The Moderns

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 theDepartment 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
from the now-historic part of the twentieth century. We are also
paintings
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, more grateful

all the
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

These pervasive movements
society.
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 one or the other. The
in 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 the is
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 encumbered and most
least
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 J
F. KIRK, Chairman & Managing Director
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
interests and exceptional wealth, commis- from 1 9 1
3- 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 soon outgrew
it
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 ( 861 949) was the fourth of seven
1
- 1
Hall in New York, a centre for the musical

sons of Meyer Guggenheim ( 828- 900), a 1 1
arts, and in 937 he created the Solomon R.

1
Swiss who emigrated to America in 848 1
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 Non-
of
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 927 when he came under the
1 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,
NEW YORK Wright's plans for a new museum building seven hundred works of art through the
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.
1949, 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 Modern Art in New York. Harry
of 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 range of modern art
the collection. 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 Guggenheim Museum
R.
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
Since 1961 Mr. Messer and his staff have Picasso dating from 1 900 to 960 —
a collec-
1
organized a series of significant retrospec- tion particularly rich in examples from the
work many of the modern artist's early career. Mr. Thannhauser's
tives of the of
masters represented in the present exhibi- collection, formerly on loan to the Museum,
Mondnan, Kandmsky,
tion, including Piet
was transferred to The Solomon R.
Max Ernst, Miro and Klee. Other exhibitions Guggenheim Foundation after the owner's
have focused on work by more contem- death in 978. The bequest of some sixty
1
porary artists, such as Philip Guston, Morris works now hangs with related selections
Louis, Mark Rothko, Arshile Gorky and Roy from the Museum's original collection in
Lichtenstein. Complementing these the refurbished galleries of the Wing.
monographic displays, the curatorial staff Just over four years ago, in 979, The 1
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- 979).
1 who
contemporary art. was Solomon's niece and the daughter
of Benjamin Guggenheim.
Not all of the Museum's space, however,
isdevoted 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 themore 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
thehandsome 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
Cubism represents
all,
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- 920s. 1
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 Brucke
The pioneers of Expressionism
mode by Beckmann and
painters — are represented
late practiced
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
of 1 90 1
-5 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),
encompasses variants of Expressionism,
life 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 Warbecame one of the mam
I,
many years with preparatory organizational upon which further developments of

pillars
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
means (colours, shapes, textures)
pictorial
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- Cubism

to investigate — 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 became not the
years, thus but first 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 unhampered individualism

lost faith in
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 when he, together with other Parisian
II
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 postwar modernism based
I,
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 de Kooning, Baziotes, Motherwell,
well as
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 America revealed
in 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
OILON CANVAS 7 6 x 64 6cm
1.
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
23
PABLO PICASSO
LABAIGNADE 1937
PASTEL AND CRAYON ON CANVAS
OIL, 129.1 x 194cm
24
GEORGES BRAQUE
GUITAR. GLASS AND FRUIT DISH ON SIDEBOARD 1919
GIFT. JUSTIN K. THANNHAUSER FOUNDATION. BY EXCHANGE
25
FERNANDLEGER
THE STOVE 1918
OIL ON CANVAS 61 x 50. cm
1
26
_
FERNANDLEGER
MEN IN THE CITY 1919
I
27
JUAN GRIS
NEWSPAPER AND FRUIT DISH 1916
OIL ON CANVAS 46 x 37.8cm
GIFT, ESTATE OF KATHERINE S. DREIER, 1953
28
ALBERT GLEIZES
PORTRAIT 1912-13
OILON CANVAS 37.6 x 50.4cm
29
JEAN METZINGER
STILL LIFE 1916
OIL ON CANVAS 7 1 . 1 x 53.3cm
30
LOUIS MARCOUSSIS
THE HABITUE 1920
OIL WITH SAND ON CANVAS 161.9 x 97cm
31
ROBERT DELAUNAY
EIFFEL TOWER WITH TREES 1910
32
\
ROBERT DELAUNAY
WINDOWS 1912
33
MARCEL DUCHAMP
SAD YOUNG MAN ON A TRAIN 191
OIL ON BOARD 99.9 x 72.9cm
34
GIACOMO BALLA
AUTOMOBILE: NOISE + SPEED ca. 1913
OIL ON BOARD. INCLUDING ARTIST'S PAINTED FRAME 54.3 x 76.5cm
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
\\i*>Y { -no.lv^-
36
HENRI MATISSE
LECAHIERBLEU 1945
GIFT. MRS BERNARD GIMBEL. 1970
37
FRANCIS PICABIA
PORTRAIT OF MISTINGUETT (?) ca. 1908-191
OILON CANVAS 60 x 49.2cm
38
AMEDEO MODIGLIANI
JEANNE HEBUTERNE WITH YELLOW SWEATER 1918-19
OIL ON CANVAS 1 00 x 64.7cm
39
ERNST LUDWIG KIRCHNER
GERDA. HALF-LENGTH PORTRAIT 1914
OILON CANVAS 99. x 75.3cm
1
PARTIAL GIFT. MR AND MRS MORTIMER M. DENKER. 1 978

