Willi Baumeister International Willi Baumeister and European Modernity 1920s–1950s

November 21, 2014 — March 29, 2015

Works by Willi Baumeister 1909–1955. Works from the Baumeister Collection by Josef Albers, Hans Arp, Julius Bissier, Georges Braques, Carlo Carrà, Marc Chagall, Albert Gleizes, Roberta González, Camille Graeser, Hans Hartung, Wassily Kandinsky, Paul Klee, Franz Krause, Le Corbusier, Fernand Léger, El Lissitzky, August Macke, Otto Meyer-Amden, Joan Miró, László Moholy-Nagy, Amédée Ozenfant, Pablo Picasso, Oskar Schlemmer, Kurt Schwitters, Michel Seuphor, Gino Severini, Zao Wou-Ki

From the Daimler Art Collection: Hans Arp, Willi Baumeister, Max Bill, Camille Graeser, Otto Meyer-Amden, Oskar Schlemmer, Georges Vantongerloo

Daimler Contemporary Berlin Potsdamer Platz Berlin Introduction Renate Wiehager

Stuttgart artist Willi Baumeister (1889–1955) is one of the The collection comprises, among others, paintings by Wassily From the outset the Daimler Art Collection has, in both its most important German artists of the postwar period and Kandinsky, Hans Arp, Fernand Léger, and Kazimir Malevich. conception and its aims, gone well beyond mere corporate- among the most significant representatives of abstract paint- The focus of the exhibition is on central groups of works by image enhancement. In fact, over the years the collection ing. His influence as an avant-garde artist, as a professor at Willi Baumeister, ranging from his constructivist phase to the has become one of the leading European Corporate Collec- the School of Decorative Arts in Frankfurt am Main and after Mauerbilder and the late Montaru paintings as well as the tions and a living part of the corporation. Since it was inau- 1946 at the Stuttgart Academy, and as a major art theoreti- Afrika series. They offer an overview of the development of gurated in 1977 – with the acquisition of a picture by Willi cian could be felt far beyond Germany. Baumeister’s oeuvre and at the same time demonstrate his Baumeister – the inventory has grown to about 2,600 works international reputation. The works will be supplemented by today by some 700 German and international artists. The From early on, Baumeister was in close contact with French archival materials such as letters, newspaper articles, and collection represents an important range of predominantly artists and exhibited his works in Italy, Spain, France, and unpublished photographs that impressively illustrate the high abstract developments in art from the 20th century to the Switzerland. He could seamlessly resume these contacts degree to which he was recognized both in Germany and present day. Moreover, it includes some 30 large pieces of after the Second World War. The exhibition retraces his inter- abroad. Together they reveal the multifaceted image of an sculpture, automobile-related works done on commission as national relations to gallerists, collectors and art historians. artist who engaged in an intense exchange with the interna- well as photography, object- and media art that has been It will, for the first time, present parts of his private art col- tional art scene before and after the Second World War. built up systematically since 2001. lection, which he assembled through swapping his own works for paintings by his artist friends. The exhibition, conceived by the Kunstmuseum Stuttgart, has been adapted for Berlin and supplemented by works from the Daimler Art Collection. Willi Baumeister packing works for his exhibition at the Gallery Jeanne Bucher 2 Paris, 1949 3 f.l.: Willi Baumeister, Hans Arp, Friedrich Vordemberge-Gildewart f.l.: Adolf Fleischmann, Josef Albers Installation views, ‘Art from a hundred years 1909–2009’, Museum und Galerie im Prediger, 2009

Since the 1999 inauguration of the company’s own exhibition a dialogue with less recently acquired works. Since 2003 a space – Daimler Contemporary at Haus Huth on Potsdamer rotating selection of some 150 works at a time has gone Platz in Berlin – the systematic expansion of the collection on tour worldwide through major museums in Europe, the has been attentively followed by an international public. United States, South Africa, South America and Asia. New acquisitions for the Daimler Art Collection are presented there as well as internally, in Stuttgart, Berlin and Sindel­ fingen, in themed rotating exhibitions, where they enter into Installation view, ‘Novecento mai visto’, Brescia, 2013 4 5 f.l.: Ben Willikens, Josef Albers, Hans Arp f.l.: Oskar Schlemmer, Josef Albers, Camille Graeser, Johannes Itten

Installation views, ‘Classical : Modern I’, Daimler Contemporary, Berlin, 2006

Installation view, ‘Art & Stars & Cars’, Mercedes-Benz Museum, 6Stuttgart, 2011 7 In its early days the Daimler Art Collection focused mainly on pictures and particularly on artists from southern Germany, notably those connected with the Stuttgart Art Academy, including Adolf Hölzel and his pupils Oskar Schlemmer, Willi Baumeister, Johannes Itten, Ida Kerkovius, Camille Graeser and Max Ackermann, but also – extended to the European level – Hans Arp, Georges Vantongerloo, Otto Meyer-Amden and Max Bill. What they all had in common was an artistically motivated interest in establishing an interdisciplinary dia- logue between fine art, functional product design, architecture and aesthetic theory. Linking up with this founding principle, the Daimler Art Collection is, despite its broad scope, clearly f.l.: Adolf Hölzel, Oskar Schlemmer, Willi Baumeister anchored in the ‘Classical : Modern’ exhibition and publica- tion series, the first part of which, in 2006, introduced the concrete and constructivist tendencies of early modernist art up to the post-war era by drawing primarily on the collection itself.

Installation views, ‘Classical : Modern I’, 8 f.l.: Willi Baumeister, Oskar Schlemmer, Ida Kerkovius Daimler Contemporary, Berlin, 2006 9 Renate Wiehager (Ed.): Kurt Leonhard, f.l.: Georg Meistermann, Fritz Winter, Willi Baumeister, Installation Cover ‘Avantgarden in Süddeutschland view, ‘Classical : Modern II’, Daimler Contemporary, Berlin, 2008 nach 1945’, Hatje Cantz 2012

The second part of the series, in 2008, focused on the avant- horizons that are intimately connected with south-west Ger- garde tendencies of post-war southern Germany. In 2012 this man art after 1945. In keeping with the focal point of our was followed by the third part of the series: a first compre- collection as it has evolved over the years, the exhibition hensive appreciation of Kurt Leonhard (‘Avantgarden in Süd- ‘Willi Baumeister International’ will go on to Berlin at Daimler deutschland nach 1945’; all related publications can be Contemporary in 2014/15 as the best possible sequel. obtained via www.art.daimler.com). Texts by Kurt Leonhard – art critic, lyric poet, philosopher, translator and curator who died in 2004 and was a close friend of Willi Baumeister’s – Installation views, ‘Willi Baumeister International’, and by Ottomar Domnick open up art-historical and historical Kunstmuseum Stuttgart, 2013/14

10 11 Installation views, ‘Willi Baumeister International’, 12Kunstmuseum Stuttgart, 2013/14 13 Willi Baumeister International Ilka Voermann and Hadwig Goez

