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Visions of Paris : Robert Delaunay's Series

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i f t 9tj I I I f> I \ ' S I (1 u h Visions of Paris: Robert Delaunay's Series Organized hy Mark Rosenthal Essay by Matthew Drutt In an inspired five-year burst of acti\ity, from 1909 to 1914, the French artist Robert Delaunay created a body of work that was among the most \isionar)- to come out of Paris in the early twentieth century. Delaunay de\eloped a new aesthetics of abstraction in his pursuit of "pure painting" by synthesizing the Impressionist tradition of series painting and the contemporary language of Cubism. Delaunay 's paintings of Saint-Se\erin, the Eiffel Tower, and window \'iews of Paris celebrate the rhyihms and locales of an urban milieu, embracing the modern in its most \ital form: architecture. This book, the catalogue to an exhibition organized by the Guggenheim Museum, is the first to focus on these groupings of paintings and drawings, which established Delaunay as a major artist. Mark Rosenthal, Curator of Twentieth-Century Art at the Guggenheim Museum, is the author of numerous books, including Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline and monographs on Franz Marc and Juan Gris. Matthew Drutt is Associate Curator for Research at the Guggenheim. The book is rounded off with a selection of writings by the artist as well as poems — written by Guillaume Apollinaire, Blaise Cendrars, Louis Aragon, and Vicente Huidobro — that were inspired by Delaunay 's art. M^^- i50 .'.-'. Robert Delaunay at the age ol t\\<ni\ -fnc, ca. 1910 Visions of Paris Robert Deiaunay's Series GUGGENHEIM MUSEUM Visions of Paris: Robert Delaunay's Series Ois;.ini/cd b\ M.irk Rom ihIliI Deutsche Guggenheim Berlin November 7 , 1997 Januar\ 4, 1998 Solomon R.Guggenheim Museum January 16-April 25, 1998 This exhibition originated at Deutsche Guggenheim Berlin as part of the ongoing collaboration between Deutsche Bank and the Solomon R. Guggenheim Foundation. © 1997 The Solomon R. Guggenheim Foundation, New Wnk. .\ll rights reserved. .\i\ works by Robert Delaunay reproduced in this book ©1997 L&M Ser\ices B.V. Amsterdam 970712. Used by permission. .\ll rights reserved. le.xts reprinted from Arthur .\. Cohen, ed., The \eu' Art of Color: The 1 1 'ritings of Robert and Soma Delaunay. ©1978 Sonia Delaunay; translations ©1978 Arthur A. Cohen. Used by permission of X'iking Penguin, a di\ision of Penguin Books US.\ Inc. .\11 rights reserxed. ISBN 0-8109-6906-8 (hardcover) ISBN n-89207- 196-6 (softcover) Guggenheim Museum Publications 1071 Fifth Avenue X<\N ^'ork, New York 10128 Hardcover edition distributed by Harry N. Abrams, Inc. 100 Fifth .\\enue New York. Xcw York 10011 Front cover: Tour Eiffel {Eiffel Tower), 1911 (cat. no. 27). cover: Fenetre sur la ville on the City), Back ( Window 1914(cat. no. 59). Designed by Michelle Martino Lapedota Printed in Italy by Mariogros Unless othcrxvise noted, all works are by Robert Delaunay. In the captions, titles arc _gi\cn in the original language followed by the English. Years in brackets correspond to those discussed by Matthew Drutt in his essay. "Simultaneous Kxpressions: Robert Delaunay's Early Series," and indicate dating that is at variance with the date _gi\en to the work b\ its owner or with which it has been previously published. I k Table of Contents 11 IiilKxIiu lion ,\ ///;/, linsfiitluil 15 Siimili.iiicous Kx|)rcssions: Rolxri Dclaunay's Karly Scries Matl/uh I halt 49 Catalogue Sainl-Severiii, CM. iH)s. I 12 The City, cat. nos. I !