THE MODERNS

THE MODERNS

ART GALLERY OF NEW SOUTH WALES 'The Moderns' has been arranged by

the Art Gallery of New South Wales in association with the International Cultural Corporation of Australia with the assistance of the Department of Home Affairs and the Environment and the Premier's Department, New South Wales State Government.

Indemnified by the Commonwealth of Australia through the Department of Home Affairs and the Environment.

©The Trustees of the Art Gallery of New South Wales Sydney 1984

ISBN 07305 0036 5

The Board of Trustees wishes to acknowledge the most generous support of

Esso Australia Ltd The Sydney Morning Herald

News Limited

Australian Consolidated Press

Editor Jan Meek

Design John Spatchurst Corporate Graphics

Photography Carmelo Guadagno David Heald

Julian Kayne Robert Mates

Printed by Beaver Press

Typeset by InterType

This book is set in Gill Sans, a typeface

designed by Eric Gill in 1 928.

Gill based the design on classical proportions

and intended it to be the simplest expression

of the essential forms of the alphabet. It

became, within a few years of its design, the

favourite with all those who were, or wanted

to appear modern-minded. It was extensively

used over a period of thirty years until the

early sixties.

Cover Vasily Kandmsky Landscape with Factory Chimney 1910 Oil on Canvas THE SOLOMON R GUGGENHEIM MUSEUM. NEW YORK THE PEGGY GUGGENHEIM COLLECTION, VENICE

THE MODERNS

As citizens of another nation whose pioneering history dates from the

relatively recent past, it is with great understanding and encouragement that

we salute Australia in its blazing of new culturual trails.

The spirit of internationalism has been a guiding principle of the Guggenheim

Museum since its founding in 1 937 and is reflected in the scope of its collection and exhibition programs. As President of the Solomon R. Guggenheim Foundation which operates the museum in New York as well as the Peggy

Guggenheim Collection in Venice, it gives me great pleasure to extend to our Australian hosts our gratitude for the opportunity to present this selection of paintings from the now-historic part of the twentieth century. We are also pleased that plans have already been set in motion to mount an exhibition of contemporary Australian Art at the Guggenheim Museum in New York later

this year. It is my hope that these events will lead to many more cultural exchanges between Australia and the United States.

PETER LAWSON-jOHNSTON President The Solomon R.Guggenheim Foundation

Esso,

MADE POSSIBLE BY A GRANT FROM ESSO AUSTRALIA PREFACE

The Guggenheim name is synonymous with We are, therefore, all the more grateful an almost unprecedented style and quality to Thomas Messer and the Guggenheim of art patronage and art collecting. This Museums in New York and Venice for involvement gave rise to one of the world's making this unique event available to the greatest collections of 20th century Western Art Gallery of New South Wales — the sole art reflecting a commitment and vision of venue for the exhibition. It is our regret that unique dimensions. These same qualities the exhibition could not be made available were maintained in the construction of for other cities but it is understood and the permanent home for the Solomon R. appreciated that works of such rarity and

Guggenheim collection in New York, which importance are required in their respective was designed by Frank Lloyd Wright, and permanent homes. now has become a landmark in itself. An exhibition of such importance involves

It is not often that circumstances permit many services and the assistance and advice works from both the Solomon R. and of many individuals. Our thanks particularly Peggy Guggenheim collections to be joined to the International Cultural Corporation of together in a special exhibition. When such Australia and its Executive Director, Robert an occasion did present itself and the Edwards, and to the Commonwealth Director of the Guggenheim Museum, Government for providing the indemnity. Thomas Messer, offered such a possibility To Esso Australia Ltd. we are indebted for to Sydney it was accepted with alacrity. providing the financial backing which has made the exhibition possible. The exhibition provides a unique oppor- tunity for the people of Australia to see EDMUND CAPON works by Picasso, Matisse, Braque, Kandinsky, Director, Art Gallery of New South Wales Dali et al; artists whose contributions exploded the formalism and naturalism of then existing traditions into the cubist, abstract, dada, surrealist and expressionist movements thereby expanding the vision, philosophy and indeed role of art in our society. These pervasive movements permeate Australian art traditions, albeit at arm's length, but to this day our familiarity with such great paintings which fashioned the story of Western art in the first half of this century is regrettably scant. FOREWORD

This selection of eighty paintings that Through a series of fortuitous circumstances constitutes the current exhibition of the as well as the much appreciated co-opera- Art Gallery of New South Wales has been tion of Edmund Capon, Director of the drawn in equal parts from two great collec- Art Gallery of New South Wales, it has tions that have the Guggenheim name in been possible to offer this selection from common. The older and larger of the two, the combined Guggenheim collections to

The Solomon R. Guggenheim Museum in this institution. New York, came into being as a result of the Such a presentation in Sydney seems great interest that its founder, Mr. Guggen- particularly important and timely to us: heim, and its first director, Baroness Hilla important since works of such calibre do not Rebay, showed for nonobjective, or frequently travel as far as these have to, to be abstract, art in the 1930s and the 1940s. seen, as we hope, not only by residents of This original nucleus was greatly enriched Sydney, but by Australians from other areas during the two subsequent museum admini- who surely will want to avail themselves of strations. The Peggy Guggenheim Collection, this rare opportunity; timely, because this on the other hand, which is the source of appears to be a moment of expansiveness the selection's other half, arose entirely and assertion for Australian art, for which from the collecting efforts of Solomon's The Moderns should provide a strong and niece, Peggy, who in 1949 established herself beneficial stimulus. in a Venetian Palazzo on the Canale Grande.

Both collections are strongest in the classical To the many individuals on both sides of the period of twentieth-century painting. They Pacific who contributed to the realization of overlap to some extent, sharing concen- this project we extend our sincere and trations in Cubism and in abstract art, while deeply felt gratitude. other periods, such as the 8/oue Reiter or Surrealism, are much more heavily THOMAS M. MESSER, Director represented in one or the other. The The Solomon R. Guggenheim Foundation complementary effect of the two collectors, now united under the auspices of The Solomon R. Guggenheim Foundation, yields the richest and most rewarding returns. SPONSOR'S FOREWORD

The artists who created these paintings Enduring creativity is not produced by the have provided us with a legacy that must indifferent or the unconcerned. The artists be preserved and shared. laboured with convinction, imagination and a passion. More than forty years later, their One of the most striking elements works still retain the capacity to stun the of The Moderns' exhibition is the emotions with their boldness and force. audaciousness of the artists represented who tirelessly searched for a new way to Esso Australia Ltd., long committed to the express the enduring human spirit in a time proposition that human enterprise advances when the world was fraught with turbulence best when it is least encumbered and most and change. Our institutions - industry inspired, supports this unique exhibition as significant among them - made their most a tribute to the indomitable free spirit of radical advances during this era. It is not to artists. suggest that parallels may easily be drawn among artistic, social and technological F. KIRK, Chairman & Managing Director J developments, but perhaps a strong kinship Esso Australia Ltd. wrought by change prevails.

Esso Australia Ltd. is proud to join with the Art Gallery of New South Wales to present this sweeping movement of challenge which has exerted enormous influence upon modern art everywhere.

The artists, Russian, Italian, French, German, Spanish, Swiss, Dutch, English and American, were bound in a common purpose. However varied in outlook and approach, they all were fiercely determined to give free rem to their individual spirit and talent. INTRODUCTION

In 1943 Solomon R. Guggenheim, an The dynamic Miss Rebay had exhibited her

American mining magnate of diverse paintings with avant-garde groups in Germany 3- interests and exceptional wealth, commis- from 1 9 1 1 920, and thereafter in Pans. sioned the architect Frank Lloyd Wright to The Baroness introduced Mr. Guggenheim design a museum for contemporary art. to the then-controversial nonobjective styles Thus began a period of planning and con- of such artists as the Polish-born Rudolf struction that culminated in the opening of Bauer, a close friend, and the Russian-born

The Solomon R. Guggenheim Museum in Vasily Kandmsky. Miss Rebay believed in the

New York City in 1 959. Over the past intrinsic superiority of painting that did not twenty-four years, this museum, maintained depict forms based on observation of by The Solomon R. Guggenheim Foundation, nature. Inspired by Miss Rebay's passion- has presented selections of twentieth- ately partisan views and by the apparent century art to an international audience. need for a financial champion of the new

Changing and permanent exhibitions from nonobjective style in America, Solomon the Museum's own collection, comprising Guggenheim began to buy modern paintings almost 5,000 works of art, complement an by Kandmsky, Bauer and Rebay as well as active schedule of loan exhibitions. In the Pablo Picasso, Albert Gleizes, Robert international art world the Museum plays Delaunay, Marc Chagall, Laszlo Moholy- several roles: encouraging young talent; Nagy and other avant-garde artists, under pinpointing important directions in the guidance of the Baroness. As his interest contemporary art; displaying the work of in nonobjective art intensified, his new art modern masters; and conserving signal collection expanded: indeed it soon outgrew works of art for the future. the confines of his private home. Mr. Guggenheim then rented temporary The Museum's founder Solomon R. Guggen- quarters for the works of art in Carnegie - heim ( 1 86 1 1 949) was the fourth of seven Hall in New York, a centre for the musical sons of Meyer Guggenheim ( 1 828- 1 900), a

arts, and in 1 937 he created the Solomon R.

Swiss who emigrated to America in 1 848 Guggenheim Foundation 'for the promotion and subsequently created a financial empire and encouragement of art and education in in mining and metallurgy. In the first decades art'. In 1939 Mr. Guggenheim opened his of the twentieth century the Guggenheim collection to the public at 24 East Fifty- brothers expanded their father's industrial Fourth Street as the Museum of Non- empire, and several dedicated their fortunes Objective Painting, with Baroness Rebay to philanthropy. Solomon R. Guggenheim as director. and his wife Irene established a wide-ranging collection of Old Masters as diverse as During her thirteen-year tenure, Miss Rebay Watteau and Joos van Cleve. Mr. Guggen- organized exhibitions from the Guggenheim heim's taste shifted, however, to contem- collection, one-man and group loan shows of

porary art in 1 927 when he came under the both European and American abstract artists. influence of a young German artist, Baroness Special attention was accorded to the work in Hilla Rebay von Ehrenwiesen, whom he had the collection by such pioneers of nonobjectivity commissioned to paint his portrait. as Kandmsky and Moholy- Nagy. THE SOLOMON R. Mr. Guggenheim accepted Frank Lloyd Foundation increased its collection by over GUGGENHEIM MUSEUM, Wright's plans for a new museum building seven hundred works of art through the NEW YORK in 1944. Throughout the rest of the 1940s purchase of the estate of the prominent art founder, director and architect conferred dealer Karl Nierendorf. This purchase was

on the design for the new facility. Mr. rich in examples of such magnificent artists Guggenheim approved Mr. Wright's scale as Paul Klee, Ernst Ludwig Kirchner, Lyonel

model of the building before his death in Feininger, Chagall and, again, Kandinsky.

1 949, ten years prior to the Museum's The collection was further increased by actual completion. the remainder of Solomon R. Guggenheim's

In 1 949 the Museum moved to a six-storey private collection, which came to the

mansion at 1071 Fifth Avenue, the location Foundation at his death. In 1952 Miss Rebay

of its present building. In the same year, the retired as director and was succeeded by James Johnson Sweeney, the respected art concrete, the edifice is comprised basically

critic and former director of the Depart- of two round structures linked by a ment of Painting and Sculpture at The horizontal element. The smaller of the

Museum of Modern Art in New York. Harry round structures is occupied by offices, the

F. Guggenheim, Solomon R. Guggenheim's larger lined by a huge interior spiral ramp nephew, assumed the role of President of which curves unbroken from the ground to the Foundation, and encouraged Mr. the dome almost one hundred feet above. Sweeney to modernize the institution, Seventy-four niche-like bays subdivide the whose name was changed to The Solomon ramp, providing display spaces for works of R. Guggenheim Museum. art. The overall circular form of the building

is echoed in the shape of the galleries, the Mr. Sweeney removed the gray fabric that auditorium, the elevators and the decora-

had covered the Museum's walls since 1 948, tive motifs on the floor and the sidewalks in and repainted the galleries in the mansion front of the Museum. In creating this monu- pure white. Further, he abandoned Miss ment to an architectural aesthetic of natural, Rebay's practice of hanging rows of paintings organic form, Wright specified the max- in tiers at both floor and eye levels and imum use of natural light in the interior, eliminated the heavy silver and gold frames and natural colours, such as white, beige and she favoured. In the renovated galleries he brown, throughout the building. An annex mounted shows drawn from the permanent to the original structure, which houses collection and several major loan exhibitions. storage areas and administrative offices for He also pursued an ambitious acquisition Museum staff, was completed in 1968 by program both to enhance the paintings William Wesley Peters, the chief architect collection and to extend the scope of the for Taliesm West, Wright's school of holdings to include sculpture, heretofore architecture in Scottsdale, Arizona. represented by only a few isolated

examples. Thus, notable works by Mr. Sweeney resigned as director in 1 960, Paul Cezanne, Constantm Brancusi and the year following the opening of the new Alexander Calder, among others, entered Museum building, and Thomas M. Messer, the collection. The range of modern art then the director of the Institute of Contem-

seen at the Museum was broadened by porary Art in Boston, was appointed to

Mr. Sweeney's exhibition of many artists succeed him in 1 96 1 . His task was to

outside Miss Rebay's nonobjective circle. organize both programs and exhibitions

for the new and vastly enlarged facility. The new Solomon R. Guggenheim Museum He continued the active acquisition designed by Frank Lloyd Wright opened to campaign introduced by his predecessor, the public on October 21,1 959. The seeking exceptional works to fill gaps in the construction had been delayed in part by representation of certain historical periods. extended battles between the architect and And he added works to the collection by New York City authorities who protested major artists, ranging from Joan Miro, Wright's novel design on the basis of an Fernand Leger and Alberto Giacometti outdated building code. The well-publicized to Jean Dubuffet, Francis Bacon and David debate concluded when Wright finally won Smith. He also inaugurated a continuing, the right to erect his building. Cast in

9 r displays, while a larger one houses a perma-

nent installation of works by twentieth- century pioneers of modernism. Most of the

artists included in this Permanent Collection Gallery — Gleizes, Leger, Robert Delaunay. Chagall, Mondnan, Klee and Kandmsky -

also appear in this exhibition.

Since 1965 another permanent installation,

the Justin K. Thannhauser Wing, has offered

visitors an impressive survey of early modern

art, including important nineteentn-century paintings and works on paper that antedate the Museum's original holdings. Impressionist and Post-Impressionist masterpieces by such

artists as Edouard Manet, Camille Pissarro, Cezanne, Vincent van Gogh and Paul ITERIOR VIEWS OF comprehensive cataloguing project which Gauguin provide an art-historical back- HE SOLOMON R. has resulted in the publication of several UGGENHEIM MUSEUM. ground for the twentieth-century works of EW YORK scholarly volumes on the permanent art on view throughout the Museum. The collection. Wing also houses twenty-six works by

Picasso dating from 1 900 to 1 960 — a collec- Since 1961 Mr. Messer and his staff have tion particularly rich in examples from the organized a series of significant retrospec- artist's early career. Mr. Thannhauser's tives of the work of many of the modern collection, formerly on loan to the Museum, masters represented in the present exhibi- transferred to The Solomon R. tion, including Piet Mondnan, Kandmsky, was Guggenheim Foundation after the owner's Max Ernst, Miro and Klee. Other exhibitions

have focused on work by more contem- death in 1 978. The bequest of some sixty works now hangs with related selections porary artists, such as Philip Guston, Morris the Museum's original collection in Louis, Mark Rothko, Arshile Gorky and Roy from refurbished galleries of the Wing. Lichtenstein. Complementing these the

monographic displays, the curatorial staff Just over four years ago, in 1 979, The has also mounted many exhibitions featuring Solomon R. Guggenheim Foundation modern art from special public and private received another exceptional bequest of collections or examining particular aesthetic major works of modern art. This was the

or historical issues. In addition, curators have celebrated collection of approximately regularly organized group shows of new three hundred works of art formed by

talent to examine developing trends m Peggy Guggenheim ( 1 898- 1 979). who contemporary art. was Solomon's niece and the daughter of Benjamin Guggenheim. Not all of the Museum's space, however,

• is devoted to changing exhibitions. Three The Peggy Guggenheim Collection eve areas feature the Guggenheim's permanent the outlines of the history of art within the collection. A small gallery offers changing twentieth century. The main strengths of ^1»

(

**

\

_ 1

_v*> THE PALAZZO VENIERDEILEONI, VENICE

the collection are concentrated upon the

form language of the French Cubists and its

subsequent transformations in the hands of the Dutch Neo-Plasticists, the Russian

Constructivists and the Italian Futurists; the transition from the pioneers of abstraction to the more recent abstract sensibilities that emerged between the two world wars; the

imagery of Dada and Surrealism; and, finally, upon the early creative intuitions of the postwar European and American generations.