More than most artists, Willi Baumeister is perceived as a exhibited there and he participated in the international de- At the outset of Willi Baumeister’s career ‘international’ German painter. This is particularly true of his late work, bates on art. meant France in the first instance. Like so many other young which is inextricably linked with the art history of post-war artists of his generation, Willi Baumeister was enthusiastic Germany. This perception is not completely erroneous be- about Paul Cézanne and the French Impressionists. His early cause Willi Baumeister was indeed strongly rooted in Ger- work is clearly indebted to both. In 1910 works of his were many, especially in his native Stuttgart, which he had left shown at the Württemberg Art Association along with those only while he was a professor at the School of Decorative of both French and German artists and received critical ac- Arts in Frankfurt am Main (now the Städelschule) and for claim. He had his first international success two years later, brief periods during the Second World War. This impression is in Switzerland, when the Galerie Neupert in Zurich showed reinforced by the fact that he championed abstract art in his work alongside that of Hermann Huber and Reinhold Germany after 1945, which made him a guiding spirit in the Kündig.1 Still it would be ten years before notice was taken of debate about the future of German art after the Second his work in France as well. World War. For all that, classifying Willi Baumeister solely as a leading German painter falls far short of his significance. He was deeply rooted in the international art scene and bound by close ties to it both before and after the Second World War. He was in contact with artists, art critics and Junge am Landungssteg [Boy on a Landing Stage], 1909 Oil on cardboard, glued on the back with paper collectors in Europe and beyond Europe; his works were Wall Picture at the space of the architect Richard Döcker, 14 Werkbund exhibition in Stuttgart 1922 15 Installation views, ‘Willi Baumeister International’, 16Daimler Contemporary, 2014/15 17 Ohne Titel (Figurentreppe I) Apoll II, 1921/22 [Untitled (Staircase of Figures I)], 1920 Lithograph Lithograph

During the early 1920s figuration continued to yield to simple within the international avant-garde. His work was also made geometric forms in Baumeister’s painting. Now Baumeister known in France through a positive article by Paul Ferdinand realigned himself with different role models, this time the Schmidt that was published in the ‘Kunstblatt’3 in 1921 and Russian Constructivists and the Dutch group of artists known a joint exhibition with Fernand Léger at the Der Sturm gallery as De Stijl.2 This was the context in which he developed his in Berlin in 1922. In addition an essay by Waldemar George own artistic stance, with the Wall Pictures featuring a unique on Baumeister’s painting was printed (also in 1922) in the blend of painting and architecture. Although the Wall Picture journal ‘L’Esprit Nouveau’, published by Le Corbusier and idea was in fact realized only once, in the room designed by Amédée Ozenfant.4 The Waldemar George article was the architect Richard Döcker at the 1922 Werkbund exhibi- Baumeister’s first contact with the French art scene and tion in Stuttgart, this work definitively positioned Baumeister would be followed up by a number of important events.5 Kopf [Head], 1920 Kopf [Head], 1920 Oil, graphite and sand on canvas Oil and sand on cardboard

18 19 left: Atelierbild [Studio Picture], 1925 Oil on canvas

right: Maschinenbild [Machine Picture], 1924 Oil on canvas

left: Drei gestaffelte Figuren [Three Staggered Figures], 1920 Oil, tempera and papier-mâché on canvas

right: Apoll und der Maler [Apollo and the Painter], 1921 Oil on canvas Figur mit Streifen II [Figure with Stripes II], 1920 Figur mit Prismafarben [Figure with Prism Colors], 1924 Oil and papier-mâché on canvas Oil and sand on canvas

20 21 Installation view, ‘Willi Baumeister International’, 22Daimler Contemporary, 2014/15 23 In 1924 Ozenfant and Le Corbusier, with whom Baumeister had been corresponding regularly, invited him to Paris, where he met many other artists, including Piet Mondrian, Hans Arp and Fernand Léger. The following year saw Baumeister’s work presented for the first time to the French public, at ‘L’Art d’aujourd’hui’, where it met with a very positive response. By 1927 the Galerie d’Art Contemporain had dedicated a solo show to Baumeister, his first in Paris. Willi Baumeister had indeed succeeded in gaining a firm Group picture in Paris 1926, Fernand Léger and Willi Baumeister, Paris 1930 Second from left: Max Ackermann, sixth from left: Enrico Prampolini, foothold in the Paris art scene. How unusual his success in seventh from left: Willi Baumeister, third from right: Adolf Loos, second France was cannot be overstated at this juncture. On the from right: Piet Mondrian, far right: Michel Seuphor Kreisbild I [Circle Image I], 1921 Oil and graphite on canvas whole German artists found it very difficult to be taken notice of at all in France after the First World War. Relations between the French and German art scenes were notable for seething tensions, and the art produced by Germans due above all to his painting, which was perceived as ‘un- romantic overtones persisted. Baumeister’s art, on the tended to be classified by the French as rather backward.6 German’. In his 1931 essay ‘Baumeister et l’art allemand’, other hand, was “a form of world art and a collective That Willi Baumeister should have been the one to garner Waldemar George stressed the fact that German painting style”.7 Exhibition Willi Baumeister at the Gallery d’Art rave reviews from French artists and art critics alike was was so strongly dominated by Expressionism that mystical Contemporain Paris, 1927

24 25 Baumeister’s success on the international art scene was duly noted in Germany and admired, especially by his fellow ar­ tists. Wassily Kandinsky wrote to Baumeister in 1931: “About a year ago I was in Paris briefly and noticed while there, too, that the French are very much interested in you. And there are only very few German artists who are taken seriously there, which, after all (between you and me), is hardly sur- Group picture at the Bauhaus Oskar Schlemmer and Willi Weimar 1925, top left: Herbert Baumeister, Frankfurt am Main prising. And for the following reason: what is easy for a Bayer, top right: Walter Gropius, 1932 Frenchman is difficult for a German artist – crossing the beneath: Willi Baumeister, second row left outside: Oskar 8 border.” Baumeister’s appointment to a professorship for Schlemmer, bottom right with commercial art, typography, textile printing and photography raised hand: Josef Albers at the School of Decorative Arts in Frankfurt am Main in 1928 can also be put down to his international reputation.9 also constantly reverted to earlier themes, including Der Maler [The Painter], and developed them further. Nor did In the 1930s Baumeister’s work was shaped by numerous his success in Paris wane. In 1930 the Galerie Bonaparte parallel trends. That decade saw him produce very different mounted a solo show of Baumeister’s most recent work and groups of works, such as the Little Flame and Line Pictures, the following year saw the publication of two important the Sport Pictures II and the Valltorta Pictures. Baumeister French monographs devoted to his work: Will Grohmann Installation view, ‘Willi Baumeister International’, 26Daimler Contemporary, 2014/15 27 Maler mit Palette [Painter with Palette], 1929 Oil and sand on canvas

