Daimler(Art(Collection( works%by%Willi%Baumeister,%ranging%from%his%constructivist%phase%to%the%Mauerbilder%and% ( the%late%Montaru%%as%well%as%the%Afrika%series.%They%offer%an%overview%of%the% Willi(Baumeister(International( development%of%Baumeister’s%oeuvre%and%at%the%same%time%demonstrate%his%international% Willi(Baumeister(and(European(Modernism(1920s–1950s( reputation.%The%works%will%be%supplemented%by%archival%materials%such%as%letters,% newspaper%articles,%and%unpublished%photographs%that%impressively%illustrate%the%high% ( degree%to%which%he%was%recognized%both%in%%and%abroad.%Together%they%reveal% November,(21,(2014(—(March,(29,(2015( the%multifaceted%image%of%an%artist%who%engaged%in%an%intense%exchange%with%the% ( international%art%scene%before%and%after%the%Second%World%War.% With%works%on%loan%by%Willi%Baumeister%and%Hans%Arp,%Julius%Bissier,%Carlo%Carrá,%Marc% % Chagall,%Albert%Gleizes,%Roberta%Gonzalez,%Camille%Graeser,%Hans%Hartung,%Wassily% Introduction( Kandinsky,%Paul%Klee,%Franz%Krause,%Le%Corbusier,%Fernand%Léger,%El%Lissitzky,%August% Renate%Wiehager% Macke,%Otto%MeyerIAmden,%Juan%Miro,%László%MoholyINagy,%Amédée%Ozenfant,%Pablo% ( Picasso,%Oskar%Schlemmer,%Kurt%Schwitters,%Michel%Seuphor,%Gino%Severini,%Zao%WouIKi% From%the%outset%the%Daimler%Art%Collection%has,%in%both%its%conception%and%its%aims,%gone% % well%beyond%mere%corporateIimage%enhancement.%In%fact,%over%the%years%the%collection% From%the%Daimler%Art%Collection:%Hans%Arp,%Willi%Baumeister,%Max%Bill,%Camille%Graeser,% has%become%a%living%part%of%the%corporation.%Since%it%was%inaugurated%in%1977%–%with%the% Otto%MeyerIAmden,%Oskar%Schlemmer,%George%Vantongerloo% acquisition%of%a%picture%by%Willi%Baumeister%–%the%inventory%has%grown%to%about%2,000% ( works%today%by%some%700%German%and%international%male%and%female%artists.%The% Daimler(Contemporary(( collection%represents%an%important%range%of%predominantly%abstract%developments%in%art% Potsdamer(Platz(Berlin( and%pictorial%conceptions%from%the%20th%century%to%the%present%day.%Moreover,%it% ( includes%some%30%large%pieces%of%sculpture,%automobileIrelated%works%done%on% Stuttgart%artist%Willi%Baumeister%(1889–1955)%is%one%of%the%most%important%German% commission%as%well%as%an%inventory%of%international%photography%and%objectI%and%media% artists%of%the%postwar%period%and%among%the%most%significant%representatives%of%abstract% art%that%has%been%built%up%systematically%since%2001.% .%His%influence%as%an%avantIgarde%artist,%as%a%professor%at%the%Frankfurt%Municipal% % School%for%Applied%Arts%and%after%1946%at%the%Stuttgart%Academy,%and%as%a%major%art% % theoretician%could%be%felt%far%beyond%Germany.% % % % % % % % % % % % % % % % % % % % % LEFT:%WILLI%BAUMEISTER,%HANS%ARP;%FRIEDRICH%VORDEMBERGEIGILDEWART% % RIGHT:%ADOLF%FLEISCHMANN,%JOSEF%ALBERS% % ! % % BOTH:%ART%FROM%A%HUNDRED%YEARS%1909–2009.%HIGHLIGHTS%DER%DAIMLER%ART%COLLECTION,%MUSEUM%UND% % GALERIE%IM%PREDIGER,%2009( WILLI%BAUMEISTER%PACKING% % % WORKS%FOR%HIS%EXHIBITION%AT%THE% % GALLERY%JEANNE%BUCHER%,% % 1949% % % % % From%early%on,%Baumeister%was%in%close%contact%with%French%artists%and%exhibited%his% % works%in%Italy,%Spain,%France,%and%Switzerland.%He%could%seamlessly%resume%these% % contacts%after%the%Second%World%War.%The%exhibition%retraces%his%international%relations% % to%gallerists,%collectors%and%art%historians.%It%will,%for%the%first%time,%present%parts%of%his% % private%art%collection,%which%he%assembled%through%swapping%his%own%works%for% % paintings%by%his%artist%friends.% % The%collection%comprises,%among%others,%paintings%by%Wassily%Kandinsky,%Hans%Arp,% % Fernand%Léger,%and%Kazimir%Malevich.%The%focus%of%the%exhibition%is%on%central%groups%of% ART%&%STARS%&%CARS,%THE%DAIMLER%ART% NOVECENTO%MAI%VISTO,%HIGHLIGHTS%FROM% COLLECTION%AT%THE%MERCEDESIBENZ% THE%DAIMLER%ART%COLLECTION%–%FROM% MUSEUM%STUTTGART,%2011% ALBERS%TO%WARHOL%TO%(NOW),%2013%% Since%the%1999%inauguration%of%the%company’s%own%exhibition%space%–%Daimler% % Contemporary%at%Haus%Huth%on%Potsdamer%Platz%in%Berlin%–%the%systematic%expansion%of% % the%collection%has%been%attentively%followed%by%an%international%public.%New%acquisitions% % for%the%Daimler%Art%Collection%are%presented%there%as%well%as%internally,%in%Stuttgart,% % Berlin%and%Sindelfingen,%in%themed%rotating%exhibitions,%where%they%enter%into%a%dialogue% % with%less%recently%acquired%works.%Since%2003%a%rotating%selection%of%some%150%works%at% % a%time%has%gone%on%tour%worldwide%through%major%museums%in%Europe,%the%United% % States,%South%Africa,%South%America%and%Asia.