40
VASILY KANDINSKY
AMSTERDAM - VIEW FROM WINDOW 1 904
OIL ON BOARD 23.9 x 33. km
VASILY KANDINSKY
LANDSCAPE WITH FACTORY CHIMNEY 1910
OIL ON CANVAS 66.2 x 82cm
42
VASILY KANDINSKY
IMPROVISATION 28 (SECOND VERSIONS 1912
I I
43
VASILY KANDINSKY
LANDSCAPE WITH CHURCH (WITH RED SPOT) 1913
OIL ON CANVAS I 17.7 x 140cm
44
VASILY KANDINSKY
DEEP BROWN 1924
OIL ON CANVAS 83 .x 72.7cm
1
45
VA5ILY KANDINSKY
AROUND THE CIRCLE 1940
46
FRANZ MARC
YOUNG BOY WITH A LAMB 1911
47
FRANZ MARC
BROKEN FORMS 1914
OILON CANVAS .8 x 88.4cm
I I 1
48
LYONEL FEININGER
CLOUD ^PICTURE WITH LIGHT FORM) 1936
49
PAUL KLEE
FLOWERBED 1913
ON BOARD 28.2 x 33.7cm
OIL
',()
3 ! " 1 1 1
PAULKIEE
UMFANGENM 7 (EMBRACED^ 1932
OILAND SAND ON BOARD 83.8 x 67.3cm
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
FROM GEORGIA VAN DER ROHE
52
MAX BECKMANN
ALFIWITH MASK 1934
PARTIAL GIFT. GEORGIA VAN DER ROHE. 1975
53
PIET MONDRIAN
STILL LIFE WITH GINGERPOT I 1911-12
ON EXTENDED LOAN FROM THE HAAGS GEMEENTMUSEUM.
THE HAGUE NETHERLANDS
54
PIET MONDRIAN
STILL LIFE WITH GINGERPOT I I 1911-12
OIL ON CANVAS 9 1. 5 x 20cm
1
ON EXTENDED LOAN FROM THE HAAGS GEMEENTMUSEUM.

THE HAGUE NETHERLANDS
55
PIETMONDRIAN
COMPOSITION 1939
56
THEO VAN DOESBURG
COMPOSITION 1918
OIL ON CANVAS 96.5x 59.4cm
PEGGY GUGGENHEIM COLLECTON
57
THEO VAN DOESBURG
COUNTERCOMPOSITIONXIII 1925
OIL ON CANVAS 50 X 49.9cm
58
-L
FRIEDRICH VORDEMBERGE-GILDEWART
COMPOSITION No. 97 1935
OIL ON CANVAS 79.9x 100. km
SOLOMON R GUGGENHEIM MUSEUM
59
GEORGES VANTONGERLOO
COMPOSITION IN THE CONE WITH ORANGE COLOR 1 929
OIL ON CANVAS 60 x 60cm
60
il
KAZIMIR MALEVICH
UNTITLED ca. 1916
OILON CANVAS 53.5 X 53.5cm
61
AMEDEE OZENFANT
GUITAR AND BOTTLES 1920
OILON CANVAS 79.6 X 99.8cm
62
JOSEFALBERS
OPEN(B) 1940
OIL ON MASONITE 50.7 x 49.8cm
63
JOSEF ALBERS
HOMAGE TO THE SQUARE: APPARITION 1959
OIL ON MASONITE 121.9 x 121.9cm
64
MARC CHAGALL
PORTRAIT OF THE ARTISTS SISTER ANIUTA 1910
65
MARC CHAGALL
RAIN 1911
OIL ON CANVAS 87 x 1 08.4cm
66
MARC CHAGALL
BIRTHDAY 1923
SOLOMON R GUGGENHEIM MUSEUM
67
GIORGIO DE CHIRICO
THE RED TOWER 1913
1
GIORGIO DE CHIRICO
THE NOSTALGIA OF THE POET 914
69
GIORGIO DE CHIRICO
THE GENTLE AFTERNOON 1916
70
MAX ERNST
LANDSCAPE ca. I9I4-I6(?)
OIL ON BURLAP 66.6 x 62.3cm
MAX ERNST
THE KISS 1927
72
MAX ERNST
THE FOREST 1928
73
MAX ERNST
ZOOMORPHIC COUPLE 1933
OIL ON CANVAS 9 .7 X 73cm
1
l>«-'
....>>£#
74
MAX ERNST
THE ATTIREMENT OF THE BRIDE 1 940
OIL ON CANVAS 129 7 x 96.2cm
75
JEAN ARP
COMPOSITION ca. 1918; reworked 1950s
MIXED MEDIA ON BOARD 96 x 75.9cm
1
1 s
j
mm H
76
JEAN ARP
OVERTURNED BLUE SHOE WITH TWO HEELS UNDER A BLACK VAULT 1925
PAINTED WOOD 79. S x 104.5cm
77
KURT SCH WITTERS
MERZBILD 1930
OILAND COLLAGE ON BOARD 44.6 x 35.7cm
wnmmMmmmmmmmm
78
SALVADOR DALI
WOMAN SLEEPING IN A LANDSCAPE 1931
79
SALVADOR DALI
THE BIRTH OF LIQUID DESIRES. 1932
OIL ON CANVAS 96. x 112.3cm
1
80
SALVADOR DALI
PARANOIC-CRITICAL STUDY OF VERMEERS LACEMAKER' 1955
OIL ON CANVAS 21.1 x 22. cm
1
ANONYMOUS GIFT. 1976

