Lyonel Feininger

Total Page:16

File Type:pdf, Size:1020Kb

Lyonel Feininger 1. Lucia Moholy 2. Lyonel Feininger British, born Czechoslovakia, 1894–1989 American, 1871–1956 Untitled [Southern View of Newly Completed Bauhaus, Dessau], 1926 “Moholy’s Studio Window” around 10 p.m., 1928 Gelatin silver print Gelatin silver print Sheet: 5.7 x 8.1 cm (2 1/4 x 3 3/16 in.) Image: 17.8 x 12.8 cm (7 x 5 1/16 in.) The J. Paul Getty Museum, Los Angeles Bauhaus-Archiv Berlin © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn 85.XP.384.100 EX.2011.6.82 The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 www.getty.edu Communications Department Los Angeles, CA 90049-1681 Fax 310 440 7722 The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 www.getty.edu 3. LyonelCommunications Feininger Department Los Angeles, CA 90049-1681 Fax 310 440 77224. Lyonel Feininger American, 1871–1956 American, 1871–1956 Bauhaus, March 22, 1929 Bauhaus, March 26, 1929 Gelatin silver print Gelatin silver print Image: 17.8 x 23.9 cm (7 x 9 7/16 in.) Image: 17.9 x 24 cm (7 1/16 x 9 7/16 in.) Harvard Art Museums/Busch-Reisinger Museum, Gift of Mr. and Mrs. Harvard Art Museums/Busch-Reisinger Museum, Gift of T. Lux Lyonel Feininger Feininger © ArtistsThe J. PaulRights Getty Society Trust (ARS), New1200 York Getty / VG Center Bild-Kunst, Drive, Suite Bonn 403 Tel 310 440 7360 © Artistswww.getty.edu Rights Society (ARS), New York / VG Bild-Kunst, Bonn EX.2011.6.1Communications Department Los Angeles, CA 90049-1681 Fax 310 440 7722 EX.2011.6.2 The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 www.getty.edu Communications Department Los Angeles, CA 90049-1681 Fax 310 440 7722 5. Lyonel Feininger 6. Lyonel Feininger American, 1871–1956 American, 1871–1956 Untitled [Bölbergasse, Halle], probably 1929 Untitled [Bölbergasse, Halle], 1929–1930 Black crayon on paper Gelatin silver print Unframed: 16.5 x 9.5 cm (6 1/2 x 3 3/4 in.) Image: 6 x 4.5 cm (2 3/8 x 1 3/4 in.) Harvard Art Museums/Busch-Reisinger Museum, Gift of Julia Feininger Stiftung Moritzburg - Kunstmuseum des Landes Sachsen-Anhalt, © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Halle EX.2011.6.5 © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn EX.2011.6.93 7. Lyonel Feininger 8. Lyonel Feininger American, 1871–1956 American, 1871–1956 On the Lookout, Deep an der Rega, 1932 Drunk with Beauty, 1932 Gelatin silver print Gelatin silver print Image: 17.7 x 12.7 cm (6 15/16 x 5 in.) Image: 17.9 x 23.9 cm (7 1/16 x 9 7/16 in.) Gift of T. Lux Feininger, Houghton Library, Harvard University Gift of T. Lux Feininger, Houghton Library, Harvard University © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn EX.2011.6.62 EX.2011.6.74 9. T. Lux Feininger 10. Walter Peterhans American, born Germany 1910–2011 American, born Germany, 1897–1960 Metalltanz, 1929 Untitled [Composition with Nine Glasses and Decanter], 1929–1933 Gelatin silver print Gelatin silver print Image: 10.8 x 14.4 cm (4 1/4 x 5 5/8 in.) Image: 23 x 16.1 cm (9 1/16 x 6 5/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © Estate of T. Lux Feininger © Estate Walter Peterhans, Museum Folkwang, Essen 84.XM.127.24 85.XP.260.126 11. Lyonel Feininger 12. Lyonel Feininger American, 1871–1956 American, 1871–1956 Untitled [Night View of Trees and Street Lamp, Burgkühnauer Allee, Untitled [Train Station, Dessau], 1928–1929 Dessau], 1928 