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Home , Alexander Kanoldt, Alexej von Jawlensky, Alfred Kubin, August Macke, Bernhard Koehler, Composition VII

Media Release

Kandinsky, Marc & 4 September 2016 – 22 January 2017

For the first time in thirty years, a comprehensive exhibition in Switzerland will be devoted to the fascinating chapter in known as Der Blaue Reiter. The exhibition in 1911 and the of the same name resulted in a revolutionary new art experience. The works by that belong to the Beyeler Collection will serve as a starting-point to give members of the public an insight into the work of a group of avant-garde artists whose openness and internationalism were interrupted by the First World War.

Der Blaue Reiter is the name of the legendary almanac published by Wassily Kandinsky (1866–1944) and (1880–1916) which appeared in Munich in 1912. In that book, Kandinsky and Marc brought together texts and pictures from different cultures and by different artists. The almanac was intended to document the need for a new beginning in the visual arts at the beginning of the 20th century. It testifies to a revolutionary new understanding of art and the world that centred on the visual representation of ideas rather than the reproduction of visible reality. This can be seen above all in the liberation of colour, which was inspired by the pre-Alpine landscape found to the south of Munich.

The ideas that caused Kandinsky and Marc, in the first instance, to move towards abstraction culminated in a turning-point in western views on art that has left its mark on generations of painters – right up until today.

Featuring around 70 artworks and 90 exhibits in all, the exhibition will present the Almanac and, particularly through major groups of works by Kandinsky and Marc, illustrate the revolution in that took place between 1908 and 1914.

The exhibition „Kandinsky, Marc & Der Blaue Reiter“ is being supported by: Beyeler-Stiftung Hansjörg Wyss, Wyss-Foundation L. + Th. La Roche-Stiftung Novartis Walter Haefner Stiftung

Communication partner for the exhibition:

Exclusive ticket pre-sale in all Manor stores. 20% discount with Manor card.

Press images: are available for download at http://pressimages.fondationbeyeler.ch

Further information: Elena DelCarlo, M.A. of Communications Tel. + 41 (0)61 645 97 21, [email protected], www.fondationbeyeler.ch Fondation Beyeler, Beyeler Museum AG, Baselstrasse 77, CH-4125 Riehen, Switzerland

Fondation Beyeler opening hours: 10 am - 6 pm daily, Wednesdays until 8 pm

Media Release

Kandinsky, Marc & Der Blaue Reiter 4 September 2016 – 22 January 2017

For the first time in thirty years, a comprehensive exhibition in Switzerland is being devoted to the fascinating chapter in modern art known as Der Blaue Reiter. The exhibition held in Munich in 1911 and the art movement of the same name resulted in a revolutionary new art experience. The works by Wassily Kandinsky that are owned by the Beyeler Collection will serve as a starting-point to give members of the public an insight into the work of a group of avant-garde artists whose openness and internationalism were interrupted by the First World War.

Der Blaue Reiter is also the name of the legendary Almanac published by Wassily Kandinsky (1866- 1944) and Franz Marc (1880–1916), which appeared in Munich in 1912. In that book, Kandinsky and Marc brought together texts and pictures from different cultures and by different artists. The Almanac was intended to document the need for a new beginning in the visual arts at the beginning of the 20th century. It testifies to a revolutionary new understanding of art and the world that centered on the visual representation of ideas rather than the reproduction of visible reality. This can be seen above all in the liberation of color, which was inspired by the pre-Alpine landscape to the south of Munich. The ideas that caused Kandinsky and Franz Marc, in the first instance, to move towards abstraction culminated in a turning-point in western views on art that has left its mark on generations of painters right up until today.

The exhibition, which will feature around 70 artworks and 90 exhibits in all, will present the Almanac and, primarily through major groups of works by Kandinsky and Marc, illustrate the revolution in painting that occurred between 1908 and 1914.

The motif of a rider, which Kandinsky described as having come up by chance during a conversation with Marc, can be seen as programmatic: blue as a cosmic color combined with the animal’s innate naturalness and the rider’s dynamism as he jumps from one element to another. In a specially designed multimedia information room, a “Geography of Der Blaue Reiter” will demonstrate the internationalism of the participating artists in an avant-garde Europe with no borders, which was brutally ended by the First World War.

The exhibition at the Fondation Beyeler will start in the year 1908, when Kandinsky and Gabriele Münter–who were not married–moved into an apartment in Munich and began frequenting and Alexei Jawlensky, likewise an unmarried couple, in Murnau in Upper . The following year, Münter bought a house in Murnau that still exists today, where she and Kandinsky spent most of their time, especially the summers, until 1914.

