<<

1. 13 ⁓ 18 October 2015

t e l Bulletin e p h o n of e

:

+ simon c. dickinson ltd

4

58 Jermyn Street 4

C

London (

0

sw1y 6lx )

2

0

7

u 4

9

3 o .

0

3

4 0 n b

d

n

i a c4 t

s S M

dickinson www.simondickinson.com

1 5 - 2 0 f r e r i e b z o e t m c a o s 8 t

1 e

r

3

s

1

- - 2015

R

n

e

o g

d

e

n n

t o

l

s

p -

a

r k B u l l e t i n

MASTERS of

SIMON C. DICKINSON, LTD 58 JERMYN STREET SW1Y 6LX T. +44 (020) 7493 0340 W. www.simondickinson.com

Contents

Introduction ...... Emma W a r d

The origins of cubism...... Molly D o r k i n

LÉONCE ROSENBERG

AND THE GALERIE DE L’EFFORT MODERNE ...... Molly D o r k i n

Artists ...... A r c h i p e n k o - Z a d k i n e

dickinson Introduction

“Cubism is like standing at a certain point on a mountain and looking around. If you go higher, things will look different; if you go lower, again they will look different. It is a point of view.”

()

Dickinson is delighted to present ‘Masters of Cubism’, a survey of Léonce Rosenberg’s Galerie de L’Effort Moderne, for Frieze Masters 2015. Léonce and his brother Paul were two of the most important Parisian gallerists supporting artists during the early decades of the . The significant influence of Cézanne and the popularity of African in led Cubism to become an established school of in prior to the outbreak of the First World War. After the forced exile of Daniel-Henry Kahnweiler, the promotion and financial backing of the Cubists was eagerly taken up by Léonce Rosenberg; he was an early advocate, convinced that as an artistic movement Cubism still had a long way to develop. During each leave from the Front, Léonce returned to Paris, keen to buy works from the Cubists, discuss theories and secure future contracts with them. Later on, during the , Léonce promoted Cubism and the Cubists’ work in his periodical Bulletin de L’Effort Moderne. With the support of Léonce Rosenberg, Cubism re-emerged as a central issue, and it is often overlooked how indebted most of the important Cubist artists were to the efforts of the lesser known Rosenberg brother during the First World War and the decade that followed.

Researching and bringing into fruition our ‘Masters of Cubism’ project in tribute to Léonce Rosenberg for Frieze Masters has been an exciting and rewarding experience. We trust you will enjoy the presentation and our accompanying publication – Bulletin: Masters of Cubism.

Emma Ward Managing Director, Dickinson

6. The Origins of Cubism

cubism bEFORE THE WAR

The origins of Cubism are tied to some an object by lines and colours, but of innovation. As Braque later explained, of history’s most celebrated names, giving plastic [solid] form to our “Fragmentation gave me a way to including , Braque, Gris and nature.” (Gleizes and Metzinger, Du establish space, and movement in space, Léger. Cubist masterpieces fetch the Cubisme, 1912). And much later, Picasso and I could only introduce the object most dizzying prices in the market, declared “[Cézanne] was my one after making the space for it” (quoted in while of Cubist works draw and only master” – a statement that, D. Vallier, “Braque, la peinture et nous”, sizeable crowds to museums worldwide. however hyperbolic, demonstrates how in Cahiers d’Art, no. 29, 1954, p. 16.). Even now, a century after Cubism first highly Cézanne was regarded (quoted Moreover, Cubism made the viewer shocked the Parisian bourgeoisie, it still in Brassai, Picasso and Company, New work harder than he was accustomed looks intensely “modern” to the 21st- York, 1966, p. 79). to working in order to see the objects century viewer. This is because Cubism depicted. For this reason, as Maurice was nothing less than a complete By 1907, Picasso had fallen under Raynal later observed, Cubism never revision of the way we look at the the influence of African and Iberian pretended to be for everyone. world, and a redrawing of the artistic and its conceptual treatment rules dating from the . of the object or figure (fig. 2). This The early experiments of Picasso Cubism created its own world, a “new was the year he painted his notorious and Braque did not go unnoticed by reality”, with new rules to obey. Les Demoiselles d’, a so-called the establishment. Some dealers were “Proto-cubist” piece that revealed sceptical of the new movement – Cubism owes its origins to Paul Cézanne, his increasing reliance on planes and , for instance, who had often called “the father of Cubism”, and geometry (fig. 5). At the same time, supported Picasso since 1901, stopped specifically to the retrospective held at Braque was working on a series of buying his work in 1910. Others such Fig. 1: Catalogue, d’Automne, 1907 the September 1907 Salon d’Automne views of L’Estaque in which as Clovis Sagot remained intrigued, but (fig. 1). Picasso, Braque and many of the the houses were similarly reduced to could no longer afford Picasso, who had Fig. 2: Kota peoples, Mindassa or other names associated with the rise of geometric planes. Picasso and Braque become a recognised name. (Sagot did, Mindumu sub-group, Kota Reliquary Guardian Figure bwete, c. 1900, wood and Cubism were struck by this , met in October or November of 1907, however, become the first supporter of brass, 59.5 cm (23 2/5 in.) high and by the way in which Cézanne’s and by 1908 both artists, each aware of the young in 1911.) The most chosen subjects – whether houses and the other’s experiments, had created the significant dealer in early Cubism was Fig. 3: Paul Cézanne (1839 – 1906), trees in a landscape, or a bowl of fruit ultimately known as Analytical the German Daniel-Henry Kahnweiler, Paysage (Environs de Melun?), 1879-80, on a tabletop – appeared to be broken Cubism. Its defining features included who opened his first gallery in 1907 at 28 Pencil and watercolour on white paper, into multifaceted geometric forms. a monochrome palette and forms that rue Vignon. Kahnweiler simply bought 29 x 46 cm. (11 ½ x 18 1/8 in.) Several years later, and were faceted and broken down into what he liked, and after some early acknowledged their complex geometric patterns, in order Fauvist purchases became intrigued by immense debt to Cézanne: “Cézanne to describe the experience of viewing Cubism. In 1908, he staged a one-man is one of the greatest of those who an object or figure from multiple show of Braque’s L’Estaque . changed the course of … simultaneous vantage points rather In his review of the show, critic Louis From we have learned that to than from a single viewpoint. This Vauxcelles denounced the “terrible alter the colouring of an object is to jettisoning of single-point simplification” in Braque’s , alter its structure. His work proves – a rule artists had held inviolable complaining “he misunderstands without doubt that painting is not – or since its discovery in the Renaissance form and reduces everything – sites not any longer – the art of imitating – was early Cubism’s most radical and figures and houses, to geometric

8. 9. schemas, to cubes” (L. Vauxcelles, “Exposition Braque”, , 14 Nov. 1908, p. 4). A year later, Charles Morice became the first to employ the term “Cubism” to describe this new artistic movement, in his April 1909 review of the showing at the Salon des Indépendants (C. Morice, “La vingt-cinquième exposition des Indépendants”, de France, 16 April 1909, p. 729). The term did not catch on in widespread parlance until the autumn of 1910.

