| Sibyl Moholy-Nagy | |
| Birth Name: | Sibylle Pietzsch |
| Birth Date: | 29 October 1903 |
| Birth Place: | Dresden, Germany |
| Death Place: | New York City, US |
| Nationality: | German, American |
| Occupation: | Professor, architectural historian and critic |
| Employer: | Pratt Institute (1951-1969) |
| Spouse: | |
| Children: | 2 |
Sibyl Moholy-Nagy (born Dorothea Maria Pauline Alice Sybille Pietzsch;[1] October 29, 1903 – January 8, 1971) was an architectural and art historian. Originally a German citizen, she accompanied her second husband, the Hungarian Bauhaus artist László Moholy-Nagy, in his move to the United States. She was the author of a study of his work, Moholy-Nagy: Experiment in Totality, plus several other books on architectural history.
She was an outspoken critic of what she regarded as the excesses of postwar modernist architecture. After her death in 1971, fellow writer Reyner Banham eulogized her as "the most formidable of the group of lady-critics (Jane Jacobs, Ada Louise Huxtable, etc) who kept the U.S. architectural establishment continually on the run during the 50s and 60s".[2]
Sibylle Pietzsch was born in Dresden on October 29, 1903 to architect Martin Pietzsch (Deutscher Werkbund) and Fanny (Clauss) Pietzsch. Her father also headed the Dresden Academy.
Moholy-Nagy was an intelligent and rebellious girl who did well in school but suffered from extreme anxiety. As the youngest daughter in a family of four, her parents believed in a privileged Bilden education, prioritizing a humanitarian focus on classics, an idea popular among Dresden bourgeois. Her deepest desire was to pursue a creative field, as a poet or literary author contributing to German culture. Her father, Martin Pietzsch, had an objection to females pursuing higher education however, and she was not allowed to pursue a university education.
After working at a variety of jobs (including clerical work for Leo Frobenius in 1923), she became an actress, performing on stage and in a couple of films. While performing she went under the stage name "Sibyl Peech".[3] In 1929, she married the Frankfurt intellectual and industrialist Carl Dreyfuss, a close friend of social philosopher Theodor Adorno.[4]
In 1931, she left Frankfurt for Berlin, working as a scriptwriter and editor for Tobis Film Berlin. There she met the former Bauhaus professor, artist, and photographer László Moholy-Nagy (1895–1946) who was trying to get support for what would become his most famous film, A Lightplay black white gray. They became a couple by 1932, and had a daughter Hattula the next year, 1933.[4]
Due to the rise of Nazism, László Moholy-Nagy worked for a year in Amsterdam in 1934, while Sibyl and Hattula remained in Berlin. The family reunited in London in 1935, where the couple formally married.[4] A second daughter, Claudia, was born in 1936.[4]
In 1937, the family emigrated to the United States, settling in Chicago. There, Moholy-Nagy assisted her husband in opening the New Bauhaus in October 1937, which was sponsored by the Association of Arts and Industries. After the New Bauhaus closed in June 1938, Moholy-Nagy helped her husband open his own school, the School of Design in Chicago in February 1939. In 1944 this school was reorganized and renamed the Institute of Design. Her husband died in November 1946 (ten years later, the Institute of Design became a department of the Illinois Institute of Technology, IIT Institute of Design).[5] She finished copyediting her late husband's book Vision in Motion, which was published in 1947.
After her husband's death, Moholy-Nagy decided to become an architectural historian and teacher, beginning a productive career publishing many articles and books.[2] Her writings built on knowledge from her father, and from her friendships with Walter Gropius and Sigfried Giedion, who she had met through her husband. Although she lacked formal credentials, her deep knowledge of architectural history allowed her to secure successive teaching positions in Chicago, Peoria, San Francisco, and Berkeley.
