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Rudolf Jacobi" KSD from the Artist

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B4 J("RRY 1I0LTZM"N RUDOl.F J"COBI The compositional l'll'ml'nts of Laural VOllllllt # 2 have n.k!.lOr.RAP"Y £XHI8'TIO~> Rl.!.... l<" WORK to been reduced one rd band and five horizont:ll bl:tck SII 1950. p. 11'.1 .• llu • • Grorge L_ K Mo"" . No", Y",k, Holena R"bc:m,e'n Ne... An Qn,e•• S(klplk"". 1940. <.>il ,,,,1 .emp<r. (>fl chca<:cl0.h lines; some of thl'5e continue aroun,] the edge of the "The Am<"can Absrr.e. ArtIst$: A Chromeit-, !11,.,,", '" Ilb",,,a ,hi. mg. bJ' S'ephan L. <.>n. or mushn, l.,d down "', m"",ni,.. 1)2.4 X stretcher, enhancins the palpable presence of the picture. 1936 ~6," ,n 'oJ'.dd of Ilh"",(1 1\", "mmC',n Apr.-May 1942. 00. 3). ill", • YSA 82 (ro."". )/).) X )/)~. Hmy Hol"m'n, l.ymo . CT Abs.~.ct Ar"ltS (New York 119~6]J. ,II", ""Iy Y<.>rl 1%2). no. 4~. ,llus • Chi«g<.>, Mu>cum This dT&:r is further emphasized by the thick stretcher ofr,,,,,,emp<,r.. y An. pOJI·llltmd",.. '>'hll"'''''''' that projects rhe painting's surface one and a half inches m 11111",,,r. ,\tar,-Ma)' 197'1. ,1l1U' . • YSA 102 (y.le 1979), n<I. 33. illu. in from of irs simple white fmme. Bff,lllse of this fmming Holtzman and Mondrian associated this work. as well as Holn:man's Srlllplllre, with Mondrian'S own paint ings. By by the eighteen-inch plcxiglass base' made by the artist in rhe mid-1920s j\'londrian had discarded tradirional fram ­ Smlp/lfre logically cxtcnds the issues Holt;-.man explored 1976 to replace the original wood pedestal. ing which protects the recessed picture. Instead hl' placed in La/eml Valllllle # 2. To create these works Holtzman Holtzman's Sculptllre is akin to works by European and his stretched canvas on tOp of a fial frame and added a fitst glued II layer of CO tton material to the masonite American artists who sought to apply Mondrian's princi­ narrow strip all around; this strip, which does not quite support. OV<:f liquid gcsso, he used oil and tl'mj)<'ra in ples nf Neoplasticism in thfl'(: dimensions. Cesar Dornc­ reach thl' surface of the canvas, mediatl'S betWeen surface ddibt:r.ltely impersonal brushwork. Each side' uf Smfptllre la, Jean Gorin, Vordemberge-Gildewan. and later. and outer frame. As a result , the vltwer's eye moves from can be co nsidered a composition in itsclf. but it is ncccs­ sary ro walk around the work to grasp it as a whole. 13urgoyn\; Diller (e£' cal. 178) worked with planar con­ the surface to the thin strip. back again to the Outer structions. building out from the paintcd surfac\; but still frame. and finally to the adjacent wall. In notes of 191\2 Although each surfacc is bounded by black lines, scvera! In Holtzman's possl'ssion, Mondnan wrOte: hnriznntal lines ('Xtt'nd around corners to link adjacent adhermg to that surface (or their overall conccpl. As sides. Vi (·wing the corners, one discovers ncw composi­ llolotOwsky would do 1!1 the 1960s. Holuman set out in As far as 1 know, 1 was rhe first to bring Ihl' picture tion5 of discrete surfioce arcas joio('(1 tOgether on eith<Cf a new direction by working in tht round. Smlpfllrt slill [canvas} 011 th" fram<c, instead of in it. ] had no test sidc of the vcrtical black line that had sccmcd to separat(· comes Out o( a painter's sensibility: its bounded flat sur­ th:l[ a picton;, wilhout fram<c worked Illuch StrOnger the twO parts. As in La/eral Voilime #2. the scalc relau.'S faces , while tenuously related, arc