Exhibition brochure - Daimler Art Collection

Transcription

Willi Baumeister International
Willi Baumeister and European Modernity 1920s–1950s
November 21, 2014 — March 29, 2015
Works by Willi Baumeister 1909–1955.
Works from the Baumeister Collection by Josef Albers, Hans Arp, Julius Bissier, Georges Braques, Carlo Carrà, Marc Chagall,
Albert Gleizes, Roberta González, Camille Graeser, Hans Hartung, Wassily Kandinsky, Paul Klee, Franz Krause, Le Corbusier,
Fernand Léger, El Lissitzky, August Macke, Otto Meyer-Amden, Joan Miró, László Moholy-Nagy, Amédée Ozenfant,
Pablo Picasso, Oskar Schlemmer, Kurt Schwitters, Michel Seuphor, Gino Severini, Zao Wou-Ki
From the Daimler Art Collection: Hans Arp, Willi Baumeister, Max Bill, Camille Graeser, Otto Meyer-Amden, Oskar Schlemmer,
Georges Vantongerloo
Daimler Contemporary Berlin
Potsdamer Platz Berlin
Introduction
Renate Wiehager
Stuttgart artist Willi Baumeister (1889–1955) is one of the
The collection comprises, among others, paintings by Wassily
From the outset the Daimler Art Collection has, in both its
most important German artists of the postwar period and
Kandinsky, Hans Arp, Fernand Léger, and Kazimir Malevich.
conception and its aims, gone well beyond mere corporate-
among the most significant representatives of abstract paint-
The focus of the exhibition is on central groups of works by
image enhancement. In fact, over the years the collection
ing. His influence as an avant-garde artist, as a professor at
Willi Baumeister, ranging from his constructivist phase to the
has become one of the leading European Corporate Collec-
the School of Decorative Arts in Frankfurt am Main and after
Mauerbilder and the late Montaru paintings as well as the
tions and a living part of the corporation. Since it was inau-
1946 at the Stuttgart Academy, and as a major art theoreti-
Afrika series. They offer an overview of the development of
gurated in 1977 – with the acquisition of a picture by Willi
cian could be felt far beyond Germany.
Baumeister’s oeuvre and at the same time demonstrate his
Baumeister – the inventory has grown to about 2,600 works
international reputation. The works will be supplemented by
today by some 700 German and international artists. The
From early on, Baumeister was in close contact with French
archival materials such as letters, newspaper articles, and
collection represents an important range of predominantly
artists and exhibited his works in Italy, Spain, France, and
unpublished photographs that impressively illustrate the high
abstract developments in art from the 20th century to the
Switzerland. He could seamlessly resume these contacts
degree to which he was recognized both in Germany and
present day. Moreover, it includes some 30 large pieces of
after the Second World War. The exhibition retraces his inter-
abroad. Together they reveal the multifaceted image of an
sculpture, automobile-related works done on commission as
national relations to gallerists, collectors and art historians.
artist who engaged in an intense exchange with the interna-
well as photography, object- and media art that has been
It will, for the first time, present parts of his private art col-
tional art scene before and after the Second World War.
built up systematically since 2001.
lection, which he assembled through swapping his own works
for paintings by his artist friends.
The exhibition, conceived by the Kunstmuseum Stuttgart, has
been adapted for Berlin and supplemented by works from the
Daimler Art Collection.
2
Willi Baumeister packing works for his exhibition at the Gallery Jeanne Bucher
Paris, 1949
3
f.l.: Willi Baumeister, Hans Arp, Friedrich Vordemberge-Gildewart
f.l.: Adolf Fleischmann, Josef Albers
Installation views, ‘Art from a hundred years 1909–2009’, Museum und Galerie
im Prediger, 2009
Since the 1999 inauguration of the company’s own exhibition
a dialogue with less recently acquired works. Since 2003 a
space – Daimler Contemporary at Haus Huth on Potsdamer
rotating selection of some 150 works at a time has gone
Platz in Berlin – the systematic expansion of the collection
on tour worldwide through major museums in Europe, the
has been attentively followed by an international public.
United States, South Africa, South America and Asia.
New acquisitions for the Daimler Art Collection are presented
there as well as internally, in Stuttgart, Berlin and Sindel
fingen, in themed rotating exhibitions, where they enter into
Installation view, ‘Novecento mai visto’, Brescia, 2013
4
5
f.l.: Ben Willikens, Josef Albers, Hans Arp
f.l.: Oskar Schlemmer, Josef Albers, Camille Graeser, Johannes Itten
Installation views, ‘Classical : Modern I’, Daimler Contemporary, Berlin, 2006
Installation view, ‘Art & Stars & Cars’, Mercedes-Benz Museum,
Stuttgart, 2011
6
7
In its early days the Daimler Art Collection focused mainly on
pictures and particularly on artists from southern Germany,
notably those connected with the Stuttgart Art Academy,
including Adolf Hölzel and his pupils Oskar Schlemmer, Willi
Baumeister, Johannes Itten, Ida Kerkovius, Camille Graeser
and Max Ackermann, but also – extended to the European
level – Hans Arp, Georges Vantongerloo, Otto Meyer-Amden
and Max Bill. What they all had in common was an artistically
motivated interest in establishing an interdisciplinary dialogue between fine art, functional product design, architecture
and aesthetic theory. Linking up with this founding principle,
the Daimler Art Collection is, despite its broad scope, clearly
f.l.: Adolf Hölzel, Oskar Schlemmer, Willi Baumeister
anchored in the ‘Classical : Modern’ exhibition and publication series, the first part of which, in 2006, introduced the
concrete and constructivist tendencies of early modernist art
up to the post-war era by drawing primarily on the collection
itself.
8
f.l.: Willi Baumeister, Oskar Schlemmer, Ida Kerkovius
Installation views, ‘Classical : Modern I’,
Daimler Contemporary, Berlin, 2006 9
Renate Wiehager (Ed.): Kurt Leonhard,
Cover ‘Avantgarden in Süddeutschland
nach 1945’, Hatje Cantz 2012
f.l.: Georg Meistermann, Fritz Winter, Willi Baumeister, Installation
view, ‘Classical : Modern II’, Daimler Contemporary, Berlin, 2008
