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"Cubism and Abstract Art" Exhibition of 1936 at the Museum of Modern Art Author(S): Susan Noyes Platt Source: Art Journal, Vol

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Modernism, Formalism, and Politics: The "Cubism and Abstract Art" Exhibition of 1936 at the Museum of Modern Art Author(s): Susan Noyes Platt Source: Art Journal, Vol. 47, No. 4, Revising Cubism (Winter, 1988), pp. 284-295 Published by: College Art Association Stable URL: http://www.jstor.org/stable/776979 . Accessed: 10/09/2011 00:37 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal. http://www.jstor.org Modernism,Formalism, and Politics: The "Cubism and Abstract Art" Exhibitionof 1936 at The Museum of Modern Art By Susan Noyes Platt The Cubism and Abstract Art exhi- plaster cast of the Winged Victory of bition, held at The Museum of Samothrace (Fig. 3).2 These juxtaposi- Modern Art in New York City during tions of modern art and its purported the spring df 1936 (Fig. 1) and subse- sources were intended to educate view- quently in six other cities, marks a ers to the revolutionary development of watershed in the historiography of ear- modern art as well as to its historical ly-twentieth-century modernism. Ear- roots in the familiar art of the classical lier, the critical analysis of modern art era. had been complex, individual and often Alfred Barr, the curator of Cubism contradictory. Interpretationsin Ameri- and Abstract Art, presented there an ca-by such writers as Katherine apparently absolutely systematic ver- Dreier, Alfred Stieglitz, and Walter sion of the development of Cubism. This Pach, for example-depended on a com- grand scheme was epitomized in an evo- bination of personal prejudices and spo- lutionary chart that traced the ancestry radic interaction with European and and descendents of Cubism (Fig. 4). American publications and artists. The chart was posted throughout the These early critics developed categories, exhibition and used on the dust jacket of styles, and motives anew for each publi- the catalogue. Divided into five-year cation.1 periods, the chart presented a genealogy Cubism and Abstract Art together of modern artistic styles. At the top it with the widespread dissemination of its demonstrated that Redon, Van Gogh, influential catalogue, established Cu- Gauguin, Cezanne, Seurat, and Rous- bism as the central issue of moder- seau Fauvism and early 1 View northeast on 53rd generated Cubism, abstraction as the It made Fig. looking whose and nonart sources nism, goal. Street of The Museum of Modern Art non-European Cubism and what it characterized as its were set off in red boxes. About with Alexander Calder mobile made for midway descendents into a At the Cubism was shown as completed history. the exhibition Cubism and Abstract through chart, the same in a contra- the of time, significant Art. The Museum progenitor Futurism, Purism, diction, it removed Cubism from its own Photograph courtesy of Modern Art, New York. Orphism, Neoplasticism, Suprematism, historical, social, and political context. and Constructivism, with Fauvism, less These ideas dominated understandingof centrally, as the direct ancestor of the early-twentieth-century develop- posed, and its development within the Abstract Expressionism and Surreal- ments in modernism for decades. It context of the political events of the ism. Finally, these styles evolved into affected later histories of early modern 1930s are subjected to scrutiny, the rea- just two directions: "geometrical ab- art written by European as well as sons for its impact emerge clearly. stract art" and "non-geometrical American critics. The effectiveness of As visitors entered the exhibition, abstract art." the exhibition and its catalogue from the they were immediately confronted with The thesis and structure of the chart perspective of our jaded, satiated late- Picasso's Dancer (1907) juxtaposed to was reflected in the order and sequence twentieth-century art world is startling. an African figure (Fig. 2). In another of the installation. Here for the first Yet, when the contents of the exhibition, room, Boccioni's bronze Unique Forms time Cubism was displayed as a histori- the basis for the interpretations it pro- of Continuity in Space was paired with a cally completed style with demonstrable 284Art Journal and reproduced that way in the cata- logue), and the Constructivism of Tatlin and Popova, represented by photo- graphic reproductions. Finally, "Ab- stract Expressionism," the term Barr used for the works of Kandinsky, appeared near the end of the exhibition, as did "Abstract Dadaism" and "Ab- stract Surrealism." In addition to the traditional me- diums of painting and sculpture, the exhibition featured abstract film, pho- tography, and the application of the Fig. 2 Installation