Mrs Guggenheim began her career as a

collector of avant-garde art in the 1 930s, purchasing works from exhibitions that she

mounted at her own gallery in London, the Guggenheim Jeune. Her taste was formed under the guidance of Sir Herbert Read and Marcel Duchamp, among others. After the

outbreak of World War II she moved to

Paris, where she continued to purchase art,

even in the face of German invasion. In 1 94 she moved with her collection to New York, where she founded the famous gallery she

called Art of This Century. Her designer and architect Frederick Kiesler created galleries

where paintings framed simply in wood or metal could be suspended from the walls on

hidden rods or suspended in midair. In these rooms she exhibited her collection of Cubist, Abstract and Surrealist art — a collection reflecting her commitment to diverse avant-garde movements. On the opening night of Art of This Century, Mrs. Guggenheim recalled she 'wore one of my Tanguy earrings and one made by Calder,

in order to show my impartiality between Surrealism and Abstract art'. From 1941 to 1947 she held exhibitions of works by

leading European artists, including Max Ernst, the Surrealist painter to whom she was briefly married. She also championed the art of several then-unknown young Americans, future founders of the Abstract Ill

THE PALAZZO Expressionist movement, including Jackson Foundation, is currently converting this VENIERDEILEONI. Pollock, Robert Motherwell and Rothko. private collection to a public museum. The VENICE necessary tasks of conservation, documenta- Peggy Guggenheim returned to Europe tion, reinstallation and building renovation after the War and purchased the eighteenth- have been undertaken to transform the century Palazzo Venier dei Leoni on the institution into a full sister of the Guggen- Grand Canal in Venice to house her out- heim Museum in New York. standing art collection. In 1949 she opened her home to the public, beginning with an The two collections now contained within

exhibition of contemporary sculpture in the Guggenheim Foundation thus have the handsome garden. Subsequently, she different origins and domiciles, were impelled

opened the palazzo's interior rooms, which by different motivations and are in debt to included a gallery devoted to her extensive different personalities, even though the

collection of primitive art. Mrs. Guggenheim Guggenheim name spreads above them like

donated both her art collection and the an umbrella covering both. Yet, as this highly palazzo to The Solomon R. Guggenheim condensed assemblage from both sources

Foundation by 1 976. Upon her death in indicates, the two collections are ultimately 1979, the Foundation assumed the adminis- one, their individual riches complementing

tration of her collection which will remain and augmenting one another. Together, the

permanently in the palazzo. Mr. Messer, holdings of The Solomon R. Guggenheim now also responsible for The Peggy Guggen- Museum and The Peggy Guggenheim

heim Collection in his present capacity as Collection offer a revealing insight into

Director of The Solomon R. Guggenheim the mainstream of twentieth-century art.

14 MODERN ART IN

THE WEST THOMAS M. MESSER,

The last hundred years in Europe and nearly painters involved. It is difficult in an half a century in America have seen a virtual anthological summary such as this to avoid identification of contemporary art with its labels, but they should not be applied attribute of modernism. Despite arguable without the warning that they exist only exceptions in this time span, one may say conditionally as summary and somewhat that what was art was also modern and what shadowy abstractions, superimposed upon was not modern was also not art. the palpable reality of individual forms and images. Nonetheless, the coexistence and Modern does not mean only abstract, for it rapid succession of styles, crudely identified encompasses all visual expressions that have through this terminology of 'isms', charac- transcended inherited traditions. Indeed, what terizes modernism in art, which is subject to is modern and also what is modern art result a process of periodic renewal. from the artist's drive to absorb the legacy of the past and to fashion a language out of it Cubism, as the most important form through which new and personal insights can language in modern art, opens the exhibi- be conveyed. Such a search within oneself is tion. It is represented here by seminal and an intimate and individual experience but, characteristic works by its inventors, Picasso since traditions are held in common at a and Braque, and amplified by examples given time and place, the art works created created by Leger, Gns, Gleizes, Metzmger, out of them also tend to have common Marcoussis and Delaunay. The term Cubism features that then are recognizable as a itself refers to the 'little cubes' with which style. Cubism, for example, grew in part they render a multiplicity of objects seen from the legacy of the Post-Impressionist from shifting points of view. This analytical painter Cezanne. His influence was decisive approach owes much to Cezanne's highly for Picasso and Braque, as well as many structured surfaces and to the carvings of others, and their modification and trans- African and Iberian sculptors. In concept it formation of Cezanne's painting led to the parallels such ideas in contemporary physics, emergence of the Cubist style. Picasso and mathematics and philosophy as relativity and

Braque did not intend to create Cubism. simultaneity. Above all, Cubism represents

Rather, their highly developed intuition the genius of Picasso and Braque who. in provided them with a way of seeing, thinking close collaboration, developed what has and painting that afforded hypotheses as apt remained the most influential style in and fruitful for the visual arts as were those twentieth-century art. of their contemporaries in other disciplines. Cubism derives from observed reality and In modern art, such original minds, inventing never loses all contact with it. The still life, and using a wide variety of symbols, have the landscape and the portrait are therefore created the imagery through which our age the Cubist's preferred subjects. In the early is rendered comprehensible. analytical phase of Cubism, objects are

The term Cubism (as well as most of the dissected into planes that serve as an

'isms' that preceded and followed it) is a armature within which legible motifs ai descriptive one, convenient if not always subtly integrated. Since the fundamental precise, a name first used somewhat hap- Cubist approach is architectural, colour

* hazardly and without the approval of the (with its antistructural potential) is at

15 kept within a narrow range, while the Among the Fauves (or 'Wild Beasts' in the picture space, not yet wholly flattened, epithet of a contemporary critic) Matisse admits only shallow depth. Through such was king in his use of uninhibited colour, means, which were intuitive rather than abandoning traditional verisimilitude in systematic, the originators of Cubism struck favour of enhanced decorative and expres- a fine balance in the interplay of abstract sive effect. Painting with loaded brushes, he forms and recognizable images, of surface and his fellow Fauves recognized that light and depth, and of geometric and could be intimated through opaque colours, amorphous shapes. Later Cubists, such thereby expanding upon the earlier contri- as Gleizes and Metzinger, tended toward butions of the Post-Impressionists Seurat systematization of the style, while such and Gauguin. The brilliant palette and major figures as Leger and Gris, like Picasso charged strokes of the Post-Impressionist and Braque themselves, found new and in van Gogh played an important part in part opposite possibilities in the developing Fauvism as well, while the mystical and of language of Cubism. Finally, painters such fantastic art of this Northern artist also as Delaunay and Kupka, the young Duchamp directly inspired German Expressionism. brothers and the Italian masters who This movement was also influenced by proudly termed themselves Futurists, the symbolist protoexpressionism of the departed from the static phase of Cubism Norwegian Munch and by African and altogether to emphasize movement through Oceanic artifacts. graphic means as well as through the kinetic The primary motive of the young Germans potential of colour. As a vital movement, in Dresden who began to paint canvases Cubism may be said to have begun some- later labelled as Expressionist was to time after Picasso completed his earth- interiorize their art and to endow it with shaking Demoiselles d'Avignon in 1 907 and significant content. Colours, which they lost itself in other styles by the mid- 1 920s. used even more emphatically than the Fauvism and Expressionism both predate Fauves, became analogues of their surging

Cubism by several years. Fauvism in France emotions. Their contemporaries found and Expressionism in Germany emerged their art wholly devoid of formal structure; independently around 1905. While pure however, seen over a span of three Fauvism was a shortlived movement, quarters of a century, the early paintings Expressionism was to remain a clearly of Kirchner, Heckel, Schmidt-Rottluff and

recognizable style until about 1 920 and well others appear far from formless. beyond that date in the somewhat altered, The pioneers of Expressionism — the Brucke late mode practiced by Beckmann and painters — are represented in this exhibition others. (Even Braque painted with Fauve by a work by Kirchner, the movement's chef colour and brushwork until 1 906 before his d'e'co/e, while the contributions of French more restrained Cubist sensibility matured, Fauvism are implicit in two later paintings by while Picasso's famed 8/ue and Rose Periods Matisse and by an early example from the

1 -5 of 90 1 emerged from the Symbolist hand of Picabia. Under the rubric of tradition which also nurtured Expressionism.) German Expressionism, the exhibition also introduces the work of the Russian-born Kandmsky. The collection of The Solomon but at the beginning of our second decade, R. Guggenheim Museum contains what Kandinsky's art became wholly abstract. may well be the world's largest and most While he was not alone in reaching such representative holding of paintings by this conclusions (Delaunay, Kupka, Malevich and master, whose long and influential creative others having pursued similar objectives), life encompasses variants of Expressionism, Kandinsky's published theories as well as the Constructivism and Surrealism, and who superb quality of his expressionist canvases may justly be regarded as the father of have secured his position of primacy among modern abstract painting. His first appear- the pioneers of nonobjective painting. ance here is at the head of the German Abstraction, then, was a way of painting Expressionists practising in Munich under that, dispensing with representation, found the banner of the 8/oue Reiter — a concept its content in the formal properties of art that owed its existence to Kandmsky and itself. Kandinsky maintained that subject his young friend Marc. matter had become irrelevant if not distract-

The 8/oue Reiter was not a movement in the ing, and that by abandoning it painting had sense of Cubism or Fauvism, but rather an entered its musical phase. Together with exhibition and publication program encom- Cubism, Fauvism and Expressionism, passing various tendencies. Kandinsky, an Kandinsky's free-form abstraction, as he extraordinarily intelligent and cultivated practised it in Munich before the outbreak artist, had won leadership after spending of World War I, became one of the mam many years with preparatory organizational pillars upon which further developments of work, with authorship of influential theo- modern painting would rest. retical texts and, above all, with the Important though Kandinsky's contribution development of his own painting. At the was and influential as it remained even in the time the 8/oue Reiter flourished in Munich, postwar period, his development, through shortly before the outbreak of World War I, an ever more daring and independent his art had reached its first culminating stage application of free forms, was not the in the form of an abstract expressionism. only way to abstraction. Only slightly later,

Kandinsky's art had evolved from the Malevich in Russia and Mondnan in Holland theories that he and others had articulated became the standard-bearers of an abstract during preceding years and from inherited painting that developed out of Cubism into a

Post-Impressionist modes, and it had pro- flat geometry. This abstraction had spiritual ceeded, somewhat parallel with Fauvism, overtones in Malevich's case and idealistic, with an attenuated figurative style. But quasi-religious aspirations for Mondnan. more and more, the importance of subject Like Kandinsky, Mondnan. too. began to matter to Kandinsky receded, as abstract paint conventionally. But while Kandinsky's pictorial means (colours, shapes, textures) path led from the emblematic simplifications became the self-sufficient carriers of his of Fauvism to abstract expressionism, meanings. Mondnan. was drawn in a reductive direction Vestiges of the world of common experi- to investigate Cubism — the style that ence persisted in his work for some time, Kandinsky had bypassed entirely. Analytical

17 Cubism, at the height of its vitality in the entrusted them to capable professors, prewar years, thus became not the first but among whom the painters Kandinsky the last among Mondnan's adopted languages. and Klee were the most distinguished.

Thereafter he formed his own, in co- Kandinsky, having spent the war years operation with the painter van Doesburg and the revolutionary period in his Russian and with Dutch architects, who, seeing it as homeland, returned to Germany and was their mission to create a formal revision not

called to the Bauhaus in 1 92 1 . By that time only in painting but in architecture, design both his theories and his creative production and living itself, created Neo-Plasticism or had undergone radical changes. Abstract De Stijl — 'The Style', which they believed painting, which he had largely fathered, would serve and unify all these functions. continued to preoccupy him, but the free-

Neo-Plasticism or new form was understood form abstract expressionism of his work by Mondrian and van Doesburg as an art of in Munich had given way to a geometric essences. The familiar experiences of retinal constructivism. This was superficially vision were no more than a point of comparable to Mondrian's and Malevich's departure for their art. In their theory the idioms, but motivated and arrived at quite countless haphazard directional signs that differently. Indeed, Kandinsky was respon- represented nature in conventional painting sive to a changed Zeitgeist. Like many other resolved themselves into horizontals and sensitive individuals in all fields in this period, verticals, while, similarly, all observed colour he had lost faith in unhampered individualism nuances could be contained in the three and now embraced collective ideals. The primaries, functioning within a framework forms that had conveyed his mysticism in the of neutral black and white. Together with days of the Blaue Reiter gave way to a plastic roughly related directions that surfaced in grammar relying upon an essentially geo-

Russia at the same time, the Dutch Neo- metric vocabulary to express his meanings.

Plasticists pursued the most idealistic No less influential on Bauhaus students was program after the ravages of World War I. the Swiss-born Klee who, like Kandinsky, At the same time, progressive ideals also was to assume the teaching position of brought into being the German school called Master at the school. Less cerebral in the the Bauhaus. Its purposes were basically development of his art and by the same different from those of De St/j7, in which the token also less inhibited than Kandinsky, Klee drive to create a unified formal approach was capable of turning Bauhaus curricula as and result motivated the artists connected well as the dogmas of his time to personal with it. By contrast, the Bauhaus, under the uses that effectively defeat precise classi- direction of the architect Walter Gropius, fication. It may be said, nevertheless, that aimed at reestablishing the unity between construction and fantasy, the elements that artists and craftsmen that had been lost in respectively characterize the Bauhaus and the course of the nineteenth century. While the contemporary Surrealist movement, neither a technical college nor a liberal arts were present, separately or jointly, in Klee's university in the traditional sense, the Bau- work. The seemingly incompatible direc-

haus — first in Weimar and later in Dessau tions of the 1 920s and 1930s therefore - established exacting curricula and found in Klee's genius an extraordinary Older sensibilities may have had some bear- synthesis. Kandmsky, on the other hand, ing upon the crystallization of this current proceeded more systematically so that without necessarily constituting traceable

surrealistic elements became visible in his influences. In the Post-Impressionist genera-

painting only upon his departure from tion, the naive primitivism of Rousseau was Germany, after the destruction of the prophetic, as was, a generation later, the

Bauhaus by the Nazis in 1 933, when during Jewish folklore of Chagall. De Chinco, leader

the last decade of his life in Paris he devoted of the Italian movement known as Pittura himself to new researches. Metafisica. had parallel poetic intuitions, and the spreading awareness of Freud's findings The Bauhaus and De Stijl both claimed to in psychology was basic for the Surrealists' have rational artistic programs. Through fascination with dream imagery as well as abstract forms as well as through faith in for their cultivation of automatism in art. the power of formal solutions, both Bauhaus

and De Stijl artists represented Europe's Orthodox Surrealism as represented in ordering aspirations between the two wars. this exhibition includes Brauner, Dali, Ernst,

It was left to Dada and Surrealism — Tanguy, Magntte, Delvaux, Masson and, to

tendencies that overlapped in time with a lesser extent, Giacometti and Miro, who,

those described above — to challenge the like the Picasso of the late twenties and the

plausibility of such assumptions through an thirties, generally transcended the somewhat art that was diametrically opposed. confining Surrealist dogma, through the force of their individual talents. Matta, Dada and Surrealism had different origins the youngest among the major Surrealists, and intentions but common roots in a became particularly influential during World district of unrelieved rationality. To reason, War II when he, together with other Parisian the Dada and Surrealist artists opposed artists and Breton himself, established intuition and subconscious expression. contact with many younger painters in New

Looking back at the carnage of World War I York. These artists would become known as and the ensuing misery, the artists who first the New York School or the Abstract participated in the spontaneous mockeries Expressionists, the first American move- of Dada and later in the codified programme ment of international influence. of Surrealism felt urged to unmask, through jest and disrespect, the shopworn pieties of If Cubism, Fauvism and Expressionism, their day. Both Dada, under the guidance together with expressionist abstraction, of Tristan Tzara, and Surrealism, under the constituted the roots of modernism before

potential chairmanship of Andre Breton, World War I, postwar modernism based

were interdisciplinary, with painting and itself on De St/// in Holland, Constructivism

sculpture joining poetry, literature, music and Suprematism in Russia, and the painters

and theatre in their common task of dese- of the Bauhaus in Weimar and Dessau, all cration. Dada. ever without dogmatic emerging from the war as a current that purpose, yielded to Surrealism when the was challenged by the assertion of the anti-

latter declared itself a movement with aesthetic strivings in Dada and Surrealism. stated objectives. Together, these movements and tendencies make up the now canonical history of modern art. The artists figuring in this took shape in the hands of Pollock and Still, history, who once were treated with who are represented in this exhibition, as indifference and even contempt, are now well as de Kooning, Baziotes, Motherwell, the reigning deities of a modern pantheon Rothko and Newman. The giant canvas and the works that often proved unsaleable covered with abstract gestures of paint on a at the time of their production are the now entirely flat surface was the visible stage sacred patrimony of museums and govern- on which artists could act as they claimed a ments. They have defined the stylistic legacy high degree of identity between themselves which subsequent generations of artists have and the work they created. Pollock, in again had to absorb and transcend by particular, pouring paint directly from creating forms and images that are uniquely cans upon canvases stretched on the floor, their own. In this ceaseless process of ab- epitomized Abstract Expressionism to the sorption, rejection and renewal, successive public. European artists — such as Dubuffet artists have assured the vitality of modernism. in France and Bacon in England — are primarily to be credited for the reinvigora- When a second world peace dawned in tion of figurative painting and for its

Europe again in the spring of 1 945, many of articulation in novel and powerful ways. the artists here exhibited were dead. Others were too old to be effective spokesmen for It is at this juncture that the exhibition the new realities of the postwar age, despite comes to an end. Eighty paintings can do no their continued ability to create. The styles more than suggest the stylistic evolutions of with which they had become identified and modern art. Ideally, such an anthological that they had helped to form, remained survey would be followed by equally exten- alternative models for the future but had sive exhibitions devoted to each of the passed their moment of maximal vitality. departures here introduced, by searching

