PRESS KIT 28.04. → 20.08.18

centrepompidou-metz.fr #couplesmodernes , Zurich, 1920. Stiftung Arp e.V., Berlin/Rolandswerth

Sophie Tauber-Arp avec Tête Dada ; Nic Aluf,

© Adagp, Paris, 2018

Exhibition organized by c. 1926, Centre Pompidou-Metz in collaboration with Barbican Centre, London

Jean Arp avec Monocle-nombril, Jean Arp, BAT_DP_COVER_v1.indd 3-4 09/05/12 11:56 SUMMARY

INTRODUCTION 2

EXHIBITION LAYOUT 4 1. RHYTHM AND FREEDOM 4 2. A SHARED SPACE 12 3. LOVE REINVENTED 18 4. NATURE ILLUMINATED 26

EXHIBITION LAYOUT 31

CATALOGUE 31

RELATED PROGRAMMING 32

PARTNERS OF THE CENTRE POMPIDOU-METZ 34

VISUALS FOR THE PRESS 36

1 INTRODUCTION

“ENCOUNTERS – What was the most significant couple formed by Duchamp and Martins, the Modern encounter of your life? To what extent did you have - Couples exhibition explores the creative process do you have - the impression that this was a chance generated by passionate, complex, sometimes encounter? Or one of necessity?”1 subversive, loving relationships, which united artists in the first half of the 20th century. Whether The Modern Couples (couples modernes) exhibition they were officially couples, exclusive or open, explores more than forty essential or incidental these couples brought together not only painters, encounters between artist couples, from 1900 to sculptors, photographers, poets, writers, musicians 1950. and dancers, but also architects and designers. The latter elevated architecture, a new organic unit, in In his essay/manifesto “Beaubourg, un musée où hitherto unexplored ways. A machine for living, a explosera la vie” (Beaubourg [the Pompidou Centre], receptacle for regenerated intimacies, the house no a gallery where life ignites), from 1974 onwards, longer represented a simple shelter, but, from that Pontus Hulten saw art as “a catalyst and a transfer time onwards, revealed the state of the couple’s soul, of the energy of love” and galleries as “places of transcending geometry, becoming a dwelling-place great sensual concentration”. He paved the way for for boundless shared experiences. These couples exhibitions proposing to reinterpret the history of constituted in themselves fertile areas of exchange, art from the perspective of eroticism or gender, of confrontation and of influence, producing works such as féminin-masculin. Le sexe de l’art (Feminine- of art, concepts and movements, like Orphism Masculine, Gender in Art) in 1995, showing that, associated with Robert and Sonia Delaunay or beyond a simple subject or artistic motif, gender is Mikhail Larionov and Natalia Goncharova’s Rayism. one of the key issues in the processes of art itself, Beyond the emotional aspect, the exhibition reveals the realisations of which have constantly blurred collaborations and little known figures, or those left biological and cultural determinisms. In 2009, the in the shadows of art history, such as Benedetta exhibition elles@centrepompidou extended this Cappa, founder of Tactilism, with her famous idea, giving a voice to female artists in the Centre husband Filippo Tommaso Marinetti, who was the Pompidou collections, in order to write the history first to recognise the creative power of her genius of art with “them” alone – “them” who were not and her oeuvre, even to the extent of the following strangers to any of the plastic arts revolutions of injunction: “You must work for yourself, for me, for their time, but who have often been kept in the us.” The exhibition aims to shine an essential light on shadows or in obscurity. With Modern Couples, the the development of aesthetic forms, of the thoughts Centre Pompidou-Metz is continuing this quest and and mores of the protagonists of modern art. It is suggesting a reinterpretation of modernity through the very notion of modernity that is questioned the prism of couples in love. through the prism of this organic cell, multifaceted and creative, formed by the artist couple, which, for “Do not burden yourself too much, give yourself some of them, in these times of political upheaval too much to do, worry about what to call a woman, and identities marked by two wars, provided an children, a country house, a car…”: this libertarian expanse of freedom, the protective matrix of a “co- credo from Marcel Duchamp, solitary herald of intelligence of opposites” which Marcel Duchamp the modern avant-garde, refutes the conventional sought to cultivate. idea of the couple, to make art, combined with life, a desiring machine. The two-person relationship becomes, like a game of chess for Duchamp, “this movement of pieces devouring each other”, a carnal and intellectual passion, a secret dyad like the one he formed with the Brazilian artist Maria Martins, a process of revelation, a sharing of freedom, providing art an intensity which enables it to surpass the imposed limits. Just like the clandestine

1 Surrealist study in Minotaure (Minotaur) 1933, André Breton, in collaboration with Paul Éluard, Dictionnaire abrégé du surréalisme (Abridged Dictionary of Surrealism) 1938.

2 Dorothea Tanning and Max Ernst with his sculpture Capricorn, 1947 Photograph by John Kasnetsis © John Kasnetsis © Adagp, Paris, 2018

CURATORS:

Emma Lavigne, Director, Centre Pompidou-Metz Jane Alison, Head of Visual Arts, Barbican Centre, London Elia Biezunski, Personal assistant and Project Coordinator, Centre Pompidou-Metz Cloé Pitiot, Curator, Centre Pompidou – Musée national d’art moderne

Assistant curator: Pauline Créteur, Centre Pompidou-Metz

In London, Modern Couples, from 10 October 2018 to 27 January 2019, will coincide with the 100th anniversary of suffrage for women and is a major component of the Barbican Centre’s season, The Art of Change. Along with an exploration of the creative dialogues enriched by over forty couples, which can be seen through some eight hundred works and one hundred documents, this exhibition presents English artistic couples little-known in France, such as Barbara Hepworth and Ben Nicholson, Eileen Agar and Paul Nash and the nebulous Bloomsbury Group, a group of artists whose moral and creative freedom was particularly influential, and who included Virginia and Leonard Woolf, Clive and Vanessa Bell, Roger Fry, and Duncan Grant, amongst others.

Press contact : Barbican Centre, London Exhibition from 10 October 2018 to 27 January 2019 Ann Berni Phone number : +44(0) 20 7382 7169 [email protected]

3 EXHIBITION LAYOUT

1. RHYTHM AND FREEDOM

“Total art: pictures, music, dance, poems – now we have that”, notes Hugo Ball in his Diary, evoking a Dadaist soiree at the Cabaret Voltaire. This short-lived venue, which opened on 5 February 1916 in Zurich, synthesised and realised the aspirations of Hugo Ball and of his companion Emmy Hennings, while Europe was stricken by war. “Our cabaret is a gesture”, he explained, a thought activated, a process for taking a stand, for transforming the world. The quest for total art, expressed by their fusion as a couple and the fusion of their talent is, like the world, a necessarily heterogeneous collage of distorted images, of freed words, a sonorous stridency, primordial cries, rhythms and movements bursting out, formed with Richard Huelsenbeck, Tristan Tzara, Marcel Janco, Jean Arp and Sophie Taeuber-Arp. Like Dada, a whole section of the European avant-garde attempted to place its creative vision at the crest of the shock wave of modernity, of this ambivalent concept of “modern” imagined by Baudelaire as being fundamentally “the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable”. These artists wove a contaminating and accelerating network of flows, representing bodily convulsions, the collapse of the patriarchal structures of society, the upheavals of history, and attempted to embody, in the urgency of the present, the utopian dreams and shared hopes. The revolutionary aspiration for the emergence of a new community and a liberation of the individual smashed the boundaries and norms of society and of the couple. Art, to go back to the words of Raoul Hausmann about Dada, became “a new way of living, a form of internal mobility”.

4 FOCUS

Walter Holdt and Lavinia Schulz

In 1920, whilst working with Lothar Schreyer, founder of the Sturm-Bühne expressionist theatre, the dancer and costume designer Lavinia Schulz met and married Walter Holdt, himself a talented dancer. Feeling that expressionism was not the way forward, since it "works with industry and machines" which they despised, the couple moved away from these artistic circles and from every financial mindset to create their own theatrical world, both abstract and organic, inspired by Nordic fables and mysticism. Schulz and Holdt filled the stage with masked characters, Maskentänzer, who were both grotesque and playful, with their intense gestures. Their use of colours suggests their costumes were inspired by the theories on colour and symbols of Johannes Itten, an instructor at the Bauhaus who was ostracised by students and instructors for practising Zoroastrianism, established by Zarathustra on the principle of dualism in the world. The couple developed his own choreography and Schulz created a dance notation system for, amongst others, the dancers who sometimes worked with them. After four years of living together, devoted to art and the stage, their conflictual relationship, caused notably by the incompatibility of Holdt's depressed state and the heightened emotionalism of Schulz, as well as the Minya Diez-Dührkoop Tanzmaske “Toboggan couple's extreme poverty in the inflationary backdrop of Weimar Germany, Frau“ und “Toboggan Mann“ von Lavinia Schulz 1924 led to the double tragedy of July 1924, when Lavinia Schulz killed Walter © MKG, Museum für Kunst und Gewerbe Holdt before committing suicide. Hamburg

Natalia Goncharova and Mikhaïl Larionov

"We paint ourselves because a clean face is disgusting, because we want to herald the unknown, to rearrange life and to carry man's multiple soul to the upper reaches of reality." Mikhail Larionov, Manifesto Why We Paint Ourselves, 1913

"Art for life and even more - life for art!" Mikhail Larionov, Rayist Manifesto, 1913

Natalia Goncharova and Mikhail Larionov met in 1900 at the Moscow School of Painting, Sculpture and Architecture, where Larionov persuaded Goncharova to abandon sculpture and devote herself to painting, which he saw as the principle behind life itself. They started the Rayist movement, showcased in our exhibition, in the autumn of 1912 and signed the manifesto with other painters in 1913. This Mikhail F. Larionov, Portrait of Natalia short-lived movement was a crucial part of the artistic experimentation Gontcharova 1907 leading to abstraction in Russia, which they considered "the most important © Collection of Vladimir Tsarenkov, London artistic centre in the world." © Adagp, Paris, 2018 With Rayism, Goncharova and Larionov believed they were restoring independence to Russian art and to painting in general. Indeed, they

5 proclaimed "the true liberation of painting and its life in accordance only with its own laws." Against the backdrop of the discovery of x-rays, the Rayist manifesto questioned the depiction of objects. Larionov declared that: "We do not see the object as such with our eye. We perceive a sum of rays proceeding from a source of light, which are reflected from the object and enter our field of vision. Consequently, if we wish to paint literally what we see, then we must paint the sum of the rays reflected from the object." As such, Rayism is, according to him, the way to produce a "truly realistic" painting. Through this new movement, reality was reconsidered, and in the incessant and dynamic flow of rays, it was life itself that the couple celebrated. Indeed, by proclaiming the liberation of painting, painting went beyond the limits of the canvas and covered bodies and faces, merging art and life. This marrying of painting and existence was theorised in a second manifesto, Why We Paint Ourselves, which Larionov published in 1913 with his poet friend Ilia Zdanevitch. In the early 1910s, the pioneering couple, believing that art could revolutionise life, strolled, with their faces painted, through the streets of Moscow with Zdanevitch and Le-Dantu amongst others, developing role plays, a kind of proto- performance art, and spreading the ideas of Rayism in their friends' avant-garde publications of modern Russian poetry, and more broadly in everyday life, in order to shake up the established order and social conventions.

Benedetta Cappa and Filippo Tommaso Marinetti

“The pleasure of a rhythmic elbow-nudge: caressing each other’s elbows. This kind of dance should replace the decaying dances we have known until now.” Benedetta Cappa, Théorie de l’Immédiat contre les nuances (Theory of the Immediate by Comparison with Nuances) c. 1924-1925

“Intensify the communications and fusions of human beings. Destroy distances and barriers which separate them in love and friendship. Give fullness and absolute beauty to their STUDIO LUXARDO DI ROMA (Elio Filipo Tomaso Marinetti and two essential manifestations of life: Love and LUXARDO, known as) Benedetta Cappa Sudan-Parigi, 1920 Friendship.” Roma. Filippo Tommaso Marinetti and © Private collection Filippo Tommaso Marinetti, Manifeste du tactilisme, Benedetta Cappa Marinetti in their (Manifesto of Tactilism) 1921 apartment in Piazza Adriana Beinecke Rare Book & Manuscript The liberation of writing is at the heart of Library Filippo Tommaso Marinetti’s futurist project. Photo : © Filippo Tommaso Marinetti From 1912, he saw poetry as an infra-language Papers. General Collection, Beinecke liberated from the conventions of beauty, an Rare Book and Manuscript Library exaltation of modern life galvanised by speed. He dismantled the alphabet, exploded syntax, and destroyed the linearity of writing. Benedetta Cappa, whom he met in 1918 in the studio of Giacomo Balla (who was her tutor), directed futurist research towards psychology and human spirituality. Her “graphic syntheses” were inspired by compositions of free words to represent a “mental unit”, free from the words themselves. The amorous dynamic of the couple which Marinetti formed with Benedetta Cappa is essential to understand the challenges and contradictions of Marinetti, as well as the development of Futurism. After the destructive fervour which animated the poet of free words, the oeuvre of Cappa progressively showed itself to be an underlying inflection, with Tactilism, developed by the couple from 1921 against the backdrop of the post-war period and the emergence of fascism. Futurism branched out towards the optimistic discovery of new directions and of voluptuousness, advocating a re-attainment of spiritual and physical communication, love and friendship. At the beginning of the 1930s, in the middle of the fascist dictatorship, the couple’s fascination with aerial views and their translation into pictures embodied the image of a triumphant modernity, yet one modified by the political ambivalence of the futurist project. The movement then took a more official form and met with the propaganda promoting the exploits of Italian aviation celebrated by Mussolini, who, however, whilst seeking to promote an innovative, nationalist culture, was averse to the “cosmopolitan” dimension of futurism.

