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Hilla Rebay En Non-Objectiviteit

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Hilla Rebay en Non-Objectiviteit Catharina Van Mossevelde (stamnummer: 19953040) Scriptie ingediend tot het behalen van de graad van Licentiaat in de Kunstwetenschappen Promotor: Prof. Dr. Claire Van Damme Faculteit Letteren & Wijsbegeerte - Universiteit Gent Academiejaar 2006-2007 Woord Vooraf Eerst en vooral wil ik mijn promotor, Prof. Dr. Claire Van Damme, bedanken voor het in mij gestelde vertrouwen gedurende het voorbije academiejaar en voor de inspirerende en verhelderende discussies met betrekking tot de ruimere context van deze scriptie, de toekomst, het leven. Daarnaast ben ik dank verschuldigd aan een aantal personeelsleden van het Solomon R. Guggenheim Museum in New York, die mij bij de praktische kant van mijn research geassisteerd hebben, ter plaatse en/of op afstand: Kim Bush, Manager of Photography and Permissions, voor het vrije gebruik van de ontelbare j-pegs van de in bijlage opgenomen werken; en Francine Snyder, Manager of the Library and Archives, voor haar grenzeloze geduld en vindingrijkheid in het lokaliseren van een eindeloze stroom brieven van en naar Hilla Rebay en haar onvermoeibaarheid in het aanslepen van ontelbare archiefdozen. Verder wil ik hier ook Gary Snyder, Director Gary Snyder Fine Art (NY), en Steven P. Lowy, Director Portico New York Inc. (NY), extra bedanken voor het kosteloos ter beschikking stellen van j-pegs van Rebay s werken in hun respectievelijke collecties. Een woordje van dank ook aan Sigrid Faltin voor de geanimeerde gesprekken over our Hilla en haar recentere en toekomstige filmprojecten, waardoor ik soms op onverwachte denkpistes terecht gekomen ben. Ik ben eeuwige dankbaarheid verschuldigd aan mijn mentor Karole Vail, Assistant Curator in het Solomon R. Guggenheim Museum, in de eerste plaats voor de professionele samenwerking in 2003-2004 die mij op het spoor van Hilla Rebay gebracht heeft; voor haar oprechte vriendschap; voor de vele inspirerende en aanmoedigende long distance gesprekken en e-mails met betrekking tot Hilla and the others ; voor het aanreiken van onschatbare informatie die soms in kleine details bleek te zitten, en vooral voor de ii enthousiaste belofte om mijn scriptie, eens voltooid, te lezen - hoewel zij helemaal geen Nederlands spreekt. Tenslotte rest mij hier nog Isabelle Peelman te bedanken uit de grond van mijn hart, voor het kritisch lezen en onvermoeibaar herlezen van eindeloze blauwdrukken van deze scriptie; voor het maken van - achteraf beschouwd - vrijwel altijd terechte opmerkingen en het aanbrengen van relevante en soms zeer voor de hand liggende suggesties; voor de lange ontspannende wandelingen; voor haar onvervangbare vriendschap en voor haar immer stand-by zijn. En natuurlijk mag ik ook Lieve Van den Bogaert, André Van Mossevelde en Marian mijn ouders en zus - niet vergeten die een waar engelengeduld aan de dag legden tijdens deze beproeving die het schrijven van mijn ondertussen derde thesis voor hen moet geweest zijn. Catharina Van Mossevelde Wetteren, 20 mei 2007. iii Hilla Rebay en Non-Objectiviteit Woord vooraf ii-iii Inhoud iv-vi 0. Inleiding 0.1. Motivatie voor onderwerpskeuze 1-2 0.2. Status quaestionis 2-5 0.3. Probleemstelling en methodologie 5-7 Hoofdstuk 1: Hilla Rebay von Ehrenwiesen een biografie en historisch kader. 