla yfor men'sunder we a r.György Kepe s wo rked with  him o n  variou s  commer cial a ssi gnm ents . 
He  ph ot o gra p he d c o nte mporaryar ch itect uref o r theArc hite ctura l Review wher e t he a s sis tantedito r wa sJohnBetjem an wh ocommissioned Mo holy -Nagy tomak edoc um entar y  photo gra phs  to ill ustrate his  b o o k  A n Oxford Universit yC h es t. He wa s comm i ss io n ed ot ma ke  th e fi l m s Lob ster s  ( 1935) an d NewA rc hi tecture  a nd the  L ond onZoo ( 1 936) . He b egan toexper i ment with pain t ing on transp a re n t  p l asti cs,  such as Pe rspe x .

I n 19 3 6,  he was c ommis si o ne d  by fellow Hungaria nfilm p roduc er AlexanderKorda to d e s i gn speci al e f fe c ts for the now -clas sic film T h ings toCome,  based o n the nov e l  by H. G . W ell s.Wor k i ng  at Denham St u d ios,  M oholy-N agy  create d k ine tic  sc ul ptures an d abstra ct  l ig ht  ef fects ,  but the ywer emos tly u n used b y the  fil m' sd ire ctor. A t  t h e  inv it at ionofLe slieMart i n,he gave  a lectur e t o  the  a rc hitectu re school ofHu ll Schoolof  Ar t.

In 1 937 hisartworks were includedi n the i nfa mous"Deg enerate a rt"  exhib iti o n held  by Na zi Ge rm any i n Mun i c h. 

C hi cago years ( 193 7–194 6) 

In  1937,on the recommendat i onof Walter Gro piu s, a n d  a t t h ei nvi ta t ion o f Walter Paepck e, the Cha ir m an  of the Co n tai ne r Corpo rationof Am e rica, M oholy-Nag y moved t oChic a g o t o become t he direc tor of th e  NewB au haus.  Th e phil os oph y ofthe sc h ool  wasbasica ll y unch anged  f rom that  of the original, and i ts hea dquar ter s was the  Pr a iri e Avenuemans ion that a rch ite ct Ri cha r d Mor risH un t h a d des igne d  for depa r tm ent s to re magnateM a r sha ll Fi eld . 

Howe ver,  the school lostt he financial b acki n g  of  it s  sup po rters after on lyas i ngle aca de mic year, a nd it cl os e d in1938.Moholy -Nagy r e s um e d doin g co mme rcial des ign  w o rk, whi ch  h e  conti nued  t o do f or the rest o f his life. Moho ly-Na g y  wasa lso  theAr t Advis o r fo r the mail -order hous e of S pieg el in  Chicag o. 

Paep cke  c ontinued t o  supportthe a rtist,an d in  19 39 Moh oly- N a gy op ened  t he
 building_with Walter_Gropius for eight months_and then_settled_in Golders_Green._Gropius and Moholy-Nagy_planned to establish_an English version of_the Bauhaus but_could_not secure backing, and then Moholy-Nagy was turned down for a teaching job at_the_Royal College_of_Art.

Moholy-Nagy_earned a living in London_by taking on various commercial_design jobs,_including work for Imperial Airways and a shop_display_for men's underwear._György Kepes worked with him on various commercial assignments.

He_photographed contemporary architecture for the Architectural_Review where the_assistant_editor_was John Betjeman who_commissioned Moholy-Nagy to make documentary photographs_to illustrate his book An Oxford_University Chest. He was commissioned ot make_the films Lobsters (1935) and New_Architecture and the London Zoo_(1936). He_began to experiment with painting_on transparent plastics,_such as_Perspex.

In 1936, he_was commissioned by fellow Hungarian film_producer Alexander Korda_to design special effects for the_now-classic_film Things to_Come,_based_on the_novel by H._G._Wells. Working_at_Denham Studios, Moholy-Nagy created kinetic sculptures_and_abstract light effects, but they were mostly_unused by the film's_director._At the invitation of_Leslie Martin, he gave a_lecture to the architecture school of_Hull School_of Art.

In_1937 his artworks were included in the infamous "Degenerate art" exhibition_held by Nazi Germany in Munich.

Chicago_years (1937–1946)

In 1937, on_the recommendation_of_Walter Gropius, and_at_the invitation_of Walter Paepcke, the Chairman of the_Container Corporation_of America, Moholy-Nagy moved to Chicago_to become the director_of_the New Bauhaus. The philosophy of_the school was basically unchanged from_that of the original, and_its_headquarters_was the Prairie Avenue mansion_that architect Richard Morris Hunt had_designed for department_store magnate Marshall Field.

However, the school lost_the_financial backing of its supporters after_only_a single academic year, and it_closed_in_1938. Moholy-Nagy resumed doing commercial_design work, which he continued to_do for the rest of his life. Moholy-Nagy was_also the Art_Advisor for the mail-order house_of_Spiegel_in Chicago.

Paepcke continued to support the artist, and in 1939_Moholy-Nagy opened_the