O,','"''--___-'LE ,OI'OI.D SU R Vf,.(;E SOP H 11: Til. LIB F."" -"A""!P'--___ 6B
group exhibitions of cubist artist, OWT rhe next few YC:lrs. bly, on the sets and custumes for Stravi nsky's Mal/fa. Like Leger, Picasso, and SI:\'crini, SUf\'agc was anmcted staged by Diaghilev in 1922. In 1937 Sun·age was one of to classical an, si~ns of which hq;in to "P(JC'Jf in his work St:veralleading artistS (among the others were Lc,!lcr, De "boul 1922. From 1921J TO 1927 tillS Ncodassicisrn was launay, and Gleizes) who made large dL,
".'~'('."'. RH' .,,,.' bh,bJli".' Damd AI",I,,'. I'.om' B.:,,,,, el .1 .. [k«>u".rt" Par", ,\lu$C<" (jallin•. L... {>oId S"" .... (r. 0,.",,.., ,k d. Sur ....,!;" ," Li Gdf,,,, d" u"1. ""I 67, 1~ I')fH .. 1%'. AI" M~l t?l.G ~br 1%1 (Spcc ,a1 ",,"') I.),on, )o,(u\tt dt, Ik-.,,~-Ar". I~"",J S""ol,tr, 1'~,,1 hutns. S,," ... ~, (1'"",. 19111 Ocr -1'1"" 1\1(>1'1 ,\I ... ilOil",,, Cauthi«. S"r1~X< (1',<0$ , 19H) Nc'" Ynrk. G".." ( i.l)t·'l, SN''''R' 11'1"9-1%11, ~mucl I'u"um. lht GI,,'(1tm~ Ilnd,,: l.tOfJ'IId Art ,\laj' I')"U Inn"r• ..~d II .. S/li
67~ 1911 .709 L:tndsc.lpc 1921 T!:mp<:ra on canvas 38 X '51 on Si};ned 1.r. "Survage" KSD from Llionc£' Rosenberg, Nov. 1922, for 500 (rancs '" lllal1Q(.M""" M I~~II , PI' 1i-2}. 'lIu.
Iox,"nll'o,,_' Y$A 64 (Cine,nn'" 19-111, nO. l? "SA 67 ( Wa> I"n~''''', D.C ['nil ' YSA 911 (1'.", So phie Tauber-Arp I'P7), ,lIu. t8R9-1~·U, SWISS
From 1915 to about 1920. nearl}' :Ij[ ofSurvage's paint rhe seaside SI:HIIl!:. The curtains III the window share in Sophie Tauber-Arp was born in D.-wos, S"mzer!:tnJ, on of superfluous der Société Anonyme Catalogue Société Anonyme Catalogue ,>1 SOPHIE TAUIlEII.-ARI' 501'111[, TAUBER-ARP ,» [n 1929 Taubcr-Arp and her husband m()n~d to Marcel D/lchaIllP's Qri}!,illaltl'Xt ( 1949) fllr the 1950 (alalogli~ Meudon-val-Fkury. Although not intimately connl"Crcd If one of the characteristics of Modern Art since Courbcr with any ont an movement, sht maintained close tits has been the cult of the subconscious blind, quite a num with anists in Switzerland and France as a mcmocr of the ber of anists, in the last 30 yC'JfS. have aoondoned th is Schweizcrischcr \Vcrkbund, {he Zurich Allianz, and Ah cult and turned towards a consciously accurate wchnique, srracrion-Cr('(Icion. Between 1937 and [939 she pub kaving nOthing to the hazards of the brushwork. Sophie lished PlaJ/iqlle. a journal of modern an, in five issues. Taeuber-Arp w~s among the fi rst artists to have fdt the Taubcr-Arp died on 13 January 1943, less than tWO danger of indulgmg in "'automatic" pauuing. She S(:t it months after h(-r return with Arp to Zurich. her task to l·xeCute a drawinJ! as "planned" beforehand Katll<;rine Dreier ncvn met T iiubcr-Arp but was intro and. most importam, she reintroduced rhe goometric duced to her work in 1937 when the artist scm Dreier an arabesque as one of tht· major artistic conCepts. inscrilx~1 copy or the 193t1 puhlication H. Eflll, H. Curious enough, as "abstract" as she wus, she often Schim. K. Sr/igllltlllli. S. H. Tdllbe,.-lIrp. G. VIi/II,/IIIY. In liked to usc a tirle which evoked a human analogy in the 1919 ) {y.In Arp ,gave Order a copy of the rt"("cotly pub painting (six espan·s aux temtc's enso l eill~es). Moreover lisht..:[ Sflphlt Taeuber-A ,p. edited by GL'Org Schmidt. the ritks as well as the paintings themsd\'Cs wtre Dreier commenced in a leuer to Arp dared 7 February adorned with a definite sense of humour, so ofttn lacking 1919 thol( she and Gabo had been "especially intrigued in Abstract art. Sophie Taeuber-Arp. in her ;Inirude of by her sculpture in wood" (SWIPlflrt' tIl boil tWlml) illus J(·rachment about herself as an artist, reminds one of the mued (hen~. anonymous artisan in the Middl(' Ages. I'"'~' '.Al R.H.XC";U.> Cxl"t"'"n/ Sch,nid, 1<).IH (:.rof~ Schfmd" oJ., ~I;/'h" Sc. (;. llc". Kuns"nLl;t'Um , S 679 1950..1H Sculptllre til btJlJ (WYlIe 1937 L![hc-rurm:d wood 32.5 em high 38.9 em high with base ". Sramped in purple ink on underside of sculp[ure, "S. H . Taeuber-Arp"'; printed on underside of sculpture "Ocuvrtl Sophie Taeuber-Arp I Nr. 1937/10·'; stamped in purple ink on underside of baS(: "'S. H. Althou~h she W:lS prunarily a painter and weaver, Sophie her two-dimensional works of the same rime, emphasize Taeuber-Arp"' Tauber-Arp produCl'd sculpture in wood at twO distinn the sculpture's convexiry, reinforcing irs proximity to Gift of Jean Arp in memory of Sophit Tauber-Arp. 1950 pcriods of hL'[ career. Between 191H and 1920 shc sculpt BrJncusi's sctdp[Ur(', ed and polythromed a strit"S of ·Tftcs dada" which (with The spherital shape, peaked top, and wide-open, EXj,,,,mo,",, 1J'8'.")l. ~ A"HY typitally Dadaist irrcvtrencc) tould function equally as mouthlike gap form a capped head. The inspiration for SII /9 ~ U . p. 69. ,Hus . • Schmid, 1'148. ". 146 YSA (~) his (Yale 1950) ' N,·w yo,k, G.Ie"" hat or wig stands. She also made s(·venrecn polychromed this untitled piece may have come from Jean Atp, who in • Dnu.o:las MocAgy, "PI", b)' Mlflu<: T(>I!'Y'. CII.!",,". S(N/pt"rt by I'amll'rl. OcL - N01I. 19~8 H.lf.c"n,ury," Arr <;·,,11")" . .... ,.f I96/!. dIu. • YSA 91 (flufr.lo 1%8), no_ 202 ' lI"ff.lo. wood marionenes for ,) production of Carlo GOZZI'S Roi 1930 had tx<"Cuted a bronze Hit dt Illtili. dile IVIspar ~" NY, A'b".o:h'-Kno~ Af' Gallory. ,11",,"n ell ...... Cerf at tbe Theatre Zur)cilois de ~larionettes in 1918. (Mm(.'. Ruth Billy-Arp Collenion, Paris). Kaspar, a fnr "...~ S(JI/pl~rt /9/11-/9·<): IJd ..... -n BtI_g, ""J Orhtr Rtd/irm. o.g. by St Société Anonyme Catalogue Société Anonyme Catalogue ARr-;OLD TOP!' ARNOLD T OPP 6>, Tauber-Arp col1aborlHed widl Arp in 1937 and 19."S on sculpted work although othcr copics of thIS work h;.vl' I'R,:oi<.WAl 1(1 n"' :-'(: ~s E"hlh'I1"~,' 5.. 1<1, 1It/W)"I1I< 6h'''III.~' at leas[ two latht·-turned and S<1WeU wooden sculpturo;s, nO! YCI been located. Arp gav!.' Scu/plllre en fx,u 1000nte to Re hne 192Z Adolf tlch"", "",,,,,Id '-"1>1', " m 1\ ~r1in 1%1 Red,n. l'\.';"nalJoi.I .... ;c, 0 .... SA li(L"~SI' .. nl: 1'J211 SA III, 11:1., ll1b, '\!ilrilill Sm/plllrf! and Ullld!l1i1rl<. thl: Soci~tc Anonyme in memory of his wife "ftcr hl' Han$ vOn W/1J.krKOp, od., I),,,,,,,,,, Gr"pb,~ SU"''': 1I ...."",h 'l'a'dr" ,,"" "" E",,'/'J"''''' 19 ('r~ .. llmg 1921 -22) SA II (W""., Apparently there is more than one \,trs.on of this vimc{[ clll' colkction with Dreier in 1949. \'Vhen Arp J 680 1941.71 I RecolleCtions of H ill ,04 Erimlrrllliltpi ill/ dit Hii/)e 304 In the Battie: War Arnold Topp 1916 b. 11\87 , GERMAN O il and gouachc on heavy paper 39.5 X 45.3 em Topp was born in 18H7 in &x.'sr. \'\Iestph;llia , whtre he artists, such as 1\luche and Campcndonk, :[f<: consistcnt Signed !.r. '·A Topp 16" est,lblished a youthful fricndship With \'\Iilhelm Mnf,c with this ilHer~st. Like them, tOO, Topp lcarned much KSD from Der Sturm, Berlin, OCt. 1923, for S5; In ner. He began his ca reer as a schoolfeachtor, hut in 1<) 10, from ( hagal!. possession of Societt- Anonymc by Autumn ly20 probably follow ing the lead of Morgner, Ill' tonrolled III Topp was one of the many artists whos(' work Kath the Ku nstgewerocs(huk in Dusscldorf and spotont hiS va crine Drei('r saw ",hen she visited thc gallcrics of Dtr ~. XH'KTT'O'" Sturm in the early 1920s. She pur(h:lso.:d his works (rom )A I'no. p. 2G SA JII, lila. Jllb, 19 (tr"".lIing 1\nl - n 1· SA caTions with Morgm:r in Soest. Likto other artists III the 42 (Ph,l..Jdph .. 1')26), no 1512 burgeoning expressionist movemCnt, they both admired rhe Berlin !jallery wlthum !1ll't'ting the :If[ist; at kast '" the work ofSc,cantini, Van Gogh, and i\lillet. It :'pPC:lrs nothi ng documents any dlfect communiGlfion b~1\l'l"en that Topp entcred the circle of I-\crwarth \'Valden's Der rhem, Topp last showed with Dn Sturm in 1926, Pub Erillllerl/ligm «II die I-Ji;he 304 evokes the brutal world of nature, but hills aod namtos an: slt8gestcd by the JUlting Sturm on the eve or tht war (he W:IS first includtd in an Jisll{'d sources on G,'rman arr mention very linle about "irrsinniger Blodheit"' which Topp described in a Infer trian).;les and their fla ring outlines; a shape resembl[ng a exhibItion at Dl'r Sturrn in 1915). After se rving in com his subsequent can:cr. to H(·rwanh Waldcn o( November 1914 (Berlin 196 1. red-e}'cd bird rises in the center of thl' composition. For bat and being wounded, Ill' returned 10 Brandenhurg an p. 64). Thin washts of bri£ht yellows and violets art Topp, as for Marc. nature mirrored society'S upheaval. der Havel whne he had been given a POSt as dr.lwing almost obliteratcd by hcavy applicaTions of black, dark T hl" ddt· of the work llppears in the early correspondcnce K(lfmrill( DrtJer'J ItXI/rolll I/;' 1950 ((J!(,{ogfle m:Jster III 1913_ The impact of his wa r experiences is purplc, and dark red in ja£ged, sb shing forms. Tht feel between thto Societe Anonyme and Der Sturm. Topp was rtfk'{"Ted in his work of the period. PartiCipating in \'\1:.1- Arnold To[>p was one of the earlIest of the German ab ing and Style of the painting reoll The most tormelll(;<1 wounded in the W Société Anonyme Catalogue Société Anonyme Catalogue '" _ __ A I!. 1"01.0 TOPP JOAqu i N TORRES-GARCIA 659 682 1911.7 U 684 194 L710 LidlOJ;Taph No. 'j :kIf-Portrait al. 1917 Stibstbtftllll! I.ithograph on IIglu tagboard 1918 16.R X 2) em (unage) Oil on composition lxxtrd ,0.8 X 42.5 em (sheet) 83.6 X 73.3 em Signt-d in blnd~ ink I.r. " A. Topp"; insnibc::d I.l. "NT. Signl":] I.r. "A. Topp IW' and inscrilxxl "Sdbstbildnis" S"; inscriocd on the SlOne J.l. with mOllo!!r:un~. KSD (rom Ocr Sturm, Herlin. Ocr. 1923, for S 10; in KSD from Ocr Sturm. Bo;rlm. 1922. for $.SO possession of the Societe Anonyme hy Aurumn 1920 SA N$(), p 26 III 1'111). 1'1' 1~ -26. ill"•. I:XIIIBlTl"" [XOURrtIO'" 11U.. , The flye r for thl' 1921 Societe Anonyme exhibiTion (S A 10) describes Topp a~ "~nongl)' influenced by tht Rus sian painter ehagal!." This {Iehr is evidmt in rhe Sdf PI/rlr M /9"0, P 26 Joaquin Torres-Garcia l,s-·j 19~'.l, l'RI!(;UAYAN Torres-Garcia was born LIl ,\lomevidro, llruf:uay, on 2!:1 r-.k-a!1whiic, Torro::s -Garcia's easel paintings and dr:tw July 1871, til{' son ofa Uruf:lI:tyan Tnmher lmd a CLt;Ll"n ings began to show an awareness of Cubism and Futur lmmif:ranr ("t/wr, ,\fter his fiLmi!y moved to ,\I:naro, ism, as well as orher Indications of great change. Break I'Il·ar fj;ln.:clona, in 189 I, (he roung Torres-Garu,1 ocg~ln ing his long association with Catalan nationalism, ro study ,Irrs and crafts, and painting. In [jarcclona he Torres-Garda moved to New York in June 1920. He eVtI\fU;Ll!y IOlllcd the Catalan avant-garde, and by 1900 hoped rhe New \Xforld would be a favorable markel filr Ill' wa~ one of the circle af\)und the cafr: Qu:ltrc G~tS, his sculpted wooden toys, which Iw had ocgull exhibiting whidl included Mi,!:ucl LrrHI!) and Picasso. In subse in 1911::, ~nd he (ook Immtdiawly to the excitement of quent years he worked on St Société Anonyme Catalogue Société Anonyme Catalogue 660 JOAQUIN TORRES-uARUA JOAQuiN TOKRES_GARCJA 661 New York did not providt, Torres-Gard a wid, :my rl':!l He spent the rest of his life therl' as an artiSt, writer. and success, how('ver, and he returned to EuroJX' in 1922. 1ccwrt'r of imm('nse influence. His Asslxiation de I\ rre Following a period in Italy and southern France. h<.- set Constructiv\) was an intelleCTUal tenter as well as an art rled in Paris in 1926. He shared a studio with Jean school, antI It took a m(ljor role in spreading idtn~s about Helion and concerned himself increasingly With abstrac modern art throughout Latin Americ:!. I ~\[e In life he tion. His subsequent meetings with Van Docsburg, crl-ated the Taller Torres-Garcia, exp;lndinl-: his construC Mondrian, and 5<.'uphor were d('cisive, and In 19,0 he tivist principles to polll'fy, tapestry, we;lv;ng, and other and S('uphor founded the Cerde tt Carre group. Opposed crofts cloS(.· to daily life. At the time of his {Iea th un 8 noneth('less TO pure abstraction, Torrt's-Garcia began to AugUSt 1949 he had reconciled the mtern 1'~""WAl R,II"'W'> f!~I"hill"'" Em,r J'ru,. ·Jor""·G"",,,, (R3f 6H5 1911.724 686 1941.722 New York Ducks New York City: Bird's Eye View lnO 1920 Oil ;1nd gouache on cardboard Gouache and watercolor on cardboard c();l(ed ligln gray 50.2 X 66 ([11 3,.8 X 1H.5 cm (meg.) )' KSD purchase from the arti.