The second part of the series, in 2008, focused on the avant-
horizons that are intimately connected with south-west Ger-
garde tendencies of post-war southern Germany. In 2012 this
man art after 1945. In keeping with the focal point of our
was followed by the third part of the series: a first compre-
collection as it has evolved over the years, the exhibition
hensive appreciation of Kurt Leonhard (‘Avantgarden in Süd-
‘Willi Baumeister International’ will go on to Berlin at Daimler
deutschland nach 1945’; all related publications can be
Contemporary in 2014/15 as the best possible sequel.
obtained via www.art.daimler.com). Texts by Kurt Leonhard –
art critic, lyric poet, philosopher, translator and curator who
died in 2004 and was a close friend of Willi Baumeister’s –
and by Ottomar Domnick open up art-historical and historical
10
Installation views, ‘Willi Baumeister International’,
Kunstmuseum Stuttgart, 2013/14
11
Kunstmuseum Stuttgart, 2013/14
12
13
Willi Baumeister International
Ilka Voermann and Hadwig Goez
More than most artists, Willi Baumeister is perceived as a
exhibited there and he participated in the international de-
At the outset of Willi Baumeister’s career ‘international’
German painter. This is particularly true of his late work,
bates on art.
meant France in the first instance. Like so many other young
which is inextricably linked with the art history of post-war
artists of his generation, Willi Baumeister was enthusiastic
Germany. This perception is not completely erroneous be-
about Paul Cézanne and the French Impressionists. His early
cause Willi Baumeister was indeed strongly rooted in Ger-
work is clearly indebted to both. In 1910 works of his were
many, especially in his native Stuttgart, which he had left
shown at the Württemberg Art Association along with those
only while he was a professor at the School of Decorative
of both French and German artists and received critical ac-
Arts in Frankfurt am Main (now the Städelschule) and for
claim. He had his first international success two years later,
brief periods during the Second World War. This impression is
in Switzerland, when the Galerie Neupert in Zurich showed
reinforced by the fact that he championed abstract art in
Germany after 1945, which made him a guiding spirit in the
his work alongside that of Hermann Huber and Reinhold
Kündig.1 Still it would be ten years before notice was taken of
debate about the future of German art after the Second
his work in France as well.
World War. For all that, classifying Willi Baumeister solely as
a leading German painter falls far short of his significance.
He was deeply rooted in the international art scene and
bound by close ties to it both before and after the Second
World War. He was in contact with artists, art critics and
collectors in Europe and beyond Europe; his works were
14
Junge am Landungssteg [Boy on a Landing Stage], 1909
Oil on cardboard, glued on the back with paper
Wall Picture at the space of the architect Richard Döcker,
Werkbund exhibition in Stuttgart 1922
15
Daimler Contemporary, 2014/15
16
17
Apoll II, 1921/22
Lithograph
Ohne Titel (Figurentreppe I)
[Untitled (Staircase of Figures I)], 1920
Lithograph
During the early 1920s figuration continued to yield to simple
within the international avant-garde. His work was also made
geometric forms in Baumeister’s painting. Now Baumeister
known in France through a positive article by Paul Ferdinand
Schmidt that was published in the ‘Kunstblatt’3 in 1921 and
realigned himself with different role models, this time the
Russian Constructivists and the Dutch group of artists known
as De Stijl.2 This was the context in which he developed his
a joint exhibition with Fernand Léger at the Der Sturm gallery
own artistic stance, with the Wall Pictures featuring a unique
on Baumeister’s painting was printed (also in 1922) in the
blend of painting and architecture. Although the Wall Picture
idea was in fact realized only once, in the room designed by
journal ‘L’Esprit Nouveau’, published by Le Corbusier and
Amédée Ozenfant.4 The Waldemar George article was
the architect Richard Döcker at the 1922 Werkbund exhibi-
Baumeister’s first contact with the French art scene and
tion in Stuttgart, this work definitively positioned Baumeister
would be followed up by a number of important events.5
18
in Berlin in 1922. In addition an essay by Waldemar George
Kopf [Head], 1920
Oil, graphite and sand on canvas
Kopf [Head], 1920
Oil and sand on cardboard
19
left:
Atelierbild [Studio Picture], 1925
Oil on canvas
right:
Maschinenbild [Machine Picture], 1924
Oil on canvas
left:
Drei gestaffelte Figuren [Three Staggered Figures], 1920
Oil, tempera and papier-mâché on canvas
right:
Apoll und der Maler [Apollo and the Painter], 1921
Oil on canvas
20
Figur mit Streifen II [Figure with Stripes II], 1920
Oil and papier-mâché on canvas
Figur mit Prismafarben [Figure with Prism Colors], 1924
Oil and sand on canvas
21
Installation view, ‘Willi Baumeister International’,
22
23
In 1924 Ozenfant and Le Corbusier, with whom Baumeister
had been corresponding regularly, invited him to Paris,
where he met many other artists, including Piet Mondrian,
Hans Arp and Fernand Léger. The following year saw
Baumeister’s work presented for the first time to the French
public, at ‘L’Art d’aujourd’hui’, where it met with a very
positive response. By 1927 the Galerie d’Art Contemporain
had dedicated a solo show to Baumeister, his first in Paris.
Willi Baumeister had indeed succeeded in gaining a firm
foothold in the Paris art scene. How unusual his success in
France was cannot be overstated at this juncture. On the
Group picture in Paris 1926,
Second from left: Max Ackermann, sixth from left: Enrico Prampolini,
seventh from left: Willi Baumeister, third from right: Adolf Loos, second
from right: Piet Mondrian, far right: Michel Seuphor
whole German artists found it very difficult to be taken
Fernand Léger and Willi Baumeister, Paris 1930
Kreisbild I [Circle Image I], 1921
Oil and graphite on canvas
notice of at all in France after the First World War. Relations
between the French and German art scenes were notable