1.1. Inleiding 8-9 1.2. Vormingsjaren in Europa, 1890-1926 9-16 1.3. Guggenheim-era in New York, 1927-1952 16-27 1.4. Post-Guggenheim-tijdperk, 1953-1967 28-29 1.5. Postume erkenning, 1968-heden 29-31 Hoofdstuk 2: Het artistieke pad naar non-objectiviteit. 2.1. Rebay s onbekendheid als kunstenaar 32-34 2.2. Oeuvre 35-54 2.2.1. Algemene karakterisering 35 2.2.2. Jeugdwerk, 1909-1913 36-38 2.2.3. Eerste kennismaking met abstractie, 1913-1917 38-42 2.2.4. Nieuwe techniek, 1916-1918 42-44 iv 2.2.5. Intermezzo, 1919 - vroege jaren 20 44-46 2.2.6. Figuratieve collages en portretkunst tijdens het interbellum, midden jaren 20 - begin jaren 40 46-51 2.2.7. Volledige overgave aan de non-objectiviteit, midden jaren 30 jaren 60 51-54 2.3. Besluit 54-55 Hoofdstuk 3: Het theoretische pad naar non-objectiviteit. 3.1. Theosofie 56-58 3.2. Kandinsky s essays 58-64 3.2.1. Über das Geistige in der Kunst (1911) 59-62 3.2.2. Almanach der Blaue Reiter (1912) 62-64 3.3. Rebay s essays 65-75 3.3.1. Gegenstandslos versus non-objective 65-68 3.3.2. Definition of Non-Objective Painting (1936) 68-70 3.3.3. The Beauty of Non-Objectivity (1937) 70-72 3.3.4. Value of Non-Objectivity (1938) 73-74 3.3.5. Non-Objectivity is the Realm of Spirit (1939) 74-75 3.3.6. The Power of Spiritual Rhythm (1939) 75 3.4. Correspondentie tussen Rebay en Kandinsky, 1930-1944 76-86 3.5. Besluit 87-89 Hoofdstuk 4: Promoten van non-objectiviteit. 4.1. Abstractie in Amerika vóór Rebay 90-95 4.2. Ideeën voor het Museum of Non-Objective Painting en oprichting van The Solomon R. Guggenheim Foundation, jaren 30 95-102 4.2.1. De Tempel der Gegenstandslosigkeit 1929-1930 95-96 4.2.2. De Guggenheim-collectie in het Plaza Hotel, 1931 97 4.2.3. Het Rockefeller-voorstel, 1933-1936 98-99 4.2.4. The Solomon R. Guggenheim Foundation, 1937 100 v 4.2.5. Art of Tomorrow en het Museum of Non-Objective Painting, 1939 101-102 4.3. Bouw van de temple of the spirit , 1943-1959 102-107 4.4. Rebay s mecenaat 107-109 4.5. Reactie op Rebay s non-objectiviteit 110-116 4.5.1. Collega s, critici en de pers 110-112 4.5.2. Kunstenaars 112-114 4.5.3. Publiek 114-116 5. Besluit 117-118 Bibliografie 119-134 Illustratieverantwoording 135 vi 0. Inleiding 0.1. Motivatie voor onderwerpskeuze Mijn interesse voor de enigmatische Hilla Rebay werd al opgewekt in 2003- 2004 toen ik als Curatorial Intern werkte in het Solomon R. Guggenheim Museum in New York. Het voornaamste project waar ik met Karole Vail, Assistant Curator, aan werkte was immers een retrospectieve rond de miskende figuur van Hilla Rebay. Miskend , want zowat iedereen - waaronder lange tijd ook ikzelf - blijkt immers wel het Guggenheim Museum of de naam Guggenheim te kennen, maar bijna niemand weet ook daadwerkelijk dat het Hilla Rebay was, een naar Amerika geëmigreerde Duitse aristocrate, die de rijke jood Solomon R. Guggenheim ertoe aanzette moderne kunst te verzamelen. Nog minder bekend wellicht is het feit dat het háár idee was een museum voor non-objectieve kunst op te richten, dat zij de drijvende kracht was achter de bouw van Frank Lloyd Wright s overbekende spiraalvormige constructie, en dat ze - naast kunstenaar en adviseur bovendien ook de rol vervulde van eerste