Münter and Kandinsky’s move to the country represented the fulfilment of the desire for a simple, unconventional life in harmony with nature and the agricultural world of Upper Bavaria. It can be seen as one aspect of the “life reform” movement that influenced large segments of society in the years before the First World War, resulting in many different outcomes: criticism of civilization was closely intertwined with the desire to transform society. Kandinsky and Münter’s preoccupation with folk art, especially the production of stained glass in Upper Bavaria, was linked with their notion of the equal status of all the arts, later to be documented in the Almanac, in which Western art is juxtaposed with children’s and votive images as well as with African and Asian art. The collaboration between Münter, Werefkin, Jawlensky and Kandinsky and their depiction of the light- flooded landscapes and lakes of the region, which is dominated by the Alps, led to an innovative

treatment of color that will provide the first focus of the exhibition. Luminous patches of unmixed pigments were placed next to one another, with their visible brushwork conveying dynamism. That process was described by Gabriele Münter as a move from “copying nature–in a more or less Impressionist style–to feeling the content of things–abstracting–conveying an extract”, with an important role being played by and the emphatically “simple” color forms of his landscape .

Through his treatment of such patches of color, Kandinsky liberated line from contour and the patches themselves from figurativeness, as is demonstrated by, above all, his paintings from the key year of 1910, a wonderful selection of which can be seen in the exhibition.

One of the most important aspirations of the artists connected with Der Blaue Reiter, and primarily Kandinsky, was to communicate the view that the visual arts are synaesthetic i.e. that they overlap with other art forms. The idea of synaesthesia is mirrored in day-to-day language: someone who speaks of a “composition” generally means a musical one, but the layout of a work of art is also described as a pictorial composition. There are color tones as well as musical ones. Viewers should remember this when looking at Kandinsky’s large-format abstract works such as his legendary Composition VII, 1913 from the Tretyakov State Gallery. Another particularly important element is the rhythm that results from the eye’s involvement with the painting. Rather than expressing the gesture of painting, Kandinsky’s works trigger a visual interaction between the viewer and the work that ideally creates a rhythm paralleled in music.

As from 1910, Franz Marc and Maria Franck lived together in Sindelsdorf, fifteen kilometers away from Murnau. The encounter between Kandinsky and Marc in early 1911 provided the crucial impetus for the publication of Der Blauer Reiter Almanac, which the two artists published jointly. While both men shared the desire for cultural renewal, they adopted very different forms of artistic expression. This becomes especially clear when one sees the two paintings they exchanged as tokens of their friendship, which the exhibition will present together for the first time ever. With its self-contained world of many diverse colored forms and its characteristic , Marc’s painting The Dream from the Thyssen- Bornemisza Museum, his gift to Kandinsky, reflects the artist’s interest in nature and its soul. Kandinsky’s gift to Marc, Improvisation 12, with its telling subtitle The Rider (Bayerische Staatsgemäldesammlung, Munich) is a manifestation of his desire to give visual form to the dynamism of ideas by using brilliant colors and dissolving figurative representation.

What mattered for Marc was not to represent an animal as such but rather to portray its essence as an expression of archaic, authentic nature. The celebration of animals’ souls in his paintings must be seen against the backdrop of the nascent animal protection movement before the First World War; it seems to represent the opposite of technical progress and thereby to correspond to the tendency to criticize progress that was always present, particularly in German society. The exhibition contains a selection of Marc’s most important animal paintings, with the rarely exhibited canvas The Large Blue Horses (Walker Art Center, Minneapolis)being one of the highlights.

Even more than Marc, who perished on the battlefield at Verdun just over one hundred years ago on March 4, 1916, , who died at the beginning of the First World War, leaves one with a feeling of incompleteness when one looks at his œuvre. His works are an attempt to combine abstract color compositions with figurativeness. Unlike the other artists connected with Der Blaue Reiter, Macke portrays scenes from modern life that can be read in different ways thanks to their Cubist color structures. One room in the exhibition is devoted mainly to his paintings, including works that have not been exhibited for many years and that show the potential of this artist, whose text “Masks” was also one of the best contributions to Der Blaue Reiter Almanac. Works by , , the composer and painter Arnold Schönberg, and David Burljuk round off the selection of artists.