6 Raoul Hausmann, Hannah Höch and Til Brugman

“I am interested in eliminating the firm boundaries that we human beings so self-assuredly are inclined to erect around everything that is accessible to us.” Hannah Höch in the preface to the catalogue of her first personal exhibition, The Hague, Kunstaal De Bron, 1929

“it will lead to a complete breakdown of the male spirit if it does not re orient itself from mere economic justice to sexual justice, to allow women to finally be women. ». Raoul Hausmann, Zur WeltRevolution, 10 June 1919

The life and artistic career of Hannah Höch were marked by two love affairs which played a determining role in her development. She first met the “Dadasophe” (Dadaist thinker) Raoul Hausmann in 1915. It was while they were on holiday together in 1918 that the Dadaist, along with Hannah Höch, is thought to have invented the photomontage technique which is one of the characteristics of the anti- art Dada movement, dating from 1916 in reaction to the First World War. Cut out and pasted images used the clash of heterogeneous elements to promote creativity and knowledge through the productive destruction of Robert Sennecke, Untitled (Hannah Höch and Raoul images. Hannah Höch understood this very well and went Hausmann at the First International Dada Fair, on to produce brilliant photomontages for many decades, Berlin, Dr Otto Burchard’s art cabinet), 1920 demonstrating great skill and a rich imagination. Her Berlinische Galerie, Berlin employment by Ulstein Verlag, a publishing house which popularised illustrated magazines, enabled her to exploit the technique of photomontage in a highly individual way. She used it, in particular, to express her cynicism and criticism in the face of defeat in the First World War and especially when faced with the Weimar Republic. Photomontage was similarly revealing of Höch and Hausmann’s reflection on the dawn of a social revolution that they hoped to see happen. According to them, this should be accompanied by a sexual revolution overthrowing patriarchy at the time when the soldiers returned from the war, German women gained the right to vote, in 1918, but were also seeing the positions that they had been entrusted with while the men were at the front being withdrawn. It was as standard bearers of the new man and new woman that they showed their work at the famous International Dada Fair in Berlin in 1920, where Hausmann insisted on the presence of Hannah Höch, the only woman artist to show her work there. In Zur WeltRevolution, Raoul Hausmann presented his theory about his wish to create a new way of being a couple, beyond the bourgeois life of marriage. Influenced by the ideas of Otto Goss and Franz Jung, who considered the patriarchal organisation of the family to be responsible for the state of society, he invited women to liberate themselves from the “concept of possession in the family” and advocated their “right to own and control their own bodies”. He would remain married throughout his complicated relationship with the artist, which ended in 1922.

It was over the course of her relationship with the Dutch author Till Brugman, between 1926 and 1935, that Höch’s research on the couple, gender and the new woman, a source of liberation and the renewal of society, developed further. The two women met thanks to Kurt Schwitters, and, very soon, the motif of female couples appeared in Höch’s work. Til Brugman, who was associated with the De Stijl group (“The Style”, also known as Neoplasticism), and had a more assertive position than Hannah Höch concerning her homosexuality, supported the artist in her reflections on identity and sexual diversity.

7 Theo van Doesburg and Nelly van Moorsel

“I throw my skeleton into the garden and dance the Sarabande.” I.K. Bonset (pseudonym of Theo van Doesburg), Manifesto, Netherlands, 19 January 1921 (Dadaglobe, Paris, 1921), not published

“Van Doesburg transformed me from the inside as much as from the outside. Those who know him know that he can bring out the best in all the things and people that surround him. He could awaken those around him; he knew how to transform them. He managed to awaken my personality.” Nelly van Doesburg, Mémoires, (Memories), RKD archive, inv. No. 3.

Nelly van Doesburg, a classically trained pianist, became aware of the De Stijl magazine when it was first published. Founded in Leiden in 1917 by Theo van Doesburg to publish internationally the theories and experiences of members of the eponymous movement, Lucia Moholy Double portrait of Theo and Nelly van Doesburg together with its founder, it comprised Piet Mondrian, septembre 1921 Gerrit Reitveld, Vilmos Huszár, Georges Vantongerloo, Photo collection RKD – Netherlands Institute for Art History, The Hague Bart van der Leck and J. J. P. Oud. The ethos they © Adagp, Paris 2018 aspired to was a universal style and a connection

between architecture and the other arts represented by an elemental geometric and colour vocabulary. Nelly van Moorsel described her meeting with Theo van Doesburg at the Golden Section exhibition opening in The Hague on 10 July 1920 as “truly falling in love at first sight”. Together, they went to exhibitions and to concerts which enabled Nelly to discover the avant-garde. Theo completely changed his partner’s style of clothing and remodelled her, down to her hairstyle and make-up, to transform her into a truly “new woman”, the archetype of an emancipated modern woman. From 1921, they worked together, in Belgium and Germany, on many conference/ concerts. In the Netherlands, the couple also published their theories and the Dadaist, Futurist and De Stijl musical repertoire. Under the name of “Pétro”, Nelly performed pieces by, amongst others, Vittorio Rieti, Jakob van Domselaer, Erik Satie, Francis Poulenc and Nino Formoso, in many soirees between 1922 and 1923, where she was given the title “indispensable Dadaist musical instrument of Europe”. Theo van Doesburg spread the word about the Dadaist productions in his magazine De Stijl and from 1920 published his own collages and poems there, which he signed with the pseudonym I. K. Bonset. It was under this same assumed name, in the role of “literary manager”, Theo Van Doesburg (Christian Emil Kuepper, known allied with Theo van Doesburg “plastic mechanic”, that he created the as) Portrait of Pétro (Nelly van Doesburg), profil, 1919 subversive Dadaist review Mecano between 1922 and 1923. Museum De Lakenhal, loan from Collection Cultural Heritage Agency of the Netherlands.

8 Jean Arp and Sophie Taeuber-Arp

“Everyone for themselves, or communally, we embroider, weave, paint, make collages, geometric and static pictures. […] In the large embroideries, weavings, paintings, collages, which we make communally, we try humbly to come closer to the pure radiance of reality.” Jean Arp, On my way, Poetry and Essays, 1912-1947, 1948

When Jean Arp and Sophie Taeuber met in 1915, during a Jean Arp exhibition in Zurich, he was already making textile works (an art traditionally associated with women), and made an impression on this specialist in decorative arts with his display of works which were then considered of minor Anonyme, Jean Arp Nic Aluf, Sophie Taeuber-Arp with importance in comparison to those associated with navel-monocel, c 1926 Dada head, Zurich, 1920 with the fine arts. He himself was charmed by Stiftung Arp e.V., Berlin/ Stiftung Arp e.V., Berlin/ the outstanding technical ability of this artist and Rolandswerth Rolandswerth by her avant-gardism in her choice of geometric © Adagp, Paris, 2018 constructions. The tapestries that they made together, and individually, showed the influence of the early geometric abstraction of Sophie over the more organic works of Jean. For a long time, certain tapestries were considered to be the work of Jean, but their design and execution have now been reattributed to both artists or to Sophie. Their numerous works created together in the Dadaist period, collaborative designs and collages, were driven by their shared desire to see the hand of the artist disappear, to leave the artistic force of chance and nature to do its work. The geometric abstraction made possible by using strips of paper and a paper cutter had greater impact with their use of an abstract and orthogonal grid, influenced by weaving techniques. In this way, the couple raised their collaborating oeuvre to a higher level, negating the potential genius of the solitary artist by Jean Arp and Sophie Taeuber-Arp, Symétrie pathétique, 1916 - 1917 reducing subjective choice, the creative touch and Paris, Centre Pompidou, Musée national d’art moderne the value of the artistic gesture. © Centre Pompidou, MNAM-CCI/Jacqueline Hyde/Dist. RMN-GP © Adagp, Paris, 2018 While the couple was staying in Strasbourg in the mid-1920s, so that Arp, who was from Alsace, could obtain French nationality, a new opportunity for collaboration was offered to them when Sophie Taeuber-Arp received a commission from the brothers Paul and André Horn to establish the “Salons de l’Aubette” (an avant-garde leisure complex in Strasbourg). These wealthy men, an architect and a pharmacist, wished to construct a leisure complex for their town. Inhabitants of Strasbourg would be able to eat and drink there, to dance, play and see films. Sophie, when she realised the size of the site, suggested to Jean that he should work with her, and the couple invited their friend Theo van Doesburg to join them. Founder of the De Stijl movement, Doesburg would develop the theory for the decoration of l’Aubette and would play such a large part in the project that the role of Sophie, who was, nevertheless, in charge of the project, has often been forgotten.

Each of them made a certain number of pieces for the overall art work, where elementarisation of the abstract décor and the visual rhythm were key. Sophie Taeuber-Arp took charge, in particular, of the decoration of the bar, where her geometric abstraction was used. From her masked dances with Mary Wigman and Rudolf von Laban’s company at the Cabaret Voltaire, the importance she gives to space and body movement in the structure can also be seen.

9 In Modern Couples, visitors will be able to see a reconstitution of this Bar Aubette, no longer in existence today, inviting people to experience or re-experience the restored rooms of the Aubette in Strasbourg.

The creative energy connecting Jean Arp with Sophie Taeuber-Arp ended brutally with the accidental death of Taeuber- Arp in 1943. Jean Arp, devastated, dedicated moving poems to her as well as “recreations” that he invented from works produced by Sophie Taeuber-Arp herself in order to keep her work alive.

“I develop through one of Sophie’s constructions. I walk as if in a dream. I advance. I am here and there at the same time. I know every line, every point, all the dream perspectives of this construction. […] Even if she had only provided the design which should lead to this gentle rigour, I would feel the presence of her hand in this imaginary game.” Arp, Zweiklang, Zurich, Arche, 1960, p 42

Alexander Rodchenko and Varvara Stepanova

“The future is our only objective.” Iskusstvo Kommuny Journal, no. 1 (1919)

Throughout their lives, Alexander Rodchenko and Varvara Stepanova were an artist couple with an unparalleled creative vitality. Constantly interacting, from the time when they met in 1910 at an art school, Rodchenko and Stepanova, after moving to Moscow in 1916, surrounded themselves with other artists with whom their exchanges were also fundamental. They were particularly close to the poet Vladimir Maiakovski Aleksander Rodchenko Varvara Stepanova and his partner Lilya Brik, married to Rodchenko and Stepanova dit "bourgeois" Self-portrait Ossip Brik with whom they were also “Wandering Musicians 1922 1920 linked. Together, they collaborated in Richard Saltoun Gallery © Estate of the Artist Musée d'Etat des Beaux-Arts A.S the LEF journal. © Courtesy of Richard Saltoun Gallery Pouchkine, Moscou At the heart of their home in Miasnitskaia Street, their two workshops produced an abundance of paintings, theatrical decor and costumes, textile and graphic design, and even photographs which were all part of a new way of living and creating, without artistic hierarchy and outside bourgeois codes of conduct. In the context of the Russian Revolutions and at the heart of Constructivism, the couple hoped to see the advent of a new man and a new woman, with gender and individuality no longer being so important. With Alexandre Vesnine, Lioubov Popova, and Alexandra Exter, they proclaimed the theory of productivist art in 1921 at the time of the exhibition 5 x 5 = 25. Rationalism would prevail over inspiration, reproducibility over originality, the useful over the beautiful and, from that time onwards, artistic creations would be constructions, among which easel paintings would no longer have a legitimate place. Artists were seen more as workers or engineers than intellectuals, with a duty to be socially useful. Although Rodtchenko is often considered to be the driving force behind these innovations from the couple, the presence of Stepanova, her organisational sense in keeping their workshop economically viable and her creative force, notably in the world of theatre, were essential to this extraordinary duo. Works by both of them, moreover, were shown in the Soviet pavilion at the International Exhibition of Decorative and Industrial Modern Art in Paris in 1925. It was also together that they would have to face the rise of Stalinism in the 1930s and respond to the orders of the new regime.