composed like indi­ than a framed one and that th<c framing C;JUS<CS three to the si7.e of the average \,iewcr. Although taller, solid, vidual paintings. dimensional sensations giving depth illusion. Howev­ and unpierced, Sc/(Ipfll re gains a light, Ojlt:n feeling from er, withoUT frame bei ng tOO poor ofasptCt, I mounted its coloristic treatml'nt. Its hovering qUlllity is enhanced P«'pard by NaocyJ 1"<0)' the piccure on a plane [plain] wooded fmllle. In this Wily 1 brought it to morc r('al cxistence. In actual three dimensional works of H .H. we sl'l' the "pictore" still more from the wall moved into our surrnunding spacc. Creating palpable volumes, to annihilc {annihilate} by painting the corporcal expression of his volumes. In Laural VOltlllif #2 Holrzman emphasized the real existence of the painting not only by projecting it for­ Rudolf J acobi ward from thc frome, but by hanging it so that thl' b. 188? AMERKAN. BORN IN GJiRMANY bottom Nge of the canvas is exactly eightecn inches from thc floor_ In this position, the scale of the composition replica tes that of the vicwer's body. The twO upper lines Rudolf J acobi WOlS born in Mulhouse, Germany, on II Westport, Connccticut. During the school's most active years. the faculty included Rudolf Belling, Bertram may C\'Cn designate the general location of a head while Dccembcr 1889. He bcsan working as a thealer painter the band of red hints at a sexual connotatinn wh<cn hc was fourtecn and later studied art at thc Royal Hartman, Mary Turlay Robinson, and Kurt Roesc h_ Academy of l3t;rlin on a scholarship granred by dJt" Prus­ About 191iO, lifter almost conrinual financial problems, sian Hace . In the 19205 he continued his studies, first HI they closed the school and settled in Gloucester, Ital y and then in Paris with Andre Lhote. In 1926 he and .\ tassachusetts. 338 195U.112 his wife. Annot Krigar-Menzcl, a portraitist ,Ind flower Dreil'r knew both J acobi and Annot (she was closer, howevcr, to Annot), having met them shortl y after theit Sculpture painter also represented in th(' Societe Anonrme Collec­ arrival in the United States in 1934 . When the Annot 191i 1-1\2 tion, open<--d thc Annot Art School in Berlin. it enjoyed Oil and temper.! on cht'Csccloth or muslin, laid down on consid('rablc suc{'('ss umil fo rced ro close in 1911. lmmc­ Art School was in sore straits in 1935. she Save them mitSonite diatcly thereaftcr. Jacobi and Annot immigratcd to thc money for the school lind also purchased twO works from 152,4 X 3U.5 X 10.') em United Slares, where they SlaTted a ncw school in New each of them. Inscribed top, on woodcn suppOrt " Harry Hol tzman I York with a supplementary summer program in nearby [941-42 f Sculpture" Gift of the artist, Dec. 1949 1' .,NC.PAL RH£RU'U.s &h,b"'on, ']ocnl" and 1-1,~ \'(1.1;', A nnor. ,n Jorn< Sh",,'." Dl!,m 1ll (1~ AI" I B"ho. N, .... G.ll.'}'. [Rudnlf j ocQb,l. Ru .... ~~s 1\" 193(\): \ nd"'r "Jocob •. Rom.ntK'U," ,>, ,1 D'$<>I 16 [I f eb. 1927 Ani" ,epl:acw or,g,o.1 ..'1lOd !w.c "'!fh 1'1 • .,_ 19·12); 1 \ N~w Y<ock 1?36 New York. Sq .. ,bb Build,og ill .., Qi ,!.fr.",n. drs,gn '0 1976 "s... Vie ... , l.e>'i .nd Jacob,."'>'>1 Ntu140 Gallery. R"dol/ Ja,obJ and !lH...... AI'" 19;6 (I I~ Feb. 1942), 2)-26 ,,",wln"er. MA. A<ki,,,,,o Gall«)', /i""'f'tdn Arllm It.lo T,,·olafO. Rudol!j.. .-.it, (Rom<:. (924) 1·",.h,nJ{,~A ....." ... 