A central room will be devoted to Der Blaue Reiter Almanac which, with its goal of creating a new world view, illustrates the synergies between music and the visual arts through a large number of illustrations, thereby resembling a kind of total work of art (Gesamtkunstwerk). Selected pictorial combinations will be displayed in a special installation, where reproductions from the Almanac will be juxtaposed with the originals. The exhibition’s time frame will end with the outbreak of the First World War in 1914, which marked the end of the group's collaboration. The impending catastrophe is particularly foreshadowed in the work of Franz Marc. His relatively large-format painting The Wolves (Balkan War), 1913 (Buffalo, Albright-Knox Art Gallery), which alludes to the political situation in the Balkans that escalated into the First World War, shows wolves approaching curled-up, sleeping animals, while flowers below them seem to be wilting: An apocalyptic landscape.

Visitors will be given an opportunity to rediscover Der Blaue Reiter insofar as many of the works being shown have not been seen in public for many years:

• The gifts exchanged by the two artists—Kandinsky’s Improvisation 12, 1910 (which has not been exhibited outside Munich since 1958) and Marc’s The Dream, 1912—are being shown together for the first time ever. • Marc’s outstanding work The Large Blue Horses, 1911 is leaving Minneapolis for Europe for the first time since 2000, while his important, programmatic painting The Waterfall, 1912 has not been publicly exhibited since 1949. • Macke’s Forest Walk, 1913, is being shown for the first time since 1973. • Composition VII, 1913, from the Tretyakov State Gallery, which is presumed to be the largest work ever painted by Kandinsky (200 x 300 cm), will be on show. • A selection of works that featured in Der Blaue Reiter Almanac will be displayed in a special room dedicated to the Almanac.

The exhibition will be accompanied by a catalog that discusses the theme in a number of different scholarly essays, as well as including reproductions of all the works displayed.

The exhibition “Kandinsky, Marc & Der Blaue Reiter” is being supported by: Beyeler-Stiftung Hansjörg Wyss, Wyss-Foundation L. + Th. La Roche-Stiftung Novartis Walter Haefner Stiftung

Communication partner for the exhibition:

Exclusive ticket pre-sale in all Manor stores. 20% discount with Manor card.

Press images: are available for download at http://pressimages.fondationbeyeler.ch

Further information: Elena DelCarlo, M.A. Head of Communications Tel. + 41 (0)61 645 97 21, [email protected], www.fondationbeyeler.ch Fondation Beyeler, Beyeler Museum AG, Baselstrasse 77, CH-4125 Riehen, Switzerland

Fondation Beyeler opening hours: 10 am - 6 pm daily, Wednesdays until 8 pm KANDINSKY MARC & DER BLAUE REITER 4 September 2016 – 22 January 2017

01 Franz Marc 02 Franz Marc Blue-Black Fox, 1911 The Large Blue Horses, 1911 Oil on canvas, 50 x 63 cm Oil on canvas, 105 x 181 cm Von der Heydt-Museum Wuppertal Collection Walker Art Center, Minneapolis, Gift of the T.B. Walker Foundation, Gilbert M. Walker Fund, 1942 Photo: © Medienzentrum, Antje Zeis-Loi / Von der Heydt-Museum Wuppertal

03 Franz Marc 04 Wassily Kandinsky Dog Lying in the Snow, 1910 / 1911 Composition VII, 1913 Oil on canvas, 62.5 x 105 cm Oil on canvas, 200 x 300 cm Städel Museum, Frankfurt on the Main, Property of Städelsches Museums-Verein e.V. Tretyakov State Gallery, Photo: © Städel Museum – ARTOTHEK © Galerie nationale Tretiakov

05 Franz Marc 06 Wassily Kandinsky 07 Wassily Kandinsky , 1911 Blue Mountain, 1908 / 09 Landscape with Rain, 1913 Oil on canvas, 140.5 x 189.2 cm Oil on canvas, 106 x 96.6 cm Oil on canvas, 70.2 x 78.1 cm Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Museum, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection Solomon R. Guggenheim Founding Collection, Solomon R. Guggenheim Founding Collection by gift

FONDATION BEYELER KANDINSKY MARC & DER BLAUE REITER 4 September 2016 – 22 January 2017

08 August Macke 09 Gabriele Münter 10 Wassily Kandinsky Walterchen‘s Toys, 1912 Landscape with Cabin at Sunset, 1908 Murnau – Kohlgruberstrasse, 1908 Oil on canvas, 50 x 60 cm Oil on paper on cardboard, 33 x 40.8 cm Oil on cardboard, 71.5 x 97.5 cm Städel Museum, Frankfurt am Main Kunstsammlungen Chemnitz – Museum Gunzenhauser, Merzbacher Kunststiftung Photo: © Städel Museum - U. Edelmann – ARTOTHEK inv.-nr. GUN-M-0003, Property of Stiftung Gunzenhauser, Chemnitz Photo: PUNCTUM / Bertram Kober © 2016, ProLitteris, Zurich