wrote the first Baumeister monograph for thePeintres Nou- veaux series10 and the ‘Sélection’11 series of artist mono- graphs devoted a volume to him. Le Corbusier congratulated him on this success in a letter dated 16 February 1931: “I am Der Maler mit delighted to see the strong performance of your works as- Punkten [Painter with Points], 1932 sembled here. All this is enormously pictorial. Your drawings Oil on canvas Installation view, ‘Willi Baumeister International’, 28 Daimler Contemporary, 2014/15 29 are very fine. Since you started out in 1920 you have circulation: he sent Westerdahl a list of addresses to which exhibition, with essays by Albert Sartoris, an architect who been both sound and interesting. The future is bound to he was to dispatch the monograph.16 The list included both curated the exhibition, and Eduardo Westerdahl.18 Distin- be yours.”12 the names of numerous fellow artists as well as the ad- guished fellow artists such as Le Corbusier and Wassily Kan- dresses of international galleries. That is how the Westerdahl dinsky also contributed dedications to the catalogue. Initially The Baumeister monograph that Will Grohmann had written monograph reached the Casa d’Arte Bragaglia gallery in it seemed doubtful whether Baumeister would be as success- in French was not only of great importance to his success in Rome and the Galleria del Milione in Milan, where it piqued ful in Italy as he had been in France. Reservations about France but also opened doors for him in Spain and Italy. the interest of Gino Ghiringhelli, the proprietor, who organ- non-representational art were in any case considerably more Since 1932 Willi Baumeister had been in contact with Ed- ized a Baumeister exhibition in 1935, which subsequently prevalent in Italy than in France. Kandinsky wrote to uardo Westerdahl, a Spanish art critic who was general editor went to the Casa d’Arte Bragaglia in Rome. One can only Kleine Flammen [Small Flames], 1931 Flämmchenbild [Flamelet Picture], Baumeister about this circumstance: “I am delighted that you Oil on canvas 1931 of the journal ‘gaceta de arte’ on Tenerife. From 1932 to imagine how overjoyed Baumeister must have been about his Oil on canvas are exhibiting in Milan because interest was aroused there. It 1938 it was a leading forum for the Spanish art scene.13 continuing success abroad. would also seem to be spreading elsewhere in Italy. Only, Baumeister had sent a copy of the Grohmann monograph to when the acquisition of his painting Atelier III [Studio III], by unfortunately, really serious things are not always shown Westerdahl, who reviewed it in an issue of ‘gaceta de arte’.14 In view of the situation in his native Germany his joy must the Städtische Galerie in Frankfurt am Main was decried there, i.e., the ›Grimaces‹ are not always avoided. And I am Grohmann’s monograph and regular correspondence with have been great indeed. After the National Socialists came to by the press as a waste of taxpayers’ money.17 certain that your works will be very instructive there. So the Baumeister gave Westerdahl the idea of writing a book on the power in 1933 Baumeister had been dismissed from his best of success!”19 The reviews of the Baumeister exhibition German artist. The monograph was published in 1934 with a teaching post in Frankfurt and had returned to Stuttgart. As Hence he must have been all the happier about the prospect turned out, however, to be very positive. Nonetheless, foreword by Willi Baumeister.15 In this case, too, Baumeister early as 1930 he had had a taste of the anti-modernist mood of being able to exhibit his work for the first time in Italy. The Baumeister’s Constructivist works, which had met with such took an active role in ensuring that the book had a wide that was becoming widespread on the German art scene Galleria del Milione published a ‘Bollettino’ to accompany the acclaim in France especially, were less popular in Italy, where

30 31 the works in which he had returned more noticeably to figu- ration were preferred.20 Carlo Carrà, an artist whose attitude to abstraction tended to be rather negative, had only praise for the development: “Among the many examples of abstrac- tion we are provided with internationally, Baumeister is dis- tinguished by his commitment to taking up stances that are more open-minded, more animated and humane than are usually encountered.”21 The highlight of Baumeister’s appear- ance in Milan was a talk he gave on his work a few days after the exhibition opened. Although he knew very little Italian, Baumeister managed to put across his arguments with the aid of explanatory drawings.22

Läufer mit sitzender Figur, 1934/35 Schreitende Figur [Striding Figure], 1934 Fliegende Formen [Flying Forms], 1937/38 Schwebende Formen mit Weiß [Floating Forms with White], [Runner with Sitting Figure] Oil and sand on canvas Stenciled shapes with printing ink on paper 1938, Oil on canvas Oil and sand on canvas

32 33 The exhibitions in Milan and Rome would remain some of the few opportunities for years to come for Baumeister to pre- sent his work abroad. The situation in Germany was looking considerably bleaker. In keeping with the National Socialist arts policy, Baumeister’s works were removed from public collections and, along with numerous works by other pro- scribed artists, shown at the notorious ‘Entartete Kunst’ exhibition of ‘degenerate’ art, which toured Germany from 1937. In 1941 Baumeister was forbidden to paint and to show work. Despite this difficult situation he still managed to be a presence to be reckoned with abroad. In 1937 he showed work at ‘konstruktivisten’ at the Basle Kunsthalle. Formlinge II [Formlings II], 1937 Formlinge III [Formlings III], 1937 Offset lithograph on Japanese paper Offset lithograph on Japanese paper What is more, he succeeded in sending about 90 works to the Kunsthalle in 1937 and 1938 for safekeeping, thus pre- venting the National Socialists from confiscating them.23 In 1937 the British poet and art critic Herbert Read informed Baumeister that he was planning an exhibition in London focusing on the work of artists vilified by the National Social- Installation view, ‘Willi Baumeister International’, 34Daimler Contemporary, 2014/15 35 Installation views, ‘Willi Baumeister International’, 36Daimler Contemporary, 2014/15 37 ists.24 ‘Twentieth Century German Art’, which opened at the New Burlington Galleries in London in July 1938, can be viewed as representing an anti-agenda that was intended to counter ‘Degenerate Art’. Baumeister was not unknown in London. At the suggestion of the painter Edward Wadsworth, Baumeister had shown work at ‘Recent Paintings by English, French and German Artists’, an exhibition at the Mayor Gal- lery in London in April 1933.25 Baumeister had his last international exhibition before the Second World War in 1939 at Galerie Jeanne Bucher in Paris, a tribute to him that came about only through the unswerving commitment to it shown by the gallerist herself.

Tennisspieler mit Kreis [Tennis Players with Circle], 1934 Oil and sand on canvas Installation view, ‘Willi Baumeister International’, 38 Daimler Contemporary, 2014/15 39 Ideogramm [Ideogram], 1937 Tori, 1938 Oil on cardboard Woodcut on paper

Tori, 1938 Oil on canvas

Illustration zu einem griechischen Text – Fotozeichnung [Illustration of a Greek Text – Photo-Drawing], 1944 40 Dialog-Zeichnung mit Montage [Dialogue-Drawing with Illustration zu einem griechischen Text, [Illustration Illustration zu einem griechischen Text [Illustration of Montage], 1944 of a Greek Text], 1944 a Greek Text], 1944 oder 1947

All: Charcoal/oil crayon and collage with photo and reproduction on mould-made Ingres paper