81
YVESTANGUY
THE SUN IN ITS CASKET 1937
OIL ON CANVAS I 15.4 x 88.1cm
82
*
YVES TANGUY
ON SLANTING GROUND 1941
OIL ON CANVAS 43 x 7 1 5cm
83
RENE MAGRITTE
VOICE OF SPACE I932(?)
OIL ON CANVAS 73 x 54cm
84
VICTOR BRAUNER
UNTITLED 1945
ENCAUSTIC ON BOARD 35. x 25.2cm
1
85
VICTOR BRAUNER
THE SURREALIST 1947
86
VICTOR BRAUNER
SPREAD OF THOUGHT 1956
OIL ON CANVAS 73. x 59.7cm
1
GIFT. DOMINIQUE AND JOHN DE MENU, 1959

V.M//956,
87
PAUL DELVAUX
THE BREAK OF DAY 1937
OIL ON CANVAS 1 20 X 1 50.7cm
ALBERTO GIACOMETTI
DIEGO 1953
89
JOAN MIRO
PAINTING 1925
I
90
JOAN MIRO
LANDSCAPE THE HARE) 1927
OIL ON CANVAS129.6 x 194.6cm
91
ANDRE MASSON
ARMOR 1925
92
MATTA
THE UN-NOMINATOR RENOMINATED 1953
OILON CANVAS 20.4 x 75cm
1 1
93
JEANDUBUFFET
MISS CHOLERA 1946
MIXED MEDIA ON CANVAS 54.6 x 45.7cm
GIFT, KATHERINE KUH, 1972
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
95
JEAN DUBUFFET
DOOR WITH COUCH GRASS 1957
OIL ON CANVAS WITH ASSEMBLAGE 189.2 x 146cm
96
,-.;
s
**
M
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9 i
FRANCIS BACON
THREE STUDIES FOR A CRUCIFIXION 1962
OIL WITH SAND ON CANVAS. THREE PANELS EACH 198.2 x 144.8cm
97
ARSHILE GORKY
PAINTING 1944
98
CLYFFORD STILL
JAMAIS 1944
OIL ON CANVAS 165.9 x 8 1. 8cm
99
JACKSON POLLOCK
ENCHANTED FOREST 1947
ON CANVAS 2 3 x 116.3cm
OIL 1
100
4
,
Pablo Picasso 11-1973 Georges Braque 1882-1963 Fernand Leger 1 88 1

- 1 955
Pablo Ruiz Picasso was born on October 25, Georges Braque was born in Argenteuil-sur- Fernand Leger was born February 4, 1 88 1
1 88 1 , at Malaga in Andalusia, Spain. The son Seine on May 13,1 882. He grew up in Le at Argentan Normandy. After being
in
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 From 902 to 904 he painted at the
90 1 . 1 1 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
his visit to Horta de Ebro of 1 898-99 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 9 1 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 to 1 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 7 he began a close friendship
1
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
hiswork was characterized by neoclassicism and less schematic. His fame grew in 922 1 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 925 into the 1930s 1 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 932 and the publication