for seething tensions, and the art produced by Germans
due above all to his painting, which was perceived as ‘un-
romantic overtones persisted. Baumeister’s art, on the
tended to be classified by the French as rather backward.6
That Willi Baumeister should have been the one to garner
German’. In his 1931 essay ‘Baumeister et l’art allemand’,
other hand, was “a form of world art and a collective
Waldemar George stressed the fact that German painting
style”.7
rave reviews from French artists and art critics alike was
was so strongly dominated by Expressionism that mystical
24
Exhibition Willi Baumeister
at the Gallery d’Art
Contemporain Paris, 1927
25
Baumeister’s success on the international art scene was duly
noted in Germany and admired, especially by his fellow ar
tists. Wassily Kandinsky wrote to Baumeister in 1931: “About
a year ago I was in Paris briefly and noticed while there, too,
that the French are very much interested in you. And there
are only very few German artists who are taken seriously
there, which, after all (between you and me), is hardly surprising. And for the following reason: what is easy for a
Frenchman is difficult for a German artist – crossing the
border.”8 Baumeister’s appointment to a professorship for
commercial art, typography, textile printing and photography
Group picture at the Bauhaus
Weimar 1925, top left: Herbert
Bayer, top right: Walter Gropius,
beneath: Willi Baumeister,
second row left outside: Oskar
Schlemmer, bottom right with
raised hand: Josef Albers
Oskar Schlemmer and Willi
Baumeister, Frankfurt am Main
1932
at the School of Decorative Arts in Frankfurt am Main in
1928 can also be put down to his international reputation.9
also constantly reverted to earlier themes, including Der
Maler [The Painter], and developed them further. Nor did
26
In the 1930s Baumeister’s work was shaped by numerous
his success in Paris wane. In 1930 the Galerie Bonaparte
parallel trends. That decade saw him produce very different
mounted a solo show of Baumeister’s most recent work and
groups of works, such as the Little Flame and Line Pictures,
the following year saw the publication of two important
the Sport Pictures II and the Valltorta Pictures. Baumeister
French monographs devoted to his work: Will Grohmann
27
Maler mit Palette [Painter
with Palette], 1929
wrote the first Baumeister monograph for the Peintres Nouveaux series10 and the ‘Sélection’11 series of artist monographs devoted a volume to him. Le Corbusier congratulated
him on this success in a letter dated 16 February 1931: “I am
delighted to see the strong performance of your works assembled here. All this is enormously pictorial. Your drawings
28
Der Maler mit
Punkten [Painter
with Points], 1932
Oil on canvas
29
are very fine. Since you started out in 1920 you have
circulation: he sent Westerdahl a list of addresses to which
exhibition, with essays by Albert Sartoris, an architect who
been both sound and interesting. The future is bound to
he was to dispatch the monograph.16 The list included both
curated the exhibition, and Eduardo Westerdahl.18 Distin-
be yours.”
the names of numerous fellow artists as well as the ad-
guished fellow artists such as Le Corbusier and Wassily Kan-
dresses of international galleries. That is how the Westerdahl
dinsky also contributed dedications to the catalogue. Initially
The Baumeister monograph that Will Grohmann had written
monograph reached the Casa d’Arte Bragaglia gallery in
it seemed doubtful whether Baumeister would be as success-
in French was not only of great importance to his success in
Rome and the Galleria del Milione in Milan, where it piqued
ful in Italy as he had been in France. Reservations about
France but also opened doors for him in Spain and Italy.
the interest of Gino Ghiringhelli, the proprietor, who organ-
non-representational art were in any case considerably more
Since 1932 Willi Baumeister had been in contact with Ed-
ized a Baumeister exhibition in 1935, which subsequently
uardo Westerdahl, a Spanish art critic who was general editor
went to the Casa d’Arte Bragaglia in Rome. One can only
of the journal ‘gaceta de arte’ on Tenerife. From 1932 to
imagine how overjoyed Baumeister must have been about his
1938 it was a leading forum for the Spanish art scene.
Baumeister had sent a copy of the Grohmann monograph to
continuing success abroad.
Westerdahl, who reviewed it in an issue of ‘gaceta de arte’.14
12
13
prevalent in Italy than in France. Kandinsky wrote to
Kleine Flammen [Small Flames], 1931
Oil on canvas
Flämmchenbild [Flamelet Picture],
1931
Oil on canvas
Baumeister about this circumstance: “I am delighted that you
are exhibiting in Milan because interest was aroused there. It
would also seem to be spreading elsewhere in Italy. Only,
when the acquisition of his painting Atelier III [Studio III], by
unfortunately, really serious things are not always shown
In view of the situation in his native Germany his joy must
the Städtische Galerie in Frankfurt am Main was decried
there, i.e., the ›Grimaces‹ are not always avoided. And I am
Grohmann’s monograph and regular correspondence with
have been great indeed. After the National Socialists came to
by the press as a waste of taxpayers’ money.17
Baumeister gave Westerdahl the idea of writing a book on the
power in 1933 Baumeister had been dismissed from his
certain that your works will be very instructive there. So the
best of success!”19 The reviews of the Baumeister exhibition
German artist. The monograph was published in 1934 with a
foreword by Willi Baumeister.15 In this case, too, Baumeister
teaching post in Frankfurt and had returned to Stuttgart. As
Hence he must have been all the happier about the prospect
turned out, however, to be very positive. Nonetheless,
early as 1930 he had had a taste of the anti-modernist mood
of being able to exhibit his work for the first time in Italy. The
Baumeister’s Constructivist works, which had met with such
took an active role in ensuring that the book had a wide
that was becoming widespread on the German art scene
Galleria del Milione published a ‘Bollettino’ to accompany the