^ 21 The Eiffel Tower, cat. nos. 22 43 1 he 1 1 'indows, cat. nos. 44 .59 124 'La l.iimirrc" In Rolxrl Dclaiiiiay 128 I,(il( IS lo X'asily Kandinsky, Iran/ Marc, and August Mac kc b) Robert Dekiunay 132 Poems by Guillaume .Apollinaire, Ix)uis Aragon, Blaise Cendrars, and V'icente Huidobro 139 Selected Bibliography I I. Foreword All fxliihitioii ol Rohtil Dtlauii.iy's scries is ;ii) idci lull o! H'soiiaiuf lor tiic ( iut;i;(iiiuim Miis<iim. rii.iiiks (o tiic ioic- sii>;ht ol ihc roiiiuii IS of the Solomon K. (iuujtrciiliciiu I'buiul.itiou .111(1 lilt- IVn^y (iiimnciiiiciiii ( lollcct iou. \\c arc |).ii lit 111. Illy ii( li ill llu- lioldiiiifs ol this |)ioii((i iiii; .mist ol Modcmisin. Indeed, widi one e\ain|)le lioni llie Saiiil Sirnin series, two Irom ifw I'.itx, tiiice Iroiii I he luffel 'lower, and two lioni ///( \\ indoles, we were .il)ie to <i|)|)i().i( li our colleagues and prix.itc ( olhu tors dnrinu; the |)lanning stages of this exlii- hition with tiic linn knowledge lli.it .i thoiough examination (»i llic sul)jc( t would l)c mounted. Dcl.iiiii.n "s .i( hicxcmciits li.ixc <ilw.i\s hccii rchilcd to those of his (iuhist colleagues, hul diis exhibition should hcl|) to indi\ idu<ili/.»' his conlrihutions. He not only added a col- oristic dimension to the stiiu tural innovations of Cubism, but he also piodnced imaginatixc \icws ol die modern ( ity ol Paris conveyed in .i modern art style, hi contrast to most of his Icllow (aibisi painters, he w illingly accepted the ramifica- tions of Cubism by exploring |)ure abstraction. Delaunay's advances were eagerly ajiplauded and followed by artists in Germany, who ihcii c.uried forth the mission of abstraction. Ihus, Dihuui.iy w.is not simply a member of the Cubist orl)it, but a highly accomplished artist who created new direc- tions during a time when many competing tendencies .ilxmiidcd. Visions of Paris: Robert Delaunay's Series has been ably curated by Mark Ro.senthal, Curator of Twentieth-Century Art, whose idea it was, and who mo\icl with calm alacrity to organi/e this project. I he catalogue is enhanced by the insightful contribution of Associate Curator for Research Matthew Drutt, who has introduced a good deal of new insigiits on Delaunay's art. We are deeply indebted to Jean-Louis Delaunay, the artist's grandson, for encouraging our efTorts and for proxid- ing much help to our curators. Our gratitude extends most profoundly, as always, to the lenders, whose kindness and gen- erosity have allowed for this beautiful and ri( hly re\ealing exhilMtion to occur in all its glorv. Tlumias hrens Director, The Solomon R. (iugoenheini Foundation Acknowledgments The realization of ewry exhibition seems like a miracle, Fine Arts, University of Virginia, Charlottes\'ille, and and this one is no exception. The inaugural cxhihition of Kenneth Silver, Associate Professor of Fine Arts, New York Deutsche Guggenheim Berlin, Visions of Paris: Robert Delaunay's University, generously offered insight and advice. Series will also be presented at the Guggenheim Museum in I ha\e greatly enjoyed the comradery and contributions of New York. Our deepest gratitude is therefore extended to the ni)- colleagues, especially Matthew Drutt, Associate Curator indixiduals and institutions who ha\e generously lent works to for Research, whose essay in this catalogue represents an the exhibition, for it is only due to them that such a large important contribution to Delaunay scholarship, and Claudia public has the possibility of enjoying these great works. In Schmuckli, Curatorial Assistant, whose tireless and diligent particular, I wish to thank Katharina Schmidt, Director, assistance is greatly appreciated. I am most grateful for the Kunstmuseum Basel; James Wood, Director, Jeremy Strick, personal support of Thomas Krens, Director, and Lisa Curator of Tweniielh-Century Art, Douglas Druick, Curator Dennison, Deputy Director and Chief Curator, who played of Prints and Drawings, and Suzanne Folds McCullagh, crucial roles in the negotiation of loans. Curator of Earlier F^rints and Drawings, The Art Institute of Special thanks go to Paul Schwartzbaum, Chief Chicago; Armin Zweite, Director, and \blkmar Essers, Conservator, Guggenheim Museums/Technical Director, Curator, Kunstsammlung Xordrhein-VVestfalen, Diisseldorf; International Projects; and Suzanne Quigley, Head