11 Franz Marc 12 Wassily Kandinsky 13 Alexej von Jawlensky Stables, 1913 Fuga, 1914 Murnau – Landschaft, orange Wolke, around 1909 Oil on canvas, 73.6 x 157.5 cm Oil on canvas, 129.5 x 129.5 cm Oil on cardboard, 33 x 40 cm Solomon R. Guggenheim Museum, New York, Fondation Beyeler, Riehen/Basel, Privatsammlung Solomon R. Guggenheim Founding Collection Beyeler Collection © akg-images Photo: Robert Bayer, Basel

14 Wassily Kandinsky 15 Kandinsky with spade 16 Maria and Franz Marc, , 17 Franz and Maria Marc in their garden gazebo, Sindelsdorf, and Franz Marc (Hrsg.) digging up the garden of the house Heinrich Campendonk, Thomas von Hartmann, summer 1911 Almanach Der Blaue Reiter, in Murnau, around 1910/11 and (seated) Wassily Kandinsky on the terrace Photograph by Wassily Kandinsky Munich, 1914 Photograph by Gabriele Münter at Ainmillerstrasse 36, Munich, 1911 Gabriele Münter- und Johannes Eichner-Stiftung, Munich 29.5 x 23 x 2.5 cm Gabriele Münter- und Johannes Photograph by Gabriele Münter © VG Bild-Kunst, 2016 ahlers collection Eichner-Stiftung, Munich Gabriele Münter- und © Thomas Ganzenmüller, Hannover © 2016, ProLitteris, Zurich Johannes Eichner-Stiftung, Munich © 2016, ProLitteris, Zurich

Press images http://pressimages.fondationbeyeler.ch The visual material may be used solely for press purposes in connection with reporting on the exhibition. Reproduction is permitted only in connection with the current exhibition and for the period of its duration. Any other kind of use – in analogue or digital form – must be authorised by the copyright holder(s). Purely private use is excluded from that provision. Please use the captions given and the associated copyrights. We kindly request you to send us a complimentary copy.

FONDATION BEYELER Excerpt from the catalogue

DER BLAUE REITER: A CHRONOLOGY

COMPILED BY FIONA HESSE

1908

June Following years of travel, including protracted stays in Rapallo, , and , Wassily Kandinsky and Gabriele Münter return to Munich. In late summer Kandinsky moves into an apartment at Ainmillerstrasse 36, in the Schwabing district.

Mid August—End of September Kandinsky, Münter, Alexei von Jawlensky, and Marianne von Werefkin spend a few weeks working in Murnau, on Lake Staffel. The experience of the Alpine foothills and Upper Bavarian folk art lead, especially for Kandinsky, Münter, and Jawlensky, to a turn to stronger colors and an emphasis on the plane: “After a short period of agony I took a great leap forward, from copy- ing nature—in a more or less Impressionist style—to feeling the con- tent of things—abstracting—conveying an extract. . . . All 4 of us were keenly ambitious and each of us made progress,” as Münter recalled View of the garden of Gabriele Münter’s house toward the castle and church hill in Murnau, ca. 1909, photograph by Gabriele Münter, Gabriele Münter- und Johannes Eichner-Stiftung, in a diary entry for 1908. Munich

Alexei von Jawlensky, Marianne von Werefkin, Andreas Jawlensky, and Gabriele Münter in Murnau, ca. 1909, 170 photograph by Wassily Kandinsky, Gabriele Münter- und Johannes Eichner-Stiftung, Munich Wassily Kandinsky seated at the desk in his apartment at Ainmillerstrasse 36, Munich, June 1911, photograph by Gabriele Münter, Gabriele Münter- und Johannes Eichner-Stiftung, Munich 171 Gabriele Münter’s house in Murnau, view from the garden, 1909, photograph by Gabriele Münter, Gabriele Münter- und Johannes Eichner-Stiftung, Munich

172 1909

January 22 The Neue Künstlervereinigung München (NKVM; New Artists’ Association Munich) is founded by Kandinsky (chairman) and Jawlensky (vice chairman), along with others, including Münter, Werefkin, , Adolf Erbslöh, , and the composer Thomas von Hartmann.