acclaim in France especially, were less popular in Italy, where
30
31
the works in which he had returned more noticeably to figuration were preferred.20 Carlo Carrà, an artist whose attitude
to abstraction tended to be rather negative, had only praise
for the development: “Among the many examples of abstraction we are provided with internationally, Baumeister is distinguished by his commitment to taking up stances that are
more open-minded, more animated and humane than are
usually encountered.”21 The highlight of Baumeister’s appearance in Milan was a talk he gave on his work a few days after
the exhibition opened. Although he knew very little Italian,
Baumeister managed to put across his arguments with the
aid of explanatory drawings.22
Läufer mit sitzender Figur, 1934/35
[Runner with Sitting Figure]
32
Schreitende Figur [Striding Figure], 1934
Fliegende Formen [Flying Forms], 1937/38
Stenciled shapes with printing ink on paper
Schwebende Formen mit Weiß [Floating Forms with White],
1938, Oil on canvas
33
The exhibitions in Milan and Rome would remain some of the
few opportunities for years to come for Baumeister to present his work abroad. The situation in Germany was looking
considerably bleaker. In keeping with the National Socialist
arts policy, Baumeister’s works were removed from public
collections and, along with numerous works by other proscribed artists, shown at the notorious ‘Entartete Kunst’
exhibition of ‘degenerate’ art, which toured Germany from
1937. In 1941 Baumeister was forbidden to paint and to
show work. Despite this difficult situation he still managed
to be a presence to be reckoned with abroad. In 1937 he
showed work at ‘konstruktivisten’ at the Basle Kunsthalle.
What is more, he succeeded in sending about 90 works to
Formlinge II [Formlings II], 1937
Offset lithograph on Japanese paper
Formlinge III [Formlings III], 1937
the Kunsthalle in 1937 and 1938 for safekeeping, thus preventing the National Socialists from confiscating them.23 In
1937 the British poet and art critic Herbert Read informed
Baumeister that he was planning an exhibition in London
focusing on the work of artists vilified by the National SocialInstallation view, ‘Willi Baumeister International’,
34
35
36
37
ists.24 ‘Twentieth Century German Art’, which opened at the
New Burlington Galleries in London in July 1938, can be
viewed as representing an anti-agenda that was intended to
counter ‘Degenerate Art’. Baumeister was not unknown in
London. At the suggestion of the painter Edward Wadsworth,
Baumeister had shown work at ‘Recent Paintings by English,
French and German Artists’, an exhibition at the Mayor Gallery in London in April 1933.25
Baumeister had his last international exhibition before the
Second World War in 1939 at Galerie Jeanne Bucher in Paris,
a tribute to him that came about only through the unswerving
commitment to it shown by the gallerist herself.
Tennisspieler mit Kreis [Tennis Players with Circle], 1934
38
39
Ideogramm [Ideogram], 1937
Oil on cardboard
Tori, 1938
Woodcut on paper
Tori, 1938
Oil on canvas
Illustration zu einem griechischen Text –
Fotozeichnung [Illustration of a Greek
Text – Photo-Drawing], 1944
40
Dialog-Zeichnung mit Montage [Dialogue-Drawing with
Montage], 1944
Illustration zu einem griechischen Text, [Illustration
of a Greek Text], 1944
Illustration zu einem griechischen Text [Illustration of
a Greek Text], 1944 oder 1947
All: Charcoal/oil crayon and collage with photo and
reproduction on mould-made Ingres paper
In the years that followed Baumeister was severely restricted
in his work by the prevailing conditions. He did manage to
Afrikanische Erzählung [African Tale], 1942
Oil with synthetic resin and putty on cardboard
keep in contact with a few colleagues abroad but corre-
Owambo, 1944-48
Oil with synthetic resin, putty and sand on hardboard
spondence with them often had to take place through devious channels and third parties. Despite the adverse conditions Baumeister succeeded in continuing to work and to
develop further within the framework of possibilities still
open to him. During this period of ‘inner emigration’ he did
some painting but also produced mainly cycles of drawings,
42
Illustration zu einem griechischen Text [Illustration of a Greek Text],
1943
43
The end of the war ushered in a new wave of success for Willi
Baumeister. By 1946 he had been appointed professor of
painting at the State Academy of Fine Arts in Stuttgart. Both
the French and the American occupying powers soon realized
that Baumeister was a leading exponent of abstract art in
Germany and viewed him as linking pre-war and post-war
German art. Their high opinion of Baumeister was based
above all on his having never abandoned the moral high
ground, his managing to continue working even during the
Baumeister, curtain to Manuel de Fallas
‘Liebeszauber’ for the Stuttgarter
Staatsoper, Cover ‘Der Spiegel’, November 1947
Cover ‘Das Unbekannte in der
Kunst’, Gustav Schwab Verlag,
Stuttgart 1947
period of ‘inner emigration’ and his maintaining contacts with
the international art scene, which he renewed after the war.
in which he addressed biblical themes and other narratives.26
On post-war visits to Paris Baumeister also forged important
In 1942 or 1943 he began writing ‘Das Unbekannte in der
new ties, including one with Nesto Jacometti, who was the
Kunst’ [The Unknown in Art], which after the war ended
would become one of the most important theoretical works
on abstract art in Germany.
27
co-founder of the journal ‘Guilde internationale de la graWilli Baumeister in his studio, Stuttgart 1947
Willi Baumeister with his daughter Krista, Stuttgart 1949
vure’, the British artist Stanley William Hayter, Fernand Graindorge, a collector, James Johnson Sweeney, director of the
Solomon R. Guggenheim Museum and even the writer Henry
44
45
Willi Baumeister in his apartment Gerokstraße,
Stuttgart 1946
Willi Baumeister and Hans Arp, 1955
Miller. After 1945 Baumeister did his utmost to promote
a year later Baumeister had his first post-war solo show, at
cultural exchange, especially with France. In 1949 he took
the Galerie Jeanne Bucher. That was the first exhibition any
