Contact: Anne Niermann / Leonie Pfennig Press and Public Relations Tel +49 (0)221 - 221 - 23491 Tel +49 (0)221 - 221 - 23003 niermann@museum-ludwig.de [email protected]

PRESS RELEASE

LUDWIG GOES POP October 2, 2014 – January 11, 2015 Opening: October 1, 7 p.m. Press reception: September 30, 11 a.m.

“Popular, mass produced, expendable, cheap, witty, sexy, playful, conspicuous, seductive”- according to Richard Hamilton these are the characteristics that make something interesting and that he also demanded of his own artistic work. What the British artist formulated in 1957as a new standard was considered scandalous at the time. A rejection of the prevailing art and its sublime values originality, authenticity, and “depth”. Pop Art was a liberation for some-and a trivial affront for others.

The exhibition LUDWIG GOES POP offers an opportunity to explore this phenomenon and to comprehend Pop Art as an expression of a modern attitude toward life. In the 1960s the “every- day” had arrived—it had made its way into art: in all manner of play, from humorously ironic to biting and critical, artists explored the Zeitgeist in their art, integrated fragments and quotes from the world of consumerism and advertising, comics, science, technology, erotic, and mass media.

Thanks to Peter and Irene Ludwig, the Museum Ludwig in Cologne holds one of the international- ly most significant collections of American as well as British Pop Art. In addition to the Cologne holdings, other parts of this collection are preserved at the mumok in Vienna, the Ludwig Forum in Aachen, and the Kunstmuseum Basel, as well as at the Ludwig museums in Budapest, Ko- blenz, St. Petersburg, and Beijing. Opening in fall 2014 LUDWIG GOES POP brings together for the first time around 150 key works by the leading figures of this art movement from all institutions associated with the name Ludwig and in the process expands the historical picture of this world-class private collection.

When Peter Ludwig first encountered a Pop Art sculpture by George Segal at MoMA in the mid- 1960s, the collector, who together with his wife had up to then collected chiefly antique and me- dieval art, was shocked. Shortly thereafter, however, both became enthusiastic collectors of the- se then-current works. Tom Wesselman’s Landscape No. 4, featuring a Ford driving through a country road in the mountains, was among the first purchases; soon followed key works by Roy Lichtenstein, James Rosenquist, Robert Rauschenberg, and Jasper Johns. These artists belonged to the same generation as the Ludwigs; they represented modern life, and the couple visited many of them directly in their studios.

Many works came to Ludwig from the renowned Scull and Kraushaar collections, a few derived from the holdings of the Darmstadt Wella manufacturer Karl Ströher, who had bought New York insurance salesman Leon Kraushar’s pop collection. In 1968, following documenta 4, the Lud- wigs bought works directly from the exhibition, including M-Maybe—A Girl’s Picture by Roy Lich- tenstein, Claes Oldenburg’s Soft Washstand, Rauschenberg’s Wall Street, George Segal’s Res- taurant Window I, and Richard Lindner’s Leopard Lilly. The following year the Ludwigs presented their collection for the first time in Cologne, at the then Wallraf-Richartz Museum. The media and public responded enthusiastically to the exhibition, and it attracted around 200,000 visitors. Consequently Pop Art became the Museum Ludwig’s signa- ture tune.

The exhibition will subsequently be shown at the mumok Museum moderner Kunst Stiftung Lud- wig Wien in Vienna. A comprehensive catalogue is being published at Verlag der Buchhandlung Walther König in conjunction with the show.

Curators: Stephan Diederich and Luise Pilz

The exhibition is kindly supported by Peter und Irene Ludwig Stiftung, Terra Foundation for American Art, Sparkasse KölnBonn, Lamy and Frankfurter Allgemeine Zeitung GmbH as media partner.

Contact: Anne Niermann / Leonie Pfennig Press and Public Relations Heinrich-Böll-Platz, 50667 Köln Tel + 49 - 221 - 221 - 23491 Tel + 49 - 221 - 221 - 23003 [email protected] [email protected]

INFORMATION

LUDWIG GOES POP

October 2, 2014–January 11, 2015

Press Talk 09/30/2014, 11 a.m.

Opening 10/01/2014, 7 p.m.

Location Museum Ludwig, Heinrich-Böll-Platz, 50667 Köln www.museum-ludwig.de [email protected] Phone: +49-221-221 26165

Opening Hours Tue-Sun (incl. holidays): 10 a.m. – 6 p.m. 1st Thursday of the month: 10 a.m. – 10 p.m. Closed on Mondays

Special opening hours during LUDWIG GOES POP: OPEN every Thursday until 8 p.m. OPEN Friday; December 26, and Monday, December 29 (closed December 24, 25, and 31, 2014 and January 1, 2015)

Admission Valid for the collection and all exhibitions €11.00, Reduced: €7.50, Families: €22.00, Groups (20 or more people): €8.00

School groups incl. teacher: free entrance to the collection. To the exhibition per pupil: €4.00

Curators Stephan Diederich and Luise Pilz

Partners Peter und Irene Ludwig Stiftung, TERRA. Foundation for American Art, Sparkasse KölnBonn, Frankfurter Allgemeine Zeitung GmbH, LAMY

Publication The catalogue LUDWIG GOES POP is published by Verlag der Buchhandlung Walther König, 356 pages, €29.80 (museum discount), €38.00 (retail price)

Autoren: Brigitte Franzen/Annette Lagler, Eduard Beau- camp, Anna Friedrichson, Rudolf Zwirner im Gespräch mit Regina Wyrwoll, Susanne Neuburger, Walter Grasskamp Essay, Statements und Interviews zu Peter und Irene Lud- wigs Pop-Art-Sammlung + Abbildungen der Werke (Bildteil/Bildtafeln) Hrsg.: Stephan Diederich und Luise Pilz

Tours Public tours (in German) every Sunday at 3 p.m. and every Thursday at 4 p.m., max. 25 participants

Online booking: www.museenkoeln.de/museumsdienst Telephone booking: Museumsdienst Köln +49 (0)221 221 27380 kunst:dialoge Every Sunday 1–3 p.m. and during the Extended Thursday, December 4, 6–9 p.m.

Press Service All documents from the press kit, as well as press images, are available for download under the following link:

www.museum-ludwig.de/en/press. Here you will also find a detailed timeline concerning Pop Art and its protagonists.

Contact: Anne Niermann / Leonie Pfennig Press and Public Relations

Heinrich-Böll-Platz, 50667 Köln Tel + 49 - 221 - 221 - 23491 Tel + 49 - 221 - 221 - 23003 [email protected] [email protected]

EVENTS PROGRAM

LUDWIG GOES POP

October 2, 2014–January 11, 2015

Donnerstag, October 2, 2014, 6 p.m. Extended Thursday: POP AROUND THE CLOCK

Tuesday October 7, 2014, 7 p.m. 1947: Paolozzi in Paris. Pop Art: A Postwar Phenomenon Prof. Dr. Walter Grasskamp (KunstBewusst, in German)

Saturday, October 18, 2014, 4:45 p.m.-9:30 p.m. Maximal. Kultur Trio. Kunst. Kulinarik. Konzert – in cooperation with Kölner Philharmonie

Tuesday November 4, 2014, 7 p.m. On the market, the museum, and the collector: Peter Ludwig and the Pop Art Collection Julia Voss (KunstBewusst, in German)

Monday November 17, 2014, 7 p.m. High and Low: Pop Art and Mass Culture Prof. Dr. Thomas Hecken (Kunst im Kontext, in German)

Tuesday November 25, 2014, 7 p.m. Warhol’s Film “Sleep” or: The Aesthetic and Media-related Boundary between Standstill and Movement Prof. Dr. Michael Diers (KunstBewusst, in German)

Tuesday December 2nd, 2014, 7 p.m. Conservation and Pop Art Kathrin Kessler, Head of Conservation, Museum Ludwig (KunstBewusst, in German)

Thursday December 4, 2014, 5 p.m.–10 p.m. Extended Thursday: kunst:dialoge bei LUDWIG GOES POP 6 p.m.-9 p.m.: kunst:dialoge, 7:30 p.m.-9:30p.m.: Lindy Hop-Party, Cinema Foyer

Thursday December 18, 2014, 7 p.m. About Pop Art Diedrich Diederichsen (KunstBewusst, in German) Contact: Anne Niermann / Leonie Pfennig Press and Public Relations Heinrich-Böll-Platz, 50667 Köln Tel + 49 - 221 - 221 - 23491 Tel + 49 - 221 - 221 - 23003 [email protected] [email protected]