Gelatin silver print Gelatin silver print Image: 17.7 x 23.7 cm (6 15/16 x 9 5/16 in.) Image: 17.7 x 23.7 cm (6 15/16 x 9 5/16 in.) Gift of T. Lux Feininger, Houghton Library, Harvard University Gift of T. Lux Feininger, Houghton Library, Harvard University © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn EX.2011.6.31 EX.2011.6.23 13. Lyonel Feininger 14. Lyonel Feininger American, 1871–1956 American, 1871–1956 Bauhaus, March 26, 1929 Untitled [Street Scene, Double Exposure, Halle], 1929–1930 Gelatin silver print Gelatin silver print Image: 17.9 x 14.3 cm (7 1/16 x 5 5/8 in.) Image: 17.8 x 23.7 cm (7 x 9 5/16 in.) Bauhaus-Archiv Berlin Gift of T. Lux Feininger, Houghton Library, Harvard University © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn EX.2011.6.83 EX.2011.6.38 15. Edmund Collein 16. T. Lux Feininger German, 1906–1992 American, born Germany 1910–2011 Untitled [Students in Walter Gropius’ Architecture Studio], about Untitled [Bauhaus Band Performing]., about 1928–1929 1927–1928 Gelatin silver print Gelatin silver print Image: 11.6 x 15.4 cm (4 9/16 x 6 1/16 in.) Image (irregular): 7.3 x 10.6 cm (2 7/8 x 4 3/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © Estate of T. Lux Feininger © Ursula Kirsten-Collein, Berlin 85.XP.384.90 85.XP.384.63 17. Werner Zimmermann 18. Irene Bayer-Hecht German, 1906–1975 American, 1898–1991 In the Workshop, about 1929 Untitled [Students on the Shore of the Elbe River, near Dessau], 1925 Gelatin silver print Gelatin silver print Image: 7.9 x 11 cm (3 1/8 x 4 5/16 in.) Image: 7.5 x 5.4 cm (2 15/16 x 2 1/8 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles 85.XP.260.179 85.XP.260.75.
Recommended publications
  • Feininger Klee Bauhaus Feininger Klee Bauhaus
    feininger klee bauhaus feininger klee bauhaus 01.05.2019 — 18.01.2020 New York Dortmund Wien Inhalt contents 06 Lyonel Feininger – vom Karikaturisten zum Bauhausmeister Wolfgang Büche 07 Lyonel Feininger —from Caricaturist to Bauhaus Master Wolfgang Büche 22 werke Lyonel Feininger 22 works by Lyonel Feininger 60 lyonel feininger über paul klee 61 lyonel feininger on paul klee 70 werke Paul Klee 70 works by paul klee 84 biografien 84 biographies 92 ausgestellte werke 92 exhibited works 104 impressum Die Bauhausmeister auf dem Dach des Bauhauses in Dessau anlässlich der Eröffnung am 4. und 5. Dezember 1926 The Bauhaus Masters on the roof of the Bauhaus in Dessau at its opening on December 4 & 5, 1926 104 imprint Lyonel Feininger 04 05 Lyonel Feininger Lyonel Feininger – vom Karikaturisten —from Caricaturist zum Bauhausmeister to Bauhaus Master Wolfgang Büche Wolfgang Büche Als Lyonel Feininger im Mai 1919 als der erstberufene Bau- When Lyonel Feininger was sitting on the train to Weimar hausmeister im Zug nach Weimar saß, gehörte er in Deutsch- in May 1919 on his way to become one of the first Bauhaus land bereits zu den arrivierten Malern. Es gab Sammler masters appointed to teach at the school, he was already seiner Werke und Museen begannen sich für sein Schaffen a well-established painter in Germany. There were already zu interessieren. Mit seiner ersten Einzelausstellung 1917 in a few collectors of his work, and museums were starting to der Galerie Der Sturm in Berlin war er endgültig als einer der take an interest in him. His first solo exhibition at the Galerie Protagonisten der Moderne in Deutschland eingeführt.
