Public Domain

In Laszlo and Lucia (1922), László Moholy-Nagy portrays an intimate style of contrast stemming from the imagination of the Bauhaus collective, and at first glance the image feels haunting in its simplicity with two profiles emerging from darkness and light, locked in a quiet tension where one face glows almost to dissolution while the other is absorbed by shadow.

In Siblings (1930), Paul Klee channels the dreamlike language of Surrealism into a tender and abstract meditation on human connection.