LIST OF WORKS

LUDWIG GOES POP

October 2, 2014–January 11, 2015

Blake, Peter woman, height: 115 cm ABC Minors Museum Ludwig, Köln 1955 Oil on hardboard Dine, Jim 77,5 x 49 cm Six Big Saws Museum Ludwig, Köln 1962 Oil, nails, and saw on canvas Blake, Peter 122,5 x 368 cm Sinatra Door Museum Ludwig, Köln 1959 Oil, collage, b/w photograph, and objects on Dine, Jim wood Three Angels for Lorca 77,5 x 47,5 x 3,3 cm 1966 Museum moderner Kunst Stiftung Ludwig Wien Fiberglass and aluminum 3 parts, 185 x 61 cm each Blake, Peter Museum Ludwig, Köln Bo Diddley 1963/64 Dine, Jim Acrylic and tape on hardboard Roman Colour Chart 122,4 x 76 cm 1968 Museum Ludwig, Köln Oil, screws, and tape on canvas 213 x 416 cm Arcangelo, Allan D' Museum Ludwig, Köln Untitled No. 79 1964 Oil crayon and acrylic on canvas Dine, Jim 153,5 x 154 cm Pleasure-Palette Museum moderner Kunst Stiftung Ludwig Wien 1969 Oil, glass, and paper on canvas Andrea, John De 152 x 102 cm Woman on Bed 1974 Museum Ludwig, Köln Oil, fiberglass, and polyester 20 x 197 x 101 cm Fahlström, Oyvind Museum moderner Kunst Stiftung Ludwig Wien Roulette, Variable Painting 1966 Andrea, John De Oil, collage, magnet, and photograph on vinyl Untitled and cardboard 1977 152,5 x 166 cm Painted fi berglass, plaster, wooden chair, plastic Museum Ludwig, Köln bucket, and wood base man, height: 185 cm Hamilton, Richard until late October Untitled (Look!) Museum Ludwig, Köln 1956 Collage on paper Hamilton, Richard 21 x 22 cm I'm Dreaming of a White Christmas Museum Ludwig, Köln 1967/68 Screenprint and oil on canvas Hamilton, Richard 106,5 x 160 cm Towards a Definitive Statement on the Coming At the Hamilton Retrospective in the Museo Trends in Men's Wear and Accessories (d) Nacional Centro de Arte Reina Sofia, Madrid 1963 until late October Oil, collage, and newspaper clipping on wood Kunstmuseum Basel 122,2 x 81,2 cm Museum Ludwig, Köln Hamilton, Richard Swingeing London 67 II Hamilton, Richard 1968 My Marilyn - Paste up Screenprint and oil on canvas 1964 67 x 85 cm Oil and photograph on paper At the Hamilton Retrospective in the Museo 51 x 62 cm Nacional Centro de Arte Reina Sofia, Madrid At the Hamilton Retrospective in the Museo until late October Nacional Centro de Arte Reina Sofia, Madrid Museum Ludwig, Köln until late October Museum Ludwig, Köln Hanson, Duane Football Vignette Hamilton, Richard 1969 Still Life Fiberglass, polyester, and articles of clothing 1964 170 x 300 x 180 cm Colored print on wood Museum moderner Kunst Stiftung Ludwig Wien 89 x 91 cm At the Hamilton Retrospective in the Museo Hanson, Duane Nacional Centro de Arte Reina Sofia, Madrid Bowery Derelicts (Bowery Bums) until late October 1969/70 Museum Ludwig, Köln Fiberglass, polyester, and articles of clothing 78 x 123 x 73 cm; 40 x 186 x 75 cm; 32 x 127 x Hamilton, Richard 82 cm Landscape Ludwig Forum für Internationale Kunst, Aachen 1965 Various materials and photograph on blockboard Hanson, Duane 82,5 x 246 cm Woman with a Purse Museum moderner Kunst Stiftung Ludwig Wien 1974 Kleidungsstücke / Fiberglass, polyester, Hamilton, Richard synthetic resin, tallow, and articles of clothing Trafalgar Square Height: 160 cm 1965-1967 Museum Ludwig, Köln Oil and photograph on blockboard 80 x 120 cm Hockney, David At the Hamilton Retrospective in the Museo Atlantic Crossing Nacional Centro de Arte Reina Sofia, Madrid 1965 until late October Oil on canvas Museum Ludwig, Köln" 183 x 183 cm National Art Museum of China, Peking Hamilton, Richard Bathers I Hockney, David 1966/67 Sunbather Fabric, photograph, and bathing cap on canvas 1966 84 x 117 cm Acrylic on canvas At the Hamilton Retrospective in the Museo 183 x 183 cm Nacional Centro de Arte Reina Sofia, Madrid Museum Ludwig, Köln Hockney, David 1955 Contre-jour in the French Style – Against the Encaustic on canvas Day dans le style francais 109,2 x 144,3 cm 1974 Museum Ludwig, Köln Oil on canvas 183 x 183 cm Johns, Jasper Ludwig Múzeum – Museum of Contemporary Art, Flag on Orange Field Budapest" 1957 Encaustic on canvas Hockney, David 167,6 x 124,5 cm Self-Portrait with Blue Guitar Museum Ludwig, Köln 1977 Oil on canvas Johns, Jasper 152 x 182,8 cm Large White Numbers Museum moderner Kunst Stiftung Ludwig Wien 1958 Encaustic on canvas Indiana, Robert 170,5 x 126 cm Zig Museum Ludwig, Köln 1960 Oil, wood, wire, and iron Johns, Jasper 165 x 45 x 41 cm Figure 0 Museum Ludwig, Köln 1959 Encaustic on canvas Indiana, Robert 50 x 37,5 cm The Big Eight Ludwig Museum im Deutschherrenhaus, Koblenz 1961 Acrylic on canvas Johns, Jasper 220 x 220 cm Two Flags Museum Ludwig, Köln 1959 Acrylic on canvas Indiana, Robert 203,5 x 148,5 cm USA 666 (Eat, Die, Err, Hug) II Museum moderner Kunst Stiftung Ludwig Wien 1966/67 Acrylic on canvas Johns, Jasper 5 parts, je 91,5 x 91,5 cm Zero to Nine / 0 to 9 Museum Ludwig, Köln 1959 Encaustic and newsprint on canvas Indiana, Robert 53,8 x 88,9 cm Love Rising / Black and White Love (For Martin Museum Ludwig, Köln Luther King) 1968 Johns, Jasper Acrylic on canvas Painted Bronze / Ale Cans 4 parts, je 184 x 184 x 6 cm 1960 Museum moderner Kunst Stiftung Ludwig Wien Painted bronze 14 x 20,3 x 12 cm Indiana, Robert Museum Ludwig, Köln Der Mond - Die Braunschaft 1969 Johns, Jasper Acrylic on canvas 15' Entr'acte 203 x 178 cm 1961 Museum moderner Kunst Stiftung Ludwig Wien Oil and encaustic on canvas 90 x 65 cm Johns, Jasper Museum Ludwig, Köln Figure 1 1955 Johns, Jasper Encaustic on canvas Passage 43,8 x 34,9 cm 1962 Museum Ludwig, Köln Encaustic, paper, fragment of yardstick, metal chain, and fork on canvas Johns, Jasper 138 x 102 cm Tango Museum Ludwig, Köln Johns, Jasper Johns, Jasper Eddingsville Untitled 1965 1972 Oil, ruler, can, model hand, beer can, fork, Acrylic, encaustic, boards, wax, and canvas on sponge, glass, and hook on canvas wood 173 x 311 cm 182,9 x 487,7 cm Museum Ludwig, Köln Museum Ludwig, Köln

Johns, Jasper Johns, Jasper Target 1967-1969 Target 1974 Oil and transfer on canvas Encaustic and newsprint on canvas 157 x 157 x 2,5 cm 40,6 x 40,6 cm Museum moderner Kunst Stiftung Ludwig Wien Museum Ludwig, Köln

Johns, Jasper Jones, Allen Map Figure Falling 1967-1971 1964 Encaustic, pastel, and collage on canvas Oil on canvas 22 pieces, in total 500 x 1000 cm 273 x 244 cm Museum Ludwig, Köln Museum Ludwig, Köln

Johns, Jasper Jones, Allen Bread 1969 Perfect Match Laminated colored paper and lead 1966/67 58,4 x 43,1 cm Oil on canvas Edition: 60 + 14 280 x 93 cm Museum Ludwig, Köln Museum Ludwig, Köln

Johns, Jasper Kanovitz, Howard Flag The Opening 1969 1967 Lead Metal, plexiglass, synthetic fabric, photograph 58,4 x 43,1 cm and fluorescent tubes Auflage: 60 + 14 49 x 69,5 x 12,8 cm Museum Ludwig, Köln Museum Ludwig, Köln

Johns, Jasper Kanovitz, Howard High School Days Journal 1972/73 1969 Acrylic on canvas Lead and mirror 273 x 243 cm 58,4 x 43,1 cm Museum Ludwig, Köln Edition: 60 + 14 Museum Ludwig, Köln Kienholz, Edward Night of Nights 1961 Johns, Jasper Assemblage, stucco head, zinc, and steel wool Light Bulb 77 x 74 x 20 cm 1969 Museum Ludwig, Köln Lead 99 x 43,1 cm Kienholz, Edward Edition: 60 + 14 The Portable War Memorial Museum Ludwig, Köln 1968 Various materials and objects and audiotape Johns, Jasper 285 x 950 x 240 cm The Critic Smiles Museum Ludwig, Köln 1969 Lead 58,4 x 43,1 cm Edition: 60 + 14 Museum Ludwig, Köln

Kitaj, R.B. Lichtenstein, Roy Austro-Hungarian Foot Soldier 1961 Vicky Oil and collage on canvas 1964 152,5 x 91 cm Enamel paint on tin Museum Ludwig, Köln 106 x 106 cm Ludwig Múzeum – Museum of Contemporary Art, Kitaj, R.B. Budapest" Casting 1967 Lichtenstein, Roy Oil on canvas Explosion No. 1 250 x 91,5 cm 1965 Museum Ludwig, Köln Lacquered metal 251 x 160 cm Lichtenstein, Roy Museum Ludwig, Köln Takka Takka 1962 Lichtenstein, Roy Magna on canvas M-Maybe (A Girl's Picture) 173 x 143 cm 1965 Museum Ludwig, Köln Magna on canvas 152 x 152 cm Lichtenstein, Roy Museum Ludwig, Köln Hopeless 1963 Lichtenstein, Roy Magna on canvas Blonde 1968 111,5 x 111,5 cm Painted ceramic Kunstmuseum Basel Hight: 40 cm Museum Ludwig, Köln Lichtenstein, Roy I know how you must feel, Brad… Lichtenstein, Roy 1963 Modular Painting with Four Panels No. 1 Oil and magna on canvas 1969 168,6 x 95,8 cm Magna on canvas Ludwig Forum für Internationale Kunst, Aachen 4 pieces, in total 137,3 x 137,3 cm Lichtenstein, Roy Museum Ludwig, Köln Large Jewels 1963 Lichtenstein, Roy Magna on canvas Red Barn II 173 x 91,5 cm 1969 Museum Ludwig, Köln Magna on canvas 112 x 142 cm Lichtenstein, Roy Museum Ludwig, Köln Mad Scientist 1963 Lichtenstein, Roy Magna on canvas Rouen Cathedral (Seen at Three Different Times 127 x 151 cm of the Day) Set No. 2 Museum Ludwig, Köln 1969 Magna on canvas Lichtenstein, Roy 3 pieces, each 160 x 106,8 cm Cloud and Sea 1964 Museum Ludwig, Köln Enamel paint on tin 76 x 152,5 cm Lichtenstein, Roy Museum Ludwig, Köln Mirror in Six Panels 1970 Lichtenstein, Roy Oil and magna on canvas Landscape 243,8 x 274,3 cm 1964 Museum moderner Kunst Stiftung Ludwig Wien Magna on canvas

