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The Sidney and Harriet Janis Collection : a Gift to the Museum of Modern Art

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The Sidney and Harriet Janis Collection : a Gift to the Museum of Modern Art The Sidney and Harriet Janis Collection : a gift to the Museum of Modern Art Author Museum of Modern Art (New York, N.Y.) Date 1968 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1886 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art 1 The Sidney and Harriet Janis Collection A Giftto The Museum of Modem Art ) Trustees of The Museum of Modern Art cover: picasso. Painter and Model. 1928 David Rockefeller, Chairman of the Board; Henry Allen Moe, William S. Paley, and John Hay Whitney, Vice Chairmen; Mrs. Bliss Parkinson, President; James Thrall Soby, Ralph F. Colin, and Gardner Cowlcs, Vice Presidents; Willard C. Butcher, Treasurer; Walter Bareiss, Robert R. Barker, Alfred H. Barr, Printed in the United States of America by Clarke & Way, Inc. Jr., Mrs. Robert Woods Bliss*, William A. M. Burden, Ivan Chermayeff, Mrs. W. Murray Crane*, John dc Mcnil, Rene Color plates engraved by Briider Hartmann, West Berlin d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edscl B. Ford, Black-and-white plates by Horan Engraving Company, Inc. Mrs. Simon Guggenheim*, Wallace K. Harrison, Mrs. Walter Hochschild, James W. Hustcd*, Philip Johnson, Mrs. Albert D. Designed by Bert Clarke Lasker, John L. Loeb, Ranald H. Macdonald*, Mrs. G. Mac- culloch Miller*, Mrs. Charles S. Payson, Gifford Phillips, Mrs. © Copyright The Museum of Modern Art, 1968 John D. Rockefeller 3rd, Nelson A. Rockefeller, Mrs. Wolf 11 West 33 Street, New York, New York 10019 gang Schoenborn, Mrs. Bertram Smith, Mrs. Donald B. Straus, Edward M. M. Warburg*, Monroe Wheeler*. Library oj Congress Catalogue Card Number 68-19232 * Honorary Trustee That the Janis collectionshould find a home at a great museum has long been my hope, and happily the museum of my frst love, The Museum of Modern Art, has graciously accepted it. — SIDNEY JANIS In its size, breadth of taste, considered balance, and immediate availability, the Sidney and Harriet Janis Collection of some hundred paintings and sculptures is one of the great gifts of works of art received by The Museum of Modern Art. The collection will be discussed and illustrated in a complete catalogue to be issued later under the general editorship of William S. Rubin, Curator of Painting and Sculpture, who first suggested to Mr. Janis that he make his decision in favor of this museum. I wish, meanwhile, to indicate the particular value of these works of art to the Museum and to recall briefly Mr. Janis' relation to it in the early years when both amateur and insti tution were beginning to form their collections. Sidney and Harriet Janis' interest in the Museum began in November, 1929, when it first opened with a great exhibition of paintings by Cezanne, Gauguin, Seurat, and van Gogh. A few months later Mr. Janis acquired not the work of a nineteenth-century master but two paintings from the Museum's Paul Klee exhi bition, and added a third shortly after. Klee's In the Grass and Actor's Mask are still in the collection, and so are eight other paintings by European artists, all acquired by 1934: a Mondrian selected in the artist's studio in 1932, an early de Chirico, a Dali of 1929—three works by artists then little known in American collections and borrowed gratefully by the Museum for its fifth anniversary exhibition— and five Picassos. Of these, the most imposing by far is Picasso's Painter and Model of 1928, a large work, difficult, indeed formidable ; to acquire it in those days was an act of courage. In the summer of 1935 the Janis collection was shown at the Museum. There was some hesitation 011the part of the Museum lest the display of a private collection set an awkward precedent. Mr. Janis handsomely withdrew his name but lent his treasures. There were sixteen paintings : the ten already mentioned as permanent in the collection, others by Klee and Picasso, and in addition works by Gris, Leger, Matisse, and, above all, Rousseau's The Dream. In 1933, the depths of the Depression, the Museum had no purchase funds; but Sidney Janis, with considerable daring, had been able to secure this, probably the greatest of Rousseau's jungle pictures. (Twenty years later, as he had promised long before, he gave the Museum the first chance to buy it. Again funds were inadequate, but Nelson Rockefeller, himself an avid collector, came to the rescue and magnanimously bought The Dream for the Museum on its twenty-fifth anniversary.) In spite of its excellence the Janis collection was surprisingly little known in New York at the time of its 1935 showing. Nevertheless it was much admired. The following year, without anonymity, the Picasso Painter and Model was borrowed again, this time for Cubism and Abstract Art. Harriet Janis contributed an elaborate analysis of the painting to the catalogue. boccioni. Dynamism of a Soccer Player. 