~t, New York, probably Signed J. r. '"./. Torres-G:!rcia'" ;!I,d (jated 1.1. -'1920" 1921, for unknOwlI sum KSD purchase from rhe Mtis{. New York, probably 1921. for unknown sum y lox"'''ITI'''' Au"in 19~1 ·n, "" 687 1941.72.~ New York Su("{-[ Sc('ne 1920 Oil and collage on academy board (oated 111 gray paim T his and the other tWO works of 1920 by Torres-Garda hav(' appreciated Torres-Garda's paintings. The dock 45.7 X 60.8 em were probably bou;::hr by K,uherine Dreier in responst: to S«'ne (cat. 685), probably rhe ea rl iest of the three siven KSD purchase from tl1(- anist, New Ynrk. probably " a lc ttt'r of 15 February 1921 in which th(' :mist asked for its rebtively ("onvcnflonal perspective, is [ht: kind of 1921, for unknown sum study that undt'rlies the other tWI). Ntu York Cil)." Bird'J I)' her help. I·k r('{:;llled larer (T orrcs-G:lrd a 19j9. p. 198) rhat Dreier and her sister Dororht'l[ had visited him and E)'f Vim (Cllt. 686) is n composite I)f City motifs, surpass I:XHlHlllO;": purchased his work. Dorotht":\ somerime_~ seconded Ka ing anythlllg Torres-Garda had dom' since modern sub Au."" 1971-72. "" ~ rhcrim's venrures into CotHt'mponlry art. and given her ;ens fi rst elUered his work in 1917. It IS hiS firs[ knuwn own views of New York (cat. 208), she would probably work in which transparent uvc rl:tppinj; planes are cum- Société Anonyme Catalogue Société Anonyme Catalogue ~66",2---",-JO""AQ U 1N T ORR ES-GARCiA JO,\QUIl\ TOItItE~_.:«;; AR C IA 66; which rht whol .... Ikln' .,tnc I 1101'1.', refuslIl);, J P(:ctIVtS, and In d -nt Tho: " er HarCOl,rr,. t 1\:l:xr ttl IC I~ 690 19-11.7 18 blncd with sevcra! Ix:rs -'''nee over lsolat .... d 1(KI t dow, chI: pubh~h, 'UI:SC lor employ men , 'lIlIllVerS;lr), k 's preceu>.- k ""rs' Win Artists. . B a,II' Two Dancers comp ,~ 1 I 688 1911.716 Artists . B·,I. II' Plcrror and I'igur(:s Standing 6 "1 1941, 719 'd Dancers Af[IS:/ . IS . Ball' ' PierrO(, H arlequ1tl, an T,,, A"1 ' 1S1~ , BALL nd)' !C ,vcn to ",U<_ her,,\(, UtC'-01 . ",,,{crcolors "'etc "PI>3re 1')'9, in appr~ ...."' on n,<.'SC SIX I,,'d), T ttes_Garc,a III I'M'S In J:d<" 6'9 1941.71 7 Anists Ball: Costumed Dancers • h~( 1, ,-, 1'1:L1~ J ,' __'~-'-" Société Anonyme Catalogue Société Anonyme Catalogue 664 JOAQ.uir-;' TORRES-GARCIA NADE7.llDA ANDR I'EV1NA l1DALTSOVA (,(,5 692 191\ 1. 720 On 15 April 1929 Torres-Garda wrote Katherine Dreier In 1926, after a long Interval during which 111; had Artists' Ball: Harlequin and Dancers that he had learned of her arrival in Paris. He WGlllt-d returned to cJasSlcilin!: subil"Cts and style, Torres-Garda their earlier relationship in New Ynrk and hoped she resumed the m,\]ltler of his New York period. iJl)(kr rep would come to his studio where she would see his [llrrem resents the quai-side of a french port (Dep()If, VinJ, painting, "tres moderne," She did viSit him on rhe rue /j01l/aIl8er. Tabdc), wid, the bow of the steamship Ellropa Marcel Sembat and purchased Dockr, In appreciation, dw in the upper right. Tht· ElfYOjlfl had brought Torres-Gar artist Sl't.'ms to have given htr six watercolors (cat. da back 10 Eurnpe in the summer of 1912, StOpping at 688- 693). It was apparently then that he signed Docks several Meditermnean POHS before reaching Genoa. Two and datl-d it 1929, although it conforms not to his "tres years later the artist moved from Italy to southern France. moderne" current work, bur to thar or 1926. It must be and then, In thl' summer of 1926, he travdlcd along the assumed dlar Dreier did not eIre for his recent efforts and coast to Spain before finally sl·ttling in Paris. DockJ prnb chose instead work that rcmimled he r of the New York ably comes from that summer trip, perhOlps lIlspired hy 3 compositions she had :tCquired in 1921. She probably sighting of the Eurtipa in om' of its French pOrtS of cal l. regarded the purch:Lses as subsidies to a needy anist, and for Torres-Garda had a prcdilt-ction for commemorating not as important additions to the Societe t\nonyml', for signal events of his life. .~ she never showed them (and later, in the 1950 catalogue, she listed D«kr as a New York SCl'ne despite its promi nent French words). 693 191\1.721 Artists' Ihll: Spt.'uawrs 111 Theatl.:r 13oxl.:s Nadezhda Andreevina Udalrsova rl:l86-I%1. RliSSIAN Udaltsova was born in Orel in 1886 but grew up in V (51. Petersburg, 191 5), .lurk of D/(I'IIOlldJ ( /I.'los(ow, Moscow, where her family moved when she was six. 1914 and 1916), O,JO (SI. Pe[l'rsburg, 1915 ), and Tht '" from 1905 to 1909 she attendd Ihe fo. loscow InstltuH.'of SlOre( fo. 'los(;Uw. 1916). From 1918 on she taught ,It scver Painting, Sculpture, and Architccture and also studil-d a[ al of the oew state art schools together with Popo\'a, various private an schools. In 1912, together with h('r includmg the Vkhmemas in 5t. Petersburg. Sht· was also friend Liubov Popova, she wcn! !O Paris and worked with close to the painter Alexander Drewin, with whom she 694 1911.7 15 the Cubists Metzinger and I.e Fauconnicr, and with li\'ed; they shared an e:.;hibition in Lcningr.. d 111 1928. Docks Segonzac. She and Popova maintained a close fricndship Katherine Dreier pun:haSctI /\II& 1'111110 in 1922 from ca. 1926 after Udaltsova retumed !O Moscow in 19n. Cubism the great Russian exhibition in Berlin (a r more than Iwice Oil on canvas re(nallled a constant in her style as she participated in the the pril'e of Malevich's Kll ifeg l'illl/~r!) , Th"t she had no 79.6 X 99.5 cm mpidly expanding avant-garde. She seems to have been contaCt with Udalrsova IS pro\'en by her crroneous view Signed I.r. "J. Torres·Guci,1 29" /Jir!: mscribcd verso closeSt to the ~roup of artistS :Iroond Tarlin and AI(,x that she was Malt:vich's wife, but Dreier was pleased [0 "Ne I'ernir jamais ce tableau. ).T.G." ander Vesnin, and she show(-d in most of the major avant discover the work of -.I. Strong woman arost, K5D from the anist, P~flS, Sprin}o; 1929, probably for garde exhibitions, including 1.41if l Trellds and Trat/JUd)' S50 (value ,Iliven for customs de<:iararion amI insur ance) Il'H'.I()(,RA ""Y F.xhlhJlt~nJ S.mu "'"'''> .... F.~hlbJJt~~J SA I~~(). PI' ~~ %. ,(J". Gray 1%2 Cam,lla Grny, Tbt G_t 6.1'<" I.cmnl'r..J, K"ldf"t ,,.,,,, Société Anonyme Catalogue Société Anonyme Catalogue 666 t-:ADEZI!l)A ANDIU.EVIl\A uDAl T ~OVA MARIA UHO EN (>67 695 1911.72'5 AI IIH Pumo shows a woman in a blue dress playing the A particularly Russian no(c i~ struck by the Cyrillic At thL' Piano plill10. In n,cIH profile. she IS Sellte.:j on a canc-OommlCd letters for t\ Srr (directly below the pianist's eye); contem 191'5 (hair, her right foot on;\ pcd:ll, her othcr kg btnt b;tck. poraries would havc n:cogn i.wd them as The first initi:!1 011 on can\':\S Shecl ll1u~ic IS nori(c:lbk- on the PI<1II0 ~t.md. ,md light and first dUel'letters ofScriabin's surname. Not only was I07X89cm comes from.1 bmp with a blue ~h:ldl' in the uppcr ngllt. Sc n abm norL'd fo r his piano music and for his uncanny KSD frum Gall-ric Van Diemen, Berlin, ll.rJlt RIIJJisdH The effett ut Ud,dtsov.l's study In P(lris IS obVIOUS III skill with novel effccts of till' pedal; he was espcci1llly K II IIJfa IIHull {{II!!.. On. 1922, for 40U.UOO marks many fenures of lu:r p.lIntinp:: the facetl, I'o.)$ 1,)1~ J.n. 1')16. n., J.l~.,. Mu ..<" 0 n.,."n. (j.r.", V~n 1l,e"'~n. h'lt H~"It('" "".,,~~,- 11,IIN~l' ""rumn 1')22. "n, 1". ,H", , '" . Am I',~oo" , SA ~O tRus".n 1\J2·jJ 0 SA I: (Russ,an 19161. nu 11m; · SA 73 (Dtll'h" 19\6) ' SA 114. liS (~r"n~fi.I,1 19\'). H.m',rJ 1')4m, "" 6~ 0 "SA 1(I,uu~"'~1 1')1210 "SA S (N<" Lo".won I,)·j ,) • YSA 1 S. 1 ~". 1~. 10 (t"",.rl '''); (9-11- 1(,1 · Y~A 21. 11 ... H, 16. 111. 30. Maria U hden 12. 12a. Ill>, 11<. ,l(i (( ... dlm", 1')·1(0 PI · III')! 19111, (if.RMA:"o1 )"SA (,u 1>;, (y.l. I?Wl ' YS,\ 61 (~"~"IJ'" 1')~lJ )11 ' YSA 71 (t>.,,, I"n""" 1,)~21 ' YSi\ ')0 (lied", 1,)(,:1. 'W. UI(,o 1.1> An~d", Coon,,· )o.j"><,,," PI An .,OJ ,,"c ..· \'u.l. ~1.""I",I".n I\!aria Uhdcn W,IS born 111 eobur.e, Gam'IIIY, in 1892 tcmporuy Russian and GL·tman 1Iftists especially 10\'t-<1. Mu«um, I'" C.hrr' I'"wh "'I'. hI' Ihu~l .. ,md dic'd in lhildbmh at age 26. WIl,1t lin Ie: is known of ShL' (Ut dircCtly JIltO the block withoUT attempting subtle C,.,pN. I'r!. "" \01', ,11,1>. ",I", 0 1." A,,-,,cit-s (.flU",), Musoom 01 Art. \I.,",~ ,0\",,,, hcr lifl· attJthes 10 lhe aC[Jvitit,s or i-Ierwarrh \X'aJdc'n's gray tont:s, anti the strong black 1In.] white forms that /5()(! I\I')(J. Société Anonyme Catalogue Société Anonyme Catalogue M/dUA UIIDEN MAR! A U"I"I,D"f."N'--_____~669 Sturm in Ikrlm. It n:IClISl-d her inhibiTions which had one. \Xlhtn she ditd Herw;trth \X'alden express",d the ing Afri(un dancers. T hree difTerenr IlIles act as frames prevcnted her giving free rein to her rich ima,>;lnation. grief fclt in the aft world when he wrOtc in fine h[~nk Nin(' d~ncers and twO dogs animate this woodcut, which Through her early (raining at the museum school for verse these l,nes: "The wind swei."ps (old over (he earth sc<:ms to rdlect Uhden's inten's[ in cir(us life. The fi,r.; and ground lines for some of the figures, who perform decorative :lrtS in Be rlin and later in Munich her fine Art suns Itself in your pictures. ,\ Iaria Uhden-AII chil ures are nude to the waist and wl."ar grass skirts, suggest- four d iffe rent danC(·s. decorativc sensc had been delldopcd, which she now had dren meel you smilin};." It was tlu: wonderful influence to kt'tp constantly under contrOl III prcvcnt a superficial of her woodcuts, as sh", entere<[ the world of Ihe child, 698 1941.731 I'lcasl!\~ clcmtni from btcuming the leading expression th~t s[imulated his ImagInation. Iler rh),thm, illler Men lind BeastS of htr work. It is am"zing how consciously, rhrou£:h rhe woven throughout [ht· 'Inion she portrays. is her S{Tong 19 [7 strong and often awkward primitiw figures uf h('[ com personal COlllribution to art. The subtlety of her rich \XloodcUI on Jap:tn paper positions she masten:J rhis danger. This showed her color with its relarionshlp of connolled v:!lues empha srrength. The mingling of Iwr animal world with her si;:(.'([ the quality or her paintings. Professor Hans Hil 29.X X 27. I cm (im:l~e) 34.4 X 31.3 cm (sheet) world of p(:ople btlongs to transn·ndcmalism and intro debrandt remarks: "Her joy in her woodcuts plates them Signed In pencil I.r. "Maria Uhden" and numbcrt><11 I. duces the pantheistic. metaphysical concept that a!lllfe IS among rhL' finest ex;![nples of this art -';" I'kl~ ' I'"M R'I'IK""" ~;"hdJ/l~.~, According: to rhe later recollection of KSO, acquire<\ from C.r~f 1921 O,lo, .\[a". Gnf. "M'.... Urulen." Nell W a[d~n. 11"""m/) \\""U", mOThn 1M Berlin. Dt-r S,unn, ~7[h ~.h[b",,)<,. ,lid'''' Ocr Slurm, Berlin. 1922 J.h,buch dcr lunj:~n Kuru[ ( I "'[r"~' 1921). ~ .. [[". 19(,,) t;hd." .Un,,,,,,,,! hhil,,".u. Aug. 1919 ['I' 1\[-90,92-<)<'i Walden and 5.chru)'cr 1')501 ,,",ell W.lde" ~"d Berli" •.\l1"'m.Jplo,,~, D",lIH""'" IIm,,"'h n"'lI,J(,~"I"IV l li[dcbr"",h 1928 H.n> H[IJd"•• nJ •. ()" 1.0<1»., ~h,c-yc,. 0", jll"''l: I;", 1.;.,,,,_ \¥.. ,,!"'~ g"" J" E""'P,i",!>.: 1I'''"lS'''''' J .,"" dll KNR"I,..IO (8.,[m. [<)18) _n!"hk(h "" fI"",.mh 11.'"IJ", ~HJ J" 191!-IY32. ""u I»' [""'pold R,,[J 696 1941.728 beasrs is [he Deluge, but the anim:l[s seem to be smilin!:. Riders Uhdell took advllntagc of woodcut tcchniqut."s [0 ch~rac P('rhaps th~' llrrisr's pleasure in this jumble of rushing and Reiter terize her animals wilh an amusing variety of decorative r<.'CIining figures was sufficient CX(USc for their 1917 spotS, stripes, manes. and fllr. The only theme that could \'VoodcU{ easily explain this tumul[ of n"ked humans and wild presentation. 17.M x 14 cm (ima};e) IlIUU""""PI" 23. I x 18.5 cm (shee[) I);, I(~r'" 7. '10 . [1 r[<)Un. illu •. onl)" ~II Signed in block I.r. "M.U."; signed in pencil l.r. "Maria J'JW. p. 12·\ tJhden 10--": IOscribcd 1.1. " li.eHer/227" and I.e. T ,,"0 figures 0[\ horseback plunge [0 rhe right in rrOnt .If a "N" stone wall with a gapin}; black tunnel. Uhden treated tht· According to the lal(.·r r«olleC[lon or KSD, acquIred from s~me subject in a paintl!\g (G rOlr 1921, p. 83. collection 699 1911. 726 O(·{ Sturm, Berlin. 