In the years that followed Baumeister was severely restricted in his work by the prevailing conditions. He did manage to Afrikanische Erzählung [African Tale], 1942 Owambo, 1944-48 keep in contact with a few colleagues abroad but corre- Oil with synthetic resin and putty on cardboard Oil with synthetic resin, putty and sand on hardboard spondence with them often had to take place through devi- ous channels and third parties. Despite the adverse condi- tions Baumeister succeeded in continuing to work and to develop further within the framework of possibilities still open to him. During this period of ‘inner emigration’ he did some painting but also produced mainly cycles of drawings, Illustration zu einem griechischen Text [Illustration of a Greek Text], 42 1943 43 The end of the war ushered in a new wave of success for Willi Baumeister. By 1946 he had been appointed professor of painting at the State Academy of Fine Arts in Stuttgart. Both the French and the American occupying powers soon realized that Baumeister was a leading exponent of abstract art in Germany and viewed him as linking pre-war and post-war German art. Their high opinion of Baumeister was based above all on his having never abandoned the moral high Cover ‘Das Unbekannte in der Baumeister, curtain to Manuel de Fallas ground, his managing to continue working even during the Kunst’, Gustav Schwab Verlag, ‘Liebeszauber’ for the Stuttgarter Stuttgart 1947 Staatsoper, Cover ‘Der Spiegel’, Novem- period of ‘inner emigration’ and his maintaining contacts with ber 1947 the international art scene, which he renewed after the war. in which he addressed biblical themes and other narratives.26 On post-war visits to Paris Baumeister also forged important In 1942 or 1943 he began writing ‘Das Unbekannte in der new ties, including one with Nesto Jacometti, who was the Kunst’ [The Unknown in Art], which after the war ended co-founder of the journal ‘Guilde internationale de la gra- would become one of the most important theoretical works Willi Baumeister in his studio, Stuttgart 1947 Willi Baumeister with his daughter Krista, Stuttgart 1949 vure’, the British artist Stanley William Hayter, Fernand Grain- on abstract art in Germany.27 dorge, a collector, James Johnson Sweeney, director of the Solomon R. Guggenheim Museum and even the writer Henry

44 45 Willi Baumeister in his apartment Gerokstraße, Willi Baumeister and Hans Arp, 1955 Stuttgart 1946

Miller. After 1945 Baumeister did his utmost to promote a year later Baumeister had his first post-war solo show, at cultural exchange, especially with France.28 In 1949 he took the Galerie Jeanne Bucher. That was the first exhibition any his Stuttgart students to Paris, where they visited French German artist had in France after the Second World War. artists and museums. The cultural reunion with France By then at the latest Baumeister had arrived in France once reached a high point in 1948, when Baumeister’s painting again. In 1948 he wrote in a letter to Michel Seuphor: “opéra Jour heureux was presented to the French government to seal wrote: ›… baumeister, le picasso allemand …‹ that’s overdoing the reconciliation between France and Germany in exchange it a bit, un peu trop!”30 for 90 French prints, which had been given to the Kunsthalle Karlsruhe by the Division de l’Education Publique.29 Only Installation view, ‘Willi Baumeister International’, 46 Daimler Contemporary, 2014/15 47 Funktion einer (Form) Bewegung (auf Gelb), 1949 [Function of a (Form) Movement (on Yellow)] Oil with artificial resin, filler and sand on hardboard Installation views, ‘Willi Baumeister International’, 48Daimler Contemporary, 2014/15 49 Willi Baumeister, 1952

After 1945 Willi Baumeister’s range began to include coun- in 1952, at the Hacker Gallery in New York. He also had work tries outside Europe. Although the prewar avant-garde art in major group shows at the Guggenheim Museum and the scene had primarily concentrated on Europe, after the war Carnegie Institute in Pittsburgh. The Pittsburgh exhibition the importance of non-European art, especially American art, subsequently went on tour to San Francisco and, thanks to it, Ruhe und Bewegung II [Repose and Movement], 1948 Metamorphose schwarz [Black Metamorphosis], 1950 grew by leaps and bounds. Long before, in 1926, Willi a major American museum acquired a Baumeister. Through Oil with artificial resin on hardboard Oil with synthetic resin on hardboard Baumeister had shown work at the ‘International Exhibition the agency of German-born curator Charlotte Weidler, the of Modern Art’ mounted by the Société Anonyme in New Albright-Knox Art Gallery in Buffalo acquiredWachstum York, but it was not until after 1945 that he was really appre- [Growth], in 1953. The painting is still there.31 ciated in the United States. He had his first US solo show

50 51 Wind, 1951 Oil with synthetic resin and tempera on hardboard Installation view, ‘Willi Baumeister International’, 52 Daimler Contemporary, 2014/15 53 While he was enjoying such success in the US, Baumeister also triumphed in Brazil, where he took part in the first São Paulo Biennal, in 1951. He was given the Biennal Special Award in São Paulo for the painting Kosmische Geste [Cosmic Gesture], which he promptly donated to the Museu de Arte Kessaua II, 1953 Moderna de São Paulo.32 In the 1950s Baumeister’s work Oil and synthetic resin on hardboard was shown at exhibitions worldwide. Apart from the Venice Biennale and the International Art Exhibition in Japan, it was the touring exhibitions initiated by the German Arts Council that made Baumeister famous around the world. The German Arts Council exhibitions took his work to South Africa, New Zealand, Australia and India.33 The importance of Baumeister’s work and his influence as

Schwarzer Fels mit an art theorist grew apace in Germany as well. His growing rötlichem Grund post-war reputation on all counts was triggered by his partici- [Black Rock with Montaru auf Rosa Reddish Ground], pation in the 1950 ‘Darmstadt Discussions’, in which he [Montaru on Pink], 1954 defended abstraction against arguments advanced by the art 1953 Oil with synthetic Oil with synthetic resin resin on hardboard historian Hans Sedlmayr. Baumeister’s hands-on committ- and filler on hardboard

54 55 Großes Montaru [Large Montaru], 1953 Oil with synthetic resin on hardboard Installation view, ‘Willi Baumeister International’, 56 Daimler Contemporary, 2014/15 57 Monturi mit blauem Dreieck [Monturi with Blue Triangle], 1954 Oil with synthetic resin and sand Installation view, ‘Willi Baumeister International’, 58Daimler Contemporary, 2014/15 59 ARU, 1955 ARU-Linie [ARU-Line], 1955 Oil with synthetic resin on hardboard Oil with synthetic resin on hardboard ment to the cause of abstract painting made him a trailblazer not been granted a visa. In 1950, however, he was elected for it in Germany and a role model for the younger generation president of the congress, which, under his stewardship, was of abstract German painters.34 held in the prehistoric caves at Altamira.35 On that occasion he finally managed to meet his old acquaintance Eduardo He also took part in debates abroad on the future of painting. Westerdahl for the first time. After the congress ended In 1950 he attended the second congress of the Escuela de Wester­dahl, like so many other fellow artists, wrote a dedica- Altamira, which had embarked on a mission of reviving mod- tion to Baumeister: “Twenty years later or Willi Baumeister. ern art in Spain. In 1949 Baumeister had wanted to take part On visiting a museum in Germany a picture appeared to me. in the first congress but was unable to do so because he had Installation view, ‘Willi Baumeister International’, 60 Daimler Contemporary, 2014/15 61 Years later this picture would be the hand of a man who is developed with reference to the art of all times and peoples – full of genius and wit.”36 ranging from the Assyrians to Paul Klee, Kandinsky and Miró. And, sidestepping Expressionism, he resolutely went his own No other artist matched Willi Baumeister in taking up where very independent and distinctive way.”37 he had left off with the international success achieved before the Second World War. Nonetheless, the esteem he enjoyed in Germany after 1945 is inextricably linked to the interna- tional reputation he had had before the war. Baumeister’s international fame rested in great measure on his ability to make contacts and maintain those ties over long distances and under adverse circumstances as well as on the thrust of his work itself, which had been orientated towards the international avant-garde since the outset of his career. As Fernand Léger wrote on Baumeister’s painting in 1949: “As I see it the name Baumeister occupies an extremely important place among modern German artists. Indeed ARU auf Beige [ARU on Beige], 1955 ARU 1, 1954 Baumeister represents – when one considers his work – Oil with synthetic resin on hardboard Oil with synthetic resin on hardboard German art of an international character. His art has always