122 x 172 cm Museum Ludwig, Köln Lichtenstein, Roy Edition: 20 Still Life with Net, Shell, Rope and Pulley Museum Ludwig, Köln 1972 Oil and magna on canvas Marisol 152 x 243,5 cm La visita Museum Ludwig, Köln 1964 Painted wood, plaster, clothing, photograph, and Lichtenstein, Roy barrel Still Life with Pitcher and Apple 152,5 x 226 cm 1972 Museum Ludwig, Köln Magna on canvas 152 x 114 cm Oldenburg, Claes Museum Ludwig, Köln Sausage 1957 Lichtenstein, Roy Pantyhose (stuffed and tied) The Red Horseman Hight: 88 cm, Width: 9 cm 1974 Museum Ludwig, Köln Oil and magna on canvas 213,5 x 284,5 cm Oldenburg, Claes Museum moderner Kunst Stiftung Ludwig Wien Street Head - I and the Big Man Object from The Street Lichtenstein, Roy 1959 Cubist Still Life with Lemons Newsprint soaked in paste on wire frame, 1975 painted with casein Oil and magna on canvas 153 x 160 x 25 cm 228,6 x 172,7 cm Will be shown on an iPad station National Art Museum of China, Peking Museum moderner Kunst Stiftung Ludwig Wien

Lindner, Richard Oldenburg, Claes Target No. 1 Big Man (Big Guy) 1962 1960 Oil on canvas Corrugated cardboard, wood, newsprint, and 152,4 x 101,5 cm cord with casein paint Museum Ludwig, Köln Hight: 469 cm Will be shown on an iPad station Lindner, Richard Museum Ludwig, Köln Disneyland 1965 Oldenburg, Claes Oil on canvas Car I 203 x 127 cm 1960 Museum Ludwig, Köln Corrugated cardboard and wood with casein and Lindner, Richard spray paint Leopard Lilly 34,2 x 77,5 x 19,5 cm 1966 Will be shown on an iPad station Oil on canvas Museum Ludwig, Köln 177,8 x 152,4 cm Museum Ludwig, Köln Oldenburg, Claes Car II Lindner, Richard 1960 Pillow Corrugated cardboard and wood with casein 1966 and spray paint, and nails Oil on canvas 32 x 56 cm 177,8 x 152,4 cm Will be shown on an iPad station Museum Ludwig, Köln Museum Ludwig, Köln

Lindner, Richard Banner 1968 Stitched synthetic fabric 237 x 127 cm Oldenburg, Claes Oldenburg, Claes Fire from a Window (Street Fire) Street Head (Profile with Hat) 1960 1960 Paper and wood painted with casein Sack hung on wall, stuffed with newspaper and 39,3 x 26,6 x 4 cm painted with casein Will be shown on an iPad station 193 x 116 cm Museum Ludwig, Köln Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Lorraine street figure Oldenburg, Claes 1960 Street Head II (Pear) Corrugated cardboard, wood, cord, wire, and 1960 casein paint Burlap, paper, iron band, and wire Height: 250 cm 152 x 70 cm Will be shown on an iPad station Museum Will be shown on an iPad station Ludwig, Köln Museum Ludwig, Köln

Oldenburg, Claes Oldenburg, Claes Manhole Cover Street Sign I 1960 Objekt aus The Street Painted metal 1960 ø 30 cm Corrugated cardboard painted with casein Will be shown on an iPad station 269,2 x 104 cm Museum Ludwig, Köln Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Mug (Hanging figure of the shape of a mug) Oldenburg, Claes 1960 Street Sign II Corrugated cardboard on wood with casein 1960 and spray paint Corrugated cardboard painted with casein 193 x 127 cm 113 x 183 cm Will be shown on an iPad station Will be shown on an iPad station Museum Ludwig, Köln Museum Ludwig, Köln

Oldenburg, Claes Oldenburg, Claes Orphan Annie Green Legs with Shoes 1960 1961 Corrugated cardboard, wood, cord, wire, and Enamel paint, plaster, wire, metal, and fabric casein paint 137 x 93 x 22 cm Height: 250 cm Museum Ludwig, Köln Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Men's Jacket with Shirt and Tie (Brown Jacket) Oldenburg, Claes 1961 Street Chick Enamel paint, plaster, wire, and fabric 1960 106 x 75 x 30 cm Painted canvas, cardboard, fabric, and cord Museum Ludwig, Köln 88,9 x 26 cm will be presented in conjunction with the iPad Oldenburg, Claes station Success Plant Museum Ludwig, Köln 1961 Oil, paste, burlap, wire, wood, and cans Oldenburg, Claes Hight: 95 cm Street Figure in Grey Planes Museum Ludwig, Köln 1960 Corrugated cardboard, wood, cord, wire, and casein paint Height: 250 cm Will be shown on an iPad station Museum Ludwig, Köln" Oldenburg, Claes 133,5 x 82 x 47 cm Big White Shirt with Blue Tie Museum Ludwig, Köln 1961 Emaillack, Gips, Draht und Stoff Paolozzi, Eduardo 119 x 78 x 34 cm The Last of the Idols Museum Ludwig, Köln 1963 Oil and aluminum Oldenburg, Claes 244 x 71 x 11 cm Stove (Assorted Food on Stove) Museum Ludwig, Köln 1962 Stove, pots, muslin and burlap soaked in plaster, Paolozzi, Eduardo and varnish Molik I 146 x 72 x 70 cm 1967 Kunstmuseum Basel Chrome-plated steel Height: 111 x 41 x 51 cm Oldenburg, Claes Museum Ludwig, Köln Restaurant Objects (Ghost Dinner) 1964 Ramos, Mel Metal, fiberglass, plaster, and cardboard Batmobile 28 x 73,5 x 36 cm 1962 Museum Ludwig, Köln Oil on canvas 127,5 x 111 cm Oldenburg, Claes Museum moderner Kunst Stiftung Ludwig Wien Soft Washstand (Ghost Version) 1965 Ramos, Mel Linen, kapok, and wood Blue Coat 137 x 88 x 55 cm 1966 Museum Ludwig, Köln Oil on canvas 145 x 104 cm Oldenburg, Claes Ludwig Forum für Internationale Kunst, Aachen Mouse Museum 1965/1977 Ramos, Mel Wood, corrugated aluminum, acrylic glass Hippopotamus 1967 display case with 385 objects, and clay Oil on canvas 263 x 960 x 1007cm 180 x 247 cm Will be shown on an iPad station Ludwig Forum für Internationale Kunst, Aachen Museum moderner Kunst Stiftung Ludwig Wien Rauschenberg, Robert Oldenburg, Claes Blue Print Giant Soft Swedish Light Switch (Ghost 1949/50 Version) Monotype on blueprint paper, mounted on 1966 handmade paper Linen, kapok, and wood 240 x 91 cm ø 130 cm, depth: 30 cm Ludwig Forum für Internationale Kunst, Aachen Museum Ludwig, Köln Rauschenberg, Robert Oldenburg, Claes Odalisque London Knees 1955-58 1966 Wood, fabric, wire, paper, metal, grass, stuffed Plastic rooster, pillow, light bulb, and photograph 2 pieces, height: 37,6 cm 205 x 58 x 58 cm Edition: 120 Museum Ludwig, Köln Museum Ludwig, Köln Rauschenberg, Robert Oldenburg, Claes Hazard 1957 Proposed Colossal Monument for Coronation Oil, newspaper cuttings, paper, plaster, and Park (Toronto), Drainpipe (Model) wood on canvas 1967 214,5 x 95,6 cm Liquitex and wood Ludwig Forum für Internationale Kunst, Aachen Rauschenberg, Robert Screenprint on plexiglass, microphones, lights Double Feature 244 x 1100 cm 1959 Museum Ludwig, Köln Oil on canvas 230 x 130,5 cm Rauschenberg, Robert Kunstmuseum Basel Radiant White 952 1971 Rauschenberg, Robert Cardboard and wood Allegory 230 x 991 x 36 cm 1959/60 Museum Ludwig, Köln Oil, sheet metal, mirror, and umbrella on canvas 183 x 305 cm Rauschenberg, Robert Museum Ludwig, Köln Spanish Stuffed Mode Plus 1971 Rauschenberg, Robert Cardboard and wood Diplomat 173,8 x 128 x 20,3 cm 1960 Museum moderner Kunst Stiftung Ludwig Wien Oil and various materials on canvas 125 x 67 x 11 cm Rosenquist, James Museum moderner Kunst Stiftung Ludwig Wien Rainbow 1961 Rauschenberg, Robert Oil, wood, and glass on canvas Black Market 121,5 x 153 cm 1961 Museum Ludwig, Köln Oil, wood, and metal on canvas, briefcase 152 x 127 cm (Bild) Rosenquist, James Museum Ludwig, Köln Untitled (Joan Crawford Says...) 1964 Rauschenberg, Robert Oil on canvas Wall Street 242 x 196 cm 1961 Museum Ludwig, Köln Oil, paper, zinc, and wood on canvas, fire hose 182 x 226 cm Rosenquist, James Museum Ludwig, Köln Forest-Ranger 1967 Rauschenberg, Robert Cut and painted plastic fi lm Axle Height: 270 cm 1964 Walk-in copy of the original installation Screenprint and oil on canvas Museum Ludwig, Köln 274 x 610 cm Museum Ludwig, Köln Rosenquist, James Horse Blinders 1968/69 Rauschenberg, Robert Oil, fluorescent paint, and aluminum on canvas Tree Frog 23 parts, in total: 275 x 2530 cm 1964 Will be shown on an iPad station Screenprint and oil on canvas Museum Ludwig, Köln 244 x 183 cm Museum Ludwig, Köln Segal, George Woman Washing her Feet in a Sink Rauschenberg, Robert 1964/65 Revolvers II Plaster, wooden chair, and sink 1967 Height: 158 cm Screenprint on five rotating plexiglass panes and Museum Ludwig, Köln metal box 198 x 196 x 62 cm Museum Ludwig, Köln