1 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,
Carlos Gonzalez-Perez in Madrid on March December 8, 1 88 1 . 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
Madrid from 1 902 to 1 904, during which time from 1901 to 1905, Gleizes 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 904 1 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 903 and 1 1904. have a significant influence on Metzinger from
most of the remainder of his life. His friends this time to about 1923. In 1 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 0. By
1 1 9 2 he had developed a personal
1 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
Travels to New York, Gleizes in 1 9 2 on 1 Du Cubisme. m which a
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 Metzinger I
peinture.' at the Sorbonne in 1924. Major Abstraction -Creation group. Later in his career
returned in 9 9 to Pans, where he lived for
Gns 1
1
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 930. the Hanover 1
in Dusseldorf in 1 925. As his health declined. retrospective took place in Lyon at the
Gallery in London m 932 and The Arts Club
Gns made frequent visits to the Midi in the Chapelle du Lycee Ampere. Gleizes died
1
of Chicago m 953. The artist died in Pans on

1
south of France. Gns died in Boulogne-sur- in Avignon on June 23. 1953.

Seine on May
November 3. 1956.
927. at age forty. I 1 . 1
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
Ladislas Markus in Warsaw, on November 1
4, in Pans on April 12, 1885. In 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
the Salon des Independants in 1906, and was theories of M-E. Chevreul; he was then images of a single body in motion. In 9 2 he 1 1
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 9 3 he had
1 1
Impressionist style to adopt the new Cubist Delaunay's participation in exhibitions in abandoned traditional painting and drawing
idiom. About 191 I , at the suggestion of 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 5-23.
1 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 4 to
1 1 920 Delaunay lived in Spain Duchamp returned to France the summer in
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
became his supporter. In 1 934-35 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- 930s he collaborated with the
1
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 he studied
1 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 d'Automne and the Salon

style at the Salon
In 1 90 1 Matisse exhibited at the Salon des
Serafino Macchiati. About 1903 he began des Independants of 903. His first one-man 1
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 908 elements of 1
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 2 he had evolved a
1
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
manifesto of 1 910 with Boccioni. Severmi, many avant-garde artists in 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 2 he travelled to
1 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
1
in Berlin and in an exhibition at the exhibition at his gallery '29 ' 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 4 he experimented with sculpture
1 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 7 he published
1 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 5 at
1 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 8 he was given a one-
1
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 935 was made 1
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 Leghorn, Italy. The serious illnesses he 1880, in Aschaffenburg, Germany. After 1 866, in Moscow. From 886 to 892 he 1 1
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
where he settled in Montmartre and
to Paris 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
Cezanne. In the autumn of 1 907 he met his Impressionism as well as to the old masters. d' Automne in 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 I
Nolde and Otto From

1
Pechstein, Emil Muller. 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 909 to 1915 the Italian concentrated
1
well as shows of Edvard Munch, Gustav Klimt exhibition was held December at the
in
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
his paintings date from 1 9 6 to 1919.
1 Japanese prints, the Ajanta 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
were Paul Guillaume ( 1 9 4 to
1 9 6) and1
from 1 9 4 to
1 1 92 principally in Moscow
War
1
1 ,
During World 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
Franz Marc 880-1916 1 Lyonel Feininger I87I-I9S6 Paul Klee 879-1 940 1
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
study philology. From 900 to 902 he
1 1 Hamburg. In 1 888 he was admitted to the important in his life and work. From 1898
studied at the Akademie in Munich with Kunstakademie where he attendedin Berlin, 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 London in 1908 was deeply
in
in 191 I.
the animal anatomy lessons he gave to artists. impressed by the work of Turner. From 908 1
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
KunstlerveremigungMunchen (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 when he met Kandmsky. After
I .
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
whose first exhibition took place in
Rider),
December 1911 at the Moderne Galerie

Gropius, with whom he travelled to Weimar only after a revelatory trip to North Africa in
in 1 9 9 to serve on the faculty of the newly-

1 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 92 1 1 to 1 926 and in Dessau
1914. Marc immediately enlisted. He was In 1 929 work was included in the first
his from 1 926 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
in 1 93 1 . In 1 936 he taught a summer course Anonyme. New York, 92 1 - 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

inNew 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 2, 884. He began to study art
1 1 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, 883. His first exhibition of paintings was
1
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 9 4 to 1916 van Doesburg
1 1
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 CR H. Spoor and Jan Sty/ and the periodical of the same name;
exhibition of Die Neue Sachlichkeit (New
was held at the Stedelijk Museum,
Sluyters) 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 took place 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 work was held at the
his In 1 920 he resumed his writing, using the pen
Picasso at the first Moderne Kunstknng
Kunsthalle Mannheim in 1928. From 929 1 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 4 he began to develop an independent
1
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 broke out and prevented his
I 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
1924. 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 forced Mondrian to move to
II 'Elementarism,' published in 1926. During
in the United States took place in 1 948 at London in 938 and then to settle in New
1 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 thesummer of 949 and that 1 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, 950, in New York. 1 1 942 one-man show took place at
his first the group of the same name. Van Doesburg was
Valentine Dudensmg Gallery, New York. the moving force behind the formation of the
Mondrian died on February 1 , 1 944, in 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- 962 1
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
Kunstgewerbeschule and the Technischen the years 1 9 4 to