10 Robert and Sonia Delaunay

“The rhythms inspired us to make the colours dance too. Everyday clothes, like the ones we wear on Sundays were very monotonous and sad. We would like to end this general mourning. It is up to us to do it.” Sonia Delaunay, Nous irons jusqu’au soleil (We will go right up to the Sun) Robert Laffont, 1978

“Electric prism; dissonance and concordance of colours; an animated orchestration aiming to make a big impression; inspired by imagining the scene of a local fair with the intention of forming a violent rhythm.” Robert Delaunay, 1957 View from the permanent collection, Museum, Level 5, Centre Pompidou, Paris. 2000 “ ‘When they wake up the Delaunays talk about From left to right: R.DELAUNAY, Rythmes, 19340. Donation from Sonia painting.’ Apollinaire was not exaggerating, Delaunay and Charles.. / S. DELAUNAY. Prismes électriques, 1914. commented Sonia Delaunay in her memoirs; he Achat de l'Etat, 1958. Centre Pompidou, Paris, Musée national d’art could have added, they live and breathe painting, moderne-Centre de création industrielle and even said, they paint on their bedsheets. That © Pracusa S.A. © Centre Pompidou, MNAM-CCI/ Georges was true. We found love through art as others are Meguerditchian united in faith, in crime, through alcohol, in political ambition. The passion for painting was our main connection. This merged with a love of life.” This passion for painting was uninterrupted from their meeting in 1907 at the house of William Uhde, a German merchant and collector who had married Sonia Terk to keep up appearances and enable him to pursue his career freely in France, until the premature death of Robert Delaunay in 1941. The couple followed a common pursuit, devoted to simultaneous contrasts of colours, luminous rhythms, and to the study of light, breaking with traditional painting conventions. From 1912, Robert Delaunay theorised about these observations, affirming his vision of art as a capture of the vital movement of the world and of colours of light. He communicated these ideas in a “music-painting”, with an awareness of the movement of the stars, while Sonia incorporated them in mobile pieces with “simultanist” arrangements. While Robert committed himself mainly to theory and painting, Sonia extended her pictorial research to her environment: objects, textiles, book-binding, poetic texts and costumes all competed in her vision of total art, merging with life. In 1917, while the couple had taken refuge in Madrid, the October Revolution broke out in Russia and the confiscation of property owned by the Terk family deprived Sonia and Robert of their income. Sonia then used the “simultanist” coloured plane designs in different ranges of clothing and accessories that she had commercialised. She opened her first fashion and interior design boutique and this income ensured they could subsist. On their return to France in 1921, the couple increased their collaboration with the Dadaist poets and widened their research to theatre, cinema and ballet. In 1924, Sonia inaugurated the simultanist workshop, a modern enterprise dedicated to creating textiles and clothes, extending her abstract vocabulary into everyday life. The boutique did not survive the stock market crash and closed its doors in 1929, but Sonia pursued her textile experimentations through multiple collaborations, especially with Metz & Co., a department store established in Amsterdam and a promoter of new forms, who bought some two hundred designs from her.

11 2. A SHARED SPACE

In the first half of the twentieth century, art permeated all aspects of life, including daily life, even revolutionising the role of women who played a part in reinventing their position, women who, according to Virginia Woolf in A Room of One's Own, “have sat indoors all these millions of years, so that by this time the very walls are permeated by their creative force". Artists advocated a new way of life where houses, workshops and boutiques housed experimental lifestyles that, since the Vienna Secession, broke with social conventions and caused artistic revolutions. The model of the couple now found its embodiment in regenerated repositories of intimacy, the complexity of the relationships offering a subtle breeding ground for experimentation, a medium to be shaped to create new lifestyles. Often as part of a break - from customs, codes, traditions - artist couples were responsible for creating bold spaces during the interwar years. From objects and furniture to architecture, a new coherence emerged, based on different scales and tempos, using innovative techniques and materials to create harmony between the living quarters and the occupants. The search for an infinite space, with open lines and new colours, a place where everything was possible, went beyond the confines of architecture and interior design to give rise to paintings, photographs and textile creations seeking to capture the constantly evolving space without defining or restricting it. The shared space, as a physical one but also a mental one, was on the rise; in a liberating drive, both in its representations and in its implementations, it became flexible, boundless, and tending towards abstraction.

12 FOCUS

Jean Badovici and Eileen Gray

"An object must be given the form best suited to the spontaneous gesture.” Eileen Gray and Jean Badovici, “From Eclecticism to Doubt”, L’Architecture vivante, special issue, Paris, published by Éditions Albert Morancé, 1929

When the couple formed by Eileen Gray and Jean Badovici met, probably in the early 1920s, Eileen Gray, an Irish artist and designer, acknowledged at the time as a major figure of the Art Deco style, had just opened Eileen Gray, E1027, Living-room, published in Eileen the gallery Jean Désert, 217 rue du Faubourg Saint- Gray and Jean Badovici, E1027. Maison en bord de mer, Honoré, Paris; in 1923, Jean Badovici, a young architect special issue of L’Architecture vivante, 1929 and graduate of the Ecole Spéciale d'Architecture, fifteen years her junior, launched the iconic modern architecture magazine, l'Architecture Vivante.

Thanks to and through Badovici, in a few months Gray would switch from working in the Art Deco style to a Modernist style. From then on, the two friends, whom we assume were lovers, wrote an important page in the history of modern architecture, first and foremost, with Villa E 1027.

The name of the villa E 1027, a combination of the first and last names of the two architects - E for Eileen, 10 for the J in Jean, the 10th letter of the alphabet, 2 for the B in Badovici and 7 for the G in Gray - sums up in itself the impenetrable relationship of the couple formed by Eileen Gray and Jean Badovici. Designed jointly in the bay of Roquebrune-Cap-Martin, E 1027, built on piles with a roof terrace, met the fundamental principles of the modernist movement. The design created an interaction between wide sliding openings and ribbon windows, giving the façades a totally free structure. Far from Le Corbusier's machine for living, E 1027 was intended to be, above all, an organic unit endowed with a soul. For Gray and Badovici, body and soul are placed at the centre of the architectural space, evolving as a whole, complementing and extending each other. The rhythm of moving bodies involved new choreographic systems where fixed and movable furniture could slide, fold and unfold, animating and showing off the space. The intimate furniture became both object and subject, dual-purpose, a living thing. Architecture, design, body and spirit thus created a symbiosis with the space, extending to the edges of the landscape.

13 Bloomsbury Group

“We have abolished religion, we have founded ethics, we have established philosophy, we have sown our strange illumination in every province of thought, we have conquered art, we have liberated love.” Letter from Lytton Strachey to Leonard Woolf, 1904, quoted in Carol d’Yvoire, Leonard et Virginia Woolf. Je te dois tout le bonheur de ma vie, (Leonard and Virginia Woolf. To You I Owe All My Life’s Happiness), Paris, Le Livre de Poche, 2017, p 50

Roger Fry, who introduced modern art to England, Lytton Strachey, Vanessa Bell cutting Strachey’s hair while Roger and was for a long time director of the department of Fry, Clive Bell, Duncan Grant and a guest look on, circa 1920 modern painting at the Metropolitan Museum in New © Granger Historical Picture Archive / Alamy Banque d'images York, the artist Duncan Grant and the painter Vanessa Bell, founded, in 1913, the Omega Workshops at 33, Fitzroy Square, Bloomsbury, in London. In common with William Morris, designer, writer and activist, one of the spearheads of the Arts and Crafts movement. They were campaigning for a reconciliation of the arts, society and manual work, without hierarchy. In this way, they wanted to give value to and modernise the production of decorative arts in England so that they could meet social needs. In these new types of workshops, the artists produced furniture, textiles and objects in daily life, anonymously, under the Greek sign Ω. What they made was characterised by simple forms and bright colours, inspired by the paintings of the French avant-garde, of whom Robert Fry and, more generally, the members of the Bloomsbury group, were passionate supporters. The apogee of the Omega workshops occurred in 1916 at Charleston, where Vanessa Bell, her lover Duncan Grant and his lover, the writer and editor, David Garnett, reinvented the interior of a cottage. From the floors to the ceilings, the artistic expression of one or another took its place subtly to ultimately form a powerful all- over effect, a matchless representation of a loving family experience, troubling and anti-establishment with regard to the codes of behaviour of English society at the time. The Omega Workshops closed definitively on 24th July 1920. In 1917, Vanessa Bell’s sister, who was none other than Virginia Woolf, founded the Hogarth Press with her husband Leonard, by purchasing a small printing press which they set up in their living room. The first work published by the Hogarth Press was Two Stories, which was made up of one story by Virginia and one by Leonard. They published the first English translations of the writings of Sigmund Freud, and also the œuvres of the most avant-garde English authors of the early 20th century, such as T. S. Eliot, Lytton Strachey, Clive Bell and John Maynard Keynes. Virginia Woolf freely published her subversive and protofeminist writings there, and Leonard his political and economic essays. Vita Sackville-West, who became involved in first an intellectual and then a physical relationship with Virginia Woolf, and who would inspire her with the character of Orlando, also published her novels with the Hogarth Press. The artists of the Bloomsbury Group participated in this enterprise, illustrating the majority of the works published.

14 Aino and Alvar Aalto

Qualified architects from the polytechnic institute of Helsinki, Aino Marsio and Alvar Aalto were married in 1924, a short time after Aino joined the agency recently opened by Alvar. Thus, a close collaboration started, at the heart of which a common view of architecture and design took shape, with organic and resolutely modern lines. This intellectual and artistic emulation culminated, in 1935, in the couple creating the company Artek, helped by the art dealer and patron of the arts Maire Gullichsen and the art historian Nils-Gustav Hahl. The name of the company summed up the ambitions of its founders: Artek or the will to combine art and technology. Artek enabled Aalto to design and export quality, durable furniture, with simple, warm lines. In 1936, their first shop was opened on the ground Aino and Alvar Aalto in New York, Spring floor of 31 Fabianinkatu in Helsinki. With an adjacent design office and a 1939. gallery of contemporary art, this sales area, designed by Aalto as a real Building of the Finnish Pavilion at the showroom, had big windows, ingeniously lit to show all the ranges of Artek International Exhibition of New York, furniture and crockery to advantage. conceived by Aino and Alvar Aalto. Alvar Aalto Foundation Their collaboration would continue until the premature death of Aino in 1949.

Anni and Josef Albers

“It is interesting to observe that in ancient myths in numerous countries in the world, it was a goddess, a female divinity, who brought the invention of weaving to humanity. When you realise that weaving is mainly a process of structural organisation, this thought is disconcerting because, today, anything that relates to structure seems more associated with the predispositions of men than of women.” Anni Albers “The Pliable Plane: textiles in Architecture”, Perspecta The Yale Architectural Journal 4 1957

Josef Albers and Annelise Fleischmann met at the Bauhaus in Weimar in 1922, three years after the opening of the school created with the ambition of abolishing the frontiers between art, architecture and craftsmanship to build an ideal future. Its founder, Walter Gropius, initially advocated equality between men and women. On the opening of the school, however, faced with an influx of women students, he declared: “We are fundamentally opposed to training women to be professional architects.” Although Josef Albers joined the stained-glass workshop, Anonymous, Josef and Anni Black Mountain College, circa 1935 Anni Fleischmann consequently saw her choice limited to The Josef & Anni Albers Foundation workshops authorised for women, and with regret, opted © Albers Foundation/Art Resource, NY for the textile workshop. In spite of her reticence, she explored the materials and the technique of this discipline and discovered its aesthetic potential, going beyond the level of the reproducible decorative object to create unique works of art. Although the couple never collaborated on an artwork, their research showed the same enthusiasm for abstraction, geometric compositions generated to the

15 point of infinity by the repetition of a design and its variants. They cultivated a shared interest in colour, combinatorial art and extreme attention paid to the materials. When the school closed with the Nazis coming to power in 1933, the couple continued their experimentations on the other side of the Atlantic and taught at Black Mountain College. From the United States, they undertook many journeys to South America between 1935 and 1941 and were passionate about pre-Columbian art and architecture which they had discovered in German ethnographical museums. The abstract research developed in the Bauhaus then joined with the expanding geometric structures of the temples and the Anni Albers Memo 1958 traditional textiles which Josef photographed to attain a spatial The Joseph H. Hirshhorn Bequest, 1981 dimension. Photography by Cathy Carver. Hirshhorn Museum and Sculpture Garden, Washington, D.C. © Adagp, Paris 2018