The first organised group exhibition by Cubist artists took place at the Salon des Indépendants in spring of 1911. Their works were shown in the infamous “Salle 41”, and the artists who exhibited there – Metzinger, Gleizes, Fernand Léger and , among others – were thereafter referred to as the Salle 41 group. (Both Picasso and Braque were conspicuously absent.) This exhibition merited a headline banner on the front page of the Times, “The ‘Cubists’ Dominate Paris’ Fall Salon”, and an associated article that demanded: “What do they mean? Have those responsible for them taken leave of their senses? Is it art beginning of JOURNAL (newspaper), associated with Cubism banded or madness? Who knows?” (8 Oct. or JOUER (to play), or even be together to form the Section d’Or 1911; fig. 4). lifted from a MENU DU JOUR at a group (also called the Groupe de favourite café. Braque appreciated that Puteaux, after the Parisian suburb in 1911 was also the year in which words and letters “were forms which which they held their meetings, at Braque and Picasso began using could not be deformed”, and both the home of the Duchamp brothers). words, or fragments of words, in artists enjoyed the contrast between They staged the Salon de la Section d’Or their compositions (fig. 6). It seems their mysterious images and the in October of 1912, the largest and likely that they adopted elements of relative clarity of textual elements most significant public showing of Fig. 4: New York Times, front page, 8 wordplay from their many author Oct. 1911 (quoted in E. Mullins, The Art of and painting before and poet friends among the Parisian , New York, 1968, p. (fig. 7). In preparation avant-garde, as well as borrowing Fig. 5: , Les Demoiselles 68). The next logical development for the event, Metzinger and Gleizes from popular print media and d’Avignon, 1907, oil on canvas, 243.9 × was papier collé, or , which first co-authored Du Cubisme (1912), the advertisements. Certain groups of 233.7 cm, Museum of , appeared in Braque’s work probably first theoretical treatise on Cubism, letters offered multiple meanings: New York in late summer or early autumn 1912, in which they explain the concepts of “JOU”, for instance, could be the and was taken up by Picasso shortly multiple viewpoints and simultaneity Fig. 6: Pablo Picasso, Guitare, Verre, Bouteille de Vieux Marc, 1912, oil on thereafter. using a series of diagrams (figs. canvas, 46.2 x 33.7 cm., courtesy Simon 8-9). This was followed in 1913 by C. Dickinson, London Meanwhile, many of the artists ’s Les Peintres

10. 11. Cubistes. Kahnweiler continued to of a reliable income, and a vacancy L’Effort Moderne purchase from the Cubists, and began was created into which Léonce signing his favourites to exclusive Rosenberg prudently stepped. Using contracts – Picasso and Braque in every moment of military leave December 1912, followed by Gris, and to visit artists and purchase stock, then Léger. He also actively promoted Léonce made a name for himself as Cubism in the with his the foremost dealer of Cubism in participation in the landmark 1913 Paris, laying the groundwork for the in New York (fig. 10). foundation of his Galerie de l’Effort Fig. 7: Catalogue, Section d’Or exhibition Everything changed with the Moderne after hostilities ended in No. 1, 9 Oct. 1912 declaration of war in on 1918 (fig. 11). Fig. 8: Albert Gleizes, Diagram of 28 July 1914. Kahnweiler, who had Cubism, in Bulletin de l’Effort Moderne, travelled to Switzerland for the no. 13, March 1925, p. 2 summer, was declared an alien and obliged to remain in exile while his Fig. 9: Albert Gleizes, Diagram of stock was confiscated by the French Cubism, in Bulletin de l’Effort Moderne, authorities. As a result, the artists no. 13, March 1925, p. 3 in his stable were suddenly deprived Fig. 10: The World, 17 Feb. 1913

Fig. 11: Les Maîtres du Cubisme, Galerie de l’Effort Moderne, 2 – 25 May 1921

12. 13. cubism after THE WAR

Even before the outbreak of war, new post-war return to classical traditions monthly Bulletin, Léonce championed developments had been fermenting and ideals, often called the “rappel Cubism and particularly its Crystal within the Cubist movement, which à l’ordre” (fig. 12). Maurice Raynal form, staging a series of solo was never a unified movement so coined the term “Crystal Cubism” exhibitions for the artists in his much as a collective of associated specifically to refer to Gris’ work roster. Léonce was also able to get artists seeking to break from during this period, although it was himself named as an expert to advise Academic orthodoxy. During the war adopted to refer to the movement in on the series of four auctions of period, Picasso, Laurens and others general. A contemporary offshoot Kahnweiler’s appropriated stock, were constructing their compositions known as (“The Style”), held at Hôtel Drouot between 1921 – whether in painting or in sculpture promoted by and and 1923, and to enrich his stock – in a new, “synthetic” way: rather , rose to prominence holdings through timely acquisitions than breaking down an object into in the ; this movement (fig. 13). He was plagued by some its observed components, as they had advocated pure abstraction and the financial difficulties in the 1920s, done in Analytical Cubism, they began extreme simplification of form to which led to the defection of artists with abstract, geometric shapes and essentials of line and colour. such as Picasso and Braque, who flat planes, which were then combined were subsequently represented by his and layered into forms that gradually The post-war period also witnessed brother Paul. took on a representative identity. some challenges to Cubism’s In these compositions, all three- dominance. In June 1918, Vauxcelles As Christopher Green has dimensional space was eliminated, – the same critic who had disparaged convincingly argued in Cubism and its as were shading and chiaroscuro. Braque’s L’Estaque series in 1908 – Enemies, “it is actually Cubism after There was often an integration of wrote “Integral Cubism is becoming 1914 that emerges as most important different materials and textures (such exhausted; vanishing; evaporating”. to a history of , and as sand), probably ultimately derived There were internal divisions as especially…Cubism between around from collage. This new direction later well. In 1917, Amedée Ozenfant and 1916 and around 1924….Only became known as Synthetic Cubism. Edouard Jeanneret (better known after 1914 did Cubism come almost as ) published Après le exclusively to be identified with A similar trend could be observed Cubisme, which espoused the doctrine a single-minded insistence on the in the work of Gris, Metzinger and of . More a variation than an isolation of the art-object in a special Lipchitz. These three artists spent a outright rejection of Cubism, the category with its own laws and its great deal of time together during the Purist Manifesto judged traditional own experiences to offer, a category war, having fled to the countryside to Cubism too decorative and superficial, considered above life” (C. Green, escape the German bombardment of and advocated a return to the pure op. cit., p. 1). Far from becoming Paris. They, too, began with abstract elements of artistic construction. It exhausted or vanishing, as Vauxcelles Fig. 12: , Du cubisme au shapes which were combined in was thanks to Léonce Rosenberg that alleged, Cubism continued to reinvent , 1921, fig. XVIII classicisme ordered compositions that stressed Cubism was returned, reinvigorated, itself, remaining central to trends in clarity, organisation, and invention to the spotlight. With his reopened Modernism at least until the middle Fig. 13: Catalogue, Daniel-Henry Kahnweiler Sequestration Sales, Hôtel rather than a reliance on observed gallery, called Galerie de l’Effort of the 1920s. Drouot, 18 Nov. 1921 reality. This became part of a larger, Moderne, and the accompanying