his Stuttgart students to Paris, where they visited French
German artist had in France after the Second World War.
artists and museums. The cultural reunion with France
By then at the latest Baumeister had arrived in France once
reached a high point in 1948, when Baumeister’s painting
again. In 1948 he wrote in a letter to Michel Seuphor: “opéra
Jour heureux was presented to the French government to seal
wrote: ›… baumeister, le picasso allemand …‹ that’s overdoing
the reconciliation between France and Germany in exchange
it a bit, un peu trop!”30
28
for 90 French prints, which had been given to the Kunsthalle
Karlsruhe by the Division de l’Education Publique.29 Only
46
47
Funktion einer (Form)
Bewegung (auf Gelb),
1949
[Function of a (Form)
Movement (on Yellow)]
Oil with artificial resin,
filler and sand on
hardboard
48
49
Willi Baumeister, 1952
Ruhe und Bewegung II [Repose and Movement], 1948
Oil with artificial resin on hardboard
Metamorphose schwarz [Black Metamorphosis], 1950
Oil with synthetic resin on hardboard
After 1945 Willi Baumeister’s range began to include coun-
in 1952, at the Hacker Gallery in New York. He also had work
tries outside Europe. Although the prewar avant-garde art
in major group shows at the Guggenheim Museum and the
scene had primarily concentrated on Europe, after the war
Carnegie Institute in Pittsburgh. The Pittsburgh exhibition
the importance of non-European art, especially American art,
subsequently went on tour to San Francisco and, thanks to it,
grew by leaps and bounds. Long before, in 1926, Willi
a major American museum acquired a Baumeister. Through
Baumeister had shown work at the ‘International Exhibition
the agency of German-born curator Charlotte Weidler, the
of Modern Art’ mounted by the Société Anonyme in New
Albright-Knox Art Gallery in Buffalo acquired Wachstum
York, but it was not until after 1945 that he was really appre-
[Growth], in 1953. The painting is still there.31
ciated in the United States. He had his first US solo show
50
51
Wind, 1951
Oil with synthetic resin and
tempera on hardboard
52
53
While he was enjoying such success in the US, Baumeister
also triumphed in Brazil, where he took part in the first
São Paulo Biennal, in 1951. He was given the Biennal Special
Award in São Paulo for the painting Kosmische Geste [Cosmic
Kessaua II, 1953
Oil and synthetic
resin on hardboard
Gesture], which he promptly donated to the Museu de Arte
Moderna de São Paulo.32 In the 1950s Baumeister’s work
was shown at exhibitions worldwide. Apart from the Venice
Biennale and the International Art Exhibition in Japan, it was
the touring exhibitions initiated by the German Arts Council
that made Baumeister famous around the world. The German
Arts Council exhibitions took his work to South Africa, New
Zealand, Australia and India.33
The importance of Baumeister’s work and his influence as
Schwarzer Fels mit
rötlichem Grund
[Black Rock with
Reddish Ground],
1954
Oil with synthetic
resin on hardboard
54
an art theorist grew apace in Germany as well. His growing
post-war reputation on all counts was triggered by his participation in the 1950 ‘Darmstadt Discussions’, in which he
defended abstraction against arguments advanced by the art
historian Hans Sedlmayr. Baumeister’s hands-on committ-
Montaru auf Rosa
[Montaru on Pink],
1953
Oil with synthetic resin
and filler on hardboard
55
Großes Montaru [Large
Montaru], 1953
Oil with synthetic resin
on hardboard
56
57
Monturi mit blauem
Dreieck [Monturi with
Blue Triangle], 1954
Oil with synthetic
resin and sand
58
59
ARU, 1955
ARU-Linie [ARU-Line], 1955
ment to the cause of abstract painting made him a trailblazer
not been granted a visa. In 1950, however, he was elected
for it in Germany and a role model for the younger generation
president of the congress, which, under his stewardship, was
held in the prehistoric caves at Altamira.35 On that occasion
of abstract German painters.34
he finally managed to meet his old acquaintance Eduardo
He also took part in debates abroad on the future of painting.
Westerdahl for the first time. After the congress ended
In 1950 he attended the second congress of the Escuela de
Westerdahl, like so many other fellow artists, wrote a dedica-
Altamira, which had embarked on a mission of reviving mod-
tion to Baumeister: “Twenty years later or Willi Baumeister.
ern art in Spain. In 1949 Baumeister had wanted to take part
On visiting a museum in Germany a picture appeared to me.
in the first congress but was unable to do so because he had
60
61
Years later this picture would be the hand of a man who is
developed with reference to the art of all times and peoples –
full of genius and wit.”36
ranging from the Assyrians to Paul Klee, Kandinsky and Miró.
And, sidestepping Expressionism, he resolutely went his own
No other artist matched Willi Baumeister in taking up where
very independent and distinctive way.”37
he had left off with the international success achieved before
the Second World War. Nonetheless, the esteem he enjoyed
in Germany after 1945 is inextricably linked to the international reputation he had had before the war. Baumeister’s
international fame rested in great measure on his ability to
make contacts and maintain those ties over long distances
and under adverse circumstances as well as on the thrust
of his work itself, which had been orientated towards the
international avant-garde since the outset of his career.
As Fernand Léger wrote on Baumeister’s painting in 1949:
“As I see it the name Baumeister occupies an extremely
important place among modern German artists. Indeed
ARU auf Beige [ARU on Beige], 1955
62
ARU 1, 1954
Baumeister represents – when one considers his work –
German art of an international character. His art has always
63
Endnotes
1
2
3
4
64
Dieter Schwarz, Baumeister und
die Schweiz, in: Willi Baumeister:
Gemälde und Zeichnungen, exh.
cat. (Museu Fundación Juan
March, Palma, Kunstmuseum
Winterthur and MART Museo di
Arte Moderna e Contemporanea di
Trento e Rovereto, 2011–12;
Düsseldorf, 2011), pp. 30 and
27–43 passim.
Martina Padberg, ›Nichts ist
abstrakt gemeint‹: Positionsbestimmung in Frankfurt: Anmerkungen zu Kontinuität und Innovation
