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FUTURISM

A Modern Focus

THE LYDIA AND HARRY LEWIS WINSTON COLLECTION Dr. and Mrs. Barnett Malbin

THE SOLOMON

R.

GUGGENHEIM MUSEUM, NEW YORK


Published by

The Solomon

New

R.

Guggenheim Foundation

York, 1973

Library of Congress

Card Catalogue Number: 73-86860

Š The Solomon

R.

Guggenheim Foundation, 1973

Printed in the U.S.A.


Table of Contents

Thomas M. Messer

Preface and Acknowledgements

Linda Shearer

Beyond Futurism: The Winston /Malbin Collection

Marianne W. Martin

19

Futurism

Now

2-9

Works

the exhibition:

30

Paintings, Sculpture,

in

Works on Paper

207

Umberto Boccioni: Drawings and

Prints

229

Documents and Miscellany

exhibition

231

Documentation

235

A

Listing of the Collection

in the


The Solomon

R.

Guggenheim Foundation

PRESIDENT

Peter O. Lawson-Johnston

TRUSTEES

H. H. Arnason, Eleanor Countess Castle Stewart, Joseph W. Donner, A.

Mason Welch

Albert E. Thiele, Michael

The Solomon

DIRECTOR STAFF

R.

Gross, Henry Allen

Moe,

Chauncey Newlin, Mrs. Henry Obre, Daniel Carton Rich, F.

Wettach, Carl Zigrosser.

Guggenheim Museum

Thomas M. Messer Henry Berg, Deputy Director; Linda Konheim, Administrative Agnes R. Connolly, Auditor; Susan John

P. Rafferty,

Officer;

L. Halper, Administrative Assistant;

Managerial Assistant.

Louise Averill Svendsen, Curator; Diane

Waldman, Curator

of Exhibitions;

Margit Rowel], Curator of Special Exhibitions; Carol Fuerstein, Editor; Linda Shearer, Research Fellow; Mary Joan Hall, Librarian; Archivist; Cheryl

Ward

Jackson,

McClenney, Sabine Rewald, Coordinators.

Orrin Riley, Conservator; Lucy

Belloli, Assistant

Conservator;

Saul Fuerstein, Preparator; Robert E. Mates, Photographer; Susan Lazarus, Assistant Photographer; David

Roger Anthony, Registrar; Elizabeth M. Funghini,

Cherie A. Summers, Assistant Registrars;

Dana Cranmer, Coordinator.

Anne

Miriam Emden, Members'

B.

Grausam,

Officer, Public Affairs;

Representative; Darrie

Hammer,

Information; Carolyn Porcelli, Coordinator.

Peter G. Loggin, Building Superintendent;

Guy

Fletcher,

Assistant Building Superintendent; Charles F. Banach,

Jr.,

Head Guard.


East end of Malbin home, from garden


Mr. and Mrs. Harry

L.

Winston boarding Queen Elizabeth, 195 1, Cherbourg, France.

In

package

is

Sevenni's Sea

= Dancer


Preface and Acknowledgements

Meaningful collecting

uum, nor "systems" results.

into an area

where these do not apply. Dr. and Mrs. Barnett Malbin's Lydia and

started the collecting process

continued the work

many

from the

pitfalls

all

Harry and Lydia Winston,

outset.

Malbin who,

years ago, and Dr. Barnett

were

in recent years,

as well as to a functional placement of such

Futurist

in the

works within the

Winston Collection

works that confer

at Lydia's side,

committed to an attentive scrutiny of individual works collection as a whole.

awareness that determined the authority of the effort and the quality of the

The key concept

and rewarding

tends to produce capricious fragments, the latter translates the objectives of the

Harry Lewis Winston Collection avoided both

who

conceptual vac-

in a

that arrange items within a preconceived pattern will yield live

The former

stamp collector

both object and idea bound. Neither "taste" operating

is

is

Futurism; and

upon

a particular status

it

the collection

It is this

result.

the quantity and quality of

is

and that assure

distinctive-

its

ness and character. But Futurism in the

Winston Collection merely provides the main

Cubism and Purism, Dada and Surrealism,

as well as

some European and American

trio of Futurist artists

numbers. The the sculptor

— are

modern

Boccioni, Balla, and Severini

art.

represented by key examples

Italian contingent

is

Medardo Rosso. From

in

tiality

Miro

some Arp

The Guggenheim

oil.

toward medium. Archipenko

is

the

sculptures and

part, a

La Fresnaye and

works on paper.

shown

in

works on paper

as

is

Those who

Paris, furnish the

create objects, or shape

of creative

man

is

at large.

words

art collection

are translated into formal entities. In

ordering fail

is

rare,

and

Ernst, while the sculp-

are represented by their

now

classical phase,

post-war develop-

Stella represent

into meaningful expressions or those is

by no means restricted to

An

by a group

Ernst, Picabia

an imporas well as

European counterpart.

to fashion

image, something that will allow them to see themselves

need for mirrors

Max

American holdings while Appel, Jorn, and Corneille,

tonal resolutions, are mirror makers. Their need

mon

Gleizes. In a dif-

While the Winston Collection remains, for

grouping of European modernists of the

examples from the School of

Cubism where

as witnessed

Max

Moore and Pevsner

ments are by no means neglected. Tobey, Pollock, Louis, Noland and tant segment of the collection's

easily into

selection here attempts to follow the collection's impar-

characteristic three-dimensional achievements.

most

moves

toward Dada and Surrealism,

tors Brancusi, Calder, Giacometti, Lachaise, Laurens,

most

great

various media, and in relatively large

this Italian core, the collection

ferent direction the Futurist center radiates

a marvelous

in fact, a

— the

rounded out by the painters Russolo, Carta and Sironi and

Picasso, Braque, Leger and Gris are supported by Delaunay, de

of carefully chosen Schwitters,

accent.

currents of the

post-war era are not only represented but have become an integral part of a visual unity, study in visual relationships between styles of

parallel

becomes

works of

unless

we

who aim for own

will return their

in the reflection of their

artists,

a

something that

work. This com-

use "artist" in the broad sense

composite art-form when shaping instincts

art, as in

the collecting process, the capacity for

and objects therefore mostly remain devoid of meaning

just as object

assemblages

to achieve significance. Exceptions to this situation are therefore particularly satisfying. Dr.

and Mrs. Barnett Malbin's Lydia and Harry Lewis Winston Collection exemplifies an attainment of the collector's clear serious,

knowledgeable

and positive mirror-image that striving.

is

the result of authentic involvement

and of


I

am

grateful to the

have been involved

numerous individuals within and outside the Guggenheim Museum who

in the

organization and presentation of the exhibition and

would

catalogue. In particular

I

who

phases of the project, assisted

has worked on

all

its

accompanying

like to thank Linda Shearer, Research Fellow at the Guggenheim, in the selection of

works

for the exhibition

and contributed an essay to the catalogue. Also central to the success of the undertaking was the participation of

Marianne W. Martin, Professor

at

New York

catalogue essay. Mrs. Martin's special knowledge of Futurism to us. Ellen sisted

University and author of the second

made

her generous advice invaluable

Sharp and Paul Binai of the Graphics Department of the Detroit Institute of Arts

with the Boccioni drawings and Jane Hickey,

who

as-

has kept Lydia Malbin's extensive rec-

ords up to date, has also been most helpful. Marianne Martin, in turn, expresses her gratitude to

Joan M. Lukach of Cambridge, Massachusetts and Piero Pacini of Florence for their help, while Linda Shearer

is

indebted to William A. Camfield, Houston and to Sidney Geist,

clarifying matters of scholarly importance.

and

skills

The

entire

and the following should be singled out for

Guggenheim

staff

New York

has contributed

their direct participation:

its

for

time

Roger Anthony,

Carol Fuerstein, Linda Konheim, Beverly Liftman, Sabine Rewald and Orrin Riley.

THOMAS

M. MESSER, DIRECTOR

The Solomon

R.

Guggenheim Museum

Dr. and Mrs. Barnett Malbin in Library of Malbin

home


Beyond Futurism: The Winston/Malbin Collection

Lydia Winston Malbin grew up

Her

aims.

father

in

was the innovative

Detroit in an atmosphere of devotion to the highest cuhural

ments, like the Packard

own

Motor Car Co. {1903-05) and

numerous

Surrounded by

art

collect seriously. In

ican Place Gallery.

from childhood,

ingers, a Chagall

it

discussed

and

modern

was not

Among

a Soutine

the

art

first

demands

encyclopedic scope

Stieglitz,

Mrs. Malbin began to

who

then had his Amer-

with her at great length and encouraged her burgeon-

modern works she acquired were two Marins, two

into contact with

interest in

Rose

became the Rose Fried Gallery, which she often

Malbin frequently acknowledges Mrs.

Its

of our time.

until the late 1930's that

which represent her early

By 1945 Mrs. Malbin had come

an

the Chrysler Corporation de Soto Press

1938 she had the good fortune to meet Alfred

He

He amassed

architecture. His daughter's collection demonstrates

creative responses to the unique

ing taste for the abstract.

tually

(1869-1949).

art; his greatest architectural achieve-

particular understanding of the forces of the twentieth century.

reflects the

art.

home with

filled his

Shop (1936), foreshadow much contemporary her

Kahn

industrial architect Albert

important library of rare books and

Fried,

both American and European

whose Pinacotheca Gallery even-

when

visited

Fein-

she

was

New

in

York. Mrs.

Fried's important role in the formation of her collection:

she had championed Arp, van Doesburg, Gabo, Kandinsky, Lissitzky, Mondrian, Picabia and

Schwitters at a very early time. As the body of works grew, so did spite the increasing range, a distinct direction

began

its

scope. Yet, remarkably, de-

to emerge, for the collection evolved into

one

of the finest collections of Futurism extant.

Arp understood the

fullness

and

Winston/Malbin

diversity of the

collection

when he

said:

At the one pole the "Winston collection contains works whose beauty has not been touched by the eternal transformation of the ephemeral.

Among

those

I

would include

drian, van Doesburg, Albers, Freundlich, Herbin, Lissitsky, Pevsner

the

works of Mon-

and Gabo. At the opposite

pole are to be found Boccioni, Masson, Pollock and Schwitters.'

Arp

implicitly poses the question of

resolved. tion

Can Arp and Albers

or

whether

it

is

possible for the apparent opposition to be

Miro and Mondrian

co-exist with their dissimilarities of inten-

and inspiration, which extend to the point of openly stated antagonisms of the esthetic sen-

sibility?

Can an awareness

of twentieth-century art be revealed through a seemingly chaotic

assembly of work? Arp seems to be emphasizing precisely the potefitial for such contradiction be-

tween the two fundamentally different approaches — romantic/classical, open/closed, multiple/unified,

the commitedly political/the purely esthetic.

Futurists" art;

Let us leave

from such

a collision a synthesis

Wisdom behind like a we are

the LJnknotvn, not because

horrible

A

confrontation of this nature

central to the

mine

.

.

.

Let us throw ourselves to be devoured by

desperate, but simply to enrich the bottomless reservoirs of

the Absurd.

1.

is

emerges to form a higher vision.

r

t-

xa

^^-

F. T. Martnettt,

Jean Arp, "Serious and Droll Speculations," Collecting

Modern

1909

^

Art, exhibition catalogue, Detroit In-

stitute of Art, 1957-58, p. 28

T. Marinetti, "First Futurist Manifesto," quoted 1909-19 rj, Clarendon Press, Oxford, 1968, p. 40

2. F.

in

Marianne W. Martin,

Futurist Art

and Theory:


0ÂŤe >nust start with the central nucleus of the object one wants to create, in order to discover the new forms which connect it invisibly and mathematically to the visible plastic infinite and to the interior plastic infinite. The new plasticity will thus be the translation in plaster, bronze, glass, I

wood, or any other material, of atmospheric planes that

link

and

intersect things. 'What

have called physical transcendentalism can render plastically the sympathies a?td mysterious

which produce the reciprocal and formal influences of the

affinities

objects' planes.

Umberto Boccioni,

The range

of Futurist theories opened up countless areas for other artists.

movements developed

directly out of ideas such as those expressed

The

in Paris

seems to have

In addition,

left

has been observed that Boccioni's 1913 sculpture exhibition

it

an impression on a variety of

artists: see

Duchamp-Villon's The Horse, 1914, Archipenko's Boxers, 191 3,

ment

of

realized

international repercussions of the Futurists are due largely to their proselytizing mani-

and lecture tours.

festos

Surrealist

by Marinetti, while the Russian

what Boccioni had vehemently advocated but never

Constructivists were able to actualize in full.

The Dada and

1912''

dynamic and assymetrical

thrusts of space

and

mass.''

Brancusi's Prodigal Son, 1915,

all

of which evidence a

new

ele-

But without doubt, the greatest im-

pact of Futurism occurs in the two seemingly opposed movements of Dada/Surrealism on the one

hand, and of Constructivism on the other.

The

movement was

Futurist

initial

ways

Artists reacted in various

it.

War

enthusiastically since they felt

the Dadaists' social point of view tation

is

to

negative

is

— an

spirit

On

a

intuitive

more

cynical:

was most

Picabia in

by 1916 Dada had grown out of

I;

War. The

New

all

war and

Germany

had welcomed

Futurists

However

traditional values.

its

attendant death and devas-

particularly,

where the economic

Dadaists like Arp, Ernst and Schwit-

active.

York and

Paris created an art

form

as revolu-

idiom which was a unique expression of the period. Irreverence

and love of nonsense, blasphemy and

them together on one

and

society's decay. In

Dada

Germany and Duchamp and

tionary as the Futurists had

World War

heralded the destruction of

it

them one expression of

depression was most severe, the ters in

cut short by

to pressures exerted by the

political activism exists in

both Dada and Futurism, tying

level.

substantial level, the

powers. Reinforced

two movements are

in part

related by an overriding faith in the artist's

by the philosophy of Bergson and Nietzsche, men

like

Arp,

Ernst and Schwitters recognized the need to return to a near-primary state in order to establish a non-static viewpoint that encouraged the artist's

tuating and changing nature of

life.

most personal expression and

Arp evolved one such

reflected the fluc-

solution. Speaking of his

and Sophie

Taueber's work of c.1915, Arp wrote:

We

rejected everything that ivas

neous to react in of these pla?ies

full

copy or description, and allowed the Elementary and Sponta-

freedom. Since the disposition of planes, and the proportions and colors

seemed

to

depend purely on chance,

I

declared that these works, like nature, were

ordered "according to the law of chance," chance being for

fathomable raison

Not only

is

Arp's

d'etre, of

work

an order inaccessible

me

merely a limited part of an un-

in its totality.^

associated with nature through eternal laws contributing to

its

creation,

but also through his particular type of abstraction, whose organic configurations recall and suggest foliage or animal

3.

life.

Pre-dating Surrealist automatic writing, Arp's spontaneous approach re-

Umberto Boccioni, "Technical Manifesto of ed.

Robert

L. Herbert, Prentice-Hall,

4.

See Sidney Geist, Brancusi:

5.

Jean Arp,

On My Way:

A

New

Futurist Sculpture," reprinted in

Modern

Artists

on

Jersey, 1964, p. 51

Study of The Sculpture, Grossman,

New York, 1968, pp. 149-150 New York, 1948, p. 40

Poetry and Essays, 1912-1947, Wittenborn,

Art,


profound grasp of

veals a

Calder

(cat. nos. 68, 34)

powers. His unique biomorphic shapes recur

his inner

who

in

both Miro and

also create a world based on imagination unrelated to objectively

perceived reality. Because of Arp's emphasis on fantasy and the spontaneous workings of the mind,

on multiple

his art functions

shapes quite

levels of association; certain

into others, simultaneously altering

and expanding

literally

He found

formations parallel the states and processes of the mind which preoccupied Arp.

and abstract in

Perfume,

style to express these ideas

1909

c.

(cat.

more

political

closely with Ernst in

Dada contingent based

morphosis or multiple identity of images. But arranged 38)

in specific,

humorous

a

is

which had been more

explicitly

a subtle

handled by Russolo

and often

Cologne where they established an alternative

in Berlin. Ernst, too,

he, for the

ironic, relation to

most

was concerned with

one another. The collage

vision of the subject put together

the meta-

part, uses absolutely realistic objects

Buddha

Sitting

(cat.

Arp and

different forms,

Ernst's sensibilities

to explore his mind's apparatus as freely as possible

named aged

in

no.

from biological drawings and reveals Ernst's

peculiar sense of juxtaposition which later had great impact on Surrealism. Although their

assumed very

trans-

no. 93).

By 19 19, Arp was working to the far

— ideas

metamorphose

These image

their original connotations.

were remarkably

alike.

work

Ernst endeavored

by means of "frottage." Frottage

is

a process,

19Z5 by Ernst, based on the traditional technique of rubbing. Ernst was no doubt encourquest for such a method by Breton's 1924 Surrealist Manifesto. Ernst has described the

in his

events which led to his discovery of this revelatory procedure.

Beginning with a

memory

uated in front of

my

of childhood

.

.

had played the

bed,

.

in the course of ivhich a

finding myself one rainy evening in a seaside inn,

excited gaze the floor-boards

panel of false mahogany,

role of optical provocateur of a vision of half-sleep, I

was struck by the obsession

1

made from

random, sheets of paper ivhich drawings thus obtained ities

.

.

I

my

I

meditative

undertook to rub with black

lead. In gazing attentively at the

intensification of

my

visionary capac-

and by the hallucinatory succession of contradictory images superimposed, one upon the

other, with the persistence

Both

my

the boards a series of drawings by placing on them, at

was surprised by the sudden

1

.

to

upon which a thousand scrubbings had deepened the grooves.

decided then to investigate the symbolism of this obsession and, in order to aid attd hallucinatory faculties,

showed

that

sit-

and

Come Into

demonstrating

and

the Continents

his

rapidity characteristic of

and the

oil

Composition

amorous memories.''

(cat. nos. 40, 39)

were made

in this

manner,

unique insight into a fantasy world quite unlike Arp's. Appropriately, Arp wrote

the introduction to Ernst's 1926 Natural History, a portfolio of his frottage drawings (an edition of which

is

in the collection).

In his introduction,

Come

Into the Continents

Arp incorporated the actual

without knocking but with a muzzle of

Both 1924.

artists

The

titles

related to

two of

this portfolio's plates.

filligree."'

foreshadowed the Surrealist movement

Surrealist insistence

is

from the drawings — "enter the continents

in

which they were active participants by

on "pure psychic automatism" and "the omnipotence of the dream"

obviated, to a certain extent, that quality of spontaneity which characterizes the early

Arp and

Ernst.

This lack of spontaneity on the part of the Surrealist painters largely resulted from the influence of Breton,

who extolled

undoubtedly

conscious control of the unconscious. Moreover, Breton's literary background

set the stage for a

movement

paintings of the 20's, like Personage

6.

Max

7.

Arp, op.

Ernst,

Beyond

cit., p.

38

less

oriented toward the visual. Nevertheless, Miro's

(cat. no. 68),

Painting, Wittenborn,

New

and Tanguy's work

York, 1948,

p.

7

in his best

known man-


ner, like

Shadow Country

(cat.

no. io8), represent

Miro's abstract, biomorphic forms floating in an trasts

two of the more

visual aspects of the

movement.

azure space constitute an image which con-

infinite

dramatically with Tanguy's precisely rendered dream-like and abstracted shapes grounded in

Miro and Tanguy developed

a landscape setting. While

powers of automatism which enabled him to

and the sub-

respectively the poetic/magical

conscious/dream-like tendencies of Surrealism, Masson

(cat.

abandoned himself

no. 65),

to the

extent his intuitive sense of line

utilize to the fullest

and tension. The elements of chance, of accident, of randomness and coincidence have, of course, always played a certain part ists,

made

Another

artist

Working out

who,

Dada

Hanover

in

was Kurt Schwitters

precise points of termination

of a Cubist-Futurist impetus, he exemplifies the artist

grates object with background,

of

integral to their

like the Futurists, strove

mind and

crete states of

The Dadaists, however, impelled by the Futurwork to create a more dynamic art. vigorously to break down the barriers between dis-

in the creative process.

more

these elements

life

with

art.

Schwitters,

who

his

a poet, as

(cat.

own

less

much

a part of Schwitters'

art.

These concerns are also

work. Although Schwitters' delicate collages and frequently

of materials

— personal

possessions, discarded scraps and refuse culled

new

Boccioni's concept of

Transparent planes,

new

materials creating a

and halftones

then, should sculpture remain shackled

of a

new

it

lives.

ii'orld

open up the

figure like a

— expanded

or internal electric lights can indicate

reality

.' .

.

by laws which have no

them courageously and proclaim the complete abolition of the statue. Let us

streets

reality:

glass, sheets of metal, wires, externa!

the planes, inclinations, tones

from the

less

unorthodox use

gentle constructions are based on well-composed Cubist structural formats, his

Why,

their

the plastic arts

in

concerned with the purely formal. The Futurists had been greatly involved with concrete

poetry and carried over the use of words, sounds and letters into their very

inte-

exuberant form

was Arp. Perhaps

propensity toward other art forms enabled them to be more open and expansive

and

nos. 94-98).

and absolutely

totally

developed

"Merz" (from Kommerzbank), was

called

who

window and

justifications'^

finished line

enclose within

it

Let us break

and the closed

the environment in

which

Let us proclaim that the environment must form part of the plastic block as a special

regulated by

own lawsf

its

Although Boccioni had advanced such

theories, he

still

clung, in practice, to the figure as subject.

Schwitters furthered the Futurist proclivity toward the fusion of sculptural object and environment

through the destruction of traditional definitions of Schwitters fabricated the Merzbau, which of objects

which proliferated and changed

was

line,

mass and space. Starting

built into his

daily,

house

in

Hanover.

growing over the years into

a

huge all-encompass-

ing sculptural structure, hi the course of his career, he built three of these; he

ond between 1937 and 1940 constructions,

now

in

Norway, while

the third

was begun

in

in the 1920's,

was an accretion

It

1941

worked on in

the sec-

England. These

destroyed, were the fulfillment of his ideal of total inclusiveness. Schwitters'

accumulated environment represented something very different from the Futurist concept of

moving modern Europe. The age of technology had not products rather than

its

achievements consumed his

left a

positive impression

chance and accident into

8.

Quoted

9.

Reprinted

in

Martin, op. in

p.

117

cit.,

p.

cit.,

Herbert, op.

54

fast-

waste

mind was

spawned them. The Dada

translated through the exploration of

kind of psychic mechanism. Picabia's Alarm Clock

a

its

interest.

Certain Dadaists did not ignore the fact that the machine age had obsession with thought processes and states of

on him;

1

(cat.

no. 79)

is

a


Dada methods

superb synthesis of this piece in

machine

of chance and a

Zurich where he met Picabia for the

esthetic.

time

first

in

1919.

Arp witnessed the making of

Dismanthng the clock

hotel room, with the impetuosity for which he was famous, Picabia dipped

its

in his

parts in ink, placed

the inked elements on paper to leave an image, and then added a few lines to hold the composi-

The

tion together.

artist's irreverent attitude

down

transform and break

Duchamp and

now

rashness of the esthetic decision combined with the reassembled,

clock expresses the

toward technology and, even more,

a mechanical object so that

its

inner workings are fully revealed.

makes "things" work could be an

Picabia well understood that the machine which

apt metaphor for the workings (or non-workings) of

all

useless

his ability to

"things," even humans.

depicted Marie Laurencin and the dancer Napierkowska

The

nos. 78, 77)

(cat.

fact that Picabia

as

non-functional

mechanical beings confirms a sense of extreme ambiguity and irony. Both these female apparatuses could perform effectively logical function.

if

they were "turned on," but neither one

would perform

a concrete,

Both works imply self-contained revolving movement, rather than directional

thrust.

Moreover, Napierkowska

looked

like to

slightly resembles a spinning top,

which

is

what she must have

her audiences. These portraits have ceased to represent an external reality, rather

they exist as specific, self-referential fantasy-realities.

The Dada

sense of the mechanical age

is

far

removed from the Constructivist

sense; yet, both

movements were passionately concerned with revealing the laws which govern universal

Dada machines tivists

anthropomorphic and sometimes

are odd, magical, often

never depicted actual machines, but rather attempted to

nology to create an

art in

keeping with the times, times

efforts to surpass external reality in

in

utilize

sinister.

processes.

The Construc-

and incorporate

which they had ultimate

real tech-

faith.