    [Show full text]
  • Paul Klee Centennial: Prints and Transfer Drawings
    Paul Klee Centennial PRINTS AND TRANSFER PR AWTM1S jk f i-Vioo JJBRARYJ ' Museumcf !,; &:n : Rail h lee Centennial PRINTS AND TRANSFER DRAWINGS January8 - April3, 1979 TheMuseum of ModernArt, New York /hclui/C tit? ft i j iSj T> Trusteesof The Museumof ModernArt WilliamS. Paley,Chairman of the Board;Gardner Cowles, Mrs.Bliss Parkinson, David Rockefeller, ViceChairmen; Mrs. John D. Rockefeller3rd, President;Mrs. Frank Y. Larkin,Donald B. Marron, JohnParkinson III, Vice Presidents; John ParkinsonIII, Treasurer; Mrs. L. vA.Auchincloss, EdwardLarrabee Barnes, Alfred H. Barr,Jr.,* Mrs.Armand P. Bartos,Gordon Bunshaft, Shirley C. Burden,William A.M. Burden, Thomas S. Carroll, FrankT. Cary, IvanChermayeff, Mrs. C. Douglas Dillon,Gianluigi Gabetti, PaulGottlieb, George HeardHamilton, Wallace K. Harrison,*Mrs. Walter Hochschild,*Mrs. John R. Jakobson,Philip Johnson, Mrs.Frank Y. Larkin,Ronald S. Lauder,John L. Loeb, RanaldH. Macdonald,*Mrs. G. Macculloch Miller,*J. IrwinMiller,* S. I. Newhouse,Jr., RichardE. Oldenburg,Peter G. Peterson,Gifford Phillips,Nelson A. Rockefeller,*Mrs. Albrecht Saalfield,Mrs. Wolfgang Schoenborn,* Martin E. Segal,Mrs. Bertram Smith, James Thrall Soby,* Mrs.Alfred R. Stern,Mrs. Donald B. Straus,Walter N. Thayer,R.L.B. Tobin, EdwardM.M. Warburg,* Mrs.Clifton R. Wharton,Jr., MonroeWheeler,* John HayWhitney* * HonoraryTrustee Ex Officio EdwardI. Koch, Mayorof the Cityof New York; HarrisonJ. Goldin,Comptroller of the Cityof New York. Frontcover: VulgarComedy (1922) Copyright©1979, TheMuseum of ModernArt 11 West53 Street,New
    [Show full text]
  • The Bauhaus 1 / 70
    GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. MEGGS • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933
    [Show full text]
  • Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
    Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c.
    [Show full text]
  • UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
    Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky.
    [Show full text]
  • LYONEL FEININGER Cover of the Manifesto
    LYONEL FEININGER Cover of the manifesto »The01 ultimate aim of all creative Feininger’s Expressionist cathedral has three towers with star-topped spires, from which beams activity is the building,« states of light go out in various directions. The three spires stand for architecture, the arts, and the Walter Gropius’ Bauhaus manifesto. crafts. Naturally, architecture was represented by the central and tallest spire. The primacy He saw building as a social, intel- of architecture was unquestioned, and the study of architecture was to stand at the center of lectual,and symbolic activity, a education. The other arts and crafts were ancillary to it. union of genres and vocations, the But, as so often, there was a world of difference between the vision and the reality, for leveling of differences in status. The though Feininger’s visionary woodcut makes a clear affirmation, the training of architects Gothic cathedral epitomized this. played virtually no part in the early years of the Weimar Bauhaus. In 1923, Gropius was able to mount the International Architectural Exhibition, which he had put together in the context of the Bauhaus exhibition—the first presentation of modern architecture in the 1920s—but the setting up of the study of architecture as a Bauhaus training program did not take place until the Bauhaus moved to Dessau. Two versions: one goal Even before Lyonel Feininger became the first teacher to be appointed by Walter Gropius, in the spring of 1919, and to begin his activity at the newly founded Bauhaus, he was given the 1871 Born in New York on July 17 task of supplying a programmatic illustration for the Bauhaus manifesto.
    [Show full text]
  • Stadtbaukunst in Der DDR Der Frühen 50Er Jahre K 3/2009 - 1
    Sara Tazbir Stadtbaukunst in der DDR der frühen 50er Jahre k 3/2009 - 1 Sara Tazbir Stadtbaukunst in der DDR der frühen 50er Jahre Das Anknüpfen an den Reformstädtebau um 1900. Demonstriert am städtebaulichen Wettbewerb Dessaus. Einleitung genbewegung das Konzept des künstlerischen Städte- Der vorliegende Artikel hat zum Ziel, an ausgewählten baus. Der Stadtraum sollte als solcher wieder erlebbar Beispielen die Rezeption städtebaulicher Reform- gemacht und künstlerisch bewusst gestaltet werden bei gedanken der Jahrhundertwende im DDR-Städtebau gleichzeitiger Berücksichtigung der zeitgenössischen, der frühen 50er Jahre aufzuzeigen.1 Die Umstände und städtischen Lebenswirklichkeit. Der künstlerische Vorgänge in Städtebau und Architektur der 50er Jahre Städtebau differenzierte sich facettenreich aus: Seine in der DDR sind komplexer und differenzierter, als sie Bandbreite reichte von Camillo Sitte, 4 als einem Initia- bisher in der Forschung dargestellt worden sind.2 Die tor auf dem Feld der Stadtbaukunst und Vertreter einer einseitige Bewertung und Diskussion der sowjetischen praktischen Ästhetik, über Karl Henrici, 5 Anhänger Sit- Einflussnahme hat andere Ansätze und Gesichtspunkte tes, und dem Pragmatiker Theodor Fischer6 bis zur gänzlich ausgeblendet und vernachlässigt, was hiermit kunsthistorischen Reflexion über Stadtbaukunst eines nachgeholt, ergänzt und erweitert werden soll. Der Ver- Albert Erich Brinckmann.7 gleich städtebaulicher Theorien der Deutschen Bauakademie, vornehmlich am Institut für Theorie und Stadtbaukunst in der DDR: eine deutsche Tradition Geschichte der Baukunst erarbeitet, mit den Ausarbei- Nach 1945 stand man in der Stadtplanung in Deutsch- tungen von Albert Erich Brinckmann weist eine ver- land vor anderen Voraussetzungen. Die steinerne Stadt blüffende geistige Nähe auf, bei der zur Recht von einer lag in Trümmern. Fragen des Wieder- oder Neuaufbaus Wiederaufnahme bzw.