% % % % % F.L.:%GEORG%MEISTERMANN,%FRITZ% % % WINTER,%WILLI%BAUMEISTER.%CLASSICAL%:% % RENATE%WIEHAGER%(ED.):% ( MODERN%II,%DAIMLER%CONTEMPORARY,% KURT%LEONHARD,%COVER% BERLIN%2008% % % ‘AVANTGARDEN%IN% % SÜDDEUTSCHLAND%NACH% % 1945’,%HATJE%CANTZ%2012% % % ( % % % The%second%part%of%the%series,%in%2008,%focused%on%the%avantIgarde%tendencies%of%postI % war%southern%Germany.%In%2012%this%was%followed%by%the%third%part%of%the%series:%a%first% comprehensive%appreciation%of%Kurt%Leonhard%(‘Avantgarden%in%Süddeutschland%nach% % F.L.:%OSKAR%SCHLEMMER,%JOSEF%ALBERS,% F.L.:%ADOLF%HÖLZEL,%OSKAR%SCHLEMMER,% CAMILLE%GRAESER,%JOHANNES%ITTEN% WILLI%BAUMEISTER% 1945’;%all%related%publications%can%be%obtained%via%www.collection.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%–%and%by%Ottomar%Domnick%open%up% % artIhistorical%and%historical%horizons%that%are%intimately%connected%with%southIwest% % German%art%after%1945.%In%keeping%with%the%focal%point%of%our%collection%as%it%has%evolved% % over%the%years,%the%exhibition%‘Willi%Baumeister%International’%will%go%on%to%Berlin%at% % Daimler%Contemporary%in%2014/15%as%the%best%possible%sequel.%% % % % % % % % % % % F.L.:%WILLI%BAUMEISTER,%OSKAR% F.L.:%BEN%WILLIKENS,%JOSEF%ALBERS,%HANS% ( SCHLEMMER,%IDA%KERKOVIUS( ARP% % ( % ALL:%CLASSICAL%:%MODERN%I,%DAIMLER%CONTEMPORARY,%BERLIN%2006% ( ! ( 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%MeyerIAmden%and%Max% ( Bill.%What%they%all%had%in%common%was%an%artistically%motivated%interest%in%establishing% ( an%interdisciplinary%dialogue%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%anchored%in%the%‘Classical%:%Modern’%exhibition%and% % publication%series,%the%first%part%of%which,%in%2006,%introduced%the%Concrete%and% % % Constructivist%tendencies%of%early%modernist%art%up%to%the%postIwar%era%by%drawing% % primarily%on%the%collection%itself.% % % % % % ALL:%WILLI%BAUMEISTER%INTERNATIONAL,%KUNSTMUSEUM%STUTTGART,%2013–14% % % % ( % ( Willi(Baumeister(International( % Ilka%Voermann%and%Hadwig%Goez% % % % More% than% most% artists,% Willi% Baumeister% is% perceived% as% a% German% painter.% This% is% % particularly% true% of% his% late% work,% which% is% inextricably% linked% with% the% art% history% of% % postIwar% Germany.% This% perception% is% not% completely% erroneous% because% Willi% % Baumeister% was% indeed% strongly% rooted% in% Germany,% especially% in% his% native% Stuttgart,% % which% he% had% left% only% while% he% was% a% professor% at% the% School% of% Decorative% Arts% in% % Frankfurt% am% Main% (now% the% Städelschule)% and% for% brief% periods% during% the% Second% Kopf%[Head],%1920% % Kopf2[Head],%1920% World%War.%This%impression%is%reinforced%by%the%fact%that%he%championed%abstract%art%in% Oil,%graphite%and%sand%on% % Oil%and%sand%on%cardboard% Germany%after%1945,%which%made%him%a%guiding%spirit%in%the%debate%about%the%future%of% canvas% % % German%art%after%the%Second%World%War.%For%all%that,%classifying%Willi%Baumeister%solely% During% the% early% 1920s% figuration% continued% to% yield% to% simple% geometric% forms% in% as%a%leading%German%painter%falls%far%short%of%his%significance.%He%was%deeply%rooted%in% Baumeister’s% painting.% Now% Baumeister% realigned% himself% with% different% role% models,% the%international%art%scene%and%bound%by%close%ties%to%it%both%before%and%after%the%Second% this%time%the%Russian%Constructivists%and%the%Dutch%group%of%artists%known%as%De%Stijl.2% World% War.% He% was% in% contact% with% artists,% art% critics% and% collectors% in% Europe% and% This% was% the% context% in% which% he% developed% his% own% artistic% stance,% with% the% Wall% beyond%Europe;%his%works%were%exhibited%there%and%he%participated%in%the%international% Pictures%featuring%a%unique%blend%of%painting%and%architecture.%Although%the%Wall%Picture% debates%on%art.%% idea%was%in%fact%realized%only%once,%in%the%room%designed%by%the%architect%Richard%Döcker% % at% the% 1922% Werkbund% exhibition% in% Stuttgart,% this% work% definitively% positioned% Baumeister% within% the% international% avantIgarde.% His% work% was% also% made% known% in% France%through%a%positive%article%by%Paul%Ferdinand%Schmidt%that%was%published%in%the% ‘Kunstblatt’3%in%1921%and%a%joint%exhibition%with%Fernand%Léger%at%the%Der%Sturm%gallery% in%Berlin%in%1922.%In%addition%an%essay%by%Waldemar%George%on%Baumeister’s%painting% was%printed%(also%in%1922)%in%the%journal%‘L’Esprit%Nouveau’,%published%by%Le%Corbusier% and% Amédée% Ozenfant.4% The% Waldemar% article% was% Baumeister’s% first% contact% with% the% French%art%scene%and%would%be%followed%up%by%a%number%of%important%events.5% % Junge2am2Landungssteg%[Boy%on%a%Landing%Stage],%1909% % Oil%on%cardboard,%glued%on%the%back%with%paper% % ( % At% the% outset% of% Willi% Baumeister’s% career% ‘international’% meant% France% in% the% first% % instance.