Kazimir Malevich. Die Gegenstandslose WeltMünchen: Albert Langen, 1927 (Bauhausbücher; 11)

“That Moholy-Nagy could succeed, in dust jackets for books by Kazimir Malevich, Walter Gropius, Paul Klee, Piet Mondrian, and Theo van Doesburg— to name only the most dominant figures— in condensing the authors' entire artistic oeuvres and their respective complex programs into symbols of great simplicty— this is among the greatest achievements of interpretation and distillation in the art history of the twentieth century. In Malevich's manuscript, for example, Moholy-Nagy found illustration 73, Contrasting Suprematist Elements, and, through minor optical adjustments, transformed this work of art, comprised of a square, cross, and a circle, into the graphic emblem of timeless power that appears on the book cover.”

Florian Illes. "The Bauhaus books as aesthetic program: the avant-garde in a format of 23 x 18. In: Bauhaus: a conceptual model. Ostfildern: Hatje Cantz, 2009 (p. 234)​

The primary distinction of the Bauhaus books was their function as authentic textbooks, written by the creators of new forms and philosophies and not by disciples of disciples. Pictorial material, theoretical content, and typographical form were documents of a new, unified, visual education (…) The Bauhaus books influenced two generations of progressive typographers and commercial artists; their wrappers became landmarks of jacket design, and their texts served to annihilate the beaux-arts spirit.

Sibyl Moholy-Nagy. Moholy-Nagy, experiment in totality. 2 ed. Cambridge: MIT Press, 1969 (p. 37-38)

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