1922 unknown), also of 1917. 13(";[r Trainer Bi/rmfii/lItr 1918 Woodcut 20 X 26.1 cm (imagc) 697 [911.7,0 26 X .n. I cm (sheet) Dance Signed in penci l I.r. "Mafia Uhden IS": inscribed I.e. 7iwz "BiihrenHihret" and 1.1. "G" 1917 Accordi11g to the later r('collection ofKSD, acqUIred from Woodcut 21.., X lB. I (m (ima!:c) Ocr Sturm. I3nlin. 1922 24 X 19.7 cm (sh(,") !\'"U<",~"P"Y Signed in penci l I.r. "Maria Uhden': Ins EXHlBmON IllbU Société Anonyme Catalogue Société Anonyme Catalogue (,70 _ __--""" A I!.I'" U H D I: N GEORG I'S VAtM I ER 671 700 1941. 727 701 19h55 702 194 1. 729 T he fall ing figure ", 5""". i\~',")"" lb.Albj,,,,~; P~I"<.I~"L Itl I I.' "rr< £X1t/~JII.n, G<:u,~,.. Pill<-rncn" ··c.;..,rs". \'.Im,or, l.m"rt'~1 P~r;., G~lcr'" Mdki, G~ \'~lIrJ/fr, "''''-''' J, ~A .(; (IJrookl)n 1926) :,,\ 4.f. 45. i6 d"u)r;u,'ur,·' 1\" ,I D Société Anonyme Catalogue Société Anonyme Catalogue 672 GEORGES V"!.;"IIER GEORGES V"!.Ml E R 673 703 19·11.732 By 1922 when Valmier Ix"(:aml' involved in the theater. behind. Her torso and boots arc clearly readabk in the Composition he Iwd developed into a master of decorative Cubism. HIS delicate colors of rhe original, and she apiXu.cTS to be ca. 1922-n ~ ldroit combinations of slmpes- tilting f"(.'(;tangles, CUf darting along a forest path indicatt'<:! by tht' blue curve to Gouach.., vilinear and scalloped forms- were seconded by rich col which ht'r boots arc affilte,1. Thc fort'St setting is sug 24.9 X 17.9 em (excluding bottom fold) ors, applil-d in matte, opaque tOnes: vlol..,tS, purple gested by white shaftS to the:: kft and right or the central Signed in black bouach.., 1.1. ··G. Va!mier. browns. p:tlt· greens, oranges, pinks. blues, a[1(1 grays. ont". and the large curves that ..,cho the massed foliage of A"ordin [0 the la[er n:collt-cuo!l of KSD, ~cquired in b H is elt-ganr surfaces are so vismilly satisfying lhat it is tre..,s above. Like many of Valmiers "decorative" 1927; probably purchased from l..conce Ro ~ cnbcrg III gouaches, this COmlX)sition may relate 10 the plays and (he wake of the Brooklyn txhibition, SA 13 t"llSy to overlook the reservoir of often humorous mean ings hidden behllld them. In this sheet the slender white ballets he hc::lped stag"', perhaps 10 Max Jacob's lsabellt f ! diagonal below and JUSt to th(· It·ft of cenu;r rt·f..,rs t'ither Pallft(llJll. with music by Roland ~bnud , produced late .I·A IY~/J. I' 16-1 ' /j ,Jw. 1911:!. 1' . 1}1I to a column or, mor.., likdy, to a [ree trunk. It divides a in 1922. rat 704 shape that looks like a hooded, elflike ercawr.., seen from E ~ "'H' TJ "" S SA of} (Ilruoklyn 1926). pfol>.>bJ)· to" ~}. but n<>t hun): for JU"k of sp.> ,sA 195/J. r 1M. diu! ' YSA ')H (P"" (977). ,II"" !>j' """'. m,staken f SA 43 (Il,ooklY!I 1926). pr"lxIbly flQ. }6, 1>." , ~ " h" ,,): lnr lar k of'l,;ace; ,Il "s. ,n sp«nl ' " SA 62 ( R~"J , W imer 19, 1), probobly "" 25. , Y$A 1 (In. ,,):u r~1 l ')~2) ' YSA j ( y . l ~ 191\) ' YSA 51 ("""t"" 1 ~9) ' Y!)A H (l>h 1I () lr " k ~ 19·19) . .,,,. (,o() Uke those in thl' other Yille gouache, Valm[(:T's found the scale, helping to ere::ato: a homological relation ri,l;o rously balanced and tilting forms derive from a forest ship among trcecops, flowers, birds. und petals, as WI.'ll as scene. Columnlike trunks surmountt'd by swelling mush heavenly bodie::s. In !92J, when he signed this gouache, room shapes ,Ippeared as notRtions fnr rrn's in his work ~IS Valmler was most ;Ictive as a thealer design..,r, providing carl}' as 1920. and subsidiary ~hapes within the o\'erall the decor for six difTt'rem productions of Art et Action in crown of foliage occur frequently in his painting of the Paris, including works br his friend Georges Pillemenr early 1920s. Here. savHoo[hed forms allt'rnating with and by Claudcl, Marincni, Jules Romains, and others. wrtiGtl shafts and rounded forms suggCSt everg reens This gomlChe seems appropriatc to the::ater dtsign but has mingling with deciduous foliagt, Vari;ltions in the size of not YCt been linked to anyone production. thl' circular nodes and their scalloping deliber.ltely con- '" Société Anonyme Catalogue Société Anonyme Catalogue Jay Van Everen IH7~ 1""P. ";\(FRKA~ JAY VA:\ EVI, KU, Jay VJ!l Even:'11 was born on :5 Nl)vembU 187') in ,\IIJ Dreier probably met V;II\ Evereo through Daugh<.:rry dleparcru, Westdll:stcr COUnty. New York. His mod}(:r betWl-C1l 1918 and 1920. The Societe Anonyme exhibited 705 19i8.29~ did occasIOnal portrairs and his fathtr taught ('Llligraphy. his work with great frequency during the 1920s, and in Abstranion Following his f."lcber's dt:ath in 1889, rhe f.1mily moved to 1921 Dr(";er lIlvited him to lakl' /l.l;lrsd'·!l Hartlc}"s place 1920 Oil Oil commercial pieled wood, con'red both wles wlrh Brooklyn, when: Van E\'crcn n:<:('ivo:d his early schooling. as S("C rctary of the organization. Shord}' after the artlst's In 1897 he graduated from Cornell University's School of de;trh his widow wrote Dreier 111 gtaritudt· for th(" Soo.:,{:te cardboard Archlwcwrc bur seems never to have practiced as an Anonyme's commitment to Van E\"eren's work .lIld sug 76.3 X 111.4 cm till' archiren Insread h~ turned to paiming, which he srud gestl"d th;lt she and Duchamp make a sclenion of his Gift of Mrs. Van Ewren for Socicte Anunyme Colk"C tion, !9'IR Il-d J( ,I variety of schools over tht- next twent)' yea rs. work for the Societc Anonyme. including the AH Srud<:nts Le;lgUt.", rhe New York Schoo] 1\IIIII< X.M~PH' F.xl""nl(l)<' of Art, {he National Academy of Design. till' Art AI )(/flla f)(II(1!.berl) 'j leXI ( J 949) fiwlI fOt 1950 {(/f(/IIJi\lIr ~tI 1<)511. P po , \\·,ll,.m (. AI''''' .~l"". J.>"."hll· t\,... Yn,k. ~.... ,;.,~ In,lrl"'",lml liancC". and Cooper Union. T his pT1m~rily :I("adc!lli~ fram duom,sm o"d <';01". Prim'l,l", '" llmer"." II,,,,,,. )'J2~. nU. IOS~.I . .IS ·~,ud\" In Ill",,"" m~ is rcfltcccd in his tarly work as an illustrator, dtsign Van's character and ideas were so ulllqucly gr;L(ious. He p.,""n~ , 1910 1,)111," A,., IN A",,,,,,, ~\ Iwm" • New Yn,k, \X'eM,er llran,h,~ 'he t\cv.· York J.>uhl" Llb",r)·. 1')'11)0, (~ I.lrl' PR,,,, IMI RI fl .n", I, FjbJhJl"'~' ~ .. "" A .... )"" Lo.b,bll,"," Da,·id""" 1981 Ahrah.m II I>.""dson. &,,) Now York. AnA 2 U,,>u.<:ur.J 191m SA 7 (Manh,,,,.n I. A""",,,n ModtmlJl P"'"""~ 19/(/-/9!' (1'0.:.. e,,], reb. 1914 Inll SA 8 (0.JI",,)" 1921) SA IS. IS", York. 191(1) YSA 8) (K"",-.:II<'T 1%5) 19b. 19 ( This (,""Jr!y abstr:Lu composltiun records both the g Société Anonyme Catalogue Société Anonyme Catalogue JAY VAN EVER EN N icholas Vas il ieff ISS? 1910. RUSSIAN . L1VED IN AMERI CA 706 191\8.294 Nikolai Ivanovich vasiJidf was born ncar /"o. loscow on , panioll Nina, rh:mks probably to Burliuk and w Dreier's Abstr.. ction November 1887 . As a boy he studilxl an in rhe private occasional colJabof An insraUatlon photograph from the Worcester exhibi the photogravure s«tion of;J New York newspaper when tion of 1921 (SA 18) shows this paiming in an earlier the work was exhibited in the 1920s (exhibition and srare. The main lin~s of rhe composition arc the same , newspaper not yet identified). Elements of the figure of a but alterations 11\ the final \'ersion show that Van Everen rt"Clining woman can be discerned in the painting. Her 707 19'i l.7'i o was alert to the hard-edged geometry of Pa risian Purism orange Jnd black legs start at the left oogt." and join a !..:lying the C;lrds and i1l1~fll;lIional Constructivism. After a succ(""Ssion of torso defined by a reliow shirt wirh white stripes. Two 1926 exhibitions from 192110 1923. V;m Eve ren rtworked th ... PJr.tbolic shapl"S prohably refer w the woman's brt"asts Oil on canvas picture, dividing many of its shapes into smaller units. and her head might be the multicolored curving form t~ 99.6 X 7') . 5 cm and in some cases changing their colors (the installation the right of the yellow shirr, or the array of curved and Signl..:1 in maroon p:lint l. r. "N. Vassildf 26" photogrJph is in bl;Jck ami white, but differences In value angular shapes above it. T he decorative <:jllJlitr of the KSD from the artist, 192 7, according 10 her later prove that some of the color$ were altered). The most composition overwhelms this latent image, however, and recollection Jrastic additions are rhe group of small perspective box('s is cOllSistent with Van Everen's ambitions as a mur.l!ist. to the ri~ht and the anRular shapes at the top center. The H ~ was also fond of Aztec. Marao, and Ind ian art. The RI HU (>( ,RAPI ' V reworkiog was completed befort· the fall of 1926 when it zigzag form at the wI'. right of center. and the gl"Omerric Gt Société Anonyme Catalogue Société Anonyme Catalogue t\1<'HOL"~ V"~!I.IEI'I ' Jacques Vil lon lIn~-I96:;, FRE:-J(;H 130m GaStOn Duchamp on ,I July 1875 in Damville, Pllteaux, that Villon achieved financial success: at that Normandy, Villon rook his pseudonym later. dis time Louis Carre became his excluslvc dealer. After die tingui~hlllg himself from his youngcr brothers Rarmond war he received national and Incernational awards for Duch:uop-Villon and MaRc! Dllchamp. Their ,'ounger printmaking and p.1inting; even so, it was only in 1961. sister Suzanne Ollchamp also beGlIne a nO[L'd ~ftist. at aw' eighty-five, that a major retrospecrive at the Ga W'hilc a Iycce stutlent 10 Roucn, Villon Ix'gan w learn lerie Chaq)(;ntier finally secure<.! 11I~ International reputa enFravin.ll from his mother's f.·nher, Emilt' Nicollt:. He tion. ViJlon died:ll Puteaux on 9 June 1963, ~ f('w weeks continu{~ to study Ut while he pursut'd law in Paris before hiS elghtr-t:lgluh birthday. (settling there (II 1895), and began publlshmg illustra ,\Iaru~1 Duchamp, whom Dreier had known for several tions 10 Rouen newspapers and in wdl-known Paris jour years, was responsible for her mt'CtingJaC(IUeS Villon and nals such as {.e Ri , ·~. f_'Assiellf Société Anonyme Catalogue Société Anonyme Catalogue ,"0 JACQUES VILl.ON JACQUES VII.I.Ot\ 681 S""', .. II~ ...)"" r::. l)'bUOl,uP"v AP2 - AMGF.! 709 195".6.86 Seated Woman ca. 1895 Watercolor, pencil, bbrk cha lk, laid down 17.8 X 12.7 em Signed in pencil I.!. '"J Jc Société Anonyme Catalogue Société Anonyme Catalogue JACQUES VILLON )ACQ.!' [ S VlllQI\, 714 71 1 1941.7~6 1911.79.\ 71G 19-1 1.763 71A I'Ji1.766 Three Figures on the Bcach Seated \'(Ioman Four Sailors Nude Woman Redinin,l-; SOliS la mile J//r la plage (8I01Il,tlle) UI Pay/ji~m/e Lel /-/(I/(IIrJ Nil mlidJi 1905 1902 1907 191U Color uquutint Color aquatint an<1 etching Etchln8, drypoint. and "'111,Hi11l CtehlOg and drypoint <16.2 X 57.5 cm (ima!;e) 46.4 X 33.9 em (image) 11J.7 X 19.8 cm (im;Lg(;) .~L6 X 15.6 em (Ima,(;e) 55 X 6B.4 cm (shcct) tYi. ') X 49 ern (sheet) 28. I X 36.3 em (shttr) '\ L<1 X 60.S em (sheet) In plate 1.1., traces of signarure '")acqu\:s Villon / 02"" Signc.:i in pl111e 1.1. ") acqut'S Vi!lon I 05" Signed in bl~ck ink mcr pencil Lr. "jacques Villun"; Signed in phl!(' ")'iCLJUeS Villon" Sigm'd in black ink over pencil l.r. "jacques Vil Signed In black ink over pencil!.r. ") "cqu<:s Villon" and Inscribed in black I1lk l. r. '" 1907'" ,lnd l.l. .. H I ')0' Si~ned in bbtk ink O\'er pennI J.r .. jatqucs Villon": Ion /1905" and inscribed J.J. ··F.l'rcuve RtlJlTln w".~ I", Ch4fMmm. 1905. ,,,lor 'qu,"m', AMG ~"HI Société Anonyme Catalogue Société Anonyme Catalogue JACQUES VILLON JACQUES VILLON (~, 720 19-11.759 721 [941.760 Thl' Link [I.{ulatto Still Li fe 1---:1 Ptlile ,\l //llilreJH UI T((b/e urI'it 1912 1911 Erching Etching 23_2 X 18,9 em (imagd 2H.3 x 38 em (image) % X 27,S cm (sheet) -12.3 X 58.') cm (sheel) Signed in black ink ovtr p<: ncil l.r. "Jacques Vd[on"'; Signed in plate ''Jacques Vi lion" inscribed in black ink I.r. "[912" and black ink owr Signed in black ink over pencil l.r. ''Jacques Villon"; pencil J.L "'17130" mcnbcd in black ink I.r, "1913" and bl:lck ink over In posS('ssioll of KSD by Summer [926; presumably pur chasc<;) afrer 1927 [Xncil 1.1. "[ire 11 ~O" In possession of KSD by Summer 1926; presum:,bly pur chased after 1927 "p lin , "Me F26l J;~HI"rno.". AI' 196 ' AMG E .211~ Y~ A 2 (W<1ic),>n 19~1) ' YSA lO (i)u RH.ATI" wo~.." •1- n, VILLO~"" PNIr-...,·" ... ",.K Ka,her",c O'CIN was one of rile fi<1[ fO dc'-!ulfe p'"ollng$ and timw_ The $<"I<'S of «llm",l aquatints «'.