14. 15. Fig. 14: Alfred H. Barr, The Evolution of Modern Art, hand-drawn diagram, 1936

Fig. 15: Alfred H. Barr, cover of Cubism and , 1936

16. 17. LÉONCE ROSENBERG

and THE GALERIE DE L’EFFORT MODERNE

“He who cannot invent does not decision: “In 1915, while I was in l’Effort Moderne. In an effort to deserve to be called an artist” Paris on a day of leave, Picasso return Cubism and Abstraction (Léonce Rosenberg, in Bulletin de and a mutual friend revealed to me to the spotlight – and to combat l’Effort Moderne, no. 30, Dec. 1926) the deprivation that many Cubists allegations from critics such as found themselves in – abandoned that “Integral The elder son of the antiquarian by their dealer, a German – and the Cubism [was] becoming Alexandre Rosenberg, Léonce has hostility and general indifference exhausted; vanishing; evaporating” historically been overshadowed amid which they lived, and they (June 1918) – Léonce staged a by his younger brother Paul, fired my interest in taking in hand series of dedicated single-artist who became a well-known the destinies of a school of painting shows. These exhibitions, which dealer in Impressionist and Post- that deserved all my efforts. I were designed as retrospectives Impressionist art (fig. 1). Paul and promised to found, immediately of each artist’s Cubist oeuvre, Léonce became partners in their after my demobilisation, “L’Effort served, as Christopher Green father’s gallery in 1906 before Moderne”. In the meantime, during observes, as “an astonishingly establishing their own galleries the entire duration of the war and complex demonstration that in 1910, Paul at no. 21 rue de la even while mobilised, I subsidised, Cubism had not only continued Boétie and Léonce not far away, by continuous purchase, the entire between 1914 and 1917, having at 19 Rue de la Baume. Léonce’s Cubist movement.” (Quoted in M. survived the war, but was still Fig. 1: Léonce Rosenberg gallery, Haute Epoque, became an FitzGerald, Making Modernism: developing in 1918 and 1919 in early promoter of Cubism after Picasso and the Creation of the its ‘new collective form’ marked Léonce discovered the work of Market for Twentieth-Century by ‘intellectual rigour’. In the avant-garde painters such as Art, Oakland, 1996, p. 58). face of such a display of vigour, “At Léonce Rosenberg’s rue de la Baume. A quite little house harbours the Picasso and Metzinger at the 1911 This reference to the “Cubist it really was difficult to maintain revelation. An unobtrusive plate on the door: L’EFFORT MODERNE. I rang the Salon des Indépendents, and saw movement” is significant, as it convincingly that Cubism was bell and was shown upstairs to a large, long room forming a gallery. Here further examples at the gallery demonstrates Léonce’s perceptive even close to extinction.” Léonce’s he has displayed cubes of canvases, canvases of cubes, marble cubes, cubic of Daniel-Henry Kahnweiler. view of his artists as a collective. efforts paid off, and by the end of marbles, cubes of colour, cubic colourings, incomprehensible cubes and the When in 1914 at the outbreak of Prior to his involvement, dealers 1918 he was in a position to buy incomprehensible divided cubically. What is on these canvases? Puzzles composed the First World War, Kahnweiler, like Kahnweiler had supported from all the leading Cubist artists a German national, was exiled to individual artists, but had failed working in Paris. In June 1921, of patches of flat colours, interwoven and yet sharply differentiated. Léonce Switzerland, Léonce seized his to consider how the work of each when Kahnweiler’s stock was sold Rosenberg does splendidly: he keeps his gravity.” chance. He began offering support artist of them fit into broader by the French authorities in the to Kahnweiler’s artists, continuing developments in modern art. first of four auctions at the Hôtel th (René Gimpel, 15 July 1919) to buy their work throughout the Drouot, Rosenberg was able to war, even after volunteering for Towards the end of the war, in enrich his stock further still. military service in 1915 (fig. 2). January 1918, Léonce reopened Later, Rosenberg recalled this his gallery, now called Galerie de

18. 19. Between 1924 and 1927, Léonce “L’Esthétique de la Machine” chronology of art history, and the chronicled his gallery’s activities (“The Machine Aesthetic”). Other need to celebrate the achievements in the Bulletin de l’Effort Moderne, artists answered questions such of past masters while yet pushing a monthly publication that also as “Where is modern painting the boundaries and continuing to included contributions from headed?” and each issue ended with experiment. As Marcel Baugniet Cubist painters and theorists a series of illustrations of works explained, “One does not honour (fig. 5). Albert Gleizes published by the artists Léonce championed. a genius by imitating him, but extracts from “La peinture et ses In this way, Léonce was able to by continuing his work” (Bulletin lois” (“Painting and its laws”), keep Cubism in the public eye, as no. 14, April 1925). Or, as Léonce Maurice Raynal wrote about well as to respond to those critical himself wrote succinctly in the “Quelques intentions de Cubisme” of the movement. Certain major inaugural issue, “Merci les morts, (“Some goals of Cubism”), themes can be traced, such as the vivent les vivants!” and Fernand Léger promoted role of Cubism within the greater

Fig. 2: Jean Metzinger, Portrait de Léonce Rosenberg, 1924, pencil on paper, 50 x 36.5 cm., Musée National d’Art Moderne, Paris

Fig. 3: Picasso, Portrait of Léonce Rosenberg, 1915, pencil on paper, 46 x 33.5 cm., Private Collection, Switzerland

