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Guggenheim Museum Archives Reel-To-Reel Collection “Arp I Knew” with Marguerite Arp, 1969

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Guggenheim Museum Archives Reel-To-Reel Collection “Arp I Knew” with Marguerite Arp, 1969 Guggenheim Museum Archives Reel-to-Reel collection “Arp I Knew” with Marguerite Arp, 1969 MALE 1 Good afternoon, ladies and gentlemen. As you know, we have opened last Thursday night for our associate members a concurrent but separate double exhibition of the work of Jean Arp and Julius Bissier. Madame Arp has graciously consented to speak to us this afternoon. [Because?] I shall pick up the story on Bissier tomorrow at the same time in accordance with our usual habit of accompanying exhibitions with lecture commentaries. Madame Marguerite Arp de Hagenbach is Jean Arp’s second wife. In her own right, she’s an important collector of modern art, particularly of Dada surrealism and [00:01:00] other modes of modernism and has collected since 1932. She’s a patron of the arts and a generous donor. And we have particular reason for envy when we think of the largesse that she extended to the museum in [Bowe?]. She is active in social work and a proficient musician. But her primary occupation today is to care for Jean Arp’s legacy. She is cataloguing his work. She is editing his poetry and preparing and controlling exhibitions that relate to his work. In other words, Madame Arp is continuing, with the care and attention after the master’s death, that she extended to him and to his work [00:02:00] during his lifetime. We cannot imagine anyone who would be more qualified to talk to us this afternoon about Jean Arp. Madame. MARGUERITE ARP [00:03:00] Ladies and gentlemen, dear friends, all of you know Arp the artist. And many of you probably also Arp the poet, and quite a few of you Arp the gentle and generous friend. May I, his friend for many years and finally his second wife, take this opportunity to say that he was as great a man as an artist, and that my life with him was wonderful. I saw some of Arp’s work already as a schoolgirl when our professor [00:04:00] took us to the exhibition Neue Leben, New Life, in the (inaudible) of Basel. My sister and I were very excited about the materials some of the artists used, and we decided to make a show with similar works for our family and our parents’ friends. We pasted and fixed wooden cubes and other materials from cardboards and finally sent out invitations for a certain Sunday afternoon. Visitors had to pay admission, and our pictures were for sale. But we said that the proceeds would be given to the Missionary Society. It was a big success. All [00:05:00] our aunts and uncles came and bought, and we probably got more for our imitations than the young artist Arp for his extraordinary creations. Very many years later, in 1932, I made the acquaintance of Arp and his wife, Sophie, at a party given by the famous Basel collectors, [Nell and Weidman?], who were our neighbors at the time. I was then a student at the Music Academy, and the party was given in honor of [Honecka?], one of whose oratorios we had performed under the direction of (inaudible). I was most fascinated by Sophie’s and [Mon Jean’s?] paintings on the walls. [00:06:00] But I don’t remember to have seen an art sculpture [of a lee?] at this party. I had read many of his early poems, and I loved to dance and to talk with him. He was a wonderful dancer. And I believe that Sidney Janis gained Arp’s sympathy more for being a very fine dancer than a distinguished dealer. Sidney always had to teach him the very last dances, which he had picked up in New York’s discotheques. Very soon after this party, our neighbors left for their new house, which was partly designed by Sophie Taeuber-Arp. At their opening party, I met [Chivdas?] for the [00:07:00] first time. The Arps were there, too, and Jean said to me that Chivdas was one of his best friends, a very great poet but just a little bit crazy. After the (inaudible) Sonata, which [Ridas?] had brilliantly recited, Chivdas came to me and said, “I had some impression that you liked my sonata. May I introduce you to my good friend, Arp? He’s quite a great artist and poet, and a charming man. But just a little bit crazy.” He must not have understood why I roared with Transcript © 2018 The Solomon R. Guggenheim Foundation (SRGF). All rights reserved. Page 1 of 6 Guggenheim Museum Archives Reel-to-Reel collection “Arp I Knew” with Marguerite Arp, 1969 laughter when he told me that. And probably, he thought that I was more crazy than either of them. In [00:08:00] 1935, I met many abstract artists of Paris at the show [Constructuvismos?] in the Basel (inaudible). Arp had not exhibited anything this time, as he was not a constructivist. But his wife, Sophie, had. And I bought my first painting from her, together with a painting of [Bowling Arch?]