% Like% so% many% other% young% artists% of% his% generation,% Willi% Baumeister% was% % enthusiastic%about%Paul%Cézanne%and%the%French%Impressionists.%His%early%work%is%clearly% % indebted%to%both.%In%1910%works%of%his%were%shown%at%the%Württemberg%Art%Association% % along%with%those%of%both%French%and%German%artists%and%received%critical%acclaim.%He%had% % his%first%international%success%two%years%later,%in%Switzerland,%when%the%Galerie%Neupert% % in%Zurich%showed%his%work%alongside%that%of%Hermann%Huber%and%Reinhold%Kündig.1%Still% % it% would% be% ten% years% before% notice% was% taken% of% his% work% in% France% as% well. Maschinenbild%[Machine% Drei2gestaffelte2Figuren%[Three% Atelierbild![Studio(Picture],(1925% Picture],%1924% Staggered%Figures],%1920% % Oil$on$canvas% Oil%on%canvas% Oil,%tempera%and%papierImâché% % ( on%canvas% % ( % % % % % % % % % % Ohne2Titel2(Figurentreppe2I)% Apoll2II,%1921/22% WALL2PICTURE%AT%THE%SPACE% [Untitled%(Staircase%of% Lithograph% % OF%THE%ARCHITECT%RICHARD% Figures%I],%1920% ! DÖCKER,%WERKBUNDI Apoll2und2der2Maler%[Apollo%and% Figur&mit&Streifen(II![Figure( Figur2mit2Prismafarben% Lithograph% EXIHIBITION%IN%STUTTGART,% the%Painter],%1921% with%Stripes%II],%1920% [Figure%with%Prism%Colors],% 1922%% ! Oil%on%canvas( Oil$and$papierImâché&on& 1924% ( canvas% Oil%and%sand%on%canvas( In% 1924% Ozenfant% and% Le% Corbusier,% with% whom% Baumeister% had% been% corresponding% Baumeister’s% success% on% the% international% art% scene% was% duly% noted% in% Germany% and% regularly,% invited% him% to% Paris,% where% he% met% many% other% artists,% including% Piet% admired,% especially% by% his% fellow% artists.% Wassily% Kandinsky% wrote% to% Baumeister% in% Mondrian,% Hans% Arp% and% Fernand% Léger.% The% following% year% saw% Baumeister’s% work% 1931:% “About% a% year% ago% I% was% in% Paris% briefly% and% noticed% while% there,% too,% that% the% presented%for%the%first%time%to%the%French%public,%at%‘L’Art%d’aujourd’hui’,%where%it%met% French%are%very%much%interested%in%you.%And%there%are%only%very%few%German%artists%who% with%a%very%positive%response.%By%1927%the%Galerie%d’Art%Contemporain%had%dedicated%a% are%taken%seriously%there,%which,%after%all%(between%you%and%me),%is%hardly%surprising.% solo% show% to% Baumeister,% his% first% in% Paris.% Willi% Baumeister% had% indeed% succeeded% in% And% for% the% following% reason:% what% is% easy% for% a% Frenchman% is% difficult% for% a% German% gaining%a%firm%foothold%in%the%Paris%art%scene.%How%unusual%his%success%in%France%was% artist% –% crossing% the% border.”8% Baumeister’s% appointment% to% a% professorship% for% cannot%be%overstated%at%this%juncture.%On%the%whole%German%artists%found%it%very%difficult% commercial%art,%typography,%textile%printing%and%photography%at%the%Municipal%School%of% to%be%taken%notice%of%at%all%in%France%after%the%First%World%War.%Relations%between%the% Applied% Arts% in% Frankfurt% am% Main% in% 1928% can% also% be% put% down% to% his% international% French%and%German%art%scenes%were%notable%for%seething%tensions,%and%the%art%produced% reputation.9% by% Germans% tended% to% be% classified% by% the% French% as% rather% backward.6% That% Willi% % Baumeister%should%have%been%the%one%to%garner%rave%reviews%from%French%artists%and%art% % critics%alike%was%due%above%all%to%his%painting,%which%was%perceived%as%‘unGerman’.%In%his% % 1931% essay% ‘Baumeister% et% l’art% allemand’,% Waldemar% George% stressed% the% fact% that% % German% painting% was% so% strongly% dominated% by% Expressionism% that% mystical% romantic% % overtones%persisted.%Baumeister’s%art,%on%the%other%hand,%was%“a%form%of%world%art%and%a% % collective%style”.7% % % % % % % % % % % % % % % % % % % % % % % GROUP%PICTURE%AT%THE%%WEIMAR% % OSKAR%SCHLEMMER%AND%WILLI% 1925,%TOP%LEFT:%HERBERT%BAYER,%TOP% BAUMEISTER,%FRANKFURT%AM% % RIGHT:%WALTER%GROPIUS,%BENEATH:%WILLI% % MAIN%1932% % BAUMEISTER,%SECOND%ROW%LEFT%OUTSIDE:% % GROUP%PICTURE%IN%PARIS%1926,%% Kreisbild)I![Circle(Image(I],(1921% % OSKAR%SCHLEMMER% % ( SECOND%FROM%LEFT:%MAX%ACKERMANNN,%SIXTH% Oil$and$graphite$on$canvas( % % FROM%LEFT:%ENRICO%PRAMPOLINI,%SECOND%FROM% RIGHT:%PIET%MONDRIAN,%FAR%RIGHT:%MICHEL% % In%the%1930s%Baumeister’s%work%was%shaped%by%numerous%parallel%trends.