A new generation of painters was in place, retrospectives of those major figures whose both in Europe and in America, but it took genius has produced these historical time before their separate striving coalesced sequences, and by an extensive survey of into postwar styles that were recognized as postwar art. The self-evident drawbacks of such. This process began in the course of anthologies may be offset by the inherent

the 1 940s, when Tachism in Europe and values of their individual works, released for

Abstract Expressionism in America revealed that purpose from chronological contexts. themselves as related dominant tendencies. As a particular poem may assert its full The alternative of geometric abstraction on potential outside the history of poetry both continents remained at this time a so too is each painting, ultimately and most minority voice. It may be said, therefore, importantly, an experience enjoyed by an that the progeny of Kandinsky, enriched by individual viewer. Under such conditions, prewar tendencies and particularly by interrogation and response is primarily visual

Surrealism, ushered in the new era. and remains less encumbered by verbal interpretations and the burden of informa- Innovation was most apparent in America. tion. It is our hope that The Moderns will Here, out of the example of Picasso, speak to many in such a satisfying and Kandinsky and such biomorphic Surrealists enriching manner. as Matta and Gorky, Abstract Expressionism

20 PABLO PICASSO CARAFE. JUG AND FRUIT BOWL 1909

OIL ON CANVAS 7 1. 6 x 64 6cm SOLOMON R. GUGGENHEIM MUSEUM

21 PABLO PICASSO THE POET 1911 OIL ON CANVAS 131.7 x 89.7cm PEGGY GUGGENHEIM COLLECTION

22 PABLO PICASSO THE STUDIO 1928 OIL ON CANVAS 161.6 x 129.9cm PEGGY GUGGENHEIM COLLECTION

23 PABLO PICASSO LABAIGNADE 1937 OIL, PASTEL AND CRAYON ON CANVAS 129.1 x 194cm PEGGY GUGGENHEIM COLLECTION

24 GEORGES BRAQUE GUITAR. GLASS AND FRUIT DISH ON SIDEBOARD 1919 OIL ON CANVAS 79.4 x 98.4cm GIFT. JUSTIN K. THANNHAUSER FOUNDATION. BY EXCHANGE SOLOMON R. GUGGENHEIM MUSEUM

25 FERNANDLEGER THE STOVE 1918

OIL ON CANVAS 61 x 50. 1 cm SOLOMON R. GUGGENHEIM MUSEUM

26

_ FERNANDLEGER MEN IN THE CITY 1919

OIL ON CANVAS 145.7 x I 13.5cm PEGGY GUGGENHEIM COLLECTION

27 JUAN GRIS NEWSPAPER AND FRUIT DISH 1916 OIL ON CANVAS 46 x 37.8cm GIFT, ESTATE OF KATHERINE S. DREIER, 1953 SOLOMON R. GUGGENHEIM MUSEUM

28 ALBERT GLEIZES PORTRAIT 1912-13 OIL ON CANVAS 37.6 x 50.4cm SOLOMON R. GUGGENHEIM MUSEUM

29 JEAN METZINGER STILL LIFE 1916

OIL ON CANVAS 7 1 . 1 x 53.3cm SOLOMON R. GUGGENHEIM MUSEUM

30 LOUIS MARCOUSSIS THE HABITUE 1920 OIL WITH SAND ON CANVAS 161.9 x 97cm PEGGY GUGGENHEIM COLLECTION

31 ROBERT DELAUNAY EIFFEL TOWER WITH TREES 1910 OIL ON CANVAS 126.4 x 92.8cm SOLOMON R. GUGGENHEIM MUSEUM

32 \

ROBERT DELAUNAY WINDOWS 1912 OIL ON CANVAS 57.5 x 123.3cm PEGGY GUGGENHEIM COLLECTION

33 MARCEL DUCHAMP SAD YOUNG MAN ON A TRAIN 191 OIL ON BOARD 99.9 x 72.9cm PEGGY GUGGENHEIM COLLECTION

34 GIACOMO BALLA AUTOMOBILE: NOISE + SPEED ca. 1913 OIL ON BOARD. INCLUDING ARTIST'S PAINTED FRAME 54.3 x 76.5cm PEGGY GUGGENHEIM COLLECTION

35 HENRI MATISSE WOMAN RESTING ON HER ELBOW 1943

OIL ON CANVAS 64. 1 x 52.7cm ON LOAN TO THE SOLOMON R. GUGGENHEIM MUSEUM FROM MR AND MRS STEPHEN SIMON. NEW YORK

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36 HENRI MATISSE LECAHIERBLEU 1945 OIL ON CANVAS 53.9 x 46.7cm GIFT. MRS BERNARD GIMBEL. 1970 SOLOMON R. GUGGENHEIM MUSEUM

37 FRANCIS PICABIA

PORTRAIT OF MISTINGUETT (?) ca. 1908-191 OIL ON CANVAS 60 x 49.2cm SOLOMON R. GUGGENHEIM MUSEUM

38 AMEDEO MODIGLIANI JEANNE HEBUTERNE WITH YELLOW SWEATER 1918-19

OIL ON CANVAS 1 00 x 64.7cm SOLOMON R. GUGGENHEIM MUSEUM

39 ERNST LUDWIG KIRCHNER GERDA. HALF-LENGTH PORTRAIT 1914

OIL ON CANVAS 99. 1 x 75.3cm

PARTIAL GIFT. MR AND MRS MORTIMER M. DENKER. 1 978 SOLOMON R. GUGGENHEIM MUSEUM

40 VASILY KANDINSKY

AMSTERDAM - VIEW FROM WINDOW 1 904 OIL ON BOARD 23.9 x 33. km SOLOMON R. GUGGENHEIM MUSEUM VASILY KANDINSKY LANDSCAPE WITH FACTORY CHIMNEY 1910 OIL ON CANVAS 66.2 x 82cm SOLOMON R. GUGGENHEIM MUSEUM

42 VASILY KANDINSKY IMPROVISATION 28 (SECOND VERSIONS 1912

OIL ON CANVAS I I 1.4 x 162.1cm SOLOMON R. GUGGENHEIM MUSEUM

43 VASILY KANDINSKY LANDSCAPE WITH CHURCH (WITH RED SPOT) 1913

OIL ON CANVAS I 17.7 x 140cm PEGGY GUGGENHEIM COLLECTION

44 VASILY KANDINSKY DEEP BROWN 1924

OIL ON CANVAS 83 . 1 x 72.7cm SOLOMON R. GUGGENHEIM MUSEUM

45 VA5ILY KANDINSKY AROUND THE CIRCLE 1940 OIL ON CANVAS 96.8 x 146cm SOLOMON R. GUGGENHEIM MUSEUM

46 FRANZ MARC YOUNG BOY WITH A LAMB 1911 OIL ON CANVAS 88 x 83.8cm SOLOMON R. GUGGENHEIM MUSEUM

47 FRANZ MARC BROKEN FORMS 1914

OIL ON CANVAS I I 1 .8 x 88.4cm SOLOMON R. GUGGENHEIM MUSEUM

48 LYONEL FEININGER CLOUD ^PICTURE WITH LIGHT FORM) 1936 OIL ON CANVAS 47.3 x 40.1cm SOLOMON R. GUGGENHEIM MUSEUM

49 PAUL KLEE FLOWERBED 1913 OIL ON BOARD 28.2 x 33.7cm SOLOMON R. GUGGENHEIM MUSEUM

',() 3 ! " 1 1 1

PAULKIEE UMFANGENM 7 (EMBRACED^ 1932 OIL AND SAND ON BOARD 83.8 x 67.3cm ON LOAN TO THE SOLOMON R. GUGGENHEIM MUSEUM FROM GEORGIA VAN DER ROHE

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51 PAUL KLEE FROM THE MOBILE TO THE STATIC 1932 WATERCOLOUR, PEN AND INK ON CANVAS 33 x 88.2cm ON LOAN TO THE SOLOMON R. GUGGENHEIM MUSEUM FROM GEORGIA VAN DER ROHE

52 MAX BECKMANN ALFI WITH MASK 1934 OIL ON CANVAS 78.4 x 75.5cm PARTIAL GIFT. GEORGIA VAN DER ROHE. 1975 SOLOMON R. GUGGENHEIM MUSEUM

53 PIET MONDRIAN

STILL LIFE WITH GINGERPOT I 1911-12 OIL ON CANVAS 65.5 x 75cm ON EXTENDED LOAN FROM THE HAAGS GEMEENTMUSEUM. THE HAGUE NETHERLANDS SOLOMON R. GUGGENHEIM MUSEUM

54 PIET MONDRIAN

STILL LIFE WITH GINGERPOT I I 1911-12

OIL ON CANVAS 9 1. 5 x 1 20cm ON EXTENDED LOAN FROM THE HAAGS GEMEENTMUSEUM. THE HAGUE NETHERLANDS SOLOMON R. GUGGENHEIM MUSEUM

55 PIETMONDRIAN COMPOSITION 1939 OIL ON CANVAS 105.2 x 102.3cm PEGGY GUGGENHEIM COLLECTION

56 THEO VAN DOESBURG COMPOSITION 1918 OIL ON CANVAS 96.5 x 59.4cm PEGGY GUGGENHEIM COLLECTON

57 THEO VAN DOESBURG COUNTERCOMPOSITIONXIII 1925 OIL ON CANVAS 50 X 49.9cm PEGGY GUGGENHEIM COLLECTION

58 -L FRIEDRICH VORDEMBERGE-GILDEWART COMPOSITION No. 97 1935 OIL ON CANVAS 79.9 x 100. km SOLOMON R GUGGENHEIM MUSEUM

59 GEORGES VANTONGERLOO COMPOSITION IN THE CONE WITH ORANGE COLOR 1 929 OIL ON CANVAS 60 x 60cm SOLOMON R. GUGGENHEIM MUSEUM

60

il KAZIMIR MALEVICH UNTITLED ca. 1916 OIL ON CANVAS 53.5 X 53.5cm PEGGY GUGGENHEIM COLLECTION

61 AMEDEE OZENFANT GUITAR AND BOTTLES 1920 OIL ON CANVAS 79.6 X 99.8cm PEGGY GUGGENHEIM COLLECTION

62 JOSEFALBERS OPEN(B) 1940 OIL ON MASONITE 50.7 x 49.8cm SOLOMON R. GUGGENHEIM MUSEUM

63 JOSEF ALBERS HOMAGE TO THE SQUARE: APPARITION 1959 OIL ON MASONITE 121.9 x 121.9cm SOLOMON R. GUGGENHEIM MUSEUM

64 MARC CHAGALL PORTRAIT OF THE ARTISTS SISTER ANIUTA 1910 OIL ON CANVAS 92.3 x 70.3cm SOLOMON R. GUGGENHEIM MUSEUM

65 MARC CHAGALL RAIN 1911

OIL ON CANVAS 87 x 1 08.4cm PEGGY GUGGENHEIM COLLECTION

,

66 MARC CHAGALL BIRTHDAY 1923 OIL ON CANVAS 80.8 x 100.3cm SOLOMON R GUGGENHEIM MUSEUM

67 GIORGIO DE CHIRICO THE RED TOWER 1913 OIL ON CANVAS 73.5 x 100.6cm PEGGY GUGGENHEIM COLLECTION

1 GIORGIO DE CHIRICO THE NOSTALGIA OF THE POET 914 OIL ON CANVAS 89.7 x 40.7cm PEGGY GUGGENHEIM COLLECTION

69 GIORGIO DE CHIRICO THE GENTLE AFTERNOON 1916 OIL ON CANVAS 65.3 x 58.7cm PEGGY GUGGENHEIM COLLECTION

70 MAX ERNST LANDSCAPE ca. I9I4-I6(?) OIL ON BURLAP 66.6 x 62.3cm SOLOMON R. GUGGENHEIM MUSEUM MAX ERNST THE KISS 1927 OIL ON CANVAS 129.1 x 161.4cm PEGGY GUGGENHEIM COLLECTION

72 MAX ERNST THE FOREST 1928 OIL ON CANVAS 96.5 x 129.5cm PEGGY GUGGENHEIM COLLECTION

73 MAX ERNST ZOOMORPHIC COUPLE 1933

OIL ON CANVAS 9 1 .7 X 73cm PEGGY GUGGENHEIM COLLECTION

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74 MAX ERNST

THE ATTIREMENT OF THE BRIDE 1 940 OIL ON CANVAS 129 7 x 96.2cm PEGGY GUGGENHEIM COLLECTION

75 JEAN ARP COMPOSITION ca. 1918; reworked 1950s MIXED MEDIA ON BOARD 96 x 75.9cm PEGGY GUGGENHEIM COLLECTION

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76 JEAN ARP OVERTURNED BLUE SHOE WITH TWO HEELS UNDER A BLACK VAULT 1925 PAINTED WOOD 79. S x 104.5cm PEGGY GUGGENHEIM COLLECTION

77 KURT SCHWITTERS MERZBILD 1930 OIL AND COLLAGE ON BOARD 44.6 x 35.7cm PEGGY GUGGENHEIM COLLECTION

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78 SALVADOR DALI WOMAN SLEEPING IN A LANDSCAPE 1931 OIL ON CANVAS 27.2 x 35cm PEGGY GUGGENHEIM COLLECTION

79 SALVADOR DALI THE BIRTH OF LIQUID DESIRES. 1932

OIL ON CANVAS 96. 1 x 112.3cm PEGGY GUGGENHEIM COLLECTION

80 SALVADOR DALI PARANOIC-CRITICAL STUDY OF VERMEERS LACEMAKER' 1955

OIL ON CANVAS 21.1 x 22. 1 cm ANONYMOUS GIFT. 1976 SOLOMON R. GUGGENHEIM MUSEUM

81 YVES TANGUY THE SUN IN ITS CASKET 1937

OIL ON CANVAS I 15.4 x 88.1cm PEGGY GUGGENHEIM COLLECTION

82 *

YVES TANGUY ON SLANTING GROUND 1941

OIL ON CANVAS 43 x 7 1 5cm PEGGY GUGGENHEIM COLLECTION

83 RENE MAGRITTE VOICE OF SPACE I932(?) OIL ON CANVAS 73 x 54cm PEGGY GUGGENHEIM COLLECTION

84 VICTOR BRAUNER UNTITLED 1945

ENCAUSTIC ON BOARD 35. 1 x 25.2cm PEGGY GUGGENHEIM COLLECTION

85 VICTOR BRAUNER THE SURREALIST 1947 OIL ON CANVAS 60 x 44.9cm PEGGY GUGGENHEIM COLLECTION

86 VICTOR BRAUNER SPREAD OF THOUGHT 1956

OIL ON CANVAS 73. 1 x 59.7cm GIFT. DOMINIQUE AND JOHN DE MENU, 1959 SOLOMON R. GUGGENHEIM MUSEUM

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87 PAUL DELVAUX THE BREAK OF DAY 1937

OIL ON CANVAS 1 20 X 1 50.7cm PEGGY GUGGENHEIM COLLECTION ALBERTO GIACOMETTI DIEGO 1953 OIL ON CANVAS 100.5 x 80.5cm SOLOMON R. GUGGENHEIM MUSEUM

89 JOAN MIRO PAINTING 1925

OIL ON CANVAS I 14.5 x 145.7cm PEGGY GUGGENHEIM COLLECTION

90 JOAN MIRO LANDSCAPE THE HARE) 1927 OIL ON CANVAS 129.6 x 194.6cm SOLOMON R. GUGGENHEIM MUSEUM

91 ANDRE MASSON ARMOR 1925 OIL ON CANVAS 80.6 x 54cm PEGGY GUGGENHEIM COLLECTION

92 MATTA THE UN-NOMINATOR RENOMINATED 1953

OIL ON CANVAS 1 20.4 x 1 75cm PEGGY GUGGENHEIM COLLECTION

93 JEANDUBUFFET MISS CHOLERA 1946 MIXED MEDIA ON CANVAS 54.6 x 45.7cm GIFT, KATHERINE KUH, 1972 SOLOMON R. GUGGENHEIM MUSEUM

94 1

JEAN DUBUFFET

FLESHY FACE WITH CHESTNUT HAIR (HEAD OF A WOMAN) 1 95 OIL-BASED MIXED MEDIA ON CANVAS 64.9 x 54cm PEGGY GUGGENHEIM COLLECTION

95 JEAN DUBUFFET DOOR WITH COUCH GRASS 1957 OIL ON CANVAS WITH ASSEMBLAGE 189.2 x 146cm

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FRANCIS BACON THREE STUDIES FOR A CRUCIFIXION 1962 OIL WITH SAND ON CANVAS. THREE PANELS EACH 198.2 x 144.8cm SOLOMON R. GUGGENHEIM MUSEUM

97 ARSHILE GORKY PAINTING 1944 OIL ON CANVAS 167 x 178.2cm PEGGY GUGGENHEIM COLLECTION

98 CLYFFORD STILL JAMAIS 1944

OIL ON CANVAS 165.9 x 8 1. 8cm PEGGY GUGGENHEIM COLLECTION

99 JACKSON POLLOCK ENCHANTED FOREST 1947

OIL ON CANVAS 2 1 3 x 116.3cm PEGGY GUGGENHEIM COLLECTION

100

4,

Pablo Picasso 11-1973 - 1882-1963 1 Georges Braque Fernand Leger 88 1 1 955

Pablo Ruiz Picasso was born on October 25, Georges Braque was born in Argenteuil-sur- Fernand Leger was 4, 1 born February 88 1