Fig. 4: Les Maîtres du Cubisme, Galerie de l’Effort Moderne, 2 – 25 May 1921

Fig. 5: Bulletin de l’Effort Moderne, no. 1, Jan. 1924

20. 21. artist biographies “I did not take from Cubism, but added to it.” ARCHIPENKO Archipenko - zadkine

1887 – 1964

Born in Kiev, moved to Paris 1908, where he befriended other Russian émigrés including -Terk. He participated in the first public exhibitions of Cubism at the Salon des Indépendants and the Salon d’Automne in 1910 and 1911. Along with , Archipenko was the first artist after Picasso to explore Cubism in three dimensions. Alexander Archipenko in his New York studio, 1944

Sitzende Frau, 1915 Seated black torso, 1909 Signed and dated lower right Archipenko. 1915 Conceived in 1909 and cast at a later date black ink and wash on paper Inscribed Archipenko, dated 1909 and numbered 6/8 40.5 x 25.5 cm. (16 x 10 in.) bronze with black patina 39 cm. (16 ½ in.) high

22. 23. “[Blanchard and Gris] sometimes worked on the same paintings, discussing them together, seemingly part of the same universe…” BLANCHARD

1881 – 1932 “Fragmentation gave me a way to establish space, Corbeille de Poires, 1926 signed and dated lower left G. Braque 26 María Blanchard was the adopted and movement in space, and I could only introduce oil and sand on canvas name of the Spanish painter 26 x 65 cm. (10 ¼ x 25 ½ in.) María Gutiérrez Cueto. Blanchard the object after making the space for it.” discovered Cubism in Paris after moving to the Bateau Lavoir in 1909, and she was particularly influenced BRAQUE by fellow Spaniard Juan Gris (a close friend) and the sculpture of Jacques 1882 – 1953 Lipchitz. After 1916 Blanchard became associated with the Section A radical innovator, Georges Braque painting, and by 1911 both had begun d’Or, and she exhibited at Rosenberg’s can be credited, alongside Picasso, as incorporating words, or fragments Galerie de l’Effort Moderne in 1918, the founder of the Cubist movement; of words, in their compositions. having been introduced while living indeed, it was in response to a picture The following year, Braque invented with Gris in Loches. by Braque that the critic Louis the papier collé technique. (For a Vauxcelles commented disparagingly: time, Braque and Picasso lived two Georges Braque in his studio, Hôtel “he misunderstands form and reduces doors apart, in the Bateau Lavoir in Roma, Rue Caulaincourt, c. 1911 everything – sites and figures and .) Braque was signed by houses, to geometric schemas, to Léonce Rosenberg in 1918, after the cubes”. Beginning in 1908, Braque and war, and given a solo show in March “The space between seems to me Picasso began exploring questions 1919. of simultaneous perspective in to be as essential an element as what they call the object: “There is only one The subject matter consists valuable thing in art: precisely of the relationship between these objects and the thing you cannot between the object and the explain.” intervening spaces. How can I María Blanchard, 1909 à la Boite d’Allumettes, c. 1918 say what the picture is of when “Painting is a signed lower right M G-Blanchard relationships are always things and oil on canvas Georges Braque invitation card, Galerie de nail to which 74 x 50 cm. (29 ⅛ x 19 ⅔ in.) that change?” l’Effort Moderne, 5 – 31 March 1919 I fasten my ideas.” 24. 25. CÉZANNE LE CORBUSIER

1839 – 1906 1887 – 1965

Traditionally classified among the Le Corbusier was the pseudonym Post-Impressionists, Paul Cézanne of the Swiss artist and architect was instrumental in laying the Charles-Édouard Jeanneret-Gris, foundations for the transition from who first travelled to Paris in 1908. 19th century painting to Abstraction In 1917, Le Corbusier met the French and Modern art. Throughout his painter Amédée Ozenfant, and career he was interested in reducing together they wrote and published the forms found in nature to their the Purist manifesto Après le cubisme. essential geometric components, Purism is governed by a strict set of something that also resonated with rules, prioritising form over colour, the early Cubists. His small, layered Amédée Ozenfant and Le Corbusier at the Amédée Ozenfant and Le Corbusier, cover and denouncing the purely decorative planes of colour and the repeated Tour Eiffel of Après le cubisme, 1918 and ornamental qualities of Cubism. gestures of his brushstrokes are Between 1923 and 1925, Ozenfant instantly recognisable. The year and Le Corbusier also published after Cézanne’s death in 1906, his a magazine L’Esprit Nouveau, and paintings were exhibited in Paris in a contributed to Léonce Rosenberg’s retrospective at the Salon d’Automne, Bulletin de l’Effort Moderne. where they left a lasting impression Cézanne in his Lauves studio with ‘Les Grandes ’, on an entire generation of painters. photographed by Bernard Emile, 1904.

Lodi, 1927 “I want to make of something solid LE CORBUSIER ( 1887 signed- 1965 lower ) left le Corbusier Amédée Ozenfant and Le Corbusier invitation card, gouache, ink, graphite and collage and lasting like the art in the museums” Galerie de l’Effort Moderne, 28 Feb. – 28 March 1923 on paper 38.1 x 48.3 cm. (15 x 19 in.)

“I prefer to “[Cézanne] talking. Drawing is is the faster, and leaves father of less room for lies.” us all” “Space and light and

(Pablo Picasso) order. Those are the things that men need just as much as they need bread or a Paysage Environs de Melun, 1879-80 Pencil and watercolour on white paper place to sleep.” 29 x 46 cm. (11 ½ x 18 ⅛ in.)

26. 27. Lodi 1927 Gouache, encre, mine de graphite et collage sur papier 38,1 x 48,3 cm Signé en bas à gauche

Provenance Galerie Denise René, Paris Galeria Conkright, Caracas Collection Pedro Vallenilla, Caracas Collection privée, Caracas

20 RUE DE SEINE T. +33 (0)1 43 26 93 94 75006 PARIS - FRANCE F. +33 (0)1 43 25 48 50 www.galeriezlotowski.fr [email protected] DELAUNAY

1885 – 1979

Together with her husband, Robert, Russian-born Sonia Delaunay (née Terk) is celebrated as one of the founders of , an offshoot of “I always Cubism. A talented artist and designer in her own right, Sonia produced changed striking and original fabrics based on everything the aesthetics of the movement, and she dressed Surrealists, socialites and around me…I film stars. She also designed interiors, made my first sometimes in collaboration with Robert. Sonia Delaunay in her studio white walls so L’envol, 1954 our paintings Signed Csaky Rochers de Montreux, 1914 bronze; a lifetime cast with a medium brown Numbered verso F796; with a would look patina and darker undertones label, verso Rochers de Montreux, 50 x 75 cm. (20 x 30 in.) 1914 better. I oil on paper 31.6 x 25.2 cm. (12 ½ x 10 in.) designed my furniture; Projet de Couverture pour l’Album N˚1, 1916 I have done with a label, verso, projet de couverture pour l’album n˚ 1, everything. I Composition en Colonne, c. 1919 1916 and a second label n˚ 1007 signed lower right Csáky have lived my encaustic on paper gouache on brown paper 24 x 23.5 cm. (9 ½ x 9 ¼ in.) 33.7 x 22.5 cm. (13 ½ x 8 ¾ in.) Sonia and Robert Delaunay, 1923 art.”