Their

order to arrive at the universal were imbued with a great

sense of optimism and enthusiasm, resulting from both the innumerable esthetic possibilities

which flowed from the new technology and from the mediately following the 1917 revolution. inently in the

Winston/Malbin

Futurist theory in a

way

Gabo and

volatile political

Pevsner,

two

atmosphere

Constructivists

in

who

Russia im-

figure

prom-

both actively absorbed and expanded the basic tenets of

collection,

quite unlike the Dadaists. Their Realist Manifesto, written in 1920 at the

height of cooperation between

branches of art and technology

all

in Russia, defines their position

vis-a-vis Futurism: 1.

To communicate

the reality of

life,

art

should be based on the two fundamental elements:

space and time. 2.

Volume is

3.

Kinetic

riot

the only spatial concept.

and dynamic elements must be used

to express the real nature of time; static

rhythms

are not sufficient. 4.

The is

Art should stop being imitative and try instead to discover use of the

word

"realist" has Platonic implications.

founded on the same fundamental and

itself.

Their sculpture constitutes

The concept

of

harmony

is

its

central

invisible

own

and

is

new forms."

Gabo and

Pevsner propose that their art

laws of energy and tension as those of the universe

world, never imitating or referring to an external

reality.

predicated on an ever-changing and actively regenerative

reality.

Boccioni's remarks furnish insight into

Gabo and

Pevsner's emphasis on space and time in

sculpture: In sculpture as well as in painting,

ment, that

10.

Quoted

in

is,

one can renew

art only

by seeking the

style

of

move-

by forming systematically and definitely into a synthesis that which Impression-

Gabo-Pevsner, The

Museum

of

Modern

Art,

New

York, 1948,

p.

10

13


ism offered in a fragmentary, accidental, and consequently analytical way. The systematization

and

of the vibration of light will

be architectonic

of the interpenetrations of planes

tvill

produce Futurist sculpture:

it

not only from the point of view of the construction of the

in character,

masses, but also because the sculptural block will contain the architectonic elements of the sculptural milieu in

The Russian

which the subject

lives.""

Constructivists created an art based on the renunciation of mass and the subsequent

opening up of space; hne was articulated tion.

Time was introduced by means

within which the motion occurred.

of actual and implied

assumed. Constructions

like Tallin's

The

Futurists

and sculpture primarily on

their paintings

Gabo and

more

in a

cerebral

movement

to the

Third International

both symbolic and actual

in

movement," but they integrated

a "style of

it

into

a narrative level.

Pevsners' investigations of motion, though based on an extension of Futurist inspira-

tion, nevertheless

Ask any

work

in their

determined the precise form a work of

complex revolving Monument

had articulated the need for

as descrip-

movement, capable of defining the space

of 1910, (never executed in final form) incorporated time as

forms.

and energy, rather than

The Dadaists embodied time

a certain duration of time often

and gestural fashion since art

as direction of force

stood for a radical departure.

Futurist hoiv he imagines speed,

Gabo

has described the inherent distinctions:

and on the scene

ii'ill

appear a whole arsenal of raging

automobiles, ridmbling stations, tangled wire, the clang, bang, noise and ring of the whirling streets ....

This

is

not at

all

required for speed and

quietest of the silent strengths— it runs three

its

rhythms .... Look at a ray of sun— the

thousand kilometers

in a secotid.

Our

starry sky

— does anyone hear it?'' Pevsner expressed equally vehement feelings about the Futurist actualization of theories on move-

ment: In the field of painting the task of Futurism

vas the optical reflex.

.

.

.

It is

went no further than revised attempts

clear to anyotte that

we cannot

re-create

to affix

on can-

motion through a single

graphic record of a series of snapshots of arrested movement."

The

Constructivists did not seek to transform the

in their hands, the figure

(cat.

no. 74).

both Futurism and Constructivism, but the

thesis of the other two.

the incorporation of relation to energy,

figure into a

becomes a form of interacting geometric

Cubist-derived copper Figure of 1915 in

human

The

latter

mechanized robot; instead,

solids

and voids,

far-reaching effects of

movement more

as in Pevsner's

Cubism

are apparent

accurately represents a syn-

Dependence on Cubist formal innovations, such

as constructed objects

and

unorthodox materials," combined with the realization of Futurist concepts

in

motion and the breakdown of mass contributed to the uniqueness of the Con-

structivist style.

Figure, like Gabo's earlier

workings — not

works of

a similar style, has

been

split

open to reveal

its

invisible

in a biological, individual sense, hut in a cosmological, ideal one. In spirit, their

abstract constructions correspond to

works by the mature Mondrian

(cat.

no. 69)

who

also

was

not concerned with representing externals, but with the creation of a self-contained reality encompassing the delicate balances and contradictions of a total cosmology. By 1921, Gabo, Pevsner,

11.

Reprinted in Herbert, op.

12.

Quoted

in

13. Ibid., p.

54

cit.,

Gabo-Fevsner, op.

p. cit.,

53 pp. 18-19

metal and wire construction Guitar of 1912 (The Museum of Modern Art, New York) prime example of a Cubist realization of a work which is neither painting nor three-dimensional sculpture. This construction suggested countless possibilities to other artists.

14. Picasso's sheet is

14

a


and Kandinsky had ice of

left

Russia because they believed

any other cause, such as the

as artist-engineers effort to

proved

combine

futile in a

with greater

state. Tatlin,

stress

on the

their artistic pursuits

in art for its

Rodchenko and

latter;

own

with the needs and demands of the

system which was hostile to non-representational

like

which allowed

for greater delicacy

Linear Construction in Space No.

i,

in the serv-

they devoted themselves to the government in an state,

an effort that

art.

Technology did not catch up with the ideas of Gabo and Pevsner 40's. Plastic,

sake and not

Lissitzky continued their careers

until the late 30's

and early

and transparency, became available, and works

1950," resulted. In

portance of light has been increased to enhance the

artist's

this piece

and others

like

it,

the im-

manipulation of positive and negative

Naum Gabo Linear Construction in Space No.

15.

This piece

i,

is

1950

not included

in the

exhibition because

it

is

too fragile to travel.

15


the 30's on, Pevsner concentrated on exploring the inherent spatial contrasts of dif-

From

space.

The

ferent metals.

daists': the latter

Constructivists' handling

and use of materials invariably differed from the Da-

frequently relied on a juxtaposition of various materials or objects, often of a

found or used nature which would

result in

an ironic statement.

On

man-made or

the other hand,

fabricated materials presented the greatest esthetic possibilities to the Constructivists

encouraged to

newest technological discoveries. As with Gabo, stretched

fully exploit the

rods predominate in Pevsner's works

whose organic and natural appearance

matical basis. In Fresco, Fauna of the

Ocean

tin

who were

(cat.

and

lines

belies their

mathe-

no. 75) of 1944, the straight rods of copper and

have been fused on the surface to create solid planes which turn and develop within a circular

As a

pattern.

result, the surface

appears to vibrate and dematerialize. Furthermore, the appear-

ance of the material slowly changes because oxidation alters the original metal colors to create a

luminous turquoise and gold hue. The strong rhythmic energy

motion of the

reiterates the actual

universe, vividly recalling the Futurist "lines of force." Balla's Fist of Boccioni; Lines of Force (cat.

form and

no. 19) in

title

many

suggests most accurately a source of

sculpture exemplifies a theoretical fusion of physical (the

fist)

Constructivist works; Balla's

and cosmological

of force)

(lines

energy and tension. Consistent with their advanced notions, of the plastic arts: painting, sculpture

Gabo and

Pevsner stressed the importance of "a synthesis

and architecture.

.

.

.""

Lissitzky (cat. no. 61), however, envisioned his art as an even all

the applied arts, especially typography

vich, but

was equally

With

well.

De

Stijl

his wife, Nelly,

Dada

lectures

to be

warned by

Van Doesburg

movement, and

former

De

He

Stijl

seemed extremely dangerous and in his

Dada

tendency of both

in

guise!

him

(cat.

later

colleague

anarchistic.

and fun-

championed the pure and

no. 37) originally

embraced the theories and

Dada

theatrics of

Mondrian about an unknown

Of

course, this writer

it

as

I.K. Bonset,

writer

whose

was van Doesburg

only ideas

himself,

reveals his personal sense of the inherent similarities

the equal need of each to construct

were intent upon creating a

new

total

realities.

world view. Whether

it is

a Schwit-

or an Arp sculpture, a Lissitzky Proun painting or a Pevsner construction — the inten-

was based on the profound need

the highly influential Cubist breakthrough.

to construct a

political elements

Dada and

and including

the fantastic

allied

Widening the scope of

media

like

new

environmental

art, as

offers the viewer,

their art

and expanding

by introducing social artists associ-

on the one hand and Constructivism and geometric abstraction still felt

today

in

such areas as kinetic and

well as performances.

particular emphasis

bilities exist; different

vision in relation to the

in furthering

photography, they affected the

on the other. The esthetic reverberations of Futurism are

A

two

to bridge the gap between the

contemporary world. Without doubt, the Futurists were instrumental

ated with

Male-

art

This assimilation of contrasting viewpoints does not point to a schizophrenic

movements and

tion of the artist

and

a pupil-disciple of

wrote Dada poetry under the pseudonym of

van Doesburg; on the contrary,

All the artists discussed here ters collage

statement which integrated

and Schwitters, van Doesburg traveled throughout Holland presenting

and performances. his

a type of structural fusion.

and Rodchenko's concern with the unity of

the state. Like van Doesburg, his personality enabled

ideal esthetics of the

total

and photography. He had been

enthusiastic about Tallin

damentally opposite approaches.

— again,

more

on the collection has been the basis for

connections and conclusions

no matter what path

is

may

be drawn.

this discussion.

Alternate possi-

The Winston/Malbin

Collection

followed, a rewarding insight into twentieth-century

art.

LINDA SHEARER

16.

16

Quoted

in

Gabo-Vevsner, op.

cit.,

p.

57


Malbin

living

room 1969 ,


Umberto Boccioni

in studio, c. 1913,

with plaster of Synthesis of

Human Dynamism,

1912 (destroyed)


Futurism

Now

"Bisogna perdonare qualche sbaglio

"You must pardon

the

man who

.

.

.

all'uomo che tenia di volare"

seeks to

...

fly

if

he makes some errors" Boccioni to Barbantini

Boccioni's impassioned plea,

cry

made

in

1911,

which he imposed upon himself

struggle

is

one of the many moving testimonies to the great

in his brief

and intense

may

balanced assessment of the Futurists' endeavors. For effort has

and could not but

Such distortions were partly brought on by the Futurists themselves:

result in a

vehement, partisan response. In addition, the movement's equivocal

and complex connections with the evaluation of Futurism.

And

and even establish

persistent of

its

students.

deeper reasons for the art.

seems that no twentieth-century creative

swagger and exaggeration were intended to arouse, astound and offend,

their overambitiousness,

the arts

it

been subjected to such continuing, highly colored, hence misleading and often incorrect

interpretation as Futurism.

ern

career. In retrospect Boccioni's out-

also be viewed as a metaphorical appeal for a sympathetic and, more importantly, a

a

lastly, the

mode

and

rise

of

later

triumph of Fascism have further clouded the

very shape of the movement,

life,

However, the perspective imposed by time has

difficulties in

comprehending and assessing

encompass

efforts to

its

has tended to confuse and discourage

all

also revealed

some

this Italian contribution to

Factors such as those mentioned above are relatively superficial.

It is

all

but the most of the

mod-

becoming increasingly

apparent that Futurism was not only contradictory, but was more prophetic and daring than had

been suspected. And, generally, the Italian movement, of the earliest and, above

all,

most

inclusive

in all of its manifestations,

emerges as one

and vocal expressions of the great creative and mora!

concerns of our century. These ingredients doubtless have given the Futurist message

continu-

its

ing appeal.

Turning to some of the better known external aspects of the example, that the Futurists' image of themselves as

methods

differed

markedly from those

who

Italian

movement, one

artists, their attitudes

towards society and their

preceded them and from most of their contemporaries.

Rather than accepting and propagating the comfortable cliches about the

proud escapist

was

loner, they

that of energetic

for themselves

artist as a

were fashionably dressed and appeared easy-going;

and powerful world leaders or

industrialists.

and the public the nostalgic idea of the

imaginary artisan of the past. Baldly,

if

notes, for

somewhat

artist as a

disheveled but

their projected

image

Quite resolutely they discarded

romantic anachronism,

like the

suicidally, the Futurists faced the fact that in

order to put their creative views across they had to employ the methods (and some of the attitudes) of the controlling sectors of society. Their brilliantly planned international lecture

and performance campaigns resemble Henry Ford shaping

enterprises such as these that the Futurists

and national exhibition, For

his empire.

had to compete for attention from

a

it

was with

commodity and

consumption-oriented public. Their aggressive and often trying methods were relieved and humanized by the group's youthful high-spirits, erent, events.

which turned

all

of their activities into hilarious,

Italians called

them

gli allegri futuristi (the

happy

Futurists), for the

mood

some

irrev-

of excitement and ex-

pectancy which they created was a welcome change from the pessimism and sensuous of

if

Beneath the din and dust of their uproar there appeared a firm optimism and courage.

self- abandon

of their elders.

19


Umberto Boccioni

in studio, 1913.

standing to right behind his Spiral Expansion of Muscles in Seated are Giacomo Balla and Boccioni's mother.

Boccioni

is

Three of the Futurists during World

War

I,

1915

Movement

(destroyed).


Futurism was given

was

its

public

and form

life

1909 by the poet

in

ture, like that of his

ensemble, further,

it

T. Marinetti (1876-1944),

F.

who

most noteworthy contribution

to cul-

Russian contemporary Diaghilev, was the successful creation of a unified

artistic

leader and catalytic spirit. Quite possibly, Marinetti's

its

made up of disparate yet temporarily cooperating individuals. To extend the analogy may be said that like Diaghilev's principal dancers, each of the Futurists placed his per-

sonal endeavors

the service of an all-encompassing vision

in

Yet Marinetti received as

fulfillment.

much

as

and dedicated himelf

An extremely

he gave.

alert

totally to

its

and perceptive impre-

he welcomed and thrived, as did the movement, on the lively exchange and collision of ideas

sario,

within

However, these

it.

the collapse of the

first

differences

which ultimately became

irreconcilable,

led

part to

in

phase of the movement around 1915.

Futurism achieved an esprit de corps that was both more intense and vocal than, for example, that of the French Impressionists or Die Briicke

group of Dresden. These other

together for united strength in

inant conventions. But the Italians, from the beginning,

demanded

a

much

militancy from themselves and from those they sought to reach. This

exhortations such as Marinetti's proclamation

"We

1909:

and otherwise, represented, above

greater discipline and

was expressed

in

fierce

celebrated Futurist Foundation Manifesto of

in his

shall sing the love of danger, the habit of

creative

life,

had banded

artists

order to better pursue creative goals that ran counter to the dom-

energy and fearlessness." Such a

the Futurists' determination to

all,

mode

of

combat the

mental, moral and physical lethargy that seemed to have overcome mankind, partly as a result of

which the

the greater wealth and ease

industrial age

and comfort of human existence had reduced the

had brought about. The external complacency

arts to

an agreeable, relaxing pastime for "rich

and mature men with scornful minds and very bad digestion, which makes

The

sible," in Marinetti's words.'

conditions for

its

creation,

had so narrowed

They were by no means

lation.

all

mental effort impos-

Futurists clearly recognized that the scope of art, as well as the

the

first

as to threaten

it

with meaninglessness or annihi-

to note this cultural crisis, in the

making

for over a cen-

But with the help of Schopenhauer, Nietzsche, Sorel, Whitman, Jarry and many others, they

tury.

took the lead

damental

in

efforts

many and

respects in diagnosing

it

afresh and in seeking a remedy.

their willingness to risk all for art, they

And

awareness of and identification with the dynamic

is

clear,

Wyndham

as

the

mode

art

this

and forces that the modern

spirit

implied in practice has

and cannot be stressed enough,

of perception of

modern

that

is

it

it

life

had been

had been racing car

.

.

.

is

more

matter as he saw

human

will

and

man

it:

this. Basically,

all

in the

realization that

was

a significant

Futurism stood for an exten-

art in the twentieth century, necessary

if

in their

estimation

Samothrace" brutally points to the crux of the

and present, between dream and

twentieth century no longer be

accommodated by

reality,

or

the kinds of

speculative spirits effect in order to create.

significant that the tnise

au point of the modern

artistic

dilemma was posed not by

but by an Italian (although a Francophile), and rapidly acted upon by a

gifted

The

over-quoted slogan from the Foundation Manifesto that "a

that the tension between the past

could

and

fully.

profound human manifestation. The questioning begun by

beautiful than the Victory of

failure,

compromise that It is

1914.

in

aimed beyond the soul-searching of previous generations, which

far too limited. Marinetti's

scientific

not been spelled out

as drastically altered as life itself

implied more than

as a

still

meant much more than "automobilism,"

and unsparing questioning of the nature and place of were to survive and evolve

the Futurists

I.

what

Lewis bitingly characterized the Futurist doctrine

aspect of the Futurist esthetic; yet sive

spirit.

seems obvious to assert that creation for the Futurists involved an intensely intimate

it

technological era had revealed. Yet

What

fun-

provided fuel and guidelines for

contemporary and subsequent quests for regeneration and liberation of the human

Today

in their

and adventurous of

his

countrymen. Could

it

number

a French-

of the

most

have been that such a bare revelation was more

Manifesto dei drammaturghi, broadsheet dated October

11, 1910, Poesia,

Milan


Boccioni

in studio, c. 1914, against

Materia, 1912.


readily achieved in Italy? For in the clear, unsparing light of this peninsula all artistic,

moral and other, dwindle

in stature before the ubiquity of its

of the Futurists' protest, the extremes to laise,

which they went

be behind

The

broader predicament of western

may

urgency to that which

and soothing

alibis

fired the

which

medieval

modern

filled

in

with a moral charge similar in weight and

itself

eleventh and twelfth centuries.

artist of the

Italians

"war

spiritual,

is

issues.

human

distorted view that Futurist

cussed. This over-simplification has permitted an

like

exist-

the world's only hygiene," therefore stands for thrills

moments Marinetti was not unreceptive

program rather than an

And

hence creative survival could only be assured

than a simple-minded, chauvinistic celebration of the actual

The widespread and seemingly

With analo-

attempted to expurgate the ready-made, meretricious

men's minds and deflected them from the essential

ence. His exclamation of 1909 that

a verbal

ma-

fact that Italy then believed

through war-like vigilance and combat, which Marinetti believed to be the heart of

adolescent, unreflective

directness

civilization.

emphasized that

their predecessors they

The

fighting this

further have sharpened the Futurists' insight into the

the beginning. Futurism thus burdened

gous, near barbaric force the

achievements,

and socio-economic matters, and the widespread disillusionment

in cultural

the aftermath of the Risorgimento

From

giants.

communicating and

in

can perhaps only be grasped fully within this local context.

itself to

bygone

human

However,

of battle.

in his

more more

to these superficial sensations.

words preceded deeds should be

dis-

too easy dismissal of Futurism as primarily

all

actual, self-contained

and meaningful

artistic

phenomenon. And

not surprisingly, such a view has supported the notion of an easy and direct transition from

Futurism to Fascism,

which words were indeed one of the most profuse products. Futurism

in

of course, burst forth with a seemingly endless

were the

result of

itory statements to

its

prolonged gestation

do

raise the difficult

in the

number

work

of

of manifestos, but

its

basic creative views

its

guiding figures. But the Futurists' expos-

and well-worn problem of the relationship of actual creation

verbal justification. As the century passes and commentaries by artists multiply, providing a

seeming permission, even invitation, to transpose one for the other,

more

acute.

this

problem becomes even

Such curious and deliberate over-intellectualizations, an acerb comment on the crea-

tive anxiety of the present, are ultimately traceable to

that the Italians initially

composed

Futurism. This should not blind us to the fact

their verbal statements quite

public illumination, as well as personal clarification.

The need

simply for purposes of

to

do

implied in their efforts to give the arts a central and dramatic place

in

unjust to suggest that

its

in the visual arts.

most distinguished and,

However, the

in a sense,

most

Futurists' intrepid efforts to

human

existence.

fulfilled early

break

publicit)',

suggested earlier, was

this, as

Futurism originated in a literary milieu with a principally literary point of view. Yet

made

did,

down

it

may

not be

contributions were

the borders between

the different disciplines resulted in hybrids such as "free-word poetry," "free-word painting," "art of noises," kinetic, multi-material, colored, noise-making "plastic complexes," which, in their day,

were radically novel. Hence that,

whether obvious or

in

any evaluation one must make allowances for the cross-fertilization

subtle, underlies

What was most important

in

most Futurist contributions.

primarily determining the artistic direction of this closely knit

group? Although not acknowledged

at first,

among

their

the painters

and writers was

and the moving picture these

new media

as a

one of the most fundamental points of agreement

awareness of the double-edged thrust of photography

powerful means of visual communication. The Futurists accepted

as direct artistic challenge

and

inspiration, although, at

dependence. Their early detractors, however, had been quick to point out ians understood

from the beginning that the survival of

The dual consequences — the responded to by

artists

threat

ever since

their

first,

they denied such

this influence.

own media was

The

Ital-

sharply threatened.

and the inspiration — of photography had been recognized and

its

invention in the second quarter of the nineteenth century. But

2-3


the advent of the enormously appealing

and popular moving picture seems to have heightened

And

the competitive challenge of the mechanical eye.

dynamic

was undoubtedly the

esthetic

its

and

anti-traditional

and consistently worked-out attempt to

large-scale

first

Futurism, with

provide "artistic" counterparts to the mechanically achieved illusion of graphic lens had revealed. Almost predictably, in 191 6 the

first

movement

that the photo-

phase of Futurism, after con-

siderable internal change, culminated in an effort to transform the "traditionless," esthetically in-

nocent film into an all-embracing, multi-media form of expression. The film Vita the

accompanying manifesto of Futurist Cinematography

testify to the

and

fiiturista

open acceptance of the

camera by the movement. Specific debts to the

works and theory.

It

camera and

its

related discoveries are clearly discernible in early Futurist

must be added that ideas pertaining

to optical, psycho-physiological or philo-

sophical aspects of perception almost simultaneously helped to stimulate, rationalize and dignify the Futurists' recourse to the camera. For example, the scientific principles underlying

Neo-Im-

pressionism — one of their chief technical points of departure — came to the Futurists' attention

through some of Divisionists.

Or

son, Bergson, ably,

Bergson

its

French exponents and apologists and through their Italian counterparts, the

theories of

and through is

empathy reached them

in

such diverse forms as those of Lipps, Beren-

Romains' Unanimisme. Unquestion-

their socio-artistic elaboration in

an extremely important Futurist source, especially with regard to verbal

tions of their endeavors. For the French philosopher, probably

was able

period,

to translate

contemporary

provided attractive rubrics for

many

justifica-

more than any other thinker of

spiritual yearnings into evocative

of the expressed or non-verbalized

the

metaphors. These

and often contradictory

ideals of the time.

The

Futurists' rejection of the conventions of time

analytic

and synthetic renditions of motion, and

for the universal flux at least in part,

famous

— Bergson's

quest for a powerful artistic analogue

"duration" and Boccioni's "painting of states of mind" — can

be explained as outgrowths of the photographic/cinematic experience.

in the history of

photography, especially Marey and

connected with the Futurists' more or

example,

and space, the experimentation with both

lastly, their

in Severini's

less

his

all,

Names

chronophotography, are usually

systematic studies of sequential motion, as found, for

Study for "Portrait of

Mme.

M.S."

(cat.

no. 99). In addition, the even

more

astounding early trick films with their flashbacks, montages and close-ups, or the X-ray photograph, are very close to the

artists"

search for an ultimately non-representational symbolic idiom.

All of these catalytic elements led to an early discovery

art-object

was

discussions, spectator.

insufficient for their purposes.

first,

by the Futurists that the

From mid-1910, one

static,

confined

finds pictorial allusions to

and

of an art of colored gases and, later, of colored lights which literally envelop the

Talk of such

liberated, abstract possibilities

was

in the air, as

witnessed by such famous,

roughly contemporary, theatrical projects as Kandinsky's Der Gelhe Klatig (The Yellow Sound), or

Gordon

Craig's vision of an actorless stage with dramatically

most complete and prophetic early of 1917 for Stravinsky's

Feu

realization of these ideas

d'artifice.

lit

and moving props. Very

was accomplished by Balla

likely, the

in his

strated theatrically the Futurist desideratum of placing the spectator in the center of the art.