curator en directeur van dit kunstbastion. Na de opening van deze overzichtstentoonstelling Art of Tomorrow. Hilla Rebay and Solomon R. Guggenheim op 20 mei 2005 in New York, was mijn nieuwsgierigheid naar Hilla Rebay echter nog niet helemaal bevredigd. De begeleidende catalogus focuste immers hoofdzakelijk op Rebay s biografie en besteedde te weinig kritische aandacht aan haar oeuvre, haar theorieën, haar kunsthistorische betekenis. Er werd dan wel een wervelend visueel overzicht gepresenteerd van Hilla s oeuvre in dialoog met het werk van een aantal van haar tijdgenoten, maar de soms overduidelijke artistieke en theoretische invloeden die hierdoor gesuggereerd werden, bleven onbesproken. Ook Hilla s eigen essays over non-objectieve kunst werden niet ontleed, noch werd er een evaluerend oordeel uitgesproken over Rebay s rol in de ontwikkeling of promotie van non-objectiviteit in Amerika. 1 Toen ik een paar maand later besloot Kunstwetenschappen te gaan studeren, wist ik dan ook dat er in de figuur van Hilla Rebay nog een interessant scriptie-onderwerp verscholen zat. En inderdaad... 0.2. Status quaestionis Over Hilla Rebay is tot op heden nog maar zeer weinig wetenschappelijke literatuur verschenen. De bestaande secundaire literatuur beperkt zich tot drie hoofdzakelijk biografisch getinte boeken en een tentoonstellingscatalogus, die voornamelijk als ondersteuning bij mijn eigen onderzoek gebruikt worden om tot een kritische beschouwing en interpretatie van bepaalde facetten van het leven en werk van een merkwaardige vrouw te komen. Lukach J.M., Hilla Rebay, in search of the spirit in art (1983): dit is de ultieme, uiterst gedetailleerde en bovendien ook eerste biografie van Rebay, waarin een aanzienlijke hoeveelheid fragmenten uit Hilla s briefwisseling met o.a. Hans Arp, Rudolf Bauer, Solomon R. Guggenheim en Frank Lloyd Wright voor het eerst gepubliceerd werd - zij het in niet altijd even correcte Engelse vertaling - ter ondersteuning van de verhaallijn. Lukach reproduceert brieven, documenten en foto s uit The Hilla von Rebay Foundation Archives in New York en documenteert aan de hand daarvan een interessant hoofdstuk uit de geschiedenis van de moderne kunst in Europa en Amerika. Er wordt echter nauwelijks aandacht besteed vanuit kunsthistorisch perspectief aan Hilla s oeuvre, de stilistische invloeden die hierin te onderscheiden zijn en de theoretische ondersteuning van haar non-objectief kunstidioom waarvoor ze duidelijk ten rade ging bij Kandinsky en waar ze bijna haar hele leven aan wijdde. Faltin S. (reg.), The Guggenheim and the Baroness. The Story of Hilla Rebay (2004): deze documentaire vertelt het verhaal van Hilla Rebay aan de hand van onuitgegeven historische filmfragmenten, fotomateriaal, eigentijdse animaties, en brieven van en naar Rebay. Hilla s familieleden en vrienden, 2 collega-kunstenaars en kunstcritici halen herinneringen op aan deze buitengewone vrouw en kunstenares. Hilla s neef, Roland von Rebay - een architect en leerling van Frank Lloyd Wright - neemt de kijker mee naar het von Rebay familie-archief in Wessling, het beginpunt van een ontdekkingsreis doorheen Hilla s leven die eindigt bij het Solomon R. Guggenheim Museum in New York. Daarnaast worden twee curators van de voor 2005 geplande tentoonstelling Art of Tomorrow.