>t. 7 .~9) ~f1er o,hcr a"",s' 1'''01- ms~ by Villon, bur six' sllo,,'«1 linle Imer~'t in his prim. until InllS (and Société Anonyme Catalogue Société Anonyme Catalogue JACQUES VlLLON _ ____ "" (" --.lACQt.:I::S V1U.O:.; posit ion, and irs projccling corner. now right of Center. In the Socictt· Anonyme oil, VI lion took pleasure in 722 1941.7-12 has 10 (Ompcte with other angular ponions of thl' table the Cubists" cerchnd game of flartening space and creat Still Lift' cloth. New 10 the evolving composition i~ the sequence illg a complex netwnrk of planes whose positions In the DiJNlller: 1..11 TllbI, u nif: N(ltllr~ lI{1)rft of ni:lIlg1es along the top of tht drypoint, their alternat shallow depth cannOI be rt:adily determined. The mUled 1912-1" ing light and dark arl'as forming w<:d;.;es rh:lt are. surpns wlors of Ihe still life repe:tt one :lnOther so that Ihe Oil on burlap ingly, recapirul:trions of the angles of rill' table's legs and objeus stem 10 [t·nect surrounding light ""hill." also being 88.9 X 116.1 em translucent. They are, moreover, readily confused with Si.Ltnl-d I.r. with aiJ of stencil ·'J.ltqutS Villon" stretchers as rhey had :-oppeared in the firsl tWO drawings o[ the senes. That ts. the lower anglcs, ao.,ndOnt-cl after rhe spaces ocrwel'n rh<':lI) , ,,"J their comours elude our KS D l'uTchas{' from tilt Jrtis!, 1920. for S 100 the second drawing, reappear to form the background visual gT1lSp. The pamt [t'Ccdes into the burlap, and Ihe squ;l.ring-up grid has been exposed, (This nallens the !\""" •. lI.MIII Ihat surmOUIllS Ihe complicaf('d slill life on Ihe nlble. to S Société Anonyme Catalogue Société Anonyme Catalogue 688 JACQUES VllLON 724 1941.757 Portmit of an Actor P(lrfr(li! d'(J(fmr 1913 Drypoint 39.9 X 31.3 cm (image) 49 X 36.3 cm (sheet) Signed in plate "Jacques Villon" Signed in black ink over pennI l. r. " JOlCquCS Villon 191")" and lnscrilx:d I.L "4/31" In possession nf KSD by Summer 1926; pr(~umab l y pur chased after 1927 AP 199 ' AMG E.2Rl Fx 'U~IT'()"> Y~A 1 !In.ut:ur.o.l I'N11. ... --\Vom~n .. nd Houle • \'SA 2 (W<'$I<')',n 19·12) ' YSA 10 (D\Kharnp Bro,h",. 194~1...... 17.~. '-Wo"u, ~"J [t"u$<''" ' YSA 16. 19, 24. 29. 19., H (Duch>rnp and V.II"". ""~.llon)( 19n~p) , YSA 61 (s"g;""" 19S()-~1l P'.ATf, 44. KUrI Schwil1Ors. //.""/" IIh //.td ~tt-""~I , 0<1 and 1',,,n""l wood. n )( {.2. S (rn, (a" 6W Société Anonyme Catalogue Société Anonyme Catalogue 1', .....,., 45. Walrr'l..Or Shw.b, c•• " ....." .. 14. " ,I . 47. :) x 117 em, cal. 644 Société Anonyme Catalogue Société Anonyme Catalogue Pu.11o 48. Nodezhda AndrtOn",na Udal"""•. AI 16. P",~. 0»1. 107 X 89 em. (a!. 6?~ Société Anonyme Catalogue Société Anonyme Catalogue PLAn 49. Ja~ V~n Ev Société Anonyme Catalogue Société Anonyme Catalogue JACQuES VILLON 725 194 uti I In j\femoria m 1919 Oil on burlap 129.7 X 81.5 em Signed 1.1. with aid of stencil '"jacques Villon" KSD purdmse from the anist, 1920, for SIOO 8'~I.I,>("•• A'·"Y Sox,c.~ Anonyme 1<)21, ,!iu •. only ' \"'''tce,' let 19H. Illus. onl)' (m"all."on "i< .. ") . D""O't 1923. I' ~n. illus. · W. GRog"". ··I ..... dl Colo,:' S,",wti"Id(M fo,) linum, 11 Nov. 1<)1'); "Ar< Corumn:' 16 Nov. 1':139. 1'. lU (>("'1>- book) ' Rudkin 193<). p. 7 ' .1;) /9l(}, PI' IHi }<). ,!i", · f",!r".I/~"~ l'XlI-/. Pl'. 27-111. illus . • )'UAG /~71, no 100. ,lIl1' . • Roueo I<)7S. pp_ ')1-92, nol In cd"!,,,,,,,, • Ru.h l Bnh.n. "1(.,1",,,1\<: SophIe l)rt"iO', 4",1 No,,' Ynrk D' E~'H~ITt()N' SA I (ln~u/;ur.d 1910) ' SA 1 (Manh,,,,.n I. 1921) • SA II (0:0100)" 1921)' SA <) (Manhatta" II. 1,)11) ' prob.bly SA J2 (e,"i. 1'.121) ' I',clb:ibly SA 13 (H",O',O R"-IITH' \"(IO.t< V''T'' 1918. [,<,,,,,1 and v..'~rwlo< ..\3. I X 20. I Cm (london 1979. 110. 10. ,lIu •. ). l',i";"" coll<"("on. London Société Anonyme Catalogue Société Anonyme Catalogue (~O jACQUI!S "JUON JACQUES V[1.1.0N 111 I\felll'lrlalll. among rhe firS( paintings Vil!on did after painting slide downward and shed their robust power. World War I, is a rriburc to his brother Raymond, who Instead nf thl' alert, upmised head of the sculpture and had died a month before the arm istin' of 1918. (Kath· the 1914 oil. the head of In Mellloriam turns pensively crine Drclf~r, with her usual pe rceptiveness. T!.'Cognized downward. It b<.":lrs only a hint of facial featur('s-a curv rhe tribute, althnu!{h Villon had nut cold her ofir, when ing horizomal that suggCStS a hooded brow. The tilt of she saw dIe picture in 1920.) It is b.lsed upon Raymond's the head is emphasized by the concentric curves that SculpTure of 191 4 , Se(l!f(/ V(I(jll/tm. nlS\) in the Sociire Aoo excend the poStur!.' of lamentation leftward. forming a n~'me Colk'CriQn (caL 247) because OTt'iet acquiT!":] il slant(-d plane that resembles a religious mandorla. Vil from die family in 1927 . Villon's first free variation on lon, lik~ Gleizes and other Cubists, W;lS concern~d with the sculpture was a paint ing Set/ud \'(I (Jfllall (Louis Carre ('I reinvesting old subjects with mooern m~aning, and Cie. Paris) done in 1914. In the early paiming Villon therefOTl' his wikd suggestions nf a grieving Madonna u,ed a numlx:r of crianguhtr pbo('s to construct 11 seated were probably quite deliberate. (The feathery form that figure whose legs , CUI off by the frame JUSt below the prorrudes from the "clook" to the lower right could be knees. ,Ire viewed from above. ~IS they arc in 11I 1\lfllloritllll. the wing of an angel. ) Throughout the painting. instead and whose shoulder thrust upward IS also an element in of the sharp-edged triangles of the prewar oiL there are the later piCture. III /lif/!/Qrilllll i~ not, however, a variant repc,ned curving forms th:n suit the expression of grief: on the 19]1 oil, but an independent work in whICh the darkest planes on either side are an unmiStakable Villon relUrnl"< \ (0 a I:ontemplation of the sculpture itsdf teference to a blal:k veil or clook . T hq' and the other dark in ~ mood very dilTerem from that of 1914. A drawing areas in the center seem to evoke a mourning shroud signed 1918 (London 1979. no. 10) is an intervening which Villon places around his brnther's seated bronze. work. It has tht· majot dcmems of III Memoriam but ocars The other colors were inspired by reflections from the little relation at ~1l1 to the painting of 1914. su rface ofbrom:e: a d;lrk orange hurnishc<\ , as it were, by In (orming his sculptull.· Duchamp-Villon had com passages of brown; yellow. where the light would have bim:d an cxprcssion of dynamic energy with feminine rcfleeced most strongly from the metal; and (lull greens grace. Villon, seeking a medltativt image, lookl'd down that af(' 3 component uf bronze patina in shadl-d areas. on thl' sculpture from ;lbove, so that the legs in his 726 1941. 7<17 EXHiR ITIOo.: < Abstract Construction (Baudebire) SA lO (V,llon 1922 2') ' \'S,\ lO ([)uchunp nmd , ~ .. )9 1 ~). no. 19 ' YSA 16, 19. 14. !? 1920 29a . .u (Duc homl' and VIII"". 'r" 'dl"'8 Pen and ink 19·i ~-47) · YSA 55, 59. S9~ ( VJl1o n _ F~,"'n g .. 32.6 X 28 cm (irrl"g.) 1949 ~O). no . 26 ' YSA 6 1 (So):i",'" 19 W-~ I) ' '"SA 69 (Ando'''', 19 ~2) ' ROtJ"n SigncI). n, Purch,lsed from the artist from SA 20, 192, . for SSO ,n" •. , .I,d no. "av.1 RI.IJln u WOk"" SA 1950. p. 1 1<1 ' Rubin 1976. p 80. ,lIu> For dr''''in!:, . "d paintings .1$0 I>a$<" ThiS is one of a large numocr of works that ViJlon, top of the head. through prot ruding nose and cheek beginning in 1919, based on his brother's SCUlpiN bust bones, to the chin. the origi nal solid is reorganized into of l3audeJairl". VariaTions on sculptural themes wok on an extraordinary assemblage of evocative planes. The special signific;lnce because he was now ext'Cuwr of his crosshatching to the' right expresses the solidity of thl' late brmher's artistic leg;lcy. This drawing derives from bust's mass, as though light were coming from the left the $ociCt(- Anonyme al the time of its exhibition in painting now called FIKIIrt in the Albright-Knox Art the idC"J. of intersectmg th(' bust with imagmary horizon Shoulders. absent from the sculpture, are <\raw!! here, Decemocr 1922 (SA 20). The anon}'mOUS revi('wCf of the Gallery. in which tWO planes similar ro the central slices loll cross st'C tions. formmg slices Ihat art then fanned out prob.1bly w provide a sufficiently conventional overall exhibitiOn fOf rhe Net! Yr,ri? SIl/j(/~I) Her-aid. 24 Decemlx'r of the Yale drawing are superimposed over angled plancs v{·rtically like so many irregular playing cards. No nne shape that will reinforce its reading as a human bust 1924 (Soci~te Anonyme scrapbook), non-d that one of thl' that scand (or a pcdl'sta! under the bUM. It is the ooly one slice purportS to be a literal cross seCtion, but from die T his drawing was purchased by Katherine Dreier for SiXtl"Cll paintings in that exhibition. C ~ l(}r Pmjl«fiu, "is of his own pictnres thar Villon later included 10 his st'ri{'s said to be a portrait of Baudelaire." ThiS IS probably the of reproductive color aquatints (car. 7 '19). ______~l ______~ Société Anonyme Catalogue Société Anonyme Catalogue 692 JACQUES VILLON JACQUES VlllON 727 1953.6.131 The remaining drawings derive from no. -1 and the cession of drawings, the set of orange polygons in the Horse Victor drawing, and th~'y lead in tWO different directions. upper left of [he painting could not readily be idcnti(ied 1..( CJxm/ Nos. 5 and 6 were used for Thrj()(key(cat. 738), and nos. with the horse's ht'ad. 192! 5, 7, and 8, for CoI{Jt" Pmp«ritt (h01'izolifa/.) (cat. 737). In The sevcnrh of the numbcrt-d drawings reJX<3ts most of Etching and drypoint 7.9 x 12.9 cm (image) no. 5, Villon nact~d the figures from no. 4 and divided the shapes and proportions of no. 6 bur extends some 17.7 x 23.1 cm (sheet) them into sixteen unequal polygons which correspond to partS beyond the rectangle and adds the large triangles Signed in plate '"jacques Vil!on 21" the shifting anatOmy of horse and rider. Next came the ar both tOP and bottom. In no. 8 these triangles are re Signed in black ink over pencil I.r. '"jacques Villon" and most extraordinary transformation of the SC A <';"' U I~rTIU~ or TII~ )0' IO 'V M Krh, 1J"'tI<.I(,M~~IIV t" M T Hf J')( H V ~ f~lf_' In rhe 19>0 cualogue Ka,herine Dreier srared ,ha, ,he clg hr draw. Art N",,·. 194~. p. 9 ' Ilamil'on 1<)·'1:1. PI" 2611 72 .• 11 ,llu, ncrpl COl 712 · SA jl)jU. ings forming ,h,· ) oc kty series wcre PUrch:lSW ;0 Pari~ in 1924. 728 1941.755 p. 140 · Rubin 1976. PI" 78. 1:12-8, . co o. 7\ 1 However. 10 ,he ledger for Ihe one-ar"'1 ,how she gave Villon In Jockey se ri('S, no. ill us . • Ruden>!i"" 1')76. p. 671:1 • N~,.. y..,rk 1922 (SI'o. 20). she marked ;it watercolor "Horse and Joch(' (proba 197'). p. 12 . nor on ""h,bu,on -Daniel Rob 1921 bly no. 4) as purchased by her for SW; another draWIng of ,he same bin •. "V,llon In !'roc.. , ,'· Art I~ A_l(l1 6tI I'lHO): HO Pencil ,ide ""as idct"icolly marked. and so was a third, c~,ep, ,hat for the (J. n. 79 30.1 x 48.9 cm 'hird. her ,ni"al, wet<: subscqucml)' crossed Out . These: thr~'C wet<: ExHilIITTO." FOR THT J OCKFY .,n,".. Si,gned in pencil I.r. "'Jacqut'S Villon 2["' and inscribed d'e 0111)' oncs of the Jockey snies in the c. hib"ion. and OrriN 1. 1. ··nn. I"' probably bough, all three. d~"Sp,rc rhe crossing-our of one nornrion. YSA.( ( Y . I~ !,)4}) · YSA !O ([)uch.mp Brolh_ en 1 94 ~ ) . co< 729 illus • YSA Her later reference ro 1924 le~ds ,0 ,hed• .Ju"i on that wl..:n she was ,>(OJ . 6-13. 1(,. I,). 24. 29. 29a. H (Dudu.,np and VIUon. in PaIlS in the summer of that ),car. she ob,ained ,h,' rest of ,he RElAHI> WOkK' ''''''elli",!; 1945-47) - YSA 46 (RISD 19·1') grou\,; it wu probably then rhat ViIJon numblore-d ,hem (or her. lbt", .n' m.ny J",win/l' <>f" , r"nn,nll h",,.,. YSA S~, W. ~9a (ViUon- Fe,nm,<:cI 19,j9-50 ). b", th. """rI' Ih;o, ,ncO'p<')/-al" 'ho Olghl Socit ,t 1>0'1. 