%That%decade% SEUPHOR%% saw% him% produce% very% different% groups% of% works,% such% as% the% Little% Flame% and% Line% % % Pictures,% the% Sport% Pictures% II% and% the% Valltorta% Pictures.% Baumeister% also% constantly% % reverted% to% earlier% themes,% including% Der2 Maler% [The% Painter],% and% developed% them% % further.%Nor%did%his%success%in%Paris%wane.%In%1930%the%Galerie%Bonaparte%mounted%a%solo% ( show%of%Baumeister’s%most%recent%work%and%the%following%year%saw%the%publication%of% ( % two%important%French%monographs%devoted%to%his%work:%Will%Grohmann%wrote%the%first% 10 11 % Baumeister%monograph%for%the%Peintres2Nouveaux%series %and%the%‘Sélection’ %series%of% % artist% monographs% devoted% a% volume% to% him.% Le% Corbusier% congratulated% him% on% this% % success% in% a% letter% dated% 16% February% 1931:% “I% am% delighted% to% see% the% strong% % performance% of% your% works% assembled% here.% All% this% is% enormously% pictorial.% Your% % drawings% are% very% fine.% Since% you% started% out% in% 1920% you% have% been% both% sound% and% % interesting.%The%future%is%bound%to%be%yours.”12% EXHIBITION% WILLI% BAUMEISTER% AT% THE% % % GALERIE% D’ART% CONTEMPORAIN% PARIS,% % % FERNAND%LÉGER%AND%WILLI% 1927% % ! % BAUMEISTER,%PARIS%1930% % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % % Maler2mit2Palette%[Painter%with%Palette],%1929% % % Oil%and%sand%on%canvas% % % % % % Der$Maler$mit$Punkten![Painter)with) % Flämmchenbild%[Flamelet%Picture],%1931% % Kleine&Flammen![Small&Flames],&1931% Points],)1932% % Oil%on%canvas% % Oil$on$canvas% Oil$on$canvas% % % % % The%Baumeister%monograph%that%Will%Grohmann%had%written%in%French%was%not%only%of% Hence%he%must%have%been%all%the%happier%about%the%prospect%of%being%able%to%exhibit%his% great%importance%to%his%success%in%France%but%also%opened%doors%for%him%in%Spain%and% work% for% the% first% time% in% Italy.% The% Galleria% del% Milione% published% a% ‘Bollettino’% to% Italy.% Since% 1932% Willi% Baumeister% had% been% in% contact% with% Eduardo% Westerdahl,% a% accompany%the%exhibition,%with%essays%by%Albert%Sartoris,%an%architect%who%curated%the% Spanish% art% critic% who% was% general% editor% of% the% journal% ‘gaceta% de% arte’% on% Tenerife.% exhibition,%and%Eduardo%Westerdahl.18%Distinguished%fellow%artists%such%as%Le%Corbusier% From%1932%to%1938%it%was%a%leading%forum%for%the%Spanish%art%scene.13%Baumeister%had% and%Wassily%Kandinsky%also%contributed%dedications%to%the%catalogue.%Initially%it%seemed% sent%a%copy%of%the%Grohmann%monograph%to%Westerdahl,%who%reviewed%it%in%an%issue%of% doubtful%whether%Baumeister%would%be%as%successful%in%Italy%as%he%had%been%in%France.% ‘gaceta%de%arte’.14%Grohmann’s%monograph%and%regular%correspondence%with%Baumeister% Reservations% about% nonIrepresentational% art% were% in% any% case% considerably% more% gave%Westerdahl%the%idea%of%writing%a%book%on%the%German%artist.%The%monograph%was% prevalent% in% Italy% than% in% France.% Kandinsky% wrote% to% Baumeister% about% this% published%in%1934%with%a%foreword%by%Willi%Baumeister.15%In%this%case,%too,%Baumeister% circumstance:% “I% am% delighted% that% you% are% exhibiting% in% Milan% because% interest% was% took%an%active%role%in%ensuring%that%the%book%had%a%wide%circulation:%he%sent%Westerdahl% aroused% there.% It% would% also% seem% to% be% spreading% elsewhere% in% Italy.% Only,% a%list%of%addresses%to%which%he%was%to%dispatch%the%monograph.16%The%list%included%both% unfortunately,%really%serious%things%are%not%always%shown%there,%i.e.,%the%›Grimaces‹%re% the%names%of%numerous%fellow%artists%as%well%as%the%addresses%of%international%galleries.% not%always%avoided.%And%I%am%certain%that%your%works%will%be%very%instructive%there.%So% That% is% how% the% Westerdahl% monograph% reached% the% Casa% d’Arte% Bragaglia% gallery% in% the%best%of%success!”19%The%reviews%of%the%Baumeister%exhibition%turned%out,%however,%to% Rome% and% the% Galleria% del% Milione% in% Milan,% where% it% piqued% the% interest% of% Gino% be% very% positive.% Nonetheless,% Baumeister’s% Constructivist% works,% which% had% met% with% Ghiringhelli,% the% proprietor,% who% organized% a% Baumeister% exhibition% in% 1935,% which% such%acclaim%in%France%especially,%were%less%popular%in%Italy,%where%the%works%in%which% subsequently% went% to% the% Casa% d’Arte% Bragaglia% in% Rome.% One% can% only% imagine% how% he%had%returned%more%noticeably%to%figuration%were%preferred.20%Carlo%Carrà,%an%artist% overjoyed%Baumeister%must%have%been%about%his%continuing%success%abroad.%% whose% attitude% to% abstraction% tended% to% be% rather% negative,% had% only% praise% for% the% In%view%of%the%situation%in%his%native%Germany%his%joy%must%have%been%great%indeed.