Frida Kahlo and Diego Rivera

“In my difficult and obscure role of being the partner of an extraordinary being, I have the same recompense as a green dot in a large expanse of red: the recompense of balance.” Frida Kahlo, “Portrait of Diego”, a text published in the catalogue of the exhibition Diego Rivera, Fifty Years of Artistic Labour, organised by the INBA (National Institute of Fine Arts) and displayed at the Mexican Gallery of Fine Arts from August to December 1949

“Frida is the only example in the history of art of a person who tore open her chest and her heart to become aware of the biological truth that it contained.” Diego Rivera, Arte y politica ((Art and Politics), quoted by J. M. G. Le Clézio in Diego et Frida, cat. Exp. Diego Rivera and Frida Kahlo, Pierre-Gianadda foundation, 24 January – 1 June 1998

Frida Kahlo discovered Diego Rivera and his artwork at the age of 15, when he painted La Creación (Creation), a monumental fresco, for the Preparatoria, national preparatory school for the University of Mexico where she was studying. They met properly five years later when Frida Kahlo, who had been introduced by the photographer Tina Modotti, Nickolas Muray Frida and Diego with hat, 1939 interrupted the work of Diego Rivera to ask for his opinion on her Throckmorton Fine Art first artworks and to introduce the mural painter into her passionate Courtesy Throckmorton Fine Arts; © Nickolas world. “I did not know it then, but Frida had already become the most Muray Photo Archives important event of my life.”, Diego confided in his autobiography. They Photo by Nickolas Muray, © Nickolas Muray Photo both campaigned for popular art and for precolonial Mexican art to Archives receive greater recognition, in an allegorical and political manner for Diego, while Frida’s artworks drew on her very personal, human, emotive and tormented experiences. Their relationship, as chaotic as it was indestructible, oscillated between fusion and isolation, an almost umbilical connection and violent heartbreaks. It haunted Frida’s work and her idealised figure appeared in some of Diego’s artworks to symbolise the courage and righteousness of women workers, but also the necessary involvement of women in the socialist revolution. This co- habitation, not without conflict, of two artists who were as passionate as they were opposite, was embodied in their shared workshop, made up of two unequal cubes, each with its own entrance, but linked by a footbridge on the second floor, which Diego Rivera commissioned from the architect Juan O’Gorman, cast in the same mould as Le Corbusier, whose functionalist precepts he spread in Mexico. The couple lived there intermittently between 1933 and 1939, with Diego developing and receiving his many conquests in the large, pink workshop while the smaller, blue workshop was occupied by Frida.

16 Charles and Ray Eames

Charles and Ray Eames met in 1940 at the Cranbrook Academy of Art, while Ray, an artist and painter, was studying and Charles, an architect, had just been appointed as the director of the industrial design department. Married in 1941, during the war they conducted new studies using moulded plywood, leading them to participate in their first exhibition at Moma in 1946. Launched in 1945 by Arts and Architecture magazine, the Case Study House Program sought the most innovative architects to design new types of family homes. The Case Study House no 8 of Pacific Palisades, near Los Angeles, was entrusted to Charles Eames and Eero Saarinen, who designed it in two parts, a Charles & Ray Eames posing on the steel structure of the Case living space and a workshop, configured in a square. Study House n°8, 1949 On delivery of the metal frame, Eames realised in © 1949, 2018 Eames Office LLC (eamesoffice.com) situ that he could construct a much greater volume with the same materials if he configured the house as an extension of the workshop, beside the trees, facing the Pacific. It was finally with his wife Ray that they jointly produced a transparent design, promoting interaction between the interior and the exterior, thus abolishing any barrier between the countryside and the architecture. The façade was iconic, a combination of painted panels in primary colours and glass panels, a reference to the De Stijl and Bauhaus movements. Charles and Ray Eames would settle themselves definitively in this display of modernity and nature in 1949, developing projects that would revolutionise the design world in particular.

17 3. LOVE REINVENTED

On the threshold of the 20th century, echoing the prophecies of Rimbaud proclaiming that "love has to be reinvented, we know that" and "I is someone else", love, just like the person, was transforming itself and showing itself to be elusive, multifarious, in constant metamorphosis. If it did not lead to one person consuming the other or to abandoning him or herself, the couple, real or imaginary, had the potential to create an intermediate space for experimentation, ideal for producing new forms of art. It would be supportive of "the interlacing of opposites and all contradictions", as called for by Tristan Tzara in the Dada Manifesto of 1918. Artists who advanced in unison in this interspace, tuned into a permanent dialogue, could increase the flow of creative energy. Prized by the surrealists, these extraordinary encounters sometimes led to wonders and produced hybrid art works or residences, unexpected supra-individual pairings. New mythologies emerged, open to the subconscious, to chance and to the legends of different cultures. They helped to "muddy the waters", to the point of making the intentions and achievements of their creators unfathomable, just like the nature of their relationships.

Tele Frienhi

18 FOCUS

Leonora Carrington, Max Ernst and Dorothea Tanning

"Living with Max Ernst radically changed my life, because he sees things in a way I had never dreamt of. He opened up all sorts of worlds for me." Leonora Carrington, quoted in Susan L. ALBERTH's Leonora Carrington. Surrealism, Alchemy and Art, Hampshire, Lund Humphries, 2004, p.27

"You were immense. You led me to the edge. I waved and we went over – I held my happy breath. We knew our raft would get us past the mountain." Dorothea Tanning, Raft in Jürgen WILHELM's Über Max Ernst, published by Greven Verlag Köln, 2010

The environments of the houses that Max Ernst shared Max Ernst, Capricorne, 1948 / 1964 with Leonora Carrington in Saint-Martin-d’Ardèche (1938- Paris, Centre Pompidou, Musée national d'art 1940) then with Dorothea Tanning in Arizona's Sedona moderne desert (1946-1955) are evoked over the course of the © Philippe Migeat - Centre Pompidou, MNAM-CCI / exhibition. Against the backdrop of the Second World War Dist. RMN-GP © Adagp, Paris, 2018 and their eventful personal lives, the books produced jointly by Carrington and Ernst, and the sculptures and paintings created in Saint-Martin-d’Ardèche and later in Sedona, are works which offer an exploration of the influence of the environments in which the artists lived and which reveal the capacity with which artist couples erase the boundaries between life and art that merge together in and around their houses. These chapters in the life of the surrealist painter and sculptor with the two artists, also connected to André Breton's surrealist movement who refuse to be restricted to the roles of muse and "child- woman", echo to each other. They were an opportunity to create shared mythological universes, composed of protective monsters, hybrid animals and especially birds and horses, the respective totemic animals for Ernst, the "bird superior", and Carrington, the "bride of the wind", steeped in Celtic mythology in which the horse is a sign of transformation and liberation. Each brought his literary and artistic culture to the other, in a common passion for legends, magical and esoteric worlds. Thus, all the mythology of Ernst combined with that of Carrington in Saint-Martin-d'Ardèche: sphinx, mermaids, birds, ghosts, horse-woman in cement and pigment cover the walls, doors and stairs of this house bought in Leonora's name. Her fascination with Anglo-Saxon gothic tales and novels merged with Max's Germanic, surrealist and mythological world. This world, bubbling over with excitement, unfortunately came to an end with the repeated imprisonment of Ernst, a German citizen, in the face of which the isolated Carrington lost her footing. After the end of the Second World War, Max Ernst settled with Dorothea Tanning in Sedona enabling the creation of a new creative universe in the heart of the Arizona desert, where Indian cultures influenced both artists, particularly Ernst. Capricorn and his family of masks and sculptures protected the house and the artists. Tanning seemed less affected by this environment and, although the desert and American Indian arts filtered into the iconography of her paintings, she continued to explore her powerful and mysterious surrealist interiors.

19 Dora Maar and Pablo Picasso

Around 1935, Dora Maar was creating intriguing images, on the border between dreams and reality and on the fringes of the absurd. Le Simulateur (the Pretender), presented at the surrealist exhibition of Santa Cruz de Tenerife in 1935 in which Picasso was also exhibiting, has become one of the iconic images of surrealist photography. The artist had already begun her career when, in the autumn of 1935, she met Pablo Picasso. Between 1936 and 1937, the painter joined forces with the photographer to push the boundaries between the disciplines, favouring expansive works, constantly seeking new ideas. Using the blade of a knife and white paint, Picasso transposed the photographic portrait of Dora Maar onto a glass plate. In the photographer's darkroom, the painted plate becomes the template for multiple prints. The portraits developed by twisting the media fluctuated between photography and painting, changing from one state to another, metamorphosing according to the length of exposure chosen or the elements affixed. During her relationship with Picasso, for whom, like all the painter's conquests, she becomes a muse, Dora Maar gradually abandoned photography. Encouraged by Picasso, she sacrificed her talent in favour of paint, although the power of her work could not compete with that of “the master". As their relationship deteriorated, the painter continued to add to the number of portraits of his lover, capturing her image until the break-up, echoing the gradual destruction of her personality and the collapse of the world into war around him. Dora Maar, aware of this grip, photographed the portraits assembled in her lover's studio, in a disturbing game of mirrors.

Dora Maar (Henriette Théodora Markovitch, known as), Pablo Picasso, Portrait de femme (Woman Portrait), 1938 Sans titre [Main-coquillage] (Untitled [Shell-hand]), 1934 Paris, Centre Pompidou, Musée national d’art moderne Collection Centre Pompidou, Paris © Centre Pompidou, MNAM-CCI/Georges Meguerditchian/ Musée national d’art moderne - Centre de création industrielle Dist. RMN-GP © Centre Pompidou,MNAM-CCI Jacques Faujour /Dist. © Succession Picasso 2017 RMN-GP © Adagp, Paris 2018

20 Claude Cahun and Marcel Moore

« Shuffle the cards. Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me. If it existed in our language, no one would be able to see my thought's vacillations." Claude Cahun, Aveux non avenus (Disavowels), 1930, p. 169

Claude Cahun and Marcel Moore formed a very close relationship during their high school years, sealed with the declaration of love "Elles s'aiment" (They love each other), designed by Lucy Schwob at the age of fifteen. The initials of the lovers "LSM" (Lucy Schwob - Suzanne Malherbe) are intertwined and create a trans-individual chimerical being on whose eye is written the name Suzanne, the camera lens that captures the images, resting on a foot, the pillar anchored to reality, whilst the mouth bears the name of Lucy, the eloquent voice topped with a hand, active and capable of writing, reaching into the beyond. The two artists, step- sisters after the father of one married the mother of the other, could live out their relationship freely and published their first artistic collaboration, Vues et visions (Views Claude Cahun (Lucy Schwob, known as) Suzanne and Visions), combining the writing of Cahun and Moore's Malherbe/Marcel Moore 1928 illustrations from 1919. From 1921, they collaborated in © Jersey Heritage, Jersey Paris on avant-garde theatrical creations, volunteered in Sylvia Beach's Shakespeare and Company bookshop, and became involved in the surrealist movement. Together, they produced hundreds of photographs that questioned the notions of identity and gender, celebrated love and desire while challenging the standard vision of femininity, leading to indeterminable and fragmented self-images. In 1930, Moore made a series of collages based on Cahun's projects, drawing on this photographic material to illustrate his companion's autobiographical writings, collected under the title Aveux non avenues (Disavovels), a radical ode to the unclassifiable and to freedom. This Parisian period came to an end as the mood darkened with the onset of World War Two. The couple settled in their holiday home on the island of Jersey, soon to be occupied by German troops. However, they decided to stay and joined the resistance until they were arrested and sentenced to death, a fate they narrowly avoided.

Claude Cahun (Lucy Schwob, known as) Self-portrait (refelcted image in mirror, checked jacket) 1928 © Jersey Heritage, Jersey

21 André Breton, Nadja, Valentine Hugo and Jacqueline Lamba

"We will reduce art to its simplest form, which is love." André Breton, Œuvres complètes, tome 1 (Complete works, volume 1) Gallimard, bibliothèque de la Pléiade series

The relationships that André Breton, the father of surrealism, developed successively with Léona Delcourt (October 1926), Valentine Hugo (1930-1932) and Jacqueline Lamba (1934- 1942) correspond respectively to one book in the writer's trilogy: Nadja, Les Vases communicants (Communicating Vessels), L’Amour fou (Mad Love). These three encounters, and especially those with Valentine Hugo and Jacqueline Lamba, are true surrealist mythological constructions mixing magical premonitions and coincidences, marked by toucan and sunflower motifs. They were also fundamental to the surrealist precepts concerning the role assigned by the movement to the woman, perceived as child or femme fatale. The intensity and short-lived nature of the Claude Cahun (Lucy Schwob, known as), André relationship with Léona Delcourt, marked by madness, the Breton and Jacquline Lamba with reflection, 1935 influence that André Breton had on Valentine Hugo, whose © Jersey Heritage, Jersey powerful dreams marked the surrealists, and finally the iconic surrealist couple formed by Breton and Lamba, and the aura and charm they gave off both together and separately, are all essential elements to understand surrealism and the role that the theme of the couple and the woman played. These productive encounters took on a tangible form in the works, texts, cadavre exquis (exquisite corpse drawings), games and surrealist objects that highlight Breton's concept of "objective chance", which in his opinion, had no stronger and more interesting manifestation than in romantic encounters.