27-33. car. 733 "'" melu The erght Societe Anonyme dr.twings and four others (see lines of a grid in preparatioo for further work, and in R E1.ATF.D \'V'O!l.KS) form a group o( lmcrrclaled studies doing so, he emphasizt-d certain anatomical (eatu res by which Villon used nor solely for TJxj(J("kry (C'Jt. 738), but rendering them geometrically. Yale's no. 4 was (raccd also (or several paintings, including Calor PersP«III "t (hort from the drawiog in thc VictOr CoJl~tjon, which is thc zOlifa/) (cat. 737). Villon numbered thc group bought by first fusion of the tOP and side views. Major an~'tomi(al Dreier one through eight, either to correlate rhem with a (eatures arc presented as so many irrcgular polygnns, list or exh,bition r~ord, or else to ;l:i\'C Dreier their $ome of th('m (particularly the detached horse's head) in SC Société Anonyme Catalogue Société Anonyme Catalogue JAC.QUES VILI.ON 6')5 lACQUES VII.LOI\. 730 1941.748 712 19.-f 1.7:>2 Jockey series, no. 3 Jockey series, no. 5 1911 1921 Pencil Pe ncil, black and red ink on tissue paper 32.4 X 40.9 CIll (irreg.) <10.4 X 54.6 em (Irreg.) Inscribed in pencil lot. n. 3"" Signed in pencil I.e. ''jacques Villon I nO :>"; fai nt, illegi ble pencil inscriptions 1.1. and LT. ) • 731 1941.75 I Jockey series, no. -1 l<)2l \\;Ialercolor, pencil, hlack and red pm and Ink Ou {issue paper 39.3 X :>5.2 em Signed in pencil l.r. ''jacques Villon" and inscribed I.r. "h" and l.lo no. 4" 733 1941.750 IlIHuouK""ln' Jockey s(:ries, no. 6 R.I'., "1"hr M",l SA 20 (V,lton 1922-231 ' YSA 97 (p.lm Ikach 1,)74). no, n. as 'Coloc A1»,.-.",un'"· Lo,,· do" 1980. flO_ ~ I Société Anonyme Catalogue Société Anonyme Catalogue JACQUES VIJ.!.ON JACQUES VII.I.QN (,<)7 734 191 1.7~3 736 1941.741 Jockey series. no. 7 Color Perspective (vertical) 1921 Pmpt(/h't (~/~rlt Pencil , pen. and black ink 1922 26.8 X 4~.2 cm (i rreg.) Oil on canvas Si};ned in pencil l.1. "Jltcyues Villnn I n" 7" 92.3 X 73 .2 cm Signt-d Lr. wi th aid of stencil ."). V" I,x"'''n'''~ In possession of KSD by AUlumn 1922. IOgerher with Lond"" 1980. ,>0. H caL 737 lInd tWO others of same ride, Ix'queathed to rhl' Guggenheim Museum and MOJ\IA; one of rhe four was a gift (rom [he artist (Villon to KSD, H Oct. 1923), the oth('r rime probably paid for in 1921 5tI 1<)}I). P 1,9 ' """tr·/{ah 1%S. p. 2\1. ,11u • • Rubi" 1976. P 82. iJlu~_ • Rud"ns,im." 1976. p 677 EX"'~'TtON' SA 10 (V,lIon 1922)' SA 26 (V"'3( In~) ' SA II (lktru;, 1921) ' Ix,,,,hly SA SI (We,k. cr. Cen'~' 1928) ' IX""hly SA 0 (\',lIon 1<)\4) • p !tL1.A"r>t> WoxK:! Stt c"o, 717 .nd rommt'm'ry for "'" 12~ 73) 19-11.7·19 J ockey series. no. H 1921 Pencil. red lInd blue I!lk on (facing paper. squared up 28.2 X 17. J em Signed in pmcrl l.r. "JacCJues Villon" and inscribed in pmci! 1.1. "n" 8"; m:!ny numbers I!lscribc<.l in pencil , , ., -, Société Anonyme Catalogue Société Anonyme Catalogue 698 JACQUES VIl.LON JACQUES VILLON 699 737 191\ 1.74') less, Pach also recognized the origms of Villon's rminr the smaller of two units is TO rhe larger as the larger is to Color 1'~'rsJX'Cfiv<: (horizomal) ings in figuml motifs and, rdnring to thei r mutual tll" slim of both. TIlt' bonom horizontal edge of the Pmpetlire r%ril' fril:nd, GJcizes, wrote that "the objects from which the central )'ellow poly,gon of Color Pmptclirt ( l't"'lic(t/) and 1922 initial idea was drawn (the 'springboard' as Gleizes aptly the horizontal of the up]>C:r black plane define the Gulden Oil on canvas ca ll s Ihem) art no longer reco~nizabk in the finished x'Ction divisions of the height of the canvas. T he very 60.2 X 92 em work. though the drawings which tmc<: the <:\'olutinn of short left vertical of dle yellow plane and its longer right Siglltd 1.1. with aid of sttnciJ "J.V"; signed Vt'fSO each canvas show us the relation of the sran and finish of verrical are based on the Golden S/.'Ction, and so arc the "Jacques Villon J 22" the work." The "springboard"-revl~lled by V1ilon's <:x subdivisions of the major diagonals (including the [n IX'Sscssion of KSD by Autumn 1922, together with hibi{lon of rdml'6 and 11'10 others of same title. Ix:qucatlwd to historians between thl: wars, bur in rtcent ~'ears till' sig In the C%r Pmptclll'eJ, Vil!on also developed an ap the Guggenheim Museum and l-oIOMA; one of the four nificance of a pai nt ing's origins has become more cele proach to color that was s)'stem~tic, even though Ius was a gifl from the arrist (Villon to KSD, ROn. brate<]. In hi~ CO/Qr PffSpeclil'('J, Villon made paintings visual judgment was the final arbiter. The prob,lble influ 192j), rhe orher rhrt"t: probably paid for in 1924 from other works of art (his own drawings and his brOth ence of M. A. Rosenstiehl's treatise of 191) has alrelldy er's sculpture). and the process by which h(' arrivt'n 1972. I' 262. IIlu •. • F.."t<'_ C~/(),. PmpMit-r (horiu/J//(I/) d<:rives from the Jockey faces," which dealt with rhe issue of color appearing to II~J,. I<)(,s. r 28. ,11m' Rut-in 1~)"76. PI> series (s(~' cat. 72S) by virtue of systl'matic vari'ltions advance or retrl~lt frum a flat surfi\C~, and with measure 7<), Ill. diu" • Ru,lc"s';"~ 197(', p. (,11 upon an initial "springboard." emplo~'ing complex pro ments of color and intensity which would be productive hHIKm",,, port ion:!! forrnul:le. Along tht' tOp of the completed oil, of harmonic relationships among the colors used. In Cullir SA lO (V,II"n 1\112 21) ' SA 16 (V .... , 1<)1.) (l'erlic(I/) • S,\ IJ (lk,,,,,, 1\12'1) ' 1>O$$,h1r SA ~I (Work_ the rhrC(' peaks of the tilted polygons were taken from Pmptcll/'f Villon employed the rriad of red, ,." Cor,,'-' 1928) ' pos•• bly SA 0 (V,lIon [<)14) Study no. 8 (cat . 735), bur then dlC central peak was yellow, and green, wirh rhe addition of a large area of • possibly SA 71 tBl.ck Moun,"," W\~ i6) ' paimed OUT (it shows under the present surfilCe). This \'SA r (In'''l(ur.r (912) · YSA 10 iOu,h.mp black. To avoid ha ving the yellow jump forward. Villon Brott,.... 1?4~). no 4 · YSA 1(,. I? 24. l? leaves the seven-sided pol)'gon below ir quit<: divorced rt'duced its imensity. that is. its yellowness. Suitablr to 29a • .B (O",I.,,,,p "ntl V,ll .... ,. ,r.,..lIml( frOIll its origins ns the hunched-owr jockey. Rostnstichl's Tl'Commtndations, a \·ioltt-bluc back 191' 47) ' YSA ~l (Noriolk I'MlI)· \'SA 61 (!;al(in." 19~O - ~n ' "SA 70 ( M" "I<"I~)h. Color PtrJptclllt (I'trtira/J (cat. 736) lacks the drawings ground is used, the color opposite of the ye!low. It, in 1?~2) · Chi""110 1?~2 - H. no ~ . R,>u<'" that would have explaln(":] its genesis, but cnreful study turn, IS surround('r Perspeclh't. instance, the famous HorSt' of 19 11. seen (rom alxlVe and the same color triad is used, but because of the relative RII ...:nn Wo.~, the left. The prominent curve deri\'es from the horse's areas occupied b}, these hues (notably the red back s. .. rhe works exhibired, bur fhe frogmemary r('Cords of the 1922 exhibition refer (0 another of the oils "saiJ to be a exhibition and published reviews (SoCJt~t~ Anonyme portrait of Baudelaire," apparently the painting Figure. scr,lpbook) show that there were sixteen paintings l':lCh 1921. now in the Albright-Knox Art Gallery (see cat. labelled Color PfrJptttllt, a warercolor N~rJr (//I({ .If1Ckty, 726). and circumstantial evidtnce pe rmits tht identifica twO mk dT3wings of the same subjeCT, and an ink draw tion of mOSt of the others. These includeJQY, 1921, in a in}; of 13audelaire. Kadlcrine Dre;ier acquired three of privatl' collcctinn. and Gal/op. 1921, Gerard Bonnier, these Société Anonyme Catalogue Société Anonyme Catalogue 700 JACQUES VILl.ON JACQUES VILLON ,0< 738 1941.746 739C 194\.769 (lOSt work) The Jockey Alonl Saillle-V;ctlJire, after Cezanne 1924 Dt~'''r Indud~ On~ of Villon'! colored aquannrs, after P'casso's 43.8 x 60.3 em Oil on canvas N.,lurt m~rIt, In the one-artist show she gave him in 1921 (SA 20). and fuur mor~ in th~ Brooklyn el(hibit;on of 1926 (SA 4~, hors 64.7 X 128.1 em B!HUOIORAPHY Signed I.r. with aid of stencil "Jacques ViJlon 1 24"; ve r catalogue): Buque's N.,lurt mQrlt, Ct.'"anne's ,llem S",,,It-Vlrlo,,•. Mance's Olympi." and the Douanler Rousseau's T"UlII'''rJ algkmtJ .... 1' ~06 ' AMG E.639 so largely covered with unfinished absn~ct composi III1"quiJ par "" IIl,rt. The~ fOur, ]>Iu$ Re"oirs N" alld Signac's La tion in oils RfXhtllr. had bct-n borrow~ from Villon and wcre purchased by In possession of KSD by Summer 1926; presumably paid Dreier afrer the exhinition. Later she muSt ha,'c :uked Vdlon ro ~nd SA 62 (R.nd, W,ntCc 1931), no. 27. either thil for after 1927 her the temaining one-:; from hts serks. for on 12Jun~ 1930 he wrote ..... 0.<, 7,91111 ' SA 71 (Black Mountain that he w.. shipping het 'wen.)'-one, and fha, rho p Société Anonyme Catalogue Société Anonyme Catalogue J~C.QUES VILl Or-: 7()3 702 JACQUES VILLQN 739 R 1941.781 739G 1941.773 739K 1941. 777 AI' S\~ · AMG E.(yj7 L'/ln/imllf, after t.lodigliani ZU'f; Wltlftl/, after Katherine S. Dreier l.o F r ll/Illt (J/I P;(lIIII, aftcr Gromaire 1926 1939 Before 19 .~O 49.7 x 30,8 cm (image) 47.3 x 60.4 em (image) 47,7 X 38.8 cm (image) SA 43 (Ilrookl)'n 1926). ho .. all . • f(lgg 1')76, 66.2 X 47 _9 ctn <-~hect) 55.5 X 67.8 em (shl"t:t) 65.6 X 49. 8 em (shttr) 00. 102. illll<. , did not Ir.,~1 Dated in platc "1926'" and also in plate "Edite par Dated in plate "19)9" Signcd in black chalk l.l. '"jacques Villon"; inscribed in " Bernheim-jeune 83 I:aubourg S:linr- Honore Paris" Signed In pencil!.!. "jaequ{"S Villon"; inscribed in blKk pencil l.l. '"64/200" and I.r. "Gromairc" Signed in black chalk 1.1. ·'./anIUCS Villon"; inscribed in ink l.l. "12/200" and l.r. "Katherinc S. Dreier" 7390 1941.781 ptncil LJ. "18/200" and inscrilled I.r. [Stamp?} "Modigliani" ('"g" and "i" lOueht 45.2 x 60 em (shcct) 1926 AI' ~07 • AMG E.640 Dated In plate "1929" and Inscribed "Suzanne 32.9 X 26. I em (image) Duehamp" 5l.H X 37.7 em (shccr) AP ~I!! ' AMG \!, 652 Insenbed in lleneil I.r. "Suzanne Duehamp" and 1.1. At extreme edse of plat{, "Jacques ViJlon Gr 26" and also "Epreuve d'arrisrc" in plat<.' "lvLlrIe !Jlurenetn" and "B{."rnh{."im [ilkgiblel 739P 19-1\.782 EXHI8m",,' SA 71 IIU.,k ,\IOU'''>LL' 19H-,6), C'th "'14."' A I' ~1).1 ' AMG F. 6 ;7 Société Anonyme Catalogue Société Anonyme Catalogue 704,_ ___ JAC.QUJ:;S VILLON JACQ.!:!ES VILLON 70) 739V 194 I. 788 739Z 1941.792 740 1952.30.11 La LtJgt. afrer Renoir Lei HOUl. after V:tn G ogh The Philosopher BtroTe 19~O 1927 Le PhilMQphe 27.9 X 21.4 em (image) 3H.2 X 50.2 em (image) 1930 51.1 X :)lL2 em (sheer) 45.6 X 70.8 em (shct'l) Oil on commercial canvasboard In plale J.l. "Renoir" [n plale "Editc par Bcrnheim-Jeunt 83 Fg. Sainr-Honor~ 3'5 X 27crn Signed m pencii 1.1. "J acques Vii Jon"; inscrilxxl in penci l Paris" and ·· Van Gogh·· Signed 1.1. ·J an/lles Vi lion I 30··; verso in aT! is!·s hand 011 J I. "14R/200" and "ron triM P'" Pit-Tre Renoir" Signed in charcool I.r. ·')nc'lucs Villon·· and inscribed in blue-edged label ··no. 15/ I.e philo~ophc·· pencil 1.1. .. J7/200"' IJ,Hw><...... rl<1' Bl-qUtSr or KS LJ . 19'52; purchased from the Brummer AI' 528 ' "Mt: E.661 GalleT)" New York. Jan. 1931, ror an unknown sum ~19 · F6~1 At> AM" llmu(X,~ ... p>w .~" IY)(). I>· 1·10 ' Ruuen 197;. p 106. n." In ",h,h"",,, · 1''')1:)1: 1976. 1'1' 12 2 -2';. oIhlS., 739W 191\1. 789 (hm work) ,~" on ~ .I"b,,''''' fA PorI dt 1...11 RIA-helle. after Sit;na(' 739AA 1941.79!l 45.S X 59.5 em ColOr Pcrspenive, after Jacques VilJon Ex",~rnO>lS 1927 N(·", ~·o,k. B,ummer (jallery. \'i1I.~, 1I'"UOGMhPJIY Oct. - :..Iov. 19.10. no. I~. 2.$ .'n.., Philos,,!,h.,·· '50.2 x H.3 cm (image) • passi!>I)· SA 0 (Vtll ..." 19)4). no, 11,· u AI' HI ' AMG E6H 76.2 x '57.) cm (sheer) Ph,lO 739Y 19-11.791 P'I)Jaf!,t. aflt'r VaiJotfon 1928 739B8 I~HI.79'5A 14. ') X Yi.6 em (image) tes .I(1lffflrS de ClInes. afrer Cbanm· 61.9 X 49.6 em (sh(-Cr) 1929 D.IIN in plate "'928" 48.7 x 59.8 em (image) Signed in pencil LT. '"j'l(qucs Villon" and inscribed LJ. 63.2 X 7'5.9 em (sheet) "7)1200" Dartd in plare "'1929·· Signed in penci l l.r. ·'Jae(IUeS Vi lion·· and inscribed in U'8l1O<, ..... Plty penci l l.r. '·156/200 d·apres Channt·· AI' 'i2~ • AMG 1.6~<) AI' 5)0 • AMG £.662 Exwllmo,,> SA (jlIR~ncl. 'IX'in ••• 19,11). no. 27. ~"h Société Anonyme Catalogue Société Anonyme Catalogue 706 JACQUES VILLQN In a letter to Marct'] Duchamp of20 January 1931, Kath sons to symbolize ideas (in 195 I he entitled an()ther pic erine Dreier reponed chat she had (t 741 1953.6.129 AlYlholof!)e 1931 Etching 12.1 X 15.3 cm (image) 27. I X 35 (m (shcet) Signe.:! in pencil l.r. '"jaC(IUeS Villon l Noel 1931" and inscribed 1.1. "it Miss Dreier" From rin: eHare of KSD, 1953: gift of the anist, 1931 ll'IIJ.' 742 1953.6.130 743 1941.713 The Table &'~'rtd Girl La Table all hill/PO'/ 'J()I,. 