By means

decor

This "dancerless ballet," commissioned by Diaghilev, demon-

of a time-controlled spatial interaction of sound,

work

of

moving three-dimensional abstract

colored forms and colored lights, which played on and off stage, Balla transformed the entire audi-

torium into a synesthetic ambience. Balla was the only one to carry

among

the original Futurist artists able

on with the aims of the movement

after the group had broken apart. By late 19 16 its most member, Boccioni, was dead, and Carra and Severini had turned away from Futurism. The Winston/Malbin collection, so sensitively and intelligendy assembled, conveys a fine sense of

forceful

the general course of Futurism and

14

its

aftermath. In so doing,

it

also reveals

some

of the difficulties


that confront the

modern

artist,

which, not unexpectedly, came newly into focus during the prime

years of Futurism. These seem to point to an often unspoken awareness that the discovery and

development of alternatives for the western than anticipated.

The

tradition,

outworn

and mechanical problems

technical

in their

view, pose greater obstacles

from the

arising

Futurists'

wish to super-

sede the conventional, arrested representational likeness, as well as the isolated static art object

were enormous, but not insurmountable. Early and the De

the Constructivists

conviction and ingenuity. a

On

in the century, Balla's abstract decor, the

group variously

Stijl

fulfilled

work

of

of these requirements with great

the other hand, the force of past artistic civilization has proved to be

more stubborn problem, perhaps beyond

resolution.

The conscious or unconscious dialogue with

human meaning and resonance

seemingly indestructible heritage, which had given

this

some

to earlier

creative efforts, has persisted to the present.

evident that the critical tension which characterizes the mature Futurism of Boccioni and of

It is

most of the other participants was brought gan

mid-1911.

in

To

the kind of creative

and on purely

uals

Cubism

Futurist eyes.

was bred and sheltered

work

in a

nation with a prized

fiercely rejected as anachronistic; yet, as individ-

modern

its

some

stepping

it.

For Cubism, unlike Futurism,

and supported by a few informed

tradition

purest masters, Picasso, Braque and Gris, were able

Cubism thus remained proudly

of the artistic issues

Futurists wished, above

whose work

is

all,

as ingenuous as

some

traditional

which the optimistic

communicate and

to

some

aspects of

and hermetic, deliberately

to

communicate with power. And Boccioni,

Forms

of Continuity in Space (cat. nos. 18, 29,

of the high ambitions and conflicts of Futurism. This extraordinarily gifted artist identi-

by natural inclination more closely with the ethos of Futurism than most of the other

fied

partici-

pants in the movement. Thus, quickly and dramatically, he gave substance to Marinetti's precepts, allowing the

On

the

side-

Italians faced.

ardent, lays bare in his three sculptural masterworks, Anti-

it is

Graceful, Dei'elopt}ient of a Bottle in Space, Unique 30)

with Cubism, which be-

within an austerely circumscribed artistic realm and to update radically

the classical heritage.

The

their contact

idiom and social phenomenon represented

artistic

grounds, they desired and even envied

and wealthy apologists of the "new." Hence to

an

compromise which they had

artistic

by

to the surface as

movement

most immediate

able academic standbys

level,

— the

expand and grow and survive

to

initial

artistically after his death.

Boccioni's three sculptures represent spirited attacks on the palat-

portrait, the

still life

banal conceits alluding to eternal attributes.

On

a

and the monumental

more constructive

figure

— with

their usually

plane, the sculptures, executed

successively in 1911-13, are increasingly searching tests in three dimensions of the persistent inter-

action of objects with their environment and the mutual transformations that result. In this, they

provide a brilliant adaptation and development of some of the analytic and synthetic procedures of

Cubism. At the same time, they are also that the vital

flat

surface of a painting had

a partial

become

answer

to the

problem posed by the Futurist

insufficient for a forceful

continuum. Yet Boccioni's use of a single material, rather than proceeding with

multi-material assemblages, reflects his often-noted realization that he

too

many problems

heirs to carry

One

at once.

on along those

know

does not

if

He

thus

left it

belief

symbolic expression of the his earlier

was seeking solutions

for Balla, his Russian contemporaries

and

for

their joint

lines.

and

how

bronze versions by which they are

Boccioni would have wished to have his pieces

now

cast.

But the

mostly known, give them a stardingly appropriate old-

master look, while, at the same time, underlining their revolutionary quality. This dramatizes the struggle that seems to have been is

symbolically communicated.

suming it

desire to assert his

and himself to

a

waged

The

in the artist's

mind

in the

course of creating them and which

sculptures express Boccioni's

momentary presence

in

— and

by extension, man's — con-

the engulfing stream of change, seeking to shape

harmonious concordance.The violent

spiritual

and material

vicissitudes to

which

2-5


Dr. and Mrs. Barnett Malbin in living

room

of the

Malbin home


the subject, his mother,

give

way

nally, a

and sculptural form are subjected

to the highly controlled and calculated, but

triumphant breakthrough

is

in Anti-Graceful,

undecided contest of the Bottle.

And

achieved and proudly proclaimed in the weightless, soaring

metamorphosed multi-image, now

ure of Unique Forms. This

shown

in this encounter,

still

wave, possesses the complete formal ease appropriate to

motorcyclist-flyer,

now

fi-

fig-

flame and

statement. Boccioni has succeeded, as

its

Apollinaire hoped the Cubists would, in "elevat[ing] the melody to a symphony."^ Ironically, this

breakthrough was accomplished with perhaps some unconscious and certainly grudging conces-

paradigm of past beauty and dynamic

sions to that derided

has often been pointed out.' With oni's

work

it

after late 1913, that art

action, the Victory of Samothrace, as

goes the tacit but increasingly pervasive admission, in Bocci-

must draw on

art.

References to the uncircumventible presence

of the classical past, filtered through Cezanne, appear with increasing frequency in his late paintings. Boccioni's

acceptance of the seemingly unbreakable chain of tradition becomes tantamount

to his recognition, verbalized only shortly before his death, that the

generation was great enough a burden for one Marinetti,

more

resilient

hensible and theatrical

and

art

activities of the

War

idealistic

of the

movement

European

German

their

at the

its

same

first

to

make

in part, his

it

compre-

concession that the public

time. Yet the discoveries

vitality of the Futurist

to a political role,

in these

artistic crisis of

reforming aims, had

its

and the actual and increasingly dominant

that started in 1915, brought

artistic

made

impulse.

narrow but deep commitments, had precipitated the

its

polit-

fundamental dilemma to a head. Other

endeavors experienced a similar trauma

at the time. In desperation,

some

Expressionists and Russian Constructivists, like the Futurists, linked their hopes for

worldly fulfillment of their dreams to extremist revolutionary groups. In bodies

work

pointed up the social one. Futurism, in keeping with

from the beginning, pretended icizing of the

implicit in his directives issued to the remain-

movement bespeak,

rudimentary, attest to the unflagging

Whereas Cubism, with Futurism, the

far as to

propagandistic purposes. Similarly, Marinetti's growing involvement in the

fulfill

and cinematic

if

is

War. He recommends that they simplify

cannot be served to the same extent

areas, even

artistic re-

and more thoroughly iconoclastic than Boccioni, never went so

admit these insights openly. But a similar awareness ing Futurists during the

wish to achieve an

life.

exploited these

lying message of spiritual

propagation of those

in

artists,

all

but once in power, sooner or later rejected them. For the under-

freedom that such

artists

brought to

real politics threatened the self-

power.

Marinetti's seemingly life-long friendship with Mussolini

Futurism had stood

for,

and, worse

fathom

as difficult to

is

ance in 1929 of membership in the Italian Academy. Did these acts mean, as inetti travestied all that

instances these political

still,

is

that Futurism

as his accept-

often said, that

Mar-

was one

many

of the

roads to Fascism? In a sense the answer must, of course, be yes. But the condemnation of Futurism as a

misguided enterprise does not necessarily follow. Rather

the "St.

John the Baptist of Futurism"

of Futurism in Fascism

bishops."" This remark

Yet Futurism

lives so

"much

as Christianity

was made

long as

in his blind

in

it

and boundless

tragically suggests that Marinetti,

zeal accepted the temporan,- death

was quenched by the Spanish

Inquisition or charity

by

1938 by the English painter and ex-Futurist C.R.W. Nevinson.

men dream and "keep

alive the primal

wonder and

ing the universe,"' as the keen American critic Christian Brinton had noted

curiosit>-

two decades

concernearlier.

MARIANNE W. MARTIN 2.

Guillaume Apollinaire, Chroniqiies d'Art (1901-191S), Gallimard,

3.

See, for

Paris, i960, p.

217

example, John Golding, Boccioni's Unique Forms of Continuity in Space, University of Newcastleupon-Tyne, 1972, p. 26

New

4.

C.R.W. Nevinson, Paint and Prejudice, Harcourt Brace,

5.

Christian Brinton, Impressions of the Art at the Panama-Pacific Exposition, John Lane,

York, 1938, pp. 89-90

New

York, 1916,

p. 26

2-7


Constantin Brancusi, Paris


Works

in the

Exhibition

PAINTINGS, SCULPTURE, The

listing is alphabetical

by

WORKS ON PAPER

artist

and chronological within

individual artists. References to literature and exhibitions

which are abbreviated are entered

in full in the

documenta-

on page 130. At the end of every entry, Winston/Malbin Collection number (W-oo or G-oo) is

tion section starting

the

noted. Height precedes width in

dimension

listed in sculpture

is

all

dimensions.

depth.

The

third


Josef Albers b. 1888 Born

in

Bottrop, Westphalia, Germany. 1913-20 studied art

in Berlin, Essen,

Munich; subsequently

1913 became professor at Bauhaus;

at

Bauhaus, Weimar.

moved with

the school to

Dessau and developed Vorkurs, an introduction to design based on the study of color, texture, form and

upon

closing of Bauhaus,

department

at

moved

art

Homage to

the Square.

To

Yale University, 1949; Chairman of Department

of Design 1950-58. Author of

Now retired

30

1933

headed

Black Mountain College, North Carolina to

1949. 1949 beginning of series art school,

line.

to United States;

from teaching

many books and

career,

works

in

articles.

New Haven.


I.

JOSEF ALBERS

EXHIBITIONS:

Cranbrook, 1951, no. Study for "Mirage A." 1940 Oil on paper, iz x i^Vi"

i

University of Michigan, 1955, no.

i, p.

D.I. A., 1957-58, no. z, p. 33,

34

ill.

p.

9

Indiana University, 1971, Reflection, no.

Unsigned

1, p.

31,

ill.

p. 31

D.I.A., 197Z-73

PROVENANCE:

The Pinacotheca

REFERENCES: Gallery,

Winston Collection, 1946

New York Degand and Arp,

Aujoiird'hui, 1957,

ill.

A

Concise History of

Modern Painting,

Read, Herbert, Praeger,

New

after cited as

York, 1959, no. 113, Read,

Modern

p.

p. 349,

31

ill.

p.

306 (here-

Painting, 1959)

G-IZ5

31


Karel Appel b. 1921 Born

ill

Amsterdam. 1940-1943 studied at Royal Acaderaie Amsterdam. 1946 first one-man exhibition

of Fine Arts,

Beerenhuis, Groningen, Holland. 1948 founded Dutch

experimental Corneille,

artists

group Reflex, with Constant and

which became known

met

settled in Paris. r95i

colors

on

critic

thickly. 1953-54

as

Cobra

in Paris.

1950

Michel Tapie; began laying

works included

international exhibitions; received

in

UNESCO

important prize; first

United States one-man exhibit at Martha Jackson Gallery,

New

York, i960

first

prize,

Guggenheim

International

Exhibition. Exhibition of sculptures, wall

reliefs,

paintings

1968-69 Centre National d'Art Contemporain, Paris; Stedelijk

Museum, Amsterdam;

des Beaux

— Arts, Brussels.

organized by

Musee

Canada. Lives

31

in

Kunsthalle, Basel; Palais

1971 major retrospective

d'Art Contemporain, Paris, toured

Auxerre, France.


2.

KAREL APPEL Head and Oil l.r.

Fish.

EXHIBITIONS:

The Museum of Modern Art, New York, May lo-August 7, X955, The New Decade: 22 European Painters and Sculptors. Travelled to The Minneapolis Institute of Arts,

1954

" on canvas, 34% x 45-%

" '54/K.

September 21-October

AppeP'

Museum

30, 1955;

November

of Art,

Museum

PROVENANCE:

Francisco

the artist

D.I.A., 1957-58, no. 3, p. 33,

Winston Collection, 1955 (through The

D.I. A.,

Modern

Art,

New

York)

Museum

of

The

March

Los Angeles County

21, 1955-January 7, 1956;

of Art, February ill.

p.

i-March

San

1956

34

The Dutch Contribution Development of Art Since 194J

8-April 7, 1963,

International

15,

to

REFERENCE:

The Detroit Free

Press,

March

3,

1963,

ill.

W-142

33


ALEXANDER ARCHIPENKO Nude No.

I. c.

1912-13

Crayon on paper, 14 x 10V2" l.r.

"Archipenko"

PROVENANCE:

Alexander Archipenko 1887-1964 Born

in

1906-07

Geneva Liebman Collection, New York Parke-Bernet Galleries, New York Winston Collection, 1955 Librairie Kundig,

Kiev, Ukraine, Russia. 1901-05 studied art in Kiev,

Moscow, 1908

Paris; considered himself self-taught.

1908 settled in Paris. 1911 executed

first

Sculpto-Peintures

combining various materials and painted frequently in Paris Salons.

Moved

to

EXHIBITIONS:

surfaces. Exhibited

New York

D.I. A., 1957-58, no. 4-a, p. 33.

1923. 1924-

50's

made

Did not

travel

Indiana University, 1971, Reflection, no. 11,

Z7 invented Archipentiira, kinetic paintings. In late 40's and electrically-lit plastic sculptures.

p. 33,

ill.

p.

36

REFERENCE: Parke-Bernet Galleries,

New

Collection of Valuable

Modern

Sculpture, no. 25, p.

4.

York, 1955, The Liebman Paintings, Drawings,

and

8.

ALEXANDER ARCHIPENKO Nude No.

2. c.

1912-13

Crayon on paper, 17V2 x 11" l.r.

"Archipenko"

PROVENANCE: Librairie Kundig,

Geneva

Liebman Collection,

New York New York

Parke-Bernet Galleries,

Winston Collection, 1955 EXHIBITIONS: D.I. A., 1957-58, no. 4-b, p. 33.

Did not

travel

Indiana University, 1971, Reflection, no. 10, p. 33

REFERENCE: Parke-Bernet Galleries,

New

Collection of Valuable

Modern

Sculpture, no. 25, p.

34

8.

York, 1955, The Liebman Paititings,

Drawings, and


5-

JEAN ARP Head

(Portrait of Tristan Tzara).

Ink and pencil on paper, 1.1.

23%

1920.

c.

x 17%"

"Arp"

PROVEN.'\NCE:

Jean Arp 1887-1966

Tristan Tzara, Paris

Winston Collection, 1954 Born

in Strassburg,

Began career study

art.

then part of

as a poet.

German

1904 published

Alsace-Lorraine.

first

poems; began

EXHIBITIONS: to

Travelled to Germany, Paris. E.xhibited 1911 Blaue

Keiter exhibition, 1913 Erster Dentscher Herbstsalon. 1915 to Zurich. 1916-19 co-founder

made wood

Dada movement.

After 1916

based on arrangements "according to the

reliefs

laws of chance." 1919-20 met Ernst and Schwitters. Participated

in

married

movements during 1920's. 1922 Sophie Tauber. 1926 settled in Meudon,

Dada and artist

France. 1930 the round;

first

Surrealist

papiers dechires. 1931-32

member

first

sculpture in

Abstraction-Creation. 1940's

many

poems and woodcuts; 1946 first complete collection of poems published. 1949-50 first trip to United States. 1958 retrospective The Museum of Modern Art, New York. 1959 married Marguerite Hagenbach. 1963 Grand Prix National des Arts, Paris. 1950's and 6o's monumental work. Died

D.I. A., 1957-58, no. 7, p. 35.

Did not

travel

Vassar College Art Gallery, Poughkeepsie,

New

York,

May

19-June 10, 1961, Centennial Loan Exhibition: Drawnigs

and Watercolors from Alumnae and Their ill.

Travelled to Wildenstein

September

Fatnilies, no. 113,

& Co., New York, June 14-

1961. (hereafter cited as Vassar College, 1961,

9,

Centennial Loan Exhibition) D.I.A., 1962,

French Drawings and Watercolors

Indiana University, r97i. Reflection, no. 13, pp. 23, 33, p.

ill.

23

D.I.A., 197^-73

REFERENCES:

Huyghe, Rene and Jean Rudel, L'Art

Volume in Basel. 1

148,

D.K.,

ill.

1,

et le

monde moderne:

18S0-1920, Librairie Larousse, Paris, 1969, no.

p.

367. (hereafter cited as Larousse, 1969)

"Modern Masters

in

Groups," The Milwaukee

Journal, April 11, 1971, part

5, p. 6,

ill.

G-191

Like the two other

Form,

c.

1922

Arp drawings— both

— this one

is

titled

Abstract

an automatic drawing.

It

was not

originally intended as a portrait of Tristan Tzara, although

Lydia Malbin

named

36

felt it

for him.

looked enough

like

him

to be


V

:) i

>0<l

^^

"N^^^^^^

^\^

^ x^


JEAN ARP Abstract

Form

I.

c.

1922

Ink on paper, 10 x 8" I.r.

"ARP"

PROVENANCE: Tristan Tzara, Paris

Winston Collection, 1954 EXHIBITION: D.I.A., 1957-58, p. 79.

Did not

travel

REFERENCE: Indiana University, 1971, Reflection, no. 14, pp. 17, 34, p. 16

G-181

38

il


7.

JEAN ARP Abstract

Form

//. c.

1922

Ink on paper, 10 x 8" l.r.

"ARP"

PROVENANCE: Tristan Tzara, Paris

Winston Collection, 1954 EXHIBITION: D.I. A., 1957-58, p. 79.

Did not

travel

REFERENCE: Indiana University, 1971, Reflection, no. 15, pp. 17, 34,

P-37

G-182

39


JEAN ARP

9.

Lunar Armor (Cuirasse

Bird Forms. 1922

Wood,

271/2

X

JEAN ARP

9% X

21/4"

Granite,

12% x 14%"

Unsigned

Unsigned

PROVENANCE:

PROVENANCE:

Walter

P. Chrysler, Jr.

The Pinacotheca

Gallery,

the

New

York

lunaire). 1938

artist,

Basel

Winston Collection, 1956

Winston Collection, 1950 EXHIBITIONS: EXHIBITIONS:

Kunsthalle, Bern, April

Cranbrook, 195 1, no. 86, ill. University of Michigan, 1955, no. D.I. A., 1957-58, no. 6, p. 35.

W-140

7-May

6,

1956,

Hans Arp

itnd Kurt

Schwitters, no. 7 3, p.

Did not

9

travel

D.I. A., 1957-58, no. 8, p. 35,

The Museum

of

Modern

ill.

Art,

p. z8

New

York, October 8-Novem-

ber 30, 1958, Jean Arp, Retrospective, no. 77,

p. 122,

p.

70

New

York, 1957, no.

50,

"The Winston Collection on Tour,"

Arts,

ill.

Vassar Alumnae Magazine, 1958,

p. 11

ill.

D.I.A., 1972.-73

REFERENCES: Arp, Jean,

On My Way: Poetry and Essays, New York, 1948, pi. 29-a,b

1912-1947,

Wittenborn,

Degand and Arp,

Aujoiird'hni, 1957,

Giedion-Welcker, Carola, Jean Arp, p.

ill.

30

p.

109

Baro, Art in America, 1967, Baro,

The

ill.

p.

ill.

p. 35

76

Collector in America, 1971,

p.

182

W-139

Upon in

seeing this

Bern

among

work

in 1956, the

at the joint Arp-Schicitters exhibition

Winstons were most anxious

After inquiring about the piece, they found that to the artist

so

to

count

it

the other objects in their rapidly growing collection.

and was not

much however that

for sale.

The

sculpture

it

belonged

moved them

they telephoned Arp and subsequently

him and Marguerite Hagenbach in Basel. By the end of the visit, they had acquired Lunar Armor, having also formed the basis of what was to be a long and

went

to visit

deep friendship with the

artist

and

his future wife.

According to Marguerite Hagenbach-Arp, her husband's

limestone letter in It is

[sic]

is

by Jean Arp." (quoted and translated from

French to Lydia Winston Malbin, October

"anonymous

a

15, 1968.)

one of the few pieces on which he actually worked

himself and which was one of his

40

this sculpture of

"a unique original, directly carved in pink

stones."


lo.

JEAN ARP Dream Column; The School Boy (Colonne de

reve;

L'Ecolier). I938;i958

Limestone and bronze

Two sections: zoV^ x 8^4 x 3%" 7 %" bottom; 42.1/2" total height

top; 24 x

7%

x

Unsigned

PROVENANCE: the

artist,

Meudon

Winston Collection, 1958 EXHIBITION: D.I.A., 1972-73

REFERENCE: Trier, Eduard, Jean Arp, Sculptureâ&#x20AC;&#x201D; His Last

Abrams,

New

York, 1968, no. 172,

p. 109,

ill.

Ten Years, p.

108

W-141

The upper portion made in 1958. The single sculpture.

42

dates

from 1938, whereas the lower was

artist

combined the two

parts to

make

a


REFERENCES:

Roux, O., "La Arti a '

LXXIV

Roma," Natura

Bertolucci, Attilio,

Esposizione Internazionale e Arte, vol. 26, 1903-04, p.

"La casa

italiana, vol. 85, no. i,

del futurista," L'llhtstrazione

January 1958,

ill.

tions," Art International, vol. IV, no.

Balla 1871-1958

ill.

in

Turin. Studied art evenings in Turin. 1895 to

which remained center of

his activity;

worked

as illustrator,

months.

caricaturist, portrait painter. 1900-01 in Paris for 7

Upon them

return to

Rome met Boccioni,

Severini, Sironi; taught

Divisionist technique. Signed later editions of

Futurist painting manifestos, 1910;

Rome

however did not

painter, sculptor, theater

and

interior designer

early participants;

became leader

of later phases of

De

Giacomo II

no.

Anna,

Balla," L'Arte

De

Balla, //

Balla, 1963, p. 6

Luca,

Rome,

1967,

pi. 8

moderna,

magia

nella pittura di

vol. v, no. 40, 1967,

ill.

p.

i,

January

20, 1967, p. 17 ill.

p. 8

Rome,

1968, no. 35,

ill.

pp. 18, 41 (hereafter cited as Fagiolo,

Balla, 1968)

Lavoro). 1902

Fiori, Teresa, Archivi del divisionismo, Officina,

1.1.

on canvas, 68x481/2"

"BALLA

Giacomo

1902";

l.r.

Balla, 1902,

1968, vol.

"BALLA"; on

reverse " 'Lavoro' di

2,

PROVENANCE:

as

Rome

XXVI Biennale,

The Collector

grafici,"

Rome,

1904,

i')o<)-i')i;.

p. 74, pi. 35 (hereafter cited

in

America, 1971,

ill.

p.

181

Moderna, Rome. December

23,

ill.,

n.p.

LXXV/ Esposizione The painting shows

Venice, June 14-October 19, 1952, no. 50,

tion.

39S

XX secolo da collezioni americane, no.

8, p.

192,

ill.

p. 24.

Travelled to Galleria Nazionale d'Arte Moderna, Rome, July 18, i960. Special

Santini Brothers

New York showing at

Warehouse, October 24 and

26,

i960

(hereafter cited as Milan, i960. Arte italiana)

The Museum

of

Modern

5,

1961, Futurism, no.

to

The

i,

Art,

New York, May

pp. 19-20, 141,

ill.

31-September

p. 18.

Travelled

Detroit Institute of Arts, October i8-December 19,

1961; Los Angeles County

1962 (hereafter cited as

Museum, January 14-February of Modern Art, 1961,

Museum

Balla's mastery of Italian Divisionism as

well as his fascination with the effects of nocturnal illumina-

Palazzo Reale, Milan, April 30-June 26, i960, Arte italiana

44

Oxford, 1968,

1971-February 27, 1972, Giacomo Balla, "Documenti foto-

Internazionale di Belle Arti, no. 1057

Futurism)

Rome,

349 (hereafter cited as

W-13

Societa Amatori e Cultori,

6-September

Press,

Galleria Nazionale d'Arte

EXHIBITIONS:

del

pi.

Martin, 1968)

Bare,

Luce and Elica Balla, Rome, 1952 Winston Collection, 1959

p.

ill.