62 63 Endnotes

1 Dieter Schwarz, Baumeister und L’Esprit Nouveau, 15 (1922), pp. Will Grohmann, Pierre Flouquet, 12 »Je suis heureux de voir la belle 17 Padberg 2005 (see note 2), p. 58. 24 Letter from Herbert Read to Willi 29 Ibid., p. 20. 33 See the numerous Deutscher die Schweiz, in: Willi Baumeister: 1790–94. Waldemar George, Hans Arp, Karl tenue de vos œuvres, ici rassemb- Baumeister, 30 October 1937, Kunstrat exhibition brochures in 18 Willi Baumeister, in: Il Milione: 30 Letter from Willi Baumeister to Gemälde und Zeichnungen, exh. Konrad Düssel, Josef Gantner, lés. Tout cela est éminement pictu- Baumeister Archives at the the Baumeister Archives at the 5 For Baumeister’s activities in Bollettino della Galleria del Mili- Michel Seuphor, 17 February cat. (Museu Fundación Juan Christian Zervos, Michel Seuphor, ral. Vos dessins sont très beaux. Kunstmuseum Stuttgart. Kunstmuseum Stuttgart. France, see also the essay by one, 13/41 (1935), n.p. 1948, copy in the Baumeister March, Palma, Kunstmuseum Fernand Léger, Le Corbusier, Ernst Dès 1920, votre départ vous êtes Brigitte Pedde, Willi Baumeister in 25 Willi Baumeister, diary entry, 17 Archives at the Kunstmuseum 34 For Willi Baumeister’s role in the Winterthur and MART Museo di Schön and Willi Baumeister), p. sain et interessant. Vous allez à 19 Letter from Wassily Kandinsky to Frankreich, in: Willi Baumeister March 1933. »Wadsworth writes Stuttgart. debate about the future of German Arte Moderna e Contemporanea di 16f. l’avenir avec sécurité.« Letter from Willi Baumeister, 17 March 1935, International, exh. cat. Kunstmu- about 2 pictures for the inaugural art in the post-war era see the Trento e Rovereto, 2011–12; Le Corbusier to Willi Baumeister, Baumeister Archives at the 31 Letter from Edgar C. Schenck to seum Stuttgart, MKM, Museum 8 Letter from Wassily Kandinsky to exhibition at a new gallery in essay by Sabine Fastert, »Häupling Düsseldorf, 2011), pp. 30 and 16 February 1931, Baumeister Kunstmuseum Stuttgart. Willi Baumeister, 3 April 1953, Küppersmühle für Moderne Kunst, Willi Baumeister, 19 April 1931, London: Mayor Gallery.« der Moderne«. Willi Baumeister 27–43 passim. Archives at the Kunstmuseum Baumeister Archives at the Duisburg, Daimler Art Collection Baumeister Archives at the 20 Elena Pontiggia, Baumeister und und die Kunstdebatte nach 1950, Stuttgart. 26 Andreas Schalhorn: Lebenszeichen Kunstmuseum Stuttgart. For 2 Martina Padberg, ›Nichts ist Haus Huth, Berlin. München, Kunstmuseum Stuttgart. die Galleria del Milione, in: Willi in Willi Baumeister International. aus der inneren Emigration. Willi Baumeister’s US contacts, see the abstrakt gemeint‹: Positionsbe- 2013, pp. 30-41. 13 Paloma Alarcó, Willi Baumeister Baumeister: Gemälde und Zeich- exh. cat. Kunstmuseum Stuttgart, 9 Padberg 2005 (see note 2), p. 57. Baumeister Uracher Jahre und die essay by Peter Chametzky: Ver- stimmung in Frankfurt: Anmerkun- und Spanien: Gemeinsamkeiten nungen, exh. cat. (Museu Funda- MKM, Museum Küppersmühle für 6 Christian Derouet, Baumeister et Zeichnungsfolge »Saul« und passte Chancen, Missverständ- gen zu Kontinuität und Innovation 10 Will Grohmann, Willi Baumeister: und Einflüsse, in: Willi Baumeister, ción Juan March, Palma, Kunstmu- Moderne Kunst, Duisburg, Daimler Cahier d’Art: Un prêté pour un »Salome«, in: Willi Baumeister nisse. Baumeister und die Verei- im Werk von Willi Baumeister, in: Les Peintres Nouveaux, Paris, exh. cat. (Sala de Exposiciones seum Winterthur and MART Museo Art Collection Haus Huth, Berlin. rendu, in: Willi Baumeister et la International, exh. cat. Kunstmu- nigten Staaten, in: Willi Baumeister Willi Baumeister 1889–1955: Die 1931. Fundación Caja Madrid and di Arte Moderna e Contemporanea München, 2013, pp. 66-77. France, exh. cat. (Musée seum Stuttgart, MKM, Museum International, exh. cat. Kunstmu- Frankfurter Jahre 1928–1933, exh. Städtische Galerie im Lenbach- di Trento Trento e Rovereto, d’Unterlinden, Colmar, and Musée 11 Willi Baumeister: Chronique de la Küppersmühle für Moderne Kunst, seum Stuttgart, MKM, Museum 35 Alarcó 2004 (see note 13), p. 66f. cat. (Museum Giersch, Frankfurt haus, Munich) Munich, 2004, pp. 2011–12) Düsseldorf, 2011, pp. d’Art Moderne, Saint Étienne, vie artistique, Sélection, vol. XI Duisburg, Daimler Art Collection Küppersmühle für Moderne Kunst, am Main), Frankfurt am Main, 52f. and 51–73 passim. 115 and 111–20 passim, esp. p. 36 Cited in Alarcó 2004 (see note 1999–2000), Paris, 1999, pp. 83 (Antwerp, 1931) (with essays by Haus Huth, Berlin. München, Duisburg, Daimler Art Collection 2005, pp. 53 and 51–62 passim. 115. 13), p. 72. and 82–92 passim. Will Grohmann, Pierre Flouquet, 14 Ibid., p. 54. 2013, pp. 56-65. Haus Huth, Berlin. München, 3 Paul Ferdinand Schmidt, Willy Waldemar George, Hans Arp, Karl 21 Carlo Carrà, Willi Baumeister, 2013, pp. 42-55. 37 Fernand Léger, Willi Baumeister, 7 »une forme d’art mondiale, et d’un 15 Eduardo Westerdahl, Willi Bau- 27 Willi Baumeister, Das Unbekannte Baumeister, Das Kunstblatt, 5/9 Konrad Düssel, Josef Gantner, L’Ambrosiano (1935). L’Âge Nouveau, 44 (1949), p. 71. style collectif«. Waldemar George, meister (Tenerife, 1934). in der Kunst, Stuttgart, 1947. 32 Letter from Willi Baumeister to (1921), pp. 276–79. Christian Zervos, Michel Seuphor, Baumeister et l’art allemand, in: 22 Pontiggia 2011 (see note 20), p. Francisco Matarazzo Sobrinho, 21 Fernand Léger, Le Corbusier, Ernst 16 A copy exists in the Baumeister 28 Martin Schieder, Im Blick des 4 Waldemar George, La Peinture en Willi Baumeister: Chronique de la 114. December 1951, copy in the Schön and Willi Baumeister). Archives at the Kunstmuseum Anderen: Die deutsch-französi- Allemagne: Willi Baumeister, vie artistique, Sélection, vol. XI Baumeister Archives at the Stuttgart. 23 Schwarz 2011 (see note 1), p. 37f. schen Kunstbeziehungen 1945– (Antwerp, 1931) (with essays by Kunstmuseum Stuttgart. 1959, Berlin, 2005, pp. 122–26.