Rauschenberg, Robert Soundings 1968 Segal, George 350 x 210 cm The Restaurant Window I Museum Ludwig, Köln 1967 Plaster, metal, wood, plexiglass, and fluorescent Warhol, Andy tubes Texan (Portrait Robert Rauschenberg) 244 x 340 x 206 cm 1963 Museum Ludwig, Köln Screenprint on canvas 208 x 208 cm Thiebaud, Wayne Museum Ludwig, Köln Cake Counter 1963 Warhol, Andy Oil on canvas Two Elvis 92 x 183 cm 1963 Museum Ludwig, Köln Screenprint on canvas 206 x 148 cm Warhol, Andy Museum Ludwig, Köln Saturday's Popeye 1960 Warhol, Andy Acrylic on canvas Campbell's Boxes 108,5 x 98,7 cm 1964 Ludwig Forum für Internationale Kunst, Aachen Screenprint on wood 14 pieces, each 25,5 x 48 x 24 cm Warhol, Andy Museum Ludwig, Köln 129 Die in Jet (Plane Crash) 1962 Warhol, Andy Acrylic on canvas Elvis (Single Elvis) 254,5 x 182,5 cm 1964 Museum Ludwig, Köln Screenprint on canvas 210 x 107 cm Warhol, Andy Ludwig Múzeum – Museum of Contemporary Art, Close Cover before Striking (Pepsi Cola) Budapest 1962 Acrylic and sandpaper on canvas Warhol, Andy 183 x 137 cm Jackie Triptych (Jackie Triptychon) Museum Ludwig, Köln 1964 Screenprint on canvas Warhol, Andy 53 x 124 cm Do It Yourself (Landscape) Museum Ludwig, Köln 1962 Acrylic and Letraset numbers on canvas Warhol, Andy 178 x 137 cm Most Wanted Man No. 7 (Salvator V.) Museum Ludwig, Köln 1964 Screenprint on canvas Warhol, Andy 2 pieces, in total: 199 x 99 cm Two Dollar Bills (Front and Rear) Museum Ludwig, Köln 1962 Screenprint on canvas Warhol, Andy 210 x 96 cm White Brillo Boxes Museum Ludwig, Köln 1964 Screenprint on wood Warhol, Andy 28 pieces, each 44 x 43 x 35,5 cm Orange Car Crash Museum Ludwig, Köln 1963 Acrylic and screenprint on canvas Warhol, Andy 334 x 418 cm Marilyn (Marilyn Monroe) Museum moderner Kunst Stiftung Ludwig Wien 1967 Screenprint on paper Warhol, Andy 10 prints, each 91,5 x 91,5 cm Red Race Riot Edition: 250 1963 Museum Ludwig, Köln Screenprint on canvas Warhol, Andy objects Campbell's Soup Can I 213 x 270 x 45 cm 1968 Museum Ludwig, Köln Screenprint on paper 10 prints, each 89 x 58,5 cm Wesselmann, Tom Edition: 250" Great American Nude No. 54 Ludwig Forum für Internationale Kunst, Aachen 1964 Oil, acrylic on canvas, various objects, and tape Warhol, Andy recording of quiet street sounds Flowers 214 x 260 x 133 cm 1970 Museum moderner Kunst Stiftung Ludwig Wien 10 prints Screenprint (five colors), Paper (Vélin) Wesselmann, Tom 91,5 x 91,5 cm Landscape No. 2 Museum Ludwig, Köln 1964 Oil, paper, synthetic fabric, and photograph on Warhol, Andy canvas Mick Jagger 193 x 239 cm 1975 Museum Ludwig, Köln Screenprint and acetate foil on paper 10 prints, each 110 x 73 cm Wesselmann, Tom Museum moderner Kunst Stiftung Ludwig Wien Interieur No. 4 1965 Warhol, Andy Various materials Skull 167 x 138 x 29 cm 1976 National Art Museum of China, Peking Acrylic and screenprint on canvas 183 x 203 x 3,5 cm Wesselmann, Tom Museum moderner Kunst Stiftung Ludwig Wien Landscape No. 4 1965 Warhol, Andy Acrylic on hardboard Portrait of Peter Ludwig 129 x 159 cm 1980 Ludwig Múzeum– Museum of Contemporary Art, Screenprint on canvas Budapest 3 prints, each 105 x 105 cm Ludwig Forum für Internationale Kunst, Aachen Wesselmann, Tom Seascape No. 18 Warhol, Andy 1966/67 Portrait of Peter Ludwig Oil on canvas 1980 244 x 168 cm Screenprint on canvas Museum Ludwig, Köln each 105 x 105 cm Museum Ludwig, Köln Wesselmann, Tom Great American Nude No. 98 Wesselmann, Tom 1967 Bathtub No. 3 Oil on canvas 1963 250 x 380 x 130 cm Oil on canvas, synthetic fabric, and various Museum Ludwig, Köln

LUDWIG GOES POP – Notes on Vorbemerkungen LUDWIG GOES POP Stephan Diederich / Luise Pilz Stephan Diederich / Luise Pilz

Im Februar 1969 eröffnete das Kölner Wallraf-Richartz-Museum In February 1969 the Wallraf-Richartz-Museum in die Ausstellung Kunst der sechziger Jahre. Sie stellte eine Cologne opened the exhibition Kunst der sechziger Jahre [Art of the Sixties]. This marked a caesura in Zäsur im Sammlerleben von Peter und Irene Ludwig dar. Peter and Irene Ludwig’s collecting career. On the Zum einen war es die erste Präsentation von Gegenwarts- one hand, it was the very first presentation of contem- kunst aus der Sammlung Ludwig in Köln überhaupt. Neben porary art from the Ludwig Collection in Cologne. Fluxus und Nouveau Réalisme zeigte sie eine große Vielfalt Alongside Fluxus and Nouveau Réalisme, it showed a broad spectrum of American and European Pop amerikanischer und europäischer Pop Art. Zum anderen sollten Art. On the other hand, the dialogue that the collector sich die Gespräche, die der Sammler und damalige Chef- Wolfgang Hahn, then head restorer of the Wallraf- Restaurator des Wallraf-Richartz-Museum Wolfgang Hahn mit Richartz-Museum, had initiated with Kurt Hackenberg, dem Kölner Kulturdezernenten Kurt Hackenberg initiiert hatte, Cologne city councilor for cultural affairs, proved extremely fruitful—it ultimately led to a large number als äußerst fruchtbar erweisen – schließlich führten sie 1976 of the works shown being donated to the City of zur Schenkung eines Großteils der gezeigten Werke an Cologne in 1976 and consequently to the establish- die Stadt Köln und somit zur Gründung des heutigen Museum ment of what is now the Museum Ludwig. However, Ludwig. Als besonders bedeutsam aber erwies sich diese this exhibition was to prove most significant in terms of the way the collectors viewed their role. Ausstellung für das Selbstverständnis der Sammler selbst. Up until this time, the Ludwigs had tended to remain Bis dahin hatten sich die Ludwigs eher im Hintergrund in the background. At the opening in the Wallraf- ge halten. Zur Eröffnung im Wallraf-Richartz-Museum 1969 Richartz-Museum in 1969, for example, Peter and etwa traten Peter und Irene Ludwig persönlich nicht in Irene Ludwig were not in attendance and there were Erscheinung, und auf Reden, die den Sammlern für ihre no speeches thanking the collectors for their gener- ous loans. However, the groundswell of positive großzügigen Leihgaben dankten, wurde verzichtet. Doch der reactions in the press and above all from museum wachsende Zuspruch vonseiten der Presse und vor allem visitors strengthened the couple’s sense of their der Museumsbesucher bestärkte das Paar in seinem Bil- educational mission and encouraged them to take dungsauftrag sowie darin, als Sammler von nun an deutlich a significantly more proactive stance as collectors subsequently.1 FRIEDRICHSON, 71—82 That was particu- 1 offensiver aufzutreten. FRIEDRICHSON, 71–82 Zumal klar geworden larly true as the potential impact of their activities war, welches Potenzial sich hier verbarg: Das Sammeln had now become clear; collecting, or rather donating, beziehungsweise die Übereignung der Werke ließ sich als art could be viewed as an act of patronage to serve mäzenatischer Dienst an der Allgemeinheit begreifen und the commonweal, and could therefore function as an effective cultural policy instrument. BEAUCAMP, 55—67 somit kulturpolitisch wirkungsvoll einsetzen. BEAUCAMP, 55–67 In the early 1960s the Ludwigs—who had previously Die Ludwigs – zuvor vorrangig Sammler antiker und mittel- primarily collected art from Antiquity and the Middle alterlicher Kunst – hatten Anfang der 1960er-Jahre begonnen, Ages—had begun to collect contemporary art. aktuelle künstlerische Positionen zusammenzutragen. Um die This realignment of their collecting focus can best be grasped within the broader cultural context: Neu ausrichtung des Sammelinteresses zu verstehen, muss it was the era of the Wirtschaftswunder, the German man vor allem das kulturelle Umfeld in den Blick nehmen: Es postwar economic boom, and at the same time, war die Zeit des Wirtschaftswunders, zugleich wurden nicht initial avant-garde movements were starting to zuletzt in ihrer Heimatstadt Aachen erste avantgardistische become visible, not least in the Ludwigs’ home town of Aachen. Progressive art venues were launched, Bewegungen sichtbar. Es entstanden progressive Kunstorte such as the Zentrum für aktuelle Kunst e.V.—Gegen- wie der 1967 von Klaus Honnef gegründete Kunstverein verkehr, founded by Klaus Honnef in 1967, and the Gegenverkehr – Zentrum für aktuelle Kunst e.V., und das Ludwigs also maintained ongoing contacts with Ehepaar befand sich im steten Austausch mit den Museen the museums in Aachen—such as, for example, the Suermondt Museum, directed by Ernst Günther am Ort – wie beispielsweise dem Suermondt-Museum unter Grimme. Conversely, the museum world also sought der Direktion von Ernst Günther Grimme. Umgekehrt suchten contacts with the collectors and supported their auch die Museen den Kontakt zu den Sammlern und unter- activities. FRANZEN/LAGLER, 31—41 At this point, the couple, both qualified art historians, were already stützten deren Wirken. FRANZEN/LAGLER, 31–41 Zu diesem Zeit- collecting with deft expertise, aiming to bring punkt sammelten die beiden studierten Kunsthistoriker bereits together socially relevant works and make these mit ausgewiesener Expertise und mit dem Anspruch, gesell- accessible, yet without placing themselves in the 19 schaftlich relevante Werke zusammenzutragen und zugänglich limelight. In this spirit, in 1968 the Suermondt zu machen, allerdings ohne die eigene Person in den Vorder- Museum showed the Ludwigs’ first Pop Art acquisi- tions in the exhibition Zeitbild—Provokation—Kunst grund zu stellen. So zeigte das Suermondt-Museum 1968 [Image of the Times—Provocation—Art], following mit der Ausstellung Zeitbild – Provokation – Kunst die ersten this in January 1969 with a further presentation of Ankäufe der Pop Art aus dem Hause Ludwig und im Januar the Ludwig Collection entitled Aktuelle Kunst im 1969 eine weitere Präsentation der Sammlung Ludwig