%After% development:% “Among% the% many% examples% of% abstraction% we% are% provided% with% the%National%Socialists%came%to%power%in%1933%Baumeister%had%been%dismissed%from%his% internationally,%Baumeister%is%distinguished%by%his%commitment%to%taking%up%stances%that% teaching%post%in%Frankfurt%and%had%returned%to%Stuttgart.%As%early%as%1930%he%had%had%a% are% more% openIminded,% more% animated% and% humane% than% are% usually% encountered.”21% taste% of% the% antiImodernist% mood% that% was% becoming% widespread% on% the% German% art% The%highlight%of%Baumeister’s%appearance%in%Milan%was%a%talk%he%gave%on%his%work%a%few% scene% when% the% acquisition% of% his% painting% Atelier2 III% [Studio% III],% by% the% Städtische% days% after% the% exhibition% opened.% Although% he% knew% very% little% Italian,% Baumeister% Galerie%in%Frankfurt%am%Main%was%decried%by%the%press%as%a%waste%of%taxpayers’%money.17%% managed%to%put%across%his%arguments%with%the%aid%of%explanatory%drawings.22% % The% exhibitions% in% Milan% and% Rome% would% remain% some% of% the% few% opportunities% for% % years%to%come%for%Baumeister%to%present%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%proscribed%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.% What% is% more,% he% succeeded% in% sending% about% 90% works% to% the% % Kunsthalle% in% 1937% and% 1938% for% safekeeping,% thus% preventing% 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% Läufer2mit2sitzender2Figur,%1934/35% % vilified%by%the%National%Socialists.24%‘Twentieth%Century%German%Art’,%which%opened%at%the% [Runner%with%Sitting%Figure]% Schreitende2Figur%[Striding% % Tennisspieler)mit)Kreis![Tennis'Players' New%Burlington%Galleries%in%London%in%July%1938,%can%be%viewed%as%representing%an%antiI Oil%and%sand%on%canvas% Figure],%1934% % with%Circle],%1934% % Oil%and%sand%on%canvas% Oil$and$sand$on$canvas% agenda%that%was%intended%to%counter%‘Degenerate%Art’.%Baumeister%was%not%unknown%in% % London.% At% the% suggestion% of% the% painter% Edward% Wadsworth,% Baumeister% had% shown% % ( work%at%‘Recent%Paintings%by%English,%French%and%German%Artists’,%an%exhibition%at%the% % Mayor%Gallery%in%London%in%April%1933.25% % Baumeister%had%his%last%international%exhibition%before%the%Second%World%War%in%1939%at% % Galerie% Jeanne% Bucher% in% Paris,% a% tribute% to% him% that% came% about% only% through% the% % unswerving%commitment%to%it%shown%by%the%gallerist%Jeanne%Bucher.% % % % % % % % % % % % % % % % % % % % % Schwebende)Formen)mit)Weiß![Floating) Fliegende(Formen![Flying' % % Forms&with&White],&1938% % Forms],(1937/38% Ideogramm,%1937,%Öl%auf%Karton% Oil$on$canvas% Stenciled(shapes!with%printing% % ( % ink$on$paper% % % % % % Ideogramm%[Ideogram],%1937% Tori,"1938% % Oil%on%cardboard% Woodcut'on'paper% % ( % % % % % % Tori,%1938,%Oil%on%canvas% % % % % % % % % % Formlinge*II![Formlings!II],! % Formlinge2III%[Formlings%III],%1937% 1937% % Offset%lithograph%on%Japanese% Offset&lithograph&on& % paper% Japanese'paper% % 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%preIwar%and% postIwar% German% art.% Their% high% opinion% of% Baumeister% was% based% above% all% on% his% having%never%abandoned%the%moral%high%ground,%his%managing%to%continue%working%even% during% the% period% of% ‘inner% emigration’% and% his% maintaining% contacts% with% the% international%art%scene,%which%he%renewed%after%the%war.% DialogNZeichnungen2mit2Montage% Illustration2zu2einer2griechischen2TextN Illustration2zu2einem2griechischen2Text% ( [DialogueIDrawings%with%Montage],%1944% Fotozeichnung%[Illustration%of%a%Greek%TextI [Illustration%of%a%Greek%Text],%1943% % PhotoIDrawing],%1944% ( % ! ( % ! % % % % % % % % % % % % % % % % % % % Illustration2zu2einem2griechischen2Text,% Illustration2zu2einem2griechischen2Text( [Illustration%of%a%Greek%Text],%1944% % % [Illustration%of%a%Greek%Text],%1944%oder%1947% % WILLI%BAUMEISTER%IN%HIS%STUDIO,% % ! COVER%‘DAS%UNBEKANNTE%IN% % STUTTGART%1947% ! % DER%KUNST’,%GUSTAV% % % SCHWAB%VERLAG,% % STUTTGART%1947% All:%Charcoal/oil%crayon/%and%collage%with%photo%and%reproduction%on%mouldImade%Ingres%paper% % % % In% the% years% that% followed% Baumeister% was% severely% restricted% in% his% work% by% the% % prevailing%conditions.%He%did%manage%to%keep%in%contact%with%a%few%colleagues%abroad% % but% correspondence% with% them% often% had% to% take% place% through% devious% channels% and% % third% parties.