Registrar Georg W. Koltzsch, Director, Folkwang Museum, Essen; Uwe for Collections and Exhibitions. Their personal invohement Schneede, Director, and Helmut R. Leppien, Curator, was instrumental in the realization of this exhibition. Marion Hamburger Kunsthalle; Nicholas Serota, Director, and Kahan, the registrar for this project, skillfully handled the Jeremy Lewinson, Curator, Tate Galler\; London; Evan complex transportation and insurance matters between Berlin Maurer, Director, The Minneapolis Institute of Arts; Helmut and New York. I am most grateful to Gillian McMillan, Friedel, Director, Stadtische Galerie im Lenbachhaus, Senior Conserx'ator. for her expertise. Karen Meyerhoff, Munich; Glenn Lowry, Director, Kirk Varnedoe, Curator of Director of Exhibition and Collection Management and Painting and Sculpture, Margit Rowell, Curator of Prints Design, and Peter Read, Production Ser\'ices Manager/ and Drawings, and Cora Rosexer, Associate Curator of Exhibition Design Coordinator, pro\ided counsel on man)- Painting and Sculpture, The Museum of Modern Art, New design and installation issues. Donna Moll, Senior Designer, York; Werner Spies, Director, Musee National d'Art and Marcia Fardella, Graphic Designer, also proxided imalu- Moderne, Centre Georges Pompidou, Paris; Anne able design help. The exhibition profited from the profession- d'Harnoncourt, Director, Ann Temkin, Curator of alism and the talent of the installation team: Richard Twentieth-Century Art, Michael Taylor, Assistant Curator of Gombar, Museum Technician; Scott Wixon, Manager of .\rt Twentieth-Century Art, and Suzanne Penn, Conservator, Services and Preparations; Mar)- Ann Hoag, Lighting Philadelphia Museum of Art; Philip Rylands, Deputy Designer; James CuUinane, Senior Exhibition Technician; Director, Peggy Guggenheim Collection, Venice; Dieter and Barry Hylton, Art Handler. I would also like to thank Schwarz, Director, Kunstmuseum Winterthur; Hubert David Saik at Richard Gluckman Architects for his construc- Neumann, representing the Morton G. Neumann Family ti\'e advice concerning the newdy built Berlin facilities. Collection; and a group of private collectors who prefer to I am grateful to Max HoUein, Executive Assistant to the remain anonymous.
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  • Claes-Göran Holmberg

    Claes-Göran Holmberg

    fLaMMan claes-Göran holmberg Precursors swedish avant-garde groups were very late in founding their own magazines. in france and Germany, little magazines had been pub- lished continuously from the romantic era onwards. a magazine was an ideal platform for the consolidation of a new movement in its formative phase. it was a collective thrust at the heart of the enemy: the older generation, the academies, the traditionalists. By showing a united front (through programmatic declarations, manifestos, es- says etc.) you assured the public that you were to be reckoned with. almost every new artist group or current has tried to create a mag- azine to define and promote itself. the first swedish little magazine to embrace the symbolist and decadent movements of fin-de-siècle europe was Med pensel och penna (With paintbrush and pen, 1904-1905), published in Uppsala by the society of “Les quatres diables”, a group of young poets and students engaged in aestheticism and Baudelaire adulation. Mem- bers were the poet and student in slavic languages sigurd agrell (1881-1937), the student and later professor of art history harald Brising (1881-1918), the student of philosophy and later professor of psychology John Landquist (1881-1974), and the author sven Lidman (1882-1960); the poet sigfrid siwertz (1882-1970) also joined the group later. the magazine did not leave any great impact on swedish literature but it helped to spread the Jugend style of illu- stration, the contemporary love-hate relationship with the city and the celebration of the intoxicating powers of beauty and deca- dence.