1 , in 88 1 at Malaga Andalusia, Spain. The son Seine on May 13,1 882. He grew up in Le at Argentan in Normandy. After being

of an academic painter, Jose Ruiz Blanco, he Havre and studied evenings at the Ecole des apprenticed with an architect in Caen from

began to draw at an early age. In 1 895 the Beaux-Arts there from about 1 897 to 1899. 1 897 to 1 899, Leger settled in Paris in 1 900

family moved to Barcelona, and Picasso He left for Paris to study under a master- and supported himself as an architectural

studied there at La Lonja, the academy of fine decorator to receive his craftsman certificate draftsman. He was refused entrance to the

arts. His association with the group at the cafe in 1 90 1 . From 1 902 to 1 904 he painted at the Ecole des Beaux-Arts, but nevertheless

Els Quatre Gats in Barcelona from 1 898 and Academie Humbert in Paris where he met attended classes there; he also studied at

1 his visit to Horta de Ebro of 898-99 were Marie Laurencin and Picabia. By 1 906 the Academie Julian. Leger's earliest known

crucial to his early artistic development. Braque's work was no longer Impressionist works, which date from 1905, were primarily

In 1 900 Picasso's first exhibition took place in but Fauve in style; he showed his Fauve influenced by Impressionism. The experience

Barcelona, and that autumn he went to Paris work the following year in the Salon des of seeing the Cezanne retrospective at the

for the first of several stays during the early Independants in Paris. His first one-man show Salon d'Automne in 1 907 and his contact with

years of the century. Picasso settled in Pans as at D-H. Kahnweiler's gallery in 1 908. From the early Cubism of Picasso and Braque had

in April 1 904 and soon his circle of friends 1 909 Picasso and Braque worked together in an extremely significant impact on the

included Max Jacob, Guillaume Apollinaire, developing Cubism; by 191 I their styles were development of his personal style. In 1 9 1 he

Gertrude and Leo Stein as well as two extremely similar. In 1912 they started to exhibited with Braque and Picasso at D-H.

dealers, Ambroise Vollard and Berthe Weill. incorporate collage elements into their Kahnweiler's gallery, where he was given a

painting and experiment with the papier colle one-man show in 191 2. From 1 9 1 I to 1 9 1 His style developed from the Blue Period (pasted paper) technique. Their artistic Leger's work became increasingly abstract,

( 1 90 1 to 1 904) to the Rose Period ( 1 905) to collaboration lasted until 1914. Braque was and he started to limit his colour to the the pivotal work, Les Demoiselles d'Avignon wounded during World War I; upon his primaries and black and white at this time.

( 1 907), and the subsequent evolution of

recovery in 1 9 1 7 he began a close friendship

Cubism from 1 909 into 1911. Picasso's His 'mechanical' period, in which figures with Gris. collaboration on ballet and theatrical and objects are characterized by tubular,

productions began in 1916. Soon thereafter After World War I his work became freer machine-like forms, began in 1917. During the

his work was characterized by neoclassicism and less schematic. His fame grew in 1 922 early 1 920s he collaborated with the writer and a renewed interest in drawing and figural as a result of a major exhibition at the Salon Blaise Cendrars on films and designed sets

representation. From 1 925 into the 1930s d'Automne in Paris. In the mid-twenties and costumes for Rolf de Mare's Ballet

Picasso was involved to a certain degree with Braque designed the decor for two Sergei Sue'do/s; in 1 923-24 he made his first film

the Surrealists and from the autumn of 1 93 I Diaghilev ballets. By the end of the decade without a plot, 8o//et me'canique. Leger he was especially interested in making he had returned to a more realistic opened an atelier with Amedee Ozenfant

sculpture. With the large exhibitions at interpretation of nature, although certain in 1 924 and in 1 925, at the Exposition the Galenes Georges Petit in Paris and the aspects of Cubism always remained present Internationale des Arts De'coratifs, presented

Kunsthaus Zurich in 1 932 and the publication in his work. In 1 93 I Braque made his first his first murals at Le Corbusier's Pavilion

of the first volume of Zervos' catalogue engraved plasters and began to portray de I'Esprit Nouveau. In 1 93 I he visited the raisonne the same year, Picasso's fame mythological subjects. His first important United States for the first time; in 1 935 The increased markedly. retrospective took place in 1933 at the Museum of Modern Art, New York, and The

Kunsthalle Basel. He won First Prize at the Art Institute of Chicago presented exhibitions

By 1 936 the Spanish Civil War had a profound Carnegie International in Pittsburgh in 1937. of his work. Leger lived in the United States effect on Picasso, the expression of which

from 1 940 to 1 945 but returned to France culminated in his painting Guernica, 1 937. He During World War II Braque remained in after the war. In the decade before his death was also deeply moved by World War II and Paris. Still lifes and interiors, became more Leger's wide-ranging projects included book stayed primarily in Paris during those years. sombre. Braque also made lithographs, illustrations, monumental figure paintings and Picasso's association with the Communist engravings and sculpture. From the late 1940s murals, stained-glass windows, mosaics, party began in 1944. From the late 1940s he Braque treated various recurring themes such polychrome ceramic sculptures and set and lived in the south of France at Vallauris, Cannes as birds, ateliers, landscapes and seascapes.

costume designs. In 1 955 he won the Grand and then Vauvenargues. In 1961 the artist In 1953 he designed stained glass windows Prize at the Sao Paulo Bienal. Leger died married Jacqueline Roque and they moved to for the church of Varengeville. Ill health August 17, 1955, at his home at Gif-sur- Mougms. Picasso died on April 8, 1973. prevented him from undertaking further Yvette, France. large-scale commissions but he continued to paint, make lithographs and design jewellery.

He died in Pans on August 31,1 963. 102 JuanGris 1887-1927 Albert Gleizes 1881-1953 Jean Metzinger 1883- 1956

Juan Gns was born Jose Victonano Carmelo Albert Gleizes was born in Pans on Jean Metzinger was born in Nantes, France,

in 1 1 . Carlos Gonzalez-Perez Madrid on March December 8, 88 He worked in his on June 24, 1 883. At the age of twenty he

23, 1 887. He studied mechanical drawing at father's fabric design studio after completing moved to Pans to pursue a career as a the Escuela de Artes y Manufacturas in secondary school. While serving in the army painter. One of his early friends in Pans was

1 1 from 1901 Gleizes Madrid from 902 to 904, during which time to 1905, began to paint Robert Delaunay. About 1 908 he met the he contributed drawings to local periodicals. seriously. He exhibited for the first time at writer Max Jacob, who introduced him to

From 1 904 to 1 905 he studied painting with the Societe Nationale des Beaux-Arts, Pans, Guillaume Apollinaire and his circle, which the academic artist Jose Maria Carbonero. in 1902 and participated in the Salon inlcuded Braque and Picasso. Picasso was to

In 1 906 he moved to Pans, where he lived for d'Automnem 1 903 and 1904. have a significant influence on Metzinger from

of his life. the of His friends 1 most remainder this time to about 1923. In 9 1 Metzinger With several friends, including the writer in Pans included Picasso, Braque, Leger and exhibited for the first time at the Salon des Rene Arcos, Gleizes founded the Abbaye the writers Max Jacob, Guillaume Apollinaire Independants. In 1910 and 1911 he published

de Creteil outside Pans in 1 906. This Utopian and Maurice Raynal. Although he continued several articles on contemporary painting and community of artists and writers scorned to submit humorous illustrations to journals afterwards periodically contributed to the bourgeois society and sought to create a non- such as L'Assiette au Beurre. Le Charivari and literature on modern art. Metzinger was the allegorical, epic art based on modern themes. Le Cn de Pans, Gris began to paint seriously first to note in print that Picasso and Braque The Abbaye closed due to financial difficulties in 1 9 1 0. By 1 9 1 2 he had developed a personal had dismissed traditional perspective and m 1 908. In 1 909 and 1910 Gleizes met Henri Cubist style. merged multiple views of an object in a single Le Fauconnier, Leger, Robert Delaunay and image; his article on this subject appeared in

He exhibited for the first time in 1 9 1 2; at the Metzinger. In 1 9 1 he exhibited at the Salon Pan in 1910. Salon des Independants in Paris, the Galeries des Independants, Pans, and the Jack of

Dalmau in Barcelona, the gallery of Der Diamonds in Moscow; the following year In 1911, with Robert Delaunay. Gleizes and

Sturm in Berlin, the Salon de la Societe he wrote the first of many articles. In Leger. Metzinger participated in the

Normande de Pemture Moderne in Rouen collaboration with Metzinger, Gleizes wrote controversial Salle 4 1 at the Salon des

' and the Salon de la Section d'Or in Paris. Du Cubisme, published in 1912. The same Independants. the first formal group That same year D-H. Kahnweiler signed Gns year Gleizes helped found the Section d'Or. exhibition of Cubist painters. His work was to a contract which gave him exclusive rights represented at the Salon d'Automne in Pans In 1914 Gleizes again saw military service. to the artist's work. Gns became a good that same year. Metzinger collaborated with His paintings had become abstract by 1915. friend of Matisse in 1914. After Kahnweiler 1 Gleizes in 9 1 2 on Du Cubisme. m which a Travels to New York, Barcelona and fled Pans at the outbreak of World War I, theoretical foundation for Cubism was Bermuda during the next four years Gns signed a contract with Leonce Rosenberg proposed. During that year he was a founder influenced his stylistic evolution. His first one- in 1916. His first major one-man show was of the Sect/on d'Or. In 1913 Metzinger s work man show was held at the Galeries Dalmau, held at Rosenberg's Galene I'Effort Moderne was again shown at the Salon d'Automne, Barcelona, in 1916. Beginning in 1918 Gleizes in Paris in 1919. The following year Kahnweiler and he continued to exhibit in the principal became deeply involved in a search for returned and once again became Gns's salons of Pans thereafter. This same year he spiritual values; his religious concerns were dealer. took part in an exhibition at the gallery of

reflected in his painting and writing. In 1 927 Der Sturm m Berlin and shared a show at the In 1 922 the painter began commissions for he founded Moly-Sabata, another Utopian Galene Berthe Weill in Pans with Gleizes and sets and costumes for Sergei Diaghilev. Gris community of artists and craftsmen, in Leger. In 1916 Metzinger showed with articulated most of his aesthetic theories Sablons. His book. La Forme et I'histoire. Duchamp, Gleizes and Jean Crotti at the during 1924 and 1925. He delivered his examines Romanesque, Celtic and Oriental Montross Gallery in New York. After army definitive lecture, 'Des Possibilites de la art. In the thirties Gleizes participated in the

service during World War I Metzinger peinture.' at the Sorbonne in 1924. Major Abstraction -Creation group. Later in his career

returned in 1 9 1 9 to Pans, where he lived for Gns exhibitions took place at the Galerie Gleizes executed several large commissions the remainder of his life. Among his one-man Simon in Pans and the Galene Flechtheim in including the murals for the Pans Exposition exhibitions were those at the Leicester Berlin in 1923 and at the Galene Flechtheim des Arts of 1 937. In 1 947 a major Gleizes

Galleries m London n 1 930. the Hanover in Dusseldorf in 1 925. As his health declined. retrospective took place in Lyon at the

Gallery in London m 1 932 and The Arts Club Gns made frequent visits to the Midi in the Chapelle du Lycee Ampere. Gleizes died

of Chicago m 1 953. The artist died in Pans on south of France. Gns died in Boulogne-sur- in Avignon on June 23. 1953. November 3. 1956. Seine on May I 1 . 1 927. at age forty.

103 . .

Louis Marcoussis 1878-1941 Robert Delaunay 1 885-1941 Marcel Duchamp 1887-1968

Louis Marcoussis was born Ludwig Casimir Robert-Victor-Felix Delaunay was born Henri-Robert-Marcel Duchamp was born July

1 in In Ladislas Markus in Warsaw, on November 4, Pans on April 12, 1885. 1902, after 28, 1887, nearBlainville, France. In 1 904 he

1878. In 1901 he entered the Academy of secondary education, he apprenticed in a joined his artist brothers, Jacques Villon and

Fine Arts of Cracow to study painting with studio for theatre sets in Belleville. In 1903 he Raymond Duchamp-Villon, in Paris, where he

Jan Grzegorz Stanislawski. In 1903 Markus started painting and by 1 904 was exhibiting; studied paintings at the Academie Julian until

moved to Pans, where he worked briefly that year and in 1 906 at the Salon d'Automne 1 905. Duchamp's early works were Post-

under Jules Lefebvre at the Academie Julian and from 1 904 until World War I at the Salon Impressionist in style. He exhibited for the

and became a friend of La Fresnaye and des Independants. Between 1 905 and 1907 first time in 1 909 at the Salon d'Automne

Robert Lotiron. He exhibited for the first Delaunay became friendly with Rousseau in Paris. His paintings of 191 I were directly

time at the Salon d'Automne in 1905 and at and Jean Metzinger and studied the colour related to Cubism but emphasized successive

Chevreul; 1 the Salon des Independants in 1906, and was theories of M-E. he was then images of a single body in motion. In 9 1 2 he

often represented in both salons in later years. painting in a Neo-lmpressionist manner. painted the definitive version of Nude

Cezanne's work also influenced Delaunay Descending a Staircase; this was shown at the In Paris he made a living by selling caricatures around this time. Upon return to Paris he Salon de la Section d'Or of that same year to satirical periodicals, including La Vie had contact with the Cubists, who in turn and subsequently created great controversy pansienne and Le Journal. He frequented the

influenced his work. 1 909- 1 saw the at the Armory Show in New York in 1913. cafes, such as the Rotonde, Cirque Medrano emergence of Delaunay's personal style: he The Futurist show at Galerie Bernheim-Jeune, and the Ermitage, where he met Edgar Degas

painted his first Eiffel Tower in 1 909. In 1 9 1 Paris, in 1912 impressed him profoundly.

about 1 906 and Braque, Picasso and Delaunay married the painter Sonia Terk,

Apollmaire in 1 9 1 0. In 1 907 Markus Duchamp's radical and iconoclastic ideas who became his collaborator on many abandoned painting; when he began to paint predated the founding of the Dada projects.

again in 1 9 1 0, he discarded his earlier movement in Zurich in 1 9 1 6. By 1 9 1 3 he had

Impressionist style to adopt the new Cubist Delaunay's participation in exhibitions in abandoned traditional painting and drawing

f idiom. About 191 I , at the suggestion o Germany and association with advanced for various experimental forms including

Apollmaire, he began calling himself artists working there began in 191 I ; that mechanical drawings, studies and notations

Marcoussis, the name of a village near year Kandinsky invited him to participate in that would be incorporated in a major work,

Monthery. In 1912 the artist participated in the first Blaue Reiter (Blue Rider) exhibition in The Bride Stripped Bare by Her Bachelors, Even

the Salon de la Section d'Or at the Galerie Munich. At this time he became friendly with of 1 9 1 5-23. In 1914 Duchamp introduced his

de la Boetie in Paris. By this time his circle Guillaume Apollinaire, Le Fauconnier and Readymades — common objects, sometimes

included Gris, Leger, Picabia, Metzinger and Gleizes. In 1912 Delaunay's first one-man altered, presented as works of art — which Max Jacob. show took place at the Galerie Barbazanges, had a revolutionary impact upon many

Paris, and he began his Window pictures. painters and sculptors. In 1915 Duchamp Marcoussis exhibited in 1921 at the gallery of Inspired by the lyricism of colour of the came to New York meeting Katherine Dreier Der Sturm in Berlin with Gleizes, Villon and Windows, Apollinaire invented the term and Man Ray, with whom he founded the others. He was given his first one-man show 'Orphism' or 'Orphic Cubism' to describe Societe Anonyme, as well as Louise and at Galerie Pierre, Paris, in 1925. This was Delaunay's work. In 1913 Delaunay painted Walter Arensberg, Picabia and other avant-

followed by solo exhibitions in 1 928 at the his Circular Form or Disc pictures. garde figures. Galerie Le Centaure in Brussels, a city he

visited on that occasion and at the Galerie From 1 9 1 4 to 1 920 Delaunay lived in Spain Duchamp returned to France in the summer

Georges Bernheim in Paris in 1929. In 1930 and Portugal and became friends with Sergei of 1919 and associated with the Dada group

the artist made the first of many trips to Diaghilev, Igor Stravinsky, Diego Rivera and in Paris. In New York in 1 920 he made his first England and met Helena Rubinstein, who Leonide Massine. He did the decor for the motor-driven constructions and invented

1 became his supporter. In 934-35 he stayed Bo//ets Russes in 1 9 1 8. By 1 920 he had Rrose Selavy, his feminine alter-ego.

for several months in the United States, returned to Pans. Here, in 1922, a major Duchamp moved back to Paris in 1923 and

where one-man shows of his prints opened. exhibition of his work was held at Galerie continued his artistic experiments. From

In 1 940, as the German army advanced, Paul Guillaume, and he began his second Eiffel the mid- 1 930s he collaborated with the

Marcoussis left Paris for Cusset, near Vichy, Tower series. In 1937 he completed murals Surrealists and participated in their exhibitions.

where he died on October 22, 1 94 1 for the Palais des Chemins de Fer and Palais Duchamp settled permanently in New York

de I' Air at the Paris World's Fair. Delaunay in 1 942 and became a United States citizen

died in Montpellier on October 25, 1 94 1 in 1 955. Duchamp directly influenced a generation of young Americans. He died

in Paris in 1968.

