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Gyorgy Kepes was born on 4 October, 1906 in Selyp, Kingdom of Hungary, is a Hungarian-American artist (1906–2001). Discover Gyorgy Kepes's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 95 years old?

Popular As N/A
Occupation miscellaneous
Age 95 years old
Zodiac Sign Libra
Born 4 October, 1906
Birthday 4 October
Birthplace Selyp, Kingdom of Hungary
Date of death 29 December, 2001
Died Place Cambridge, Massachusetts, U.S.
Nationality Hungary

We recommend you to check the complete list of Famous People born on 4 October. He is a member of famous Miscellaneous with the age 95 years old group.

Gyorgy Kepes Height, Weight & Measurements

At 95 years old, Gyorgy Kepes height not available right now. We will update Gyorgy Kepes's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Who Is Gyorgy Kepes's Wife?

His wife is Juliet Appleby

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Wife Juliet Appleby
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Gyorgy Kepes Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Gyorgy Kepes worth at the age of 95 years old? Gyorgy Kepes’s income source is mostly from being a successful Miscellaneous. He is from Hungary. We have estimated Gyorgy Kepes's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income Miscellaneous

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Timeline

1906

György Kepes (October 4, 1906 – December 29, 2001) was a Hungarian-born painter, photographer, designer, educator, and art theorist.

1930

In 1930, he settled in Berlin, where he worked as a publication, exhibition and stage designer.

Around this time, he designed the dust jacket for Gestalt psychologist Rudolf Arnheim's famous book, Film als Kunst (Film as Art), one of the first published books on film theory.

In Berlin, he was also invited to join the design studio of László Moholy-Nagy, the Hungarian photographer who had taught at the Dessau Bauhaus.

1936

When, in 1936, Moholy relocated his design studio to London, Kepes joined him there as well.

A fortunate consequence of moving to London was that Kepes found his future wife, a 17-year-old British woman née Juliet Appleby, an artist and illustrator.

By chance, he saw her on the street, introduced himself, and soon the two began to date.

The following year, when Moholy agreed to become the director of a new art school in Chicago (which Moholy dubbed the New Bauhaus), Kepes was invited to join the faculty and to head a curricular area in Light and Color.

Kepes asked Juliet to join him.

1937

After immigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago.

While teaching at the Institute of Design (or New Bauhaus) from 1937 to 1943, Kepes enlarged and refined his ideas about design theory, form in relation to function, and (his own term) the "education of vision."

1942

Kepes was lured to Brooklyn College by Russian-born architect Serge Chermayeff, who had been appointed chair of the Art Department in 1942.

There he taught graphic artists such as Saul Bass.

In 1942, Kepes had been one of a number of people (Moholy was another) who were asked by the U.S. Army to offer advice on military and civilian urban camouflage, in the course of which he viewed Chicago from the air.

He alluded to this experience in Language of Vision, when he talked about natural camouflage: "The numerous optical devices which nature employs in the animal world to conceal animals from their enemies reveal the workings of this law [i.e., perceptual grouping] of visual organization" (p. 45).

1944

In 1944, he published Language of Vision, an influential book about design and design education.

Widely used for many years as a college textbook (it had thirteen printings, in four languages), it began by acknowledging Kepes' indebtedness to the Berlin-based Gestalt psychologists, and by asserting that "Visual communication is universal and international; it knows no limits of tongue, vocabulary, or grammar, and it can be perceived by the illiterate as well as by the literate… [The visual arts, as] the optimum forms of the language of vision, are, therefore, an invaluable educational medium" (p. 13).

1946

In part, the book was important because it predated three other influential texts on the same subject: Paul Rand, Thoughts on Design (1946), László Moholy-Nagy, Vision in Motion (1947), and Rudolf Arnheim, Art and Visual Perception (1954).

1947

In 1947, Kepes accepted an invitation from the School of Architecture and Planning at MIT to initiate a program there in visual design, a division that later became the Center for Advanced Visual Studies (c. 1968).

1949

In his lifetime, Kepes produced other books of lasting importance, among them Graphic Forms: Art as Related to the Book (1949); Arts of Environment (1972); and The Visual Arts Today (1960).

He was also a prolific painter and photographer, and his work is in major collections.

1956

In 1956, what began as an exhibition became a highly unusual book, The New Landscape in Art and Science, in which Modern-era artwork was paired with scientific images that were made, not with the unaided eye, but with such then "high tech" devices as x-ray machines, stroboscopic photography, electron microscopes, sonar, radar, high-powered telescopes, infrared sensors and so on.

His theories on visual perception and, particularly, his personal mentorship, had a profound influence on young MIT architecture, planning, and visual art students.

These include Kevin Lynch (The Image of the city) and Maurice K Smith (Associative Form and Field theory).

1965

In 1965–66, Kepes edited a set of six anthologies, published as a series called the Vision + Value Series.

Each volume contained more than 200 pages of essays by some of the most prominent artists, designers, architects and scientists of the time.

The richness of the volumes is reflected in their titles: The Education of Vision; Structure in Art and Science; The Nature and Art of Motion; Module, Symmetry, Proportion, Rhythm; Sign, Image, Symbol; and The Man-Made Object.

1967

In 1967 he founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974.

Kepes was born in Selyp, Hungary.

His younger brother was Imre Kepes, an ambassador in Argentina, father of András Kepes, journalist, documentary filmmaker and author.

At age 18, he enrolled at the Royal Academy of Fine Arts in Budapest, where he studied for four years with Istvan Csok, a Hungarian impressionist painter.

In the same period, he was also influenced by the socialist avant-garde poet and painter Lajos Kassak, and began to search for means by which he could contribute to the alleviation of social injustice, especially (as he later recalled) "the inhumane conditions of the Hungarian peasantry."

Kepes gave up painting temporarily and turned instead to filmmaking.

1972

He served as a director of this center until 1972.

Some of the center's early fellows included artists Otto Piene, Panayiotis Vassilakis, Jack Burnham, Wen-Ying Tsai, Stan Vanderbeek, Maryanne Amacher, Joan Brigham, Lowry Burgess, Peter Campus, Muriel Cooper, Douglas Davis, Susan Gamble, Dieter Jung, Piotr Kowalski, Charlotte Moorman, Antoni Muntadas, Yvonne Rainer, Keiko Prince, Alan Sonfist, Aldo Tambellini, Joe Davis, Bill Seaman, Tamiko Thiel, Alejandro Sina, Don Ritter, Luc Courchesne,Jonathan Goldman, and Bill Parker.

1974

While teaching at MIT (where he remained until his retirement in 1974), Kepes was in contact with a wide assortment of artists, designers, architects and scientists, among them Pietro Belluschi, Norbert Wiener, Buckminster Fuller, Rudolf Arnheim, Marcel Breuer, Charles Eames, Erik Erikson, Walter Gropius, Maurice K Smith, and Jerome Wiesner.

His own art having moved toward abstract painting, he developed a parallel interest in new scientific imagery, in part because it too had grown increasing "abstract."

2001

Kepes and his wife Juliet Appleby Kepes are memorialized at Mt. Auburn Cemetery in Cambridge, Massachusetts, where Kepes died in 2001.

The markers are of wood and stone, respectively, and are tall and rectangular in proportion.

The Friends of Mt. Auburn provide further information about the stones and the design that was made by grandson Janos Stone.