Nancy Cunard and Henry Crowder

" It was she who was to open up new avenues of thought for me and because of her I was to change my ideas of life and opinions about many things " Henry Crowder, As Wonderful as all that, Memoir of His Affair with Nancy Cunard 1928-1935, around 1987

"It is entirely thanks to Henry […] that “everything" started; I will never forget him." Letter from Nancy Cunard to Michel Leiris on the death of Crowder, 1955

In 1928, the avant-garde publishing house The Hours Press was founded by Nancy Cunard, poet, collector, model, publisher, journalist and English activist, alongside Louis Aragon who had been her partner since Man Ray (Emmanuel Radnitzky, known 1926, soon to be replaced in her life and behind the printing press by as) Henry Crowder 1930 the American jazz musician Henry Crowder. This publishing house was Collection Centre Pompidou, Paris a neutral space for them, where each one - Aragon and Cunard, then Musée national d’art moderne - Centre de Crowder and Cunard - had the challenge of becoming acquainted with a création industrielle new environment and of learning new skills. © Centre Pompidou,MNAM-CCI/Guy Unconventional in the 1920s-1930s, the relationship between Cunard and Carrard /Dist. RMN-GP © Man Ray Trust / Crowder, between a poet and rich white heiress and an African-American © Adagp, Paris 2018 jazz musician, was an opportunity for a fundamental enrichment of their respective careers, tinged with the culture and the environment of the

22 other. In his autobiography, Crowder remembers that he swore on the Atlantic crossing that he would not have a relationship with a white woman once he arrived in France, where many American jazz musicians had gone. In the United States, mixed race marriages and relationships were forbidden in a large number of states with segregation laws. The mixing of cultures, erasing the colour line, was the greatest fear of white supremacists who saw it as a threat to their power. Conversely, some white women viewed mixed race relationships as a positive demonstration of modernity. After meeting in Venice, where Cunard discovered Crowder's music, it was she who encouraged the musician to settle long-term in Europe and to have his music recorded. As for Crowder, he really raised Cunard's awareness of the segregation suffered by blacks in the United States. In a broader sense, he was responsible for developing her particular appetite for African-American musical, artistic and literary culture that lead to the production of Negro: An Anthology, dedicated to Crowder, which would end Cunard's publishing activities.

Temple of Friendship

"Yes, in friendship as in love, do we ever know what a feeling like ours is, where it begins, where it ends, if it ever ends. We feel it, that's all. It exists. Do not ask anything more of it. Do not question it. Do not upset it. Let it live freely." Letter from Rémy de Gourmont to Natalie Clifford Barney, 20 January 1911

In 1909, following her passionate relationship with the poet Renée Vivien, Natalie Clifford Barney, nicknamed the Amazon by Rémy de Gourmont, moved to 20, rue Jacob in Paris. The residence, with a neoclassical Greek temple with "À l'Amitié" (to friendship) engraved Romaine Brooks and Natalie Clifford Barney, 1920 on the pediment, became a favoured location for Private Collection the Parisian artistic and literary intelligentsia. An Photo: Thomas Hennocque eccentric American woman of letters, famous for her literary salon and her subversive writings, Clifford Barney was revisiting a new form of couple in this temple. In her book Pensées d’une Amazone (Thoughts of an Amazon), published in 1920, Natalie Clifford Barney affirms that women must "no longer be restricted to getting married in order to get ahead." She made a vow to "seek understanding between all genders of the human race" and announced a true equality, underpinned by the advent of androgyny: "We will be better than the wife, the mother or the sister of a man, we will be the female brother of the man." Queen of the Paris lesbians, she multiplied her conquests and, in 1915, met the American painter Romaine Brooks, with whom she maintained a love affair-friendship for nearly fifty years. Although each chose to keep her independence, with Romaine negotiating her way around the loves and nomadic friendships of Natalie, in the late 1920s, in Beauvallon in the south of France, they built the villa Trait d'union (the hyphenated villa) in the strictest modernist style. This unique building in three sections provided a living space for each of them and allowed them to meet in the kitchen, a link for a couple with the most modern of tastes.

23 Man Ray and Lee Miller

The relationship between Man Ray and Lee Miller, between 1929 and 1932, gave rise to a new photographer and to hundreds of photographs, some of which are now iconic. Although the legendary aspect of this story of love and creation often limits Lee Miller to the role of muse, she was also responsible for numerous works of art and photojournalism images produced during and after her relationship with Man Ray. Initially a model, especially for Vogue, and an icon for Coco Chanel, MAN RAY (Emmanuel RADNITZKY, known as) she also posed for Edward Steichen who encouraged her to go to Paris Model for the Prayer, Self-portrait with lying nude, to ask the already famous Man Ray to take her on as an assistant. circa 1930 The artist, linked with the surrealists, is best known for his fashion Collection Centre Pompidou, Paris Musée national photography and portraiture work. He turned upside down everything d’art moderne - Centre de création industrielle that Lee Miller knew about photographic studios, with his small © Centre Pompidou, MNAM-CCI/Guy Carrard/Dist. cameras and new framing and lighting techniques. Less than a year RMN-GP after beginning her apprenticeship, Lee Miller went independent, © Man Ray Trust / Adagp, Paris, 2018 renting her own apartment and handling her first commissions. She continued to model for Man Ray and to work with him on more personal artistic projects, using solarisation techniques in particular. Together, they used the darkroom as a place of experimentation and research, exploring erotic domination games and sadomasochism in the spirit of de Sade. The couple presented ambiguous sexual relations, between poetry and violence, where the impulses of life and death appear simultaneously. In 1932, Lee Miller left Man Ray to create her own studio with her brother in New York. The photographer, who took this separation badly and removed almost all mention of Lee Miller from his autobiography, produced a series of works featuring talismanic and voodoo images, between nostalgia for a past love and the desire for vengeance. In 1937, they would meet again but only as friends and would not share a dark room again.

Marcel Duchamp and Maria Martins

"In fact, I think the only excuse for doing anything whatsoever is to give it a life of eroticism, which is exceedingly close to life in general, and more so than philosophy or anything that resembles it." Marcel Duchamp, in Bief n° 9, 1 December 1959, n.p.

"I know that my goddesses and I know that my monsters Will always seem sensual and barbarous to you I know you’d like seeing the immutable measure of Eternal links to rein between my hands You forget I’m from the Tropics and have come from far away" Maria Martins, Maria, 1946

Intentionally single and a fervent defender of his independence, Duchamp nevertheless urged the Brazilian sculptor Maria Martins, with whom he had a secret and Maria Martins, Untitled, circa 1947 impossible affair between 1943 and 1951, while she was © Estrellita and Daniel Brodsky Collection married to the ambassador of Brazil to the United States, to share the loneliness of his studio, "This solitude is, in fact, just a way of re-entering my own individuality and it gives me an illusion of freedom inside four walls. But there is room enough for two," he said, "if you want to be as one with my freedom, and a greater freedom still will come of it, as yours will protect

24 and foster mine, and mine yours, I hope" Maria Martins created powerful sculptures imbued with Amazonian legends, whose heritage she claimed, and which depicted beings in metamorphosis, merging the human and plant worlds. Although she did not respond to the invitation of her lover, she remained an accomplice for his escape plans, preparing a "way out" through her tropical sculptures and her collaboration in the long-term development of Étant donnés (given): 1o) la chute d’eau (The Waterfall), 2o) le gaz d’éclairage (The Illuminating Gas). From this work- testament revealed after the death of Duchamp emerge several mysterious erotic objects, equivocal and ironic clues on the border between masculine and feminine, open to the interpretation of the viewer.

Eileen Agar and Paul Nash

"This year that we had together gave me something that I feel I will never again have in my life...It enriched me and gave me a new joy, a poignant joy." Letter from Paul Nash to Eileen Agar, 1937, Tate Archive

"Paul opened my eyes to the strange poetry that can emerge from a place." Eileen Agar, Andrew Lambirth, A Look at My Life, London, Methuen Publishing Ltd, 1988, p.111

In the small coastal town of Swanage in southern England in the spring of 1935, Eileen Agar, then in a relationship with the poet Joseph Bard, met Paul Nash, himself married to Margaret Nash. Joseph Bard Eileen Agar lying on a carpet These two artists close to the surrealist movement, associated Septembre 1938 with painting, sculpture, engraving and photography, amongst other Tate Archive things, would, for almost ten years, have a love affair with a prolific impact on their respective careers. Although Agar tried to stop the relationship in the first year, Nash refused and, aware of the richness of their relationship, they continued to spend time together regularly, almost until the death of Nash in 1946.

Paul Nash introduced Eileen Agar to the poetry of found objects, a feature of surrealism, as well as photography. Long walks on the beaches allowed them to find and sublimate minerals polished by sea salt and driftwood which fascinated both of them. Some objects appear in the photographs of one and the drawings of the other. The creative potential of these beach walks was at the heart of their relationship, taking Agar away from Bard and his intellectual circle for a time. While Agar's creations can be interpreted as being marked by a syncretic interaction between minerals, plants and animals to create a new entity or photographic compositions dramatically changing the way the objects presented are understood, those of Nash have a poetic and introspective character, sparked by Agar's free spirit and curiosity.

25 4. NATURE ILLUMINATED

With the approach of the First World War, the hope of a spiritual resurrection, the antidote to Positivism, Materialism and superficiality, was the driving force of the New Artists’ Association of Munich which included Marianne von Werefkin, Vassily Kandinsky and Alexej Jawlensky. These artists offered an internal journey through a subjective, non-conventional nature, avoiding the material limits of the real, to create works which when contemplated caused a vibration of the soul. Their introspective experiments were developed into theories by Vassily Kandinsky in his theoretical work, Du spiritual dans l’art, (Concerning the Spiritual in Art), published in 1911. This writing inspired numerous artists, from the United States and Mexico to England, who also wished not to reproduce the state of the world, but to express their own interior vision. This idealist impulse was initiated at a time when the industrialisation and modernisation of towns was accelerating. The artist couples tried, at the same time, to understand these phenomena, to capture them in their work, but also to escape from them to make it easier to hear their internal voice and reveal their relationship, often pantheistic, with nature.

26 FOCUS

Vassily Kandinsky and Gabriele Münter

“I remember the view of the “Blue Mountain” as a unique experience […]; I felt like a bird in song.” Gabriele Münter’s Diary, 1957

“You have within you a divine spark, something that is incredibly rare in painters. […] The rhythm of your strokes and your sense of colour!” Letter from Vassily Kandinsky to Gabriele Münter, 1915

In 1902, Gabriele Münter enrolled in a sculpture course Vassily Kandinsky Improvisation III 1909 with the Phalanx, a young group of artists based in Munich Collection Centre Pompidou, Paris Musée national who promoted art in all its forms. A short time after this, d’art moderne - Centre de création industrielle she also attended classes studying the nude form, given © Centre Pompidou, MNAM-CCI/Adam Rzepka/Dist. RMN-GP in the evening by Vassily Kandinsky. “It was a new artistic experience for me,” wrote Münter in her notes, “K. was able - unlike other tutors - to devote attention to me and give me in-depth explanations. He saw me as a conscious being able to set her own objectives. This was new for me and made an impression.” The young artist, invited by Kandinsky, participated in his summer outdoor painting class at Kochel, which foreshadowed the summers spent painting at Murnau a few years later. At the end of a series of journeys through Holland, Tunisia, Italy and France, enabling them to live their union freely, to visit museums and galleries and to paint, the couple made their first long stay, in the summer of 1908, in the small town of Murnau at the foot of the Alps, together with Marianne von Werefkin and Alexej Jawlensky. This period is synonymous with a big development in their work, dissociating from Gabriele Münter Abendrot 1909 Post-impressionism to develop a freer, expressionist style Private collection with synthetic forms and vibrant colours, inspired by the © ADAGP, Paris, 2018 nature around them, and already with a tendency towards abstraction. In August 1909, Gabriele Münter acquired the Russenhaus in the hills above Murnau, which became a real hub of life, discussions and creation, where artists, art dealers and collectors could meet. The couple lived in this way, between Munich and Murnau, where they stayed regularly until 1914. Kandinsky partly edited his theoretical work there, Concerning the Spiritual in Art, which appeared in 1911, and the same year, Gabriele Münter, Vassily Kandinsky, August and Elisabeth Macke, Franz and Maria Marc met at the Russenhaus to prepare the Blue Rider Almanac, a mirror of artistic renewal in all the arts, “a link with the past while also being a light shining on the future”, published on the eve of the First World War, which put an end to this prolific period.