im Werk von Willi Baumeister, in:
Willi Baumeister 1889–1955: Die
Frankfurter Jahre 1928–1933, exh.
cat. (Museum Giersch, Frankfurt
am Main), Frankfurt am Main,
2005, pp. 53 and 51–62 passim.
Paul Ferdinand Schmidt, Willy
Baumeister, Das Kunstblatt, 5/9
(1921), pp. 276–79.
Waldemar George, La Peinture en
Allemagne: Willi Baumeister,
L’Esprit Nouveau, 15 (1922), pp.
1790–94.
5
6
7
For Baumeister’s activities in
France, see also the essay by
Brigitte Pedde, Willi Baumeister in
Frankreich, in: Willi Baumeister
International, exh. cat. Kunstmuseum Stuttgart, MKM, Museum
Küppersmühle für Moderne Kunst,
Duisburg, Daimler Art Collection
Haus Huth, Berlin. München,
2013, pp. 30-41.
Christian Derouet, Baumeister et
Cahier d’Art: Un prêté pour un
rendu, in: Willi Baumeister et la
France, exh. cat. (Musée
d’Unterlinden, Colmar, and Musée
d’Art Moderne, Saint Étienne,
1999–2000), Paris, 1999, pp. 83
and 82–92 passim.
»une forme d’art mondiale, et d’un
style collectif«. Waldemar George,
Baumeister et l’art allemand, in:
Willi Baumeister: Chronique de la
vie artistique, Sélection, vol. XI
(Antwerp, 1931) (with essays by
Will Grohmann, Pierre Flouquet,
Waldemar George, Hans Arp, Karl
Konrad Düssel, Josef Gantner,
Christian Zervos, Michel Seuphor,
Fernand Léger, Le Corbusier, Ernst
Schön and Willi Baumeister), p.
16f.
8
12
Letter from Wassily Kandinsky to
Willi Baumeister, 19 April 1931,
Baumeister Archives at the
Kunstmuseum Stuttgart.
9
Padberg 2005 (see note 2), p. 57.
10
Will Grohmann, Willi Baumeister:
Les Peintres Nouveaux, Paris,
1931.
11
Willi Baumeister: Chronique de la
vie artistique, Sélection, vol. XI
(Antwerp, 1931) (with essays by
Will Grohmann, Pierre Flouquet,
Waldemar George, Hans Arp, Karl
Konrad Düssel, Josef Gantner,
Christian Zervos, Michel Seuphor,
Fernand Léger, Le Corbusier, Ernst
Schön and Willi Baumeister).
13
»Je suis heureux de voir la belle
tenue de vos œuvres, ici rassemblés. Tout cela est éminement pictural. Vos dessins sont très beaux.
Dès 1920, votre départ vous êtes
sain et interessant. Vous allez à
l’avenir avec sécurité.« Letter from
Le Corbusier to Willi Baumeister,
16 February 1931, Baumeister
Archives at the Kunstmuseum
Stuttgart.
Padberg 2005 (see note 2), p. 58.
18
Willi Baumeister, in: Il Milione:
Bollettino della Galleria del Milione, 13/41 (1935), n.p.
19
Letter from Wassily Kandinsky to
Willi Baumeister, 17 March 1935,
20
Paloma Alarcó, Willi Baumeister
und Spanien: Gemeinsamkeiten
und Einflüsse, in: Willi Baumeister,
exh. cat. (Sala de Exposiciones
Fundación Caja Madrid and
Städtische Galerie im Lenbachhaus, Munich) Munich, 2004, pp.
52f. and 51–73 passim.
14
Ibid., p. 54.
15
Eduardo Westerdahl, Willi Baumeister (Tenerife, 1934).
16
17
A copy exists in the Baumeister
Stuttgart.
21
Elena Pontiggia, Baumeister und
die Galleria del Milione, in: Willi
Baumeister: Gemälde und Zeichnungen, exh. cat. (Museu Fundación Juan March, Palma, Kunstmuseum Winterthur and MART Museo
di Arte Moderna e Contemporanea
di Trento Trento e Rovereto,
2011–12) Düsseldorf, 2011, pp.
115 and 111–20 passim, esp. p.
115.
24
25
26
Carlo Carrà, Willi Baumeister,
L’Ambrosiano (1935).
27
22
Pontiggia 2011 (see note 20), p.
114.
28
23
Schwarz 2011 (see note 1), p. 37f.
Letter from Herbert Read to Willi
Baumeister, 30 October 1937,
Willi Baumeister, diary entry, 17
March 1933. »Wadsworth writes
about 2 pictures for the inaugural
exhibition at a new gallery in
London: Mayor Gallery.«
29
Ibid., p. 20.
30
Letter from Willi Baumeister to
Michel Seuphor, 17 February
1948, copy in the Baumeister
Stuttgart.
31
Andreas Schalhorn: Lebenszeichen
aus der inneren Emigration. Willi
Baumeister Uracher Jahre und die
Zeichnungsfolge »Saul« und
»Salome«, in: Willi Baumeister
2013, pp. 56-65.
Willi Baumeister, Das Unbekannte
in der Kunst, Stuttgart, 1947.
Martin Schieder, Im Blick des
Anderen: Die deutsch-französischen Kunstbeziehungen 1945–
1959, Berlin, 2005, pp. 122–26.
32
Letter from Edgar C. Schenck to
Willi Baumeister, 3 April 1953,
Kunstmuseum Stuttgart. For
Baumeister’s US contacts, see the
essay by Peter Chametzky: Verpasste Chancen, Missverständnisse. Baumeister und die Vereinigten Staaten, in: Willi Baumeister
2013, pp. 42-55.
Letter from Willi Baumeister to
Francisco Matarazzo Sobrinho, 21
December 1951, copy in the
33
See the numerous Deutscher
Kunstrat exhibition brochures in
the Baumeister Archives at the
34
For Willi Baumeister’s role in the
debate about the future of German
art in the post-war era see the
essay by Sabine Fastert, »Häupling
der Moderne«. Willi Baumeister
und die Kunstdebatte nach 1950,
in Willi Baumeister International.
exh. cat. Kunstmuseum Stuttgart,
MKM, Museum Küppersmühle für
Moderne Kunst, Duisburg, Daimler
Art Collection Haus Huth, Berlin.
München, 2013, pp. 66-77.
35
Alarcó 2004 (see note 13), p. 66f.
36
Cited in Alarcó 2004 (see note
13), p. 72.
37
Fernand Léger, Willi Baumeister,
L’Âge Nouveau, 44 (1949), p. 71.
65
List of Works
Willi Baumeister
(1889 Stuttgart, D – 1955 Stuttgart, D)
Junge am Landungssteg [Boy on a
Landing Stage], 1909
Oil on cardboard, glued on the back
with paper
34,1 × 45,8 cm
Kunstmuseum Stuttgart
➝ P. 14
Drei gestaffelte Figuren [Three Staggered Figures], 1920
Oil, tempera and papier-mâché on
canvas
34,1 × 45,8 cm
Kunstmuseum Stuttgart
➝ P. 20
Ohne Titel (Figurentreppe I) [Untitled
(Staircase with Figures I)], 1920
Lithograph
51,5 × 34,4 cm
Acquired 1991
Daimler Art Collection
➝ P. 18
Kopf [Head], 1920
Oil and sand on cardboard
46 × 34 cm
Private collection
➝ P. 19
66
Kopf [Head], 1920
Oil, graphite and sand on canvas
45,5 × 33 cm
Baumeister Archives at the Kunst
museum Stuttgart
➝ P. 19
Kreisbild I [Circle Image I], 1921
Oil and graphite on canvas
57,5 × 74,5 cm
Baumeister Archive at the Kunst
museum Stuttgart
➝ P. 25
Maler mit Palette [Painter with Palette],
1929
65 × 54 cm
Private collection
➝ P. 28
Figur mit Streifen II [Figure with Stripes
II], 1920
Oil and papier-mâché on canvas
73,5 × 52 cm
Private collection
➝ P. 21
Maschinenbild [Machine Picture],
1924
Oil on canvas
65 × 54 cm
Private collection
➝ P. 20
Flämmchenbild [Flamelet Picture],
1931
Oil on canvas
65,5 × 46,5 cm
museum Stuttgart
➝ P. 31