1913 About the end. of 1933 Sidney Janis joined the Museum's Advisory Committee, a group of young collectors and friends of the Museum, among them Elizabeth Bliss (now Mrs. Bliss Parkinson, President of the Museum), Walter P. Chrysler, Jr., Philip Johnson, Lincoln Kirstein, George L. K. Morris, Nelson Rockefeller, James Johnson Sweeney, John Walker III, and Edward M. M. Warburg. Among other lively achievements, such as raising the Museum's first purchase fund for the collection, the Committee from time to time organized or sponsored exhibitions. In 1939 Sidney Janis directed the show Contemporary Unknown American Painters, works by eighteen obscure "modern primitives." Two of them soon lost their obscurity, "Anna Maria Robertson Moses, house wife," and "M. Hirshfield, cloak and suit manufacturer." In the preface to the catalogue, Mr. Janis described the series of exhibitions as "the Advisory Committee's laboratory for experiment and research ... a forum for untried ideas." Mr. Janis produced another show in 1940 during the Museum's first Picasso exhibition. Using a full-size mounted photograph of Picasso's Seated Man (or Accordionist) of 1911, Mr. Janis submitted one of the artist's most cryptic cubist compositions to an exhaustive analysis of its formal and iconc graphic elements. He employed over fifty photographic details, linear diagrams with connecting rods, electrically lit color transparencies, but almost no words— a didactic tour de force. Three years later Mr. Janis used a similar technique in an exhibition of paintings by Morris Hirshfield, the remarkable "modern primitive" whom he had discovered. The exhibition was not admired either by the critics or, indeed, by several Museum Trustees; but Mondrian was ardently enthusiastic. Duchamp and Giaco- metti were also impressed by Hirshfield's work, and his European reputation remains high. Hirshfield had an important place in Mr. Janis' first book, They Taught Themselves: American Primitive Painters of the Twentieth Century, and so did John Kane and Patrick Sullivan ; all three are well represented in the Janis collection. The Janises spent much time in the Museum library, often sitting side by side while carrying on their researches for this and other publications. Sidney Janis' scholarly attitude was expressed not only in his books and lectures but also in a number of enterprising exhibitions he presented later on at the art gallery he established in 1948. The Museum was glad to contribute to such shows but was slightly chagrined that a commercial gallery should anticipate by several years both the Museum's Les Fauves and Futurism exhibitions. Fortunately for the Museum, the greatest Janis exhibition is his own collection, now presented, thirty- three years after its first showing at The Museum of Modern Art, as a magnificent gift from Sidney Janis. In every private collection one searches, often in vain, for capital works. There are, I believe, at least two such superb paintings in the Janis collection. Picasso's magnificent Painter and Model of 1928 is remarkable for its intensity and complex invention. Perhaps of greater historic consequence is Boccioni's Dynamism of a Soccer Player of 1913; gigantic in scale, furious in energy, it is the culminating painting by the leader of the Italian Futurists. The importance to the Museum of these paintings is obvious. Highly desirable too are many other 3 segal. Portrait. 1967 works of exceptional quality : for instance, two cubist Picassos of 1913 and 1914; Klee' s Actor s Mask; aDaliofhis best vintage; and a remarkable 1914 Mondrian, subtle in color and quite different from the six later Mondrians in the Janis collection and the ten already in the Museum. Still other paintings have a special value because they fill gaps in the Museum's collection. None of the four Legers approximates any of the sixteen we already have. The cubist Delaunay was badly needed, and so were the excellent late Herbin, the Dubuffet from the "Corps de Dames" series, Arp's Pre-Adamite Doll, and a late masterpiece by van Doesburg that complements the Museum's two early works by the leader of the Dutch Stijl group. The Museum buys many paintings by young, or at least little-known, artists in the hope that as time passes the purchases will have seemed wise. Time then passes; some of the artists have indeed proved their worth, and to such a degree that we urgently need their more recent and mature work ; but, quite rightly, their prices have often gone up beyond the limits of the Museum's purchase funds. To a remarkable degree the Janis collection has come to our aid. The Museum's Franz Kline was painted in 1950 and was acquired in 1952; one of the Janis Klines was done a decade later.
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