1 1 9 8
1 in The Netherlands, the early years of his career he experimented
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 9 1 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 where he participated in the exhibition to Brussels in 1 9 8 he1 moved to Menton, of peasants at the exhibition Donkey's Tail in
I' Art d'aujourd'hui. 927 formed abstrakten

1 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
exhibitions. In 1 924 Vantongerloo published Kruchenykh. he drafted a manifesto for
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
in Pans. The artist joined the Abstroct/on- he held until 1 937. His models of bridges At the 0. 10 Last Futurist Exhibition in
Cre'avon group m Paris in 1 932. In 1 937 and proposed airport were exhibited at the Petrograd in 1915 Malevich introduced
Vordemberge-Gildewart travelled to Musee des Arts Decoratifs in Pans in 1 930. his nonobjective, geometric Suprematist
Switzerland and in 1 938 settled in In 1936 he participated in the exhibition paintings. In 1 9 9 he began to explore
1
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 Amsterdam, in in 1943. He shared an exhibition with Bill and Malevich and other advanced wereartists
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 monograph on
949 the first
Galene Suzanne Bollag in Zurich in 1 96 1
of Chagall, Malevich began teaching at the
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 9-20 he was given a one-
1
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 theAcademie 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 Gallerym 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 in 930 .-.

1 1
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
Amedee J.
Ozenfant was born on April 1
5, Josef Albers was born March 19, 1888, in 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 906 1 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 4 at the gallery
1
(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 in Vitebsk, where he was appointed
settling
(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 909 1 to 1 9 3 he
1 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 J
B. Neumann's New Art Circle. He became The Netherlands, Spain, Poland and Italy.
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 940. Ozenfant taught and
1 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
1 955, when he returned to France. He and a retrospective of his work was held at from 1 967 to 1 977 was held at the Musee
remained there the rest of his life, and The Metropolitan Museum of Art, New National du Louvre, Pans, in 1977-78. Chagall
died in Cannes on May 4, 1 966. York, in 1 97 1 . Albers lived in New Haven now lives and works in St. Paul de Vence,
until his death on March 25, 1 976. France.
110
.
Giorgio de Chirico 1
888- 978 1 Max Ernst 891-1976 1
Jean Arp 1886-1966
Giorgio de Chirico was born to Italian parents Max Ernst was born on April 2, 1 89 1 Jean (Hans) Arp was born on September 1 6,
in Volos, Greece, on July 1 0, 1 888. In 1 900 he in Germany. He enrolled in the

Bruhl, 1886. in Strasbourg, Alsace-Lorraine. In 1904.
began studies at the Athens Polytechnic University at Bonn in 909 to study 1 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 2 at the Galene
1 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
d' Automne in 1912 and 1913 and in the Salon Picasso. In 1 9 3 he
1 met Guillaume Apollmaire Herbstso/on in 1 9 3 at the gallery of
1 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,
gatherings, he met Brancusi. Andre Deram. Deutscher Herbstso/on. In 1 9 4 he
1
met Arp. Picasso and Apollmaire. In 1 9 5
1 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
to exhibit in Berlin at Der Sturm in 1 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.
1 9 8-
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 920 to 924 he divided his time
1 1 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 92 and he cabaret L'Aubette in Strasbourg in 1926.
New York,
,
1
Levy Gallery, 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 939 he was interned in France
1 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 926 and 927 and
whom
1 1
he married early in 1 942. After their publish poetry and essays. In 1 942 he fled
at theGalene Jeanne Bucher in 927. In 928 1 1
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 inLondon and the Valentine
Grand Prize for painting at the Venice Arp received the International Prize for
Gallery in New York. The artist designed for
A
Biennale in 1954 and in 1975. He died Sculpture at the Venice Biennale. 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
He attended the Kunstgewerbeschule in Figueras, Spain, on May I 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
beginning of his friendships with Arp and 1 928. At the end of the year he returned to work in 1 923, 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 924 when he saw the periodical
1
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 922. There 1 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 927. 1 His first one-man show
Dada
New York in 1933.
was
activities included his A/lerz-A/lot/neen held in 1 927 at the Galerie Surrealiste in
and Merz-Abende at which he presented his Dali was censured by the Surrealists in 934. 1 Paris. In 1928 he participated with Arp. Ernst,
poetry. From 1923 to 1932 he published the In 1 940 Dali fled to the United States, where Andre Masson, Miro, Picasso and others in
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
number of years;
structure he built over a retrospective of work opened in 1941 at
his 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
Hannover studio. Schwitters was included travelled through the United States. In 1 942 during a trip to Africa in 1 930. 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
name. He fled to Norway in 1 937. Pallavicini in Rome and in 1 964 an important
until 1 950. In 1 947 his work was included in
retrospective of work was shown in his
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 5, 1
Cleveland was inaugurated in 1 97 , and