013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 19 04.09.14 09:19 unter dem Titel Aktuelle Kunst im Suermondt-Museum. Suermondt-Museum [Contemporary Art in the Die Sammlungspräsentationen in Aachen unterschieden sich Suermondt Museum]. These exhibitions mainly differed from the Kunst der sechziger Jahre [Art of the Sixties] wesentlich von der in Köln zur Schau gestellten Kunst der exhibition shown in Cologne.2 For instance, the show sechziger Jahre 2. So waren in der Kölner Ausstellung unter in Cologne presented, among others, recent artistic anderem jüngere künstlerische Positionen wie Op-Art und positions like Op-Art and Minimal Art, which were Minimal Art zu sehen, die im Suermondt-Museum noch missing at the Suermondt-Museum. Besides German artists were barely represented. FRANZEN/LAGLER, 31—41 fehlten. Zudem waren deutsche Künstler so gut wie gar nicht The catalogue of the Cologne exhibition was pub- vertreten. FRANZEN/LAGLER, 31–41 lished in winter 1968. Testifying to its great success, Der Katalog zur Kölner Ausstellung kam bereits im Winter the first edition sold 30,000 copies and was followed 1968 heraus. Von seinem großen Erfolg zeugt, dass auf die by four more editions.3 Designed by Wolf Vostell, the catalogue’s unorthodox concept remains compelling erste Auflage mit dreißigtausend verkauften Exemplaren today; the layout and material still look pristinely 3 noch vier weitere folgten. Von Wolf Vostell gestaltet, besticht modern, yet the publication’s design nonetheless er noch heute durch sein unorthodoxes Konzept: Satz wie manages to capture the 1960s’ zeitgeist in book Material wirken unverbraucht modern, gelingt es der Publikation form. At the same time, this was also the first publication distributed by Walther König, even before doch, den Zeitgeist der 1960er-Jahre gestalterisch in Buch- he began his career in the book trade. One of the form zu fassen. Dies war zugleich das erste Buch, das first coffee-table books to find its way into West Walther König vertrieb, noch bevor er seine Tätigkeit als German living rooms, it evolved into a pendant to Buchhändler aufnahm. Mit diesem Katalog hielt eines der ersten the collection, becoming more and more voluminous with each edition. FRIEDRICHSON, 71—82 The current Coffee-Table-Bücher Einzug in westdeutsche Wohnzimmer – publication is conceived as a homage to the Pop zudem avancierte es zum Pendant der Sammlung, indem es Art collection and the 1968 catalogue, but also as a wie sie von Auflage zu Auflage immer umfangreicher wurde. complement to the exhibition LUDWIG GOES POP. FRIEDRICHSON, 71–82 Die vorliegende Publikation versteht sich However, the focus in this publication is mainly on the collector and his enthusiasm for Pop Art. als Hommage an die Pop-Art-Sammlung und den Katalog Both the exhibition and this catalogue showcase von 1968 sowie als Komplement zur Ausstellung LUDWIG the collection’s central works of American and British GOES POP. Wobei sich der Fokus in der aktuellen Publi- Pop Art, which have long assumed historic status, kation eher auf den Sammler und seine Begeisterung für die in the first large-scale overview presentation. Pop Art verschoben hat. Questions relating to the collection’s context, thrust, and motivation play an essential role in this under- Den mittlerweile längst historischen Kernbestand an ameri- taking, particularly in the light of the tastes of that kanischer wie englischer Pop Art nun erstmals in einer groß earlier era and the social developments triggered by angelegten Übersichtsschau zu präsentieren ist Ziel der the 1968 movement.4 Against that backdrop, docu- Ausstellung sowie des Katalogs. Fragen nach Kontext, menta 4—a key impetus for the Ludwigs on the path that led to their Pop Art collection—was repeatedly Ausrichtung und Motivation spielen dabei eine wesentliche criticized in the revolutionary year of 1968 as being Rolle, nicht zuletzt vor dem Hintergrund des damaligen too apolitical, as a “documenta of art dealers,” devoid Zeit geschmacks und der gesellschaftlichen Strömungen im of societal relevance. Prominent participants such Zuge der Achtundsechziger-Bewegung.4 So wurde die as Andy Warhol or Allen Jones already numbered among the avant-garde artists who had “made it” documenta 4 – für die Ludwigs ein wesentlicher Motor auf in the art world; Pop had long become tractable and dem Weg zu ihrer Pop-Art-Sammlung – im Aufbruchjahr 1968 oozed mass-market appeal. Although Pop Art in vielfach als zu unpolitisch, als „documenta der Händler“ und both the US and Great Britain had already reached als gesellschaftlich zu wenig relevant kritisiert. Prominente its zenith by this point, neglecting or even entirely discarding its avant-garde ambitions to adopt more Teilnehmer wie Andy Warhol oder Allen Jones zählten bereits market-compatible qualities, and even though it zu den Arrivierten der Avantgarde, Pop war längst gefällig was already on the whole also welcomed with open und massenwirksam geworden. Obgleich die Pop Art in den arms here, it nonetheless did still contain a certain USA wie in Großbritannien den Zenit damals bereits über- explosive potential in West Germany at the time. Considering the Ludwigs’ purchasing patterns offers schritten, ihren avantgardistischen Anspruch zugunsten revealing insights into their Pop Art–specific collecting marktkompatibler Eigenschaften aufgegeben beziehungs- principles and their frenzied shopping sprees in the weise verloren hatte und auch in Westdeutschland bereits late 1960s and early 1970s: 5 Who advised them and überwiegend mit offenen Armen empfangen wurde, barg sie which galleries played a key role? Which collectors influenced the Ludwigs and to which artists did the hierzulande doch immer noch gewissen Zündstoff. couple establish relatively close ties? What was Ein Blick auf das Kaufverhalten der Ludwigs ist aufschlussreich it that fascinated Peter Ludwig6 about this new art? im Hinblick auf Pop-Art-spezifische Sammlungsprinzipien WYRWOLL/ZWIRNER, 87—112 und ihren Kaufrausch Ende der 1960er-, Anfang der 1970er- Gallerists Rudolf Zwirner in Cologne, along with Leo Castelli and Ileana Sonnabend in New York and 20 5 Jahre: Wer fungierte als Berater und welche Galerien waren Paris, played a key role in these transatlantic art maßgeblich, an welchen Sammlern orientierten sich die imports. Peter Ludwig did not primarily see himself Ludwigs und zu welchen Künstlern suchten sie vergleichs- as a treasure hunter, nor was his supreme goal weise engeren Kontakt. Was faszinierte Peter Ludwig6 an tracking down intriguing new art practices. Instead, he acted much more on the periphery of the art der neuen Kunst? WYRWOLL/ZWIRNER, 87–112 world, seeking dialogue with gallerists and exhibition