% Despite% the% adverse% conditions% 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,% in% which% he% addressed% biblical% themes% and% other% narratives.26% In% % 1942%or%1943%he%began%writing%‘Das%Unbekannte%in%der%Kunst’%[The%Unknown%in%Art],% % which%after%the%war%ended%would%become%one%of%the%most%important%theoretical%works% % on%abstract%art%in%Germany.27% % % % % % % % BAUMEISTER,%CURTAIN%TO% % % WILLI%BAUMEISTER%WITH%HIS% MANUEL%DE%FALLAS% % DAUGHTER%KRISTA,%STUTTGART% % ‘LIEBESZAUBER’%F0R%THE% 1949%% % STUTTGARTER%STAATSOPER,% % % COVER%‘DER%SPIEGEL’,%NOVEMBER% % ! % 1947%% % % Afrikanische2Erzählung%[African% % Owambo,%1944I48% On% postIwar% visits% to% Paris% Baumeister% also% forged% important% new% ties,% including% one% Tale],%1942% Oil%with%synthetic%resin,%putty%and% % Oil%with%synthetic%resin%and%putty% with%Nesto%Jacometti,%who%was%the%coIfounder%of%the%journal%‘Guilde%internationale%de%la% sand%on%hardboard% % on%cardboard% gravure’,% the% British% artist% Stanley% William% Hayter,% Fernand% Graindorge,% a% collector,% James%Johnson%Sweeney,%director%of%the%Solomon%R.%Guggenheim%Museum%and%even%the% solo%show%in%1952,%at%the%Hacker%Gallery%in%New%York.%He%also%had%work%in%major%group% writer%Henry%Miller.%After%1945%Baumeister%did%his%utmost%to%promote%cultural%exchange,% shows% at% the% Guggenheim% Museum% and% the% Carnegie% Institute% in% Pittsburgh.% The% especially% with% France.28% In% 1949% he% took% his% Stuttgart% students% to% Paris,% where% they% Pittsburgh% exhibition% subsequently% went% on% tour% to% San% Francisco% and,% thanks% to% it,% a% visited% French% artists% and% museums.% The% cultural% reunion% with% France% reached% a% high% major%American%museum%acquired%a%Baumeister.%Through%the%agency%of%GermanIborn% point% in% 1948,% when% Baumeister’s% painting% Jour2 heureux% was% presented% to% the% French% curator%Charlotte%Weidler,%the%AlbrightIKnox%Art%Gallery%in%Buffalo%acquired%Wachstum% government%to%seal%the%reconciliation%between%France%and%Germany%in%exchange%for%90% [Growth],%in%1953.%The%painting%is%still%there.31% French% prints,% which% had% been% given% to% the% Kunsthalle% Karlsruhe% by% the% Division% de% % l’Education%Publique.29%Only%a%year%later%Baumeister%had%his%first%postIwar%solo%show,%at% % the%Galerie%Jeanne%Bucher.%That%was%the%first%exhibition%any%German%artist%had%in%France% % after%the%Second%World%War.%By%then%at%the%latest%Baumeister%had%arrived%in%France%once% % again.%In%1948%he%wrote%in%a%letter%to%Michel%Seuphor:%“opéra%wrote:%›…%baumeister,%le% % picasso%allemand%…‹%that’s%overdoing%it%a%bit,%un%peu%trop!”30% % % % % % % % % % % Wind,%1951% Metamorphose+schwarz![Black& % Oil%with%synthetic%resin%and%tempera%on%hardboard% Metamorphosis],#1950% % Oil$with$synthetic$resin&on& % hardboard% % % % Funktion2einer2Form2Bewegung2(auf2Gelb),%1949% Ruhe2und2Bewegung2II%[Repose%and%movement],%1948% % [Function%of%a%(Form)%Movement%(on%Yellow)]% Oil%with%artificial%resin%on%hardboard! Oil%with%artificial%resin,%filler%and%sand%on%hardboard% % % ! % ! % % % % % % % % % % % % % % % % % % WILLI%BAUMEISTER,%1952% % % % % 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%Kosmische2Geste%[Cosmic%Gesture],%which%he% WILLI%BAUMEISTER%AND%HANS% WILLI%BAUMEISTER%IN%HIS%APARTMENT%GEROKSTRASSE,% 32 ARP,%1955% % STUTTGART%1946% promptly% donated% to% the% Museu% de% Arte% Moderna% de% São% Paulo. % In% the% 1950s% % Baumeister’s%work%was%shown%at%exhibitions%worldwide.%Apart%from%the%Venice%Biennale% After% 1945% Willi% Baumeister’s% range% began% to% include% countries% outside% Europe.% and%the%International%Art%Exhibition%in%Japan,%it%was%the%touring%exhibitions%initiated%by% Although%the%prewar%avantIgarde%art%scene%had%primarily%concentrated%on%Europe,%after% the%German%Arts%Council%that%made%Baumeister%famous%around%the%world.%The%German% the%war%the%importance%of%nonIEuropean%art,%especially%American%art,%grew%by%leaps%and% Arts% Council% exhibitions% took% his% work% to% South% Africa,% New% Zealand,% Australia% and% bounds.% Long% before,% in% 1926,% Willi% Baumeister% had% shown% work% at% the% ‘International% India.33% Exhibition%of%Modern%Art’%mounted%by%the%Société%Anonyme%in%New%York,%but%it%was%not% The%importance%of%Baumeister’s%work%and%his%influence%as%an%art%theorist%grew%apace%in% until%after%1945%that%he%was%really%appreciated%in%the%United%States.%He%had%his%first%US% Germany% as% well.% His% growing% postIwar% reputation% on% all% counts% was% triggered% by% his% participation% in% the% 1950% ‘Darmstadt% Discussions’,% in% which% he% defended% abstraction% % against%arguments%advanced%by%the%art%historian%Hans%Sedlmayr.