where he was interned for over a year. 1
1955, in Woodbury.
He settled in London following his release. the Dalinian Holographic Room opened at
Schwitters died on January

M. Knoedler and Co., New York, in 1973.
8, 1 948, in
Major exhibitions were held in the 1 980s.
Kendal, England.
Dali is living in Port Ligat.
12
Rene Magritte 1 898- 1967 Victor Brauner 903 1 1966 Paul Delvauxb 1897
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
1 9 8 at the Academie Royale des Beaux- Arts
1 evangelical school in Braila from 1 9 6 to
1 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 Artsm 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
exhibition at the Galerie Le Centaure in Brauner settled in Pans in 1 930 and became Penrose. That same year he participated in
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
Andre Breton, Arp, Miro and Dali. In 1 928 Brauner's first Parisian one-man show at the Robert in Amsterdam. The artist visited Italy
Magritte took part in the Exposition Surreo/iste Galene Pierre in 1934. The exhibition was in 1 938 and 1 939 His first retrospective was
at the Galene Goemans in Paris. He returned not well-received, and in 1935 Brauner held at the Palais des Beaux-Arts in Brussels in
to Belgium in 1 930, and three years later was returned to Bucharest where he remained 1 944-45. Delvaux executed stage designs for
given a one-man show at the Palais des until 1938. That year he moved to Pans, lived Jean Genet's Adame Miroire in 1 947 and
Beaux-Arts in Brussels. Magntte's first solo briefly with Tanguy and painted a number of collaborated with Fluard on the book Poemes.
exhibition in the United States took place at works featuring distorted human figures with peintures et dessins, published in Geneva and
the Julien Levy Gallery in New York in 1 936. mutilated eyes. Some of these paintings, Pans the next year. After a brief sojourn m
and the first in England at the London Gallery dated as early as 1 93 1 , proved gruesomely France in 1 949. the following year he was
in London in 1 938; he was represented prophetic when he lost his own eye in a appointed professor at the EcoleSupeneure
as well in the 1936 Fantastic Art. Dada, scuffle in 1 938. At the outset of World War II
d'Art et d' Architecture in Brussels, a position
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 940s Magritte showed
1
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
from candle wax and developed a graffito From 965 1 to 1 966 Delvaux served as
executed various mural commissions in
From 1953 he
technique. President and Director of the Academie
Belgium. 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 973 he was awarded the Rembrandt
Galene Maeght m Pans
1
retrospectives were held in 1 954 at the Palais Surre'alisme at the

Prize of the Johann Wolfgang Stiftung
des Beaux- Arts in Brussels and in 1 960 at the m 1947. His postwar painting incorporated
Museum for Contemporary Arts. Dallas, and
A Delvaux retrospective was shown at
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 965. Magritte 1 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.
Magritte died on August 1967 in Brussels.
works m Brussels.
1 5,
113
Alberto Giacometti 1 90 1
- 1 966 Joan Miro 1893-1983 Andre Masson b. 1896
Alberto Giacometti was born on Joan Miro Ferra was born in Barcelona, on Andre Masson was born on January 4, 896, 1
October 10, 1901 , in Borgonovo, April 20, 1 893 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
and sculpture and drawing at the Ecole des clerk. After suffering a nervous breakdown of Cezanne, Gauguin arid Seurat. In 1 9 2 he
1
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 2 to
1 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. 1919 Miro made Collioure and then Ceret, but returned to
In his first trip to Paris,
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 show in Switzerland, shared with
first 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
in Zurich in 927. The following year1 at the Galerie La Licorne in 92 His work
1 1 . in his first group exhibition at Kahnweiler's
Giacometti met Andre Masson and by 930 1 was included in the Salon d'Automne of 923. 1 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 932 at 1 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 942 Giacometti lived in Geneva,
1 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
He returned to Paris in 1 946. In 1 948 he had etchings date from 1 933. During the early themes. In 1 936 he participated in Fantastic
a one-man show at the Pierre Matisse Gallery