1936 193 I O il on canvas Etching 80.9 X 59.S cm 14 X 10.9 cm (imaRe) Signrd at a ngle I.r. "'Jacques Villorl 16" 26 X 19.6 cm (Shl'Ct) KSD from the artist, 19;3 7. for 2000 fwncs (575). assum Signt:<.! in plate' ·"jacques Villon 26 [~]"" ing this is rhe Villon "tableau"' referred to in KSD Signed in ptncill.r. '"Jacques Villon" , inscribed in black Marcel Dudmnp correspondence of July 1937 ink 1.1. to I.r. "A Miss Dreier nos rm·iUeurs souhaits/ J. V,lIon" and in pencil 1.1. ··epreuve d'cssai" M 19l1! 1'. 110 ' Fmltr·/Iah" 1~>H. I" 19. diu •. ' i'<>AA 1976. I" 1'19. il!.". S" 84. liS (~I";nitfidd I<)W. H."ford 1940). no. 69 · YS" I (Inaul\u",1 1912) ' YS" 10 IDucl,>.mp llmthu, 1915). no;,. 14 · )'SA 16. 1'). 24. n, 2'), 29a. H (Duchomp.nd v'U"". "",,,·ollrn,.: 1945-47) ' YSA 42 INoofolk 1,).111) ' YSA 61 (S.""na .. 195U-} I) ' ,"SA 67 (Wa.h. ,"""on. [) <. 1950 ' Chic-.:" 19H-B. nu. ; R, '.AHD Wv~ ... , 1.01 1'"", III,~J"'NI' 1914. I"'fI(,l. N X 17,m, M"koy Pall ... Skok,., II.; I ... 1',,,,, oIf",dUlNrt. 19~'. c,d,,,,1!' (AMG f-393) Société Anonyme Catalogue Société Anonyme Catalogue 708 HEINRICH VOGELER HEINJUCH VOGElER 709 The su bjen of young girls before and during adolescence her hands On the forward t-dge of her chair. The Socieu! El ected to the Bremen workers' and soldiers' council in Dreier and Vogeler probably met in the aUTUmn of is a recurring theme in Villoll 's work , beginning in 1906 Anonyme painting g read y diminishes rhe details offueial November 1918, he campaigned for a communiSI Ger 1920, when she purchased tWO of his paintings ftom the with a number of prints representing Minne, the daugh expression and placement of the hands, although the many, publishing po[itical traCts and converting Bar Kunstgalerie in \'Vorpswede. He subsequently sem he r ter of a cousin. Latc InTO life Villon retained his interest rigid pose is clearly sensed. Villon concentrart-d on the h'nhoff, his home at Worpswede, into a workers' com copies of scvt'tal of his tracts on communism anJ letters in the guarded, haunted quality of not quite formed light and dark pattern and the massive curve of the chair mune. When it failed in 1923 , he donated the house and that emphasized his political enthusi:!ms and th" need for personalities, in the resrlessness of character as revealed back, bur in the repeated large S-curves of waist, lap, and grounds to the " Rote Hilfe" for usc as a home and trade funds to support the BarkenhofT school. Although tll{'re by posture. Staud Girl is one of the works in this vein , a legs, he found an equivalent for the child's squirming school for children of German political prisoners. After are no extant letters from Dreier 10 Vogeler_ it is t'v ident frontal picture of a ch ild seated stlrny in a round-oockcd resistance. The palette is a mixture of somber and deli twO trips ro Moscow, in 1923-24 and 1926- 27, Vogeler from her purchase of six of his paintings antI from his chair. Its source is L. PtlIte Mendiante, a drawing of Cate. Ex cept for th~ yellow planes ro the right of the worked in Berlin for the architectural group " Di t' frequent inclusion in Societe Anonyme- exhibi tions from 19 :>4. The same drawing scrv<.-d as mode! for II 1935 child's head, the background and chair ate in dull grays KugeL" He settled permanendy in Russia in 1931, 1920 on that she admired his work. Dreier was dnlwn to erching, in which «n expression of rhwarrcd desirr on the of various tints. Strong colors are reserved for the figure: where he published articles on art and travelled widcly to socially conscious aT[ and was one of the very few Amen child 's mec is emphasized. as is the descriptive clutch of yellows, greens, lavender-pinks, and dark maroons. work on rural architectural commissions and large-scal e cans of that I>c ri oo who supported Soviet art, prosocial is! propagandisric paintings_ In May 1941 he was given a art, like that of Seiwert, and also fhe work nf Russian 744 19'>3,6.22, Ja rge one-artist exhibition in Moscow. Ironically, only emigres, such as Bur!iuk. Interestingly, in rhe \'Vorcester The Centaur five months latec, as H itler's troops approoched the city, exhibition of 1921 (SA [8), Dreier va lued Vogeler's the fA Ceil/afire Vogeler was interned with other German immigrams in a 11'"'1(/ (If Penct at S2000. second only t() the amount set on 1937 prison camp in Kasachstan. where he d ied on 14 June Van Gogh's Ado/emmet. Etching and unidentified gf;\nular tOne 194~ . 8.5 X IliA cm (imagcl 11.9X 17.7cm(sheer) P Kl",,<.!~AL R ' _HCK ' xCF_' ExhihiliM' SOl/1t1 Altlln)"" bhthJli.~, S]gn~d in plate ' J acqu~s Vi lion" and dated "1937""; in llivid Ed.)·. 1'i''''''Ju~ - BmtmI-M'''~Jt: Dtr wO',,"wedc, Kun. 745 /941.801 The Artist's Children 1914 Heinrich Vogeler Oil on composition board lH72-1~2. GERMAN 44 x 5}.4 cm Signed with monogram 1.1. and dared " 14" KSD from the Kunsrga[erie, Worpswede, Aug. 1920 Vogeler was born in Bremen on 12 December 1872. He works he g reatl}' admired. Due ro Vogeler's extensive enrollc(] in 1890 in the KurlStakademie in Diisseldorf. work in the decorative arts and in architectural design, EJ<'UBmo""s wherc h~ studied under Pewr Johann Janssen, Eduard \'Vorpswede became bctt('r known as an arts and crafts SA 1950. p. 186 von Gebhardt, and Arthur Kampfr. Dissatisfied with the SA III. Ilia. ISh, 19 hr.... ,lhng 1921-22) - SA colony than as the landscape painters' reueat it was. In 26 (VOMa' 1923) ° SA B (rkrroi' (92). no. ~6 acad~mic reaching methoos there, hc frcqt]ently imer 1908 Vogeler and hi s brother Franz founded the Worps • possibly SA 3l (14 An,,,, 1923), no Il o SA 42 (Ph,loddp'''' 1926). roo . 146~ ruptt'<1 hi s studies for prolunged trips 10 Belgium, haly, wede \'Verkstiitte to provide handcrafted furniwre and :Ind Paris. But by the time he grod uatt'<] in late 1893, other services in intt'rior decoration. Vngtler credited J anssen widl initiating his interest in VogeJl"f's oppOsition 10 class distinction and the ex the art of book minialures and in the artS and crafts p[oitation of the masses began when he was a soldier In addirion to posing for several portraits including The health. Thr ArfiSf'J Children is a mthcr uninspired work. movement. Vogeler concencrated on these tWO fields tl uring World War 1. In J anuary 1918, after sending a Invalid (cat. 746), Vogeler's first wife, Martha Schroder, By contrast, the surface agitlltion and vivid JU J Société Anonyme Catalogue Société Anonyme Catalogue 710 IHINRIf:H VO(";HER HEINRICH VOGELER 711 746 1941.800 Although undated. Tbt b/olld lif Ptdfe was most likely violets, greens, and whites reflects his postwar emulation The Invalid paimed between 191H ami 1919, wh~11 Vo~elcr's work of Van Gogh's expressioniSTic style. In thc )'t-ars after thl" 1916 was undergoing a rnmsition to art III the service of propa w;lr Barktnhoff and the commune he establisht-d Therl" Oil on COmlXJS ltlon board ganda. The femall- nudes. i!tH:lluafcd in shape and un became Vogeler's haven from what he "iewed as the sclf 54.5 X 42.1 cm n:uur.d in pose. continue a common pn-war mOfif 111 serving decadence of capitalism. The contained arrange Signtd with monogram H8v u.r. and dafed "'16" Vogeler's work and suggest his often-expressed ,ldrmra ment of forms In TIN II/mid of Petlcr, where the postures of KSD frum the Kunst~alerie , \X'orpswede. Summer 1912, rion for Bllttlcellj's Tbt B"'r!; of VmllJ. Stylistically and the island-bound nudes mirror tht: arc of the enclosing for lHO.OOO marks (550) thematically, however, Tbt IJ/(/Ild of Pem' relates most rainbow, indicates that rhe work is perhaps emblematic closel)' to his paintings of tlK" hm' teens. T he pronounced of the communistic Statc 111 which Vogeler hopt-d to find emphasis on slirfacl" mOVl"melH created b), the agirated a more humanl" way of life. M 19)(1. p. I~(, brllshstrokes and by fhe larring juxtaposition of pinks, SA 42 (Ph,loJclphl' 1926). IJ() )·1M · SA F..] (v ....., (927) ' SA 71 (111",k Mount.,n 748 1911.799 191~-36) A Vision: Buddha 1922 ad on composilion board 5,.7 X 41 cm 747 19-11.796 Signed with monogram LT. 'lI1d dawd "22" The IsI:lnd of Peace KSD from the Kunstt:alerie, Worpswede, Summer 1922 ca. 19HI- 19 Oil on canvas IIIBI Itll.,RAPm · 1()-1.'.i X 96.5 cm Iii 19'0. I'. 1116 KSD from the Kunsrga1crie, Worpsw •.:dl". Aug. 1920 hlllllll1U'" RI~U()(;~AI" " . Pus\ibl)' s .... 2f> (Va>'"" In,). no 51:1. as 5"....-1<1/11 ..... )""" I~ ,. 1,\!,."kItJ 0/ ",,,u... '\"'1 C"",cml,lat;o,,"" 1><>I<' 1')20-1921 (I" ."" YOlk. (1921]). illu, 192.'). 00. ~~ .... " MoJi EXHIBITIO'<' Vogeler's spiritual inclinations made him rl-(eptiv(' to the deepl)' moved by a figuTC of Buddha a priest had shown SA I ([",uSur.1 1920) ' probobl)' SA II «~ll''''~ religious arts of othl"r cultures. In ,I It'uef of 22 Augusl him. By juXtalX)sing rhe held of Buddha with a scmi 1921) ' I',ob,bl)' SA 9 1"ldnlutr>n H. 1<)21) ' 192 ~ he encouraged 1)f("io:r 10 see the unparalleled church abstract $(wil"t star motif, common III hIS propagandistic proWbl)' SII J2(C,vlc 1<)21) ' p,()~bly SA 13 111"rtodox)' Inll'SA ISIW"" 1921) ' SA icons in Moscow. A \lISI"'I; Bf(ddlM (Ioubtless commemo paintings of tht· 1920s and 19)os, Vo,geler emphasizct\ 18, lIb. 18b. 19 (",vdhn): 1921 ·22) ' SA 4! rares Vogek-r's trip in 192010 India , whete he had been where his own hopes for the futuTe lay. (I'hll> SA /')}O. l' 186 SA 12 (Philadelph,a (926). M. 141:11 Société Anonyme Catalogue Société Anonyme Catalogue - - .,-.-.- ., •.•.. 712 HEINRICH VOGELER HEINRICH VOGELER 70 Vogeln had been intel"tsted m Russia since IH9H when Germany as Reise dllrch RII!.r/,,"d: Die Gebllrf du l/tlli" 75 1 1951.6.292 756 195).6.298 he mel the German Ix~:t Rainn I\1,1ria Rilkc, who inuo· iI1mJ(bm, In marked cnI11TaS{, The Knill/III. AJuJclj/1, Ah· C. YOn Rose Orto E, II. Blcndtrmann Juced him to the wrilings of TOlstoy lind Doscot,vsky. sfra(fion is executed ina st)'k fhM Vogder himself rermed IS96 IH97 Twenty.five years lillef, VO,lll'ler made his fifst uip to KlJlllp/exbddel' (lr tlf!,if 754 195').6.295 J c. Pflue,ger 759 195).6.102 Itl97 Tht'Odor Uicnen Etthin~ IW)<) 8.5 X 8.3 em Etching lind aquatint Signed in Jx:ncill.r. " H Vogeler" lind InS(·ribcd 1.1. " J.! , 14.5 X 9.7 cm Ex." Signed in pcncill.r. "H Vogeler" Ri ef 1974. no. 67 Rief 1974. no, 77 Voc..HIoJ( /3ooKPLA"Il.' Ir W Société Anonyme Catalogue Société Anonyme Catalogue 714 HE I:-lR IC I-I VOGElER HE I NRICH VOGEUR '" 761 1953 .6.301 766 1953.6.309 Huma Becker J-k-tmann G ocht 1902 1<)05 Etching Etching on silk 9.1 X !l.5 em (shw) 9.4 X 7.9 cm Signed in pcnciJ Lr. " 1-{ Vugder" Sign(',J in pencil I.r. " H VOJ;clc:r' tollowcd by monogr~m Ri cf 1974, no. 92 Ric f 1974, no. 107 762 1953.6.305 767 A. B 1953,6._~]() und . 'I II H u};o von Rcininghaus hlanha VOJ,;der 1903 1906 Etch ing E tchin~ und aquatim 8 X 13.8 em 14x9.1cm Signed in penni l. r. " II Vogdcr" followed by monogram Two impresslOlIs: (:I) On silk, avant In le{[rc, Sigfll·d in Rid 1974, flO. 98 pencil Lr. " 1-1 Vogeler": (b) signed III ptncil J r. " 1-1 Vogeler" followed br monogram Ric f 1974, nn, 110 763 195).6.306 Ida Perutz 1904 768 195 .tG.312 Etching and aqU;llim Erna Uhl 11.9 x 7.Hcm 1907 Signed in p•. :neil I.r. " H Vogcb" and inscribed J.J. ETChing (1(1(1 aquatlnt "[illegible} Berlin gcb [?)" 8 X 7 em Rief 1974, no. 101 Signed in pencil I.r. " 1-1 Vo};dcr" fo Jl owtJ by mOllllJ;mm Rit( 1974, no. 112 764 1953.6.')07 Tony Schiine 769 1953Jd I" 1905 Murgareth(· Ed le VOn Schwind Etchinj! and aquatint on silk 1907 -.. 