    [Show full text]
  • Architecture, Identity, and Migration in a Socialist Model City
    Yale University EliScholar – A Digital Platform for Scholarly Publishing at Yale Masters of Environmental Design Theses Yale School of Architecture 5-2020 Heimat im Wartezimmer: Architecture, Identity, and Migration in a Socialist Model City Holly Bushman Yale University, [email protected] Follow this and additional works at: https://elischolar.library.yale.edu/envdesign Part of the Environmental Design Commons Recommended Citation Bushman, Holly, "Heimat im Wartezimmer: Architecture, Identity, and Migration in a Socialist Model City" (2020). Masters of Environmental Design Theses. 1. https://elischolar.library.yale.edu/envdesign/1 This Thesis is brought to you for free and open access by the Yale School of Architecture at EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Masters of Environmental Design Theses by an authorized administrator of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Heimat im Wartezimmer: Architecture, Identity, and Migration in a Socialist Model City Holly M. Anderson Bushman B.S. Bates College, 2016 A thesis submitted to the faculty of the Yale School of Architecture in partial fulfillment of the requirements for the degree of: Master of Environmental Design Yale University May 2020 _________________________________________ Keller Easterling Principal Advisor and M.E.D. Program Chair _________________________________________ Elihu Rubin Reader Abstract: Eisenhüttenstadt, the first “socialist model city” designed and constructed in the German Democratic Republic (GDR), provides an opportunity to scrutinize the relationship between state conceptions of architectural design and national identity in the early 1950s. Known as Stalinstadt until 1961, the community was founded in eastern Brandenburg in 1950 as housing for workers at the nearby ironworks Eisenhüttenkombinat Ost “J.
    [Show full text]
  • Bauhaus Dessau
    #3 b HENSELMANN KOOPERATION HERMANN-HENSELMANN-STIFTUNG 2019 –2 BEITRÄGE ZUR STADTPOLITIK UNIVERSITÄT KASSEL 30 JAHRE 30 JAHRE WALTER-GROPIUS- a INDUSTRIELLES Sw EMINAR GARTENREICH s u R N E O N I Ö T H T A G M u N R A G O F F L S O W N · A N R I T E e T h S – e N K I T C R I A L M B · S R U E D A a - Ö R E H D C S N E S E I W H T I · n I I R a d E L · G E K H D L C I A R E A R H h N · E N I T A R H A E G N O S M I E d S L u · L n L E I R E R I L T F S S U A D M O N I H u T · D E N K E U S E S F U R E A e T H E s I e U D · A Z B T I A I H C S · N E D a R O D B D D L A D R N A H U : S E D U N A E K H R U INDUSTRIELLES GARTENREICH UND NEUE PERSPEKTIVEN I A W T B I M TAGUNG · 08. –10. 11. 2019 · BAUHAUS DESSAU I b w HARALD KEGLER kommt! ins offene THOMAS FLIERL * EDITORIAL bauhaus-freun d innen! Offensichtlich: Die Bauhaus-Wende ist vollbracht.