Joseph Csaky in his studio, photographed CSÁKY by , c. 1930 1888 – 1971

Joseph Csáky left his native for Paris in 1908, where he soon aligned himself with the nascent Cubist movement. Together with Alexander Archipenko, Csáky was the first artist after Picasso to explore Cubism in three dimensions. After World War I, Csáky began to exhibit at Léonce Rosenberg’s Galerie de l’Effort Moderne, and he participated in a number of group shows during the 1920s. Csáky had a solo exhibition at the gallery in December 1920. Joseph Csaky invitation card, Galerie de l’Effort Moderne, 1 – 25 Dec. 1920

28. 29. FRESNAYE GLEIZES

1885 – 1925 1881 – 1953

Roger de la Fresnaye began Albert Gleizes contributed to the exhibiting yearly at both the Salon des rise of Cubism as both an artist Indépendants and the Salon d’Automne and a theorist: in 1912 Gleizes and in 1910. Shortly thereafter he began Jean Metzinger co-authored the to be associated with a group of treatise Du Cubisme, the first major artists known as the Puteaux group, text on the Cubist movement, in later known as the Section d’Or, which which they emphasised the concept also included Villon, Metzinger and of “simultaneity”, or the experience Léger. He showed with them at the of movement, space and sensation. historic 1911 and 1912 exhibitions, Gleizes exhibited regularly at the which were responsible for Galerie de l’Effort Moderne and Albert Gleizes & Jean Metzinger, introducing Cubism to the attention was a frequent contributor to the cover of Du Cubisme, 1922 Albert Gleizes, c. 1920 of the wider public. accompanying Bulletin with articles such as “La peinture et ses lois”.

Roger de la Fresnaye, Self Portrait, c. 1908-09 “Unless we are to condemn all modern painting, we must regard Cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment Cubism is painting.”

Composition, 1920 signed lower right Alb. Gleizes oil on panel 40 x 81 cm. (15 ¾ x 32 in.)

Composition avec Trois Personnages: Les Acrobates, 1916 signed and dated lower right Albgleizes, 1916 gouache, India ink and pencil on board 25.1 x 16.8 cm. (9 ⅞ x 6 ⅝ in.)

Portrait Arabesque, early 1920s Paysage Méridional; also called pencil on buff paper, laid down Composition Accord: Vue de Serrières, 24.9 x 19.7 cm. (9 ¾ x 7 ¾ in.) 1924 signed and dated lower right AlbGleizes 24 oil on canvas 103 x 74 cm. (40 ½ x 29 ⅛ in.) 30. 31. GONZÁLEZ GRIS

1876 – 1942 1887 – 1927

Julio González is best known for José González-Pérez, better known as his collaborations in sculpture with Juan Gris, was among the pioneers of Picasso (1928-31), whom he first Cubism. After Gris’ arrival in Paris in met in in the late 1890s. 1906, fellow Spaniard Picasso found González joined the circle of Spanish him a room at the Bateau-Lavoir artists in Montmartre in 1899 artist’s colony in Montmartre, where and experimented with decorative he began to paint seriously in the metalwork before turning to iron Cubist style in 1911. The structure sculpture in 1927. Picasso’s influence, and geometry in Gris’ work reflects Juan Gris invitation card, Galerie de l’Effort Moderne, Juan Gris, photographed by and particularly that of Synthetic his training in mechanical drawing 5 – 30 April 1919 , Paris, 1922 Cubism, can be seen in González’s and engineering, and his preference abstract works from this period. for order and clarity subsequently Gonzalez beside his sculpture influenced both the Purist movement and “Crystal Cubism”. In 1912, Gris showed at both the Salon des Indépendants and the Section d’Or, at which point he signed a contract with the German dealer Daniel-Henry

Nature morte “Les cahiers”, Kahnweiler. During the war, with April 1926 Kahnweiler exiled to Switzerland, signed, dated and inscribed lower left To Léonce Rosenberg stepped in. He Madame Reber/In friendly homage/Juan offered Gris his first solo show in Gris/4-26 April 1919, with a second one the watercolour on paper following spring. 16 x 19 cm. (6 1/3 x 7 ½ in.)

“Cézanne turns a bottle into a cylinder…I make a bottle – a particular bottle – out of a cylinder.” “I think I have really made progress recently and that my pictures begin to have a unity Detail which they have Paysage à Beaulieu, Oct. 1916 lacked till now. signed and dated lower right Juan Gris 10-16 They are no longer oil on panel 55 x 38 cm. (21 ⅝ x 15 in.) La Tête, c. 1934 those inventories of signed with initials verso J.G. Carafe et verre, March 1919 iron with granite base objects which used to signed lower right Juan Gris 16 x 20.5 x 8.6 cm. (6 ¼ x 8 ⅛ x 3 ⅜ in.) depress me so much.” oil on canvas 33 x 19 cm. (13 x 7 ½ in.)

32. 33. “The Cubist painter must HERBIN reject all 1882 – 1960 imitation.”

Auguste Herbin became increasingly interested in Cubism following his move to the Bateau-Lavoir studios in Montmartre in 1909. It was there that he met Picasso, Braque and Gris, whose work prompted Herbin to explore a more abstract style. Herbin participated in the influential 1912 Section d’Or exhibition and was Henri Hayden, Self-portrait, 1911 signed to Léonce Rosenberg’s Galerie de l’Effort Moderne in 1917, where HAYDEN he was offered the first solo show to Henri Hayden, c. 1960s be held at the gallery, in March 1918. Herbin had a second solo exhibition invitation card, Galerie de l’Effort Auguste Herbin in Picasso’s studio, 1883 – 1970 in March 1921. Moderne, 1 – 22 March 1918 11 boulevard de Clichy, 1911 Henri Hayden moved from to Paris in 1907, and began painting in a Cubist style around 1916. He met Gris through Lipchitz, and Gris in turn introduced Hayden to Léonce Rosenberg, who quickly offered him a contract. This was followed in December 1919 by a high-profile solo exhibition. After 1921, Hayden gradually moved away from the Cubist aesthetic.