27 Alexej Jawlensky and Marianne von Werefkin

“You who are basically only myself, but a much bigger and more noble self, an ingenious self, a self far from me, as real as the whole distance between the dream and the reality.” Marianne von Werefkin, Lettres à un inconnu (Letters to a Stranger), p. 67

“This encounter [with Marianne von Werefkin] has changed my life. I became the friend of a brilliantly gifted woman” Alexej Jawlensky, Lebenserinnerungen (Remember of my life), 1970

Alexej von Jawlensky Landschaft bei Murnau 1909/1910 In 1896, Marianne von Werefkin, who studied Schloßmuseum Murnau Realism with Illa Repine (who called her “the Russian Loaned by The Kasser Mochary Foundation, Montclair, New Jersey Rembrandt” because of her virtuosity), left Russia for Munich, accompanying Alexej Jawlensky who shared her passion for art and decided to give up his military career to dedicate himself to painting. Marianne von Werefkin radically rejected the imitation she had been taught, in favour of introspective research supported by “the hope to see the birth of a true oeuvre, which, if it was unique, would be the expression of an artistic belief, and for art as a whole, would be a conquest”. She advocated an art that was “lyrical, subjective, philosophical”, which takes on a fabulous dimension coloured with mysticism and through which “that which is me sets itself up as a work of art”. In touch with an exclusively masculine conception of genius and persuaded that the talented Jawlensky would be the elected bearer of this artwork that was to come, she stopped creating anything until 1906 to give her support to him who she considered “an artist like me”. If L. [Loulou, Jawlensky’s nickname] Marianne von Werefkin Tragische Stimmung 1910 becomes the artist that I believe he will”, wrote Collezione Comune di Ascona Marianne von Werefkin in her journal, “it is to me that Fondazione Marianne Werefkin, he owes it – and it is a great work”. When she took Museo Comunale d’Arte Moderna Ascona up her brushes again, it was to create paintings that developed from visions liberated from reality, the strength of whose colours and emotions expressed the “interior necessity”, experimentation similar to that of Kandinsky, president and cofounder together with Marianne Werefkin and Alexej Jawlensky, of the New Artists’ Association of Munich, which promoted the idea of a new art.

28 Barbara Hepworth and Ben Nicholson

“Barbara and I are the same… our ideas, & our rhythms, our life is so exactly married that we can live think & work & move & stay still together as if we were one person.” Ben Nicholson, Letter to Helen Sutherland, 3 May 1932

From the spring of 1932, the two British artists, Barbara Hepworth and Ben Nicholson shared Hepworth’s studio in Hampstead, after being in a relationship for some months and while they were both married and parents. They travelled together to France to meet Braque, Picasso and Brancusi, and also Jean Arp and Sophie Taeuber-Arp who certainly provided them with a productive example of collaboration and communal life. At that time, they were both engaged in an art that was highly autobiographical, which would be enriched by Ben Nicholson 1934 (Relief) 1934 this new life together in the workshop at 7 Mall Studios © Kettle's Yard, University of Cambridge. in London. This workshop was both a place of creation © Adagp, Paris 2018 and a place to display their respective works, placed and photographed in such a way as to show the connections between the artworks which came out of their life together and their shared aesthetic vision, especially their obsession with the quality of forms and surfaces. Nicholson created his first abstract, geometric reliefs after he met Hepworth, who, along with Henry Moore, was recognised for her direct carving techniques, at a time when modelling was in favour. In one piece after another, they both took the path towards abstraction, which became their profession of faith, a bastion of freedom in the face of fascism. During the inter-war years, this developed sense of collaboration led them to exchange mediums: Nicholson took up sculpture and Hepworth painting, collage and engraving. It was also a certain degree of mysticism and their attachment to Christian Science and its doctrine of the dematerialisation of the world which provided the couple’s work with a special transcendence. Especially for Hepworth, the spiritual quest made it possible to avoid material, and her sculptures were as much, if not Barbara Hepworth Conoid, Sphere and Hollow III 1937 more, the work of space and emptiness, as that of the Barbara Hepworth © Bowness material. Photo : © Government Art Collection

29 Georgia O’Keeffe and Alfred Stieglitz

“Before I put the brush to canvas, I question 'Is this mine ? Is it all intrinsically of myself ? Is it influenced by some idea or some photograh of an idea which I have acquired from some man ?’” Georgia O’Keeffe in Georgia O’Keeffe & Alfred Stieglitz, Two Lives, A Conversation in Paintings and Photographs, New York, Callaway Editions, 1992, p. 85

“O’Keeffe is a constant source of wonder to me, like Nature itself.” Alfred Steiglitz, Letter to Arthur Dove, 1918

Before meeting the painter Georgia O’Keeffe, it was her drawings that the American photographer and gallery owner, Alfred Stieglitz, discovered in 1916. He was fascinated by the purity of the organic abstractions which sublimated the sensations and the environment of O’Keeffe and which, according to him, represented female anatomy and sexuality. The sexualisation of her work, taken up by numerous critics Alfred Stieglitz Lake George, between 1922 and 1923 at the time, was officially rejected by O’Keeffe who decided Fonds appartenant à Jean-Léon Gérôme et Aimé to go back to figurative work, combining realism and Morot PHO2003-8-10 spirituality. Going against these essentialist interpretations, Paris, musée d'Orsay she undertook to paint nature and the modern city of New Photo © RMN-Grand Palais (musée d'Orsay) / Hervé York, a field hitherto limited to male artists. From the mid- Lewandowski 1920s, Stieglitz and O’Keefe in fact alternated between visits to their new lodgings at the heart of Shelton Hotel in New York and to Stieglitz’s family house on the shore of Lake George. It was in this environment that Stieglitz opened to the path of interiority, to the painter’s image, and started to capture images of the sky from an intuitive and introspective perspective, which was also courtesy of Concerning the Spiritual in Art by Kandinsky, a key reference work for the couple. The series of city paintings by O’Keeffe was also a way of replying to the hundreds of photographs that Stieglitz took of her. At first very eroticised and seeming to express herself only through her senses, O’Keeffe gradually changed in stature in Stieglitz’s photographs, at exactly the time when the painter was creating her canvases of New York. In the latter part of the 1920s and during the 1930s, Stieglitz represented her more and more often as an independent artist, clothed in a severe, sometimes androgynous, manner. At that time, when the professional integration of women was growing, with the First World War, then collapsing with the Great Depression, and when the idea of family and marriage in the United States was seriously being reassessed, O’Keeffe bought herself a car and left, alone, Georgia O'Keeffe Red, Yellow and Black Streak 1924 for New Mexico, in order to pursue her artistic explorations Collection Centre Pompidou, Paris Musée national d’art there. moderne - Centre de création industrielle © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP

30 EXHIBITION LAYOUT

Intentions of the exhibition designer, Pascal Rodriguez, dedicated to them; “living cells” with a degree of autonomy, assisted by Perrine Villemur: but always attached visually or spatially to the rest of the exhibition. The exhibition layout is based on a notional frame featuring metal structures placed high up, which will guide visitors’ Immersive spaces, such as the evocations of villa E 1027 by focus. Eileen Gray and Jean Badovici, of the Case Study House no 8 A form of vertebral column for the exhibition, this frame by Charles and Ray Eames and the Artek boutique by Alvar will enable visitors to move about in the different sections and Aino Aalto, are all features, which will enable visitors to opening the layout to many different perspectives. immerse themselves in these spaces of modernity. Each artist couple has a complete, independent area

CATALOGUE

"WOMAN - "[…] Woman respectively to the action of certain couples in the field COUPLES MODERNES is the being who projects of theatre and proto-performance art, on the chimerical 1900-1950 Gallimard | Centre Pompidou-Metz the greatest shadow or the dimension of the couple and its creations, and lastly on the Centre Pompidou-Metz Centre Pompidou-Metz | | COUPLES 1900-1950 1900-1950

MODERNES greatest light into our dreams. analogy between the elasticity of the couple and architecture. Gallimard Gallimard Woman is fatally suggestive; she leads another life in A detailed timeline closes this reference work.

RENCONTRE – Quelle a été la rencontre capitale de votre vie ? Jusqu’à quel point cette rencontre vous a-t-elle donné, addition to her own; vous donne-t-elle l’impression du fortuit ? du nécessaire ? André Breton, en collaboration avec Paul Éluard, Dictionnaire abrégé du surréalisme, 1938 she lives spiritually in the It brings together contributions from many authors Le dictionnaire de l’exposition « Couples modernes » explore plus de deux cents rencontres essentielles ou contingentes de créateurs, toutes disciplines confondues, de 1900 à 1950, et offre une traversée inédite de l’art moderne. imaginations she haunts and including: fertilises." (Baudelaire) Jane Alison, Dorian Astor, Catherine Bernard, Stephan André Breton, in collaboration Boudin-Lestienne, Émilie Bouvard, Christian Briend, Ralf 49 euros G01555 17-IV 978-2-07-277162-0 -:HSMARC=\\V[WU: with Paul Éluard, Dictionnaire Burmeister, Christina Burrus, Sylvie Chaperon, Ariane COUPLES MODERNES

OK_COUV-CM-19.03.18.indd 1-3 26/03/2018 17:27 abrégé du surréalisme Coulondre, Penelope Curtis, Isabelle Danto, Mara Folini, (Abridged Dictionary of Sarah Frioux-Salgas, Bruno Gaudichon, Jennifer Goff, Surrealism), 1938 Jean-Michel Goutier, Vivien Green Fryd, Cathérine Hug, Catherine Ince, Véronique Jaeger, Isabelle Jansen, Sean If the Abridged Dictionary of Surrealism offers several Kissane, Hadrien Laroche, Tirza Latimer, Emma Lavigne, definitions of women, it gives none for man and even less Brigitte Leal, Sarah M. Lowe, Alyce Mahon, Alexandre Mare, for the couple. Dominique de Marny, Anne Monier, Wies van Moorsel, For its definition, the Modern Couples book catalogues Janine Mossuz-Lavau, Anthony Parton, Krisztina Passuth, more than two hundred pairs of polymorphous artists Anthony Penrose, Estelle Pietrzyck, Cloé Pitiot, Anna whose interdisciplinary creations span the first half of the Ramos, Tobias Raun, Christopher Reed, Agnieszka Rejniak- twentieth century. Majewska, Michel Remy, Thomas Schlesser, François de Singly, Eric Smadja, Nina Stritzler-Levine, Sandra Tretter, This rich dictionary combines biographical notes related Victoria Vanneau, Nicholas Fox Weber, Françoise Werner. to each of the couples with records devoted to the notion of the couple itself, explored by specialists from different disciplines. The Barbican Art Gallery will be publishing another This directory of modern artist couples is accompanied catalogue in october 2018. by three essays by the curators of the exhibition, relating

31 RELATED PROGRAMMING

MODERN REVIEW READINGS (in French language) From the Amour Fou (1937) which inspired Jacqueline Modern Couples Lamba to André Breton, from passionate letters sent by Performance and dance Frida Kahlo to Diego Rivera, or from the ones that Marcel Duchamp secretly sent to Maria Martins, the exhibition will be the echo of artists’ voices and dialogues. Members FRIDAY 27 APRIL / 9.00 PM of the Centre Pompidou-Metz, drive by the producer Studio Laurent Varin, will read out extracts from among the most 180 minutes / 10/5 € beautiful letters, manifestos, poems, autobiographies and novels written by the artists of Modern Couples. To inaugurate Modern Couples’ exhibition, the dancers From 2pm to 6pm of CCN Lorraine ballet company invest the Centre Pompidou-Metz to act out the impetuousness of the OPEN-AIR CINEMA party. From Relâche (1924), the ballet of Francis Picabia, such as the evocation of another famous couple formed by Jean Börlin and Rolf de Maré (1924), the dancers reinterpret the « immediate happenings », opportune to JULES AND JIM François Truffaut, from the novel by Henri-Pierre Roché transgression and transformation. Presenting various (1962) sketches inspired by performative celebrations and artistic cabarets of the Roaring Twenties. the dancers revisit these special moments of joy and creativity found in Bal Moderne, the ultimate places of encounters for WEDNESDAY 18 JULY 2018, AT 10:30 PM Centre Pompidou-Metz esplanade artists. Amateurs, passionates or professionals, all those 105 minutes, free access who love dancing are invited to share the stage for a In case of bad weather, the film would be broadcasted in Grand Bal at Centre Pompidou-Metz! the Wendel Auditorium. Free access, within the limit of available places * Petter Jacobsson and Thomas Caley’s creation, with the dancers of the National Choregraphic Center, Lorraine Ballet ‘When he quoted for the first time the Jules and Jim EVENT novel, during one of his critiques in the Arts review, François Truffaut had never made any film. He promised himself he would start his career of filmmaker by A CREATIVE DAY AROUND THE EXHIBITION adapting the exceptional book of Henri-Pierre Roché. While keeping an accented literal tone, Truffaut acts out the zeal to love, through purely visual scenes. He evokes SUNDAY 24 JUNE 2018 FROM 10 AM TO 1 PM the fervent discipline of a free woman, determined to Galleries 2 & 3 ‘invent the love’. Jeanne Moreau bites into this role of a Free entrance upon presentation of access ticket to the serious and eager muse. Hidden behind the title twice exhibitions of the day masculine, she is the cornerstone of this dazzling masterpiece.’ (Marine Landrot) COUPLES IN MUSIC As part of a collaboration, the Gabriel Pierné Conservatory of Metz Métropole, look at the exhibition again, proposing musical pieces. Learners and teachers draw from the notion of ‘couple’ to set to music duets of instruments, within the galleries.