In 1951, Moholy-Nagy was hired as associate professor of architecture history at Pratt Institute in New York City on the recommendation of Jose Luis Sert. She had fabricated her CV that she had studied at prestigious German universities.[6] Despite this, she has been called “the pillar on which Pratt Institute was built” by Ron Shiffman, for her contributions to broadening and deepening the curriculum at the Pratt Institute, offering students up-to-date, visually attractive and engaging lectures, and exposing students to the architectural legacy of other continents. She positioned herself as a teacher for the next generation of architects. She taught courses on such subjects as urban history and design, becoming Pratt's first female full professor in 1960.[4] She became a respected and acclaimed teacher, a commanding classroom presence using her experiences in acting.[4] In spite of this, she retained a secret insecurity about her lack of extensive formal university training.[7]
Moholy-Nagy resigned in 1969 over a conflict with other faculty about the future direction of the school, then became a visiting professor at Columbia University in 1970.[4]
She died in New York City on January 8, 1971.[8]
Moholy-Nagy long harbored the ambition of becoming a professional writer, and following her intermittently successful acting career pursued roles alternately as an editor for the publishing house Rütten & Loening, as an assistant dramaturg at the Hessisches Landestheater Darmstadt, as a speechwriter, and as an independent freelance writer. These ambitions were largely put on hold as she poured herself into the support of her husband and their children following their immigration to the United States in 1937. However, following the establishment of the School of Design alongside her husband, she pursued recognition for her writing with renewed vigor. She first found success with a semi-autobiographical essay submitted to Harvard that described her experience living in Germany before and after 1933. The success of this work, which provided a vivid, if partially fictitious, account of the role women play in maintaining family cohesion under the strain of impending war, sparked her continued success as a writer until her death. She went on to publish prolifically both fiction works and, in her later professional life, on the topic of architectural theory.
Throughout the 1950s and 1960s, Moholy-Nagy had a parallel career as an architecture critic, maintaining professional relationships with such figures as Philip Johnson and Carlos Raul Villanueva. In 1945 she published a novel, Children's Children, under the pseudonym "S. D. Peech".[7] In 1950 she wrote a biography of her husband, Moholy-Nagy: Experiment in Totality.[9]
In 1952, the Architectural League of New York awarded her an Arnold Brunner research grant to study vernacular architecture, and she subsequently produced Native Genius in Anonymous Architecture (1957), one of the first books on vernacular design for architects, calling attention to traditional buildings compatible with the natural environment.[4] [6] One of her most important books, Matrix of Man: An Illustrated History of Urban Environment (1968), focused on the development of cities and the influence of landscape, regional climate, tradition, culture, and form.[4] She made numerous contributions to architecture magazines, such as Architectural Forum and Progressive Architecture. She was one of the first critics to study postwar Latin American architecture in depth.
In her architectural writings, she was not afraid to criticize the postwar architecture of her husband's former colleagues. In 1968, she published an essay in Art in America titled "Hitler's Revenge". She started this polemic with the words:[2]
In 1933 Hitler shook the tree and America picked up the fruit of German genius. In the best of Satanic traditions some of this fruit was poisoned, although it looked at first sight as pure and wholesome as a newborn concept. The lethal harvest was functionalism, and the Johnnies who spread the appleseed were the Bauhaus masters Walter Gropius, Mies van der Rohe, and Marcel Breuer.
In the years following László Moholy-Nagy's death, Sibyl Moholy-Nagy actively engaged in preserving and promoting her husband's legacy. Not only did she undertake the responsibility of organizing exhibitions and delivering lectures on his art, but she also initiated contact with publishers to further disseminate his ideas. This commitment to sustaining Moholy-Nagy's influence went hand in hand with practical considerations, as she skillfully managed her and her children's financial well-being through a combination of Moholy-Nagy's life insurance, the sale of some of his paintings, and her income from teaching.[10] Through her dual role as a custodian of his legacy and a provider for her family, Sibyl demonstrated a multifaceted dedication to preserving the impact of Moholy-Nagy's contributions to the world of art and design.