14.1 X 6.9 em Erchmg On silk Signed in pencil Lt . " II Vogeler" followed h)' munogram 9.1 X 7crn Ri ef 1974, no. 101 Sill ned in pencil l. r. "1-1 Vogelt'r" followed by monogram Rief 1974, no. 115 771 195".6.)15 773 195'>.6.317 W/anda Frischen-C;lrus Cecilic. Kronprinzessin Jl'S Deursehcn Rt'iehs und Kron- 765 1953.6.308 190M prin/.essin von Preussen G. u. ) . Uc xki.i1J 770 1953.6.314 Etching on silk 190R 1905 Senator Dr. 1-1 , T raun 8.9 X 6.9 em Etching, engraving, and :lqU;IW1I on ~iJk Et(hing 190M Signed in pencil Lr. " H Vo~dd' 6.1 X 9,2 Cln 16.3 X 12.5 em (shee[j Ecching and aquatint on silk Ric f 1974. no, 117 Signl'J in pencil Lr, " 1-1 Vogeler" Signed in pencil J.J. " H V0J;der" followed by mO!1()gr:lln n.7 X 9.1 cm Rid 1974, no. III (visiting card) Ricr 1974, no. 106 Signed in penci l l.r. "1-1 Vogel er" Ricf 1974, no. 116 772 1953.6.316 PrHlztssin )011 Société Anonyme Catalogue Société Anonyme Catalogue 716 HEINRICH VOGELER 71' 775 195~.6.319 780 195 3.6.325 783 195 3.6.328 788A, B 1953.6.1H and .33'1 \X'ilhe]m Osbahr Hugo Erfunh Gretto Gocters Unritltxl 1909 1911 1911 ca. 1912 Etching on silk Etching on sil k Etching Etchi ng 8.9X7crn 8.9 X 6.4 cm 14.4 X II./ cm (sheer) 7 X 8 cm Signed In pencil l.r. "H Vogeler" Sign(x1 in pe ncil I.r. " H .V. 3/6 Frau·' Signed in IX·ncil l.r. ·' H Vogeler" T wo impressions: (a) Signed in peo(il l.r. " H VogeJcr'·; Ricr 1974, no. 127 Ri cf 1974, no. [40 Ricf 1974, no. 143 (b) faill! impn·ssion. signed in penCIl I.r. .. ]-] Vo;;eler" followed by monogram Ricf 1974. no. 187 {Jie! 776 195,6.320 781 1953.6.326 784 Dr. Oswldd Hagrdorn Gustav Borgmann Rena Fr'.inkcls 1909 1911 1912 789A, B 1953.6.335 ~nd .316 E!Ching Etching on silk Etching on silk Nt·llie Foster 9.9 X 7 <"111 9.3X7cm 10,9 X 8. 1 cm 1920 Signed in lx:nciJ l.r. Twice "H Vogder" ; in one case Signed in pencil l.r. " H Vogeler" Signtod in pencil l.r. " H Vogcln" fo llowed by monogram Etching followed by rnonogr.lm Ri cf 1974, no. 141 Rief 1974, no , 144 9.7 X 7.7 cm Rid 1971, no. J2~ Two impressions: (a) Signtoci in IX'ncil I.r. "H Vogl'ld' followed by mono,!:wm; (b) signed 10 pencil I.r. "11 Vogdl'{·· 782 1953.6.327 785 1953.6 ..BO Ricf 1974, no. 161 777A , B 1953.6.321 and . ,)22 Loopold Engelhardt Georg Kiihne Sdma liihnocrg !91] 1912 1910 Etching and aquatint on silk Etching and ~'quari n t on silk Etching 15.5 x 10.5 cm 10.7 X 7.8 cm 6.9X9cm 790 1953.6.337 Signed in pencil l.r. '·H Vogeler'· followed by monogram Signed in pencil l.r. "H Vogeler" AIIx·n Schmitlr Two impressions: (a) On silk. signed in pencil Lr. " 1-1 Rief 1974. no. 142 Rid 1974. no. JlI6 Vogdd' fnllowl-d by monogram; (b) signe Société Anonyme Catalogue Société Anonyme Catalogue ABR/dIAi\\ \'(' ALKQWITZ ,71~8~_~W~ALTHER WAHLSTEDT 793 1953.6.Vi I 795A, U 1953.6 ..H4 and .34:> Paul H . Schuhhcs Kaethe lind Willy Roscnbusch 1923 192 3 Etching Etching 9.9 X 7.1 em 10 .8 X 7.9 ern Si,!;nl-Q in )X'neil Lr. " H Vogtler" followed by munOj;r:lm Two impressions: (a) Signed In pencil l.r. " I [ Vogcto:r" Early state, a,'ant In Ier n e, of Il ief 1974, no. 17S followed by monogram , (b) signed in pencil I.r. " H Vogeler'" rollowed by monogram Ricf 1974. no. 182 794A, B 195 3.6.Yi2 and .lB I'rrl>HC W alther Wahlstedt 796 1911,802 189.'1 19(,7, C;~: RMAt-. Fior~nla (Formerly) A Portrait: Thl' T:ll e of a Life So little IS known of \'\/ahlstedt that, like an artist of a 1920 prdilerate culture, he has survived only in his an. He \'\/oodcul rouched With .l; ilr was born in Hamburg on 7 January 1898 and s(:~:ms [0 59.7 X !\6cm have spent nlOSt of his life there. His woodcut in the Si,gned in block I. c. ·· WI. WI,lhlsledl 1920" and Inscribetl Socic[(: Anon)'me is inscrilx:d "Hamburg." and the Ham in pencil I. r. " Hamburg Eppmdorferlandstr. JO!\" !O burg Kunsthalk h:\d an 011 of IllS (d~stroyed 1!I Wlorld I\(cordl!lg dw I,m:r recolkctlon of KSD, purchas(-d Wlnr II) dam] 1919. In 1960 there was a one-artist show (rom I.kr 5nmn, Berlin, 1922 of his work in the Gallery Htlmm van dH Hiih In Ham burg. Wahlstedt died III Heidellx:r,g In March 1967. Itt 1950. I' 1')9. dl". Although the combination of cubo-fumrist structun: and DJda humor WilS widespread in the art of postwar Ger m:rny, the oflf(inality uf \X/a hlstcdt'~ prim is still evi Abraham W alkowirz IIO!'!, 1965. AMFRICAt\!, BORN It-. RUS;;IA dent. It seems !O be a lover'S homagt· ro a woman namt-d Fioren7.a, "who came from [r aly," ao(1 wh o is also c,l lkd "Fio." Nl-.:dle and spool, and a pair of Kissors, suggCSt Abraham \'V'alkowitz was born in Tyumcn, Siberia, 00 2~ generation. Through Max Welx:r, whom he met while Fio's domestic attributes. Silhouettes of men represent M:lfCh IH78. H is fathn, a J l·wish lay rabbi, died when STudying ar rhe Academic J ulian, he was introduced to het ,Idmirers, and love IS embodied In four doves. Other Abraham was four, and in 1889 the family immigrated to many of the le:ldi ng Parisi,1Il modernists, including phrases and pictographs embelJish d\(: witt)" bust of this America, where they st:nJcd in New York 's predomi Rodi n, ~h tissc, and Rousseau. At this lime he also met dark-haired wuman. The edge of a stringed instrument nantl}' Jewish community on the Lower East Side. Wal Isadora Duncan, whose libertarian dances so captivated repeated thrt" times functions cuscomarily as an analo~y kowit~ began his art t["'.tining at the Educational Alliance hiS artistic imagination thar they became a major rht·me with a woman's hody, bur other references seem personal r I and bter studied at the N:ltiooal Arademy of [){·sign in hiS oeuvre. In 1907, after coUTlng [taly, Walkowirz to Fio or ro thl' artist. with Walter Shirlaw. From 1900 to 1906 he retume.! ro returned TO New York and began to experimt·nr with Ihe the EArmory Show he became one of the fi rst American artists Société Anonyme Catalogue Société Anonyme Catalogue 720 ABRAHAM WALKOWlTZ ABRAHAM \'Vi\LKO\V'ITZ 721 to attempt stricrly n{Jnr~pn'S"nmtional compositions. lwgoriations to secure permanem quaners In tilL' , 797 1953.6.88 Through his friendship with Marsden I bnlq', Walko HL'ckschcr Building (the structure which, as f.'1re would j Ba rge Wl tl. beGlme pan of StI~glit~'s inner circle in 1911-12, have it, I(Her hous(.J the Must'um of Modern An). Wal ca. 1900-0'5 and he spent much of the next five rears hdpmg StI~)o\lltz kowlu subsL'quenrly showed (wo works in the Socitt~ Etching run his gaUery. This alliance I~d w four solo exhibitions Anonyme's Brooklyn exhibition in 1926 but was never 13.8 X 17.7 cm (image) of hiS work at "291." During thl:SI: yL'ars hI:" also partici a~ain aCtive in rhe organi:.:arion. Although his affilia,;ol1 , 22.4 X 26.6 cm (shee[) pated in the Forum Exhibition Ifl 1')16, and in 191H Ill' W,IS brief he never furgur rhe Societe's conu ibutioll ro lhe , Sig ned in pencil I. r. " A . \'Va lkowirz" became 3 directOr of the' Soci~ry of Indl:"pcndcOt Arrists. prnmmion of modern art in America ;Uld in 19 jJ, rwo , from dle eSl:Ut: of KSD. 19'3 serving as vICe-president for ten years. years after the colJenlllll was gi\'en to Yale, hL' pr/.'Senwd In 1910 Walkowirz joined the Societe Anon)·me. Al rhe Societe Anonyme with forrr-five W;ITerco!ors lllld 798 19'3.6. ~9 though at first he seems 10 have h"u htll~ w do with thl' drJwin,l;s. In 19"i6, probably al \X'alkowitz's TeqUt'St, Nigh! Scene Socittt' and was included in only one exhibition (SA '5) Dreier compos(·J a brief bur laudatory sratement for [he , ca. 1900-05 during the organization's first IhrL'C ye'lrs. the rolrd of soon-to-he-pubJishcd brochurl' Art [mill Life 10 Lift ; Etching direCtors voted him an active member Ifl 1923 and ullInl' (19'5 I), in ",tuth she StrL'ss('d !ll(' impomm[ role musit 7.'5 X 11.2 em (imagd diately then-after he assumed a much more active role, had played in his an, panicul:lriy in his Studies of Isadora 22,,8 X 30.3 em (sheet) Dunng thar YL~Jf'~ brier exhibition season \\:talkowitz as ,I{ Dunt"n. \'Valkowltl'. W,Il"m 1 H"n", •. IIfj""{ 1''''01", ,,~d ,),. II ...... · I\ The (ony-fin' olrhings. draw,"!:., l>en ~od mk !{"'].cs. ~nJ "'Jrcr_ mJn)· l,f\'Valk"wit1'S lot"II), ~bs"'Ic! (Olnpos'tlOns as well. Th,· all coloo; on Société Anonyme Catalogue Société Anonyme Catalogue -..... - -,-.-, AllRAHAM WA.J KO\'(/ lTZ 72J m ABRAHAM WA lKQWITZ 806 I. 943 . 109 802 1943.107 Ahstractlon Abstraction 19 [5 1909 (?) Pencil 4X[7.[cm 2Pencil W,lkowiu 1909" 5 X 35 em. "A. 13. . 'ncil I.e. "A. WI." amI In· black, ink l.r. "A. d · IJeflClll.r. Signed III 915" Signe In _ 1943 ~ Gift of the artist, WalkowlCl .l 1943 Gif{ of th{' armt, B1HUUG~"PIl" SA I\1JO, P }] tll~' . I()(,~A~II\" SA 195,). p ~I ExltlBlllos A't> 19n-H). "" YSA 76 (1\"", .. ,oJ 44 807 1943.113 Absc(;lnion 801 1943.108 1917 Abstraction 1909 (?) P<:nrilIS ) X 18.5 cm "A. W.' an d'In black ink I.r. '. d' pencil I.e. ··A. Si.gn<: In '. 1917"" l5pen~121. 3 em ., I , . '" . 'X'alkowitz I 1909" Walkowltl. 1913 . penCl . Gift of the artiSt. ~ff~~f ~~le artist. 1943 U'"U(II,RAPHY a'"I.lOGRAPHY SA 1950. p. i1 SA 19'0, p. 31 El RI~Ucx..k"'" IlY BIHUQ(;RAPHY ~ .... 1950. P \1 Si\. 19'0. p . .; 1 EXHIB1110S h 19B) YSA 74 (Norw1c 809 1943. wi AbStranion 805 1943. 145 [919 .. k Abstracdon Prn and IndIa In 1914 l [34XI7. ern. wirhbrush .. d' black Ink . .. \VI." and in 4X17.1cm "A S'gnc '~ "A. Walkowm U. e. A. 'n ink P13.encil . bl ck ink I.r. . W,lkowitz 1914" black Ink I.r.. ,. 1919"; on \'l"rSO I Signed In a . 1943 Gift of the artiSt, ··A. Walko~·ltz I 43 Gift of the arnst, 9 BIBUOO:;R..,PHY fI'.U Société Anonyme Catalogue Société Anonyme Catalogue ABRAHAM WALKOWIl'Z A UKAHAM WALKOW" ~T~Z~"_~7~" 810 1943.115 813 1943.11R Dance Abscranion: Isadorn Duncan Dance Abstraction: IsadOr'J Duncan 191 7 (?) 19[7 (?) Pen, India ink, and pencil Pen and India ink 26,7 X 17.1 cm 26.7 X 17.1 cm Signed in black ink 1.r. "A. Walkowirz" nnd inscribed in Signed in black ink I.e. ··A. Walkowirz" and inserii><.'d in pencil I.r. "1917" pencil I.c. '"1917" Gift of rhe artist. 1943 Gife ofche anisr, 194~ SA 19111. P 32 SA 19>0. p. ;2 ... L.-=:::=:::!~'''''''l:::oJ 813 ~ --- 811 1943. I 16 814 1945.119 Dance Absrmcrion: Isadora Duncan Dance Absemcrion: Isadora DUllcan 191 7 (?) 1917 U) Pen and India ink Pcn and India ink 26.7 X 17.1 cm 26.7 X 17.1 cm Signed in black ink 1.1. "A \,(falkowirz" and inscribed in Signed in black ink I.e. ·'A. W.llkowitz" and Inscribed in pendl 1.1. "1917" pcncill.e. "1917"" Gifl of rhe anisl, 1943 Gift of the artist, 1943 SA 19j(J. p. U ~A 195f1. P ~2 812 194;).117 Dance Absfraction: Isadora Duncan 81S 1943.120 191 7 U) Dann' Abstraccion. Isadora Duncan Pen and India ink 1917 (?) 26.7 X 17 , 1 cm Pen and India ink Signed III black ink I.r. "A. Walkowitz" and inscribed in 26.7 X 17.1 CIl1 pcncill.r. "1917" Signed in black ink I.e. "A. Walkowirz" and inscribed in Gift of the .trtiSL 1913 pencill.c. "1917"" Gift of the artist, 1943 SA 191'0, p>2 UIIIU OCR ~"II\ ' Société Anonyme Catalogue Société Anonyme Catalogue 716 ABRAHAM \'('ALKO WITZ ABRA H AM WAlKOW]TZ J27 816 1943.121 819 1943.110 Dance Abstraction: Isadora Duncan Dance Abstraction 1917 m 1918 Pen and Indm ink Pencil 26.7 X 17.1 em 15.3 X 17.7 cm Signed in black ink J I. .. t.. Walkowirz" and InKribcd in Signed in pencil I. e. '" A. W.'" and in black ink I.r. ··A. pencil J.l. ., 1917"" Walkowirz 1918" Gift of the artist, 1943 Gift of the anist, 1943 ". L,."""" "'~"()(;R~PHY SA 19}1J. I' n SA 19}O. p. 32 820 1943.111 ... Dance Abstraction 1918 Pencil 1').IXIScrn Signed in pencil!.c. ·· A. W. " and in black ink!.r. "A. Walkowirz 1918" 817 194,.122 Gift of rhe artist, 1943 Dance Abst l""".lc ri on: Isadora Duncan B'8I.1 QG~~p'n· 1917 (?) Pen and India Ink 26.7 X 17.1 em E""'BI110M Sig!lt-d in !JJack ink I.e. '" A . Walkowitz" and inscribed in ¥SA 5 t (l'Io>,on 1';149) ' YSA ~4 (Mr. H(>I)"k~ peneill.c. '"1917"" 1949). n.o. 61 Gift of [he artist, 19ti 3 82 1 1943 .112 \J\ 1910. r 31 Abstraction 191B Pencil 15.4 X lB.) cm Signed in pcncill.e. ··A.W." and in bJack ink I.r. "A. Walkowirz 1918"' Gift or rhe artist, 194 3 ." H'S1l0(;.~PHY SA I')}O. p. 32 818 191).12) Dance Abstraction: Isadora Duncan 822 1943.106 191 7 (n Abstraction Pen and lndm ink 1918 26. 7 X 17.lcm India ink Sigm:d in black ink 1.1. ·· A. Walkowitz" and inscribed in pencil 1.1. " 1917"" 13.4 X 17. I cm Gift of the an is t, 194~ Signed in black ink I.e. "A. W. I A. Walkowi[l 1918'"; on verso in black ink ··A. Walkowiu" Gift of rhe artist , 1943 SA I'no. p. H 8'8IJOGUPHY SA 19'0. p. 32 EXH'AI110,," ¥SA 76 (Ame •. Fed . ""fl. 19~~-H). hnrs Société Anonyme Catalogue Société Anonyme Catalogue 72H ABRAHAM WAlKOWITZ ~HAM WALKOWITZ 729 823 195_~.6. 101 ([OSI work] 827 191\3.128 Rhrrhmic Lines Dance AbStmction: Isadora Duncan 1918 1920 (?) Pencil. [:tid down India ink and gnly wash n.4 X 17.1 cm 26.7 X 17.1 cm Signed in penei[ I.e. ··A. WI."' :lnd in h!ack ink I.r. ·· A. Signed in bhtck ink I.e. ·· A. Walkowiu" and ins(Tihcd in Walkowitz 19 [Il"' pencil I.e. "1920"; on wrso in black ink ··A. Walko- From the eSIUle of KSD. 1953: prohablr gift of the artisr Gift of Ihe arrisl, 194, B1HUOC,RAPUY 82<"1 1913.125 SA 1950. p. U Dance Absnaction: Is;tdom Duncan [920 U) EXH'HITIONS gmy India ink and wa.