%Baumeister’s%handsIon% % committment%to%the%cause%of%abstract%painting%made%him%a%trailblazer%for%it%in%Germany% % and%a%role%model%for%the%younger%generation%of%abstract%German%painters.34% % % % % % % % % % % % % % % % % Großes2Montaru%[Large%Montaru],%1953% % Monturi2mit2blauem2Dreieck%[Monturi%with%Blue% % Oil%with%synthetic%resin%on%hardboard% % Triangle],%1954% Oil%with%synthetic%resin%and%sand% % % % % % ! % % % % % % % % Montaru2auf2Rosa2[Montaru%on%Pink],%1953% % % Oil%with%synthetic%resin%and%filler%on%hardboard% % % % % % % % ARU,%1955% ARUNLinie%[ARUI ARU$auf$Beige![ARU%on% % ARU21,%1954% % Oil%with%synthetic%resin% Line],%1955% Beige],'1955% % Oil%with%synthetic%resin% Oil$with!synthetic)resin) % on%hardboard% Oil%with%synthetic% % on%hardboard% resin%on%hardboard% on#hardboard% % % ! % % % No% other% artist% matched% Willi% Baumeister% in% taking% up% where% he% had% left% off% with% the% % international%success%achieved%before%the%Second%World%War.%Nonetheless,%the%esteem% % he%enjoyed%in%Germany%after%1945%is%inextricably%linked%to%the%international%reputation% % he%had%had%before%the%war.%Baumeister’s%international%fame%rested%in%great%measure%on% % his% ability% to% make% contacts% and% maintain% those% ties% over% long% distances% and% under% % adverse% circumstances% as% well% as% on% the% thrust% of% his% work% itself,% which% had% been% Schwarzer)Fels)mit)rötlichem)Grund![Black'Rock' % Kessaua2II,%1953% orientated% towards% the% international% avantIgarde% since% the% outset% of% his% career.% As% with%Reddish&Ground],&1954% % Oil%and%synthetic%resin%on%hardboard% Fernand%Léger%wrote%on%Baumeister’s%painting%in%1949:%“As%I%see%it%the%name%Baumeister% Oil$with$synthetic$resin$on!hardboard'% % % occupies% an% extremely% important% place% among% modern% German% artists.% Indeed% % Baumeister%represents%–%when%one%considers%his%work%–%German%art%of%an%international% He%also%took%part%in%debates%abroad%on%the%future%of%painting.%In%1950%he%attended%the% character.%His%art%has%always%developed%with%reference%to%the%art%of%all%times%and%peoples% second% congress% of% the% Escuela% de% Altamira,% which% had% embarked% on% a% mission% of% –% ranging% from% the% Assyrians% to% Paul% Klee,% Kandinsky% and% Miró.% And,% sidestepping% reviving%modern%art%in%Spain.%In%1949%Baumeister%had%wanted%to%take%part%in%the%first% Expressionism,%he%resolutely%went%his%own%very%independent%and%distinctive%way.”37% congress% but% was% unable% to% do% so% because% he% had% not% been% granted% a% visa.% In% 1950,% % however,%he%was%elected%president%of%the%congress,%which,%under%his%stewardship,%was% !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! held%in%the%prehistoric%caves%at%Altamira.35%On%that%occasion%he%finally%managed%to%meet% 1%Dieter%Schwarz,%Baumeister%und%die%Schweiz,%in:%Willi%Baumeister:%Gemälde%und%Zeichnungen,%exh.%cat.% his% old% acquaintance% Eduardo% Westerdahl% for% the% first% time.% After% the% congress% ended% (Museu%Fundación%Juan%March,%Palma,%Kunstmuseum%Winterthur%and%MART%Museo%di%Arte%Moderna%e% Westerdahl,% like% so% many% other% fellow% artists,% wrote% a% dedication% to% Baumeister:% Contemporanea%di%Trento%e%Rovereto,%2011–12;%Düsseldorf,%2011),%pp.%30%and%27–43%passim.% 2%Martina%Padberg,%›Nichts%ist%abstrakt%gemeint‹:%Positionsbestimmung%in%Frankfurt:%Anmerkungen%zu% “Twenty% years% later% or% Willi% Baumeister.% On% visiting% a% museum% in% Germany% a% picture% Kontinuität%und%Innovation%im%Werk%von%Willi%Baumeister,%in:%Willi%Baumeister%1889–1955:%Die% appeared%to%me.%Years%later%this%picture%would%be%the%hand%of%a%man%who%is%full%of%genius% Frankfurter%Jahre%1928–1933,%exh.%cat.%(Museum%Giersch,%Frankfurt%am%Main),%Frankfurt%am%Main,%2005,% and%wit.”36% pp.%53%and%51–62%passim.% !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 3%Paul%Ferdinand%Schmidt,%Willy%Baumeister,%Das%Kunstblatt,%5/9%(1921),%pp.%276–79.% exh.%cat.%Kunstmuseum%Stuttgart,%MKM,%Museum%Küppersmühle%für%Moderne%Kunst,%Duisburg,%Daimler%Art% 4%Waldemar%George,%La%Peinture%en%Allemagne:%Willy%Baumeister,%L’Esprit%Nouveau,%15%(1922),%pp.%1790– Collection%Haus%Huth,%Berlin/München,%2013,%pp.%42I55.% 94.% % 5%For%Baumeister’s%activities%in%France,%see%also%the%essay%by%Brigitte%Pedde,%Willi%Baumeister%in% 32%Letter%from%Willi%Baumeister%to%Francisco%Matarazzo%Sobrinho,%21%December%1951,%copy%in%the% Frankreich,%in:%Willi%Baumeister%International,%exh.%cat.%Kunstmuseum%Stuttgart,%MKM,%Museum% Baumeister%Archives%at%the%Kunstmuseum%Stuttgart.