64 65 List of Works

Willi Baumeister Kopf [Head], 1920 ➝ P. 19 Kreisbild I [Circle Image I], 1921 ➝ P. 25 Maler mit Palette [Painter with Palette], ➝ P. 28 (1889 Stuttgart, D – 1955 Stuttgart, D) Oil, graphite and sand on canvas Oil and graphite on canvas 1929 Junge am Landungssteg [Boy on a ➝ P. 14 45,5 × 33 cm 57,5 × 74,5 cm Oil and sand on canvas Landing Stage], 1909 Baumeister Archives at the Kunst­ Baumeister Archive at the Kunst­ 65 × 54 cm Oil on cardboard, glued on the back museum Stuttgart museum Stuttgart Private collection with paper 34,1 × 45,8 cm Figur mit Streifen II [Figure with Stripes ➝ P. 21 Maschinenbild [Machine Picture], ➝ P. 20 Flämmchenbild [Flamelet Picture], ➝ P. 31 Kunstmuseum Stuttgart II], 1920 1924 1931 Oil and papier-mâché on canvas Oil on canvas Oil on canvas Drei gestaffelte Figuren [Three Stagge- ➝ P. 20 73,5 × 52 cm 65 × 54 cm 65,5 × 46,5 cm red Figures], 1920 Private collection Private collection Baumeister Archive at the Kunst­ Oil, tempera and papier-mâché on museum Stuttgart canvas Apoll und der Maler [Apollo and the ➝ P. 20 Figur mit Prismafarben [Figure with ➝ P. 21 34,1 × 45,8 cm Painter], 1921 Prism Colors], 1924 Kleine Flammen [Small Flames], 1931 ➝ P. 31 Kunstmuseum Stuttgart Oil on canvas Oil and sand on canvas Oil on canvas 60,4 × 50,3 cm 65,5 × 46,2 cm 65 × 46 cm Ohne Titel (Figurentreppe I) [Untitled ➝ P. 18 Baumeister Archive at the Kunst­ Baumeister Archive at the Kunst­ Private collection (Staircase with Figures I)], 1920 museum Stuttgart museum Stuttgart Lithograph Der Maler mit Punkten [Painter with ➝ P. 28 51,5 × 34,4 cm Apoll II, 1921/22 ➝ P. 18 Atelierbild [Studio Picture], 1925 ➝ P. 20 Points], 1932 Acquired 1991 Lithograph Oil on canvas Oil on canvas Daimler Art Collection 51,5 × 34,5 cm 100,5 × 81,6 cm 100,2 × 50,2 cm Acquired 1979 Baumeister Archive at the Kunst­ Private collection Kopf [Head], 1920 ➝ P. 19 Daimler Art Collection museum Stuttgart Oil and sand on cardboard 46 × 34 cm Private collection

66 67 Schreitende Figur [Striding Figure], ➝ P. 33 Ideogramm [Ideogram], 1937 ➝ P. 40 Tori, 1938 ➝ P. 40 Illustration zu einem griechischen Text ➝ P. 42 1934 Oil on cardboard Oil on canvas [Illustration of a Greek Text], 1943 Oil and sand on canvas 27,8 × 31 cm 100 × 73 cm Charcoal, oil crayon and collage with 100,5 × 65,5 cm Baumeister Archive at the Kunst­ Private collection photo and reproduction on mould- Baumeister Archive at the Kunst­ museum Stuttgart made Ingres paper museum Stuttgart Tori, 1938 ➝ P. 40 24,4 × 31,3 cm Formlinge II [Formlings II], 1937 ➝ P. 35 Woodcut on paper Baumeister Archive at the Kunst­ Tennisspieler mit Kreis [Tennis Players ➝ P. 38 Offset lithograph on Japanese paper 70,2 × 50 cm museum Stuttgart with Circle], 1934 54,8 × 41,9 cm Baumeister Archive at the Kunst­ Oil and sand on canvas Baumeister Archive at the Kunst­ museum Stuttgart Illustration zu einem griechischen Text – ➝ P. 41 65,4 × 54 cm museum Stuttgart Fotozeichnung [Illustration of a Greek Private collection Schwebende Formen mit Weiß [Floa- ➝ P. 33 Text – Photo-Drawing], 1944 Formlinge III [Formlings III], 1937 ➝ P. 35 ting Forms with White], 1938 Charcoal and collage with two frag- Fußballspieler [Football Player], 1934 Offset lithograph on Japanese paper Oil on canvas ments on mould-made Ingres paper Oil and sand on canvas 54,4 × 41,7 cm 81,7 × 65,4 cm 30,9 × 48,7 cm 45 × 32 cm Baumeister Archive at the Kunst­ Baumeister Archive at the Kunst­ Baumeister Archive at the Kunst­ Binz Collection museum Stuttgart museum Stuttgart museum Stuttgart

Läufer mit sitzender Figur [Runner with ➝ P. 32 Fliegende Formen [Flying Forms], ➝ P. 33 Afrikanische Erzählung [African Tale], ➝ P. 43 Illustration zu einem griechischen Text ➝ P. 42 Seated Figure], 1934/35 1937/38 1942 [Illustration of a Greek Text], 1944 Oil and sand on canvas Stenciled shapes with printing ink Oil with synthetic resin and putty on Charcoal and collage with photo detail 65 × 54 cm on paper cardboard on mould-made Ingres paper on Acquired 1984 65,1 × 47,1 cm 35,5 × 45,5 cm cardboard Daimler Art Collection Private collection Baumeister Archive at the Kunst­ 31,2 × 48,4 cm museum Stuttgart Baumeister Archive at the Kunst­ museum Stuttgart

