[1][2] Lucy Schulz grew up in a nonpracticing Jewish family in a "German-speaking enclave" of Prague,[2] where her father had his law practice, in the Austrian part of Austria-Hungary.

[2] Her own diaries from that period, include a drawing from 10 May 1907 of gifts her father brought back to Lucy, her brother Franz, mother and grandmother from his trips.

[2] Through these diaries written in her teen years, we know she corresponded with pen pals in the United States in English, and read Thomas Mann, and Leo Tolstoy.

[2] After qualifying as a German and English teacher in 1912, Schulz studied philosophy, philology, and art history at the University of Prague.

[3] In the early years of World War I, Schulz began to work in Wiesbaden, Germany, as theater critic for a local newspaper.

[5] [6] She abruptly left Berlin, leaving all of her belongings including the bulky glass negatives of her Bauhaus photographs, which ended up in the hands of Walter Gropius.

Documentation for the application included a letter from her brother, Franz, who had a successful career, a good income and had offered to support her.

[2] During those five years, Moholy documented the interior and exterior of Bauhaus architecture and its facilities in Weimar and Dessau,[10][11] as well as the students and teachers.

Lucia Moholy responded, "Surely you did not expect me to delay my departure in order to draw up a formal contract stipulating date and conditions of return?

There she befriended members of the wider "Bloomsbury Set", who supported her work by commissioning portraits and inviting her to give lectures.

[27] The service moved to the Victoria and Albert Museum in April 1943, where it remained for the next three years, sponsored by the British and US governments and the Rockefeller Foundation.

[27] [28] Much of the team's work was highly secretive, and involved the copying of scientific and technical publications and papers using Kodak's Recordak Microfile cameras.

From 1946 to 1957, immediately after World War II, she traveled to the Near and Middle East where she did microfilm projects for UNESCO, and directed documentary films.

It featured artists working in the New Vision aesthetic (Precisionism) and New Objectivity or Neue Sachlichkeit photographers such as Moholy.