19,11 Société Anonyme Catalogue Société Anonyme Catalogue 3;6 RUDOLf jACOIH 339 1941.505 Berlin La ndscape ca. 1934-35 Gouache 30.4 X 48.4 em Signed I.r. "Rudolf Jacobi" KSD from the artist. New York. 193~ B'RIJOGRhP'W SA I'J)IJ, P 97 prob.Ih!y New York 1936 Bfr/;" LalldS(ape and Lalldscape were probably paimed from memory shortly after Jacobi's arrival in this counlfY in 19}1 and prefigurc his latcr iandscllpc-s of the New England coumrysiJe. In both works, a ~erics of simple vernacular structures in the middle ground t·mphasizes the horiwntality of the bnd and rhe ~rfulness o( the rural setting, The sense o( repose is somewhat mitigated br the soating verticality of the sheltering nees and, in Brdlll '~II/(!J{ape. by the n'nlcal brushslfokes in the sky and foreg round. Jacobi's deht to Vlaminck, whose work he doubtless saw whik studring in Paris in rhe late 19205, is particularlr apparent in the handling of the trees. 340 1911. 506 Landscape .. ' ..... ca. 1934- 35 ,,~, Gouache .'10.6 X 42. 3 em Signed I.r. '"Rudolf Jacobi'" ~. ~ '\,1 KSD from the artist, New York, 193~ Q" ' ... ' ..,J SA 1910. P 97 -~\ EX" '8'"t" ''', P,obobly New York 19Y> Société Anonyme Catalogue Société Anonyme Catalogue , I J P, .... Tf. 19. r.ul G.uloi., C'If"r",'i.~ 0, BI••. oil. In x 91 ~ <fl). <"0. 2'Xl Société Anonyme Catalogue Société Anonyme Catalogue PI.J\T ~ 21. John D. G ... ham. Vox H.,,,..u. 0;1. 119.4 >( 8104 rm, on \ II Société Anonyme Catalogue Société Anonyme Catalogue PLATK 23 . Hilty H"htma<>. /.MIt,,,1 VoIN"" 112. 011. IHA x 30, x 3.}cm. "It H7 Société Anonyme Catalogue Société Anonyme Catalogue Alexej J awlcnsky 111M I'J~L RliSSMN. LlVEIlIN GI' R,\tAt<.:y Alexei Jawlcnsky was born ncar Torzhok, R USSia, on 13 In 1921 J awlensky R'wrned (0 Germany and serried in j\hrch lR64. After a br;(·f tarter as an army officer he Wiesb,ld~'n with his wife and son, and tl 1f(~e y~-ars later he moved fO Munich in 1896 and (·nroJJ(·d in Anton A:d£) (orrlll,d Die Blaue Vier with Feininger.
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  • GALERIE THOMAS All Works Are for Sale

    GALERIE THOMAS All Works Are for Sale

    ART SUMMER 2019 GALERIE THOMAS All works are for sale. Prices upon request. We refer to our sales and delivery conditions. Dimensions: height by width by depth. © Galerie Thomas 2019 © VG Bild-Kunst, Bonn 2019: Alexander Archipenko, Hans Arp, Victor Brauner, Jean Dubuffet, Max Ernst, Marc Chagall, Günter Haese, Hans Hartung, Yves Klein, Wifredo Lam, Le Corbusier, Roy Lichtenstein, Adolf Luther, Marino Marini, Gabriele Münter, Ben Nicholson, Wolfgang Otto Schulze (WOLS), Günther Uecker, Victor Vasarely © Calder Foundation, New York / Artists Rights Society (ARS), New York 2019 © Lucio Fontana by SIAE / VG Bild-Kunst, Bonn 2019 © Helen Frankenthaler Foundation, New York / ARS, New York/ VG Bild-Kunst, Bonn 2019 © Nachlass Erich Heckel, Hemmenhofen 2019 © Renate, Hans, & Maria Hofmann Trust / ARS, New York / VG Bild-Kunst, Bonn 2019 © Succession H. Matisse / VG Bild-Kunst, Bonn 2019 © Robert Motherwell – Dedalus Foundation, Inc. / VG Bild-Kunst, Bonn 2019 © Stiftung Seebüll Ada und Emil Nolde 2019 © Succession Picasso / VG Bild-Kunst, Bonn 2019 © Gerhard Richter © The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York 2019 all other works: the artists, their estates or foundations cover: HERMANN SCHERER Lovers AUGUST MACKE Encamped Oriental Horsemen (after Guys) Swiss pinewood, 1924, 66 x 20 x 21 cm oil and Indian ink on wood, 1910, 29.5 x 39.5 cm 1 ERICH HECKEL Sleeping Woman OTTO MUELLER Two Nude Girls and Crossed Tree Trunks ... watercolour and graphite on paper, 1922, 42 x 35 cm distemper on burlap,