1 930s he made Surrealist sculpture-objects Art, Dada, Surrealism at The Musuem of
in New York. The artist's friendship with

incorporating painted stones and found Modern Art, New York.
Samuel Beckett began about 1 95 1 . In 1 955 objects. In 1936 Miro left Spam because Masson fled France for New York in 1 94 1
he was given major retrospectives of the Civil War; he returned in 94 The spent most of the war years
at the Arts
1 1
artist in
Council Gallery in London and The Solomon Miro died in December, 1983.
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 The Baltimore Museum of Art
at
First Prize for Sculpture at the Venice in 1 94 1 . During his years in America Masson
Biennale of where he was given his
1 962, 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-
Musee National d'Art
spectives at the
Moderne in Pans in 965 and The Museum 1
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
was born on November II, 191 I , in Santiago. July 31. 1 90 1 . He attended art classes in his 28. 1 909. 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- 940s. 1 Upon his return
Corbusier's atelier and joined the Surrealist He travelled to Italy m 923 and South
1 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'. Dubuffet's first one-man exhibition was held the Mayor Gallery in 1 933. In 1 934 the artist
Matta fled Europe for New York in 1 939. at the Galene Rene Drouin in Pans in 1944. organized his own first one-man show at
where he associated with other Surrealist During the forties the artist associated with
Sunderland House, London, which he
called Transition Gallery for the occasion.
emigres including Ernst. Tanguy. Masson and Charles Ratton, Jean Paulhan, Georges
Breton. The Julien Levy Gallery in New York Limbour and Andre Breton. His style and He participated in a group show at Thos.
presented his first one-man show of paintings subject matter m this period owed a debt Agnew and Sons in London m 937. 1
in 940. and he was included in the Artists in

1 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 Hanover
place at the
artists such as Gorky and Motherwell. From 95 1 1 to 1 952 Dubuffet lived in New Gallery in London in From the mid-
1949.
Towards the end of the war he evolved York; he then returned to Pans, where a
1 940s to the 1 950s Bacon's work reflected
increasingly monstrous imagery; the retrospective of his work took place at the
the influence of Surrealism. In the 1 950s
appearance of mechanical forms and Cercle Volney in 1954. Major Dubuffet
Bacon drew on such sources as Velazquez's
cinematic effects m Matta's work reflects the
exhibitions have since been held at the Musee Portrait of Pope Innocent X, van Gogh's The
influence of Duchamp. whom he met in 1 944.
des Arts Decoratifs. Pans. The Museum of Road to Tarascon and Eadweard
Painter on the
He broke with the Surrealists in 1 948 and Modern Art. New York,
The Art Institute of Muybndge's photographs. His first one-man
returned to Europe, settling in Rome in 1953.
Chicago, the Stedehjk Museum, Amsterdam,
exhibition outside England was held in 1 953 at
A mural for the UNESCO Building in Pans the Tate Gallery. London, and The Solomon
the Durlacher Brothers. New York. His '
was executed by the artist in 956. retrospective was held at the Institute of
1
R.Guggenheim Museum, New York. His

In 1 957 The Museum of Modern Art in New paintings. I'Hourloupe. a series begun in 1962.
Contemporary Art. London, in 1955. Bacon
York gave him a major retrospective, which were exhibited at the Palazzo Grassi m Venice was given a one-man show at the Sao Paulo
Bienal in 1959. In 1962 the Tate Gallery.
travelled to the Institute of Contemporary in 1 964. A collection of Dubuffet's writings.
Art m Boston and the Walker Art Center in Prospectus et tous Merits suivams. was London, organized a major Bacon
retrospective, a modified version of .•.
Minneapolis. His work was exhibited at the published insame year he started
1 967. the
970 and his architectural structures. Soon thereafter
travelled to Mannheim, Turin, Zurich and
Sao Paulo Bienal in 1962. in Berlin in 1
Hannover in 1 974. The artist now lives in he began numerous commissions for
Amsterdam. Other important exhibitions
of his work were held at The Solomon
Tarqumia. Italy, and in Pans. monumental outdoor sculptures. In 98 1
the Solomon R. Guggenheim Museum. New