view of the 5 Installation view of the modern vocabulary to architecture, Fig. exhibition Cubism and Abstract Art. exhibition Cubism and Abstract Art. chair design, and small household Photograph by Beaumont Newhall, Beaumont Newhall, objects such as plates and cups. In all, Photograph by courtesy The Museum of Modern Art, The Museum of Modern Art, nearly 400 objects were exhibited. Barr courtesy New York New York enhanced the dignity of the work by his spare installation. Such touches as the exhibition of Malevich's White on White The theoretical principles and mod- between two windows on which the els used to explain the development white window shades had been lowered of modern art in Cubism and Abstract exactly halfway made a point about the Art were in some ways the distillation of painting and underscored its inherent many years of thought for Barr. In other elegance. ways, the essay was a significant depar- In the exhibition catalogue, Barr sys- ture from his earlier writings, a depar- tematically and factually laid out a his- ture generated by the political pressures tory of Cubism. The emphasis through- of the mid 1930s. Examination of his out the essay, as in the chart, was on the earlier essays reveals the moment at development of the styles of modern art, which politics began to affect Barr's Fig. 3 Installation view of the rather than on details of the individual concerns as an art historian. exhibition Cubism and Abstract Art. artists' careers. Barr repeated the juxta- As Director of The Museum of Mod- Photograph by Beaumont Newhall, positions of the installation in the cata- ern Art from its founding in 1929, Barr courtesy The Museum of Modern Art, logue, filling in works that did not formulated preliminary versions of Cu- New York appear in the exhibition, such as the bism and Abstract Art in the early Demoiselles d'Avignon, for which the 1930s. Even before he became Director, derivation from earlier sources and inev- Dancer was probably the stand-in. Each he had frequently combined teaching itable progeny in the later styles of style was given a chronology, a summa- with modern-art exhibitions. But in the abstraction. On the first floor, immedi- ry, and pictorial documentation. The mid thirties a sudden and brilliant amal- ately after the entryway with the Dancer book concluded with a list of the works, gamation of his earlier experiences as and the African figure, Barr grouped his carefully catalogued as to size and curator and teacher found expression in designated precursors in a source room. source, and a bibliography compiled by the startling clarity of the 1936 exhibi- Next came a step-by-step development Beaumont Newhall, who also took the tion. Seeking to educate the public in the of early Cubism, with Cubist works installation photographs. art of their own century, he used the paired with appropriate works of Afri- established methodologies of traditional . 1890 | JAPANESEPRINTS} uroi S 1890 art to validate it. can sculpture (Fig. 5) and Cezanne yVnGogk SYNTHETISM - NEO-IMPRESSIONISM history (Fig. 6). Later Cubism was represented Barr received a Bachelor of Arts 1895 i895 with works such as Picasso's Table (Fig. \ \ / / 1\ degree from Princeton in 1922 and a along with Futurist examples, early Masters degree in 1923. His attitude to 7) 1900 1900 Delaunay, and Leger's Luncheon. This an instructional survey of modernism S iERN section culminated with Picasso's Stu- 1905 was the product of his training in the S FAUVISM M,-, dio (Fig. 8) and The Painter and His 1905, NEGROSCULPTURE 1905 methodologies of art history as they \^7^' ,--^^^'*^ ~CUBISM were in the 1920s, when Model, which were given entire walls to a? I t f f ^MACHINE ESTHETICSREA / practiced early 1910 U 1910 IABSTRACTI FUTURISM /;\ 3/9 o I themselves. Barr divided Cubism dis- EXPRESSIONISM . // H JPREMTM \ the focus was formalist. The historians tinctly and unequivocally into two \^ -^^ y^^"1w"1//I _tyA l CONSTRUCTIVISM who influenced Barr's approach to the ISTR 5 1936 exhibition-Charles Rufus phases: "Analytic" and "Synthetic." (DA M D \ Morey These were terms that had appeared PURISM. EOPASTICISM and Frank Jewett Mather4-were frequently in literature on Cubism among the founders of the disciplines of ASTRC / v iBAUHAUS art and connoisseurship in almost since its inception, but with vary- 1925 SURREALISM/ MODERNR-].. .s. .k 1925 history ing connotations.3 Here, for the first | ARCHITECTURE| \ \ America. 1930 in particular, influenced Barr time, those terms were used with capital 1930 N / Morey, letters to define clear-cut stylistic stages throughout his career. Two aspects of in the history of Cubism. Other sections 1935 NON-GEOMETRICALABSTRACT ART GEOMETRICALABSTRACT ART 1935 Morey's approach had particular impor- tance for Barr.
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