68 69 Dialog-Zeichnung mit Montage [Dia- ➝ P. 42 Owambo, 1944-48 ➝ P. 43 Funktion einer (Form) Bewegung (auf ➝ P. 49 Großes Montaru [Large Montaru], ➝ P. 56 logue-Drawing with Montage], 1944 Oil with synthetic resin, putty and Gelb) [Function of a (Form) Movement 1953 Charcoal, oil crayon, collage with sand on hardboard (on Yellow)], 1949 Oil with synthetic resin on hardboard black and white photos on mould- 65 × 81 cm Oil with artificial resin, filler and sand 135 × 185 cm made Ingres paper Private collection on hardboard Private collection 31,2 × 48 cm 58,5 × 81 cm Baumeister Archive at the Kunst­ Ruhe und Bewegung II [Repose and ➝ P. 50 Acquired 1989 Montaru auf Rosa [Montaru on Pink], ➝ P. 55 museum Stuttgart Movement II], 1948 Daimler Art Collection 1953 Oil with artificial resin on hardboard Oil with synthetic resin and filler on Illustration zu einem griechischen Text ➝ P. 42 81 × 100 cm Metamorphose schwarz [Black Meta- ➝ P. 50 hardboard [Illustration of a Greek Text], 1944 or Acquired 1978 morphosis], 1950 135 × 185 cm 1947 Daimler Art Collection Oil with synthetic resin on hardboard Acquired 1987 Charcoal and collage with photo and 80,9 × 64,9 cm Daimler Art Collection reproduction on mould-made Ingres Baumeister Archive at the Kunst­ paper museum Stuttgart Kessaua II, 1953 ➝ P. 54 25,2 × 38,1 cm Oil and synthetic resin on hardboard Baumeister Archive at the Kunst­ Wind, 1951 ➝ P. 52 65 × 81 cm museum Stuttgart Oil with synthetic resin and tempera Baumeister Archive at the Kunst­ on hardboard museum Stuttgart Illustrations to the poem ‘Avant la 100,2 × 125,4 cm première journée du monde’ from Baumeister Archive at the Kunst­ Schwarzer Fels mit rötlichem Grund ➝ P. 54 Luc Bérimont, 1948 museum Stuttgart [Black Rock with Reddish Ground], Charcoal, crayon on hand-made paper 1954 7 parts Oil with synthetic resin on hardboard Each: 32 × 25 cm 81 × 99,5 cm Baumeister Archive at the Kunst­ Private collection museum Stuttgart

70 71 Monturi mit blauem Dreieck [Monturi ➝ P. 59 ARU auf Beige [ARU on Beige], 1955 ➝ P. 62 Josef Albers Ronde Vegetale [Vegetable Round], with Blue Triangle], 1954 Oil with synthetic resin on hardboard (1888 Bottrop, D – 1976 New Haven, 1946 Oil with synthetic resin and sand 100 × 81 cm USA) Oil on canvas 135 × 185 cm Baumeister Archive at the Kunst­ Aussicht [View], 1933 65 × 65 cm Baumeister Archive at the Kunst­ museum Stuttgart Linoleum cut on Japanese paper Acquired 1989 museum Stuttgart 34,9 × 44,5 cm Daimler Art Collection ARU-Linie [ARU-Line], 1955 ➝ P. 60 Private collection ARU 1, 1954 ➝ P. 62 Oil with synthetic resin on hardboard Samariter Collage [Samaritan Collage], Oil with synthetic resin on hardboard 64,9 × 44 cm 1955 99,9 × 81,2 cm Baumeister Archive at the Kunst­ Hans Arp Collage out of paper and cardboard Baumeister Archive at the Kunst­ museum Stuttgart (1886 Strasbourg, F – 1966 Basel, CH) glued on cardboard museum Stuttgart chapeau-nombril [Nable Hat], 1924 30,5 × 26,5 cm ARU, 1955 ➝ P. 60 Oil on canvas Private collection Han-Aru, 1955 Oil with synthetic resin on hardboard 58 × 45 cm Oil with synthetic resin on cardboard 49,7 × 37 cm Acquired 1986 Composition, 1960 45,5 × 36 cm Baumeister Archive at the Kunst­ Daimler Art Collection Silkscreen Private collection museum Stuttgart 57 × 43 cm lèvres et glace à main [Lips and Hand Acquired 1995 Han-i, 1955 Mirror], 1927 Daimler Art Collection Oil with synthetic resin on hardboard Oil on wood 129,5 × 79,5 cm 58 × 100 cm coryphée, 1961 Baumeister Archive at the Kunst­ Acquired 1986 Marble, pedestal: granite museum Stuttgart Daimler Art Collection Hight 90 cm Acquired 1986 Daimler Art Collection

72 73 Max Bill Julius Bissier Marc Chagall Camille Graeser (1908 Winterthur, CH – 1994 Berlin, D) (1893 Freiburg, D – 1965 Ascona, CH) (1887 Vitebsk, RUS – 1985 Saint-Paul- (1892 Carouge, CH – 1980 Zurich, CH) rote quadrate [red squares], 1946 Ohne Titel [Untitled], 1935 de-Vence, F) Synthetische Konstruktion (Z1946.1A) Oil on canvas Ink on Japanese paper Présentation [Presentation], 1912/13 [Synthetic Construction], 1946 60 × 60 cm 35,5 × 25,5 cm Gouache on paper Ink on textured paper Acquired 1985 Private collection 24 × 15 cm 36 × 49 cm Daimler Art Collection Private collection Acquired 1986 Daimler Art Collection Trilogie [Trilogy], 1957 Georges Braque Silkscreen (1882 Argenteuil, F – 1963 Paris, F) Albert Gleizes harmonikale konstruktion, 1947/51 3 parts FOX, 1911 (1881 Paris, F – 1953 Avignon, F) Oil, tempera on canvas Each 67,5 × 93,5 cm Drypoint on handmade paper Peinture à trois éléments [Painting with 40 × 75 cm Acquired 2003 65,5 × 50,2 cm Three Elements], 1927 Acquired 1983 Daimler Art Collection Private collection Gouache on paper on cardboard Daimler Art Collection 36,5 × 27,5 cm Private collection Mit progressiven Radien [With Progres- Carlo Carrà sive Radii], 1949-54 (1881 Quargnento, I – 1966 Milan, I) Ink and tempera on drawing card- La madre de Gesù [The Mother of Roberta González board Jesus], 1922 (1909 Paris, F – 1976 Monthyon, F) 36,6 × 51 cm Etching on handmade paper Sitzende [Seated], 1948 Private collection 49 × 35 cm Oil on cardboard Private collection 40 × 23 cm Private collection

