O,','"''--___-'LE ,OI'OI.D SU R Vf,.(;E SOP H 11: Til. LIB F."" -"A""!P'--___ 6B group exhibitions of cubist artist, OWT rhe next few YC:lrs. bly, on the sets and custumes for Stravi nsky's Mal/fa. Like Leger, Picasso, and SI:\'crini, SUf\'agc was anmcted staged by Diaghilev in 1922. In 1937 Sun·age was one of to classical an, si~ns of which hq;in to "P(JC'Jf in his work St:veralleading artistS (among the others were Lc,!lcr, De­ "boul 1922. From 1921J TO 1927 tillS Ncodassicisrn was launay, and Gleizes) who made large dL,<orarions for the rnerg<:d with a turn tOward traditional subjects and mod­ Paris flir. He p.WUL.J three murals for the railway pavil­ cUing. ;lnd 11 dclibcr:HC inr<.-gr;!rion of mlLn .tnd nature. ion and partiCipated in the decoration of die aviation After 1927 ht: wem hack to 11 cuhist mode of construc­ (Xlvllion. After \X'orld War !I his activity cominued una­ tion, retaining thereafter a promincm place for the bated and included work in casein, which he h,ld begun human form. which had nOt figured important!)' in his to usc In 19)9, in miniatures, and in book illustration. paimmg before 1924, [n rhe 19305 his work shnwl'd tin He had remained in France all these years (he occame a ;lwarcntSS of Surrealism III the provOdIrLV(' usc of (1 [1- French citizen in 1927) and died in Paris on 30 Octor.cr rhropomorphic ;Iud b1OlogICai imagt•. bur rhe underly­ 1968. much honored hy hiS adoptive coumry. ing cubist structure was usually evidem. Katherine Dreil'r did nor know Sun'agl', and her in­ Principally a painter, Survagc also worked in the tereSt In his work was limited to the one purchase she graphic ans, rexrilt' design, and the;ll\:r ,Ins, most nOta- made in 1922, from Uonee Rosenberg. ".'~'('."'. RH' .,,,.' bh,bJli".' Damd AI",I,,'. I'.om' B.:,,,,, el .1 .. [k«>u".rt" Par", ,\lu$C<" (jallin•. L... {>oId S"" .... (r. 0,.",,.., ,k d. Sur ....,!;" ," Li Gdf,,,, d" u"1. ""I 67, 1~ I')fH .. 1%'. AI" M~l t?l.G ~br 1%1 (Spcc ,a1 ",,"') I.),on, )o,(u\tt dt, Ik-.,,~-Ar". I~"",J S""ol,tr, 1'~,,1 hutns. S,," ... ~, (1'"",. 19111 Ocr -1'1"" 1\1(>1'1 ,\I ... ilOil",,, Cauthi«. S"r1~X< (1',<0$ , 19H) Nc'" Ynrk. G".." ( i.l)t·'l, SN''''R' 11'1"9-1%11, ~mucl I'u"um. lht GI,,'(1tm~ Ilnd,,: l.tOfJ'IId Art ,\laj' I')"U Inn"r• ..~d II .. S/li<tldl p,..J,!,,, ,~ P.IIH"~K ),o'nt·t"enn,·. )0,("",,, d'Art .' ,n",I"",,~. ~'" (No" y",k, I')ll)), """'1~'r.. t'" m'j<>' .... ely "'!(t . ..,lh_1 ."'.n) 1~/2 1~1.l, A",umn ... ,."" ~s by l>ur".~~e 1')- I. 1..... :.abb d 01",,,,(,, Muw d. rAf>- 1,,\< ~"" " .( .fO "', \V'"'''' 1,)7,--74 67~ 1911 .709 L:tndsc.lpc 1921 T!:mp<:ra on canvas 38 X '51 on Si};ned 1.r. "Survage" KSD from Llionc£' Rosenberg, Nov. 1922, for 500 (rancs '" lllal1Q(.M""" M I~~II , PI' 1i-2}. 'lIu. Iox,"nll'o,,_' Y$A 64 (Cine,nn'" 19-111, nO. l? "SA 67 ( Wa> I"n~''''', D.C ['nil ' YSA 911 (1'.", So phie Tauber-Arp I'P7), ,lIu. t8R9-1~·U, SWISS From 1915 to about 1920. nearl}' :Ij[ ofSurvage's paint­ rhe seaside SI:HIIl!:. The curtains III the window share in Sophie Tauber-Arp was born in D.-wos, S"mzer!:tnJ, on of superfluous der<ld. her paintings and textilcs of thiS ings have the same subject maner: urb:lll or rural bll1ld­ this w~v)' rhythm, lind the rooftiles, by both placement 19 Janullry 18R9. Her earliest artistic endeavors were in period refleCt her concern with ord!:r and balance: stricdy inSs. tree foli:lge, CUHained windows, thl' silhouette of a and rhythm. ,Ire mad£' :tkln til rhe tret' foliage as well as to the fidd ofapplied artS, which she studied from 1908 to vertical and hori1.omlll in thcir orient<lcion of lilll' ,Ind man. and sometimes a flower, bird, or (ish, Sun'age tlw waves. l3y 5uth cubist ~nalogies, Sun'age has linked color, they dcfine and submit ro rhe limltatinns of the every formnl and lConogmphic clement in the composi­ 1913, fi rst at lhe Kunstgewerbeschu!c In St. Galkn, and nun,·thd(,ss offers 11 wide range or CXptx:ssmn by v;If)'in,l; two-dimensional phne. Even in her less rigid works of structure, scalc, and color and b)' esrabi lshlll,l; dlfitrent tion, fusing them into an image of domestieit), and law! ;1[ the Kunstgew!:rbeschule in Hamburg and at \VI. von Debschitz's ('xp<:rimemal arts and crafts school in the 19305, in whICh the eirel!: and curve arc dominant