104 .

Giacomo Balla 1871-1958 Henri Matisse 1 869-1 954 Francis Picabia 879-1953

Giacomo Balla was born in Turin on July 1 8, Henn-Emile-Benoit Matisse was born Francois Mane Martinez Picabia was born

1 87 1 . In 1 89 1 he studied briefly at the on December 31.1 869. in Le Cateau- on or about January 22. 1 879. in Pans, of a

Accademia Albertma di Belle Arti and the Cambresis, France. He grew up at Boham-en- Spanish father and French mother. He was

Liceo Artistico in Turin and exhibited for Vermandois and studied law in Pans from enrolled at the Ecole des Arts Decoratifs in

the first time under the aegis of the Societd 1 887 to 1 889. By 1 89 1 he had abandoned law Pans from 1 895 to 1 897 and later studied

Promotnce di Belle Art/ in that city. In 1 895 and started to paint. In Pans Matisse studied with Albert Charles Wallet, Ferdinand Balla moved to Rome, where he worked for art briefly at the Academie Julian and then at Humbert and Fernand Cormon. He began to several years as an illustrator, caricaturist and the Ecole des Beaux-Arts with Gustave paint m an Impressionist manner in the winter portrait painter. In 1900 Balla spent seven Moreau. of 1902-3 and started to exhibit works in this months in Paris assisting the illustrator style at the Salon d'Automne and the Salon

In 1 90 1 Matisse exhibited at the Salon des

Serafino Macchiati. About 1903 he began des Independants of 1 903. His first one-man Independants in Pans and met the other to instruct Severmi and Boccioni in divisionist show was held at the Galene Haussmann. future leaders of the Fauve movement. painting techniques. In 1 903 his work was Pans, m 1905. From 1 908 elements of Maurice de Vlaminck and Andre Derain. His exhibited at the Esposizione Internazionale Fauvism, Neo-lmpressiomsm, Cubism and first one-man show took place at the Galene d'Arte delta Gttd di Venezia and m 1 903 other forms of abstraction appeared in his

Vollard in 1 904. Both Leo and Gertrude Stein and 1 904 at the Glaspalast in Munich. painting, and by 1 9 1 2 he had evolved a as well as Etta and Clanbel Cone began to personal amalgam of Cubism and Fauvism. Balla signed the second Futurist painting collect Matisse's work at this time. Like Picabia produced his first purely abstract in manifesto of 1 910 with Boccioni. Severmi, many avant-garde artists Pans. Matisse was work in 1912. Carlo Carra and Luigi Russolo. although receptive to a broad range of influences; he did not exhibit with the group until 1913. he was one of the first painters to take an Picabia became friends with Duchamp and

In 1 9 1 2 he travelled to London and to interest in primitive art. Matisse abandoned Guillaume Apollmaire and associated with the

Dusseldorf. where he began painting the palette of the Impressionists and Puteaux group in 191 1-12. He participated in his abstract light studies. In 1913 Balla established his characteristic style with its the 1913 Armory Show, visiting New York on participated in the Erster Deutscner flat, brilliant colour and fluid line. His subjects this occasion and frequenting avant-garde

Herbstso/on at the gailery of Der Sturm were mainly women, interiors and still lifes. circles. Alfred Stieglitz gave him a one-man '29 1 in Berlin and in an exhibition at the exhibition at his gallery ' this same year.

From the early twenties until 1 939 Matisse Rotterdamsche Kunstknng in Rotterdam. In 1915. which marked the beginning of divided his time primarily between the south

In 1 9 1 4 he experimented with sculpture Picabia's machinist or mechanomorphic of France and Pans. During this period he for the first time and showed it in the Prima period, he and Duchamp, among others, worked on painting, sculpture, lithographs Esposizione Libera Futunsta at the Gallena instigated and participated in Dada and etchings as well as murals for The Barnes Sprovien, Rome. He also designed and manifestations in New York. Picabia lived in Foundation in Pennsylvania, designs for painted Futurist furniture and designed Barcelona in 1916-17: m 1 9 1 7 he published his tapestries and for the costumes and sets for Futurist 'anti-neutral' clothing. With first volume of poetry and the first issues of Leonide Massme's ballet, Rouge et Noir (Red

Fortunato Depero, Balla wrote the manifesto 391 . his magazine modelled after Stieghtz's and Black). While recuperating from two

Ricostruzione futunsta dell'universo in 1915. periodical 29/ . For the next few years Picabia major operations m 1941 and 1942. Matisse His first solo exhibitions were held that same remained involved with the Dadaists in concentrated on a technique he had devised year at the Societd italiono lampade eletnche Zurich and Pans, creating scandals at the earlier, papiers de'coupe's (paper cutouts). Z' and at the Sala d'Arte A. Angelelli in Salon d'Automne. but finally denounced jazz, written and illustrated by Matisse,

Rome. His work was also shown in 1 9 1 5 at Dada in 1 92 1 for no longer being 'ne was published in 1947. The plates are stencil

• the Panama-Pacific International Exposition in Moved outside Pans and painted figurati . reproductions of paper cutouts. In 1948

San Francisco. In 1 9 1 8 he was given a one- he began the design and decoration of the During the thirties he became dose friends man show at the Casa d'Arte Bragagha in Chapelle du Rosaire at Vence. which was with Gertrude Stem. By the end of World Rome Balla continued to exhibit in Europe completed and consecrated in 1 95 1 War II Picabia returned to Pans. He resumed and the United States and m 1 935 was made

He died m Nice on November 3. 1 954. painting m an abstract style an>- a member of the Accademia di San Luca m poetry, and m March 1949 a retrospective of

Rome. He died on March 1 . 1958. in Rome. his work was held at the Galene Rene D' m Pans. Picabia died on November

105 .

Amedeo Modigliani 1 884 1 920 Ernst Ludwig Kirchner 1880-1938 Vasily Kandinsky 1866-1944

Amedeo Modigliani was born Juiy 12, 1884, Ernst Ludwig Kirchner was born on May 6, Vasily Kandinsky was born on December 4,

in 1 in Leghorn, Italy. The serious illnesses he 1880, Aschaffenburg, Germany. After 866, in Moscow. From 1 886 to 1 892 he suffered during his childhood persisted years of travel his family settled in Chemnitz studied law and economics at the University throughout his life. At age fourteen he began in 1890. From 1901 to 1905 he studied of Moscow, where he later lectured. Studied

to study painting. He first experimented with architecture at the Dresden Technische art in Munich with Anton Azbe from 1 897 to

sculpture during the summer of 1 902 and the Hochschule and pictorial art in Munich at 1899. From 1901 to 1903 Kandinsky taught at following year attended the Istituto di Belle the Kunsthochschule and an experimental art the art school of the Phalanx, a group he had

Arti m Venice. Early in 1906 Modigliani went school established by Wilhelm von Debschitz co-founded in Munich. One of his students to Paris where he settled in Montmartre and and Hermann Obrist. While in Munich he was Gabnele Munter. In 1902 Kandinsky attended the Academie Colarossi. His early produced his first woodcuts; the graphic exhibited for the first time with the Berlin work was influenced by Toulouse-Lautrec, arts were to become as important to him as Secession and produced his first woodcuts. Theophile-Alexandre Stemlen, Gauguin and painting. At this time he was drawn to Neo- He showed frequently at the Salon

in Cezanne. In the autumn of 1 907 he met his Impressionism as well as to the old masters. d' Automne Paris from 1904. He first patron, Dr. Paul Alexandre, who travelled to Russia and elsewhere. In 1 905 the Brucke (Bridge) was founded purchased works from him before World in Dresden by Kirchner, Fritz Bleyl, Karl In 1909 Kandinsky was elected president of

War I. Modigliani exhibited in the Salon Schmidt-Rottluff and Erich Heckel; the group the newly founded Neue Kunst/ervere/n/gung d' Automne in 1 907 and 1912 and in the Salon was later joined by Cuno Amiet, Max Munchen (NKVM). Their first show took place des Independants in 1 908, 1 9 1 and 1 9 1 I Pechstein, Emil Nolde and Otto Muller. From at the Moderne Galerie (Thannhauser) in

In 1909 Modigliani met Constantin Brancusi 1 905 to 1910 Dresden hosted exhibitions of Munich in 1909. In 1911 Kandinsky and Franz when both artists lived in Montparnasse. Post-Impressionists, including van Gogh, as Marc withdrew. The first Blaue Reiter

From 1 909 to 1915 the Italian concentrated well as shows of Edvard Munch, Gustav Klimt exhibition was held in December at the on sculpture but he also drew and painted to and the Fauves, which deeply impressed Moderne Galerie. He published Uber das a certain extent. However, the majority of Kirchner. Other important influences were Geistige in der Kunst in 1911, and in 1912

1 prints, the Ajanta his paintings date from 9 1 6 to 1919. Japanese wall-paintings and Der Blaue Reiter almanac appeared.

Modigliani's circle of friends first consisted African and Oceanic art. Kirchner moved to Kandmsky's first one-man show was held of Max Jacob, Jacques Lipchitz and the Berlin with the Brucke group in 1911. The at the gallery of Der Sturm in Berlin in 1912.

Portuguese sculptor Amedeo de Suza following year Marc included works by Brucke In 1913 one of his works was included in the

Cardoso and later included Chaim Soutine, artists in the second show of the Blaue Reiter Armory Show in New York and the Erster

Maurice Utrillo, Jules Pascin, Foujita, (Blue Rider) in Munich, thus providing a link deutscher Herbstsalon in Berlin. Except for

Mol'se Kisling and the Sitwells. His dealers between the two groups. visits to Scandinavia, Kandinsky lived in Russia

1 1 1 1 1 1 1 from 9 4 principally in were Paul Guillaume ( 9 4 to 9 6) and to 92 1 , Moscow During World War I Kirchner was discharged Leopold Zborowski (by 1917). The only where he held a position at the People's from the army because of a nervous and one-man show given by the artist during Commissariat of Education. physical collapse. He was treated at the his lifetime took place at the Galerie Berthe sanatorium of Dr. Kohnstamm in Konigstein Kandinsky began teaching at the Bauhaus in Weill in December 1917.

near Frankfurt, where he completed five Weimar in 1 922. In 1 923 he was given his first

In March 1917 Modigliani met Jeanne wall frescoes in 1916. The artist was severely one-man show in New York by the Societe

Hebuterne who became his companion injured when struck by an automobile in Anonyme, of which he became vice- and model, From March or April 1918 until 1917; the next year, during his long period of president. With Klee, Femmger and Alexej

May 31, 1919, they lived in the south of recuperation, he settled in Frauenkirch near Jawlensky he was part of the Blaue Vier (Blue

France, in both Nice and Cagnes. Modigliani Davos, Switzerland, where he hoped to form Four) group, formed in 1 924. He moved with

died in Pans on January 24, 1920. a progressive artistic community. Although his the Bauhaus to Dessau in 1 925 and moved to

plans did not materialize, many young artists, Neuilly-sur-Seme near Paris after the closure

particularly those of the Basel-based Rot-Blau of the Bauhaus in 1933. Kandinsky died on

group, sought him out during the twenties for December 13, 1944, in Neuilly.

guidance. His inclusion in the 1937 Nazi- sponsored show of Entartete Kunst

(degenerate art) in Munich caused him further

distress. Kirchner died by his own hand on

June 15, 1938.

106 2

Paul 1 879-1 Franz Marc 1 880-1916 Lyonel Feininger I87I-I9S6 Klee 940

Franz Marc was born on February 8. 1880. Charles Leonell Feminger was born in New Paul Klee was born on December 18. 1879,

in Munich. The son of a landscape painter, York on July 17. 1 87 1 . At age sixteen he m Miinchenbuchsee. Switzerland, into a he decided to become an artist after a year travelled to Germany where he studied family of musicians. His childhood love of of military service interrupted his plans to drawing at the Kunstgewerbeschule in music was always to remain profoundly

in 1 his life study philology. From 1 900 to 902 he Hamburg. In 1 888 he was admitted to the important and work. From 1898 studied at the Akademie in Munich with Kunstakademie in Berlin, where he attended to 1901 Klee studied in Munich, first with

Gabriel von Hackl and Wilhelm von Diez. intermittently until 1892. As early as 1889 Heinnch Knirr, then at the Akademie under

The following year, during a visit to France, Feinmger's drawings were illustrated in Franz von Stuck. Upon completing his he was introduced to Japanese woodcuts Berlin's humorous weeklies, and by the late schooling, he travelled to Italy; this was the and the work of the Impressionists in Paris. nineties he had become Germany's leading first in a series of trips abroad that nourished

political cartoonist. In the winter of 1903-4 his visual sensibilities. He settled in Bern in Marc suffered from severe depressions

his drawings were exhibited in the Berlin 1 902. A series of his satirical etchings was from 1 904 to 1 907. the year his father died. Secession. exhibited at the Munich Secession in 1906. In 1907 Marc went again to Pans, where Here he gained exposure to modern art; he he responded enthusiastically to the work In 1 906 Feininger moved from Berlin to saw the work of Ensor. Cezanne, van Gogh of van Gogh. Gauguin, the Cubists and the Paris, where he met Robert Delaunay. and Matisse. Klee's work was shown at the Expressionists; later he was impressed by the The following year he began to paint. In Paris Kunstmuseum Bern in 1910 and at Heinnch Matisse exhibition in Munich in 1910. During he admired the paintings of van Gogh and Thannhauser's Moderne Galerie in Munich this period he received steady income from Cezanne, and in London in 1908 was deeply in 191 I. the animal anatomy lessons he gave to artists. impressed by the work of Turner. From 1 908

to 1912 the artist resided in Zehlendorf , near Klee met Kandmsky, August Macke, Marc

In 1 9 1 his first ©ne-man show was held at Berlin. His paintings were first exhibited at Jawlensky and other avant-garde figures in the Kunsthandlung Brackl in Munich, and Marc

the 1910 Berlin Secession. In 1911 Feininger 191 I ; he participated in important shows of met August Macke and the collector Bernard was introduced to Cubism at the Salon des advanced art, including the second Blaue Koehler. He publicly defended the Neue Independants in Paris, where six of his own Reiter (Blue Rider) exhibition. 1912. and the Kunstlerveremigung Munchen (NKVM). and

paintings were on view. Feininger resettled ErsterdeutscherHerbstsalon. 1913. IN 1 91 was formally welcomed into the group early in Berlin for the war years. His first one-man he visited Pans for the second time, where he in 191 I . when he met Kandmsky. After show was held at the gallery of Der Sturm. saw the work of Picasso and Braque and met internal dissension split the NKVM, he and Berlin, in 1917. The following year he joined Robert Delaunay, whose essay 'On Light' he Kandmsky formed the B/oue Reiter (Blue the November-gruppe and met Walter translated. Colour became central to his art Rider), whose first exhibition took place in Gropius, with whom he travelled to Weimar only after a revelatory trip to North Africa in December 1911 at the Moderne Galerie

in 1 9 1 9 to serve on the faculty of the newly- 1914. (Thannhauser) in Munich. Marc invited founded Bauhaus. In 1921 Feininger, who was members of the Berlin Brucke group to In 1 920 a major Klee retrospective was held always interested in music, composed the first participate in the second Blaue Reiter show at the Galerie Hans Goltz, Munich, his of his thirteen fugues for the organ. Joined two months later at the Galerie Hans Goltz Schdpfer/sche Konfession (Creative Credo) was Blue Four 1924. in Munich. Der B/oue Reiter almanac was published and he was appointed to the faculty published with lead articles by Marc in May Feininger moved with the Bauhaus to Dessau of the Bauhaus. Klee taught at the Bauhaus in

1912. When World War I broke out in August in 1 925 but no longer was obligated to teach. Weimar from 1 92 1 to 1 926 and in Dessau

1914. 1 Marc immediately enlisted. He was In 1 929 his work was included in the first from 926 to 1931. During his tenure he was deeply troubled by Macke's death in action show of The Museum of Modern Art in New in close contact with other Bauhaus masters shortly thereafter; during the war he York, Paintings by Nineteen Living Americans. such as Kandmsky. Feminger and Laszlo produced his Sketchbook from the Field. His sixtieth birthday was observed with a Moholy-Nagy. Joined Blue Four. Held h^ I

Marc died at Verdun on March 4. 1916. retrospective at the Nationalgalene of Berlin exhibition in the United States at the Sooete

1 - in 1 93 1 . In 1 936 he taught a summer course Anonyme. New York, 92 ia|or

at Mills College in Oakland, California, and in show in Pans the following year at the G.=

1 937 he fled Germany to settle permanently Vavm-Raspail; and an exhibition at The

in New York. The following year he was Museum of Modern Art, New York. 1 930

commissioned to design murals for the New Taught at Dusseldorf Akademie 1931 . Forced

York World's Fair. Feininger died m New to leave by Nazis in 1933 and lived m Berne

York on January 13. 1956. Klee died on June 20. 1940. in Mura Locarno, Switz

107 1

Max Beckmann 1 884-1 950 Piet Mondrian 1 872 1944 Theo van Doesburg 1 883-1931

Max Beckmann was born in Leipzig on Piet Mondrian was born Pieter Cornells Christian Emil Marie Kupper, who adopted

February 1 2, 1 884. He began to study art Mondnaan, jr. on March 7, 1 872, in the pseudonym Theo van Doesburg, was

with Carl Frithjof Smith at Grossherzogliche Amersfoort, The Netherlands. He studied born in Utrecht, The Netherlands, on August

Kunstschule in Weimar in 1 900 and made his at the Rijksakademie van Beeldende Kunsten, 30, 1 883. His first exhibition of paintings was

first visit to Pans in 1 903-4. During this period Amsterdam, from 1 892 to 1897. Until 1908, held in 1 908 in The Hague. In his early teens

Beckmann began his lifelong practice of when he began to take annual trips to he wrote poetry and established himself as an

keeping a diary or Tagebuch. In the autumn Domburg in Zeeland, Mondrian's work art critic. From 1 9 1 4 to 1916 van Doesburg

of 1 904 he settled in Berlin. was naturalistic — incorporating successive served in the Dutch army, after which time

influences of academic landscape and still-life he settled in Leiden and began his In 1913 the artist's first one-man show took

painting, Dutch Impressionism and collaboration with the architects JJ P. Oud and place at the Galerie Paul Cassirer in Berlin. In

Symbolism. In 1 909 a major exhibition of Jan Wils. In 1917 they founded the group De

1 925 Beckmann's work was included in the his work (with that of C R H. Spoor and Jan Sty/ and the periodical of the same name; exhibition of Die Neue Sachlichkeit (New Sluyters) was held at the Stedelijk Museum, other original members were Mondrian, Objectivity) in Mannheim, and he was Amsterdam, and that same year he joined Vantongerloo, Bart Van der Leek and Vilmos appointed professor at the Stadelsches

the Theosophic Society. In 1 909- 1 he Huszar. Van Doesburg executed decorations Kunstmstitut in Frankfurt. His first show in the

experimented with Pointillism and by 191 I for Oud's De Vonk project in Noordwijkerhout United States place took at J B.Neumann's had begun to work in a Cubist mode. After in 1917.