Martin, Marianne W., Futurist Art and Theory,

Roma"

the artist Spironello,

no. 1716, p. 139,

Archivi del divisionismo)

Clarendon

Umberto

153

Fagiolo dell'Arco, Maurizio, Balla pre-juturista, Bulzoni,

GIACOMO BALLA

Oil

ill.

p. 73

ill.

Francoeur, Chicago Mid-West Art, 1967,

{II

ill.

divisionismo nella pittura italiatm,

Art International, vol. XI, no.

Work

151,

Fagiolo dell'Arco, Maurizio, "Boccioni, Beyond Painting,"

somewhat Impressionist manner.

II.

8, p.

Saggiatore, Milan, 1964, no. 58,

Calvesi, Maurizio, "Penetrazione e

ment. Middle 1930's returned to more figurative style in

2,

67 (hereafter cited as Ballo, Boccioni, 1964)

Fabbri, Milan, 1967,

move-

25, i960,

Fiori, Archivi del

Luca, Rome, vol.

Civica d'Arte Moderna,

Bellonzi, Fortunate,

and

May

67 (hereafter cited as Archivi del futurismo) Crispolti, Enrico, "Situazione e percorso di Balla," Galleria

Barricelli,

playwright. Sustained Futurist impetus longer than other

5,

p.

p.

participate importantly in Futurist activities until 1913.

Was

futiirismo, 1962,

Ballo, Guido, Boccioni,

two

61

p. 21

Gambillo, Maria Drudi and Teresa

Born

p.

Century from American Collec-

"Italian Art of the 20th

Giacomo

di Belle

159

19,

in a

His concern with social questions

number

is

of other pre-Futurist works.

suggested here and


II.

GIACOMO BALLA Spring Buds (Germogli primaverili). Oil 1.1.

c.

1906

on canvas, 19I4 x 29I4" "balla";

l.r.

"balla"

PROVENANCE: Luce Balla,

Rome

Winston Collection, i960 EXHrBlTIONS: VIII Quadriennale,

Rome, 1959-60

XXX Biennale, Venice, June

i8-October

16, i960, no. 4,

p. 13

REFERENCES: Ballo, Boccioni, 1964, no. 66,

ill.

Archivi del divisionismo, vol.

2,

Fagiolo, Balla, 1968, no. 85,

ill.

p. 71

no. 1791, p. 144,

pi.

364

pp. 15, 46

W-38

Balla has depicted a favorite early motif: the view from his

Roman of trees,

(now via Paisiello) onto the row shown below, which divided his yard from the

studio in via Parioli

adjoining canvas.

meadow

of the Villa Borghese that

may have been

cast

by a wall.

^ i^}

*??fc- ,"7i;fc;â&#x20AC;&#x17E;,

46

fills

The mysterious and dramatic shadow on

most of the the left


13.

GIACOMO BALLA The Stairway

of Farewells (Gli addii scala; Salutando).

1908

c.

Oil

on canvas, 40% x 41" "balla"

l.r.

PROVENANCE: the artist

Benedetta Marinetti,

Rome

Winston Collection, 1958 EXHIBITIONS:

Rome,

Societa di Amatori e Cultori,

1910,

LXXX Exposi-

zione Internazionale di Belle Arti, no. 194, Tav. VI

Milan, i960, Arte italiana, no.

Museum

of

Modern

9, p.

192,

ill.

frontispiece

Art, 1961, Futurism, no. 3, p. 141,

ill.

p. 15

D.I.A., 1972.-73

REFERENCES: Colasanti, Arduino, "L'Esposizione internazionale d'arte in

Roma," Emporium, ApoUonio, Umbro, ativa,"

La Biennale

Lucas, John, .

.

.

vol.

"II

XXXI,

cinema

the journalists

1910, p. 384

di Venezia, no. 4, April 1951,

"Romeâ&#x20AC;&#x201D; Italian

September i960,

May

no. 185,

tra spettacolo e arte figur-

draw p.

ill.

art

ill.

p.

41

from American Collections

a moral," Arts, vol. 34, no. 10,

19

Archivi del fiitttrismo, vol.

2,

Winston, Aujoitrd'hui, 1962,

no. 13, p. 152,

ill.

p.

69

p. 7

ill.

Carrieri, Raffaele, Futurism, Milione, Milan, 1963, pi. 18

Taylor, Collections, 1963,

p.

302

Crispolti, Enrico, "Situazione e percorso di Balla," Galleria

Giacomo

Civica d'Arte Moderna, Turin, Artist, Jr., vol. 5, no. 3,

Stelzer, Otto,

1966,

January 1964,

Kunst und Photographie, Piper, Munich,

p. 122, pi.

118

Baro, Art in America, 1967, Barricelli,

Anna,

ill.

p.

Balla, de Luca,

73

Rome,

Calvesi, Maurizio, "Penetrazione e

Balla," L'Arte

moderna,

Fagiolo, Balla, 1968, no. 94,

Martin, 1968, pp. 75-76,

1967,

magia

pi.

2,

ill.

pi.

24

nella pittura di

vol. V, no. 40, 1967,

Archivi del divisiotiismo, vol.

Miesel,

Balla, 1963, p. 15

on cover

ill.

ill.

p.

153

no. 1790, p. 145, pi. 364

pp. 26, 46

37

The Connoisseur, 1968, fig. 7, ill. p. 262 and Photography, Lane, London,

Scharf, Aaron, Art

1968, p. 289

Larousse, 1969, no. 10S9,

Baro,

The Collector

in

ill. p. 350 America. 1971,

Galleria Nazionale d'Arte Balla,

"Document!

ill.

p.

181

Moderna, Rome, 1972, Giacomo

fotografici,"

ill.,

n.p.

W-17

47


This finely organized canvas anticipates some important artistic

desiderata of Futurism.

Its

hazardous and uncustom-

ary angle of vision like a vortex draws the spectator into the

depths of the picture. Balla's novel viewpoint as well as his exploration of the dynamic potential of lines and shapes

were suggested

Thus

at least in part

by photographic experiments.

the compelling image of the

created by the spiralling steps

is

continuum of motion

an imaginative analogue

to the abstract oscillation patterns

which Etienne-Jules

Marey derived from his chronophotographic images of moving objects. Such abstract schemata were points of departure not only for Balla's Futurist representation of velocity, but also for

of Continuity

i?i

works such

Space.

as Boccioni's Uniqiie

Forms


14.

GIACOMO BALLA

REFERENCES: Archivi del futurisino, vol.

Study related to "Abstract Velocity"; Study for "Materiality of Lights

+

Speed."

c.

1913

no. 6$, p. 154,

1880-1940, Penguin, Baltimore, 1967,

His Life and Work, Wittenborn,

provenance: Fried,

pi.

p.

ill.,

New York

n.p. (hereafter cited as

New

82

p. 9 in

Europe,

109B, pp. 182-83

Dorazio, Virgina Dortch, Giacomo Balla:

"futur balla"

Rose

ill.

ill.

Hamilton, George Heard, Painting and Sculpture

Gouache on paper, 11% x 17" 1.1.

z,

Francoeur, Chicago Mid-West Art, 1967,

An Album

of

York, 1970, no. 114,

Dorazio, Balla, 1970)

W-31

Winston Collection, 1954 In 1915 Balla declared that he

EXHIBITIONS:

Rose Fried Gallery, 1954,

The

New

York, January 25 -February z6,

Futurists: Balla, Severini, i')iz-i8, no. 10

University of Michigan, 1955, no. D.I. A., 1957-58, no.

12.,

p. 35,

ill.

in

p.

9

had executed "more than

which he "stud[ied] the speed of auto-

mobiles, and in so doing discovered the laws and essential force-lines of speed."

4, p.

among the

He may

well have counted this gouache

group, four of which were illustrated

in

36

Modern Art, New York, November 25, 1968-February 9, 1969, The Machine: As Seen at the End of the Mechanical Age, ill. p. 56. Travelled to The University of St. Thomas, Houston, March 15-May 18, 1969; The San

The Museum

twenty paintings"

of

Museum of Art, June Z3-August 24, 1969 (herecited as Museum of Modern Art, The Machine,

Boccioni's Pittura scultura futuriste, published in 1914. of these are entitled respectively. Materiality of Lights

Speed and Abstract Velocity, and close variant of the latter. a lucid

Its

this picture

Two +

seems to be

a

terse abstraction provides

ideogram of the interaction of speed, sound,

light

Francisco after

and

dust, attesting to Balla's mastery of this paradigmatic

Futurist subject.

1968-69) D.I.A., 197^-73

49


8

15.

GIACOMO BALLA

Balla's abstract, analytical studies of color date

to Diisseldorf during the winter of 1912.

Iridescent Interpenetration

Oil I.l.

on canvas,

391/8

iridescente).

series of small

1912"; on reverse "Compenetrazione

made up

not

known when

Balla began to consider these abstract

splendid example in the Winston/Malbin Collection. first oil

Rome

experiments until the 1950's art

Rome,

Giacomo

April 1950,

1913 onward. Balla appears

Omaggio

when

the evolution of abstract

was newly reconsidered.

a G. Balla

2,

Balla, no. 6

27-May

Galleria Selecta, Milan, April

Opere scelte del periodo Balla, no.

11, 1956, Balla,

futurista

12-May

Galerie Cahiers d'Art, Paris, April

Giacomo

c.

no. 18

Amici della Francia, Milan, November lo-December 195 1,

from

not to have dared or cared to exhibit these significant

EXHIBITIONS: Galleria Origine,

The

versions of this theme seem to have been executed

for decorative purposes

Winston Collection, 19^0

fiittirista,

of

studies as the basis for self-sufficient paintings such as the

PROVENANCE: Luce Balla,

a

variously shaped triangles or segmented circles. At present it is

Iridescente/G. Balla"

a trip

watercolors in which contrasting or more

closely related colors are arranged in patterns

x 23"

"BALLA

vertically

(Compenetrazione

from

There he began

11, 1957,

i

Palazzo Barberini, Rome, Spring 1959, llfuttirismo, no. 51, p.

61

XXX Biennale, Venice, June

i8-October

16, i960, no. 5,

p. 13

Museum p.

Modern

of

Art, 1961, Futurism, no. 7, p. 141,

ill.

62

D.I.A., 1971-73

REFERENCES: Colla, Ettore, "Pittura e scultura astratta di G. Balla," Arti visive,

September-October, 1952,

Winston, Atijoiird'hui, 1962, Taylor, Collections, 19S3, Galleria Civica d'Arte

ill.

ill.

p.

ill.,

n. p.

p.

297

Moderna, Turin, 1963, Giacomo

Balla, p. S^

Calvesi, Maurizio, "Penetrazione e Balla," L'Arte

moderna,

magia nella pittura

vol. V, no. 40, 1967,

ill.

p.

di

132

Rickey, George, Constructivism: Origins and Evolution, Braziller,

New York,

1967, p. 14,

fig.

12, p. 15

Fagiolo dell'Arco, Maurizio, Le "Compenetrazioni Iridescenti," Bulzoni,

Martin, 1968,

pi.

Rome,

1968, no.

i, p.

43

171, pp. 176-77

Fagiolo dell'Arco, Maurizio, "Futur-BALLA," Metro, no. 13,

New

Series, 1968,

ill.

no. iz, p. 61

Huyghe, Rene, L'lmpressionnisme, Realites-Hachette,

Paris,

i97i,P-3i7, ill-P-275 Apollonio, Umbro, ed. Futurist Manifestos, Viking,

York, 1972,

New

64

pi.

Fagiolo dell'Arco, Maurizio, "The Futurist Construction of the Universe," Italy.

The Neiv Domestic Landscape:

Achievements and Problems of of

Modern

Art,

New

Italian Design,

York, 1972,

p.

The Museum

296

Rye, Jane, Futurism, Studio Vista, London, 1972,

ill.

p.

69

W-16 If

50

sir

ifUEi

HTl^

teawr


i6.

GIACOMO BALLA Goldfish (Soleil Pastel

ail

on paper,

9I/4

couchant poisson roiige-mer). x

c.

1914

14I/4"

Unsigned

PROVENANCE: the artist

Benedetta Marinetti,

Rome

Winston Collection, 1958

W-33 Balk presented this drawing to A'ladame Marinetti when she was working in his studio, probably during 1914. It is evidently related to Balla's numerous studies of velocity that occupied him from 1913 onward. Compare, for example, nos. 137, 139,

ill.

p. 97,

Archivi del futtirismo, vol.

1.

51


ly.

GIACOMO BALLA Study for "Mercury Passing before the Sun." 1914

Gouache on paper, 25% x 19%" 1.1.

"FUTUR BALLA

1914"; on reverse

"STUDIO PER

IL-

MERCURIO CHE PASSA/DAVANTI AL SOLE/NEL TELESCOPIC" PROVENANCE; rhe artist

Benedetta Marinetti,

Rome

Winston Collection, 1954 EXHIBITIONS: University of Michigan, 1955, no.

D.LA., 1957-58, no. 14,

p. 35,

The Baltimore Museum 1964, 1914:

An

Sculpture, no.

ill.

6, p.

p.

9

36

of Art, October

6-Novemher

15,

Exhibition of Paintings, Drawings and

5, p.

82,

ill.

p.

76

REFERENCES: Archivi del futiirismo, vol.

The Collector

Baro,

in

2,

no. 138, p. 158,

America, 1971,

p.

â&#x20AC;¢P-97

182

W-25

This

is

one of several studies related to two larger versions of

the subject: one

is

Milan, the other

in the collection of

in the

Museum

Dr. Gianni Mattioli,

des 20. Jahrhunderts,

Vienna. Very possibly the partial eclipse of the sun of

November

7th, 1914, provided the impetus for this series.

Verso: Pencil

drawing of abstract forms similar

series of Interventionist

interventiste) of

ORE

52-

9

c.

domani".

to those used in the

Demonstrations (Dimostrazioni

1915. Inscription in pencil: "Via Paisiello


i8.

GIACOMO BALLA Vortex Vortice) Pencil 1.1.

+ c.

EXHIBITIONS:

Line of Velocity (Vortice 1914-15

+

The Solomon

Guggenheim Museum,

York,

Novem-

6,

I9(53-January

no.

3.

Travelled to University Gallery, University of Minne-

Art

"FUTUR BALLA"

New

1964, zoth Century Master Draivings,

ber

sota, Minneapolis,

on paper, 16% x 25"

5,

February 3-March

Museum, Cambridge,

cited as

April

15, 1964;

6-May

The Fogg

14, 1964 (hereafter

Guggenheim, 1963-64, 20th Century Drawings)

D.LA., 1972-73

PROVENANCE: Luce Balla,

R.

linea di velocita;

Rome

REFERENCE:

Winston Collection, i960

Archivi del futurismo, vol.

2,

no. 109, p. 157,

ill.

p.

92

G-176

CI

53


15),

GIACOMO BALLA

A

related graphic motif of Boccioni's Fist appeared

front page of Italia Futurista of Fist of

Boccioni; Force-Li?ies of the Fist of Boccioni (Piigno

di Boccioni; Linee forze del Plastic

complex (complesso

pugno

was dedicated

to Boccioni

This dynamic design

di Boccioni)

plastico): cardboard,

wood and

letterhead for the Futurist

subsequently. paint, 33 X 31 X 121/2"

may

It

on the

August 25th, 1916, which

who had

died eight days earlier.

originally have been intended as a

movement, and was used

may have been

conceived in 1915.

translation of the motif into three dimensions

is

as such

The

consonant

Unsigned

with the notion of "plastic complexes" as explained

PROVENANCE:

and Depero's manifesto The Futurist Reconstruction of the Universe of March 1915. The sculpture illustrated there (now

LuceBalla,

Rome

lost), as

Winston Collection, 1959

Feu

in Balla

well as Balla's set for Diaghilev's 1917 production of

d'artifice,

made up

of moving, abstract colored

plexes, suggest that Boccioni's Fist

may

com-

well have been

EXHIBITIONS:

executed during these years.

Museum ill.

p.

of

Modern

Art, i9<5i. Futurism, no. 18, p. 142,

117

D.I.A., 1972.-73

REFERENCES: Marchi, Virgilio, "Studio futurista vol.

I,

no.

October

4,

1931,

z,

"La casa

Bertolucci, Attilio,

Italiana, vol. 85, no. i,

ill.

p.

di Balla,"

//

Fiiturismo,

14

del futurista," L'Ultistrazione

January 1958,

ill.

p.

59

Calvesi, Maurizio, "II futurismo e I'avanguardia europea,"

La Biennale ill.

p.

December

di Venezia. vol. IX, nos. 36-37,

1959,

30

"Futurism and Some Other Corrupt

Pearlstein, Philip,

Forms," Art News,

vol. 60, no. 4,

Archivi del futurismo, vol. Galleria Civica d'Arte

2,

Summer

1961,

no. 224, p. 165,

ill.

ill.

p. 33

116

p.

Moderna, Turin, 1963, Ciacomo

Balla, p. 108

Taylor, Collections, 1963,

Read, Herbert, Praeger,

New

A

pi.

303

Concise History of Modern Sculpture,

York, 1964, no. 123, pp. 134, 288,

(hereafter cited as Read,

Modern

Baro, Art in America, 1967,

ill.

p.

moderna,

Rome,

1967,

p.

magia

124

nella pittura di

vol. V. no. 40, 1967,

Fagiolo dell'Arco, Maurizio,

p.

76

Calvesi, Maurizio, "Penetrazione e

Balla," L'Arie

ill.

Sculpture, 1964)

Omaggio a

ill.

p.

142

Balla, Bulzoni,

47

Crispolti, Enrico, "Balla scultore," Arte illustrata, no. 2,

February 1968,

ill.

p. 21

Fagiolo dell'Arco, Maurizio, Balla: Ricostruzione futurista

Rome, 1968, ill. no. 39, pp. 29, 77 Renato, La sadtura del novecento, Fabbri, Milan,

dell'imiverso, Bulzoni, Barilli,

I968,pl. 34,p. 53

Dorazio, Balla, 1970, Baro,

The Collector

ills.

in

nos. 159, 182, 191

America, 1971,

Galleria Nazionale d'Arte

ill.

p.

182

Moderna, Rome, December

1971-February 27, 1972, Giacomo Balla,

p.

Rye, Jane, Futurism, Studio Vista, London, 1972,

Musee I')-] 2.,

d'Art

Moderne de

la Ville

de

Paris,

23,

167

May

ill.

p.

24-July

53 2,

Balla, p. 150

W-14

55


"

20.

GIACOMO BALLA Crowd and Landscape

+

(Folio

Paesaggio; Paesaggio Folic

Patriottiche). 1915?

Collage on paper, 60 x I.e.

zfi'/^

"BALLA FUTURISTA/I9I5"

PROVENANCE: the artist

Benedetta Marinetti,

Rome

Winston Collection, 1958 EXHIBITIONS:

Museum

of

Modern

Art, 1961, Futurism, no. 17, p. 142

D.LA., 1969, Friends of

Modern

Art, no. 23

REFERENCES: Archivi del fiititrismo, vol.

2,

no. 230, p. 165,

Wescher, Herta, Collage, Abrams, p.

New

ill.

p.

117

York, 1968,

pi. 52,

403

W-21 Balla created this collage expressly for Marinetti to cover the

mirror of his wardrobe because Futurist leader,

who was

ill

its

reflections

at the time.

bothered the

Two other versions

The flat figure-eight has recently been emblem of the House of Savoy, the ruling

of this collage exist. interpreted as the

Italian dynasty, thus representing a possible allusion to the

vehement debate that raged

in

1915 between the pro-inter-

vention king and the anti-intervention government. stylistic

grounds, however, a date of

be indicated;

who was in 1918.

56

this is

c.

On

1918 would seem to

supported by the fact that Marinetti,

injured at the front in 1917,

was

still

convalescing


21.

GIACOMO BALLA Futurist Necktie (Cravatta futurista).

Watercolor, gouache and u.c.

"No. 10

c.

1916

on paper,

pencil

5

x 6Vs"

CRAVATTA FUTURISTA/ BALLA"

PROVENANCE: Rose Fried Gallery,

New York

Winston Collection, 1954 REFERENCE: Dorazio, Balla, 1970, no. 195. Balla his neckties,

shown wearing one

of

1925

W-236

Balla frequently

wore

Futurist outfits, as described in his

manifesto Anti-neutral Clothing

(cat. no. 242),

and

his ties

especially caused sensations. Later accounts, perhaps

what embroidered, include Marinetti's painted and sugared metal

Marchi

artist's

the architect Virgilio

set for

Feu

d'artifice

1917

were counteracted

appearance on stage with a

blinking lights.

58

And

recalls that the technical failures of the

premiere of Balla's

by the

ties.

some-

story of Balla's

tie

that

had


GIACOMO BALLA Piith of a

Oil 1.1.

on

Gunshot (Colpo

di fucile).

c.

1918

canvas, 14I4 x 177^,"

"BALLA FUTURISTA"

PROVENANCE: II

Milione, Galleria d'Arte Moderns, Milan

Winston Collection, 1954 EXHIBITION:

D.LA., 1957-58, no. II,

ill.

p. 35.

Did not

travel

REFERENCE: Mellquist, XX^Siecle, 1958,

ill.,

n.p.

W-Z7

This

is

a pictorial representation of a noise perceived at

great velocity. In October 1918, Balla exhibited a

works with the

number

of

Colpo di fucile domenicale (Path of a Sunday Gunshot) at the Casa d'Arte Bragaglia, Rome, but is

title

difficult to ascertain

whether

Very possibly Balla alludes

this painting

it

was included.

in this series to the revolutionary

political activities of the Futurists at the time.

59


23-

GIACOMO BALLA

REFERENCES: Cahiers d'Arl, vol.

The

Injection of Futurism (Iniezione di futurismo).

Oil on canvas,

31% x

"INIEZIONE DI

l.r.

c.

1918

45 14"

Mellquist,

FUTURISMO/ BALLA/ FUTURISTA"

(Frame made and painted hy the

XXV,

no. i, 1950,

Saarinen, Art Netvs, 1957,

XX^ Steele,

fig. 2, p.

1958,

ill.,

ill.

65,

67

p.

ill.

p. 33

n.p.

Ashton, Dora, "L'Exposition du Futurisme a

XX*^

Siecle,

Nouvelle

New York," "Supple-

Serie, no. 17 (Noel) 1961,

artist)

mentâ&#x20AC;&#x201D; Chroniques du

jour,"

Archivi del futurismo, vol.

PROVENANCE:

ill.

2,

p.

149

no. 314, p. 171,

ill.

p.

134

Carrieri, Raffaele, Futurism, Milione, Milan, 1963, pi. 88

the artist

Benedetta Marinetti,

Galleria Civica d'Arte

Rome

Moderna, Turin, 1963, Giacomo

Balla, p. 82

Winston Collection, 1954

Taylor, Collections, 1963,

Rome, 1915, no. II V Quadriennale, Rome, 1948, no. 4, ill. p. 37 Galleria Origine, Rome, April 195 1, Omaggio III

Balla," L'Arte

a G. Bulla

futurista, no. i

D.I.A., 1957-58, no. 13, p. 35,

ill.

p.

of

Modern

16

D.I.A., 197^-73

60

Miesel,

W-Z3

University of Michigan, 1955, no. ill.

5,

p.

ill.

p.

ill.

p.

ill.

17

37

Art, 1961, Futurism, no. 20, p. 142,

moderna,

p.

303

77

Calvesi, Maurizio, "Penetrazione e

Biennale,

Museum

p. 294,

Baro, Art in America, 1967,

EXHIBITIONS:

magia

nella pittura di

vol. V, no. 40, 1967,

The Connoisseur,

1968,

fig. 2, ill. p.

ill.

260

p.

134


The

vitalizing effect of

atmosphere

is

the right Balla

Futurism with

suggested

its

shows Marinetti

in characteristic

and green Futurist

poses, wearing a red

explosive and gay

in this painting. Just off

outfit in

leftward

left,

moving arrow,

the

Self Portrait (Aiitoritratto).

accordance

Ink on paper,

two oval forms within

The

large u.c.

on

Marchesa Casati whose

celebrated literary and artistic salon in

Rome seems

9'/^

x

c.

1920

8'/^"

"BALLA/FU/TU/RISTA"

the

as well as the "abstract" shapes

the right refer to the beauteous

GIACOMO BALLA

declamatory

with Balla's 1914 manifesto, Anti-neutral Clothing. encircled eye on the

24.

center to

to

have

PROVENANCE: Luce Balla,

Rome

Winston Collection, i960

inspired this picture. Balla's lost relief portrait of the

Marchesa, which apparently had moving parts, contained similar individualizing features (illustrated in Archivi

del futurismo, vol.

1,

no. zi6,

ill.