32 CONFERENCES

ONE SUNDAY, ONE COUPLE Sunday 29 April, Sunday 20 May, Sunday 3 June, Sunday 10 June, Sunday 17 June, and Sunday 1 July At 10:30am and 11:45am Galleries 2 & 3 45 minutes Free access upon presentation of access ticket to the exhibitions of the day Registration at the ticket office the same day, within the limit of available places

The curators of Modern Couples propose in-depth conferences dedicated to some emblematic couples of the exhibition. Visitors are invited to dive into the very heart of the creative process and singular history of these intimate duets, while discovering thru their masterpieces, dialogues that are surreptitiously established. The thrilled experimentations of Vassily Kandinsky and Gabriele Münter lead to Murneau on the side of Marianne von Werefkin and Alexej von Jawlensky, the metamorphoses generated by Dora Maar and Pablo Picasso or the unwillingness of Georgia O’Keeffe in corresponding to the ideal of the woman-artist hold by Alfred Stieglitz, await you during these moments of privileged visit-conferences.

SUN. 29.04 | Max Ernst, Leonora Carrington and Dorothea Tanning | Emma Lavigne

SUN. 20.05 | Jean Arp and Sophie Taeuber-Arp | Pauline Créteur

SUN. 03.06 | Vassily Kandinsky, Gabriele Münter, Marianne von Werefkin and Alexej von Jawlensky | Emma Lavigne

SUN. 10.06 | Georgia O’Keeffe and Alfred Stieglitz | Pauline Créteur

SUN. 17.06 | Gustav Klimt, Emilie Flöge and couples of Secession | Elia Biezunski

SUN. 01.07 | Dora Maar and Pablo Picasso | Elia Biezunski

33 PARTNERS OF THE CENTRE POMPIDOU-METZ

BARBICAN ART GALLERY

A world-class arts and learning organisation, the Barbican pushes the boundaries of all major art forms including dance, film, music, theatre and visual arts. Its creative learning programme further underpins everything it does. Over 1.1 million people attend events annually, hundreds of artists and performers are featured, and more than 300 staff work onsite. The architecturally renowned centre opened in 1982 and comprises the Barbican Hall, the Barbican Theatre, the Pit, Cinemas 1, 2 and 3, Barbican Art Gallery, a second gallery the Curve, foyers and public spaces, a library, Lakeside Terrace, a glasshouse conservatory, conference facilities and three restaurants. The City of London Corporation is the founder and principal funder of the Barbican Centre.

The Barbican is home to Resident Orchestra, London Symphony Orchestra; Associate Orchestra, BBC Symphony Orchestra; Associate Ensembles the Academy of Ancient Music and Britten Sinfonia, Associate Producer Serious, and Artistic Partner Create. Our Artistic Associates include Boy Blue, Cheek by Jowl, Deborah Warner, Drum Works and Michael Clark Company. The Los Angeles Philharmonic are the Barbican’s International Orchestral Partner, the Australian Chamber Orchestra are International Associate Ensemble at Milton Court and Jazz at Lincoln Center Orchestra are International Associate Ensemble.

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34 Centre Pompidou-Metz is the first example of devolution of a major national cultural institution, Centre Pompidou, in partnership with local and regional authorities. As an autonomous institution, Centre Pompidou-Metz benefits from the experience, know-how and international renown of Centre Pompidou. It shares with its elder the values of innovation, generosity, a pluridisciplinary approach as well as an openness to all visitors.

Centre Pompidou-Metz puts on temporary exhibitions based on loans from the collection of Centre Pompidou, National Museum of Modern Art, which, with more than 120,000 artworks, is the largest collection of modern and contemporary art in Europe and the second largest in the world.

It also develops partnerships with museums around the world. As an extension to its exhibitions, Centre Pompidou-Metz offers dance performances, concerts, cinema and lectures.

It is supported by Wendel, its founding patron.

Mécène fondateur

With the patronage of Groupe Galeries Lafayette

With the support of Artcurial, for Charles and Ray Eames Artek oy, Helsinki, for Aino and Alvar Aalto

In a media partnership with

With the participation of Vranken-Pommery Monopole.

35 GRAND MECENE DE LA CULTURE

Wendel, founding patron of the Centre Pompidou-Metz

Wendel has been involved with Centre Pompidou-Metz since its opening in 2010. Trough this patronage, Wendel has wanted to support an iconic institution whose cultural influence affects such a large number of people. For its long-standing commitment to culture, Wendel was awarded the title of Grand mécène de la culture (Grand patron of the arts) in 2012.

Wendel is one of Europe’s leading listed investment companies. It operates as a long-term investor and requires a commitment from shareholder which fosters trust, constant attention to innovation, sustainable development and promising diversification opportunities. Wendel has the expertise to choose leading companies, such as those in which it currently owns a stake: Bureau Veritas, Saint-Gobain, IHS, Constantia Flexibles, Allied Universal, Cromology, Stahl, CSP Technologies, Tsebo, SGI Africa, Mecatherm or Saham Group.

Founded in 1704 in Lorraine, the Wendel Group expanded for 270 years in various activities, in particular in the steel industry, before becoming a long-term investor in the late 1970s.

The Group is supported by its core family shareholder group, which is composed of more than one thousand shareholders of the Wendel family, combined to form the family company Wendel-Participations, which owns more than 36% of the Wendel group’s share capital.

PRESS OFFICE

Christine Anglade-Pirzadeh +33 (0)1 42 85 63 24 [email protected]

Caroline Decaux +33 (0)1 42 85 91 27 [email protected]

www.wendelgroup.com

36 Galeries Lafayette Group

It is with enthusiasm that the Galeries Lafayette Group supports Modern Couples, a multidisciplinary exhibition on an unprecedented theme conceived and produced by the Centre Pompidou-Metz.

Patron of the Centre Pompidou-Metz since 2009, the Group continues its commitment by supporting this exhibition dedicated to the energy of creation.

In its activities, in its commitments as a patron as well as in the passion and the beliefs of its shareholding family, the Group affirms itself as key mediator between the creative industries and the audience. Patron of the Modern Couples exhibition, the Group wishes to allow a wider public to discover the modern art presented in the iconic building of the Centre Pompidou-Metz, designed by Shigeru Ban.

About the Galeries Lafayette Group

A leading city-center fashion retailer with proven expertise, the Galeries Lafayette group is a family-run private group, with 120 years of history in commerce and retail. A key player committed to creation and a major private employer in France with 14,000 employees, the Group has grounded its identity on sound corporate values of sharing its passion for customers, daring to innovate, growing stronger together and striving for excellence. The Group enjoys international recognition through its iconic brands : Galeries Lafayette, BHV MARAIS, RQZ-Royal Quartz Paris, Louis Pion, Guérin Joaillerie, InstantLuxe and BazarChic.

CONTACT

Francesca Sabatini Patronage Manager Galeries Lafayette Group 01 42 82 31 21 [email protected]

www.groupegalerieslafayette.fr

37 VISUALS FOR THE PRESS

Visuals for the press are downloadable online here: centrepompidou-metz.fr/phototeque

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Natalia Gontcharova, La Lampe Mikhail F. Larionov Portrait de électrique, 1913 Nathalie Gontcharova 1907 Huile sur toile huile sur toile, 105 x 81,5x7,5cm 60x50cm Collection Centre Pompidou, Paris © Collection of Vladimir Musée national d’art moderne - Tsarenkov, London Centre de création industrielle © Adagp, Paris, 2018 © Centre Pompidou,MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Adagp, Paris 2018

Hannah Höch, Für ein Fest Robert Sennecke, Sans Lucia Moholy Double portrait of Theo Theo Van Doesburg (Christian gemacht, 1936 titre, (Hannah Höch et Raoul and Nelly van Doesburg septembre Emil Kuepper, dit) Portrait of Pétro Institut für Hausmann à la Première 1921 (Nelly van Doesburg), en profil Auslandsbeziehungen e. V., foire internationale Dada, 11,8 x 11,8 cm 1919 Stuttgart Berlin, Cabinet d'art du Dr Otto Photo collection RKD – Netherlands Huile sur carton monté sur © Adagp, Paris, 2018 Burchard), 1920 Institute for Art History, The Hague panneau 64,5 x 48 cm © Adagp, Paris 2018 Museum De Lakenhal, prêt du Collection Cultural Heritage Agency of the Netherlands.

38 Minya Diez-Dührkoop Tanzmaske Filipo Tomaso Marinetti et Benedetta STUDIO LUXARDO DI ROMA (Elio LUXARDO, dit) “Toboggan Frau“ und “Toboggan Mann“ Cappa Sudan-Parigi ,1920 Rome. Filippo Tommaso Marinetti and Benedetta Cappa Marinetti in von Lavinia Schulz 1924 Médias mixtes (éponge, papier de their apartment in Piazza Adriana Épreuve gélatino-argentique verre, râpe, laine, brosse, papier Modern Print 21,5 x 16,7 cm recouvert d'argent, soie, velours, 14,5 x 10,5 cm © MKG, Museum für Kunst und carton...) Beinecke Rare Book & Manuscript Library Gewerbe Hamburg 46,5 x 22,5 cm Photo :© Filippo Tommaso Marinetti Papers. General Collection, © Collection privée Beinecke Rare Book and Manuscript Library

Anonyme, Jean Arp with navel- Jean Arp et Sophie Taeuber- Nic Aluf, Sophie Tauber-Arp monocel, c 1926 Arp, Symétrie pathétique, 1916 avec tête Dada, Zurich, 1920 Stiftung Arp e.V., Berlin/ - 1917 Stiftung Arp e.V., Berlin/ Rolandswerth Coton, 76 x 65 cm Rolandswerth Paris, Centre Pompidou, Musée national d’art moderne © Centre Pompidou, MNAM- CCI/Jacqueline Hyde/Dist. RMN-GP © Adagp, Paris, 2018

39 Aleksander Rodchenko Varvara STEPANOVA Aleksander Mikhailovich Eileen Gray, E 1027, Rodchenko and Stepanova Autoportrait Rodchenko Self Portrait 1920 intérieur du living-room, “Wandering Musicians 1922 1920 Huile sur toile 84,5 x 65 cm publiée dans Eileen Gray et Richard Saltoun Gallery Huile sur contreplaqué Rodchenko and Stepanova Jean Badovici, E1027. Maison © Estate of the Artist 71 x 52,5 cm Archives en bord de mer, numéro spécial © Courtesy of Richard Saltoun Musée d'Etat des Beaux-Arts A.S de L’Architecture vivante, 1929 Gallery Pouchkine, Moscou

Anonymous, Josef and Anni Black Anni Albers Memo 1958 Josef Albers Affectionate (Homage to Mountain College Ca. 1935 Laine the Square) 1954 The Josef & Anni Albers 33,02 x 60,96 cm Huile sur Isorel Foundation The Joseph H. Hirshhorn 81 x 81 cm © Albers Foundation/Art Bequest, 1981 Collection Centre Pompidou, Paris Resource, NY Photography by Cathy Carver. Musée national d’art moderne - Hirshhorn Museum and Centre de création industrielle Sculpture Garden, Washington, D.C. © Centre Pompidou,MNAM-CCI/ © Adagp, Paris 2018 Bertrand Prévost /Dist. RMN-GP © The Josef and Anni Albers Foundation © Adagp, Paris 2018

40 Nickolas Muray Frida et Diego Maquette de la Casa-estudio de Diego Rivera et Frida Kahlo conçue par Juan Frida Kahlo, “The Frame“ (“Le cadre“, avec chapeau 1939 O'Gorman à San Angel, Mexico Portrait de l'artiste, Autoretrato Epreuve gélatino argentique Maquette: École nationale supérieure d'architecture de Nancy 2010 (Autoportrait)), 1938 33,02 x 27,94 cm Commissaires d’exposition : Laurent Beaudouin et Danièle Pauly Frida Kahlo, The Frame (“Le cadre“, Throckmorton Fine Art Maquettistes: Julie Bientz, Julien Grentzinger, Thomas Pierrot, Sylvain Portrait de l'artiste, Autoretrato Courtesy Throckmorton Fine Wintz. Coordination: Laurent Beaudouin et Jean-Marc Gaspari (Autoportrait)), 1938 Arts; © Nickolas Muray Photo 89 x 66 cm Profondeur ou épaisseur : 31,5 cm © Service de la documentation Archives © Ecole nationale supérieure d'architecture de Nancy photographique du MNAM - Centre Photo by Nickolas Muray, © Photo © Laurent Beaudouin Pompidou, MNAM-CCI /Dist. RMN-GP Nickolas Muray Photo Archives © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Adagp, Paris 2018