June Münter and Kandinsky rent a small Jugendstil villa on a hill in the western part of Murnau. On August 21, Münter buys what be- comes known as the Russian House, where she and Kandinsky spend especially the summer months until 1914. The Murnau landscape, the house itself, the garden, and immediate surroundings become a key source of inspiration for the two artists. They frequently depict the view of the church and castle, as well as the mountains, from the window.

December 1–15 The first exhibition of the NKVM takes place at Galerie Thannhauser in Munich. Seeing the highly controversial show inspires Franz Marc to develop his own ideas and emerge from his Membership card for the Neue Künstlervereinigung München (New Artists’ Association Munich) with Wassily Kandinsky’s Felsen, 1909 artistic isolation.

Gabriele Münter painting at the cemetery in Kochel, February 1909, photograph by Wassily Kandinsky, Gabriele Münter- und Johannes Eichner-Stiftung, Munich 173 1910 1911

January 6 After viewing Marc’s first solo show at the Brakl gallery, January 1 Kandinsky and Marc first meet at the New Year’s reception August Macke, along with his cousin Helmuth Macke and Bernhard held at Werefkin’s residence at Giselastrasse 23. Münter is also pres- Koehler Jr., pays a spontaneous visit to Marc in his studio. In a letter ent. written that same day to his future wife, Maria, Marc predicts that his meeting with the “gentleman from Berlin [i.e., Koehler, son of January 2 Along with Jawlensky and Helmuth Macke, Kandinsky the prosperous entrepreneur and art collector Bernhard Koehler Sr.] and Marc attend a concert of ’s compositions in will be promising.” In fact, over the coming years, the elder Koehler Munich. After the concert, Kandinsky and Schoenberg begin a lively would not only support the publication of the Blaue Reiter almanac correspondence. but would also help Macke, the future husband of his niece, Elisabeth, and Marc in particular. January 10 After protracted disagreements with the NKVM, Kandinsky relinquishes his chairmanship. September 1–14 Second exhibition of the NKVM takes place, again at Galerie Thannhauser. It, too, draws vitriolic and in part devastating February 5 Marc receives a telegram from the NKVM to the effect criticism. that he has been “unanimously named a member and third chair- man.” His anticipation of an inspiring artistic exchange is expressed October After seeing the NKVM show, Marc writes one of the few in a letter to Maria of the same day: “Now it has come about, and I’m positive reviews and sends it to the gallery owner, who publishes it glad. . . . I’m fed up with being out of things. Now it’s a common as a catalogue supplement. As a result, Marc meets the NKVM mem- cause.” bers, except for Kandinsky, who is out of town. June 19 Kandinsky tells Marc about his idea of publishing a book in November At the residence of Jawlensky and Werefkin, Marc intro- the form of an almanac. “Well, I have a new idea. Piper must be the duces Macke to the NKVM circle. publisher and the two of us the editors. A kind of almanac (yearbook) with reproductions and articles . . . and a chronicle!!” The two develop this plan in the course of the summer.

Poster for the first exhibition of the Neue Künstlervereinigung Franz Marc, ca. 1913 174 München (New Artists’ Association Munich), with a color lithograph by Wassily Kandinsky, 1909 September In Sindelsdorf and Murnau, Kandinsky and Marc prepare the Blaue Reiter almanac.

October 24–25 The editing work continues apace, assisted by Macke, who has arrived from the Rhineland. As Elisabeth Erdmann- Macke recalled: “Those were unforgettable hours as each of the men worked out his manuscript, polished and altered it. . . . Everything was reviewed, discussed, accepted or rejected, not without little quarrels and frictions. . . . Despite everything, those days were incred- ibly exciting. . . .”

December 2 The jury of the third NVKM exhibition rejects Kandinsky’s painting Composition V for formal reasons, citing the association statutes. Kandinsky and Marc leave the association, followed by others, including Münter, Kubin, and von Hartmann. Jawlensky and Werefkin support Kandinsky while remaining members for the time being.

Kandinsky in a meadow near Murnau, ca. 1910, photograph by Gabriele Münter, Gabriele Münter- und Johannes Eichner-Stiftung, Munich

August and Elisabeth Macke with son Walter in their garden in Bonn, summer 1911, Announcement for a concert of compositions by photograph by Gabriele Münter, Gabriele Münter- und Johannes Eichner-Stiftung, Munich Arnold Schoenberg in Munich, 1911 175 December 3 “The editors of the Blaue Reiter now become the point of departure for new exhibitions. . . . We will attempt to become the center of the modern movement,” Marc writes to his brother, Paul.

December 9 Kandinsky’s art theory manuscript, Über das Geistige in der Kunst (On the Spiritual in Art), is published by Piper Verlag, Munich (dated 1912).