REFERENCE: Dorazio, Balla,

ill.

on jacket

in

green

p. 115).

G-178

61


25.

MARIA BLANCHARD Composition with Figure (Composition avec Personnagej. 1916 Oil on canvas, 51 x

37%"

Unsigned

Maria Blanchard 1881-1932

PROVENANCE;

Van Born

in

Santander, Spain. 1906 went to Paris; Andre Lhote

introduced her to Cubist painters. 1913 returned to Spain.

1916 settled

in Paris; established close

Gris, Metzinger, Lipchitz

contacts with

realistic,

is

though Cubist structure retained. Portrayed in scenes

from daily

life

and

solitary

children. Palette of earth colors heightens melancholic feeling.

62

Died

in Paris.

I'lnstitut, Paris

Winston Collection, 1956

'

EXHIBITIONS:

geometric but never totally abstract. 1919 work became

men and women

Amsterdam

and Rivera. Works emphasize

contours of forms with freely modeled surfaces; style

more

Leer,

Galerie de

Galerie de I'lnstitut, Paris,

November i8-December

Maria Blanchard Periode Cubiste, no. D.LA., 1957-58, no.

15, p. 38,

ill.

p.

10, p. 7,

40

REFERENCE:

Degand and Arp,

Aujourd'hiii, 1957, p. 31

ill.

14, 1955,

p. 15


z6.

UMBERTO BOCCIONI Self Portrait (Autoritratto).

Oil l.r.

c.

1908

on canvas, Z014 x 27" "Boccioni"

PROVENANCE:

Umberto Boccioni 1882-1916

Raffaela Callegari-Boccioni, Verona

Winston Collection, 1958 Born

in

Reggio Calabria. 1897 completed studies

Tecnico, Catania; Severini Italy;

worked

moved

to

Rome

in Balla's studio.

c.

at Istituto

Travelled extensively in

1906, 1908 visited Paris; 1906 to Russia. Late 1907

settled in Milan.

EXHIBITION:

1900. 1901 with

Museum

of

Modern

Art, 1961, Futurism, no. 11, p. 142

REFERENCES:

With help of Carta and Russolo wrote two Falqui, Enrico, Bibliografia e iconografia del fiitiirismo,

Futurist painting manifestos, 1910. figure

and spokesman of

Became

the leading

Futurists' artists' wing:

numerous

Sansoni, Florence, 1959, Tav. VI, p. 15

Kramer, Hilton, "Futurism Today," Arts Magazine,

influential theoretical writings. Pittiira, scultura futiiriste

no.

(dinamismo

plastico), published 1914.

From 1911-iz

created important sculpture. By late 1913 had begun to turn

toward Cezanne. Enlisted and fought

I,

at front

Futurists, killed during cavalry exercises in

with other

October 1961,

ill.

p.

Archii'i del fiitiirismo, vol. z, no. 55, p. 255,

Ballo, Boccioni, 1964, no. 22,

ill.

p.

ill.

p.

futuristi,"

187

435

Calvesi, Maurizio, "II manifesto del futurismo e

Verona.

vol. 36,

zz

L'Arte moderna, vol. V, no. 37, 1967,

i

pittori

ill.

p.

38

Archii'i del divisionismo, vol. z, no. 2220, p. 182, pi. 465

Bruno, Gianfranco, L'Opera completa di Boccioni, Rizzoli, Milan, 1969, no. i6a, Boccioni)

W-15

64

ill.

p. 88 (hereafter cited as

Bruno,


*,^o^.^-.


27.

A

UMBERTO BOCCIONI

date of 1914 has frequently been given to this powerful

work, but both the subject and

The Oil

Street Pavers

(1 Selcialori).

1911

earlier execution,

on canvas, 39% x 39%"

"UB"

1.1.

a

to labor.

The City

Modern

Art,

later years.

PROVENANCE:

worker

theme of

its

New

is

thus directly related to Boccioni's

Rises of 1910-11 at

York.

He

Toninelli, Milan

quently rejected

Winston Collection, 1954

the

December

Galleria Centrale d'Arte (Palazzo Cova), Milan,

1916-January

14, 1917,

Bottega di Poesia, Milan,

XXVI p.

and

March

more

man

an early attempt at

was subse-

synthetic form. Lastly,

superficial allusions to

Cubism found

second-hand knowledge of

approach was available to Boccioni

at the time.

this

Nonetheless,

move-

ments and clanking sounds are worthy younger brothers of

lo-zi, 1914,

Courbet's Stone Breakers of 1849, which he

Umberto

may

well have

seen at the 1910 Venice Biennale.

Boccioni, no. 13 of

is

these vigorous street pavers with their sharp, angular

Grande Esposizione Boccioni,

Pittore e Sciiltore Futurista, no. 10

18, 1949,

hesitant

favor of a

here, suggest that only a

EXHIBITIONS:

The Museum

still

in

hymn

of

did not return to this subject in

presenting an image of continuing motion that

Carlo Cardazzo, Galleria d'Arte del Naviglio, Milan

18,

The Museum

Furthermore, the multiple image of one

seen from different points of view

Romeo

interpretation suggest an

probably during the summer of 1911. The

Modern

Art,

New

York, June z8-September

XX Century Italian Art, pp. 9, 12.6, pi.

i, p.

35

Biennale, Venice, June 14-October 19, r95i, no. 50,

396

University of Michigan, 1955, no. 7,

ill.

p. 9

D.I.A., 1957-58, no. i6,p. 88

Museum ill.

p.

of

Modern

Art, 1961, Futurism, no. 31, pp. 43, 142,

44

D.I.A., 1972--73

REFERENCES: Carrieri, Raffaele, Pittura scultura d'avangiiardia (18^0-

19J0J in

Italia,

Conchiglia, Milan, 1950,

Valsecchi, Marco, 1950,

ill.,

ill.

pi.

16

n.p.

Argan, Guilio Carlo, Umberto Boccioni, 1953,

p.

Umberto Boccioni, Cavallino, Venice,

De Luca, Rome,

20

"The Winston Collection on Tour," Arts, 1958, ill. p. 37 De Grada, Raffaele, Boccioni, il mito del moderno. Club libro,

Milan, 1962,

"The

Best in Art," Arts Yearbook,

tav. IX, pp. 158, 173,

Archivi del fnturismo, vol.

2,

Winston, Anjourd'hni, 1962,

6,

1962, p. 162

no. 197, p. 263, ill.

del

178

ill.

p.

208

p. 5

Carrieri, Raffaele, Futurism, Milione, Milan, 1963, p. 187, pi. I

Taylor, Collections, 1963,

ill.

p.

294

Ballo, Boccioni, 1964, no. 580, pi.

Martin, 1968,

p.

105

f,

158 note

XLV,

2, pi.

Archivi del divisionismo, 1968, vol.

2,

Bruno, Boccioni, no. 178,

LV

Baro,

The Collector

in

p. 114, pi.

pp. 373, 471

73

America, 1971,

no. 2447, p. 197, pi. 506

p.

181

Apollonio, Umbro, ed. Futurist Manifestos, Viking,

York 1972, no.

93, p. 229,

ill.

p.

New

168

W-22

67


2,8.

UMBERTO BOCCIONI

Francoeur, Chicago Mid-West Art, 1967,

ill. on cover and 20th Centuries: A History of York Graphic Society, Greenwich,

Licht, Fred, Sculpture i^th

Anti-Graceful;

The Mother;

Mother

Portrait of the Artist's

Western Scidpture,

New

i967.P-33^>pl-i2.o

(Antigrazioso; Le Madre; Ritratto della madre). 1912

Arnason, H. H., History of Modern Art: Painting-Sculpture-

Bronze, 24" high

Architecture, Abrams,

PROVENANCE: Benedetta Marinetti,

Bruno, Boccioni,

Rome

Marrits, Louis

Winston Collection, 195S

Milan, Arte italiana, no. 41,

Musee Nationale

ill.

p.

upon-Tyne, 1972,

51

d'Art Moderne, Paris, October 20, 19S0-

Modern

XXeme siecle,

no. 36, p. 24

91

Curjel, Hans,

"Bemerkungen zum Futurismus," Das Kunstp. 13

ill.

New

York, i960,

ill.

Francastel, Pierre, "II futurismo e

p. 85

il

p. 36

ill.

suo tempo," La

Biennale di Venezia, vol. IX, nos. 36-37, July-December 1959, ill. p. 7 Seuphor, Michel, La Sculpture de ce

siecle. Griffon,

chatel, Switzerland, 1959, p. 358,

p. 40.

The Scidpture

ill.

Neu-

Published in

of this Century, Braziller,

New

York, i960 (hereafter cited as Seuphor, Scidpture of

this

Century, i960) Pearlstein, Philip,

"Futurism and Some Other Corrupt

Forms," Art News,

vol. 60, no. 4,

Raffaele, Boccioni,

II

Summer

1961,

ill.

p.

30

mito del moderno, Club

del libro, Milan, 1962, Tav. 74, 75; pp. loi, 140, 146, 175,

i77> 343 Winston, Aujourd'hui, 1962,

Barr, Margaret Scolari,

New York,

ill.

p.

6

Medardo Rosso, Museum

1963, p. 63,

ill.

p.

of

Modern

62 (hereafter cited as Barr,

Rosso, 1963) Taylor, Collections, 1963, p. 303 Ballo, Boccioni, 1964, no. 477, p. 500

Bowness, Alan, Modern Sculpture, Dutton, London, 1965,

68

p.

125

ill.

Barnes,

S.

p.

ill.

in

p. 17 ill.

p.

She was the

Light) of 1912, and for

and

prints, as is

many

sitter for at least

destroyed half-length Testa

+

for

82

shown by

+

casa

numerous

the

was

the

most searching

of his

one other sculpture, the

+

luce

(Head

+

House

paintings, drawings,

many examples

in this collection.

the only cast from the original plaster

Moderna, Rome.

now

It

in the

was made

1950-51 by Fratelli Perego, Fonderia Artistica, Milan.

Degand and Arp, Aujourd'hui, 1957, ill. p. 30 Saarinen, Art News, 1957, fig. 5, p. 65, ill. p. 34 "The Winston Collection on Tour," Arts, 1958,

ill.

p. 16,

Galleria Nazionale d'Arte

Giedion-Welcker, Carola, Contemporary Sculpture,

Art,

1970,

W-20

This

42

De Grada,

215

p.

ill.

Portrait Sculpture, A.

New Jersey,

Rye, Jane, Futurism, Studio Vista, London, 1972,

efforts.

Argan, Giulio Carlo, Vmberto Boccioni, De Luca, Rome,

English as

374,

108

Modeled

model and point of departure

iverk, vol. V, no. 3, 1951,

Wittenborn,

fig.

Boccioni's mother, like Cezanne's patient wife,

REFERENCES:

pi.

1968,

151

Art, 1961, Futurism, no. 48, pp. 87, 92,

D.I.A., 197^-73

1953,

pi.

Space, University of Newcastle-upon-Tyne, Newcastle-

42

p.

ill.

p. 194,

January 20, 1961, Les Sources du

I43,ill. p.

f.,

344 Golding, John, Boccioni's Unique Forms of Continuity

D.I.A., 1957-58, no. 20, p. 38,

of

p.

E.,

South Brunswick,

EXHIBITIONS:

Museum

New York,

Martin, i96S,pp. 164, 167

in


29.

UMBERTO BOCCIONI Development of a Bottle bottiglia nello spazio)

in

Space

(Sviluppo di una

(Still Life)

(Natura morta)). 1912.-13

Bronze, 15 x 24"

Unsigned

PROVENANCE:

Rome

Benedetta Marinetti,

Winston Collection, 1957 EXHIBITIONS: D.I. A., 1957-58, no. 21, p. 38,

Los Angeles County

ill.

Museum

44

p.

of Art,

December

15, 1970-

February 21, 1971, The Cubist Epoch, no. 9, pp. 232, 275, pi. 294, p. 295. In collaboration with The Metropolitan Museum

New

of Art,

York, April 7-June

7,

1971 (hereafter cited as

The Cubist Epoch, 1970-71) D.I. A., 1972-73

REFERENCES: Argan, Giulo Carlo, Vmberto Boccioni, De Luca, Rome, 1953.pl. 55

News, 1957,

Saarinen, Art Mellquist,

XX^ Siecle,

p. 65,

1958,

ill.,

ill.

64

p.

n.p.

Canaday, John, Mainstreams of Modern Art, Holt, Rinehart

and Winston, p.

New

York, 1959, no. 632, pp. 473, 500,

ill.

501

Seuphor, Sculpture of

this

Century, i960,

p. 358,

ill.

p.

358

Taylor, Collections, 1963, p. 295

Bowness, Alan, Modern Sculpture, Dutton, p.

ill.

New

York, 1965,

126

Barilli, pi. 28,

Renato, La scultura del novecento, Fabbri, 1968,

pp. 46-47

Kramer, Hilton, "The Cubist Epoch," Art 59, no. 2,

March-April 1971,

ill.

p.

in

America, vol.

54

W-26 Boccioni

made

three sculptures of bottles, but only this one

has survived. His

first

dynamic

still life is

found

in the

im-

portant but lost painting of a city-scene, Visioni simultanee

(Simultaneous Visions) of 191 1 (Archivi del futurismo, 2,

no. 278,

Of

ill.

the original plaster,

now

Museu de Arte Con-

in the

temporanea de Sao Paulo, four bronze in 193 1

by Gaetano Chiurazzi, Rome,

Galleria d'Arte

Modern

Art,

vol.

p. 223)

were made: two

in the Civica

Moderna, Milan, and The Museum of

New

York, and two

Angelo Nicci, Rome, now this collection.

casts

now

in the

Another cast

is

in

1949 by Giovanni and

Kunsthaus Ziirich and

in the collection of

Dr. Gianni Mattioli, Milan.

71


30.

UMBERTO BOCCIONI

Museum

of

Modern

Art,

New

York, and two

Giovanni and Angelo Nicci, Rome,

Unique forms of Continuity

in

Space (Forme iiniche della

Bronze,

481/2

and that of Paolo Marinotti, Milan. The not include the

contimiita nello spazio). 19 13

In

x 34", including base

now

flat

Rome

Winston Collection, 1956 EXHIBITIONS: D.I. A., 1957-58, no. 18, p. 38,

ill.

on front and back cover

D.I. A., 1969, Detroit Collects, no. 17

D.I.A., 197:^-73

REFERENCES:

Degand and Arp, Aujoitrd'htii, 1957, ill. p. 30 Vassar Alumnae Magazine, 1958, ill. p. 11 Seuphor, Sculpture of This Century, i960,

p. 358,

Nouvelle

XXIII^ annee, no.

Serie,

17,

p.

ill.

Carrieri, Raffaele, "Boccioni peintre de sensations," Siecle,

43

XX^

Noel, 1961,

66

p.

Kuh, Katherine, "Landmarks of Modern Art," Saturday Review, January 17, 1962,

p. 00,

Winston, Aujoiird'hui, 196Z,

ill.

ill.

p. 5

Taylor, Collections, 1963, pp. 301, 303,

ill.

Bowness, Alan, Modern Scidpture, Dutton, London, 1965, ill.

72

p.

Kuh, Katherine, Break-Up: The Core of Modern

York Graphic ill.

Art,

New-

Society, Greenwich, 1965, no. 30, p. 135,

p. 51

Baro, Art in America, 1967,

ill.

p.

71

Rye, Jane, Futurism, Studio Vista, London, 1972,

ill.

p.

89

W-24 The theme

of the strenuously active,

moving

figure

engaged

Boccioni's best efforts during the peak years of his career.

A

monumental paintings, drawings, and four consuming desire to give new life to the ancient subject of the nude, which in 1910 was banned for series of

sculptures reveal his

ten years from the Futurist vocabulary. This final

of the sculpted striding figures.

tive of the rigorous self-criticism to

work, were destroyed vol. 2, nos. 328-331,

The

is

the fourth and

other three, indica-

which he subjected

p. 232)

Four bronze castings were made from the original

now

his

after his death. (Archivi del futurismo,

ill.

plaster,

Museu de Arte Contemporanea de Sao Paulo: two in 1931 by Gaetano Chiurazzi, Rome, now in the Civica Galleria d'Arte Moderna, Milan, and The

72-

in the collection of the

it is

not

known

earlier editions or,

from the original plaster. Another collection of Dr. Gianni Mattioli, Milan.

unlikely,

PROVENANCE:

plaster.

1972 the Galleria La Medusa, Rome, commissioned a

whether they were taken from the

Benedetta Marinetti,

1949 by

earlier edition did

double base of the original

further edition of eight bronze casts, but

Unsigned

in

in this collection

cast

is

more

in the


31.

UMBERTO BOCCIONI

Boccioni's early evolution, unlike that of most other major artists,

Study for "The Drinker" (Studio per Oil, l.r.

"ll Bevitore").

1914

encounter with both occurred only during the

climactic years of Futurism. This collage

gouache, and collage on paper, 11V2 x I4V'2"

frank,

"Boccioni"

The

if

is

a singularly

anxious, statement of Boccioni's creative process.

artist is trying to

appropriate a Cezannian content as

well as Picasso's "Africanized" interpretation of Cezanne's

PROVENANCE:

Neumann

lacked exposure to Cezanne and African sculpture.

A meaningful

space and form, while seeking to imbue both with some Galerie, Berlin

Futurist meaning.

Ruggero Vasari,

Berlin,

1921

The painting

Winston Collection, 1958

to

which

this

work

is

related

is

in the collection

of Dr. Riccardo Jucker, Milan.

EXHIBITION:

Museum

of

Modern

Art, 1961, Futurism, no. 64, p. 144

REFERENCES: Archivi del futurismo, vol.

z,

no. 379, p. 272,

ill.

p.

242

Taylor, Collections, 1963, p. 303 Ballo, Boccioni, 1964, no. 574, p. 481, pi. 183, p. 258

Baro, Art in America, 1967, Miesel,

The Connoisseur,

Bruno, Boccioni, no. i8ib,

ill.

p.

1968, ill.

72

ill.

p.

260

p. 115

W-18

73


3z.

CONSTANTIN BRANCUSI The Blond Negress (La Negresse blonde). 1933

%"

Polished bronze and stone, head 15

h; z bases,

each

iz'/s" h, total 41I/8" h

Under

Constantin Brancusi 1876-1957 in

Hobitza, Rumania. 1887 went to Tirgu

"C

Brancusi"; under head "Brancusi"

PROVENANCE: the

Born

lip

Jiu.

1895

artist,

Paris

Winston Collection, 195Z

Craiova School of Arts and Crafts, Rumania, graduated 1898. 1902 diploma Bucharest School of Fine Arts. 1904 settled in Paris. 1905-07 attended Ecole des Paris.

Beaux

Arts,

Exhibited Salon d' Automne where he met Rodin in

1906. 1907

abandoned realism and began

to develop mature,

Armory Show, New York. 192.6, 1933 one-man shows Brummer Galleries, New York. Travels included 1926 New York; 1938 Egypt, The Netherabstract style. 1913 five

works

in

Rumania; 1939 New York. 1955-56 retrospective, Guggenheim Museum. 1956 became French citizen. Willed

EXHIBITIONS: University of Michigan, 1955, no.

9, p.

D.I. A., 1957-58, no. zz, p. 39,

ill.

The Toledo Museum Modern Art?

March

D.I. A.,

of Art,

p.

10

43 6- 27, i960,

What

is

197Z-73

REFERENCES:

lands,

studio to

Musee National d'Art Moderne,

Paris.

Degand and Arp,

Aiijoiird'htii, 1957,

ill.

30

p.

Saarinen, Art Netvs, 1957, p. 65

Vassar Alumnae Magazine, 1958,

ill.

p. 11

Giedion-Welcker, Carola, Constantin Brancusi, i8y6-i<)jy, Braziller,

New

York, 1959,

Seuphor, Sculpture of

this

pi. 19, p.

6^

Century, i960,

p. 358,

60

p.

ill.

Taylor, Collections, 1963, pp. 298-99 Geist, Sidney, "Brancusi Catalogued," Arts 38, no. 4,

Magazine,

vol.

January 1964, pp. 70-71

Geist, Sidney, "Letters to Editor," Art Bulletin, vol.

XLVII,

no. 3-4, September-December 1966, pp. 462-63 Spear, Athena Tacha,

"A Contribution

ology," Art Bidletin, vol. XLVIII, no.

i,

to Brancusi

March

Chron-

1966, pp.

48-49 Geist, Sidney, Constantin Brancusi, i8y6-i^jy: tive Exhibition,

York, 1969,

The Solomon

p. 128,

R.

A

Retrospec-

Guggenheim Museum,

New

ill.

W-127

This bronze, according to Sidney Geist,

The Art

Institute of Chicago's

1928. Although the artist said 1926

on

stylistic analysis

procedures, dates

it

is

one of two

marble "White Negress

was

its

of

date, Geist, based

and studies of Brancusi's casting 1933. Brancusi sometimes gave

versions of one sculpture the

same

all

date, using the earliest

date to represent the conception of the idea.

74

after II


33.

GEORGES BRAQUE Cards and Dice. 1914? Oil

on canvas,

141/2

x 21", oval

Unsigned

PROVENANCE:

Georges Braque 1882-1963

the artist

Marius de Zayas

Born in Argenteuil, France. Began career as apprentice house painter. Studied Ecole des until 1904.

Beaux

Arts, Le

Havre and

Paris

1907 exhibited as Fauve in Salon des Indepen-

dants. 1908 discarded Fauve palette in favor of Cubist color

and geometry. 1909 established Cubist Fought

in

World War

I,

style

received a head

Worked

first

in isolation

York, 1929

Winston Collection, 1948 (through Rose

Fried)

EXHIBITIONS:

in Basel.

throughout the War, 1948 published

Cahiers de Georges Braque: 2917-47. 1948

first

prize Venice

The Museum of Modern Art and Cleveland Museum. From late 50's until his death, he continued to work in seclusion despite failing health.

New

& Co., New York, 1948

wound. By 1912

important retrospective

Biennale. 1948-49 major exhibition

Mrs. Morris Hillquit, Jacques Seligmann

with Picasso.

paintings returned to nature retaining only certain aspects of Cubism. 1933

Arthur B. Davies, Paris

Pennsylvania

May 9,

Academy

of Fine Arts, Philadelphia, April 17-

1920, Exhibition of Paintings

Modern

Representative

Masters, no.

Cranbrook, 195 1, no. 2 University of Michigan, 1955, no. D.I.A., 1957-58, no. 23,

p

.

39,

The Cubist Epoch, 1970-71,

ill.

and Drawings

of

3, p. 5

10, p. 10 p.

44

no. 33, p. 278,

pi.

216, p. 194

D.I.A., 1971-73

REFERENCES:

Degand and Arp, Aujonrd'hui, 1957, ill. p. 30 Vassar Alumnae Magazine, 1958, ill. p. 11

W-2 Cooper dates p. 278),

which

the latter

is

wounded

in

the painting 1914 (The Cubist Epoch, no. 33, is

earlier

than the frequently cited 1915-16;

certainly less likely since

Braque was severely

1915 and did not resume painting until 1917.

Since the artist had introduced a pointillist technique into his general style

substantiated.

76

by 1913-14, the

earlier date

is

further


34-

ALEXANDER CALDER Mobile. 1949 Painted metal, 90 x

52.

x 60"

PROVENANCE: the artist

Alexander Calder

b.

Winston Collection, 1949

1898

EXHIBITIONS:

Born

in Philadelphia.

from Stevens Jersey. 1922

1919 graduated as mechanical engineer

Institute of

Technology

began studies

at

in

New League, New

Hoboken,

Art Students'

tion

Weyhe

Gallery,

sculpture. 1927

New

first

York; began to divide

between United States and France. 1930

Mondrian's studio

one-man

in Paris,

exhibi-

his

'

p. 39.

Did not

travel

REFERENCES:

York. 1926 travelled to Paris; created circus figures, ani-

mated toys and wire

Cranbrook, 1951, no. 87 D.LA., 1957-58, no. 24,

time

Saarinen, Art News, 1957, p. 33, ilL p. 32

Baro, Art in America,

t^96-j, ill.

p.

72

after visit to

W-72

turned to abstraction. First

abstract sculpture christened "stabiles" by Arp; later Marcel

Duchamp

called his

moving sculptures "mobiles." Lives

Roxbury, Connecticut and Sache, France.

in

This work was made especially for the Winston's stairwell

by Calder, although he never saw the location. As a consequence, a great deal of correspondence took place between the Winstons

and the

artist in a

mutual

effort to describe

and understand the problems of space which were involved in the

78

undertaking.