New Art Circle in New York in 1 926. A large seeing original Cubist works by Braque and

retrospective of his work was held at the In 1 920 he resumed his writing, using the pen Picasso at the first Moderne Kunstknng

Kunsthalle Mannheim in 1928. From 1 929 to names J. K. Bonset and later Aldo Camim. Van

exhibition in 191 I in Amsterdam, Mondrian

1 932 he continued to teach in Frankfurt but Doesburg visited Berlin and Weimar in 1 92 decided to move to Paris. In Paris from 1912- spent time in Paris in the winters. It was and the following year taught at the Weimar

1 9 1 4 he began to develop an independent during these years that Beckmann began Bauhaus; here he associated with Mies van abstract style. to use the triptych format. When the Nazis der Rohe, Le Corbusier, Raoul Hausmann

came to power in 1 933, Beckmann lost his Mondrian was visiting The Netherlands when and Hans Richter. He was interested in Dada

teaching position and moved to Berlin. In World War I broke out and prevented his at this time and worked with Schwitters as

1 937 his work was included in the Nazis' return to Paris. During the war years in well as Arp, Tristan Tzara and others on the

exhibition of Entartete Kunst (degenerate art). Holland he further reduced his colours and review A/le'cano in 1 922.

The day after the show opened in Munich in geometric shapes and formulated his non- The Landesmuseum of Weimar presented a

July 1 937, the artist and his wife left Germany objective Neo-Plastic style. In 1917 Mondrian one-man show of van Doesburg's work in for Amsterdam, where they remained until became one of the founders of De Sty/. This

1 924. That same year he lectured on modern 1947. group, which included Theo van Doesburg literature in Prague, Vienna and Hannover, and Vantongerloo, extended its principles of Beckmann travelled to Paris and the south and the Bauhaus published his Grundbegnffe abstraction and simplification beyond painting

of France in 1 947 and later that year went der neuen gestaltenden Kunst (Principles of and sculpture to architecture and graphic and to the United States to teach at the School Neo-Plastic Art). A new phase of De Sty/ was industrial design. of Fine Arts at Washington University in declared by van Doesburg in his manifesto of

St. Louis. The first Beckmann retrospective World War II forced Mondrian to move to 'Elementarism,' published in 1926. During

in the United States took place in 1 948 at London in 1 938 and then to settle in New that year he collaborated with Arp and

the City Art Museum of St. Louis. The artist York in October 1940. In New York he joined Sophie Taeuber-Arp on the decoration of the

taught at the University of Colorado in the American Abstract Artists and continued to restaurant-cabaret L'Aubette in Strasbourg.

Boulder during the summer of 1 949 and that publish texts on Neo-Plasticism. His late style Also in that year he published the first issue of

autumn at the Brooklyn Museum School. He evolved significantly in response to the city. In Art Concret, the organ of the Paris-based

died on December 27, 1 950, in New York. 1 942 his first one-man show took place at the group of the same name. Van Doesburg was Valentine Dudensmg Gallery, New York. the moving force behind the formation of the

, 1 in Mondrian died on February 1 944, group Abstraction-Cre'ation in Paris. The artist

New York. died on March 7, 193 I , in Davos, Switzerland.

108 .

Friedrich Vordemberge- Georges Vantongerloo 1 886 -i 965 Kazimir Malevich 18781935

Gildewart 1 899- 1 962

Friedrich Vordemberge-GNdewart was Georges Vantongerloo was born on Kazimir Severmovich Malevich was born on born on November 17. 1899. in Osnabruck. November 24. 1886. in Antwerp. He studied February 26, 1878, near Kiev, Russia. He

Germany. At twenty he began his studies around 1 900 at the Academies des Beaux- studied at the Moscow Institute of Painting, in architecture and sculpture at the Arts of Antwerp and Brussels. He spent Sculpture and Architecture in 1903. During

his career 1 1 he 1 experimented Kunstgewerbeschule and the Technischen the years 9 4 to 9 1 8 in The Netherlands, the early years of

Hochschule m Hannover. In 1924 he founded where his work attracted the attention of with various modernist styles and participated the K group with Hans Nitzschke and became the Queen. While working on architectural in avant-garde exhibitions, such as those of, a member of De Stijl in Leiden and Der Sturm designs there, he met Mondnan. Van der the Moscow Artists' Association, which m Berlin. That same year Vordemberge- Leek and van Doesburg and collaborated included Kandmsky and Mikhail Lanonov,

GHdewart met Jean Arp and Theo van with them on the magazine De St///, which and the Jock of Diamonds of 1 9 1 in Moscow.

Doesburg in Hannover. In 1925 he moved to was founded in 1917. Soon after his return Malevich showed his neo-pnmitivist paintings

Paris participated in the exhibition 1 of peasants the exhibition Donkey's Tail in where he to Brussels in 9 1 8 he moved to Menton, at

I' Art d'aujourd'hui. 1 927 formed abstrakten France. In France he developed a close 1912. After this exhibition he broke with hannover group. friendship with the artist and architect Max Lanonov's group. In 1913, with composer

Bill, who was to organize many Vantongerloo Mikhail Matiushm and writer Alexei Vordemberge-Gildewart's first one-man for exhibitions. In 1 924 Vantongerloo published Kruchenykh. he drafted a manifesto show was held at the Galene Povolozky his pamphlet 'L'art et son avenir' in Antwerp. the First Futurist Congress. That same year in Pans in 1 929. At this time he executed Malevich designed the sets and costumes for a ceramic project for the refurbished city In 1928 the artist-architect-theorist moved the opera Victory over the Sun by Matiushm hospital of Osnabruck. In 1930 he associated from Menton to Pans; there, in 1 93 1 , he and Kruchenykh. He showed at the Salon with the group Cerc/e et Carre" (Circle and became vice-president of the artists des Independants in Pans in 1914. Square) which Michel Seuphor organized association Abstraction -Creation, a position

0. Exhibition in in Pans. The artist joined the Abstroct/on- he held until 1 937. His models of bridges At the 10 Last Futurist

in Cre'avon group m Paris in 1 932. In 1 937 and proposed airport were exhibited at the Petrograd 1915 Malevich introduced

his Vordemberge-Gildewart travelled to Musee des Arts Decoratifs in Pans in 1 930. nonobjective, geometric Suprematist

Switzerland and in 1 938 settled in In 1936 he participated in the exhibition paintings. In 1 9 1 9 he began to explore Amsterdam, eventually becoming a Dutch Cubism and Abstract Art at The Museum of the three-dimensional applications of citizen. His volume of poetry, millimeter und Modern Art in New York. His first one-man Suprematism in architectural models.

geraden, appeared in 1 940 and in ! 942 he show was held at the Galene de Bern in Pans Following the Bolshevik Revolution m 1917. founded Editions Duwaer in Amsterdam, in 1943. He shared an exhibition with Bill and Malevich and other advanced artists were which also published books by Arp and Antome Pevsner in 1949 at the Kunsthaus encouraged by the Soviet government and Kandmsky. Zurich. His seventy-fifth birthday was attained prominent administrative and

observed with a solo exhibition at the teaching positions in the arts. At the invitation In 1 949 the first monograph on Malevich teaching at the 1 Chagall, began Galene Suzanne Bollag in Zurich in 96 1 of Vordemberge-Gildewart was published, and The following year Bill organized a large Vitebsk Art Institute in 1 9 1 9; he soon became he participated in the exhibition Premiers

Vantongerloo retrospective for the its director. In 1 9 1 9-20 he was given a one- mailres de I' art abstrait at the Galene Maeght Marlborough New London Gallery in man show at the Sixteenth Stale Exhibition in in Pans. He designed window displays for the London. Shortly after Vantongerloo's death Moscow, which focused on Suprematism and De Bijenkorf department stores in on October 5, 1965, m Pans, the Museo other nonobjective styles. Malevich and his Amsterdam, The Hague and Rotterdam m Nacional de Bellas Artes m Buenos Aires students at Vitebsk formed the Supreme

1950. In 1 952 Vordemberge-Gildewart taught held a memorial exhibition of his work. group Unows at the Academie van beeldende Kunsten m Rotterdam. The following year he was In Germany he met Arp. Schwitters. Gabo awarded Second Prize at the Sao Paulo and Le Corbusier and visited the Bauhaus Bienal. He became head of the department where he met Walter Gropius. The Tretiakov of Visual Communication at the Hochschule Gallery m Moscow gave Malevich a one man fur Gestaltung in Ulm. Germany, in 1954. exhibition in 1 929. Because of his connections

Vordemberge-Gildewart died m Ulm on with German artists, he .-. 1 in 1 930

December 19. 1962. and many of his manuscripts were destn

. ich died m Leningrad on May 15. 193

109 Amedee Ozenfant 1886-1966 Josef Albers 1888-1976 Marc Chagall b. 1 887

1 in Amedee J. Ozenfant was born on April 5, Josef Albers was born March 19, 1888, Marc Chagall was born on July 7, 1 887, in the

1 886, in Samt-Quentin, Aisne, France. At age Bottrop, Germany. From 1905 to 1908 he Russian town of Vitebsk. From 1 906 to 1909

fourteen he began painting, and in 1 904 he studied to become a teacher in Buren and he studied in St. Petersburg at the Imperial attended the Ecole Municipale de Dessin then taught in Westphalian primary schools School for the Protection of the Arts and

Quentm-La Tour in Saint-Quentm. The from 1 908 to 1913. After attending the with Leon Bakst. In 1 9 1 he moved to Pans following year Ozenfant moved to Paris, Konigliche Kunstschule in Berlin from 1913 where he associated with Guillaume

where he entered an architecture studio. to 1 9 1 5, he was certified as an art teacher. Apollmaire and Robert Delaunay and

At this time he also studied painting with Albers studied art in Essen and Munich before encountered Fauvism and Cubism. He

Charles Cottet at the Academie de la Palette, entering the Bauhaus in Weimar in 1 920. participated in the Salon des Independants where he became a friend of La Fresnaye There he initially concentrated on glass and the Salon d' Automne in 1912. His first

and Dunoyer de Segonzac. painting and in 1 929, as a Bouhousgese//e one-man show was held in 1 9 1 4 at the gallery

(journeyman), he reorganized the glass of Der Sturm in Berlin. Ozenfant's first solo exhibition was held in workshop. When the Bauhaus moved to

1 908 at the Salon de la Societe Nationale des Chagall returned to Russia during the war, Dessau in 1925, he became a Bauhausmeister

Beaux-Arts in Paris. In 1 9 1 he contributed settling in Vitebsk, where he was appointed (professor). In addition to working in glass and works to the Salon d' Automne and in 191 I Commisar for Art. He founded the Vitebsk metal, he designed furniture and typography. he participated in the Salon des Independants. Academy and directed it until disagreements

From about 1 909 to 1 9 1 3 he made trips to After the Bauhaus was forced to close in with the Suprematists resulted in his

Russia, Italy, Belgium and The Netherlands 1 933, Albers emigrated to the United States. resignation in 1 920. He moved to Moscow and attended lectures at the College de That same year he became head of the art and executed his first stage designs for the

France in Paris. In 1915 Ozenfant founded the department at the newly established Black State Jewish Kamerny Theater there. After a magazine L'Elan, which he edited until 1917, Mountain College in Black Mountain, North sojourn in Berlin Chagall returned to Pans in

and began to formulate his theories of Carolina. Albers continued to teach at Black 1 923 and met Ambroise Vollard. His first

Purism. In 1917 the artist met the Swiss Mountain until 1 949. In 1 935 he took the first retrospective took place in 1 924 at the

architect and painter Charles - Edouard of many trips to Mexico, and in 1 936 was Galerie Barbazanges-Hodebert, Paris.

Jeanneret (Le Corbusier); together they given his first one-man show in New York at During the thirties he travelled to Palestine, articulated the doctrines of Purism in their B. Neumann's New Art Circle. He became The Netherlands, Spain, Poland and Italy. J

volume Apres le Cubisme. a United States citizen in 1 939. In 1 949 Albers In 1 933 the Kunsthalle Basel held a major

began his Homage to the Square series. retrospective of his work. Ozenfant participated in the second Purist exhibition at the Galerie Druet, Pans, in He lectured and taught at various colleges During World War II Chagall fled to the

1 92 1 . In 1 924 he and Leger opened a free and universities throughout the United States United States; The Museum of Modern Art,

studio in Paris where they taught with Marie and from 1 950 to 1 958 served as head of the New York, gave him a retrospective in 1 946.

Laurencm and Alexandra Exter. Ozenfant design department at Yale University. In He settled permanently in France in 1 948 and and Le Corbusier wrote La Peinture moderne addition to painting, printmaking and exhibited in Pans, Amsterdam and London.

in 1 925. During that year Ozenfant exhibited executing murals and architectural During 1 95 1 he visited Israel and executed his at the controversial Pavilion de I'Esprit commissions, Albers published poetry, first sculptures. The following year the artist

Nouveau at the Exposition des Arts De'coratifs articles and books on art. Thus, as a travelled in Greece and Italy. In 1 962 he in Paris. The artist was given a one-man show theoretician and teacher, he was an designed windows for the synagogue of the

at Galerie L C. Hodebert, Paris, in 1 928. His important influence on generations of young Hadassah Medical Center near Jerusalem and book Art was published in French in 1928. His artists. A major Albers exhibition, organized the cathedral at Metz. He designed a ceiling

one-man show at The Arts Club of Chicago by The Museum of Modern Art, New York, for the Opera in Pans in I 964 and murals for

was held in 1 940. Ozenfant taught and travelled throughout South America, Mexico the Metropolitan Opera House, New York,

lectured widely in the United States until and the United States from 1 965 to 1 967, in 1 965. An exhibition of the artist's work

1 1 held the 1 955, when he returned to France. He and a retrospective of his work was held at from 967 to 977 was at Musee remained there the rest of his life, and The Metropolitan Museum of Art, New National du Louvre, Pans, in 1977-78. Chagall

in died in Cannes on May 4, 1 966. York, in 1 97 1 . Albers lived in New Haven now lives and works St. Paul de Vence,

until his death on March 25, 1 976. France.

110 .

1 1 1886-1966 Giorgio de Chirico 888- 1 978 Max Ernst 891-1976 Jean Arp

1 1 Giorgio de Chirico was born to Italian parents Max Ernst was born on April 2, 89 1 Jean (Hans) Arp was born on September 6,

in Volos, Greece, on July 1 0, 1 888. In 1 900 he in Bruhl, Germany. He enrolled in the 1886. in Strasbourg, Alsace-Lorraine. In 1904.

began studies at the Athens Polytechnic University at Bonn in 1 909 to study after leaving the Ecole des Arts et Metiers in

Institute and attended evening classes in philosophy but soon abandoned this pursuit Strasbourg, he visited Pans and published his

drawing from the nude. About 1 906 he to concentrate on art. At this time he was poetry for the first time. From 1905 to 1907

moved to Munich, where he attended the interested in psychology and the art of the Arp studied at the Kunstschule of Weimar

Akademie der bildenden Kunste. At this time mentally ill, In 1911 Ernst became a friend and in 1908 went to Pans, where he attended

he became interested in the art of Arnold of Macke and joined the Rhemische the Academie Julian. In 1 909 he moved to

Bocklin and Max Klmger and the writings of Expression/sten group in Bonn. Ernst showed Switzerland and, in 1911, was a founder of

Fnednch Nietzsche and Arthur for the first time in 1 9 1 2 at the Galene the Moderner Bund group there. The

Schopenhauer. De Chirico moved to Milan Feldman in Cologne. At the Sonderbund following year he met Robert and Soma

in 1 909. to Florence in 1 9 1 and to Pans in exhibition of that year in Cologne he saw Delaunay in Pans and Kandmsky in Munich.