Vue de la Casa-estudio de Diego Charles & Ray Eames posant sur Rivera et Frida Kahlo conçue la structure en acier de la Case par Juan O'Gorman à San Study House n°8 1949 Angel, Mexico Modern Print © Museo casa estudio Diego © 1949, 2018 Sames Office LLC Rivera y Frida Kahlo/INBA/ (eamesoffice.com) secretaria de cultura/México

41 Max Ernst Attirement of the Dorothea Tanning et Max Ernst Max Ernst, Capricorne, Dorothea Tanning Un tableau très Bride (La Toilette de la mariée), avec sa sculpture, Capricorn, 1948 / 1964 heureux 1947 1940 1947 Bronze, 245 x 207 x 157 cm / Huile sur toile 91,1 x 122cm Huile sur toile, 129.6 x 96.3 cm Photograph by John Kasnetsis Poids : 950 kg Collection Centre Pompidou, Paris Peggy Guggenheim Collection, © John Kasnetsis Paris, Centre Pompidou, Musée Musée national d’art moderne - Venice © Adagp, Paris, 2018 national d'art moderne Centre de création industrielle Solomon R. Guggenheim © Philippe Migeat - Centre © Centre Pompidou, MNAM-CCI/ Foundation, New York Pompidou, MNAM-CCI /Dist. Service de la documentation © ADAGP, Paris 2018 RMN-GP photographique du MNAM/Dist. Photograph by David Heald © Adagp, Paris, 2018 RMN-GP © The Estate of Dorothea Tanning © Adagp, Paris

Lee Miller Leonora Carrington Dora Maar, Pablo Picasso, Paris, Pablo Picasso, Portrait de Dora Maar (Henriette Théodora & Max Ernst, Lambe Creek, studio du 29, rue d’Astorg, Hiver femme, 1938 Markovitch, dit) Sans titre [Main- Cornwall, England 1937 1935-1936 Huile sur toile, 98 x 77,5 cm coquillage] 1934 Titre attribué : Modern Print Photo © Centre Pompidou, Paris, Centre Pompidou, Musée Main de mannequin sortant d'un © Lee Miller Archives, England MNAM-CCI, Dist. RMN- national d’art moderne coquillage 2018. All rights reserved. www. Grand Palais / image Centre © Centre Pompidou, MNAM- Epreuve gélatino argentique leemiller.co.uk Pompidou, MNAM-CCI CCI/Georges Meguerditchian/ contrecollée sur carton 40,1x28,9 cm © Adagp, Paris, 2018 Dist. RMN-GP Collection Centre Pompidou, Paris © Succession Picasso 2017 Musée national d’art moderne - Centre de création industrielle © Centre Pompidou,MNAM-CCI Jacques Faujour /Dist. RMN-GP © Adagp, Paris 2018

42 Claude Cahun (Lucy Schwob, Claude Cahun (Lucy Schwob, dit) Claude Cahun (Lucy Schwob, dit) Nadja (Léona Camille Guilaine dit) Suzanne Malherbe/Marcel Self-portrait (refelcted image in Auto-portrait don’t kiss me I am in Delcourt, dit) Un regard d'or de Nadja Moore 1928 mirror, checked jacket) 1928 training Vers 1927 1926 © Jersey Heritage, Jersey © Jersey Heritage, Jersey Tirage argentique Mine graphite et crayon de couleur 10 x 7,9 sur papiers découpés, épinglés et Collection Natalie & Léon collés sur papier noir 32,4 x 19,5 cm Seroussi, Paris Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle © Centre Pompidou, MNAM-CCI/ Georges Meguerditchian/Dist. RMN-GP

Man Ray Valentine Hugo devant André Breton, Valentine Hugo, Claude Cahun, André Breton André Breton, Jacqueline Lamba, Yves son tableau Les Surréalistes 1935 Autres Collaborateurs Cadavre et Jacqueline Lamba with Tanguy, Cadavre exquis 7 février 1938 épreuve gélatino-argentique exquis 1931 reflection, 1935 Collage de gravures découpées sur 9,4x8,1cm Crayon de couleur sur papier 31,6 x 24 Claude Cahun papier 25,2 x 16,2 cm Collection Centre Pompidou, Paris Collection Centre Pompidou, Paris André Breton et Jacqueline Collection Centre Pompidou, Paris Musée national d’art moderne - Musée national d’art moderne - Lamba with reflection Musée national d’art moderne - Centre de création industrielle Centre de création industrielle 1935 Centre de création industrielle © Centre Pompidou,MNAM-CCI/ © Centre Pompidou,MNAM-CCI/ © Jersey Heritage, Jersey © Centre Pompidou,MNAM-CCI/ Guy Carrard /Dist. RMN-GP Philippe Migeat/Dist. RMN-GP Georges Meguerditchian/Dist. RMN-GP © Man Ray Trust / © Adagp, Paris © Adagp, Paris 2018 / © Adagp, Paris 2018 2018 © droits réservés

43 Man Ray (Emmanuel Radnitzky, Man Ray (Emmanuel Radnitzky, MAN RAY (Emmanuel RADNITZKY, Romaine Brooks et Natalie dit) Henry Crowder 1930 dit) Man Ray endormi Vers 1930 dit) Modèle de La Prière Autoportrait Clifford Barney 1920 épreuve gélatino-argentique Epreuve gélatino-argentique avec un nu allongé, vers 1930 9x13cm 8,9x6cm 8,1x5,8cm Epreuve gélatino-argentique Collection privée Collection Centre Pompidou, Paris Collection Centre Pompidou, Paris 4,7 x 7,8 cm Photo : Thomas Hennocque Musée national d’art moderne - Musée national d’art moderne - Collection Centre Pompidou, Paris Centre de création industrielle Centre de création industrielle Musée national d’art moderne - © Centre Pompidou,MNAM-CCI/ © Centre Pompidou,MNAM-CCI/ Centre de création industrielle Guy Carrard /Dist. RMN-GP Guy Carrard /Dist. RMN-GP © Centre Pompidou, MNAM-CCI/Guy © Man Ray Trust / © Adagp, Paris © Man Ray Trust / © Adagp, Paris Carrard/Dist. RMN-GP 2018 2018 © Man Ray Trust / Adagp, Paris, 2018

Eileen Agar Rocks in Joseph Bard Eileen Agar lying on Maria Martins Sans titre c.1947 Marcel Duchamp Prière de toucher Ploumanach Juillet 1936 a carpet Septembre 1938 Bronze 32 x 25 x 9 cm 1947 Négatif 6,4 x 6 cm - Modern Negatif : 6,2 x 6 cm - Modern © Estrellita and Daniel Brodsky Caoutchouc mousse [latex] collé print print Collection sur velour noir, découpé et collé © Tate, London 2018 © Tate, London 2018 sur carton 24,3 x 20,8 cm © Droits réservés Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Succession Marcel Duchamp © Adagp, Paris 2018

44 Vassily Kandinsky Improvisation Gabriele Münter Abendrot 1909 Alexej von Jawlensky Marianne von Werefkin III, 1909 Huile sur papier Landschaft bei Murnau Tragische Stimmung 1910 Collection Centre Pompidou, 32,9x40,6cm 1909/1910 Tempera sur papier et carton Paris Musée national d’art Collection privée Öl auf Papier auf Karton 48,5 x 60cm moderne - Centre de création © ADAGP, Paris, 2018 aufgezogen Collezione Comune di Ascona industrielle Schloßmuseum Murnau Fondazione Marianne Werefkin, © Centre Pompidou, MNAM-CCI/ Loaned by The Kasser Mochary Museo Comunale d’Arte Moderna Adam Rzepka/Dist. RMN-GP Foundation, Montclair, New Ascona Jersey

Alfred Stiglitz Lettre adressée Alfred Stieglitz Lake George Georgia O'Keeffe Red, Yellow and Black à Georgia O’Keeffe avec une Entre 1922 et 1923 Streak 1924 photographie de Georgia O’Keeffe Epreuve argentique Huile sur toile et Alfred Stieglitz s’embrassant à Fonds appartenant à Jean- 101,3 x 81,3 cm Lake George 1929 Léon Gérôme et Aimé Morot Collection Centre Pompidou, Paris encre sur papier et PHO2003-8-10 Musée national d’art moderne - photographie noir et blanc Paris, musée d'Orsay Centre de création industrielle 27,9 x 21,6cl Photo © RMN-Grand Palais © Centre Pompidou, MNAM-CCI/ Beinecke Rare Book & (musée d'Orsay) / Hervé Philippe Migeat/Dist. RMN-GP Manuscript Library Lewandowski

45 Jindrich Styrsky Vilém Tell 1931 Jindrich Styrsky Sans titre 1933 Jindrich Styrsky Sans titre 1933 Maquette pour l’édition luxe de Maquette #4 pour Emilie comes Maquette #9 pour Emilie Comes la revue Eroticka to Me in a Dream to Me in a Dream Collage d'épreuve gélatino- Collage d'épreuve gélatino- Collage d'épreuve gélatino- argentique et papier découpés argentique et papier découpés argentique et papier découpés en en demi-teinte sur “buff stock“ en demi-teinte demi-teinte Dim. périodique, livre, livret : 29,2x 24,1 cm 30,5 x 23,8cm 28,6 x 39,7 cm Ubu Gallery, New York Ubu Gallery, New York Ubu Gallery, New York

Barbara Hepworth Conoid, Sphere Ben Nicholson 1934 (Relief) 1934 and Hollow III 1937 Oil, graphite and incised Marbre coloured card 8 x 8 cm 32 x 35,5 cm © Kettle's Yard, University of Profondeur ou épaisseur : 30,5 cm Cambridge. Barbara Hepworth © Bowness © Adagp, Paris 2018 Photo : © Government Art Collection

46 Aino et Alvar Aalto à New York au Alvar Aalto Devanture du Vue d’exposition de la Présentation des Collections , Musée, Niveau 5, printemps 1939 magasin Artek à Helsinki 1939 Centre Pompidou, Paris. 2000 Construction du pavillon Modern Print Œuvres représentées de gauche à droite : R.DELAUNAY, Rythmes, finlandais à l’exposition Alvar Aalto Foundation 19340.Donation de Sonia Delaunay et Charles Delaunay en 1964 internationale de New York /S.DELAUNAY. Prismes électriques, 1914. Achat de l'Etat, 1958.Centre conçu par Aino et Alvar. Pompidou, Paris, Musée national d’art moderne-Centre de création Modern Print industrielle Alvar Aalto Foundation © Pracusa S.A.© Centre Pompidou, MNAM-CCI/ Georges Meguerditchian

Vanessa Bell Abstract Painting Vanessa Bell Bathers in a Paul Nash Swanage 1936 1914 Landscape 1913 Collage with graphite, Huile sur toile 44,1 x 38,7 cm Détrempe sur papier monté sur watercolour and photographs, ©Tate, London 2018 toile, bois peint. 41,9 x 80,3 cm black and white on paper 40 x © Estate of Vanessa Bell, © Victoria and Albert Museum 58,1 cm courtesy Henrietta Garnett © Estate of Vanessa Bell, ©Tate, London 2018. courtesy Henrietta Garnett

47 Gustav Klimt Studie für die Gustav Klimt, Sitzende nackte Gustav Klimt Halbakt von vorne, Heinrich Bohler Gustav Klimt Tänzerin, 1907/08 Schwangere nach links, 1904/05 die linke Hand am rechten Fuß, et Emilie Flöge dans le jardin Crayon on paper Pencil on paper 1914/15 de l’atelier de Klimt au 21 rue 55 x 34.9 cm 55 x 35 cm Pencil on paper Josestädter Vers 1909 (Strobl 1660) (Strobl 1764) 57.1 x 37.5 cm Héliogravure Private Collection, Courtesy Private Collection, Courtesy (Strobl 2396) Österreichische National Richard Nagy Ltd., London Richard Nagy Ltd., London Private Collection, Courtesy ANL/VIENNE, Pf31.931 :E(2) Richard Nagy Ltd., London

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AGENCE CLAUDINE COLIN CENTRE POMPIDOU-METZ National and International Press Regional press Pénélope Ponchelet [email protected] [email protected]