â&#x20AC;¢


Carlo Carra 1881-1966 Born

in

Quargnento, Piedmont. Trained as mural decorator;

1895 to Milan.

Worked on

decorations for International

Exposition, Paris, 1900. 1905-09 studied at Brera Academy.

Around 1908

friendship with Boccioni; formulated Futurist

painting manifestos of 1910 with him.

Cubism than other Milanese

More drawn

Futurists were.

tributions to literature of Futurism, Giierrapittura, 1915. 1916 or 17

Many

to

con-

most notably

met de Chirico; joined

with him in "metaphysical painting." Subsequent

work

marked by mixture of primitivism and classicism and rejection of dynamism of Futurist painting. 1920's association with Novecento group of figurative painters. Died in Milan.

80


35-

CARLO CARRA The Night (Joffre's

of January zo, 191;,

I

Dreamed This

Picture

Angle of Penetration on the Marne Against

German Cubes)

Two

(La notte del 10 gennaio 191 j sognai questo

quadro (Angolo penetrante de ]offre sur Marne contro

2.

cubi germanici)). 1915 Collage, gouache, ink and charcoal on paper, 10 x 13'/^" l.r.

"C. Carra 914" (Inscription added later by

artist)

PROVENANCE:

The New

Gallery,

New York

Winston Collection, i960 EXHIBITIONS:

The Museum of Modern Art, New York, October iNovember iz, 1961, The Art of Assemblage, no. 29, ill. Travelled to Dallas

p. 155.

January 9-February

Museum

11, 1962;

of

Contemporary

San Francisco

Art,

Museum of as Museum of

March 5-Aprii 15, 1962 (hereafter cited Modern Art, 1961-62, The Art of Assemblage) Art,

Guggenheim, 1963-64, Drawings, no.

Tivetitieth

Century Master

19, pi. 12

D.I.A., 1972-73

REFERENCES: Carra, Carlo, Guerrapittura, Poesia, Milan, 1915,

"Un

29

pi. 10, p.

Demi-siecle d'art Italien," Cahiers d'Art, 1950, vol.

XXV,

no.

i,ill. p.

84

Carrieri, Raffaele, Futurism, Milione, Milan, 1963, pi. 67

Taylor, Collections, 1963,

Johnson, Una

Shorewood,

E., 20^/7

New

Martin, 1968,

p.

303

Century Drawings; Part

York, 1964,

pi. 31, p.

I:

i>)oo-i')40,

63

p. 200, pi. 213.

W-39 This handsome collage, like in Guerrapittura,

some

of the other illustrations

conveys Carra's estrangement from

Futurism and predicts both Dada and the enigmatic and

calm imagery of

his

metaphysical painting of 1917 onward.

Purportedly evoking the most extreme Futurist actual war, Carra has given the thrusts

combat

a dream-like distance

forms are more precise and

dynamic dispersion of the

moment of

and shouts of

and paradoxical meaning. His

solid,

and suggest that the

Futurist esthetic

no longer seems

to apply.

81


36.

ROBERT DELAUNAY Still

Life with

Red Tablecloth (Nature morte

a la

nappe

rouge). 1937

Oil

on canvas, 46% x 39%"

Unsigned

Robert Delaunay 1885-1941

PROVENANCE: Sonia Delaunay, Paris

Born first

in Paris,

igoz apprenticed to set designer Ronsin. 1904

paintings, influenced by Impressionists

Winston Collection, 1953

and Pont-Aven

group: exhibited at Salon d'Atitomne and Salon des Indepen-

EXHIBITIONS:

December

dents. Studied color theories of Chevreul. Friendship with

Galerie Louis Carre, Paris,

Rousseau, Metzinger. 1910 married painter Sonia Terek;

1947, Robert Delaunay, i88yi')4i, no. 20

showed

at first Blatie Reiter exhibition,

Munich. 1910-11

met ApolHnaire and Gleizes; Cubist period. 191Z ApoUinaire coined

term Orpbisme to describe Delaunay's personal

idiom emphasizing color,

light

tive" period, characterized

and motion. 1911 "construc-

by works organized through

Galerie

January

J.

H. Bernheim-Jeune,

12, 1951,

Rytbmes

Paris,

best

D.I.A., 1957-5S, no. 29. p. 45,

p.

ill.

30's.

82

in figurative

works

of 20's

REFERENCES:

and

Taylor, Collections, 1963, p. 303

and abstract paintings of

Baro, Art in America, 1967, p. 72

known works. Continued emphasis on

motion

color, light

December

University of Michigan, 1955, no. 12, p. 10

D.LA., I972.-73

among

194S- January 17,

et couleurs, no. 5

colored planes and their "simultaneous contrasts"; series of paintings of chromatically dissected circular forms,

17,

W-150

47

16,

1950-


37.

â&#x20AC;˘

THEO VAN DOESBURG Still Life.

1916

Oil on canvas,

13% x 15%"

Unsigned

PROVENANCE:

Theo van Doesburg 1883-1931

Nelly van Doesburg,

The Pinacotheca Born C.E.M. Kiipper in Utrecht. 1899 began painting. 1908 first shown at The Hague. 1917 founded De Stijl periodical whose contributors, Mondrian, Oud, Wils, Bart van der Leek, Vantongerloo, formed the De Stijl movement which

stressed the need for abstraction and simphflcation, produc-

ing compositions based colors. After 1917

on geometric

propagandized for

figures

and primary

De Stijl in

Belgium,

Meudon

Gallery,

New York

Winston Collection, 1949 EXHIBITIONS:

Art of

this

Century,

New

Theo van Doesburg,

Museum

York, April 29-May 31, 1947,

no. 16. Travelled to San Francisco

of Art, July 29-August 24, 1947

The Pmacotheca

Gallery,

New York, March Z2-April

France, Italy, Spain, Czechoslovakia and Germany. Lec-

1949, no. 2

tured at Bauhaus. Friendship with Schwitters led to interest

Cranbrook, 1951, no. 55 University of Michigan, 1955, no.

Dada; wrote poems under pseudonym LK. Bonset. 1916 published Manifesto of Elementarism broadening the prinin

ciples of

De Stijl.

D.LA., 1957-58, no. 31,

p. 45,

ill.

21,

14, p. 10

p.

17

The Albright-Knox Art Gallery, Buffalo, March 3-ApriI 14, 1968 Plus By Minus: Today's Half-Century, no. 30, ill. D.LA., 1972-73

REFERENCES:

"The Winston Collection on Tour,"

Arts, 1958,

ill.

p. 35

Seuphor, Michel, Abstract Painting: Fifty Years of Accomplishment, from Kandinsky to the Present, Abrams,

York, 1962, no. 67,

p.

Abstract Painting, 1962) Baro, Art in America, 1967,

W-74

New

303 (hereafter cited as Seuphor,

ill.

p.

74


38.

MAX ERNST Sitting

Buddha

(Sitzender Buddha). 1920

Collage on paper,

7% x

SVg"

bottom "sitzender buddha (demandez votre medecin) max ernst /

Max Ernst

b.

1891

20"

PROVENANCE: Tristan Tzara, Paris

Born

in

Bruehl, near Cologne. Studied University of Bonn.

1919 launched Cologne Baargeld. 19Z2 Surrealist

came

to

lived in

moved

to Paris; collaborated in

founding of

movement. 1935 began working in sculpture. 1941 York; married Peggy Guggenheim. After 1945

New

Sedona, Arizona with his second wife, painter

Dorothea Tanning. 1952 returned to Paris. 1958 became French citizen. 1959 major retrospective at Musee National d'Art Moderne, Paris. Lives and works in Paris and south of France.

S6

Winston Collection, 1954

Dada movement with Arp and EXHIBITIONS:

Sidney Janis Gallery,

New

York, April 15-May

Dada, no. 91 D.I.A., 1957-58, p. 59.

G-179

Did not

travel

9,

1953,


'

!'>iiA>i4f^

i-.-.'/v

»».'Vi->-,

'w

***

t'*it'/f*


39-

MAX ERNST Composition. 1924-Z6 Oil on canvas, 10V2 x 9" l.r.

"Max

Ernst"

PROVENANCE: Rose Fried Gallery,

New York

Winston Collection, 1955 EXHIBITIONS:

Rose Fried Gallery, 1955, 30

New

York, October 17-November iS,

Works by ly Masters,

D.I.A., 1957-58, no. 38, p. 38,

no. 9

ill.

p.

3z

REFERENCES:

"The Winston Collection on Tour,"

Arts, 1958,

Seuphor, Abstract Painting, 1962, no. 124, Baro, Art in America, 1967,

W-138

88

ill.

p.

72

ill.

p. 303,

p. 38

ill.

p.

91


40.

MAX ERNST Come

into the Continents. 192.6

Pencil

and crayon on paper,

l.r.

"Max

16I/2

x 10"

Ernst"

PROVENANCE: Galerie Rive Gauche, Paris

Winston Collection, 1951 EXHIBITIONS: University of Michigan, 1955, "O- iTj PD.I.A., 1957-58, no. 37, p. 48.

Did not

h

travel

Indiana University, 1971, Reflection, no. 52, pp. 12, 49, 12

ill.

p.

G-177

This drawing

is

related to plates

XIX and XXII

of portfolio,

Histoire Naturelle, Paris, 1926 (Ellen Sharp, Reflection,

I97i,p. 12)

89


41.

PAUL FEELEY Katadoro. 1963 Oil and

On

enamel on canvas, 66 x 51"

reverse "Title: Katadoro/7 Feb. '63"

PROVENANCE:

Paul Feeley 1910-1966

the artist

Betty Parsons Gallery,

Born

in

Des Moines, Iowa. 19ZZ began studying painting,

Palo Alto, California. 1931

moved

to

New York; studied

at

New York

Winston Collection, 19S4 EXHIBITIONS:

Art Students' League; joined Mural Painters Society of

New

York. Supported himself by decorating restaurants,

and nightclubs. 1935 teacher at Cooper Union Art School. 1939-43 teacher at Bennington College in Vermont. hotels

1943-46 served

m Marine Corps.

1946 returned to Benning-

ton where he taught until his death. 195

American avant-garde tion with an emphasis

art. Style

on

color.

1

contact with

developed toward abstracSimple shapes create

highly equivocal relationships between figure and ground.

1955

first

major exhibit

Gallery. Died in

New

Guggenheim Museum,

90

in

New York at Tibor de Nagy

York. 1968 Memorial Exhibition,

New York.

Betty Parsons Gallery,

New

York,

New

York, October 27-November 21,

May

13-31, 1963,

Paul Feeley Betty Parsons Gallery, 1964, Paul Feeley

Guggenheim Museum, New York, April A Memorial

The Solomon

R.

May

Paul Feeley (i<)io-i')66):

16, 1968,

Exhibition,

ill.

p.

42

D.I.A., 1969, Detroit Collects, no. 59

W-225

11-


42.

OTTO FREUNDLICH The Unity

of Life

and Death (L'Unite de

la vie et

de

la

mort). 1936-38 Oil on canvas, 47V8 l.r.

"F"; on reverse

Paris

Otto Freundlich 1878-1943

1936-38";

/

Lefevre";

Born

in Stolp,

Berlin and

Pomerania, Germany. 1903 studied

Munich. 1907-08 studied

Paris, studio at

Amsterdam. Hospital attendant

Cologne during World

city

War

which believed

member Abstraction-Creation.

/

mars 1936

/

/

1938";

"Hommage

"L'Unite / de

/

Vie

la

a

"Otto Freundlich

I.e.

Madame /

/ et /

de

la

/

Camille

Mort

/

com-

termine Sept 38"

PROVENANCE:

in

Peggy Guggenheim, Venice

1914-18 worked on journal

state. 192,4

mence

r.c.

"18.IX

in Paris,

Nelly van Doesburg,

Meudon

Winston Collection, 1954

leadership of

in unity of arts, architecture

planning under socialist

1932

1.

member November Group under

Pechstein,

art history,

u.l.

1908-09

"Bateau Lavoir." 1910-13 exhibited

Berlin, Diisseldorf,

Action;

art, Berlin.

1.1.

x isVz"

and

returned to Paris.

Participated in numer-

EXHIBITIONS:

La Galerie Rive Droite,

Paris,

June

22.- July

ous European exhibitions. Art declared degenerate by

Freundlich, 1878-1^4}

Nazis. Persecution by Nazis; died in concentration camp.

University of Michigan, 1955, no. 20, p. 11

D.LA., 1957-58, no. 41,

p. 48,

ill.

p.

Otto

24, 1954,

49

D.I.A., 1972-73

REFERENCES:

Modern

Read,

Fainting, 1959, no. 105, p. 354,

Seuphor, Abstract Fainting, 1962, no. 134, Bare, Art in America, 1967,

ill.

p.

ill.

p. 304,

p.

305

ill.

p.

98

76

Arnason, H. H., History of Modern Art: Fainting, Scidpture, Architecture, Abrams,

Baro,

The

W-158

91

New York,

1968, p. 403

Collector in America, 1971, p. 182


Alberto Giacometti 1901-1966 Born

in

Stampa, Switzerland, son of the Neo-Impressionist

painter Augusto Giacometti. 1919 began studying sculpture

Geneva. 1922

at Ecole des Arts et Metiers in

settled in Pans.

1922-25 studied with Bourdelle. Early abstract sculpture reveals Cubist

and primitive influence. 1929 joined Surrealist

group. Returned to the figure

in

mid

30's.

1932

first

one-man

exhibition at Galerie Pierre Colle, Paris. 1955 retrospective at

Guggenheim Museum. 1965

of

Modern

94

Art,

New

retrospective at

The Museum

York. Died in Coiro, Switzerland.


43.

ALBERTO GIACOMETTI The Couple; Man and Woman. 1916 Bronze, 23 Yg x 14V1 x 7"

back of base

11. r.

"A. Giacometti 4/6";

1.1.

"Susse Fondeur

Paris"

Fourth of

si.x

casts

PROVENANCE: the artist

Galerie Maeght, Paris

Maurice

Lafaille, Paris

New

Pierre Matisse Gallery,

York, November 1955

Winston Collection, December 1955 EXHIBITIONS: D.I.A., 1957-58, no. 43, p. 5Z,

The Museum 10, 1965,

from

of

Modern

51

p.

New

York, June 7-October

z,

pp. 10, 115

(ill.

of cast

of Fine Arts, Zurich, p. 33). Travelled to

Art Institute of Chicago,

Los Angeles County

24,

ill.

Alberto Giacometti, no.

Museum

14, 1966;

Art,

November 5-December

The

11, 1965;

Museum of Art, January 6-February Museum of Art, March lO-April

San Francisco

1966

REFERENCES: Lord, James, "Alberto Giacometti, sculpteur L'Oeil, no.

which

i,

cast).

January

Published

15, 1955, in

ill.

p. 18

English in

The

et peintre,"

(no indication of Selective Eye,

Random House, New York, 1955, ill. p. 94 Lippard, Lucy R., "Max Ernst and a Sculpture Art International,

vol. XI, no. 2,

of Fantasy,"

February 20, 1967,

ill.

p.

38

Arnason, H. H., History of Modern Art: Painting, Scidpttire, Architecture, Abrams,

New

York, 1968, no. 627,

p. 392,

ill.

P-393

W-84

95


44.

ALBERT GLEIZES The Bather (La

Baignetise). 1912

Oil on canvas, 24 X 15" 1.1.

"Alb Gleizes 12"

PROVENANCE:

Albert Gleizes 1881-1953

Theodore Schempp,

Paris

Earl L. Stendahl, Hollywood, California

Born

in Paris.

Served as apprentice in his father's textile

design studio. 1902 exhibited pointilhst paintings at Societe

Winston Collection, 1950 EXHIBITIONS:

Nationals des Beaux Arts. 1906-08 became involved with

Utopian SociaHsm and founded a

munity of

artists

arrived at

own

and

writers,

free university

L'Abbaye de

and com-

Creteil. 19 11

Cubist idiom. 191Z collaborated with Met-

zinger on treatise Dit Ctibisme. 1915, 1917-18 visited

New

York. Paintings of 1910's reveal his search for metaphysical principles of reality. late style.

Died

in

Mid

1930's began lyrical abstraction of

Avignon.

Societe

Normande de

May 6,

1912, no. 92

Peinture Moderne, Rouen, opened

Museum, Amsterdam, October 6-November Moderne Kunst Kring, no. 113

Stedelijk 7,

1912,

Cranbrook, 195 1, no.

8

University of Michigan, 1955, no. 22, p. 11

D.LA., 1957-58, no. 45,

p. 52,

ill.

p.

51

The Solomon R. Guggenheim Museum, New York, September 14-November 1, 1964, Albert Gleizes, iSSi-i^j^: A Retrospective Exhibition, in collaboration with Musee National d'Art Moderne, Paris and

Dortmund,

no. 30, p. 29,

ill.

p. 44.

Museum am

Did not

D.LA., 1972-73

REFERENCES:

Degand and Arp, 1957, ill. p. 30 Vassar Alumnae Magazine, 1958, Taylor, Collections, 1963,

W-174

96

ill.

p.

ill.

303

p. 11

travel

Ostwall,


45.

GONZALEZ

JULIO

Woman

with

Iron, 13

X7I4 X

back

left

Broom

(La Femine an balai). 1929-30

3I/2"

of base "J. Gonzalez"

Unique piece

Julio

Gonzalez 1876-1942

Born

Barcelona, son of a goldsmith. 1892 studied painting,

PROVENANCE: the artist, Paris

in

School of Fine Arts, Barcelona. 1900 exhibited metal work at the hiternational E.xhibition of

Chicago; moved to Paris,

met Picasso and produced

and paintings. 1908 deeply

pastels

Mario Tozzi,

Paris,

c.

1930-34

Winston Collection, 1958 EXHIBITIONS:

affected by the death of his brother Joan. 1917 slowly

Musee National d'Art Moderne,

resumed work. 1926

i^^x, Julio Gonzalez: Sculptures, no. 36,

assisted Picasso in structivist

first

forged iron sculptures. 1929-31

welding iron sculptures. 1932 joined Con-

group Cercle

et Carre.

1937 Montserrat exhibited

Stedelijk

Museum, Amsterdam,

Gonzalez, no. 37,

May

at Spanish Pavillion of World's Fair, Paris. 1940 gave up welding because of war; concentrated on drawing and

Brussels,

molding

Switzerland

in plaster.

August

7,

ill.

(in

April

February

i

-March

9,

12

p.

7-May

10, 1955, Julio

Travelled to Palais des Beaux Arts,

20-June

1955;

Paris,

Musee

19, 1955; Kunsthalle, Bern, July 2-

des Beaux Arts, La

Bern catalogue

ill. fig.

Chaux de Fonds,

37; not in catalogue

listing)

REFERENCES:

Degand, Leon, Gonzalez, Universe Books, no.

3,

text reference,

ill.,

Seuphor, Sculpture of

W-118

98

New

n.p.

this

Century, i960,

p.

80

York, 1959,


46.

JULIO The

GONZALEZ

Kiss (Le Baiser). 1930

Iron, 10I/2

back

X 11^4 X 3"

u.l. "J.

Gonzalez

/

1930"

Unique piece

PROVENANCE: the

artist,

Paris

Mario Tozzi,

Paris,

c.

1930-34

Winston Collection, 1958 EXHIBITIONS: Galerie de France, Paris, 1930, Julio Gonzalez Sculptures

Musee National d'Art Moderne, 9,

Paris,

February i-March

1952, Julio Gonzalez: Sculptures, no. 42, p. 15

Stedelijk

Museum, Amsterdam,

April

Gonzalez, no. 51, text reference, des Beaux Arts, Brussels,

Bern, July z-August

7,

May

1955;

fig-

10, 1955, Julio

Travelled to Palais

20- June 19, 1955; Kunsthalle,

Musee

Chaux de Fonds, Switzerland

7-May

n.p.

ill.,

(in

des Beaux Arts, La

Bern catalogue no. 27,

ill.

51)

REFERENCES: Gindertael, R. V., "Gonzalez," Cimaise, serie

June-July-August 1956, pp.

5, 11,

ill.

Degand, Leon, Gonzalez, Universe Books, no. 4, text reference,

ill.,

Seuphor, Sculpture of

3,

no. 7-8,

p. 13

New

York, 1959,

n.p.

this

Century, i960,

p. 361,

ill.

p.

274

W-117

This

is

among

the earliest of Gonzalez' abstract sculptures,

and was executed during the time of with Picasso.

his

involvement


8

47.

JUAN GRIS Man

(L'Homme a

with a Guitar

Pencil

on paper,

141/16

la giiitare).

191

x SYia"

Unsigned

PROVENANCE:

Juan Gris 1887-1927

Jeanne Bucher, Paris Julius Loeb,

Born

in

Madrid. 1902 School of Arts and Industry, Madrid.

Moreno Carbonero; did Art Nouveau book illustration. 1906 moved to "Bateau Lavoir" in Paris near Picasso. Met Apollinaire, Max 1904

left

school to study with Jose Maria

New York

New York, 1947 New York, 1947 Buchholz Gallery, New York Parke-Bernet Galleries,

Kleeman

Galleries,

Winston Collection, 1950

Jacob, Andre Salmon. By 1911 painting in Analytic Cubist

EXHIBITrONS: style.

1911 exhibited with Cubists at the Section d'Or. 191Z-

23 sets for Diaghilev ballets. 1923

first

one-man exhibition

Galerie Simon, Paris. 1924 delivered lecture the Sorbonne,

On

on Cubism

the Possibilities of Painting.

at

Buchholz Gallery,

New

York, January i6-February

New

York, September 26- October

11, 1950,

jiian Gris, no. 42

Buchholz Gallery, 1950,

Contemporary Drawings, no.

26,

4,

ill.

Cranbrook, 1951, no. 62 University of Michigan, 1955, no. 23,

p.

11

D.I.A., 1957-58, no. 46. p. 52

The Museum

of

1958, ]uan Gris,

Modern ill.

Art,

New

York, April 9-June

p. ^^. In collaboration

apolis Institute of Arts, June 24- July 24, 1958;

Francisco

Museum

i,

with Minne-

The San

of Art, August ii-September 14, 1958;

Los Angeles County

Museum

of Art,

September 29- October

26, 1958

D.I.A., 1962,

French Draivings and Watercolors

New York, Novemberand Maecenas: A Tribute to Curt

Marlborough-Gerson Gallery,

December

1963, Artist

Valentin, no. 147,

ill.

p.

80

Indiana University, 1971, Reflection, no. 60,

p. 51,

ill.

p. 53

D.I. A., 1972-73

REFERENCE; Julius

Loeb Collection, Parke-Bernet

York, Sale No. 835, February

G-175

6,

Galleries, Inc.,

1947, no. 23,

ill.

New


1

48.

JUAN GRIS

EXHIBITIONS: Galerie Simon, Paris,

The Siphon

Bottle (Le Siphon). July 1919

Oil on canvas, 1.1.

zi'^Vic,

x 18"

"Juan Gris/7-19"

March

2.0-April 15, 1913,

Juan

Gris, no. 17,

ill.

Cranbrook, 1951, no.

9,

ill.

provenance:

University of Michigan, 1955, no. 24, p. 11,

Pierre Faure, Paris

D.I.A., 1957-58, no. 47, p. 52,

Leonce Rosenberg, Paris

D.I. A., 1972-73

Galerie Louise Leiris, Paris

Juan Gris

Kunsthaus, Zurich, April z-z6, 1933, ]uan Gris, no. 92 Buchholz Gallery, New York, January i6-February 11, 1950,

ill.

ill.

p. 53

REFERENCES:

Winston Collection, 195

Degand and Arp, Aujourd'htii, 1957, ill. p. 30 Vassar Alumnae Magazine, 1958, ill. p. 11 Baro, The Collector in America, 1971, ill. p. 186 W-65

103


49.

AUGUSTE HEREIN Composition. January 1911 Oil 1.1.

on canvas, iS^Yic x I3'yi6" "herbin";

I.e.

"Janvier 1921"

PROVENANCE:

Auguste Herbin 1882-1960

Leonce Rosenberg, Paris Galerie Rive Gauche, Paris

Born Lille.

in

Quievy, France. 1898-1901 Ecole des Beaux Arts,

1901

moved

to Paris. 1905 exhibited Impressionist

moved to "Bateau Lavoir" near Picasso, Braque and Gris. By 1913 was painting in Cubist style. By 1918 had rejected the object and was

Winston Collection, 1952 EXHIBITIONS:

paintings at Salon des Independents. 1909

painting abstractions based on his personal pictorial lan-

guage of color and form. 193 1 co-founder with Vantongerloo

University of Michigan, 1955, no. z6, p. 11, D.I.A., 1957-58, no. 51, p. 56,

REFERENCE: Baro,

Tbe Collector

alphabet." 1949 published his theories of color and form

founded Salon des Realites

Noiwelles where he exhibited until his death.