R.Guggenheim Museum, New York, m 1963
York, observed the artist's eightieth birthday
and the Grand Palais m Pans in 1 97
with an exhibition. Dubuffet lives and works

from 968 to 974
1 I "d at The
m Pans and Pengny.
Metropolitan Museum of Art, New
m 1975. Tl . ondon.
15
Arshile Gorky 1904-1948 Clyf ford 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,
the village of Khorkom, province of Van, Dakota, on November 30, 1 904. 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 inLos Angeles. In the autumn of 930 Pollock 1
in the United States about March 1 , 1 920. Washington State College in 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 94 1 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 knew and admired the murals
Pollock 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 When Still was in New York in 1 945, Rothko to 1 942. In 1 936 he worked in David Alfaro
influenced by Cezanne, Braque and, above introduced him to Peggy Guggenheim who Siquerios's experimental workshop in New
all, Picasso.
gave him a one-man exhibition at her Art of York.
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
in Philadelphia in 1 93 I . From 935 1 to 1 937 he Legion of Honor in San Francisco in 1 947. In Surrealism. During the early 1 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 94 1 . Gorky's first one-man show in New the Artist. He resettled in San Francisco for 1 943, and Abstract and Surrealist Art in
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 96 he settled on his farm near From autumn of 945, when Lee Krasner
the 940s he was profoundly affected by the
1 1
In 1
1
work Westminster, Maryland. and Pollock were married, they lived in The
the of European Surrealists, particularly
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
York took place in 1 945. From 942 1 to 1 948 Painting from the Skowhegan School of Greenberg at Bennington College in
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
on July 21 , 1948, in Sherman, Connects u1 travelled outside the US. He was killed in an
automobile accident August I I, 1956.
I 16
5 3 1
PABLO PICASSO 2 1 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 SCH WITTERS 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
ROBERT DELAUNAY 32 33 104 VICTOR BRAUNER 85 86 87 1 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 FRANCIS BACON 97 1 1
FRANZ MARC 47 48 107 ARSHILE GORKY 98 116
LYONEL FEININGER 49 107 CLYFFORD STILL 99 I 16
PAULKLEE 50 51 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
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THE MODERNS

ART GALLERY OF NEW SOUTH WALES

association with the International Cultural

©The Trustees of the

The Board of Trustees wishes to acknowledge

Esso Australia Ltd

The Sydney Morning Herald

Australian Consolidated Press

Editor Jan Meek

Design John Spatchurst

This book is set in Gill Sans, a typeface

Gill based the design on classical proportions

became, within a few years of its design, the

we salute Australia in its blazing of new culturual trails.

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

contemporary Australian Art at the Guggenheim Museum in New York later

exchanges between Australia and the United States.

The Guggenheim name is synonymous with We are, therefore, more grateful

philosophy and indeed role of art in our

permeate Australian art traditions, albeit at

with such great paintings which fashioned

This selection of eighty paintings that Through a series of fortuitous circumstances

New York, came into being as a result of the

be preserved and shared. laboured with convinction, imagination and

radical advances during this era. It is not to artists.

suggest that parallels may easily be drawn

Esso Australia Ltd. is proud to join with the

The artists, Russian, Italian, French,

Hall in New York, a centre for the musical

arts, and in 937 he created the Solomon R.

Swiss who emigrated to America in 848 1

Guggenheim Foundation 'for the promotion

Gallery — Gleizes, Leger, Robert Delaunay.

Since 1965 another permanent installation,

the Justin K. Thannhauser Wing, has offered

Cezanne, Vincent van Gogh and Paul

has also mounted many exhibitions featuring Solomon R. Guggenheim Foundation

_v*> THE PALAZZO

the collection are concentrated upon the

subsequent transformations in the hands of

Mrs Guggenheim began her career as a

collector of avant-garde art in the 1 930s,

even in the face of German invasion. In 1 94

Cubist, Abstract and Surrealist art —a

palazzo to The Solomon R. Guggenheim condensed assemblage from both sources

of their contemporaries in other disciplines.

graphic means as well as through the kinetic

used even more emphatically than the

many years with preparatory organizational upon which further developments of

work, with authorship of influential theo- modern painting would rest.

an ever more daring and independent

with an attenuated figurative style. But quasi-religious aspirations for Mondnan.

Vestiges of the world of common experi- Cubism

vision were no more than a point of comparable to Mondrian's and Malevich's

verticals, while, similarly, all observed colour he had unhampered individualism

the Swiss-born Klee who, like Kandinsky,

proceeded more systematically so that without necessarily constituting traceable

It was left to Dada and Surrealism

the Dada and Surrealist artists opposed

York. These artists would become known as

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

stated objectives. Together, these movements and tendencies

The alternative of geometric abstraction on potential outside the history of poetry

SOLOMON R. GUGGENHEIM MUSEUM

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