    [Show full text]
  • Outstanding Works of German Expressionism at Villa Grisebach's
    Outstanding works of German Expressionism at Villa Grisebach’s autumn auctions Villa Grisebach’s autumn auctions from November 27 until 30 present 1294 works of art with a median pre-sale estimate of 18 million euros. Masterworks of Modern Art form the traditional focus, while the Photography, 19th Century Art and Contemporary Art sections find themselves expanded again. Selected Objects of the decorative and fine arts enrich the discriminating offerings of the four-day sales in the ORANGERIE auction (see separate press release). The sales’ opening auction is 19th Century Art on November 27: A late, finished master drawing by Adolph Menzel created in 1894 in Karlsbad deserves special attention (estimate € 50,000 / 70,000) much as the preliminary study in oil for Max Liebermann’s famous “Flachsscheuer” painting at Alte Nationalgalerie in Berlin (€ 140,000 / 180,000). After the ORANGERIE auction on the morning of November 28, Selected Works presents from 5 PM a selection of highlights that span the entire 20th century: This evening sale begins with Paula Modersohn-Becker’s painting, “Landschaft mit Moortümpel,” from 1900; it ends with Thomas Demand’s photograph, “Campingtisch” from 1999. In between, modern master works of museum quality are on offer: Max Liebermann’s painting “Garten in Noordwijk-Binnen” of 1909 (€ 500,000 / 700,000) and his “Blumenterrasse im Wannseegarten nach Nordwesten” of 1915 (€ 350,000 / 500,000). The leading artist groups of German Expressionism, “Die Brücke” and “Der Blaue Reiter,” are represented with important works. Karl Schmidt-Rottluff’s “Watt bei Ebbe” is a museum quality example for the Expressionists’ new will around 1912 to experiment with composition and powerful colors (€ 1,000,000 / 1,500,000).
    [Show full text]
  • Object Checklist
    Object Checklist History of the Bauhaus Fig. 1 Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau. Building: Walter Gropius, 1926. Photo: Junkers Luftbild, 1926. Gelatin silver print on postcard. 10.5 x 14.7 cm. Jan and Edith Tschichold Papers, 1899–1979. The Getty Research Institute, 930030 Fig. 2 Walter Gropius. Photo: Lucia Moholy, n.d. The Getty Research Institute, 920020. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Fig. 3 Hochschule für bildende Kunst, Weimar (Academy of Fine Arts, Weimar). Building: Henry van de Velde, 1904–1911. Photo: Louis Held, ca. 1906. Gelatin silver print. 15.5 x 22.2 cm. Bauhaus-Archiv Berlin, 6677 1 The Getty Research Institute 1200 Getty Center Drive, Suite 1100, Los Angeles, CA 90049 www.getty.edu Object Checklist Figs. 4, 5 Programm des Staatlichen Bauhauses in Weimar (Program of the State Bauhaus in Weimar), front and back. Text: Walter Gropius, 1919. Woodcut: Lyonel Feininger, 1919. Letterpress and woodcut on blue paper. 32 x 39.4 cm. Bauhaus Typography Collection, 1919–1937. The Getty Research Institute, 850513. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Masters and Apprentices Fig. 6 Group portrait of Bauhaus masters, from left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl, Oskar Schlemmer, photographer unknown, 1926. Newsprint. 19.1 x 28.7 cm. From Das Illustrierte Blatt, No. 50, p. 1131. Jan and Edith Tschichold Papers, 1899–1979. The Getty Research Institute, 930030 Fig.
    [Show full text]
  • Storm of Progress: German Art After 1800 from the Collection of the Saint Louis Art Museum
    Audio Guide Transcript Storm of Progress: German Art After 1800 from the Collection of the Saint Louis Art Museum November 8, 2020–February 28, 2021 Main Exhibition Galleries STOP 1 Introduction Gallery: Director’s Welcome Speaker: Brent Benjamin Barbara B. Taylor Director Saint Louis Art Museum Hello, I’m Brent Benjamin, Barbara B. Taylor Director of the Saint Louis Art Museum. It’s my pleasure to welcome you to Storm of Progress: German Art after 1800 from the Collection of the Saint Louis Art Museum. COVID-19 has disrupted most art shipping, and as a consequence, we have revised our exhibition schedule to develop this extraordinary show, which tells a 200-year story of German art drawing on the Museum’s holdings, a collection that is virtually unparalleled outside of Germany. The Museum’s collection of German art is unique for an American museum. It includes a strong focus on German Expressionism and the works of Max Beckmann as well as every major artist in German postwar and contemporary art, including such luminaries as Anselm Kiefer, Gerhard Richter, and Sigmar Polke. This unique civic treasure is a testament to the philanthropic support of our patrons, notably Morton D. May, and we celebrate that generosity by presenting Storm of Progress free of charge. This exhibition audio guide offers 16 expert commentaries. You will discover many different perspectives on German art narrated by the Museum’s modern and contemporary art curators. You will also hear from our curators of American art, decorative arts and design, and prints, drawings, and photographs, highlighting the collaborative nature of this collection and institution.
    [Show full text]