104

ill.

p. 54

D.I.A., 197^-73

of Abstraction-Creation group. 1940's invented his "plastic

L'art non-figuratif r^on-objectif;

ill.

W-161

in

America, 1971,

ill.

p. 18


50.

VASILY KANDINSKY Luminosity (Aufleuchten). Oil 1.1.

192.7

on canvas, 20V2 x 13V2" with

monogram "VK/27"

PROVENANCE:

Vasily Kandinsky 1866-1944

Nierendorf Gallery,

Wmston Born

in

Moscow. 1892 law degree

University of

Moscow.

New York

Collection, r944

EXHIBITIONS:

1896 went to Munich to become a painter. 1901 founded

Phalanx group. 1909

settled in

in

On

the Spiritual in Art

which he conceived of color and form

painting. 191 1

founded

Museum of Non-Objective Painting, New York, March May 15, 1945, Kandinsky Memorial Exhibition, no. trg

Murnau, organized Neue

Kiinstlervereiningiing. 19 10 wrote

Blatie Reiter

Cranbrook, 1951, no. 15, ill. University of Michigan, 1955, no.

as sole content of

group with Franz Marc.

D.I. A., 1957-58, no. 52, p. 56,

1917 returned to Russia; married his second wife Nina;

forced

him

to leave. 1912 accepted post at

Weimar

In Paris years incorporated

Arp

in his

ill.

54

REFERENCE:

Bauhaus; 1926 Dessau Bauhaus; 1933 settled in Paris after Nazis closed Bauhaus. Developed non-objective style in

Munich. During Bauhaus period

27, p. 12,

p.

D.I.A., I972.-73

teacher and administrator of the arts until government hostility

ill.

15-

Goldwater, Robert, Space and Dream, M. Knoedler Sc Co.,

New

utilized geometric forms.

York, 1967,

ill.

p. 53 (hereafter cited as

Goldwater,

Space and Dream, 1967)

biomorphic forms of Miro and

work.

W-75

51.

VASILY KANDINSKY De Profundis.

1932

Watercolor on paper, iS'^ x iziyij" 1.1.

with

monogram "VK/32"

PROVENANCE:

The Pinacotheca

Gallery,

New York

Winston Collection, 1948 EXHIBITIONS:

Cranbrook, 1951, no. 13 D.I.A., 1957-58, no. 54, p. 56.

Did not

travel

D.I. A., 1972-73

REFERENCE: Kandinsky, Vasily, Aits der Tiefe,

Unpublished notebook

W-59

106

Paris, 1932, sketch no. 473.


^

m

«

5a


Paul Klee 1879-1940 Born

in

Miinchenbuchsee, near Bern, of a musical family.

1898 art school in Munich. 1906 married and settled in

Munich. 1912 exhibited visited

in

Delaunay's studio

second Blaiie Reiter exhibition;

in Paris.

1914 travelled to Tunis

and Kairouan, influenced by Mediterranean 19ZO began teaching at

Weimar Bauhaus.

light

192.4

and

color.

founded

Blue Four with Kandinsky, Feininger and Jawlensky. 1925 publication of Pedagogical Sketchbook. 1926

moved

to

Dessau. 1928 travelled to Egypt. 1929 one-man exhibition

Flechtheim Gallery, Berlin, which travelled to The

Museum

Modern Art, New York, 1930. 193 1 left Bauhaus to teach at Academy in Diisseldorf for two years. 1935 became of

ill.

Died

108

in

Muralto-Locarno, Switzerland.


52.

EXHIBITIONS:

PAUL KLEE Forged

Still Life. c.

Watercolor on paper, u.r.

Cranbrook, 1951, no. :6, ill. University of Michigan, 1955, no. 29

1926 15

'/s

x 17"

D.I.A., 1957-58, no. 55,p. 56 D.I.A., 1971-73

"Klee"

W-135 PROVENANCE: Karl Nierendorf,

New York

Winston Collection, 1944

109


53-

PAUL KLEE What Remains (Was

Blieb).

1937

Gouache with charcoal on paper, 9 % x u.r.

"Klee";

I.e.

"1937

p. 18

1

3

14

"

was blieb"

PROVENANCE: the artist

JurgSpiller, Basel Little Gallery,

Birmingham, Michigan,

c.

1955

Winston Collection, i960 EXHIBITION:

Indiana University, 1971, Reflection, no. 8i,

p. 59,

ill.

p.

64

G-131

Crr *<ftr.

'I

V

5-SA'T

(-

-1â&#x20AC;&#x201D;y-

.;>,^

/ n

tfe^


54-

PAUL KLEE Signs in Blue.

c.

1938

Watercolor on tinted cloth, iz^Yk, x io%" u.l.

"Klee"

PROVENANCE: Nierendorf Gallery,

New York

Winston Collection, 1947 EXHIBITIONS:

Cranbrook, 1951, no. 17 University of Michigan, 1955, no. 30, p. 12, D.I.A., 1957-58, no. 56, p. 56,

ill.

ill.

p. 55

D.I.A., 1972-73

W-3

i

-4

^.^JiJOB,-


55.

GASTON LACHAISE (a)

Woman Arranging Hair.

Bronze, 10 V2 x base (b)

Gaston Lachaise 1882-1935 Born

in Paris.

1895 entered Ecole Bernard Palissy, Paris.

5

c.

1910-12

x 3'X"

"Lachaise"; bottom "18"

l.r.

Woman- Arms Akimbo,

1910-12

c.

Bronze,

11x5x5"

base

"G. Lachaise"; bottom "12"

l.r.

provenance:

1S95-1904 Academie Nationale des Beaux Arts. 1906 to

Hudson Kitson assisting him on military monuments. 1912 to New York, worked independently on small human figures which became basis for subsequent monumental sculpture. 1913 became Paul Manship's assistant. 1918 first one-man exhibition Stephen Bourgeois Gallery, New York. Met Robert Henri, John Sloan, others. Influence of Nadelman, Hindu sculpture on his work. 19Z7 one-man exhibition at Steiglitz' Intimate Gallery, New York. Numerous commissions during career, executed

Boston, worked for sculptor Henry

portrait busts, massive nudes

nudes.

and

series of sections of

female

Weyhe

Gallery,

New York

Winston Collection, 195S EXHIBITIONS:

Weyhe

Gallery,

Drawings

1956,

New York, December 22,

D.I. A., 1957-58, no. 57, p. 57.

Los Angeles County January

19, 1964,

of

Did not

Museum

of Art,

travel

December

3,

1963-

Gaston Lachaise 1SS2-195J, Sculpture

attd Drawitigs, no. 6

Museum

1955-January 28,

a>id Sculpture, Lachaise

and

American

ill.

7,

Art,

Travelled to Whitney

New

York, February i8-April

5,1964 J. B. Speed Art Museum, Louisville, October i6-November 28, 1965,

The Figure

in Sculpture, no. 8

Fine Arts Gallery, University of Wisconsin, Milwaukee,

September 29- October

22, 1970,

Gaston Lachaise Sculpture

Exhibition

REFERENCES: B.C.

"A Season

1956,

ill.

22

p.

for Sculpture," Arts, vol. 30, no. 4, January

(Woman

T[yler], P[arker],

Arranging Hair only)

"Reviews and Previews," Art News,

no. 9, January 1956,

ill.

p.

50

[Woman

vol. 54

Arranging Hair only)

Danieli, Fidel A., "Art Forms," Daily Brush, University of

California, Los Angeles,

December

11,

1963

The VWhA

Post, University of Wisconsin,

September

25, 1970,

W-123, 122

ill.

p. 6

Milwaukee,


56.

ROGER DE LA FRESNAYE Study for "The 14th of July" (Etude pour "Le Quatorze juillet").

1913

Watercolor on paper, 16% x 23" l.r.

Roger de La Fresnaye 1885-1925

"R de

la

Fresnaye/1913"

PROVENANCE: Galerie de Berri, Paris

Born Paris;

in

Le Mans, France. 1903 entered Academie Julian,

1904 and 1906-08 Ecole des Beaux Arts,

Paris; 1908

Galerie Percier, Paris

'

Winston Collection, 1951

studied with Denis and Serusier. 1910 exhibited at Salon des

Independants and Salon d'Aiitomne. 1911 growing interest in

Cubism; association with Puteaux Group which formed

Section d'Or. Participated in Section d'Or exhibitions, 1911, 1912..

1914

first

one-man exhibition Galerie Levesque,

1914 enlisted; 1918 discharged for until his death.

ill

health which continued

1910 abandoned Cubism for return to

classical, realistic style.

Paris.

EXHIBITIONS: Galerie de Berri, Paris, 194S and 1949, no. 41

Musee National d'Art Moderne,

Paris, 1950, no. loi, p. 33

Cranbrook, 195 1, no. Z3 Albion College, 1956, no. 16 D.I.A., i957-5S,no. 58, p. 57

Albright- Knox Art Gallery, Buffalo, September iS- October 12, 19S7, ill.

The

Painters of

The Section d'Or,

no. 18, pp. 28, 31,

p. 31

Indiana University, 1971, Reflection, no. 83,

p. 60,

ill.

p.

65

D.I.A., I972--73

REFERENCE: Seligmann, Germain, Roger de La Fresnaye: raisonne.

New York

no. 142, p. 158,

Fresnaye, 1969)

W-57

114

ill.

ti'ith

a catalogue

Graphic Society, Greenwich, 1969, (hereafter cited as Seligmann, de La


k


1

57-

ROGER DE LA FRESNAYE Composition with a Trumpet (Le Clairon

et le

tambour).

January 1918 Ink and wash on paper, l.r.

"R de

la

12.14

x

9%"

Fresnaye/Janv 18"

PROVENANCE:

Van

der Klip, Paris

Galerie Percier, Paris

t

Winston Collection, 195 EXHIBITIONS:

Cranbrook, 195 1, no. 24 University of Michigan, 1955, no. D.I.A., 1957-58, no. 59, p. 57, D.I.A., 1962,

ill.

31, p. 12

p. 55

French Drawings and Watercolors

D.I.A., 1972-73,

ill.

cover checklist

REFERENCE: Seligmann, de La Fresnaye, 1969, no. 265,

G-163

116

ill.

p.

189


1

58.

HENRI LAURENS Man with a Stone, 17 X I.r.

Moustache. 1919?

5%

X 6"

front neck "H.L."

PROVENANCE:

Henri Laurens 1881-1954

Leonce Rosenberg, Paris Yves

Born

in Paris. Self-taught. Early influence of Rodin. 1904-10

studio in "Bateau Lavoir." 191 1 formed life-long friendship

with Braque. 1913 exhibited 1915 began Cubist

still-life

at

le

Delion, Paris, 195

Jacques Ullman, Paris, 1951 Galerie Rive Gauche, Paris

Winston Collection, 1954

Salon des Independants.

constructions influenced by

EXHIBITIONS:

Picasso. 1915-18 papiers colles. 1918

began direct carving

in

stone and plaster modeling. Utilized technique of faceting

University of Michigan, 1955, no. 32,

and hollowing out, derived from Analytic Cubist painting

D.I. A., 1957-58, no. 60, p. 57,

ill

more conventional treatment of wood and stone. Around 1925 style, though still grounded in Cubism, became more organic. Exhibited at World's Fair, Paris, 1937.

The Cubist Epoch, 1971, no.

159, pp. 258, 293, pi. 324, p. 260

D.I.A., 197^-73

style.

After 1920

Female nudes of

work

his

p. 12,

ill.

p. 58

REFERENCES:

constant theme. Attenuated forms typical

of 30's; massive, organic volumes

of 40's. Sao Paulo Bienal 1953,

mark

sculpture

awarded sculpture

prize.

de Solier, Rene,

"Uno

Scultore tra due mondi: Henri

Laurens," La Bieniiale di Venezia, October 1950,

p.

14

Saarinen, Art News, 1957, p. 64

Taylor, Collections, 1963, p. 292

Baro, Art in America, 1967, p. 75

W-137

Although

this piece

Cooper dates

it

has traditionally been dated 1917,

1919 {Cubist Epoch,

earliest direct carving

118

was done

p. 258), as

in 1918.

Laurens'


5

59-

FERNAND LEGER Woman

in

Armchair (La Femme au

fauteuil).

c.

1912-13

Oil on canvas, 51I4 x 3814"

Unsigned

PROVENANCE:

Fernand Leger

1

881-195

Daniel-Henry Kahnweiler, Paris

Alphonse Kann, Paris Born

in

Argentan, France. 1897-99 studied architecture in

Caen. 1900 arrived

Academic

in Paris.

1903 Ecole des Arts Decoratifs,

Julian. 1910-11 participated in formation of

Section d'Or group. 1912

first

one-man exhibition

Mary

Gallery,

New

Earl L. Stendahl,

York

Hollywood, California,

c.

1945

Winston Collection, 1950 EXHIBITIONS:

Kahnweiler Gallery. 1912-14 reduction of form to cubic

volumes and primary

colors.

World War I increased

his

awareness of machines; 1917 began Mechanical Period. 1910

met Le Corbusier with

whom he worked

and

traveled. 1914

collaborated on Ballet Mecanique. 30's and 40's painting

became

flatter

with undulating rhythms. 1940-45 in the

United States where he taught at Yale University and Mills College, Oakland, California. Returned to France after the War. 1949 retrospective Paris.

Musee National

d'Art Moderne,

Cranbrook, 1951, no.

The Art

16,

ill.

Institute of Chicago, April

Leger, no.

8, p. 84,

ill.

San Francisco

Museum

The Museum

of

1953- January

12-May

17, 1953,

with The

p. 18. In collaboration

of Art, June iz-August 30, 1953 and

Modern

New

Art,

1954 University of Michigan, 1955,

York, October 20,

3,

D.I.A., 1957-58, no. 61, p. 57,

p. 12, no. 33

ill.

p.

59

D.I.A., 1972-73

REFERENCES: Teriade, p.

E.,

Fernand Leger, Cahiers d'Art,

Paris, 1928,

ill.

16

Vassar

Alumnae Magazine,

Delevay, Robert

L.,

Parker, Clifford

S.

1958,

ill.

p.

and Paul

Taylor, Collections, 1963, p. 292, Baro, Art in America.

W-7S

's.^6-j,

The Connoiseur,

p. 48,

L. Grigaut, Initiation

ture franfaise, ^.^6^, second edition, p.

Meisel,

iz

Leger, Skira, Paris, 1962,

p.

ill.

xiii, pi.

opp.

72

1968,

ill.

p.

259

p.

ci

opp.

302

ill.

p.

46

la culp.

191


6o.

FERNAND LEGER Still Life.

Pencil l.r.

"F.

1921

on paper, 15 x 10" L/zi"

PROVENANCE: Curt Valentin Gallery,

New York

Winston Collection, 195Z EXHIBITIONS: University of Michigan, 1955, no. 34, p. 13 D.I. A., 1957-58, no. 6z, p. 57,

D.I.A., 196Z,

ill.

p.

60

French Drawings and Watercolors

Indiana University, Reflection, 1971, no. 85, p. 60, D.I.A., I972.-73

REFERENCE: Baro, Art in America, G-162.

t-96j,

ill.

p.

74

ill.

p.

66


61.

EL LISSITZKY Proitn No. 95. Oil, collage

On

c.

1910-13

and gouache on paper, 23 Vs x i9Vi6"

reverse u.c.

"Proun

/

#95"

PROVENANCE:

El (Eleazer) Lissitzky

1

890-1941

Katherine

S.

Dreier,

The Pinacotheca Born Polshinok, Smolensk, Russia. 1909-14 studied

at

Darmstadt, school of engineering and architecture. 1914

Moscow. 1916 showed at Knave of Diamonds exhibition, Moscow. 1919 professor at Vitebsk School of Art. Met Malevich; painted first Pronn, his name for nonobjective paintings. 1912 installed Proun room according to went

to

West Redding, Connecticut

Gallery,

New York

Winston Collection, 1949 EXHIBITIONS:

Brooklyn Museum, I,

New

York, November

1917, International Exhibition of

tellitng,

Russian exhibition in Berlin. Contact with Bauhaus

Kijpers. 193

1

appointed permanent chief designer of the

Permanent Building exhibition

Moscow. 1918 married Sophie

E.xhibition,

rooms before and

Moscow. Designed many

after this

appointment.

I9z6-January

Art, assembled

by the Societe Anonyme, no. 199

The Pinacotheca

Gallery,

New

Constructivist principles at Grosser Berliner Ktinstatts-

group. 1925 returned to

19,

Modern

York, October 6-31, 1949,

El Lissitzky, no. 1

Cranbrook, 1951, no. 18

Rose Fried Gallery,

New

York, January i6-February 23,

1952, Coincidences, no. 10

University of Michigan, 1955, no. 36, p. 13

Contemporary Arts Museum, Houston, February 27-March 14, 1957,

The Sphere

of

Mondrian,

D.I. A., 1957-58, no. 63, p. 60,

ill.

p.

n. p.

31

Albright-Knox Art Gallery, Buffalo, March 3-April 1968, Plus

By Minus: Today's Half -Century,

14,

no. 82

D.I. A., 1972-73

REFERENCES;

M.

G., Art

News,

vol. 48, no. 7,

American Abstract 1956,

ill.

Artists, ed..

November The World

1949, p. 51 of Abstract Art,

p. 89

Degand and Arp, Aujoiird'hin, 1957, ill. p. 30 "The Winston Collection on Tour," Arts, 1958, Seuphor, Abstract Painting, 1962, no. 88,

W-81

124

p. 308,

ill.

ill.

p.

p.

36 74


MORRIS LOUIS Quo

Niimine Lasso. 1959

Mixed media on cotton duck, 103 x 77" 1.1.

"Louis '59"

PROVENANCE:

Morris Louis 1912-196Z

Galerie Lawrence, Paris

Winston Collection, 1964 Born Morris Bernstein

Maryland

in

Institute, Baltimore.

1949. 1951-56 taught at

Lived

in

Baltimore until

Workshop Center

for the Arts,

Washington, D.C. Style influenced by Helen Frankenthaler's "stain" painting, Moitntains

and Sea,

1952..

"Veil" paintings

and 58-59 are important examples of his personal idiom. Lived in Washington, D.C. until death. of 1954

/

Baltimore. 1929-33 studied at

EXHIBITIONS: Institute of

Contemporary

Arts,

London, Spring i960,

Morris Louis Galerie Neufville, Paris,

March

17-April 12, 1961, Morris

Louis Galerie Alfred Schmela, Diisseldorf, April

27-May

24, 1962,

Morris Louis Galerie Lawrence, Paris,

November 9-December

3,

1963,

Morris Louis D.I.A., 1969, Detroit Collects, no.

<)^

REFERENCE: Baro, Art in America, 1967,

ill.

p.

72

W-221

The

title

Diety Offended

126

was chosen by Clement Greenbook of Virgil's Aeneid â&#x20AC;&#x201D; "What

for this veil painting

berg, taken from the ." .

.

first


63.

MORRIS LOUIS Late Flowering. 196Z Acrylic resin on unsized duck, 86 x 3iVi"

On

reverse u.c. "Louis 1962"

PROVENANCE: the artist

Galerie Lawrence, Paris, 196Z

Winston Collection, 1964 EXHIBITION: Galerie Lawrence, Paris,

Morris Louis

W-222

r28

November 9-December

3,

1962,


64.

STANTON MACDONALD-WRIGHT Arm

Conception Synchromy; Cotiception;

Organization

1916-17?

mounted on cardboard, 29% x 11V&"

Oil on canvas

"S.M.W."

1.1.

Stanton MacDonald-Wright 1890-1973

PROVENANCE: the artist, Paris

Born Charlottesville, Virginia. 1904-05 studied

at

Art

Students' League, Los Angeles. 1907 to Paris to study

Met Morgan

Russell

c.

Winston Collection, 1956

1910. Studied color with Tudor-Hart,

read color theories of Chevreul. Devised Synchromy, which

emphasized color First

in reaction to

monochromatic Cubism.

Synchromist exhibition Neiie Kiinst Salon, Munich,

1913. 1916-18 lived in

1919 produced

first

New

York, e.xhibited at

full-length stop

Steiglitz' zi)!.

motion color

Developed color process for movies. 1920

film.

interest in Oriental

philosophies; 19Z4 returned to representation under influence of Chinese painting. Active as teacher

From 1954 both non-objective and visits to

figurative

Orient. Lived in California and

and

EXHIBITIONS:

La Galerie Arnaud, Wright, no. 19 formerly

writer.

(ill.

Paris, April 12.-25, i95<5>

on catalogue cover

in the Earl L.

MacDonald-

for larger painting

is

Stendahl Collection, Hollywood,

California) D.I. A., 1957-58, no. 64, p. 60, D.I. A., 19S2, p.

work. Repeated

Tokyo.

'

art.

p.

ill.

61

American Drawings and Watercolors, no.

178,

II

The Corcoran Gallery of Art, Washington, D.C., April 262, 1963, The Neiu Tradition â&#x20AC;&#x201D; Modern Americans

June

before 1940, no. 67,

p. 62,

The Baltimore Museum 1964, 1914.-

An

ill.

p. 25

of Art, October

6-November

15,

Exhibition of Faintiitgs, Dratcings, and

Sculpture, no. 136, p. 89

M. Knoedler 6,

& Co., Inc. New York, October 12-November

Synchromism and Color

1965,

Principles in

American

Painting: 1910-1930, no. 34, pp. 27, 51

The Solomon

R.

Guggenheim Museum, New York, June Gauguin and the Decorative Style

23 -October 23, 1966,

National Collection of Fine Arts, Smithsonian Institution,

Washington, D.C.,

May 4-June

18, 1967,

Stanton MacDonald-Wright, no.

5, p.

The Art

of

27

The U.C.L.A. Art Galleries, Los Angeles, November 16December 20, 1970, Stanton MacDonald-Wright A Retro:

spective Exhibition, i<)ii-i<)jo, no. 6,

ill.

D.I.A., 1972-73

REFERENCES: Seuphor, Michel,

V Art abstrait: ses origines, ses premiers

maitres, Paris, 1950,

ill.

p. 155

(ill.

Seuphor, Michel, Dictionnaire de

Hazan,

Paris, 1957, p.

of Stendahl painting) la peintiire abstraite,

20 (Translated into English by Lionel

Montague and Frances Scarfe, Dictionary Abstract Painting, Paris Book Center, New York) Izod, John

"A Splendor 19,

May

of Springtime Shows," Time, vol.

10, 1963,

ill.

p.

(ill.

p. 216,

for Stendahl painting) (hereafter cited as

Seuphor, L'Art abstrait, 1971)

W-94

no.

vol. i: i<)io-i^iS, origines

premiers maitres. Maeght, Paris, 1971, no. 51,

p. 115

130

LXXXI,

62

Seuphor, Michel, L'Art abstrait: et

of

ill.


Although

this

painting has often been dated

1916-17 date attributed to

it

c.

1914, the

by William Agee seems more

probable. (Agee, Knoedler catalogue, 1965, p. 51)

It is

a

smaller version of the very similar 1916 painting formerly in the collection

of Earl L. Stendahl, Hollywood, California,

(current whereabouts

unknown);

that fact alone increases

the likelihood of the accuracy of the later date.

131


65.

ANDRE MASSON Nude under Fig

Tree. 1944

Charcoal and ink on paper, Signed

1.1.

2.3^yi6

x 18"

"Andre Masson"

PROVENANCE:

Andre Masson

b.

1896

Buchholz Gallery,

New York

Winston Collection, 1946 Born

in

Balagny, France. Studied art at Academie Royale

EXHIBITIONS:

des Beaux Arts, Brussels; 191Z at Ecole des Beaux Arts, Paris

under Baudouin. 1917 wounded

in

World War

I

severely, psychologically as well as physically. Paintings of

early 20's influenced by

Cubism.

Among the

first Surrealists.

1915 regularly contributed automatic drawings to La

Revolution Surrealiste. 1934-36 lived

in Spain.

Late 30's

D.I.A., 1947,

XVIl-XX

A Loan

Exhibition of French Fainting,

Centuries, p. 6

Cranbrook, 195 1, no. 69 University of Michigan, 1955, no. 41, p. 13, D.I. A., 1957-58, no. 67, p. 61,

ill.

p.

ill.

62

French Drawings and Watercolors

turned to figurative Surrealism influenced by Picasso.