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    Zentrum Paul Klee Klee ohne Barrieren Klee in Bern in Leichter Sprache 2 Um was geht es? Die Stadt Bern hat eine wichtige Rolle im Leben von Paul Klee gespielt. Die Ausstellung „Klee in Bern“ zeigt das auf. Paul Klee ist in Bern aufgewachsen und zur Schule gegangen. Er hat als junger Künstler in München gelebt. Er hat aber immer wieder Ferien bei seinen Eltern in Bern verbracht. Er hat auch den Kontakt zu seinen Berner Freunden behalten und gepflegt. Kunstsammler in Bern haben von Paul Klee Werke gekauft. Die Ausstellung stellt diese Sammler vor. Paul Klee konnte in Bern auch seine Kunst ausstellen. Paul Klee hat ab 1934 bis zu seinem Tod 1940 wieder in Bern gewohnt. In der Ausstellung kann man sein Atelier besichtigen. Es wurde für die Ausstellung nachgebaut. 3 In der Ausstellung sieht man Werke und Fotos von Paul Klee aus allen Lebensabschnitten: 1) Berner Ansichten 2) Die Familie Klee 3) Eberhard W. Kornfeld: Berner Galerist und Sammler 4) Der Sohn Felix Klee 5) Klees Atelier am Kistlerweg 6) Späte Werke Eingang 4 1 Berner Ansichten Paul Klee kann schon als Kind gut zeichnen. Das hat Paul Klee mit 10 Jahren gemalt. Als Jugendlicher zeichnet er in seine Schulbücher. Er zeichnet auch sein Zimmer. 5 Er zeichnet Landschaften von Kalendern ab. Er zeichnet aber auch in der Natur. Er besucht gerne den Dählhölzli-Wald und die Elfenau. Paul Klee hat diese Landschaft mit 16 Jahren 1895 gemalt. 6 In der Stadt Bern zeichnet er das Münster den Zytglogge-Turm die Altstadt vom Rosengarten aus das Matte-Quartier Er malt auch im Steinbruch von Ostermundigen.
  • Acquisitions of the 1930'S and 1940'S : a Selection of Paintings, Watercolors, and Drawings in Tribute to Baroness Hilla

    Acquisitions of the 1930'S and 1940'S : a Selection of Paintings, Watercolors, and Drawings in Tribute to Baroness Hilla

    ACQUISITIONS OF THE 1930'S 1940'S THE SOLOMON R. GUGGENHEIM MUSEUM Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/acquisitionsof1900reba A SELECTION OF PAINTINGS, WATERCOLORS AND DRAWINGS IN TRIBUTE TO BARONESS HILLA VON REBAY 1890-1967 ACQUISITIONS OFTHE1930'S AND 1940'S THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK Published by The Solomon R. Guggenheim Foundation, New York, 1 968, All Rights Reserved Library of Congress Card Catalogue Number: 68-25520 Printed in Holland TRUSTEES THE SOLOMON R. GUGGENHEIM FOUNDATION Harry F. Guggenheim, President Albert E. Thiele, Vice President H. H. Arnason, Vice President, Art Administration Peter O. Lawson-Johnston, Vice President, Business Administration Eleanor, Countess Castle Stewart Henry Allen Moe A. Chauncey Newlin Mrs. Henry Obre Daniel Catton Rich Michael F. Wettach » Medley G. B. Whelpley Carl Zigrosser HILLA REBAY 1890-1967 Baroness Hilla Rebay von Ehrenwiesen was born in 1890 in Strassburg, Alsace, daughter of a German army officer. She studied painting at the Academy in Dusseldorf and in Paris and Munich. From 1914-1920 she exhibited with avant-garde groups in Germany; 1914-15 with the Seces- sion, Munich; 1914 Salon des Independants, Paris; 1915 Secession, Berlin; 1918 November Gruppe, Berlin; 1920 became a member of 'Krater'. In 1917 she exhibited at Der Sturm Gallery in Berlin. It is probable that it was through Herwarth Walden that she became acquainted with the other artists who exhibited in his gallery: Delaunay, Gleizes, Leger, Chagall, Kandinsky, Marc, Klee and Bauer — artists whose work she was later to acquire for the Foundation.