. We had a wonderful time, with parties at [Mullas?], my parents’ house, the (inaudible), and all the Bowe collectors. Soon afterwards, I went with the Mullas to Paris and visited, for the first time, the Arp house in [Merdant?], where I bought my first [art relief?] for about 150 Swiss francs. Arp, who was a very generous friend, and quite as much interested in the success [00:09:00] of his friends, took me at once to (inaudible). And as I liked [Fantongilo’s?] work, I asked for the price of one of his smaller paintings. He gave me an astronomical sum, and I was very disappointed. Arp took Fantongilo aside and said that he was a fool not to sell me one of his paintings, that I was just beginning to be a collector, and that it was in the interest of all the abstract artists to encourage me. So finally, I got the painting for a reasonable price. My father had given me a check for Paris, and I could pay these two pieces of art and invite the artists I knew in Paris to a good restaurant. I remember that people looked at us when we strolled [00:10:00] through the Champs-Elysees, as (inaudible) wore a large hat, and I, just a tiny, little one. Together, we must have looked rather eccentric. My collection grew slowly but steadily. And I became a very good friend of the Arps, [Peffsners?], (inaudible). A few years before her death, Mrs. Mulla (inaudible) sent to Arp copies of her [correspondence?] with him, and I read with amused interest a letter of Arp to Mrs. Mulla, in which he said how exciting it was that a new, young collector had appeared in Basel, which obviously was a reference to myself. And that Mrs. [00:11:00] Mulla had to back and encourage me by all means. Arp was always interested in collectors and quite often said to me, “If I were not an artist, I would collect art.” As a matter of fact, he was a collector, exchanging works with his friends and, in his later years, buying from young artists. He was always ready to encourage young friends when they asked him about his opinion. He never began with criticism but always told them first what he liked in their paintings or sculptures. And, at the end, only suggested what he thought they could do better. Arp was a good teacher, but he only had one [00:12:00] real pupil, (inaudible). I had met (inaudible) at the [Dulaney?] Retrospective in Bern. She told me that her son’s greatest wish was to work with Arp, that he had the opportunity to work in (inaudible), his grandfather’s studio in (inaudible). Just at that time, 1951, Arp had to execute a big sculpture for the University of Caracas. His own studio was not high enough, and so he suggested to work with (inaudible) in (inaudible). (inaudible) showed him his last sculpture, The Vinedresser. And Arp asked, “May I do to it what I like?” “Of course,” said (inaudible). And so my [00:13:00] husband took a saw and cut The Vinedresser in two pieces and put it together in another way. He said, “Don’t you think that the proportions are better this way and that your sculpture is now balanced?” This experience was like an electric shock for (inaudible). He worked during the whole week like a mad [cap?]. And when Arp came again, (inaudible) had changed his style entirely. He still keeps the plaster on which Arp had worked [the miracle?] like a treasure. But let us come back to the years of World War II. Our small group of Basel collectors, together with [Gail Schmidt?] of the (inaudible) Museum, were very aggressive and tried [00:14:00] to impose abstract and surrealist art on Switzerland. Our contact with Paris was Transcript © 2018 The Solomon R. Guggenheim Foundation (SRGF). All rights reserved. Page 2 of 6 Guggenheim Museum Archives Reel-to-Reel collection “Arp I Knew” with Marguerite Arp, 1969 close, and we probably would have succeeded if the war had not interrupted our activity. Most of the advanced artists of the pre-war period were primarily interested to show the ideas. Money did not mean much to them, though they were, of course, glad to have at least a minimum to realize their ideas. Scholarships and art prizes were practically not existing in this time.
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