74 75 korrelative konkretion [correlative Paul Klee Le Corbusier Fernand Léger concretion], 1952 (1879 Münchenbuchsee, CH – 1940 (1887 La Chaux-de-Fonds, CH – 1965 (1881 Argentan, F – 1955 Gif-sur- Oil on canvas Muralto, CH) Roquebrune-Cap-Martin, F) Yvette, F) 39 × 79 cm Die Himmels Säule [The Sky Column], Untitled (table avec livre) [Untitled Femme et nature morte [Woman and Acquired 1987 1917 (table with book)], circa 1924 Still Life], 1921 Daimler Art Collection Watercolor on layers of chalk and Pastel on cardboard on linen covered Oil on canvas linen on cardboard cardboard 49,3 × 65,3 cm 21 × 17,8 cm 102,5 × 82,5 cm Private collection Hans Hartung Private collection Private collection (1904 Leipzig, D – 1989 Antibes, F) Frauenkopf mit Gitarre [Woman Head Ohne Titel [Untitled], 1947 Mildtropische Landschaft [Mild Untitled, 1930 with Guitar], 1927 Colored pencil drawing Tropical Landscape], 1918 Pen-and-ink drawing and colored pen Oil, gouache and watercolor on canvas 50,3 × 64 cm Watercolor and pencil on layers of on paper 30,5 × 35,5 cm Private collection chalk on parachute silk on cardboard 44 × 34 cm Private collection 23,9 × 18,9 cm Private collection Private collection Ohne Titel (Figur und Schlüssel) Wassily Kandinsky Untitled (femme avec bateau) [Untitled [Untitled (Figure and Key)], 1929 (1866 Moscow, RUS – 1944 Neuilly- (Woman with Boat)], 1932 Oil on canvas sur-Seine, F) Franz Krause Pastel, ink and pen on paper on 45,7 × 32,9 cm Rot im Quadrat [Red in the Square], (1897 Hemmoor, D – 1979 Wupper- watercolor paper Private collection 1931 tal, D) 21 × 31 cm Watercolor and ink on paper Ohne Titel [Untitled], 1931 Private collection 34 × 33,9 cm Watercolor Private collection 45 × 35 cm Private collection

76 77 El Lissitzky Otto Meyer-Amden Studie mit sich Zuneigenden Figuren Joan Miró (1890 Potschinok, RUS – 1941 (1885 Bern, CH – 1933 Zurich, CH) [Study with Leaning Figures], 1928 (1893 Barcelona, E – 1983 Palma, Moscow, RUS) Knabenakt mit gekreuzten Beinen Ink, color pencil Majorca, E) Proun, 1923 [Nude Boy with Legs Crossed], 1926 23,7 × 16 cm Femme à l’ombrelle [Woman with Lithograph on collage Pencil on paper Acquired 1987 Parasol], 1938 55 × 34,1 cm 21,5 × 13,5 cm Daimler Art Collection Gouache, ink and collage on card- Private collection Acquired 1986 board Daimler Art Collection Studie mit zwei Kompositionen sitzen- 45 × 24,2 cm Proun, 1923 der Figuren [Study with Compositions Private collection Lithograph on collage Studie mit sitzender Figur im Halbprofil of Two Seated Figures], 1929 59,7 × 44 cm [Study with Seated Figure in Half Ink, color pencil Mauve de la lune [Purple Moon], 1952 Private collection Profile], 1928 21,4 × 15,7 cm Lithograph Graphite, color pencil, ink Acquired 1987 41,4 × 32 cm 27,5 × 21,5 cm Daimler Art Collection Private collection August Macke Acquired 1987 (1887 Meschede, D – 1914 Perthes- Daimler Art Collection lès-Hurlus, F) László Moholy-Nagy Abstrakte Formen XVII [Abstract Forms Studie mit sich Zuneigenden [Study (1895 Bácsborsód, H – 1946 Chicago, XVII], 1913 with Leaning Figures], 1928 USA) Colored pen and pencil on paper Color pencil, graphite, ink Ohne Titel [Untitled], 1932 16,8 × 10,4 cm 26,5 × 21 cm Watercolor and ink on paper Private collection Acquired 1987 39,3 × 28,9 cm Daimler Art Collection Private collection

Ohne Titel [Untitled], n.d. Lithograph 60 × 44 cm Private collection

78 79 Amédée Ozenfant Oskar Schlemmer Wandfries im Haus Mendelsohn Berlin, Kurt Schwitters (1886 Saint-Quentin, F – 1966 (1888 Stuttgart, D – 1943 Baden- Wandbildentwurf, 1930 (1887 Hanover, D – 1948 Kendal, GB) Cannes, F) Baden, D) [Wall Frieze for House Mendelsohn Mz. 12. Bommbild, 1919 Quatre Baigneuses [Four Bathers], Relief H, 1919/1959 Berlin, Mural Study] 11,9 × 9,7 cm circa 1930 Aluminum Pastel on cardboard Collage, colored pen, pencil, waterco- Oil on wood 65,4 × 27,5 × 3,2 cm 113 × 328,5 cm lor and paper on paper 40 × 30 cm Acquired 1985 Acquired 1992 Private collection Private collection Daimler Art Collection Daimler Art Collection Merzbild 35 A, 1921 Figurine mit Großmaske, Riesenmario- Frauenkopf vom Rücken und zwei Assemblage, oil, cardboard, wood, Pablo Picasso nette [Figurine with High Mask, Giant Profile [Female Head from Back and metal and wire mesh nailed on canvas (1881 Málaga, E – 1973 Mougins, F) Marionette], 1927 Two Profiles], 1935 22,2 × 16,8 cm Tête d’Homme à la Pipe [Head of a Pencil, ink and watercolor on waterco- Oil on primed wood fibre Private collection Man with a Pipe], 1912 lor paper 27 × 25 cm Etching 50,8 × 38 cm Acquired 1992 13,1 × 11 cm Acquired 1989 Daimler Art Collection Private collection Daimler Art Collection Zwei Köpfe [Two Heads], 1943 Guitare et Compotier [Guitar and Brustbild eines Jünglings schräg nach Oil on canvas, clamped on cardboard, Bowl], 1925 links gewandt [Half-length portrait of a covered with spirit varnish Pen and watercolor on paper young man turned inclined to the left], 25,5 × 21,5 cm 11 × 14,2 cm 1929 Acquired 1992 Private collection Pastel and pencil Daimler Art Collection 48 × 37 cm Private collection

80 81 Michel Seuphor Georges Vantongerloo Zao Wou-Ki (1901 Antwerp, B – 1999 Paris, F) (1886 Antwerp, B – 1965 Paris, F) (1920 Beijing, CN – 2013 Nyon, CH) Tableau Poeme (with a text by Michel Fonction courbes vertes (RN6896) Schiffe und Fische [Ships and Fishes], Seuphor), 1928 [Green Curves Function], 1938 1953 Lithograph on paper Oil on Masonite Watercolor and ink on handmade 64,5 × 49,8 cm 80 × 37 cm paper Private collection Acquired 1988 32 × 50 cm Daimler Art Collection Private collection Kleine Holzmusik [Small Wooden Music], 1953 Courbes (RN6971) [Curves], 1939 Ink Oil on Masonite 48 × 64 cm 60 × 35 cm Private collection Acquired 1988 Daimler Art Collection

Gino Severini Composition (RN5674), 1944 (1883 Cortona, I – 1966 Paris, F) Oil on Masonite Ohne Titel [Untitled], n.d. 72 × 52 cm Ink on paper Acquired 1987 27,3 × 21,1 cm Daimler Art Collection Private collection

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