Apoll und der Maler [Apollo and the
Painter], 1921
Oil on canvas
60,4 × 50,3 cm
museum Stuttgart
➝ P. 20
Figur mit Prismafarben [Figure with
Prism Colors], 1924
65,5 × 46,2 cm
museum Stuttgart
➝ P. 21
Kleine Flammen [Small Flames], 1931
Oil on canvas
65 × 46 cm
Private collection
➝ P. 31
➝ P. 18
Atelierbild [Studio Picture], 1925
Oil on canvas
100,5 × 81,6 cm
museum Stuttgart
➝ P. 20
Der Maler mit Punkten [Painter with
Points], 1932
Oil on canvas
100,2 × 50,2 cm
Private collection
➝ P. 28
Apoll II, 1921/22
Lithograph
51,5 × 34,5 cm
Acquired 1979
67
Schreitende Figur [Striding Figure],
1934
100,5 × 65,5 cm
museum Stuttgart
Tennisspieler mit Kreis [Tennis Players
with Circle], 1934
65,4 × 54 cm
Private collection
➝ P. 33
➝ P. 38
Fußballspieler [Football Player], 1934
45 × 32 cm
Binz Collection
Läufer mit sitzender Figur [Runner with
Seated Figure], 1934/35
65 × 54 cm
Acquired 1984
68
➝ P. 32
Ideogramm [Ideogram], 1937
Oil on cardboard
27,8 × 31 cm
museum Stuttgart
➝ P. 40
Formlinge II [Formlings II], 1937
54,8 × 41,9 cm
museum Stuttgart
➝ P. 35
Formlinge III [Formlings III], 1937
54,4 × 41,7 cm
museum Stuttgart
➝ P. 35
Fliegende Formen [Flying Forms],
1937/38
Stenciled shapes with printing ink
on paper
65,1 × 47,1 cm
Private collection
➝ P. 33
Tori, 1938
Oil on canvas
100 × 73 cm
Private collection
➝ P. 40
Tori, 1938
Woodcut on paper
70,2 × 50 cm
museum Stuttgart
➝ P. 40
Schwebende Formen mit Weiß [Floating Forms with White], 1938
Oil on canvas
81,7 × 65,4 cm
museum Stuttgart
➝ P. 33
Afrikanische Erzählung [African Tale],
1942
Oil with synthetic resin and putty on
cardboard
35,5 × 45,5 cm
museum Stuttgart
➝ P. 43
Illustration zu einem griechischen Text
[Illustration of a Greek Text], 1943
Charcoal, oil crayon and collage with
photo and reproduction on mouldmade Ingres paper
24,4 × 31,3 cm
museum Stuttgart
➝ P. 42
Illustration zu einem griechischen Text –
Fotozeichnung [Illustration of a Greek
Text – Photo-Drawing], 1944
Charcoal and collage with two fragments on mould-made Ingres paper
30,9 × 48,7 cm
museum Stuttgart
➝ P. 41
[Illustration of a Greek Text], 1944
Charcoal and collage with photo detail
on mould-made Ingres paper on
cardboard
31,2 × 48,4 cm
museum Stuttgart
➝ P. 42
69
Dialog-Zeichnung mit Montage [Dialogue-Drawing with Montage], 1944
Charcoal, oil crayon, collage with
black and white photos on mouldmade Ingres paper
31,2 × 48 cm
museum Stuttgart
➝ P. 42
[Illustration of a Greek Text], 1944 or
1947
Charcoal and collage with photo and
reproduction on mould-made Ingres
paper
25,2 × 38,1 cm
museum Stuttgart
➝ P. 42
Illustrations to the poem ‘Avant la
première journée du monde’ from
Luc Bérimont, 1948
Charcoal, crayon on hand-made paper
7 parts
Each: 32 × 25 cm
museum Stuttgart
70
Owambo, 1944-48
Oil with synthetic resin, putty and
sand on hardboard
65 × 81 cm
Private collection
➝ P. 43
Ruhe und Bewegung II [Repose and
Movement II], 1948
Oil with artificial resin on hardboard
81 × 100 cm
Acquired 1978
➝ P. 50
Funktion einer (Form) Bewegung (auf
Gelb) [Function of a (Form) Movement
(on Yellow)], 1949
Oil with artificial resin, filler and sand
on hardboard
58,5 × 81 cm
Acquired 1989
➝ P. 49
Großes Montaru [Large Montaru],
1953
135 × 185 cm
Private collection
➝ P. 56
➝ P. 55
➝ P. 50
Montaru auf Rosa [Montaru on Pink],
1953
Oil with synthetic resin and filler on
hardboard
135 × 185 cm
Acquired 1987
Metamorphose schwarz [Black Metamorphosis], 1950
80,9 × 64,9 cm
museum Stuttgart
➝ P. 54
➝ P. 52
Kessaua II, 1953
Oil and synthetic resin on hardboard
65 × 81 cm
museum Stuttgart
Wind, 1951
Oil with synthetic resin and tempera
on hardboard
100,2 × 125,4 cm
museum Stuttgart
Schwarzer Fels mit rötlichem Grund
[Black Rock with Reddish Ground],
1954
81 × 99,5 cm
Private collection
➝ P. 54
71
Monturi mit blauem Dreieck [Monturi
with Blue Triangle], 1954
Oil with synthetic resin and sand
135 × 185 cm
museum Stuttgart
➝ P. 59
ARU 1, 1954
99,9 × 81,2 cm
museum Stuttgart
➝ P. 62
Han-Aru, 1955
Oil with synthetic resin on cardboard
45,5 × 36 cm
Private collection
Han-i, 1955
129,5 × 79,5 cm
museum Stuttgart
72
ARU auf Beige [ARU on Beige], 1955
100 × 81 cm
museum Stuttgart
➝ P. 62
ARU-Linie [ARU-Line], 1955
64,9 × 44 cm
museum Stuttgart
➝ P. 60
ARU, 1955
49,7 × 37 cm
museum Stuttgart
➝ P. 60
Josef Albers
(1888 Bottrop, D – 1976 New Haven,
USA)
Aussicht [View], 1933
Linoleum cut on Japanese paper
34,9 × 44,5 cm
Private collection
Hans Arp
(1886 Strasbourg, F – 1966 Basel, CH)
chapeau-nombril [Nable Hat], 1924
Oil on canvas
58 × 45 cm
Acquired 1986
lèvres et glace à main [Lips and Hand
Mirror], 1927
Oil on wood
58 × 100 cm
Acquired 1986
Ronde Vegetale [Vegetable Round],
1946
Oil on canvas
65 × 65 cm
Acquired 1989
Samariter Collage [Samaritan Collage],
1955
Collage out of paper and cardboard
glued on cardboard
30,5 × 26,5 cm
Private collection
Composition, 1960
Silkscreen
57 × 43 cm
Acquired 1995
coryphée, 1961
Marble, pedestal: granite
Hight 90 cm
Acquired 1986
73
Max Bill
(1908 Winterthur, CH – 1994 Berlin, D)
rote quadrate [red squares], 1946
Oil on canvas
60 × 60 cm
Acquired 1985
Julius Bissier
(1893 Freiburg, D – 1965 Ascona, CH)
Ohne Titel [Untitled], 1935
Ink on Japanese paper
35,5 × 25,5 cm
Private collection
Trilogie [Trilogy], 1957
Silkscreen
3 parts
Each 67,5 × 93,5 cm
Acquired 2003
Georges Braque
(1882 Argenteuil, F – 1963 Paris, F)
FOX, 1911
Drypoint on handmade paper
65,5 × 50,2 cm
Private collection
Carlo Carrà
(1881 Quargnento, I – 1966 Milan, I)
La madre de Gesù [The Mother of
Jesus], 1922
Etching on handmade paper
49 × 35 cm
Private collection
74
Marc Chagall
(1887 Vitebsk, RUS – 1985 Saint-Paulde-Vence, F)
Présentation [Presentation], 1912/13
Gouache on paper
24 × 15 cm
Private collection
Camille Graeser
(1892 Carouge, CH – 1980 Zurich, CH)
Synthetische Konstruktion (Z1946.1A)
[Synthetic Construction], 1946
Ink on textured paper
36 × 49 cm
Acquired 1986
Albert Gleizes
(1881 Paris, F – 1953 Avignon, F)
Peinture à trois éléments [Painting with
Three Elements], 1927
Gouache on paper on cardboard
36,5 × 27,5 cm
Private collection
harmonikale konstruktion, 1947/51
Oil, tempera on canvas
40 × 75 cm
Acquired 1983
Roberta González
(1909 Paris, F – 1976 Monthyon, F)