Composition (Grande Vitesse Domicile), 1927

Nature Morte A la Bouteille de signed and dated lower right Herbin 1927; titled verso Grande Bass et A l’As de Trefle, 1919 vitesse domicile signed lower right Hayden oil on canvas oil on canvas 116.1 x 89.1 cm. (45¾ x 35 in.) 54 x 65 cm. (21 ¼ x 25 ⅝ in.) Composition, Abstraction, 1925

Vue d’un Village, 1921 Signed lower right herbin signed and dated lower left Hayden 1921 oil on canvas oil on canvas 89.1 x 116.1 cm. (35 x 45 ¾ in.) 65 x 92 cm. (25 ⅝ x 36 ¼ in.) Composition géométrique, July 1920 signed and dated lower centre herbin juillet 1920 oil on canvas 34. 73 x 60 cm. (28 ¾ x 23 ⅔ in.) 35. KUPKA

1871 – 1957

František Kupka was born in Opocno, Bohemia and settled in Paris in 1896, but it was not until circa 1909-10 that his work began reflecting elements of the nascent Orphist and Futurist movements. Even while living in Puteaux, home of the Section d’Or group, Kupka remained somewhat apart from the others early Cubists, preferring to work in isolation. Nevertheless, Kupka may be regarded as one of the pioneers of abstraction: at the 1912 Salon d’Automne, he exhibited two of the first purely abstract paintings to be seen in Paris. František Kupka in his studio, 1951

Composition, Feb. 1930 Signed lower right herbin; and dated on the stretcher bar Février 1930 oil on canvas 130.1 x 59.7 cm. (51¼ x 23½ in.) Composition, c. 1925 Signed lower right Kupka Composition à deux personnages, Watercolour, pencil and gouache on paper 1930 Sheet: 27.7 x 25.1 cm. (10 ⅞ x 9 ⅞ in.) signed lower left Herbin oil on canvas Autour d’un Point (Around a 148.6 x 59.7 cm. (58 ½ x 23 ½ in.) Point), c. 1920 Signed lower centre Kupka pastel on paper 28.5 x 23.1 cm. (11 ¼ x 9 ⅛ in.) 36. 37. LAURENS A Cubist composition dating from the 1920s and the time of Léonce Rosenberg’s Galerie de l’Effort Moderne, the Mystery Picture is linked to Léger, Ozenfant and the Academie 1885 – 1954 Moderne in , but our team of researchers has been unable to identity the artist who painted this canvas. We need your help; can you identify the artist? After producing a series of early works influenced by Academism and Rodin, met Braque in 1911, and through him was introduced to other members of the Cubist circle in Montmartre. Laurens began experimenting with Cubism follower in 1915, and was offered a contract by Léonce Rosenberg, whom he had met through Picasso. Laurens was of LÉGER offered the second solo show held at the Galerie de l’Effort Moderne, in In 1924, Léger and Amedée Ozenfant December 1918. He later transferred established a free art school known to Kahnweiler’s gallery in 1920. Fernand Léger with his pupils , Erik A. Olson, Otto G. as the Académie Moderne in Paris. It Carlsund in Maison Watteau, Paris, Oct. 1934 attracted a number of Scandinavian Laurens in his studio, Paris, 1949 pupils, including Franciska Clausen and Otto G. Carlsund. Several of them exhibited alongside Léger in the great post-Cubist exhibition L’Art d’Aujourd’hui (Nov.-Dec. 1925). This sophisticated composition, by a talented yet still anonymous painter, dates from roughly that time.

Tête de jeune Fillette, 1920 Edition 5/6 terracotta 34 x 16 cm. (13 2/5 x 6 1/3 in.)

Tête de Femme, 1915 Signed and dated verso Laurens 1915 gouache and pastel on cardboard 60.5 x 39.9 cm. (23 7/8 x 15 ¾ in.)

Tête au Collier de Perles, 1919 Signed with initials and dated HL 1919 Composition, c. 1925-26 gouache, watercolour, crayon and ink on paper oil on canvas 31.6 x 22.7 cm. (12 ½ x 9 in.) 45.7 x 33 cm. (51¼ x 23½ in.)

38. 39. “Fernand Léger is the first who LÉGER has succeeded in his study of the mechanics of colour to achieve a 1881 – 1955 local tonality, no longer a hint at the dynamism of nature but a true Fernand Léger’s early training as an efforts to break down an object into to Léonce Rosenberg’s Galerie de architectural draughtsman left him its individual components, Léger l’Effort Moderne in 1918, where he record of activity in the world.” with a fundamental understanding seemingly worked in the opposite had his first solo show the following (Maurice Raynal) of mathematics and an enduring direction, beginning with the unique year. Léger was a regular contributor love of industrialism and technology. pieces and assembling them into a to the Bulletin de l’Effort Moderne. By 1909 he was struck by the coherent whole. Léger exhibited with In 1924, together with Ozenfant, early Cubist experimentations of the Section d’Or group in 1912 and Léger established and taught at a free Picasso and Braque. Yet while the signed a contract with Daniel-Henry academy for the instruction of young Composition, also called Nature Morte, 1925 Analytical Cubists were making Kahnweiler in 1913, later transferring painters. signed and dated lower right F. LÉGER 25 oil on canvas 53.4 x 64.8 cm. (21 x 25 ½ in.)

ElémÉ nt de fauteuil, c. 1931 Inscribed lower right élément de fauteuil pen and India ink on paper 36.8 x 31.1 cm. (14 ½ x 12 ¼ in.)

Contraste de Formes; Carriage / Cuisine roulante, c. 1914 signed and inscribed upper left A Larionov à Gontcharova aux deux grands artistes russes leur admirateur et ami F Léger Fernand Léger and Maurice Raynal in Fernand Léger invitation card, Galerie de l’Effort Moderne, ink and gouache on paper Léger’s studio, Paris 5 – 28 Feb. 1919 22 x 14.5 cm. (8 2/3 x 5 ¾ in.)

“I don’t know anything at all. And if I did know, I probably wouldn’t do it

[paint] anymore.” La Voiture d’Enfant, 1928 signed with the initials and dated lower right F.L. 28 pencil on paper 36.5 x 27 cm. (14⅜ x 10⅝ in.)

Composition A la Chaise, c. Trois soldats au repos dans 1930 un baraquement, c. 1915 Signed with initials lower right F.L. signed with the initials lower left F.L. pen and ink over pencil on paper pencil on paper 42 x 33 cm. (17 x 13 in.) 25 x 19 cm. (9⅞ x 7½ in.)