December 18, 1911–January 3, 1912 In the space of only two weeks, Kandinsky and Marc organize their own exhibition, Die Erste Ausstel- Gabriele Münter, Maria Marc, Bernhard Koehler, Thomas von Hartmann, lung der Redaktion Der Blaue Reiter (First Exhibition of the Editors Heinrich Campendonk, and (seated) Franz Marc on the terrace at Ainmillerstrasse 36, Munich, 1911, photograph by Wassily Kandinsky, of Der Blaue Reiter), presented at Galerie Thannhauser concurrent Gabriele Münter- und Johannes Eichner-Stiftung, Munich to the NKVM show. The catalogue lists forty-three paintings by four- teen artists, including and Robert Delaunay (see p. 160, fig. 4).

Franz and Maria Marc in their garden gazebo, Sindelsdorf, summer 1911, photograph by Wassily Kandinsky, Gabriele Münter- und Johannes Eichner-Stiftung, Munich

Die Erste Ausstellung der Redaktion Der Blaue Reiter (First Exhibition of the Editors of Der Blaue Die Erste Ausstellung der Redaktion Der Blaue Reiter (First Exhibition of the Editors of Der Blaue Reiter), Galerie Thannhauser, Munich, 1911–12, Room 2 with works by Franz Marc (Die gelbe Reiter), Galerie Thannhauser, Munich, 1911–12, Room 2 with works by Münter, August Macke, Kuh [Yellow Cow]), Arnold Schoenberg, Wassily Kandinsky, Wladimir Burliuk, Gabriele Münter, Robert Delaunay, , Marc, and Kandinsky, photograph by Gabriele Münter, Gabriele 176 Marc (Reh im Walde I [Deer in the Woods I]), and Kandinsky, photograph by Gabriele Münter, Münter- und Johannes Eichner-Stiftung, Munich Gabriele Münter- und Johannes Eichner-Stiftung, Munich Maria and Franz Marc, Bernhard Koehler, Heinrich Campendonk, Thomas von Hartmann, and (seated) Wassily Kandinsky on the terrace at Ainmillerstrasse 36, Munich, 1911, photograph by Gabriele Münter, Gabriele Münter- und Johannes Eichner-Stiftung, Munich 177 1912

January–October Following the Munich premiere, Die Erste Ausstel- May 11 The Blaue Reiter almanac is published by Piper, with the finan- lung travels to , Berlin, Bremen, Hagen, Frankfurt am Main, cial support of Bernhard Koehler. Kandinsky has made eleven differ- and Hamburg. It tours through a total of eleven European cities until ent designs for the cover. Reinhard Piper requests that Kandinsky 1914. delete the word “Almanac” from the block of the woodcut selected, in order to avoid being committed to an annual publication (see p. 159, February 12–March 18 Die Zweite Ausstellung der Redaktion Der fig. 2). Preparations for a second volume take place concurrently. Blaue Reiter: Schwarz-Weiss (Second Exhibition of the Editors of Der Blaue Reiter: Black and White), held at Galerie Goltz, Munich, focuses May 25–September 30 Since not all of the works of the Blaue Reiter on and prints. artists are shown at the Internationale Kunstausstellung des Sonder- bundes (International Exhibition of the Sonderbund), in Cologne, February The almanac is announced together with a four-page sub- Marc arranges an alternative show, Refüsierte des Sonderbundes scription brochure, which attracts considerable interest. The edition (Sonderbund Rejects), held from June 16 to the end of July at Der is increased to 1,200 copies. Sturm Gallery, in Berlin.

March 12–April 10 takes over Die Erste Ausstellung Autumn The third edition of Kandinsky’s Über das Geistige in der as the inaugural show for his gallery, , in Berlin: Der Blaue Kunst is published. Reiter, Franz Flaum, , Expressionisten. November Das neue Bild (The new image), a book by the art historian April The second edition of Kandinsky’s Über das Geistige in der and NKVM member Otto Fischer, sparks a controversy that ultimately Kunst is published. prompts Werefkin and Jawlensky to resign from the association.

April 11 At the behest of Kandinsky, visits Robert Delaunay in Paris. Klee translates Delaunay’s programmatic essay “La Lumière” (Light) into German for Walden’s journal Der Sturm.