013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 20 04.09.14 09:19 Die Galeristen Rudolf Zwirner in Köln sowie Leo Castelli makers, and he purchased work that had already und Ileana Sonnabend in New York und Paris waren been well-received by galleries or others, particularly by American art collectors.7 WYRWOLL/ZWIRNER, 87—112 von ent scheidender Bedeutung für diesen transatlantischen The question of the provenance of the pieces was Kunstimport. Peter Ludwig verstand sich nicht primär als always important for the Ludwigs: both Castelli and Goldgräber, der die Entdeckung spannender neuer Positionen Zwirner were required to supply as full a provenance als höchstes Ziel für sich deklarierte. Er agierte vielmehr vom as possible for each artwork. Trained art historian Peter Ludwig made no secret Rand der Kunstwelt aus, suchte den Dialog mit Galeristen of the fact that he had previously been opposed to und Aus stellungsmachern und kaufte an, was bereits von the Pop Art that he soon began purchasing as if Galerien oder anderen, vor allem amerikanischen Kunstsamm- obsessed. As he himself said, in the mid-1960s, he 7 had found works such as George Segal’s plaster bus lern, für gut befunden worden war. WYRWOLL/ZWIRNER, 87–112 driver figure rather “shocking” during his visits to the Die Frage nach der Provenienz der Werke war den Ludwigs Museum of Modern Art, New York. BEAUCAMP, 55—67 stets wichtig: Castelli wie Zwirner waren angehalten, diese His interest flourished rapidly in 1968, influenced in möglichst lückenlos nachzuweisen. particular by the heightened attention Pop Art enjoyed Der promovierte Kunsthistoriker Peter Ludwig machte keinen in West Germany in the run-up to documenta 4 and as a result of the Wallraf-Richartz-Museum’s Hehl daraus, dass er der Pop Art, die er alsbald geradezu presentation of Wolfgang Hahn’s collection.8 besessen kaufte, wenige Jahre zuvor noch ablehnend gegen- NEUBURGER, 115—124 Further key factors included his übergestanden hatte. Werke wie der gipserne Bus-Chauffeur enduring dialogue with Hahn and Klaus Honnef, and von George Segal hatten ihn bei seinen Besuchen im Museum Wella manufacturer Karl Ströher’s headline-hitting of Modern Art, New York, Mitte der 1960er-Jahre nach purchase of New York insurance broker Leon Kraushar’s collection. eigener Aussage eher „schockiert“. BEAUCAMP, 55–67 Forciert The great relish with which the Ludwigs purchased wurde sein Interesse 1968 nicht zuletzt durch die gesteigerte this art stemmed to a large extent from the directness Aufmerksamkeit, die der Pop Art hierzulande im Vorfeld der and crisp freshness of the work, with its references documenta 4 sowie der Präsentation der Sammlung von to reality and (often banal) surface charms. The intermingling of artistic strategies with scenarios 8 Wolfgang Hahn im Wallraf-Richartz-Museum NEUBURGER, 115–124 related to economic phenomena, such as advertising, zuteil wurde, durch den beharrlichen Austausch mit Hahn consumerism, and the market, may also have und Klaus Honnef sowie den medienträchtigen Ankauf der Pop- appealed to Peter Ludwig as a businessman and art Art-Sammlung des New Yorker Versicherungsmaklers Leon historian, NEUBURGER, 115—124 although Ludwig only engaged with the question of the object, the art Kraushar durch den Wella -Fabrikanten Karl Ströher. market, and the exhibition business indirectly, Die Begeisterung, mit der die Ludwigs diese Werke erwarben, through his purchases. WYRWOLL/ZWIRNER, 87—112 lag nicht zuletzt in deren Direktheit, der Frische ihres Realitäts- With only slight exaggeration, the Pop Art collection bezuges und ihrem (oftmals banalen) Oberflächenreiz be- might be dubbed an aesthetic paraphrase of Peter (and Irene) Ludwigs’ professional and private life- gründet. Auch mag dem Geschäftsmann und Kunst historiker worlds. GRASSKAMP, 127—158 Furthermore, artists such Peter Ludwig die Verquickung künstlerischer Strategien mit as Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Versatzstücken wirtschaftsrelevanter Phänomene wie Werbung, James Rosenquist, Robert Rauschenberg, and 9 Konsum und Markt durchaus sympathisch gewesen sein, Jasper Johns were part of the same generation as the Ludwigs. Their works embodied a modern spirit NEUBURGER, 115–124 wenngleich Ludwig sich der Frage von and conveyed a sense of the here-and-now. That Objekt, Kunstmarkt und Ausstellungsbetrieb nur sekundär, dis tinguished them from, for example, the timeless durch seine Ankäufe, widmete. WYRWOLL/ZWIRNER, 87–112 Überspitzt validity of an artist such as Picasso, whose works könnte man die Pop-Art-Sammlung sogar als ästhetische the couple collected with a similarly intense focus. A common thread in both collecting strands was the Paraphrase der Arbeits- und Lebenswelt Peter (und Irene) direct reference to the figure, the object, the visible Ludwigs lesen. GRASSKAMP, 127–158 Künstler wie Roy Lichtenstein, world—a fundamental hallmark of the gigantic and Andy Warhol, Claes Oldenburg, James Rosenquist, Robert multifaceted collecting cosmos of the Ludwigs. Rauschenberg und Jasper Johns9 gehörten außerdem der Although the couple never met Picasso, they did soon have personal contact with some of the young gleichen Ge nera tion wie die Ludwigs an. Ihre Werke verkör- Americans—which was not at all self-evident for perten ein modernes Lebensgefühl, vermittelten Jetztzeitigkeit. someone like Peter Ludwig; for him, the works always Das unterschied sie etwa von der zeitlosen Gültigkeit des seemed to be more important than their creators, Œuvres Picassos, dessen Werke das Paar mit vergleichbarer particularly given his concerns that excessively close ties to the artists might encourage them to grow too Intensität sammelte. Beiden Sammlungssträngen gemein war demanding. LOHR/LUDWIG, 45—52 / WYRWOLL/ZWIRNER, der unmittelbare Bezug zur Figur, zum Gegenstand, zur 87—112 However, the art was always purchased sichtbaren Welt – ein Grundzug großer Teile des schier through the gallerists, even if Ludwig had checked gigantischen wie facettenreichen Ludwig’schen Sammlungs- the quality of the work in the studio beforehand. 21 Looking back, Peter Ludwig admitted self-critically kosmos. Während die Ludwigs Picasso selbst nie kennenlern- that he had been a late starter in this sphere of ten, verband sie mit einigen der jungen Amerikaner bald doch collecting. He had let valuable years slip by before ein persönlicher Kontakt – durchaus nicht selbstverständlich he recognized Pop Art’s significance. The avant- für jemanden wie Peter Ludwig, für den die Werke stets garde shock effect of Pop Art’s headline-hitting European debut at the Venice Biennale in 1964, wichtiger zu sein schienen als ihre Schöpfer und der befürch- where Robert Rauschenberg, just thirty-eight at the tete, durch allzu persönliche Beziehungen Begehrlichkeiten

013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 21 04.09.14 09:19 zu wecken. LOHR/LUDWIG, 45–52 / WYRWOLL/ZWIRNER, 87–112 Gekauft time, was unexpectedly awarded the International wurde allerdings immer über die Galeristen, auch wenn Ludwig Grand Prize for Painting, had no direct impact on the couple’s collecting. In contrast in the late 1950s sich zuvor persönlich im Atelier von der Qualität der Arbeiten New York taxi entrepreneur Robert C. Scull and his überzeugt hatte. wife, Ethel, had already begun to assemble probably Rückblickend gestand Peter Ludwig selbstkritisch, auf one of the most important and large collections of diesem Sammlungsgebiet ein Spätzünder gewesen zu sein. Pop Art. BEAUCAMP, 55—67 Not long after this, the Aachen-based collector couple would purchase Wertvolle Jahre hatte er verstreichen lassen, bevor er die artwork from the Scull Collection, some of which had Bedeutung der Pop Art erkannte. Auch der erste medienwirk- in the meantime already been resold at auction:10 same Auftritt der Pop Art in Europa auf der Venedig-Biennale Jasper Johns’s Large White Numbers (1958) in 1968 1964, bei der der Internationale Große Preis für Malerei über- through the Leo Castelli Gallery and in 1973 Painted Bronze / Ale Cans (1960) through Rudolf Zwirner. raschend an den damals 38-jährigen Robert Rauschenberg NEUBURGER, 115—124 ging, hatte mit seiner avantgardistischen Schockwirkung noch A few years later, Ludwig had become a name that keinen direkten Einfluss auf das Sammlerehepaar Ludwig symbolized one of the three crucial European private gehabt. Der New Yorker Taxiunternehmer Robert C. Scull und collections intensively involved with American Pop Art from the second half of the 1960s, along with seine Frau Ethel hatten hingegen bereits in den späten 1950er- Panza di Biumo in northern Italy and Karl Ströher in Jahren begonnen, eine der wohl wichtigsten und umfangreichs- Darmstadt.11 From today’s vantage point, the Ludwig ten Pop-Art-Sammlungen anzulegen. BEAUCAMP, 55–67 1968 Collection, above all with the works in the Museum über die Leo Castelli Gallery sollte das Aachener Sammler- Ludwig in Cologne, now affords us a significant paar dann Jasper Johns’ Large White Numbers (1958) sowie overview of the Pop Art era. Iconic works such as Johns’s Painted Bronze / Ale Cans (1960) or 1973 die Ale Cans (1960) über Rudolf Zwirner aus der Rauschenberg’s Black Market (1961) have virtually bereits in Teilen wieder veräußerten Scull-Sammlung erwer- turned the Cologne Pop Art collection into the 10 ben. NEUBURGER, 115–124 museum’s theme tune. In keeping with the collector Schon wenige Jahre später war es der Name Ludwig, der couple’s universal ambitions and their missionary zeal about art, they have also nourished other neben Panza di Biumo in Norditalien und Karl Ströher in museums around the world from their Pop collection, Darmstadt für eine der drei wesentlichen europäischen primarily the Museum moderner Kunst Stiftung Privatsammlungen stand, die sich in der zweiten Hälfte der Ludwig Wien and the Ludwig Forum für Internatio- 1960er- Jahre intensiv mit amerikanischer Pop Art beschäftig- nale Kunst in Aachen, but also museums in Basel, Budapest, Koblenz, Beijing, and St. Petersburg. 11 ten. Aus heutiger Perspektive ermöglicht die Sammlung Their approach stands in stark contrast to the Ludwig nunmehr vor allem mit dem Bestand des Museum now-familiar typos of the speculative collector—as Ludwig in Köln einen bedeutenden Überblick zur Ära der Pop embodied by, for example, François Pinault, Victor Art. Ikonen wie Johns’ Ale Cans oder Rauschenbergs Black Pinchuk, and Charles Saatchi—out to make a profit or at least to drive permanent shifts in the profile Market (1961) haben die Kölner Pop-Art-Sammlung quasi zur of their collections by reselling artworks.12 For Peter Erkennungsmelodie des Hauses werden lassen. Daneben and Irene Ludwig, the added value of their collection wurden gemäß des universellen Anspruchs und Sendungs- always lay in positioning it within the museum bewusst seins des Sammlerpaars international weitere Museen context on an enduring basis, GRASSKAMP, 127—158 while Peter Ludwig also endeavored to become as aus ihrer Pop-Sammlung gespeist, so vor allem das Museum influential in the cultural sphere as he already was moderner Kunst Stiftung Ludwig Wien, das Ludwig Forum für in the business world. Ludwig did not by any manner Internationale Kunst in Aachen, aber auch Museen in Basel, of means sit back and leave decisions to galleries, Budapest, Koblenz, Peking und St. Petersburg. museums, or municipal cultural policy departments. One might therefore accuse him of excessively acute Ganz im Unterschied zum Typus des Spekulationssammlers missionary ardor, yet Ludwig never gave precedence wie wir ihn heute kennen – wie ihn zum Beispiel François to prestige (or even dominance) in the form of a Pinault, Victor Pinchuk und Charles Saatchi verkörpern –, der private museum—in contrast to the aforementioned durch Wiederverkauf Gewinn erzielt oder zumindest einen private collectors, although his relationship with the 12 museums he bestowed endowments upon was not permanenten Wandel des Sammlungsbildes forciert, lag für always entirely without difficulties. His repeatedly Peter und Irene Ludwig der Mehrwert ihrer Sammlung stets spontaneous purchases and gifts of works were in deren bleibend musealer Platzierung, GRASSKAMP, 127–158 a contributing factor, for they caught some museum wobei Peter Ludwig bestrebt war, im kulturellen Leben eine directors on the hop and displaced the focus of collections, as well as disrupting planned exhibitions, ähnlich einflussreiche Position einzunehmen wie im ökonomi- repeatedly confronting those involved with tricky schen. Ludwig überließ den Galerien, Museen und Kultur- power struggles. BEAUCAMP, 55—67 Looking back dezernenten keineswegs das Feld. So könnte man ihm lediglich however, Peter and Irene Ludwig remained commit- ein allzu exzessives Sendungsbewusstsein vorwerfen, doch ted as private collectors to the idea of the public 22 museum, for they did not compete with or even try schwebte Ludwig nie die Repräsentanz (oder gar Dominanz) to abolish this institution. The Ludwigs were there- in Form eines Privatmuseums vor – im Gegensatz zu den fore aware of the important role played by a public bereits genannten Privatsammlern. Zwar war das Verhältnis museum, capable of representing societal interests zu den mit Stiftungen bedachten Museen nicht immer un- independently of collectors’ subjective predilections. Their donations of entire ensembles from their problematisch. Nicht zuletzt seine vermeintlich spontanen collections—above all Pop Art as well as works by Ankäufe und Schenkungen, die so manchen Museumsdirektor