40. 41. LIPCHITZ

1891 – 1973

The sculptor Jacques Lipchitz arrived in Paris in 1909 and was struck by the MARCOUSSIS new Cubist style being pioneered by Pablo Picasso, Georges Braque and Juan Gris, his close neighbours in the 1883 – 1941 Bateau Lavoir studios in Montmartre. In 1912 he exhibited at both the The Polish artist Ludwik Markus Salon de la Société Nationale des Beaux- adopted the name Marcoussis after and the Salon d’Automne, but a village near Paris following his it was not until 1920 that Lipchitz move to the French capital in 1903. was offered his first solo show, at Although initially influenced by Léonce Rosenberg’s Galerie L’Effort Impressionism, after 1911 he allied Moderne; Rosenberg had represented himself with the Cubist movement, Lipchitz since 1916. and among his works from the period 1919-28 are a number of paintings in Jacques Lipchitz exhibition, Galerie de l’Effort Moderne, 1920 Jacques Lipchitz, 1935 oil on glass, which Marcoussis hoped , photographed by would allow him a purer form of May Ray, 1934 expression. Like many of the Cubists, he spent a period of time living and working in the Bateau Lavoir studios. “In Cubist sculpture I always wanted to retain the sense of organic life, of humanity”

Composition cubiste, c. 1918 Objet I signed lower left jLipchitz signed upper right Marcoussis pencil on paper watercolour and collage on cardboard 22 x 17.5 cm. (8 ⅔ x 6 ⅞ in.) 37 x 30 cm. (14 ½ x 11 ⅞ in.)

42. 43. METZINGER “All painting – the 1883 – 1956 painting of the past as Jean Metzinger was not only a the following year. Metzinger met well as of the present member of the first generation of Rosenberg in 1915 and his early Cubist painters living and working experimentations in “Crystal” – shows us that its in Montmartre, but he was also Cubism appealed to the dealer, who Jean Metzinger, 1913 essential plastic means responsible, along with Albert Gleizes, offered Gris a solo show in January for developing and publishing the 1919. As he drifted away from pure “The new structures [Metzinger] we are only line and theoretical foundations of the Cubist abstraction in the 1920s and began is composing are stripped of movement in their 1912 treatise re-introducing pictorial elements, everything that was known colour.” Du Cubisme. Much of this early Metzinger received criticism for before him....Each of his paintings writing on Cubism was published becoming “conventional”, but he contains a judgement of the universe, and his work is like in Léonce Rosenberg’s Journal de maintained to Rosenberg that he was MONDRIAN L’Effort Moderne. Metzinger was not renouncing Cubism, but rather the sky at night: when, cleared also a founding member of the adapting it to incorporate themes of the clouds, it trembles with Section d’Or, and exhibited with derived from nature. Metzinger had lovely lights. There is nothing 1872 – 1944 the notorious “Salle 41” group at additional solo exhibitions in 1921 unrealised in Metzinger’s works: the 1911 Salon des Indépendants, and again in 1928. poetry ennobles their slightest Piet Mondrian arrived in Paris as well as at the Section d’Or show details.” (Guillaume Apollinaire) from Holland in 1911, and almost immediately fell under the influence Composition, Ceramic Plate, 1915 of Cubism after encountering the Signed with initials lower centre PM Oil paint on a ceramic plate, marked verso Petrus work of Picasso and Braque. While Regout & Co. Maastricht Made in Holland Arbres et Maisons, 1920 in the Netherlands during the First 20.5 cm. (8 in.) diameter signed lower left metzinger World War, Mondrian and fellow oil on canvas Dutchman Theo van Doesburg 58.5 x 91.5 cm. (23 x 36 in.) founded the De Stijl group, which promoted Mondrian’s theories Paysage avec Arbre et of Neoplasticism; this movement Maisons, c. 1922 advocated pure abstraction and a signed lower left Metzinger oil on canvas Jean Metzinger invitation card, Galerie de reduction to essential form and colour. 92 x 65.2 cm. (36 ⅛ x 25 ⅝ in.) l’Effort Moderne, 6 – 31 Jan. 1919 Mondrian also published essays on Neoplasticism in Léonce Rosenberg’s Bulletin de l’Effort Moderne. He began producing the grid-based paintings for which he is most celebrated in late 1919. Works by Mondrian were included in the group show Maîtres du Cubisme, held at the Galerie de “Art belongs to the l’Effort Moderne in May 1921. domain of the unreal and it is only when people try to make a reality of it that it falls apart.”

“For the artist, the appeal of art is the Piet Mondrian and Pétro (Nelly) Piet Mondrian, cover of attraction of the van Doesburg in Mondrian’s studio, Le Néo-Plasticisme, 1920 Paris, 1923 unknown.”

44. 45. “Every act of creation is first an act of destruction.”

PICASSO

1881 – 1973

Thanks to his extraordinary genius, 1908 and 1912, Picasso and Braque bold experimentation across media, experimented with fragmented and seven-decade career, Pablo compositions that combined multiple, Picasso is celebrated as the most simultaneous perspectives; this important and influential name in evolved into Synthetic and “Crystal” modern art. By 1907, he had already Cubism, incorporated text into visual experimented with his and Rose imagery, advanced collage techniques, periods, and explored the influences and paved the way for artists like Gris of Iberian and , but it was and Metzinger. Picasso met Léonce his meeting with Georges Braque Rosenberg in 1918, and was signed that acted as the catalyst for the to an exclusive contract. His first development of Analytical Cubism. solo show at the Galerie de l’Effort Over the course of five years between Moderne took place in June 1919.

Pablo Picasso in his studio with Man Leaning on a Table in the background, Paris, c. 1915-16 Guitare, Verre, Bouteille de Vieux Marc, 1912 signed upper left Picasso oil on canvas 46.2 x 33.7 cm. (181/ x 131/ in.) “I am always 8 4 Homme au Chapeau melon, c. 1916 doing that which signed and inscribed with the artist’s address lower left 22 Rue Victor Hugo, Seine I cannot do, in La Tasse, 1909 order that I may graphite on paper Pable Picasso, summer-autumn 1912 24 x 31.5 cm. (9 ½ x 12 ⅜ in.) learn how to do Nature morte cubiste, 1910 it.” Signed lower left Picasso brush and ink and watercolour on paper 48.3 x 62.4 cm. (19 x 24 ½ in.)