Catalogue accompanying the Internationale Kunstausstellung Title page of the four-page subscription prospectus for Der Blaue 178 des Sonderbundes (International Exhibition of the Sonderbund), Reiter almanac, with a text written by Franz Marc, February 1912 Cologne, 1912 Franz and Maria Marc, Gabriele Münter, and Wassily Kandinsky on the terrace at Ainmillerstrasse 36, Munich, 1911–12, Gabriele Münter- und Johannes Eichner-Stiftung, Munich 179 1913 1914

May This year Die Erste Ausstellung travels solely to Budapest. Very January–July Die Erste Ausstellung travels to Oslo, Helsinki, Trond- few press reviews have survived. heim, and Göteborg.

June 5 Kandinsky and Marc continue to discuss a second volume of March The second edition of the Blaue Reiter almanac appears. the almanac. Kandinsky predicts a publication delay, writing, “I believe that we will scarcely be able to come out with the second volume April Macke travels with Klee and his friend Louis Moilliet to Tunis. next winter.” The trip has a lasting impression on all of them, as Macke writes to his wife Elisabeth on April 10: “We are lying in the sun, eating aspar- September 20–December 1 At the Sturm Gallery, Walden shows agus, etc. You only have to turn around and you have thousands of the Erste Deutsche Herbstsalon (First German Autumn Salon), which motifs. I must have already made fifty sketches today. Twenty-five includes all of the Blaue Reiter artists. Marc and Macke help to hang yesterday. Things are going like the devil, and I am enjoying my work the show, which is now considered to be the most significant gallery as never before.” exhibition held prior to . August 1 World War I breaks out. Kandinsky, Jawlensky, and Weref- kin are classed as enemy aliens and forced to leave . Marc and Macke are inducted into the army as soon as the conflict begins. All activity of the Blaue Reiter comes to an abrupt end.

August 3 Kandinsky and Münter initially emigrate to Switzerland.

September 26 Macke is killed near Perthes-lès-Hurlus, , on the Western Front.

October 24 Marc writes to Kandinsky, “I have the sad feeling that this war is flowing between us like a great flood that separates us; each of us can hardly see the other on the far shore.”

October 25 Marc, shaken, writes an obituary for Macke: “Anyone who has concerned themselves with the new during these past eventful years, anyone who has anticipated our artistic future, knew Macke. And those who [knew him and] worked with him, his friends, knew what covert future this brilliant man held within himself. With his death, one of the finest and most audacious curves in our German artistic development abruptly breaks off; none of us is capable of continuing it. Each of us goes his own way, and wherever we may meet someday, he will always be missed.”

November 25 Kandinsky leaves for and first returns to Ger- many in 1921.

Franz Marc in Ried, spring 1914, photograph by Gabriele Münter, 180 Gabriele Münter- und Johannes Eichner-Stiftung, Munich 1916 After the First World War

March 4 Marc is fatally injured by shrapnel while engaged in mounted Kandinsky never returns to Munich or Murnau again. He becomes reconnaissance near Verdun. one of the leading instructors at the and emigrates to France in 1933, where he dies in 1944. Münter returns to Murnau in March After a final meeting in Stockholm, Kandinsky’s and Münter’s 1931, which becomes her main residence until her death in 1962. In lives separate for good. 1956 she donates major portions of her unique collection of her own works, those of Kandinsky, and other Blaue Reiter protagonists to the Städtische Galerie im in Munich. Her residence is restored to its state between 1909 and 1914 and becomes a museum.

The original quotations are taken and in part translated from the following sources: Elisabeth Erdmann-Macke, Erinnerung an August Macke, with a biographical essay by Lothar Erd- mann (Frankfurt am Main, 1994); Annegret Hoberg, ed., Wassily Kandinsky and Gabriele Münter: Letters and Reminiscences, 1902–1914 (Munich and New York, 1994); Andreas Hüneke, ed., Der Blaue Reiter: Eine Geschichte in Dokumenten (Stuttgart, 2001); Wassily Kandinsky and Franz Marc, eds., The Blaue Reiter Almanac, documentary edition, ed. and with an introduction by Klaus Lankheit, trans. Henning Falkenstein with assistance of Manug Terzian and Gertrude Hinderlie (New York, 1974; repr. Boston, 2005); Wassily Kandinsky and Franz Marc, Briefwechsel: Mit Briefen von und an Gabriele Münter und Maria Marc, ed., introduction, and annotation by Klaus Lankheit (Munich, 1983); August Macke, Briefe an Elisabeth und die Freunde, ed. Werner Frese and Ernst- Gerhard Güse (Munich, 1987); Franz Marc, Briefe, Schriften und Aufzeichnungen, ed. Günter Meissner (2nd ed., Leipzig, 1989); Franz Marc, Schriften, ed. Klaus Lankheit (Cologne, 1978).