Sitzende [Seated], 1948
Oil on cardboard
40 × 23 cm
Private collection
Mit progressiven Radien [With Progressive Radii], 1949-54
Ink and tempera on drawing cardboard
36,6 × 51 cm
Private collection
75
korrelative konkretion [correlative
concretion], 1952
Oil on canvas
39 × 79 cm
Acquired 1987
Hans Hartung
(1904 Leipzig, D – 1989 Antibes, F)
Colored pencil drawing
50,3 × 64 cm
Private collection
Wassily Kandinsky
(1866 Moscow, RUS – 1944 Neuillysur-Seine, F)
Rot im Quadrat [Red in the Square],
1931
Watercolor and ink on paper
34 × 33,9 cm
Private collection
76
Paul Klee
(1879 Münchenbuchsee, CH – 1940
Muralto, CH)
Die Himmels Säule [The Sky Column],
1917
Watercolor on layers of chalk and
linen on cardboard
21 × 17,8 cm
Private collection
Le Corbusier
(1887 La Chaux-de-Fonds, CH – 1965
Roquebrune-Cap-Martin, F)
Untitled (table avec livre) [Untitled
(table with book)], circa 1924
Pastel on cardboard on linen covered
cardboard
102,5 × 82,5 cm
Private collection
Mildtropische Landschaft [Mild
Tropical Landscape], 1918
Watercolor and pencil on layers of
chalk on parachute silk on cardboard
23,9 × 18,9 cm
Private collection
Untitled, 1930
Pen-and-ink drawing and colored pen
on paper
44 × 34 cm
Private collection
Franz Krause
(1897 Hemmoor, D – 1979 Wuppertal, D)
Watercolor
45 × 35 cm
Private collection
Untitled (femme avec bateau) [Untitled
(Woman with Boat)], 1932
Pastel, ink and pen on paper on
watercolor paper
21 × 31 cm
Private collection
Fernand Léger
(1881 Argentan, F – 1955 Gif-surYvette, F)
Femme et nature morte [Woman and
Still Life], 1921
Oil on canvas
49,3 × 65,3 cm
Private collection
Frauenkopf mit Gitarre [Woman Head
with Guitar], 1927
Oil, gouache and watercolor on canvas
30,5 × 35,5 cm
Private collection
Ohne Titel (Figur und Schlüssel)
[Untitled (Figure and Key)], 1929
Oil on canvas
45,7 × 32,9 cm
Private collection
77
El Lissitzky
(1890 Potschinok, RUS – 1941
Moscow, RUS)
Proun, 1923
Lithograph on collage
55 × 34,1 cm
Private collection
Proun, 1923
Lithograph on collage
59,7 × 44 cm
Private collection
August Macke
(1887 Meschede, D – 1914 Pertheslès-Hurlus, F)
Abstrakte Formen XVII [Abstract Forms
XVII], 1913
Colored pen and pencil on paper
16,8 × 10,4 cm
Private collection
Otto Meyer-Amden
(1885 Bern, CH – 1933 Zurich, CH)
Knabenakt mit gekreuzten Beinen
[Nude Boy with Legs Crossed], 1926
Pencil on paper
21,5 × 13,5 cm
Acquired 1986
Studie mit sitzender Figur im Halbprofil
[Study with Seated Figure in Half
Profile], 1928
Graphite, color pencil, ink
27,5 × 21,5 cm
Acquired 1987
Studie mit sich Zuneigenden [Study
with Leaning Figures], 1928
Color pencil, graphite, ink
26,5 × 21 cm
Acquired 1987
Studie mit sich Zuneigenden Figuren
[Study with Leaning Figures], 1928
Ink, color pencil
23,7 × 16 cm
Acquired 1987
Studie mit zwei Kompositionen sitzender Figuren [Study with Compositions
of Two Seated Figures], 1929
Ink, color pencil
21,4 × 15,7 cm
Acquired 1987
Joan Miró
(1893 Barcelona, E – 1983 Palma,
Majorca, E)
Femme à l’ombrelle [Woman with
Parasol], 1938
Gouache, ink and collage on cardboard
45 × 24,2 cm
Private collection
Mauve de la lune [Purple Moon], 1952
Lithograph
41,4 × 32 cm
Private collection
László Moholy-Nagy
(1895 Bácsborsód, H – 1946 Chicago,
USA)
Watercolor and ink on paper
39,3 × 28,9 cm
Private collection
Ohne Titel [Untitled], n.d.
Lithograph
60 × 44 cm
Private collection
78
79
Amédée Ozenfant
(1886 Saint-Quentin, F – 1966
Cannes, F)
Quatre Baigneuses [Four Bathers],
circa 1930
Oil on wood
40 × 30 cm
Private collection
Oskar Schlemmer
(1888 Stuttgart, D – 1943 BadenBaden, D)
Relief H, 1919/1959
Aluminum
65,4 × 27,5 × 3,2 cm
Acquired 1985
Wandfries im Haus Mendelsohn Berlin,
Wandbildentwurf, 1930
[Wall Frieze for House Mendelsohn
Berlin, Mural Study]
Pastel on cardboard
113 × 328,5 cm
Acquired 1992
Pablo Picasso
(1881 Málaga, E – 1973 Mougins, F)
Tête d’Homme à la Pipe [Head of a
Man with a Pipe], 1912
Etching
13,1 × 11 cm
Private collection
Figurine mit Großmaske, Riesenmarionette [Figurine with High Mask, Giant
Marionette], 1927
Pencil, ink and watercolor on watercolor paper
50,8 × 38 cm
Acquired 1989
Frauenkopf vom Rücken und zwei
Profile [Female Head from Back and
Two Profiles], 1935
Oil on primed wood fibre
27 × 25 cm
Acquired 1992
Guitare et Compotier [Guitar and
Bowl], 1925
Pen and watercolor on paper
11 × 14,2 cm
Private collection
80
Brustbild eines Jünglings schräg nach
links gewandt [Half-length portrait of a
young man turned inclined to the left],
1929
Pastel and pencil
48 × 37 cm
Private collection
Kurt Schwitters
(1887 Hanover, D – 1948 Kendal, GB)
Mz. 12. Bommbild, 1919
11,9 × 9,7 cm
Collage, colored pen, pencil, watercolor and paper on paper
Private collection
Merzbild 35 A, 1921
Assemblage, oil, cardboard, wood,
metal and wire mesh nailed on canvas
22,2 × 16,8 cm
Private collection
Zwei Köpfe [Two Heads], 1943
Oil on canvas, clamped on cardboard,
covered with spirit varnish
25,5 × 21,5 cm
Acquired 1992
81
Michel Seuphor
(1901 Antwerp, B – 1999 Paris, F)
Tableau Poeme (with a text by Michel
Seuphor), 1928
Lithograph on paper
64,5 × 49,8 cm
Private collection
Kleine Holzmusik [Small Wooden
Music], 1953
Ink
48 × 64 cm
Private collection
Gino Severini
(1883 Cortona, I – 1966 Paris, F)
Ohne Titel [Untitled], n.d.
Ink on paper
27,3 × 21,1 cm
Private collection
82
Georges Vantongerloo
(1886 Antwerp, B – 1965 Paris, F)
Fonction courbes vertes (RN6896)
[Green Curves Function], 1938
Oil on Masonite
80 × 37 cm
Acquired 1988
Zao Wou-Ki
(1920 Beijing, CN – 2013 Nyon, CH)
Schiffe und Fische [Ships and Fishes],
1953
Watercolor and ink on handmade
paper
32 × 50 cm
Private collection
Courbes (RN6971) [Curves], 1939
Oil on Masonite
60 × 35 cm
Acquired 1988
Composition (RN5674), 1944
Oil on Masonite
72 × 52 cm
Acquired 1987
83
84

Exhibition brochure - Daimler Art Collection

Transcription

Similar documents

personalised hoodie order form - Maureen Williams School Of Dance

josephine meckseper

CCAAARRRSSS FFOOORRR SSAAALLLEE

ccaaarrrsss ffooorrr ssaaalllee

Chamber Talk 6/2/15 - Stuttgart Chamber of Commerce

astodia - Stihler Electronic

Exibitor information

English

UNStudio

Chamber Talk 7/14/15 - Stuttgart Chamber of Commerce