191 I . In Pans he was included in the Salon the work of van Gogh. Cezanne. Munch and Arp participated in the Erster Deutscher

1 1 d' Automne in 1912 and 1913 and in the Salon Picasso. In 9 1 3 he met Guillaume Apollmaire Herbstso/on in 9 1 3 at the gallery of Der

des Independants in 1913 and 1 9 1 4. As a and Robert Delaunay and travelled to Pans. Sturm in Berlin. After returning to Pans in

frequent visitor to Apollmaire's weekly Ernst participated that same year in the Erster 1 9 1 4, he became acquainted with Max Jacob,

1 gatherings, he met Brancusi. Andre Deram. Deutscher Herbstso/on. In 1 9 1 4 he met Arp. Picasso and Apollmaire. In 9 1 5 he moved to

Max Jacob and others. Because of the war, in who was to become a lifelong friend. Zurich where he executed collages and

1915, de Chirico returned to Italy, where he tapestries, often in collaboration with his Despite military service throughout World met Filippo de Pisis in 1916 and Carra in 1917; future wife Sophie Taeuber. War I, Ernst was able to continue painting and they formed the group that was later called

in 1 to exhibit Berlin at Der Sturm in 9 1 6. He Arp continued his involvement with Dada the Scuo/o Metafisica.

returned to Cologne in 1 9 1 8. In 1 92 1 Ernst after moving to Cologne in 1919, contributing

The artist moved to Rome in 1918, and exhibited for the first time in Pans, at the to Ernst's periodical Die Schammade and

was given his first solo exhibition at the Casa Galene Au Sans Pareil. He was involved in creating with him and Baargeld their

d' Arte Bragaglia in that city in the winter of Surrealist activities in the early twenties with collaborative collages or Fotogogos. 8- 1 9 1 1 9. In this period he was one of the Paul Eluard and Andre Breton. In 1925 Ernst In 1 922 he participated in the Kongress

leaders of the Gruppo Valon Plastic , with executed his first frottages; a series of der Konstructivisten in Weimar. Arp's work

whom he showed at the Nationalgalerie in frottages was published in his book Histoire appeared in the first exhibition of the

Berlin. From 1 920 to 1 924 he divided his time Naturelle in 1926. He collaborated with Miro Surrealist group at the Galene Pierre in Pans

between Rome and Florence. A one-man on designs for Sergei Diaghilev this same year. in 1 925. With Taeuber and van Doesburg he exhibition of de Chinco's work was held at undertook a commission to decorate the His first American show was held at the Julien

the Gallena Arte in Milan in 1 , cabaret L'Aubette in Strasbourg in 1926. 92 1 and he Levy Gallery, New York, in 1932. In 1936 participated in the Venice Biennale for the This same year he settled m Meudon, France. Ernst was represented m fontostic Art, Dada.

first time in 1 924. In 1 925 the artist returned Surrealism at The Museum of Modern Art in In 1 93 1 Arp associated with the Pans-based to Pans, where he exhibited that year at

New York. In 1 939 he was interned in France group Abstraction Cre'ation and the periodical Leonce Rosenberg's Galene I'Effort as an enemy alien. Two years later Ernst fled Transition. Throughout the 1 930s and until the Moderne. In Pans his work was shown at to the United States with Peggy Guggenheim, end of his life he continued to write and

Galene Paul Guillaume in 1 926 and 1 927 and

In 1 whom he married early in 1 942. After their publish poetry and essays. 942 he fled

at the Galene Jeanne Bucher in 1 927. In 1 928 divorce he married Dorothea Tanning and in Meudon for Zurich; he was to make Meudon he was given one-man shows at the Arthur 1953 resettled m France. Ernst received the his primary residence again in 1946. In 1954 Tooth Gallery in London and the Valentine Grand Prize for painting at the Venice Arp received the International Prize for Gallery in New York. The artist designed for Biennale in 1954 and in 1975. He died Sculpture at the Venice Biennale. A large the ballet and opera in subsequent years, and on April I. 1976. in Pans. retrospective of his work was held at The continued to exhibit m Europe, the United Museum of Modern Art in New York m 1958. States. Canada and Japan. De Chirico died on followed by another at the Musee National November 20, 1978. m Rome, his residence d Art Moderne in Pans in 1962 Arp died on for over thirty years. June 7. 1966. in Basel.

Ill Kurt Schwitters 1 887 1948 Salvador Dali b 1904 YvesTanguy 1900-1955

Herman Edward Karl Julius Schwitters Dali was born Salvador Felipe Jacinto Raymond Georges Yves Tanguy was born

was born in Hannover on June 20, 1 887. Dali y Domenech in the Catalonian town of on January 5, 1 900, in Paris. While attending

in I , He attended the Kunstgewerbeschule Figueras, Spain, on May 1 1904. In 1921 he lycee during the teens, he met Pierre Matisse,

Hannover from 1 908 to 1 909 and from enrolled in the Real Academia de Bellas Artes his future dealer and lifelong friend. In 1918

1 909 to 1914 studied at the Kunstakademie de San Fernando in Madrid, where he he joined the Merchant Marine and travelled

Dresden. After serving as a draftsman in the became a friend of the poet Federico Garcia to Africa, South America and England. During

military in 1917, Schwitters experiemented Lorca and Luis Bunuel. His first one-man military service at Luneville in 1 920, Tanguy

with Cubist and Expressionist styles. In 1918 show was held in 1 925 at the Galeries Dalmau became a friend of the poet Jacques Prevert.

he made his first collages and in 1919 invented in Barcelona. In 1 926 Dali was expelled from He returned to Paris in 1 922 after volunteer

the term 'Merz', which he was to apply to all the Academia and the following year he service in Tunis and began sketching cafe his creative activities: poetry as well as collage visited Paris and met Picasso. He collaborated scenes that were praised by Maurice de

and constructions. This year also marked the with Bunuel on the film Un Chien Andalou in Vlaminck. After Tanguy saw de Chirico's

1 beginning of his friendships with Arp and 1 928. At the end of the year he returned to work in 923, he decided to become a

Raoul Hausmann. Schwitter's earliest Paris and met Tristan Tzara and Paul Eluard. painter. In 1 924 he, Prevert and Marcel

Merzbilder date from 1919, the year of his About this time Dali produced his first Duhamel moved into a house that was to first exhibition at the gallery of Der Sturm, Surrealist paintings and met Andre Breton become a gathering place for the Surrealists.

Berlin, and the first publication of and Louis Aragon. He worked with Bunuel Tanguy became interested in Surrealism

his writings in the periodical Der Sturm. and Ernst on the film L'Age d'or in 1 930. in 1 924 when he saw the periodical

Schwitters showed at the Societe Anonyme During the 1 930s the artist contributed to La Revolution Surr4aliste. Andre Breton

in New York in 1920. various Surrealist publications and illustrated welcomed him into the Surrealist group the works of Surrealist publications and the following year. With Arp he attended the Kongress der illustrated the works of Surrealist writers and

Konstructivtsten in Weimar in 1 922. There Despite his lack of formal training, Tanguy 's poets. His first one-man show in the United Schwitters met van Doesburg, whose De Stijl art developed quickly and his mature style States took place at the Julien Levy Gallery in

principles influenced his work. Schwitters' emerged by 1 927. His first one-man show New York in 1933.

Dada activities included his A/lerz-A/lot/neen was held in 1 927 at the Galerie Surrealiste in

and Merz-Abende at which he presented his Dali was censured by the Surrealists in 1 934. Paris. In 1928 he participated with Arp. Ernst,

in poetry. From 1923 to 1932 he published the In 1 940 Dali fled to the United States, where Andre Masson, Miro, Picasso and others

magazine Merz. About 1923 the artist started he worked on theatrical productions, wrote, the Surrealist exhibition at the Galerie Au

to make his first Merzbau, a fantastic illustrated books and painted. A major Sacre du Printemps, Paris. Tanguy structure he built over a number of years; retrospective of his work opened in 1941 at incorporated into his work the images of the Merzbau grew to occupy much of his The Museum of Modern Art in New York and geological formations he had observed

1 Hannover studio. Schwitters was included travelled through the United States. In 1 942 during a trip to Africa in 930. He exhibited

in the exhibition Abstrokte und surrealistische Dali published his autobiography and began extensively during the 1 930s in one-man and

Malerei und Plastik at the Kunsthaus Zurich in exhibiting at M. Knoedler and Co. in New Surrealist group shows in New York, Brussels,

1 929. The artist contributed to the Parisian York. He returned to Europe in 1948, settling Paris and London.

1

review Cerde et Carre in 1 930; in 1 932 he in Port Lligat, Spain. His first paintings with In 1 942 Tanguy participated in the Artists in joined the Paris-based Abstraction-Creation religious subjects date from 1948-49. In 1954 Exile show at the Pierre Matisse Gallery in group and wrote for their organ of the same a Dali retrospective was held at the Palazzo New York, where he exhibited frequently

1 name. He fled to Norway in 937. Pallavicini in Rome and in 1 964 an important

until 1 950. In 1 947 his work was included in retrospective of his work was shown in The Nazi regime banned Schwitters' work the exhibition Le Surreo/zsme en 1947, Tokyo, Nagoya and Kyoto. He continued as Entartete Kunst (degenerate art) in 1 937. organized by Breton and Duchamp at the painting, writing and illustrating during the After the German invasion of Norway in Galerie Maeght in Paris. He became a United late 1960s. The Salvador Dali Museum in

1 940, Schwitters escaped to Great Britain, States citizen in 1 948. He died on January 1 5,

Cleveland inaugurated in 1 , was 97 1 and where he was interned for over a year. 1955, in Woodbury. the Dalinian Holographic Room opened at He settled in London following his release. M. Knoedler and Co., New York, in 1973.

Schwitters died on January 8, 1 948, in

Major exhibitions were held in the 1 980s. Kendal, England. Dali is living in Port Ligat.

12 1 Paul 1897 Rene Magritte 1 898- 1967 Victor Brauner 903 1966 Delvauxb

Rene-Francois-Ghislam Magritte was born Victor Brauner was born on June 1 5. 1 903. Paul Delvaux was born on September 23,

on November 21,1 898, in Lessmes, Belgium. m Piatra-Neamr, Rumania. His father was 1897, in Antheit, Belgium. At the Academie He studied intermittently between 1916 and involved in spiritualism and sent Brauner to Royale des Beaux-Arts in Brussels he studied

in 1 1 1 9 1 8 at the Academie Royale des Beaux- Arts evangelical school Braila from 9 6 to architecture from 1916 to 1917 and

in Brussels. Magritte first exhibited at the 1 9 1 8. In 1 92 1 he briefly attended the School decorative painting from 1 918 to 1919.

Centre d'Art in Brussels in 1920. After of Fine Arts in Bucharest, where he painted During the early 1 920s he was influenced by

completing military service in 1 92 1 , he Cezannesque landscapes. He exhibited Ensor and Gustave De Smet. In 1936 Delvaux

worked briefly as a designer in a wallpaper paintings in his subsequent expressionist style shared an exhibition at the Palais des Be :

factory. In 1923 he participated with El at his first one-man show at the Galerie Arts m Brussels with Magritte. a fellow

Lissitzky, Moholy-Nagy, Femmger and the Mozart in Bucharest m 1924. Brauner helped member of the Belgian group Les

Belgian Paul Joostens in an exhibition at the found the Dadaist review 75 HP in Bucharest. Compognons de I' Art.

Cercle Royal Artistique in Antwerp. In 1924 He went to Pans in 1925 but returned to Delvaux was given one-man exhibitions in he collaborated with ELT. Mesens on the Bucharest approximately a year later. In 1 938 at the Palais des Beaux-Arts. Bussels.

review Oesophoge. Bucharest in 1 929 Brauner was associated and the London Gallery in London, the with the Dadaist and Surrealist review UNU. latter organized by EIT. Mesens and Roland In 1 927 Magritte was given his first solo Penrose. That same year he participated in exhibition at the Galerie Le Centaure in Brauner settled in Pans in 1 930 and became

Brussels. Later that year the artist left a friend of his compatriot Brancusi. Then he the Exposit/on International du Surrealisme at

Brussels to establish himself in Le Perreux-sur- met Tanguy who introduced him to the the Galene des Beaux-Arts in Pans, organized Marne. near Pans, where he frequented the Surrealists by 1933. Breton wrote an by Andre Breton and Paul Fluard, and an

Surrealist circle, which included Paul Eluard, enthusiastic introduction to the catalogue for exhibition of the same title at the Galene Robert in Amsterdam. The artist visited Italy Andre Breton, Arp, Miro and Dali. In 1 928 Brauner's first Parisian one-man show at the

in 1 1 His first Magritte took part in the Exposition Surreo/iste Galene Pierre in 1934. The exhibition was 938 and 939 retrospective was held the Palais in Brussels in at the Galene Goemans in Paris. He returned not well-received, and in 1935 Brauner at des Beaux-Arts

1 944-45. Delvaux executed stage designs for to Belgium in 1 930, and three years later was returned to Bucharest where he remained

Miroire in 1 given a one-man show at the Palais des until 1938. That year he moved to Pans, lived Jean Genet's Adame 947 and

Beaux-Arts in Brussels. Magntte's first solo briefly with Tanguy and painted a number of collaborated with Fluard on the book Poemes. et dessins, in exhibition in the United States took place at works featuring distorted human figures with peintures published Geneva and Pans the next year. After a brief sojourn m the Julien Levy Gallery in New York in 1 936. mutilated eyes. Some of these paintings,

France in 1 949. the following year he was the first in the Gallery 1 England 1 and at London dated as early as 93 , proved gruesomely appointed professor at the EcoleSupeneure in London in 1 938; he was represented prophetic when he lost his own eye in a d'Art et d' Architecture in Brussels, a position as well in the 1936 Fantastic Art. Dada, scuffle in 1 938. At the outset of World War II

Surrealism exhibition at The Museum of Brauner fled to the south of France, where he he retained until 1 962. From the early 1 950s

Modern Art in New York. maintained contact with other Surrealists in he executed a number of mural commissions

Marseille. Later he sought refuge in m Belgium. About the middle of the decade

Throughout the 1 940s Magritte showed Switzerland; unable to obtain suitable Delvaux settled m Boitsfort. and m 1 956 frequently at the Galerie Dietrich in Brussels. materials there, he improvised an encaustic he travelled to Greece. During the following two decades he graffito from candle wax and developed a From 1 965 to 1 966 Delvaux served as executed various mural commissions in technique. President and Director of the Academie Belgium. From 1953 he exhibited frequently Royale des Beaux Arts of Belgium, and about at the galleries of Alexander lolas in New Brauner returned to Pans in 1945. He was this time he produced his first lithographs York. Pans and Geneva. Magritte included in the E-xposition Internationale du

Also in 1 973 he was awarded the Rembrandt retrospectives were held in 1 954 at the Palais Surre'alisme at the Galene Maeght m Pans Prize of the Johann Wolfgang Stiftung des Beaux- Arts in Brussels and in 1 960 at the m 1947. His postwar painting incorporated A Delvaux retrospective was shown at Museum for Contemporary Arts. Dallas, and forms and symbols based on Tarot cards, The National Museum of Modern A- The Museum of Fine Arts in Houston. On the Egyptian hieroglyphics and antique Mexican Tokyo and The National Museum of Modern occasion of his retrospects at The Museum codices. In the fifties Brauner travelled to Art m Kyoto in 1975. In 1977 he became an of Modern Art in New York in 1 965. Magritte Normandy and Italy, and his work was shown associate member of the Academie des travelled to the United States for the first at the Venice Biennale in 1 954 and in 1 966. Beaux Arts of France Dt- ind time, and the following year he visited Israel. He died m Pans on March 1 2. 1 966. works m Brussels.

Magritte died on August 1 5, 1967 in Brussels.

113 . .

- Alberto Giacometti 1 90 1 1 966 Joan Miro 1893-1983 Andre Masson b. 1896

Alberto Giacometti was born on Miro Ferra in Joan was born Barcelona, on Andre Masson was born on January 4, 1 896,

, in 1 October 10, 1901 Borgonovo, April 20, 893 . At the age of fourteen he in Balagny, France. At the age of eleven he

Switzerland, and grew up in the nearby town went to business school in Barcelona and was admitted to the Acade"mie Royale des of Stampa. His father Giovanni was a Post- attended La Lonja, the academy of fine arts Beaux-Arts et Ecole des Arts Decoratifs in

Impressionist painter. From 1919 to 1 920 he in the same city. Upon completing three Brussels, where he became familiar with studied painting at the Ecole des Beaux-Arts years of art studies he took a position as a quattrocento fresco painting and the art

sculpture clerk. 1 and and drawing at the Ecole des After suffering a nervous breakdown of Cezanne, Gauguin arid Seurat. In 9 1 2 he

Arts et Metiers in Geneva. In 1 920 he he abandoned business and resumed his art saw reproductions of Cubist work and met travelled to Italy, where he was impressed by studies, attending Francesc Gall's Escola the poet Emile Verhaeren who persuaded

the Cezanne and Archipenko at the Venice d'Art in Barcelona from 1 9 1 2 to 1 9 1 5. Miro him to study in Paris. In Paris Masson entered Biennale. He was also deeply affected by received early encouragement from the the atelier of Paul Baudoin and studied fresco primitive and Egyptian art and by the dealer Jose Dalmau, who gave him his first techniques at the Ecole des Beaux-Arts. He also masterpieces of Giotto and Tintoretto. one-man show at his gallery in Barcelona in studied fresco painting in Italy in 1914.

