Utrecht Art Supplies Camoufleurs: Artists at War

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Utrecht Art Supplies Camoufleurs: Artists at War In the first half of the 20th century, artists created the sophisticated patterns and techniques we know today as camouflage. "Camouflage was Cubism at war." -Robert Hughes. During World War I it became quickly obvious that the brightly colored uniforms of the past were a liability. Teams of artists and scientists on both sides applied their skills to the new art of disguise. Led by painter Lucien-Victor Guirand de Scévola, the Section de Camouflage was founded in September 1914 to design patterns and surface treatments to make soldiers, vehicles, machines and structures less visible to the enemy. Camouflage Class, New York University 1943 Other painters not directly involved recognized the influence of Modernism on camouflage. 1899 painting by Lucien Victor Guirand De Scevola, leader of the first French Camouflage Department Gertrude Stein described Picasso's reaction upon first seeing the new painted patterns on a The camoufleur often faced danger, sometimes military truck: working in combat zones. Cubist painter André Mare was wounded while installing false trees to “...we had heard of camouflage but we had not disguise an observation post. Expressionist seen it and Picasso amazed looked at it and Franz Marc was killed during the Battle of then cried out, yes it is we who made it, that is Verdun in 1916 while producing pointillist cubism.” camouflage tarpaulins for the German army . Questions? Ask the Expert Intended for reference only. Observe all package instructions. Dick Blick Holdings/Utrecht Art Supplies is not responsible for any damage to personal property that may result from use of the information presented herein. © Copyright 2014 Dick Blick Holdings Inc. All rights reserved..

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Final Report Provenance Research
Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority.
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The Blue Rider
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< Paul Cézanne >
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Reading Sample
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