013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 22 04.09.14 09:19 überrumpelten und Sammlungsschwerpunkte sowie Ausstel- Picassos and the Russian Avant-garde—reveals lungsvorhaben verschoben, stellten die Betreffenden immer an awareness that museums and their collections only become relevant when they develop their own wieder vor heikle Machtproben. BEAUCAMP, 55–67 Rückblickend art-historical profile.13 While they were not ground- blieben Peter und Irene Ludwig als Privatsammler aber stets breaking first-wave heroes, Peter and Irene Ludwig’s der Idee des öffentlichen Museums verhaftet, begaben sich collecting was all the more consistent and sustain- nicht in Konkurrenz dazu oder versuchten gar, es abzulösen. able for that, allowing them within just a few years, with a mixture of astonishing flair and good advice, Dabei waren sich die Ludwigs der Bedeutung eines öffentli- to build up a collection of American and European art chen Hauses bewusst, welches unabhängig von subjektiven from the late 1950s to the 1970s. In the process they Sammlervorlieben gesellschaftliche Interessen abbildet. indubitably influenced artists’ careers, the market, Die Stiftung von ganzen Sammlungskomplexen – allen voran and public interest. There is likewise no question that they secured crucial examples of artistic practice der Pop Art sowie der Werke Picassos und der russischen from that era, making these available to the general Avantgarde – macht ihr Verständnis dafür deutlich, dass public (and to art-historical reception, as also Museen und ihre Sammlungen erst dann relevant werden, exemplified in this catalogue). wenn sie ein eigenes kunsthistorisches Profil entwickeln.13 So bauten Peter und Irene Ludwig zwar nicht als Helden der 1 See Jochen Link, “Pop Art in Deutschland. Die Rezeption der ersten Stunde, jedoch umso konsequenter und nachhaltiger, amerikanischen und englischen Pop Art durch deutsche Museen, Galerien, mit einer Mischung aus erstaunlichem Gespür und guter Sammler und ausgewählte Zeitungen in der Zeit von 1959 bis 1972,” diss. Universität Stuttgart, 2000. 2 See Brigitte Franzen, Annette Lagler, Beratung binnen weniger Jahre eine Sammlung amerikanischer and Myriam Kroll (eds.), Nie wieder störungsfrei! Aachen Avantgarde seit 1964, exh. cat. Ludwig Forum für Internationale Kunst, Aachen, Bielefeld und europäischer Kunst der späten 1950er- bis 70er-Jahre 2011. 3 See Gert von der Osten and Horst Keller (eds.), Kunst der auf. Dass sie damit Künstlerkarrieren, den Markt und das sechziger Jahre. Sammlung Ludwig im Wallraf-Richartz-Museum, Cologne 1969. 4 See Wulf Herzogenrath and Gabriele Lueg (eds.), Die 60er öffentliche Interesse beeinflussten, steht außer Frage. Zwei- Jahre: Kölns Weg zur Kunstmetropole. Vom Happening zum Kunstmarkt, felsohne sicherten sie wesentliche künstlerische Positionen Cologne 1986. 5 Although here we must bear in mind that LUDWIG GOES POP refers both in the exhibition and in the catalogue to American der Zeit bleibend für die Öffentlichkeit und die kunsthistori- and British positions, in the process leaving “Continental European” Pop sche Rezeption, zu der dieser Katalog einen Beitrag leistet. Art out of the picture. Despite this seemingly reduced scope—works on paper and Multiples are only partially represented, and the Photorealists are not included either—the Pop Art holdings are so immense and of such impressive quality that it seemed appropriate to focus on these central Pop Art works. 6 It was above all Peter Ludwig who played the leading 1 Vgl. Jochen Link, Pop Art in Deutschland. Die Rezeption der amerikanischen und englischen role in the context of the Pop Art collection, while Irene Ludwig demonstrated Pop Art durch deutsche Museen, Galerien, Sammler und ausgewählte Zeitungen in der Zeit von a real spirit of discovery in respect to Picasso’s late works; she drew her 1959 bis 1972, Stuttgart 2000. 2 Vgl. Brigitte Franzen, Annette Lagler, Myriam Kroll (Hg.), Nie husband’s attention to the significance of this phase of Picasso’s oeuvre, wieder störungsfrei! Aachen Avantgarde seit 1964, Ausst.-Kat. Ludwig Forum für Internationale Kunst, and was also the driving force behind a large number of acquisitions; Aachen, Bielefeld 2011. 3 Vgl. Gert von der Osten, Horst Keller (Hg.), Kunst der sechziger Jahre. see Regina Wyrwoll’s interview with Rudolf Zwirner in this publication, Sammlung Ludwig im Wallraf-Richartz-Museum, Köln 1969. 4 Vgl. Wulf Herzogenrath, Gabriele pp. 87—112. 7 British Pop Art artists, such as Patrick Caulfield, are Lueg (Hg.), Die 60er Jahre: Kölns Weg zur Kunstmetropole. Vom Happening zum Kunstmarkt, Köln markedly underrepresented in the Ludwig Collection—Ludwig did not have a 1986. 5 Wobei hier bedacht werden muss, dass sich LUDWIG GOES POP in der Ausstellung reliable partner outpost in London. There are also gaps in the American Pop wie im Katalog auf die US-amerikanischen und englischen Positionen bezieht und dabei den Art collection. In the last few years, particularly during Kasper König’s period „kontinentaleuropäischen“ Pop völlig ausspart. Der Pop-Art-Bestand ist trotz dieser vermeintlichen as director, the Museum Ludwig in Cologne has pursued a targeted policy Reduktion – Grafik wie Multiples werden nur partiell präsentiert, die Fotorealisten finden sich ebenfalls with a view to filling these gaps and has purchased works by Ed Ruscha, nicht wieder – von solch immensem Umfang und beeindruckender Qualität, dass eine Fokussierung William Copley, Peter Saul, and John Wesley. 8 Even if Hahn’s collection auf diese Hauptwerke der Pop Art angebracht erscheint. 6 Im Kontext der Pop-Art-Sammlung contains various examples of Nouveau Réalisme positions, it is above all steht vor allem Peter Ludwig im Fokus, während Irene Ludwig hinsichtlich des Spätwerks Picassos the Pop-style works that museum visitors remember. 9 The term Pop Art Entdeckergeist bewies und ihren Mann auf die Bedeutung dieser Schaffensphase aufmerksam machte is first mentioned in an article in a German newspaper in Lil Picard’s article sowie Triebfeder für eine große Anzahl von Ankäufen war. Vgl. das von Regina Wyrwoll geführte “Was malen die bösen Buben?” (Die Welt [1 August 1962], p. 5) on a Interview mit Rudolf Zwirner in der vorliegenden Publikation, S. 87–112. 7 So sind die englischen new art movement from the USA: “[…] the names of the new heroes sound Pop-Art-Künstler wie beispielsweise Patrick Caulfield in der Sammlung Ludwig deutlich unterrepräsentiert as if they were invented by Christian Morgenstern: Roy Lichtenstein, James – Ludwig fehlte ein vertrauenswürdiger Satellit in London. Auch die Sammlung der US-amerikanischen Rosenquist, Jim Dine, Claes Oldenburg, [Robert] Indiana, Peter Saul, Pop Art weist Lücken auf. Das Museum Ludwig in Köln hat in den letzten Jahren, vor allem unter der and the youngest child, Wayne Thiebaud.” 10 In this context, the most Direktion von Kasper König, mit dem Ankauf von Werken von Ed Ruscha, William Copley, Peter Saul profitable and most scandal-ridden auction of works from the Scull und John Wesley gezielt versucht, diese zu schließen. 8 Auch wenn Hahns Sammlung neben der collection was held in 1973. The fifty works auctioned through Sotheby Pop Art hauptsächlich verschiedene Positionen des Nouveau Réalisme vereinte, bleiben vor allem die Parke Bernet & Co, New York, sold for ca. 2.2 million dollars; see Regina poppigen Positionen im Gedächtnis der Museumsbesucher. 9 Der Begriff Pop Art findet erstmals in Wyrwoll’s interview with Rudolf Zwirner in this publication, pp. 87—112. einer deutschen Zeitung Erwähnung in Lil Picards Artikel „Was malen die bösen Buben?“ (DIE WELT, See also Judith Goldman (ed.), Robert & Ethel Scull: Portrait of a Collection, 1. August 1962, S. 5) über eine neue Kunstrichtung aus den USA: „[…] die Namen der neuen Helden New York 2010. 11 While Panza di Biumo had already begun to turn his klingen wie von Christian Morgenstern erfunden: Roy Lichtenstein, James Rosenquist, Jim Dine, attention to new avant-garde developments such as Land Art by the late Claes Oldenburg, [Robert] Indiana, Peter Saul und das jüngste Kind, Wayne Thiebaud.“ 10 1973 1960s and sold much of this Pop Art collection—a large nexus of works is kam es in diesem Zusammenhang zu der wohl „ertragreichsten“ sowie skandalträchtigsten Auktion now in MOCA Los Angeles—Ströher tried in vain to make over his collection von Werken aus der Sammlung Scull. Die durch das Haus Sotheby Parke Bernet & Co. New York, en bloc to a public institution, although the Museum für Moderne Kunst in auktionierten fünfzig Werke brachten einen Erlös von zirka 2,2 Millionen Dollar ein; siehe das von Frankfurt did succeed in buying at least one core segment of the collection Regina Wyrwoll geführte Interview mit Rudolf Zwirner in der vorliegenden Publikation, S. 87–112. vgl. in the late 1980s. See also Katrin Sauerländer (ed.), Karl Ströher. Eine Judith Goldman (Hg.), Robert & Ethel Scull. Portrait of a Collection, New York 2010. 11 Während Sammler-Geschichte, Frankfurt am Main 2005; and Panza: The Legacy Panza di Biumo sich Ende der 1960er-Jahre bereits neuen avantgardistischen Tendenzen wie der Earth of a Collector: The Panza die Biumo Collection at The Museum of Art zuwandte und große Teile seiner Pop-Sammlung veräußerte – ein großes Konvolut an Werken Contemporary Art, Los Angeles 1999/2000. 12 See Susanne befindet sich heute im MOCA Los Angeles –, versuchte Ströher vergeblich, seine Sammlung en bloc Schreiber, “Sammler und ihr Verhalten im aktuellen Kunstmarkt,” in Bettina einem öffentlichen Haus zu vermachen, wobei das Museum für Moderne Kunst in Frankfurt Ende der Paust and Hans Peter Thurn (eds.), Sammelarten—Aspekte der Aneignung 1980er-Jahre zumindest einen Kernbestand erwerben konnte. Vgl. Katrin Sauerländer (Hg.), Karl in Kunst und Kultur, Oberhausen 2009, pp. 67–81. 13 See Niklas Ströher. Eine Sammler-Geschichte, Frankfurt am Main 2005; Panza. The Legacy of a Collector. Maak, “Zwischen Pinault und Pinchuk. Netzwerk und Rituale eines neuen The Panza die Biumo Collection at The Museum of Contemporary Art, Los Angeles, Los Angeles transnationalen Sammlersystems,” Texte zur Kunst. The Collectors no. 83, 23 1999/2000. 12 Vgl. Susanne Schreiber, „Sammler und ihr Verhalten im aktuellen Kunstmarkt“, September 2011. See also Bernhard Schulz, “Der Sammler geht voran,” in: Bettina Paust, Hans Peter Thurn (Hg.), Sammelarten – Aspekte der Aneignung in Kunst und Kultur, www.kulturstiftung.de/aufgaben/kulturpolitische-themen/kulturerbebewahren/ Oberhausen 2009, S. 67–81. 13 Vgl. Niklas Maak, „Zwischen Pinault und Pinchuk. Netzwerk und der-sammler-geht-voran/, accessed 13 August 2014. Rituale eines neuen transnationalen Sammlersystems“, in: Texte zur Kunst. The Collectors, Heft 83, September 2011. Vgl. Bernhard Schulz, „Der Sammler geht voran“, siehe online: www.kulturstiftung.de/ aufgaben/kulturpolitische-themen/kulturerbe-bewahren/der-sammler-geht-voran/ [13.08.2014].