Wassily Kandinsky and Gabriele Münter in Stockholm, 1916, Photo studio of the Nordiska Kompagniet, Gabriele Münter- und Johannes Eichner-Stiftung, Munich 181

Kandinsky, Marc & Der Blaue Reiter 4 September 2016 – 22 January 2017

Information about the Media Wall in Room 1:

Short version: In the first room, an animated wall projection created by iart presents the theme of the “Kandinsky, Marc & Der Blaue Reiter” exhibition. It introduces the artists associated with Der Blaue Reiter who are represented in the exhibition, shows where they lived and worked, and presents the historic Europe- wide tour of the original “Exhibition of the Editors of Der Blaue Reiter” (1912-1914). The animated film lasts around 6 minutes and explanatory texts are available in English, French and German.

Longer version: An animated wall projection presenting the theme of the “Kandinsky, Marc & Der Blaue Reiter” exhibition will be shown in the first room. Using projectors fixed to the ceiling, animated images and a row of three photographs will be projected onto the wall, imitating the projection with three historic overhead projectors. The selected images provide an introduction to the work and life of the principal artists involved in Der Blaue Reiter and featured in the exhibition: Wassily Kandinsky, Franz Marc, Gabriele Münter, Alexej von Jawlensky, Marianne von Werefkin and August Macke. A map of a borderless Europe shows their places of origin and the paths that led them to Munich, where they all met. Historic maps are used to reconstruct the routes of their painting trips to and Sindelsdorf in the foothills of the Bavarian Alps. Finally, the animated film shows the way stations for the tour of the original “Exhibition of the Editors of Der Blaue Reiter”, which criss-crossed Europe in 1912-1914. The tour as well as all the activities of the artists involved in Der Blaue Reiter were abruptly interrupted by the outbreak of the First World War. The projection therefore ends with August 1914. The animated film lasts around 6 minutes and explanatory texts are available in English, French and German. The film has been created by iart in close cooperation with the Fondation Beyeler.

One of ’s Most Exciting Chapters: Kandinsky, Marc & Der Blaue Reiter

⁄ A re-encounter with fascinating key works of modernism, set in the context of the almanac Der Blaue Reiter

For just a few years at the beginning of the twentieth century, Munich was the “hot spot” of Germany‘s artistic avant-garde. Russian painter Wassily Kandinsky and Franz Marc’s initiative as founding editors of the almanac Der Blaue Reiter (The Blue Rider) was a stroke of luck for the arts. The journal and exhibition of the same name made international waves when they heralded the start of the modern era in Germany before the First World War. Since then, the names of the movement’s key players Wassily Kandinsky, Franz Marc, Gabriele Münter, Alexej von Jawlensky, August Macke et al., signal an essential chapter in the international marked by the transition of painting into a vibrant, colorful and transcendental form of abstraction. This beautiful publication that dedicates itself to this topic will show a revolutionary re-valuation of the arts in an open Europe.

Edited by FONDATION BEYELER, RIEHEN/BASEL, ULF KÜSTER, texts by ANDREAS BEYER, OSKAR Exhibition: Fondation Beyeler, Riehen/Basel, BÄTSCHMANN, FIONA HESSE, CATHRIN KLINGSÖHR- 4.9.2016–22.1.2017 LEROY, ULF KÜSTER, MARTA RUIZ DEL ÁRBOL, graphic design by HEINZ HILTBRUNNER

2016; 188 pp., 168 ills. 27.40 x 31.00 cm, hardcover CHF 62.50, €58.00 [D]

ISBN 978-3-7757-4169-9 [E] ISBN 978-3-7757-4168-2 [D]

Partners 2016

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Foundations and Patrons

BEYELER-STIFTUNG HANSJÖRG WYSS FOUNDATION

AMERICAN FRIENDS OF FOUNDATION FREUNDE DER FONDATION BEYELER BEYELER L. + TH. LA ROCHE STIFTUNG ART MENTOR FOUNDATION LUCERNE MAX KOHLER STIFTUNG AVC CHARITY FOUNDATION SIMONE UND PETER FORCART-STAEHELIN AVINA STIFTUNG TERRA FOUNDATION FOR AMERICAN ART DR. CHRISTOPH M. + SIBYLLA M. MÜLLER THE BROAD ART FOUNDATION ERNST GÖHNER STIFTUNG WALTER A. BECHTLER STIFTUNG FONDATION COROMANDEL WALTER HAEFNER STIFTUNG