46. 47. “ and Cubism SCHWITTERS “a painting is an are comparable in importance to autonomous reality 1887 – 1948 the invention of perspective, for which that should not be worked in a variety they substituted a new of media across a number of artistic concept of space. All compared to nature, genres, including , subsequent movements and Cubism. He were latent in them lest it be completely began experimenting with collage in or brought about by 1918, and met Theo van Doesburg misunderstood.” them.” in 1922, at which point elements of Neoplasticism began influencing his Gino Severini, cover of Du Cubisme work. Schwitters’ employment as a au Classicisme, 1921 technical draughtsman in a factory during World War I left him with an enduring interest in machinery. Kurt Schwitters, 1920 Gino Severini, London, 1913

SEVERINI

1883 – 1966

The Italian artist Gino Severini settled in Paris in 1906, quickly joining the avant-garde circles in Montmartre. In February 1910, Severini was one of the authors of the Manifesto of the Futurist Painters, and he functioned as a link between Hommage à mon père the artistic developments in France signed lower right and inscribed verso and , and he was one of the Bureau de mon père – Firenze 1912 first Futurists to encounter Cubism. pencil and papiers collés on card In 1916 Severini moved towards 50 x 70 cm (19 ⅔ x 27 ½ in.) Synthetic Cubism, and in 1921 he published Du cubisme au classicisme, Hommage à mère which promoted his mathematical signed lower right G. Severini pencil and papiers collés on card theories relating to art. Severini also 55 x 70cm (21 ⅔ x 27 ½ in.) contributed to the Bulletin de l’Effort

Moderne, and his work was shown Nature morte, 1918 at Léonce Rosenberg’s gallery, in signed lower centre G.Severini; dedicated several group exhibitions as well as a lower left à M. Léonce Rosenberg son ami solo show in May 1919. Gino Severini tempera on card laid down on canvas 38.2 x 26 cm. (15 x 10 ¼ in.)

Le joueur de (Joueur dans la rue), c. 1916 signed lower centre Severini; signed, British Made, 1940-45 dated and inscribed verso G. Severini paper, fabric, cellophane, cardboard and oil Paris 1914 [sic.] ‘Joueur de trombone’ on paper Gino Severini, Nature morte, 1918 (detail of oil on canvas 23.2 x 18 cm. (9 ⅛ x 7 in.) dedication to Léonce Rosenberg) 71.5 x 38 cm. (28 ⅛ x 15 in.)

48. 49. SURVAGE VALMIER

1879 – 1968 1885 – 1937

Léopold Survage was born in , and at the beginning of his artistic was raised in career was a member of the Russian Montmartre but did not meet Léonce avant-garde. He first exhibited in Rosenberg until after the war, in Paris at the 1911 Salon d’Automne 1918, at which point Rosenberg was at the encouragement of Alexander quick to offer him a contract. Valmier Archipenko, and was offered a solo was offered a solo show in 1921 and show at Léonce Rosenberg’s Galerie became a regular contributor to the de l’Effort Moderne in November Bulletin de l’Effort Moderne. Georges Valmier Invitation, Galerie de 1920. Georges Valmier, c. 1915-20 l’Effort Moderne, 3-25 January 1921

Léopold Survage, c. 1960s

Léopold Survage invitation card, Galerie de l’Effort Moderne, 2 – 25 Nov. 1920

Le Bal Musette, 1927 La Fête Foraine au Village, Femme couchée, 1924 gouache on paper 1925 signed and dated lower right G. 17.9 x 22.7 cm. (7 x 8 7/8 in.) signed and dated lower right G.Valmier. Valmier 1924 1925 oil on canvas oil on canvas 72.8 x 99.1 cm. (28 ⅝ x 39 in.) 89 x 117 cm. (35 x 46 in.)

“Where is modern painting headed? I think that for an artist, there is only one way to respond to that question! It is to paint.”

Composition Géométrique, 1922 signed lower right G.Valmier oil on canvas Paysage Cubiste (Cité), 1920 92 x 60 cm. (36 ¼ x 23 ⅝ in.) signed and dated lower right Survage. 20; signed again and inscribed on the Composition Cubiste, June 1921 stretcher Survage 20 rue Ernest Gerson signed lower left G. Valmier oil on canvas tempera on panel 92 x 72.5 cm. (36 ¼ x 28 ½ in.) 90.5 x 64 cm. (35 ⅔ x 25 ⅛ in.)

50. 51. VILLON ZADKINE

1875 – 1963 1890 – 1967

Born Émile Méry Frédéric Gaston Born in Vitebsk (now Belarus), Ossip Duchamp, adopted Zadkine settled in Paris in 1910 after his name to distinguish himself from attending art school in London. In his younger brothers, the sculptor Paris he became associated with the Raymond Duchamp-Villon and the emerging Cubist movement, which painter , as well is reflected in his style between as his sister , roughly 1914 and 1925. Zadkine’s also a painter. In 1906 Villon began late manner drew influences from working full time as an artist, and in African and Greek art, and his 1911 he became a founding member compositions became more complex, of the Puteaux Group – better known often representing multiple figures. Marcel Duchamp, Jacques Villon and Raymond Duchamp- as the Section d’Or – which held its , 1930 Villon in the garden of Villon’s studio, Puteaux, c. 1913 inaugural exhibition in 1912.

The Birth of Love Boîte à Lait (Milk Bottle), 1912 Conceived in 1930 and cast c. 1971 Signed and dated lower left Jacques Villon Signed O. Zadkine and numbered / 12 4/8; stamped Susse Fondeur, Paris Oil on cradled panel Bronze with a black patination 22.3 x 16.9 cm. (8 ¾ x 6 ⅝ in.) 114 cm. (44 ⅞ in.) high

52. 53. MASTERS of CubisM

acknowledgements

Dickinson would like to express our sincere gratitude to all the owners of the works of art and furniture, without whose co-operation this project could not have been realised.

Text: Dr Molly Dorkin Design: Lara Pilkington

© Simon C. Dickinson Ltd. © Succession Picasso/DACS, London 2015. © ADAGP, Paris and DACS, London 2015. © ARS, NY and DACS, London 2015. © Man Ray Trust/ADAGP, Paris and DACS, London 2015. © /Getty Images © Estate , , . © Estate of André Kertész, courtesy of Bruce Silverstein Gallery, NY. © The Metropolitan Museum of Art/Art Resources/Scala, Florence

All rights reserved Simon C. Dickinson Ltd. 2015

LONDON 58 Jermyn Street London SW1Y 6LX Tel (44) 207 493 0340

NEW YORK 19 East 66th Street New York NY 10065 Tel (1) 212 772 8083

www.simondickinson.com SIMON C. DICKINSON, LTD 58 JERMYN STREET LONDON SW1Y 6LX T. +44 (020) 7493 0340 W. www.simondickinson.com

dickinson

56.