In 1 922 Giacometti settled in Paris, 1918. In l9l7hemetPicabia. After the war Masson lived in Martigues, making frequent visits to Stampa. In 1919 Miro made his first trip to Paris, Collioure and then Ceret, but returned to

In 1 927 the artist moved into a studio with where he met Picasso. From 1920 Miro Pans in 1 920. In 1 92 1 he met Max Jacob and his brother Diego, his lifelong companion divided his time between Paris and Montroig. Miro and saw the work of Picasso, Leger and and assistant, and exhibited his sculpture for In Pans he associated with the poets Pierre Klee. About this time he met many of the the first time at the Salon des Tuilenes, Paris. Reverdy, Tristan Tzara and Max Jacob and artists and writers who later formed the

His first show in Switzerland, shared with participated in Dada activities. Dalmau Surrealist group. D-H Kahnweiler offered

his father, was held at the Galerie Aktuaryus organized Miro's first one-man show in Paris, him a contract in 1 923; Masson participated

1 in Zurich in 927. The following year at the Galerie La Licorne in 1 92 1 . His work in his first group exhibition at Kahnweiler's

Giacometti met Andre Masson and by 1 930 was included in the Salon d'Automne of 1 923. Galerie Simon in Paris that year. Also in 1 923

he was a participant in the Surrealist circle. In 1 924 Miro joined the Surrealist group. His Masson experimented with automatic

His first one-man show took place in 1 932 at one-man show at the Qalerie Pierre in Paris in drawing, fully developing the technique

the Galerie Pierre Colle in Paris. In 1 934 his 1 925 was a major Surrealist event; Miro was the following year. In 1 924 he met Andre first American solo exhibition opened at the included in the first Surrealist exhibition at the Breton, who bought one of his works and

Julien Levy Gallery in New York. During the Galerie Pierre that same year. He visited the invited him to join the nascent Surrealist

early 1 940s he became a friend of Picasso, Netherlands in 1 928 and began a series of group. He was included in the first Surrealist Jean-Paul Sartre and Simone de Beauvoir. paintings inspired by Dutch Masters. This year exhibition, which was held at the Galerie

From 1 942 Giacometti lived in Geneva, he also executed his first papiers co/Ze's (pasted Pierre in Paris in 1 925. The artist abandoned

where he associated with the publisher papers) and collages. In 1 929 he started his Surrealism from 1 934 to 1 936, when he lived

Albert Skira. experiments in lithography, and his first in Spain and executed paintings on Spanish

etchings date from 1 933. During the early themes. In 1 936 he participated in Fantastic He returned to Paris in 1 946. In 1 948 he had

1 930s he made Surrealist sculpture-objects Art, Dada, Surrealism at The Musuem of a one-man show at the Pierre Matisse Gallery incorporating painted stones and found Modern Art, New York. in New York. The artist's friendship with objects. In 1936 Miro left Spam because Samuel Beckett began about 1 95 1 . In 1 955 Masson fled France for New York in 1 94 1

of the Civil War; he returned in 1 94 1 he was given major retrospectives at the Arts The artist spent most of the war years in Miro died in December, 1983. Council Gallery in London and The Solomon New Preston, Connecticut, where his

R. Guggenheim Museum in New York. He neighbours were Alexander Calder and received the Sculpture Prize at the Carnegie Gorky. His first major museum exhibition

International in Pittsburgh in 1961 and the took place at The Baltimore Museum of Art

First Prize for Sculpture at the Venice in 1 94 1 . During his years in America Masson

Biennale of 1 962, where he was given his showed frequently with other artists in exile, own exhibition area. That same year he was for example in the opening exhibition of awarded Grand National Prize for Art by the Peggy Guggenheim's Art of This Century

French government. Giacometti died on gallery in New York in 1 942. He returned to

January I 1 , 1966, in Chur, Switzerland. France in 1945. Among the important Masson exhibitions that have been held are retro-

spectives at the Musee National d'Art

Moderne in Pans in 1 965 and The Museum

114 of Modern Art in 1976. Masson lives in Pans. 1

Mattab i9i Jean Dubuffet b.i90i Francis Bacon b.i909

Roberto Sebastian Antonio Matta Echaurren Jean Dubuffet was born in Le Havre on Francis Bacon was born in Dublin on October

I 1 1 . in 1 was born on November II, 191 , in Santiago. July 31. 90 He attended art classes his 28. 909. At the age of sixteen he moved to

Chile. After studying architecture at the youth and in 1918 moved to Pans to study at London and subsequently lived for about two

Universidad Catolica in Santiago, Matta went the Academie Julian, which he left after six years in Berlin and Pans. Although Bacon

to Pans in 1 934 to work as an apprentice to months. During this time Dubuffet met never attended art school, he began to draw

architect Le Corbusier. By the mid-thirties he Suzanna Valadon. Raoul Dufy. Leger and and work in watercolour about 1 926-27. knew the poet Fedenco Garcia Lorca. Dali Max Jacob and became fascinated with Picasso's work decisively influenced his

and Andre Breton; m 1937 he left Le Hans Pnnzhorn's book on psychopathic art. painting until the mid- 1 940s. Upon his return

Corbusier's atelier and joined the Surrealist He travelled to Italy m 1 923 and South to London in 1 929 he established himself as a movement. This same year Matta's drawings America in 1924. Then Dubuffet gave up furniture designer and interior designer. He were included in the Surrealist exhibition at ig for about ten years, working as an began to use oils in the autumn of that year

Galene WNdenstem in Pans. In 1938 he began industrial draftsman and later in the family and exhibited furniture and rugs as well as a painting with oils, executing a series of wine business. He committed himself to few paintings in his studio. His work was

fantastic landscapes which he called mscapes' becoming an artist in 1 942. included in a group exhibition m London at

or 'psychic morphologies'. the Mayor Gallery in 1 933. In 1 934 the artist Dubuffet's first one-man exhibition was held organized his own first one-man show at Matta fled Europe for New York in 1 939. at the Galene Rene Drouin in Pans in 1944. Sunderland House, London, which he where he associated with other Surrealist During the forties the artist associated with called Transition Gallery for the occasion. emigres including Ernst. Tanguy. Masson and Charles Ratton, Jean Paulhan, Georges He participated in a group show at Thos. Breton. The Julien Levy Gallery in New York Limbour and Andre Breton. His style and

Agnew and Sons in London m 1 937. presented his first one-man show of paintings subject matter m this period owed a debt

in 1 940. and he was included in the Artists in to Klee. From 1945 he collected Art Brut. Bacon painted relatively little after his one-

Exile exhibition at the Pierre Matisse Gallery spontaneous, direct works by untutored man show and in the 1 930s and early 1 940s

in New York in 1 942. During the forties nd viduals. such as mental patients. The destroyed many of his works. He began to

Matta's painting anticipated many innovations Pierre Matisse Gallery gave him his first paint intensively again in 1944. His first major

of the Abstract Expressionists and influenced one-man show in New York in 1 947. one-man show took place at the Hanover artists such as Gorky and Motherwell. Gallery in London in 1949. From the mid- From 1 95 1 to 1 952 Dubuffet lived in New

1 the 1 Bacon's work reflected Towards the end of the war he evolved York; he then returned to Pans, where a 940s to 950s increasingly monstrous imagery; the the influence of Surrealism. In the 1 950s retrospective of his work took place at the appearance of mechanical forms and Bacon drew on such sources as Velazquez's Cercle Volney in 1954. Major Dubuffet cinematic effects m Matta's work reflects the Portrait Pope Innocent X, van Gogh's The exhibitions have since been held at the Musee of influence of Duchamp. he met in 1 944. Painter on the Road to Tarascon and Eadweard whom des Arts Decoratifs. Pans. The Museum of

He broke with the Surrealists in 1 948 and Muybndge's photographs. His first one-man Modern Art. New York, The Art Institute of returned Europe, settling in in 1953. exhibition outside England held in 1 953 at to Rome Chicago, the Stedehjk Museum, Amsterdam, was mural for the Building in Pans the Durlacher Brothers. York. His ' A UNESCO the Tate Gallery. London, and The Solomon New was executed the artist in 1 956. retrospective was held at the Institute of by R.Guggenheim Museum, New York. His Contemporary Art. London, in 1955. Bacon In 1 957 The Museum of Modern Art in New paintings. I'Hourloupe. a series begun in 1962. was given a one-man show at the Sao Paulo York gave him a major retrospective, which were exhibited at the Palazzo Grassi m Venice Bienal in 1959. In 1962 the Tate Gallery. travelled to the Institute of Contemporary in 1 964. A collection of Dubuffet's writings. London, organized a major Bacon Art m Boston and the Walker Art Center in Prospectus et tous Merits suivams. was retrospective, a modified version of .•. Minneapolis. His work was exhibited at the published in 1 967. the same year he started travelled to Mannheim, Turin, Zurich and Sao Paulo Bienal in 1962. in Berlin in 1 970 and his architectural structures. Soon thereafter Amsterdam. Other important exhibitions Hannover in 1 974. The artist now lives in he began numerous commissions for of his work were held at The Solomon Tarqumia. Italy, and in Pans. monumental outdoor sculptures. In 1 98 R.Guggenheim Museum, New York, m 1963 the Solomon R. Guggenheim Museum. New

and the Grand Palais m Pans in 1 97 York, observed the artist's eightieth birthday

from 1 968 to I 974 "d at The with an exhibition. Dubuffet lives and works m Pans and Pengny. Metropolitan Museum of Art, New

m 1975. Tl . ondon.

15 . 1

Arshile Gorky 1904-1948 Clyfford Still 1 904- 1980 Jackson Pollock 1912-1 956

Arshile Gorky was born Vosdamk Adoian in Clyfford Still was born in Grandin, North Paul Jackson Pollock was born January 28,

1 the village of Khorkom, province of Van, Dakota, on November 30, 904. He 1 9 1 2, in Cody, Wyoming. He grew up in

Armenia, on April 15, 1904. The Adoians attended Spokane University in Washington Arizona and California and in 1 928 began to

became refugees from the Turkish invasion; for a year in 1 926, and again from 1 93 1 to study painting at the Manual Arts High School

Gorky himself left Van in 1915 and arrived 1 933. After graduation he taught at in Los Angeles. In the autumn of 1 930 Pollock

1 in in the United States about March 1 , 920. Washington State College Pullman until came to New York and studied under

He stayed with relatives in Watertown, 1 94 1 . Still spent the summers of 1 934 and Thomas Hart Benton at the Art Students

Massachusetts, and with his father who had 1 935 at the Trask Foundation (now Yaddo) League. Benton encouraged him throughout

settled in Providence, Rhode Island. By 1922 in Saratoga Springs, New York. From 1 94 the succeeding decade. By the early 1 930s

he lived in Watertown and taught at the New to 1 943 he worked in defence factories in Pollock knew and admired the murals of Jose

School of Design in Boston. In 1 925 he moved California. In 1 943 his first one-man show Clemente Orozco and Diego Rivera. to New York and changed his name to Arshile took place at the San Francisco Museum Although he travelled widely throughout

Gorky. He entered the Grand Central School of Art, and he met Mark Rothko in Berkely. the United States during the 1930s, much of of Art in New York as a student but soon That same year Still moved to Richmond, Pollock's time was spent in New York, where

became an instructor of drawing; from 1 926 Virginia, where he taught at the Richmond he settled premanently in 1 935 and worked

to 1 93 1 he was a member of the faculty. Professional Institute. on the WPA Federal Art Project from 1 935

Throughout the 1 920s Gorky's painting was to 1 942. In 1 936 he worked in David Alfaro When Still was in New York in 1 945, Rothko influenced Siquerios's experimental in by Cezanne, Braque and, above introduced him to Peggy Guggenheim who workshop New all, Picasso. York. gave him a one-man exhibition at her Art of

In 1 930 Gorky's work was included in a group This Century gallery in early 1 946. Later that Pollock's first one-man show was held at show at The Museum of Modern Art in New year the artist returned to San Francisco, Peggy Guggenheim's Art of This Century

York. During the thirties he associated closely where he taught for the first four years at gallery in New York in 1 943. Peggy with Stuart Davis, John Graham and Willem the California School of Fine Arts. Solo Guggenheim gave him a contract that lasted de Kooning; he shared a studio with de exhibitions of his work were held at the Betty through 1947, permitting him to devote all his

Kooning late in the decade. Gorky's first one- Parsons Gallery in New York in 1 947, 1 950 time to painting. Prior to 1 947 Pollock's work

man show took place at the Mellon Galleries and 1 95 1 and at the California Palace of the reflected the influence of Picasso and

1 1 I 1 1 1 the early in Philadelphia in 93 . From 935 to 937 he Legion of Honor in San Francisco in 947. In Surrealism. During 940s he

worked under the WPA Federal Art Project New York in 1 948 Still worked with Rothko contributed paintings to several exhibitions of on murals for the Newark Airport. His and others on developing the concept of the Surrealist and abstract art, including Natural, involvement with the WPA continued into school that became known as The Subjects of Insane, Surrealist Art at Art of This Century in

1 in 1 Surrealist Art 94 1 . Gorky's first one-man show in New the Artist. He resettled in San Francisco for 943, and Abstract and

York was held at the Boyer Galleries in 1.938. two years before returning again to New America, organized by Sidney Jams at the

The San Francisco Museum of Art exhibited York. A major Still retrospective took place Mortimer Brandt Gallery in New York in

his work in 1941 at the Albright Art Gallery, Buffalo, in 1 959. 1944.

In 1 96 1 he settled on his farm near 1 In the 1 940s he was profoundly affected by From the autumn of 945, when Lee Krasner Westminster, Maryland. the work of European Surrealists, particularly and Pollock were married, they lived in The Miro, Masson and Matta. By 1944 he met He received the Award of Merit for Painting Springs, East Hampton, Long Island. In 1952

Andre Breton and became a friend of other in 1 972 from the American Academy of Arts Pollock's first one-man show in Paris opened

Surrealist emigres in America. Gorky's first and Letters, of which he became a member at the Studio Paul Facchetti and his first

exhibition at the Julien Levy Gallery in New in 1 978, and the Skowhegan Medal for retrospective was organized by Clement

in 1 College York took place in 1 945. From 1 942 to 948 Painting from the Skowhegan School of Greenberg at Bennington

he worked for part of each year in the Painting and Sculpture in Maine in 1 975. Vermont. He was included in many group countryside of Connecticut or Virginia. A The Metropolitan Museum of Art in New exhibitions, including the annuals at the

succession of personal tragedies, including a York gave him a major exhibition in 1 980; Whitney Museum of American Art, New

fire in his studio that destroyed much of his Still died on June 23 of that same year in York, from 1 946 and the Venice Biennale in

work, a serious operation and an automobile Baltimore. 1 950. Although his work was widely known accident, preceded Gorky's death by suicide and exhibited internationally, the artist never

the killed in an on July 21 , 1948, in Sherman, Connects u1 travelled outside US. He was

automobile accident August I I, 1956.

I 16

5 3 1

2 1 PABLO PICASSO 22 23 24 102 GIORGIO DE CHIRICO 68 69 70 1

GEORGES BRAQUE 25 102 MAX ERNST 71 72 73 74 75 I I I

FERNANDLEGER 26 27 102 JEANARP 76 77 III

JUANGRIS 28 103 KURT SCHWITTERS 78 112

ALBERT GLEIZES 29 103 SALVADOR DALI 79 80 81 112

JEAN METZINGER 30 103 YVESTANGUY 82 83 112

LOUIS MARCOUSSIS 31 104 RENEMAGRITTE 84 113

104 ROBERT DELAUNAY 33 1 32 VICTOR BRAUNER 85 86 87 1

MARCEL DUCHAMP 34 104 PAULDELVAUX 88 113

GIACOMOBALLA 35 105 ALBERTO GIACOMETTI 89 I 14

HENRI MATISSE 36 37 105 JOANMIRO 90 91 114

FRANCIS PICABIA 38 105 ANDRE MASSON 92 I 14

AMEDEOMODIGLIANI 39 106 MATTA 93 115

ERNST LUDWIG KIRCHNER 40 106 JEANDUBUFFET 94 95 96 115

VASILY KANDINSKY 41 42 43 44 45 46 106 1 FRANCIS BACON 97 1

FRANZ MARC 47 48 107 ARSHILE GORKY 98 116

LYONEL FEININGER 49 107 CLYFFORD STILL 99 I 16

51 PAULKLEE 50 52 107 JACKSON POLLOCK 100 1 16

MAXBECKMANN 53 108

PIET MONDRIAN 54 55 56 108

THEO VAN DOESBURG 57 58 108

FRIEDRICH VORDEMBERGE-GILDEWART 59 109

GEORGES VANTONGERLOO 60 109

KAZIMIR MALEVICH 61 109

AMEDEE OZENFANT 62 I 10

JOSEF ALBERS 63 64 1 10

MARC CHAGALL 65 66 67 I 10

119 ART GALLERY OF NEW SOUTH WALES

\Ssi\i ART GALLERY OF NEW SOUTH WALES