% Küppersmühle%für%Moderne%Kunst,%Duisburg,%Daimler%Art%Collection%Haus%Huth,%Berlin/München,%2013,% 33%See%the%numerous%Deutscher%Kunstrat%exhibition%brochures%in%the%Baumeister%Archives%at%the% pp.%30I41.% Kunstmuseum%Stuttgart.% 6%Christian%Derouet,%Baumeister%et%Cahier%d’Art:%Un%prêté%pour%un%rendu,%in:%Willi%Baumeister%et%la%France,% 34%For%Willi%Baumeister’s%role%in%the%debate%about%the%future%of%German%art%in%the%postIwar%era%see%the% exh.%cat.%(Musée%d’Unterlinden,%Colmar,%and%Musée%d’Art%Moderne,%Saint%Étienne,%1999–2000),%Paris,%1999,% essay%by%Sabine%Fastert,%»Häupling%der%Moderne«.%Willi%Baumeister%und%die%Kunstdebatte%nach%1950,%in% pp.%83%and%82–92%passim.% Willi2Baumeister2International.%exh.%cat.%Kunstmuseum%Stuttgart,%MKM,%Museum%Küppersmühle%für% 7%»une%forme%d’art%mondiale,%et%d’un%style%collectif«.%Waldemar%George,%Baumeister%et%l’art%allemand,%in:% Moderne%Kunst,%Duisburg,%Daimler%Art%Collection%Haus%Huth,%Berlin/München,%2013,%pp.%66I77.% Willi%Baumeister:%Chronique%de%la%vie%artistique,%Sélection,%vol.%XI%(Antwerp,%1931)%(with%essays%by%Will% 35%Alarcó%2004%(see%note%13),%p.%66f.% Grohmann,%Pierre%Flouquet,%Waldemar%George,%Hans%Arp,%Karl%Konrad%Düssel,%Josef%Gantner,%Christian% 36%Cited%in%Alarcó%2004%(see%note%13),%p.%72.% Zervos,%Michel%Seuphor,%Fernand%Léger,%Le%Corbusier,%Ernst%Schön%and%Willi%Baumeister),%p.%16f.% 37%Fernand%Léger,%Willi%Baumeister,%L’Âge%Nouveau,%44%(1949),%p.%71.% 8%Letter%from%Wassily%Kandinsky%to%Willi%Baumeister,%19%April%1931,%Baumeister%Archives%at%the% Kunstmuseum%Stuttgart.% 9%Padberg%2005%(see%note%2),%p.%57.% 10%Will%Grohmann,%Willi%Baumeister:%Les%Peintres%Nouveaux,%Paris,%1931.% 11%Willi%Baumeister:%Chronique%de%la%vie%artistique,%Sélection,%vol.%XI%(Antwerp,%1931)%(with%essays%by%Will% Grohmann,%Pierre%Flouquet,%Waldemar%George,%Hans%Arp,%Karl%Konrad%Düssel,%Josef%Gantner,%Christian% Zervos,%Michel%Seuphor,%Fernand%Léger,%Le%Corbusier,%Ernst%Schön%and%Willi%Baumeister).% 12%»Je%suis%heureux%de%voir%la%belle%tenue%de%vos%œuvres,%ici%rassemblés.%Tout%cela%est%éminement%pictural.% Vos%dessins%sont%très%beaux.%Dès%1920,%votre%départ%vous%êtes%sain%et%interessant.%Vous%allez%à%l’avenir%avec% sécurité.«%Letter%from%Le%Corbusier%to%Willi%Baumeister,%16%February%1931,%Baumeister%Archives%at%the% Kunstmuseum%Stuttgart.%% 13%Paloma%Alarcó,%Willi%Baumeister%und%Spanien:%Gemeinsamkeiten%und%Einflüsse,%in:%Willi%Baumeister,% exh.%cat.%(Sala%de%Exposiciones%Fundación%Caja%Madrid%and%Städtische%Galerie%im%Lenbachhaus,%Munich)% Munich,%2004,%pp.%52f.%and%51–73%passim.% 14%Ibid.,%p.%54.% 15%Eduardo%Westerdahl,%Willi%Baumeister%(Tenerife,%1934).% 16%A%copy%exists%in%the%Baumeister%Archives%at%the%Kunstmuseum%Stuttgart.% 17%Padberg%2005%(see%note%2),%p.%58.% 18%Willi%Baumeister,%in:%Il%Milione:%Bollettino%della%Galleria%del%Milione,%13/41%(1935),%n.p.% 19%Letter%from%Wassily%Kandinsky%to%Willi%Baumeister,%17%March%1935,%Baumeister%Archives%at%the% Kunstmuseum%Stuttgart.% 20%Elena%Pontiggia,%Baumeister%und%die%Galleria%del%Milione,%in:%Willi%Baumeister:%Gemälde%und% Zeichnungen,%exh.%cat.%(Museu%Fundación%Juan%March,%Palma,%Kunstmuseum%Winterthur%and%MART%Museo% di%Arte%Moderna%e%Contemporanea%di%Trento%Trento%e%Rovereto,%2011–12)%Düsseldorf,%2011,%pp.%115%and% 111–20%passim,%esp.%p.%115.% 21%Carlo%Carrà,%Willi%Baumeister,%L’Ambrosiano%(1935).%% 22%Pontiggia%2011%(see%note%20),%p.%114.% 23%Schwarz%2011%(see%note%1),%p.%37f.% 24%Letter%from%Herbert%Read%to%Willi%Baumeister,%30%October%1937,%Baumeister%Archives%at%the% Kunstmuseum%Stuttgart.% 25%Willi%Baumeister,%diary%entry,%17%March%1933.%»Wadsworth%writes%about%2%pictures%for%the%inaugural% exhibition%at%a%new%gallery%in%London:%Mayor%Gallery.«% 26%Andreas%Schalhorn:%Lebenszeichen%aus%der%inneren%Emigration.%Willi%Baumeister%Uracher%Jahre%und%die% Zeichnungsfolge%»Saul«%und%»Salome«,%in:%Willi%Baumeister%International,%exh.%cat.%Kunstmuseum% Stuttgart,%MKM,%Museum%Küppersmühle%für%Moderne%Kunst,%Duisburg,%Daimler%Art%Collection%Haus%Huth,% Berlin/München,%2013,%pp.%56I65.% 27%Willi%Baumeister,%Das%Unbekannte%in%der%Kunst,%Stuttgart,%1947.% 28%Martin%Schieder,%Im%Blick%des%Anderen:%Die%deutschIfranzösischen%Kunstbeziehungen%1945–1959,% Berlin,%2005,%pp.%122–26.% 29%Ibid.,%p.%20.% 30%Letter%from%Willi%Baumeister%to%Michel%Seuphor,%17%February%1948,%copy%in%the%Baumeister%Archives%at% the%Kunstmuseum%Stuttgart.% 31%Letter%from%Edgar%C.%Schenck%to%Willi%Baumeister,%3%April%1953,%Baumeister%Archives%at%the% Kunstmuseum%Stuttgart.%For%Baumeister’s%US%contacts,%see%the%essay%by%Peter%Chametzky:%Verpasste% Chancen,%Missverständnisse.%Baumeister%und%die%Vereinigten%Staaten,%in:%Willi%Baumeister%International,%