~h YSA ~I (&<'on 19-191 ' YSA 54 1M, lIol)'ok~ 26.7 X 17.1 cm 1<)49). no_ 62 • YSA 74 (N""'"ch 19~:I) Signed 111 black ink l.r. "A Walkowitz" ;lnd inscribed in pencil above I.r. "1920"'; on verso in black ink "A WI~lkowltz" Gifl "f lI,,: ilnbc. 19·1'\ 828 1943.129 Dance Absnanion: Isadora Duncan 1920 (') SA 19)0. I> ~2 India ink and gmy wash 26.6 X [7.1 cm Signed in black ink I.l. ·· A. Walkowitz" and inscribed in pencil1.c. "1920"; on verso in black ink ··A. Walko- 825 191,.126 WlIZ " Dance Abstraction: Isador:! Duncan Gift of the anist. 191\3 1920 U) Ind ia ink and gmy wash B'HU ...... ~~",. SA 1'))0. p. 32 26.7 X 17.1 (Ill Signed in black ink J.1. ··A. \·... :talkowitz·· and mscrihed in pencil 1.1. "1920" Gift of the arns!. 1943 1:I'"lI..... RA~'" S1I 1'J50. p. :I! "'9 194~. 1.30 Dance Abstraction: Isador-a Duncan 1931 (?) Pen. India ink. Watercolor, and pencil 35.5 X 21.6 cm 826 191"'..127 Signed in black ink I.r. ··A. Walkowirz" and insnibeJ in Dance AbsrT:lction: Isadora Duncan pencill.r. .. [93 ["' 1920 (~) Gift of the artist, 1943 India mk and gm}' wash 26.7 x 17.1 cm Signed on black ink I.e. ··A. \'O:?a[kowi rz" and inscribed in SA 19}0. p. 32. illu. pencil I.e. "1920" Gift of rl1l' artiSl. 1913 El .1",1 I~W. r 12 Société Anonyme Catalogue Société Anonyme Catalogue 730 ABRAHAM WALKQWITZ ABRAHAM WAlKOWITZ 830 1943.131 833 1943.134 IsadOnl Duncan Isadora Duncan 1931 (?) 193 1 (?) Pen, India ink, w:l[(~rcolo r . and pencil Pen, India ink, w:l(erco\or, and pencil 32.9 X 21.6 em 27.6 X 21.3 em Signed in black ink l.r. "A. Walkowitz" and inscribed in Signed in black ink LJ. "A. Walkowitz" and inscribed In pencil I.r. "1931" pencil 1.1. "1931" Gift of the artist, 1943 Gift of the artist. 1943 B IRIJ(x;RAPH" SA 19>0 . I' 32. dlu._ ~I\ 19'0, p, 32 YSA 74 (N"""ich 19 H1 834 194 3.135 Dance Abstraction: Isadora Duncan 831 1943.132 1931 (?) Isadora Duncan Pe'n, India ink, Watercolor, and pencil 1931 (?) 35.6 x 21.6 em Pen. India ink, watercolor, and pencil Signed 111 black ink I.e. "A. Walkowitl" and inscribed in 33 x 21.6 em p<:ncil I.e. "1931" Signed in black ink l.T. "A. Walkowirz" and inscribed in Gift of the anist. 1943 pcncill.r. "1931" Gift of the anist. 1943 SA 19'0. 1' . 32, illu. SA 19)0. p. 32 EX"I~nl o " 832 1943.133 835 194 3.137 Dance Abstraction: Isadora Dunca n Abs{raction 1931 (?) 1932 Pen, India ink, watercolor, and pencil India ink and wash 35.5 x 21.6 em 17.3 X 13.5 em Signed in black ink 1.J. "A. Walkowitz" and inscribed in Signed in black ink I.e. "A. W ." and in black ink l.r. pencil 1.1. "1931" "A. Walkowitl 1932'; on verso in black ink "A, Gift of the anist, 1943 Walkowit/' G ift of the artist, 1943 SA 19}O. p. 32 ~A 195U. P n Société Anonyme Catalogue Société Anonyme Catalogue MAX WEBt::R 836 1943.138 840 1943.141 Absnacrion Ballet Dancer, Femah: 1932 1938 (?) India ink and wash, laid dawn on blue paper Pen, India ink, watercolor. and pencil 17.1 X 13.3 cm 3~.~ X 21.6 cm Signed Hl black ink I.e. ··A.W·· and in black ink on Signed in black ink I.e. "A. Walkowitz'" and inscribt-d in mount I.r. ·'A. Walkowirz 1932""; on ve rso in black pencil I.e. '"1938" ink ··h. Walkowitz" Gift of the anist, 1943 Gift of the artist, 1943 SA 19}0. p. 32 SA 19'0. p. 12 837 1943.1% Rhythm of the Sea 1932 (?) 841 1943.142 W/atercolor Ballet Dana'r, r..lai e 4U; X 48cm [938 (?) Signed in black ink o\'er pencil l.r. "h. \X'a[kowitz" and ioscribed in pencil I.r. '"1932"" Pen, India ink, watercolor. and pencil 35.~ X 21.6 em Gift of the anist, 1943 Signed in black ink l.r. '"A. Wa[kowitz'" and inscriIx-d in B'.UOORAPltY pencil I.r. "1938" SA 1950. p. 32 Gift of the artist. 1943 B!ijU (>( ;R~PII\" SA I!·J}O. p. 12 838 1913.139 Abstmction P"'p"m! b)· IlUfh L Soh.n 1933 Also ., Y~1o: ,"'(} w3t~rco l o... from Iho ,(}I I"..,;on of Gror.l!~ H Flr SA 19'0. 1'. 12. Illus Max Weber !lISI 1%1, AMERICAN, BORN IN IlUSSIA 839 1943.140 Born in Bialystok, Russia, on 18 April 1881 of On hod ox with whom he dcvclop Société Anonyme Catalogue Société Anonyme Catalogue 734 MAX WEilER MAX WEBER range a memorial exhibition of the work of Hl'nri Rous George Heard Hamilto"'l UX{ [rom the 1')50 r((faloglle In the 1920s, after more rlwn a decade of immersion in legend and Picasso's neoclassical nudes of [he early seau. In 1916 he published Essays 0 11 Arl. (lne of the first Cubism, Fauvism, and Futurism, \X'eocr's art he<:ame 1920s. M Olb". alld Child retains dle angular planes of significanr theoretical rrearises by an American modern Max Weocr's story is that of America's artistic coming quieter, more co ntemplative. Nude women in landscapes early Cubism (and reflects Weber's painting of 1909); 0" iSi. His art of these years mirrored the latest innovations of-age. He was born in Europe and to Europt' he once and in subdued architectural senings Wl're a favorite the Shere looks back instl'ad to Cezanne's nudes; 'flu AII in European modermsm as he borrowed freely and imagi bridly re;uroed to study mo~krn forms and to dis(:Over theme. All three works in the Societe Anonyme are of lique shows an enigmatic figure peering over a wall at a natiyely from Cubism. Fauvism, and Futurism. After the means of modern expression. But he grew up in America and his art is stampt'd with the restless curiosity this kind, and in each Weber communicates a fceling of nude, one of whose feet rests on a flar plinth, probably a 1919 he turntd increasingly for inspiration to themes and of our Jives. His early srudies in Paris taught him the archaic rimelessness. Like his ocher works in this spirit, reference to antique scu lpture as well as to a studio POSt' images from his Jewish hl'mage and hy the late 19305 the scenes r{'(all both [he biblical women of Hebrew had ('volved the lYri cal, skerchlike expressionist manner power of Fauve color and rhe discipline ofCubisr design, but in his fir$[ charaneristic works, the large figure com thar was to occupy him for rhe remainder of his life. Wclx: r enjoyed considerable critical acdaim durin;; his positions of his middle years, he reached beyond Cubism lifetime, and his wurk was shown in numerous group and toward the monumental statements or Cezanne. So he one-artist exh ibitions. lie died on Long Island on 4 OctO gave American art the classic conception of the human ber 1961. figure as it h~!d [x'en undt'rstOl'Xl for centuries 'lbroad. In his paimings on Jewish thl'mes his art assumes a livelier Nor one to seek support in :t group, \X'eber never 843 1953.6.277 joined the Socicu: Anonl'me and was only rnrcly included color and morl' inttnse emotional expression as, with On the Shore in irs exhibitions. His first showing wirh the Societe poignant sensitivity yet avoiding the excesses of t1lustra 1928 Anoorme was rhe Brookl)'n exhibition in 1926. Dreier (ion, he CtC'dtes rhe artistic e'luiva1cnrs for his profound Lithograph nevertheless expressed interesr in his work, and in lli'eJurn response to rhe spi ritual triumphs and historical lrngeJies 13.1 X 16.6 cm (image) I\r! (wd Ihe Nt/I Era (1 92 3), she had raoked him among of his heritage. His most re«'m work often approaches 15.6 X 19.5 em (sheet) rhe le;tders of the modern movement in America. Follow complete ahsnaction in linear rhythms of snapping ener Signl..J on rhe stOne LL "Max Weber"' gy and reSOnant COIOf. After long ),ears of hardship and ing the close of the Brooklyn "xhibition, she hOIX-d to Signed in pencil l.r. "MaX' W eocr" and inscribed J.l. neglen Max \X'<: bcr is now recognized as one of the most vis ir him io hi s Long Island studio and tht· tWO corre "Scasons Greetings" adventurous and consistent pioneets of modern American sponded briefly aOOm this. [frhe meeting took place. it From the estate of KSD, 1953; s<:m to her by the artist at would hllVt· lx:(;n rh(;ir fi rst. As no fUflh(;r co rrespondence painting. His brilliant interprct'dtJons of American expe an unknown date exists , presumabl)' they drifted apan shortly rhereafttr. rience in terms of European technique reveak-d to our younger paint~rs [he parr thl'y tOO should play in an BWU()<,MPHY American art no longer provincial but rightl}' pan of the R uben,,~jn 19110. no. 64 international movement. PK'''' IM'- RHt K~"''' ~ "illi A_J .... &b,bll'M' Hola"c C.. h,II, \l ,,~ 11"'..... (N~ w YOlk. 1,);0) S:...nra I\.uh.~•. t.:n,,·e""J· of Cahforn ... Fml SA ~3 (Ilrooklyn 1926) SA .j .j, 45. 46 RuJ,.,n"tin 19MO I)aryl R Rub 842 194 UI04 B'auo(,RAPItY an unknown sum l\lmhn and Child SA 1~50. P 9 · Rubenstein 1980. nn. ~4, 1920 ,Ilu •. (mi Société Anonyme Catalogue Société Anonyme Catalogue Magnus Zeller b. !8I1K. GERMAN MAGNUS ZELLE R '" Ma};nus Zeller. rhe son of a Pron:sr:ln( mlnisrer. was born speakers, and other sneer pt-'Oplc, Odler paintings of rhe , 9 July 1888 in Bi!:s<:nrodc, German}'. He was expI:cred en 1920s portray humanity in the presence of overwhelming , become a clergyman but chose an anisric career instead. natural fotces and exhibit a visionary and symbolic quali From 1908 to 1911 be studied in Bcdin with Lovis ty. Zeller continued to exhibit with rhe Sczess ion and the Corinth until, thoroughly saruraftxl with Impressionism. Berlin Academy, and his work was reproducl.<:J in Ger he went to P ari.~. He stayed Iher(' in [912 and 1913, but man periodicals. In 1923 and 1924 he taught at the , ifhe S,1W cubist paimings, his work of thaI period fails to StaarJichen Kunsrschule in Dorpat. Estonia. He returned J show it. The inccnse, agle,Hed motion of his loosely to Berlin bur about 1926 moved to the small town of f dmwn figures. the religIOus themes. the grO!<.1ique char Blombers: {here he found a patron in Dr. Karl Vol ,lcu~rs. and t he dr'''''''li~ liSl'[ \·rrl:lt~ derive from GrUne lprach{, who bought most of his work, living in Blom wald, Goya. and D~umie r . In 1912 7.ellcr first showd at bers unril 1937, he paint<..<:J portraits, His color became rhe lkrlin Academy and at the fit'din Sczcssion, of which more softly modulated, and hi s formerly :In!;ular. nervous he be<::amc a mcmlx:r rhe following year. His an marured style gave way to a more convent ionally modelled one, during the waf years when. as a soldier in the priming \'(/atercolor emer!;ed as a favorite medium in these years. room of the army's press department 1Il ViJoa. he worked From 1937 Zeller lived in Caputh ncar Potsdam. Toward with Schm idt-Rouluff ;!nd the writers Richard DehmeL the end of World War II scveral of his canvases depiCted Arnold Zweig. and Herbert Eulenbcrg, At nibht he clan chaos and descfUnion (one showed Hirlt'r and his vic_ dlostinely drew ~nd prinwd lithographs that caricatured rims), and after the war Zcller worked in a socialist German society :!nd expressed the aponllyptic mood so realist style that praised the heroism of workers and prevalent among Gnman artists. M:lIlY of thlose li tho_ peasants. graphs were published I:lter. as w~re other portfOlios of Dreier purchased Fiddll'orkfrI, Gem/(J/IY from the artist Zeller's prints, l Ie iJlusrratl.<:J s~\'eral books, including in Detmold in 1922, She was drawn to ZtJ[er's concern E. T. A. Hoffmann'5 D tr S(/I/(/III P~,,,,.,",,~ II.l".".'" ,., hhl/""M S... "', A""') .... Exh,httll)4l P.ul Fochter, " M. ~n ... / .. lIer: J_h.buch dre Ilerlin, G.I,·,,~ Gurlne (,,,,,,,,Ilk, Z'"h''~''I/''' SA Ii (o.«oi, 19B) SA 32 (14 "'",m lunl(cn Kunl' (Lc'I'''~' 1921). Pl'. 1115-200: 1'!"III*m I~"; .If. 7..dI" A Obt,.(,,,,,dtr, /I (924) SA H (Ph,bddph,a In6) SA $11 "'1"mtC.! to' f'hr e'm"'" 11 (In 1): H9-54 .r'~",ht", LI RotIJt,-. A. SdJdt/",-lw. M, 0./. (Rand, Au,umn 19jO) SA 8·1 (Spnn!(fi.!d Inth., L,lntl, ,lluX"Nt ?tll", f"",,,,',,..<1 11)' "'nvJt! I""btll, Ix.:. 19;4 t9W) Z ..'e'/t, Kun>!k. do, Gt 1l"'U()',~A~H V 846 !953.6,l4Y lI.,cha,,1 S. Broo/.;., ,. 'Some New I'"""" of Family Group in a L'Inclscapc I'.,n"nl(, 1909-%' Shown .. /I-Iu,",um ," ~'p"~K· ca, 1920-22 (?) fitld( MA) o..il) R",~h"r,,~, l~ Nov. 1939, p 7 (ocr.opbook) • SA 19)0, P 138, ,!iu •• Drypoinr 26,5 x 35 cm FXIU ~tnO",S Signed in pl.-neil I.r. "]\'lagnus Zeller" and inscribed 1.1. SA U ( D Société Anonyme Catalogue Société Anonyme Catalogue7 ), "'T... l ,,,I. 8'""" rrom