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Founded in 1978, the Terra Foundation for American Art is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. Recognizing the importance of experiencing original works of art, the foundation provides opportunities for interaction and study, beginning with the presentation and growth of its own art collection in Chicago. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and educational programs. Implicit in such activities is the belief that art has the potential both to distinguish cultures and to unite them.

History The Terra Foundation for American Art was established in 1978 by businessman, art collector and United States Ambassador-at-Large for Cultural Affairs Daniel J. Terra (1911–1996), who believed American art was a dynamic and powerful expression of the nation’s history and identity. He also held that engagement with original works of art could be a transformative experience, and throughout his lifetime he worked to share his collection of American art through the Terra Museum of American Art in Chicago, Illinois (operated from 1980 to 2004), and the Musée d´Art Américain in Giverny, France (operated from 1992 to 2008).

In 2005 the foundation expanded its grant programs (outlined below) to advance its global mission. Today, under the leadership of president and chief executive officer Elizabeth Glassman, the Terra Foundation is one of the major supporters of American art internationally.

Funding Headquartered in Chicago, with a satellite office in Paris, which serves as its centralized European hub, the Terra Foundation for American Art is a private operating foundation with more than $500 million in total assets, including investments, an art collection, and real estate. With an endowment of more than $350 million, it is one of the leading foundations dedicated to American art, supporting art exhibitions, projects, and research worldwide. In fiscal year 2014 (July 1, 2013–June 30, 2014), nearly $7.7 million was dedicated to grant programs, and this figure will increase to approximately $8 million within the next few years.

Grant Programs The grant programs of the Terra Foundation offer support for exhibitions of American art and academic programs worldwide. In addition, the foundation supports public and school programs in Chicago. Since 2005 the foundation has provided more than $50 million for nearly 500 exhibitions and scholarly programs in more than 30 countries, including Australia, Brazil, China, France, Germany, Japan, Mexico, The Netherlands, Peru, Russia, Spain, Sweden, and the United Kingdom.

Collection The Terra Foundation’s collection of American art comprises nearly 750 paintings, works on paper, and sculptures dating from the late eighteenth century to 1945 by artists such as John Singleton Copley, James McNeill Whistler, Mary Cassatt, Winslow Homer, Marsden Hartley, and Edward Hopper. The foundation works to ensure its collection is accessible, lending artworks to exhibitions worldwide, creating focused shows of its collection for public exhibition, and maintaining a comprehensive database of the collection on its website. • Since 2005 more than 400 Terra Foundation objects have been loaned to 100 projects at 100 venues worldwide.

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• A selection of Terra Foundation paintings remains on long-term loan to the Art Institute of Chicago. The Art Institute also houses the foundation’s works on paper, which may be viewed by appointment through the Department of Prints and Drawings. • On average, 20% of the Terra Foundation’s collection is on view around the world, compared to the general average of 5% for most museums.

Partnerships The Terra Foundation collaborates with institutions worldwide to create new and exciting ways to connect people with American art. For example, long-term partnerships with the Musée du Louvre in Paris and The National Gallery in London have introduced American art to European audiences, as well as placed works of historical art from the United States in dialogue with two pre-eminent collections. Ongoing collaborations with these institutions will enable presentations of American art over the next several years. Additionally: • A collaboration with the Solomon R. Guggenheim Foundation rendered the first survey of American art to travel to Beijing, Shanghai, Moscow, and Bilbao. • The foundation’s partnership with the Philadelphia Museum of Art, the Museum of Fine Arts Houston, and the Los Angeles County Museum of Art was the impetus behind Art Across America, the first survey of historical American art to travel to Korea. The exhibition drew upon the distinctive strengths of major museum collections in the United States to explore American history and art from the American Revolution to World War II. • For 2015 the Terra Foundation is organizing a travelling exhibition of landscape paintings from the whole of the Americas, from Hudson Bay to Tierra del Fuego. Developed in partnership with the Pinacoteca do Estado in São Paulo, Brazil, and the Art Gallery of Ontario in Toronto, Canada, the exhibition will focus on the nineteenth and early twentieth centuries, and is curated by a team of specialists from Canada, the US, Mexico, Peru, Argentina, and Brazil. Beyond a simple survey of landscape paintings, the exhibition will adopt a comparative framework to illuminate how a nation can express its identity through its visual culture. A number of Terra Foundation paintings will be featured, including Alfred Thompson Bricher’s Lake George from Bolton’s Landing (1867).

Paris Center & Library In 2009 the Terra Foundation for American Art opened its Paris Center, a resource that supports the Foundation’s grant programs in Europe, fosters international connections, and provides access to resources on American art. Located in the heart of the city, the Paris Center offers regular public programs on current topics in American art and visual culture with an emphasis on cross-cultural and interdisciplinary perspectives. The Paris Center also houses the only research library in Europe devoted exclusively to American art and transatlantic artistic exchange, with approximately 9,500 titles covering pre-1980 American

Francesca Rose Charles Mutscheller Head of Publications and Communications Communications Manager 29 rue des Pyramides 120 East Erie Street 75001 Paris, France Chicago, IL 60611, USA [email protected] [email protected] +33 (0)1 43 20 32 06 312-654-2259art history.

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