metaphorical relationships among his e1cmenrs_ The 50- peace. As th(' tranquil se:1 enfolds the trees und hOUSl'S, SO motifs and In which dia};<lIl:d tllignmelH is ofn-n e):­ the trees shelter the houses, and so the houses be<:kon to Munich. [n November 1915, while a studenr in Rudolf ci~te Anon),me picrure is one ()f hi5 mUlquil and rural. or plored, Taubcr-Arp mainrained her emphasis on harmo­ villa,l;e works, a$ oPPOS('U to his sometimes ominous the mall. As the kafy folia,l;e is suppone<! by the shadow von Laban's dance scllOl)1 in Zurich, she Illet Jean Arp, ny and frequently used the term iqlllfibre in her tIlles. mght PICtures of CHles or his mor!: a,l;,l;ressively lit land­ trunk, so the house is sustained b)' the shadow m:m who whom she would marry scven yl~lrs later. \Xfith hIm, From 1927 10 192~ TJlIber-Arp worked with h!:r hus­ scapt's uf the l'.lcdirerr;uu:an, Its violet, twilight sky es­ returns to It af dusk. Although he did not discuss it in his Tauber-Arp participated in the Zurich Dada movement, band :rnd Theo Van DoesburJ; on the tl!nhilious interior tablishes an Intlm,lce m<Xl<1. and the size of the sh:ldow writ ings, SUl'vage devOfed himself to this visual pocrr)' of choreographing and danci ng in several produnions for decoratton of Cafe Aubette, a Strasbourg building being man is in comfortable proporcion to the w:lll along which tht· commonplace. Hugo Rill's Cabaret Voltaire. Ev!:ntu1llly she abandoned convened in[() 11 restaurant and entertainm('nt complex. Ill' moves. The waves of water. clearly tkpinin}; the St:a dance ro pursue her work in the plastic arts. From 1916 till' An early manifl'st:ltion of the growing interest in abstract on the right, appear llsain betwl'Cn the houses t<,) confirm until 1929 she raught weaving and embroidery :rt Zurich Kunstgnvl:rber.chule and contributed [() Oessill el interiors and in thl' inl egration of the arts, 1'/\ ubettl' was Arts Ttxtiles, a book published in 1927. In their rej('<tion destroyed durins the Nazi occupation in th!: early 1910s, • Société Anonyme Catalogue Société Anonyme Catalogue ,>1 SOPHIE TAUIlEII.-ARI' 501'111[, TAUBER-ARP ,» [n 1929 Taubcr-Arp and her husband m()n~d to Marcel D/lchaIllP's Qri}!,illaltl'Xt ( 1949) fllr the 1950 (alalogli~ Meudon-val-Fkury. Although not intimately connl"Crcd If one of the characteristics of Modern Art since Courbcr with any ont an movement, sht maintained close tits has been the cult of the subconscious blind, quite a num­ with anists in Switzerland and France as a mcmocr of the ber of anists, in the last 30 yC'JfS. have aoondoned th is Schweizcrischcr \Vcrkbund, {he Zurich Allianz, and Ah­ cult and turned towards a consciously accurate wchnique, srracrion-Cr('(Icion. Between 1937 and [939 she pub­ kaving nOthing to the hazards of the brushwork. Sophie lished PlaJ/iqlle. a journal of modern an, in five issues. Taeuber-Arp w~s among the fi rst artists to have fdt the Taubcr-Arp died on 13 January 1943, less than tWO danger of indulgmg in "'automatic" pauuing. She S(:t it months after h(-r return with Arp to Zurich. her task to l·xeCute a drawinJ! as "planned" beforehand Katll<;rine Dreier ncvn met T iiubcr-Arp but was intro­ and. most importam, she reintroduced rhe goometric duced to her work in 1937 when the artist scm Dreier an arabesque as one of tht· major artistic conCepts. inscrilx~1 copy or the 193t1 puhlication H. Eflll, H. Curious enough, as "abstract" as she wus, she often Schim. K. Sr/igllltlllli. S. H. Tdllbe,.-lIrp. G. VIi/II,/IIIY. In liked to usc a tirle which evoked a human analogy in the 1919 ) {y.In Arp ,gave Order a copy of the rt"("cotly pub­ painting (six espan·s aux temtc's enso l eill~es). Moreover lisht..:[ Sflphlt Taeuber-A ,p. edited by GL'Org Schmidt. the ritks as well as the paintings themsd\'Cs wtre Dreier commenced in a leuer to Arp dared 7 February adorned with a definite sense of humour, so ofttn lacking 1919 thol( she and Gabo had been "especially intrigued in Abstract art. Sophie Taeuber-Arp. in her ;Inirude of by her sculpture in wood" (SWIPlflrt' tIl boil tWlml) illus­ J(·rachment about herself as an artist, reminds one of the mued (hen~. anonymous artisan in the Middl(' Ages. I'"'~' '.Al R.H.XC";U.> Cxl"t"'"n/ Sch,nid, 1<).IH (:.rof~ Schfmd" oJ., ~I;/'h" Sc.