D.I. A., 1962,

1941-45 to United States; this period marked by automatist,

Indiana University, 1971, Reflection, no. 98, pp. 18, 65,

expressionist approach. Returned to France 1945, painted in

p.

more

expressionist manner.

many

scenic designs. Important in linking

Throughout career created American Abstract Expressionism and European Surrealism.

REFERENCE: Reynolds, Graham, Twentieth Century Draivings, London, 1946, no. 63,

G-165

13Z

ill.

17

ill.


Henri Matisse 1869-1954 Born at

at

Le Cateau, France. Studied law 1887-S8. 1891 studied

Academic

Julian, Paris,

under Bouguereau and

Ferrier;

1893 at Ecole des Beaux Arts, Paris, under Moreau. 1893 visited

Provence and came under influence of Cezanne. 1899

worked ture.

at atelier of Carriere;

began experiments

Although primarily a painter, continued

throughout

in sculp-

to sculpt

his career, influential as a sculptor.

1904 after

brief Pointillist period turned to use of pure, flat color. 1905,

with Detain, Marquet, Vlaminck and others, formed Faiwe group, notable for use of brilliant, arbitrary color and direct

brushwork. 1911-13

visits to

Morocco:

oriental color in-

fluence, exotic landscapes. 1913 influence of settled in Nice. Early igzo's period of

Cubism. 1917

Odalisques marked

by use of sensuous color and pattern; strong threedimensionality in 1920's. 1930 travelled in Europe, Russia,

Oceania, United States where he painted murals for Dr. Barnes. 1930's characterized by linearism. 1936 retrospectives, Paris,

New

produced many

York, Stockholm. 1939 settled in Vence,

collages. 1949

began decoration of Domini-

can Chapel, Vence. 1950's numerous compositions of colored, cut paper.

134


66.

HENRI MATISSE

EXHIBITIONS:

The Velvet Gown (Kobe de Ink on paper, 14V2 x 1.1.

Pierre Matisse Gallery, velours). 1936

19%"

New

York,

Summer

1939,

Summer

Modern

Cranbrook, 1951, no. 70 University of Michigan, 1955, no. 41, p. 13, ill. D.I.A., 1957-58, no. 68, p. 61. Did not travel

"Henri-Matisse 36"

PROVENANCE:

Indiana University, 1971, Reflection, no. 100, p. 66,

the artist, Paris Pierre Matisse Gallery,

Exhibition French

New

ill.

p.

70

G-174 York,

c.

1537

Winston Collection, 1948

135


67.

JEAN METZINGER Still

Oil l.r.

Life ivith Pears. 1912-1917

on canvas, 45% x 32" "J.

Metzinger"

PROVENANCE: the artist

Jean Metzinger 1883-1956

Leonce Rosenberg, Paris Galerie La Gentilhommiere, Paris

Born

in

Nantes. 1898 began to paint; settled in Paris;

Winston Collection, 1953

many academies but was dissatisfied with all of them. 1903-08 work influenced first by Neo-Impressionists,

EXHIBITIONS:

then Fauves. 1909 exhibited at Salon des hidependants and

University of Michigan, 1955, no. 43,

with the Section d'Or. 1911 published Dtt Citbisme with

D.I. A., 1957-58, no.

attended

Albert Gleizes,

Continued

136

to

first

work

theoretical in the

work on

the

movement.

Cubist idiom until his death.

W-151

6<), p.

60,

ill.

p.

63

ill.

p.

14


68.

JOAN MIRO Personage; The Brothers Fratellini. 1927 Oil

on canvas, 5114 x 38"

I.e.

"Mir6/i927"

PROVENANCE:

Joan Miro

b.

1893

the artist, Paris Pierre Loeb, Paris

Born

in Barcelona.

1907-15 intermittent attendance at var-

one-man exhibition, Barcelona. summered at parents' farm in Montroig, Spain. 1920 first participation in Dada activities. Joined Surrealist group 1924. 1925 major one-man exhibition Galerie Pierre, Paris. Use of imaginary and dream imagery encouraged by friendship with Arp and Masson and acquaintance with Klee's work. Around 1940 more rhythmically patterned ious art schools. 1918 first

1920

moved

to Paris,

compositions appeared; 1950's and 6o's a gestural idiom of

more concentrated Resides in Palma de Mal-

expressive calligraphy developed; 1950's

work

in

ceramics and sculpture.

Pierre

Chadourne,

Paris

Theodore Schemmp

'

& Co., New York

Winston Collection, 1952 EXHIBITIONS: University of Michigan, 1955, no. 45, p. 14 D.I. A., 1957-58, no. 73, p. 64,

The Museum

Modern

of

1959, Joan Miro, p. 51,

opposite

ill.

New

Art,

Did not

ill.

title

page

York, March i8-May

10,

travel

D.I.A., 197^-73

REFERENCES:

lorca.

Saarinen, Art Neivs, 1957,

Rubin, William, "Miro vol.

Ill,

nos. 5-6, 1959,

ill.

on cover and

in Retrospect,"

p. 5

Art International,

p. 37

ill.

Dupin, Jacques, Joan Miro, Life and Work, Abrams, York, 1962, no. 190, pp. 166, 168,

ill.

p.

Rubin, William, "Arshile Gorky, Surrealism, and the

American Painting," Art International, ruary 1963,

p. 36. (reprinted in

ill.

Sculpture: i^40-j$yo, Dutton, tion with

ill.

Baro, Art in America, 1967, Miesel,

The Connoisseur,

Neiv York Painting and 1969, in associa-

of Art,

ill.

p. 399)

303

p.

ill.

New

vol. VII, no. 3, Feb-

New York,

The Metropolitan Museum

Taylor, Collections, 1963,

New

516

p.

72

1968, p. 262

W-80

According the

same

to

Dupin,

year,

this

canvas and a very similar one of

Three Personages

(or

The

Gallatin Collection of the Philadelphia

Fratellini) in the

Museum

of Art, are

"good examples of Miro's most subjective vein of humor." (p.

a

166)

few of

He

also explains that

Miro gave

Peintiire or Painting.

were given the

was someone

by the

Miro's circle at the

the Surrealist poets like Robert

circus acrobats

and clowns

circus theme.

made

to only

artist.

Undoubtedly

timeâ&#x20AC;&#x201D; possibly one

as

who were

family of

very popular in Paris

seems appropriate that year

it

of

Desnos or Paul Eluard â&#x20AC;&#x201D; who

this title. FrateUini refers to the

at that time; the title

other works he

titles

them merely

Apparently neither of these two works

Fratellini title

in

gave the painting

138

precise

his paintings, preferring to designate

in

terms of several

which evolved around

a


7 /

^


69.

MONDRIAN

PIET

Composition

in

Black and White with Blue Square. 1935

x 27%"

Oil on canvas, zS I.e.

"PM

35"

PROVENANCE:

Mondrian 1872-1944

Piet

the artist

George Born

in

Amsterdam Academy

of Fine Arts. 1911

by Braque and Picasso. 1912 moved

By 19 13

Morris, Paris, 1936

New

Gallery,

York, 1947

Winston Collection, July 1947

saw Cubist works

to Paris.

L. K.

The Pinacotheca

Amersfoort, The Netherlands. 1892-97 studied at

style

EXHIBITIONS:

had developed beyond Cubism to a more radical abstraction. Detained

in

The Netherlands during World War

arrived at mature style of vertical lines

and

issue of

flat

De

I.

and horizontal dissecting

periodical; 1918 signed

De

Stijl

193 1 joined Abstraction-Creation group. 1938 forced him to London. 1940 vitality of

dynamic,

moved

New York and

less classical style.

to

New

first

et

Carre.

World War

II

York. Influenced

began to develop more

of Living Art,

Mondrian Mortimer Brandt

New York University,

Gallery,

New

1937, Piet

York, 1942, American

Abstract Artists Exhibition

manifesto.

1919 returned to Paris. 1930 exhibited with Cercle

by the

1917

color planes. 1919 contributed essays to

Stijl

Museum

The Museum

of

Modern

Art,

New

York, March 21-May 13

1945, Piet Mojidrian

Cranbrook, 1951, no. 36, ill. University of Michigan, 1955, no. D.I. A., 1957-58, no. 76, p. 64,

ill.

48, p. 14

p.

66

D.I. A., 1969, Detroit Collects, no. 121 D.I. A.,

1972-73

REFERENCES: Seuphor, Michel, Piet Mondrian: Life and Work, Abrams,

New

York, 195S, no. 538, p. 37, ill. p. 69 Alfred, Die Kiinst in imserer Zeit: Versuch einer

Neumayer, Deittting,

Henry Goverts,

Stuttgart, 1961, no. 16, p. 119, p.

174. (Published in English as

Modern

Art, 1964,

ill.

The Search

for

Meaning

in

p. 93, pi. xxiv)

Seuphor, Abstract Painting, 1962, no. 150, p. 310,

ill.

p.

no

Busignani, Alberto, Mondrian, Arts et Metiers Graphiques, Paris, 1968, p. 37,

ill.

Elgar, Frank, Piet

Mondrian, Praeger,

150,

ill.

p.

69

New

York, 1968, no.

161

Hakanson, Joy, igan,"

p.

" 'Detroit Collects'

The Detroit News, May

Tomassoni,

â&#x20AC;&#x201D; but not from Mich-

25, 1969,

ill.

p.

z-E

Mondrian, 1970, no. 39, ill. Akane, Kazuo, Piet Mondrian â&#x20AC;&#x201D; Life and Art, 1971, no. ill.

(in

W-71

140

Italo,

Japanese)

78,


70.

HENRY MOORE Abstract Sculpture. 1937

Hoptonwood

stone,

19% x

17I4 x

13M"

Unsigned

Unique piece

Henry Moore

b.

1898

PROVENANCE: the artist

Born

in

Casdeford, Yorkshire, England. 1919-21 scholarship

Leeds School of Art and Royal College of Art, London,

where he taught

until 193

1.

Impressed by Egyptian, Etruscan,

Mexican and African sculpture first

Museum. 19Z4

at British

reclining figure. 1930 sculpture

first

exhibition in

one-man

New

exhibition. 1943

first

one-man

York. 1948 International Sculpture Prize,

Venice Biennale. 1957 reclining figure for

UNESCO

Head-

quarters, Paris. 1963-64 two-piece reclining figure, Lincoln

Center,

New

York.

New York

Martha Jackson

M. Knoedler &

Gallery,

Co.,

New

New

York, 1955 York, August 1959

Winston Collection, October 1959

becomes more abstract

and organic. 1936 founding member of English Surrealist Group; exhibited International Surrealist Exhibition, London. 19Z8

Curt Valentin,

EXHIBITION:

Museum Boymans July 12, 1953,

van-Beuningen, Rotterdam,

Henry Moore, no.

12,

May 30-

ill.

REFERENCES: Sweeney, James Johnson, Henry Moore, The

Modern

Art,

New

Read, Herbert,

York, 1946,

ed.,

ill.

Museum

of

p. 45

Henry Moore Sculpture and Drawings,

1949, 3rd revised and enlarged edition,

pi. 54 Giedion-Welcker, Carola, Contemporary Sculpture, 1955, ill.

pp. 130, 131; revised edition, i960,

Sylvester, Robert, ed.,

1957, 4th edition, no. 179, p. 11,

Taylor, Collections, 1963,

ill.

p.

Read, Herbert, Henry Moore, Praeger,

W-54

142

New

pp. 144, 145

ill.

Henry Moore Sculpture and Drawings, ill.

p.

106

298

A Study of His

York, 1966, no. 92,

p. 114,

ill.

p.

Life

114

and Work,


71.

KENNETH NOLAND Baba Yagga. 1964. Acrylic resin

On

on unsized canvas, 64 x 66Vi"

reverse, vertically

"Baba Yagga/1564/Kenneth Noland"

PROVENANCE:

Kenneth Noland

b.

1924

the artist

Andre Emmerich Gallery, Born

Bolotowsky vi'ith

North Carolina. 1946-48 studied with Ilya Black Mountain College. 1948-49 studied

in Ashville,

at

Zadkine

in Paris.

Taught

at Institute of

Washington, D.C. and Catholic University. 1953 went to Helen Frankenthaler's studio with Morris Louis where he

man show

at

to the "stain" technique. 1957-58 first one-

Tibor de Nagy Gallery,

New

York.

Andre Emmerich Gallery, 1964, Kenenth

elliptical

1962 began chevrons, then diamonds and

bands of color.

Fall

Clement Greenberg explamed

144

New York

to

Lydia Winston Malbin

fi-

1967 taught at Benning-

ton College, Vermont. Lives and works in

10-28,

W-223

letter

nally horizontal

New York, November

Noland

Stylistic

development from "pin wheels" to "bulls eyes" to "tiger's eyes":

EXHIBITION:

Contemporary

Art,

was introduced

New York

Winston Collection, 1964

City.

dated July 20, 1964, that the

title

"benign sorceress" or a "good witch."

means

in

Serbian

in a


72.

EDUARDO PAOLOZZI Head. 1957 Bronze, 381/2x161/2"

Back, base "Paolozzi"

Unique piece

Eduardo Paolozzi

b.

1924

PROVENANCE: Betty Parsons Gallery,

Born

in

Edinburgh, Scotland. 1943 studied

at

Edinburgh

College of Art; 1944 Slade School of Art, London. 1947

first

one-man exhibition at Mayer Gallery, London. 1947-50 worked in Paris. Exhibited work at Galerie Maeght with

Dada and Surrealism. Sculptures present anguished images of modern man, using cast-off objects assembled within a human framework. 1950 began work in graphics. 1950-54 worked on several architecgroup Les mains

ebloiiie.

Influenced by

tural projects. 1955-58 taught at St. Martin's School of Art,

London. Work

after 1961

composed

New York

Winston Collection, 1961 EXHIBITIONS:

Hanover

Gallery,

London, November ii-December

Paolozzi Sculpture, no.

4,

ill.

p.

Palazzo Grassi, Venice, 1959-60, Vitalita Betty Parsons Gallery,

New

31, 1958,

6 iiell'arte

York, March 14-April

1,

i960,

Paolozzi, no. 4

REFERENCES:

of simply structured

monumental components, assembled with technological

Alloway, Lawrence, "London Chronicle," Art hiternational,

precision.

vol.

II,

no. 9-10, 1958-59,

ill.

p.

58

Taylor, Collections, 1963, p. 303

Read, Modern Sculpture, 1964, no. 269, p. 234 Kuh, Katherine, Break-Up: The Core of Modern Art, New York Graphic Society, Greenwich, 1965, no. 90, p. 136, ill.

p.

128

Kirkpatrick, Diane, Eduardo Paolozzi,

New York

Society, Greenwich, 1971, no. 25, p. 136,

W- 44

146

ill.

p.

36

Graphic


'

"TSl


r

73.

ANTOINE PEVSNER Square

Relief.

19ZZ

Painted plastic on cardboard, 21 x l.r.

20%"

"Pevsner"

PROVENANCE:

Antoine Pevsner 1886-1962

Rose Fried Gallery,

New York

Winston Collection, 1952 Born

in Orel, Russia.

Academy

Attended School of Fine Arts, Kiev;

of Fine Arts,

St.

EXHIBITIONS:

Petersburg. 1912, I9i3-r4 in Paris.

1915-16 in Oslo with younger brother returned to Russia and taught at

Naum

Gabo. 1917

Moscow Academy

of Fine

Rose Fried Gallery,

New

York, Januar)- i6-February 23,

1952, Coincidences, no. 16

Arts with Kandinsky and Malevich. 1920 wrote Realist

D.I.A., 1957-58, no. 77, p. 64

Manifesto with Gabo expressing a revolutionary esthetic for

D.I.A., 197^-73

sculpture as space and void, incorporating the dimension of time. 1923

moved

to Paris.

1930 became French

joined Abstraction-Creation; 1946 co-founder of group Realites Noiivelles. 1948 large retrospective at

Modern Art, New York with Gabo. 1957 Musee National d'Art Moderne, Paris.

of

148

REFERENCE:

citizen. 193

The Museum

retrospective at

Peissi, Pierre

and Carola Giedion-Welcker, Antoine Pevsner,

Griffon, Neuchatel, Switzerland, 1961, no. 29, p. 148,

W-148

ill.


74-

ANTOINE PEVSNER

EXHIBITIONS: University of Michigan, 1955, no. 49, p. 14

Figure. 19Z5

D.I. A., 1957-58, no. 78, p. 64,

ill.

p. 67.

Did not

travel

Copper, 10V2 X 6 X 6"

REFERENCES: Front

r.

base "Pevsner"

"The Winston Collection on Tour," PROVENANCE: Tristan Tzara, Paris

Winston Collection, 1954

Peissi, Pierre,

ill.

p.

Griffon, Neuchatel, Switzerland, 1961, no. 54, p. 149,

Taylor, Collections, 1963, pp. 292, 302 Baro, Art in America, 1967,

ill.

p.

75

Goldwater, Space and Dream, 1967,

W-147

150

Arts, 1958,

39

and Carola Giedion-Welcker, Antoine Pevsner,

ill.

p.

76

ill.


75.

ANTOINE PEVSNER

REFERENCES: Drouin, Rene,

Fresco,

fauna of the Ocean

(Fresqiie, le faiine

de I'ocean).

1944 Brass and oxidized l.r.

tin,

ed.,

Antoine Pevsner,

Paris, 1947,

ill.

Rosamond, "Propos d'une sculpteur," interview with Pevsner, L'Oeil, no. 23, November 1956, ill. pp. 32-33

Bernier,

zo% x 18"

(Reprinted in English as "Pevsner or Constructivism,"

Aspects of

"AP 44"

Modern

Art:

The Selective Eye

York, 1957, ill. pp. 156-57) Massat, Rene, Antoine Pevsner

PROVENANCE:

et le

III,

Paris

and

New

Constructivisme, Paris,

1956,111.

the artist

Degand and Arp,

Winston Collection, 1956

Mellquist,

EXHIBITIONS:

The Museum 25, 1948,

of

Modern

Gabo-Pevsner,

New

Art,

p. 82,

ill.

York, February lO-April

p.

74

Musee National d'Art Moderne, Paris, December 21, 1956March 10, 1957, Antoine Pevsner, no. 41, p. 20, pi. XII D.I.A., 1957-58, no. 79, p. 64,

ill.

p. 10

D.I.A., 1969, Detroit Collects, no. 148 D.I. A.,

1972-73

Aujotird'hiii, 1957,

Saarinen, Art Neivs, 1957,

XX« Steele,

Peissi, Pierre

fig. 3, p.

ill.

65,

p.

ill.

30

p.

32

1958, n.p.

and Carola Giedion-Welcker, Antoine Pevsner,

Griffon, Neuchatel, Switzerland, 1961, no. 95, p. 150,

Taylor, Collections, 1963, p. 302,

ill.

ill.

pp. 299, 303

Kuh, Katherine, Break-Up: The Core of Modern Art, New York Graphic Society, Greenwich, 1965, no. 77, pp. 112-13, 136,

ill.

Francoeur, Chicago Mid-West Art, 1967,

ill.

p.

7

W-58

\

151


76.

FRANCIS PICABIA Landscape, La Creiise (Paysage de La Creiise}. Oil l.r.

on canvas, 19 x

c.

191Z

361/2"

"Picabia"

PROVENANCE:

Francis Picabia 1879-1953

Gabrielle Buffet-Picabia, Paris

New York

Rose Fried Gallery,

Born

in Paris of

Spanish father and French mother. 1895

entered Ecole des Arts Decoratifs, Paris. Painted in Im-

began to work

pressionist style. 1909

Fauvism, Cubism, and Abstract

art.

in

manners

joined the Puteaux group which

d'Or. 1913

came

man

to United States for the

exhibition at 291,

New

became Section Armory Show. One-

York, 1913. 1915 beginning of

machinist or mecanomorphic period in which he

imaginary living machines. 1916-21 participated manifestations and contributed to

1927 showed

in Paris

Dada

made in Dada

publications. After

Salons with Surrealists. 1933-39 worked

in a variety of styles; simplified naturalistic figures as well as

landscapes in Impressionist and Fauvist manners. Retrospective at Galerie

Rene Drouin, 1949. Died

in Paris.

EXHIBITIONS:

related to

1911 met Marcel Du-

champ and

Winston Collection, 1951

Galerie Rene Drouin, Paris,

de

New

Rose Fried Gallery, Picabia, no.

4-Z6, 1949, 41)1, ;o ans

1954,

York, opened February

15, 1950,

i

New York, December

Rose Fried Gallery, 8,

March

plaisir, no. 7

Ditchamp and

Picabia, no.

University of Michigan, 1955, no. D.I. A., 1957-58, no. 80, p. 67,

The Solomon

R.

ill.

2.0,

p.

6,

1953-January

p.

14

68

Guggenheim Museum,

ber 17-December

7,

i

New

York, Septem-

1970, Francis Picabia, no. zi, p. 65,

ill.

Travelled to Art Gallery of Ontario, Toronto, February 26April 4, 1971; Detroit Institute of Arts,

D.I. A.,

May 4-June

27, 1971

Guggenheim, 1970-71, Picabia)

(hereafter cited as

1972-73

REFERENCES: Pearlstein, Philip,

"The Symbolic Language

Picabia," Arts, vol. 30, no. 4, January 1956,

of Francis ill.

p.

41

Buffet-Picabia, Gabrielle, Aires abstraites, Pierre Cailler,

Geneva, 1957, pp. 26-27

"The Winston Collection on Tour,"

Arts, 1958,

ill.

36

p.

LeBot, Marc, Francis Picabia, et la crise des valeurs figuratives, i')oo-i')i;,

Klincksieck, Paris, 1968, no. 41, pp. 99-100

(hereafter cited as LeBot, 1968)

Rubin, William

S.,

Dada

a!id Surrealist Art,

York, 1969, no. 24, p. 44, ill. p. 45 Seuphor, L'Art abstrait, 1971, no.

9, p.

Tall, William, "Picabia: His Creed,

211,

Abrams,

ill.

p.

New

20

Constant Change,"

Detroit Free Press, June 1971, n.p.

W-146 Although

this

landscape has often been dated 1908, William

Camfield has dated

152

1912 on

stylistic

grounds. (See

Guggenheim Museum Picabia catalogue

cited above.)

it c.


77-

FRANCIS PICABIA

yS.

Mechanical Expression Seen ihrough Our

Own

Mechanical

Watercolor on paper, "Picabia 1913";

7%

u.c.

x SVb"

l.r.

"Mechanical Expression Seen

Through Our Own/ Mechanical/ Expression"; York";

I.e.

Portrait of

Marie

Laiirencin,

c.

/

"New

"NPIERKOWSKA"

"Francis Picabia";

in

FOUR

IN

coco";

hand"; l.r.

I.e.

Hand,

c.

17%"

"a l'ombre d'un boche";

"iL n'est pas

1917

"portrait DE marie laurencin/

u.l.

r.c.

"le fidele

donne a tout le monde/d'aller

a barcelone"; "a mi-voix"

provenance:

PROVENANCE:

Tristan Tzara, Paris

Rose Fried Gallery,

Winston Collection, 1954

Winston Collection, 1952

EXHIBITIONS:

Modern

Four

Ink and watercolor on board, 22 x

Expression. 1913

l.r.

FRANCIS PICABIA

New York

EXHIBITIONS:

Gallery,

New York, January

5-25, 1916, Picabia,

no. 15

Galerie Colette Allendy, Paris, October

i8-November

16,

1946, Picabia, no. 17

D.I.A., 1957-58, p. 80. D.I. A., 1962,

Did not

Yale University Art Gallery,

travel

New

Haven, February 11-

Trench Drawings and Watercolors

REFERENCES: "Picabia's Puzzles,"

The

Christian Science Monitor, Boston,

January 29, 1916 Camfield, William A., "The Machinist Style of Francis Picabia,"

The Art

December

Bidletin, vol. XLVIII, no. 3-4,

1966, p. 313,

ill.

September-

WECH^wiCAL. EXPRESS "lO/jX^f^ I

pp. 4, 318 (hereafter cited as

'

Camfield, Art Bulletin, 1966) Laroiisse, 1969, no. 1147, p. 367

W-35

154

I

ThKov&h Our

0,^k,


March

ii, 1951,

and The Bahimore

Museum

of Art,

March

2i-April zi, 1951, Pictures for a Picture: of Gertrude Stein as a Collector

and Writer on Art and

Rose Fried Gallery,

Artists, no. 23, p. 33

New

York,

New

York, January i6-February 23,

New

York, December

May- June

195

1,

in

1954, Dtichanip

"The Machine and

7,

1953-January

and Picabia

University of Michigan, 1955, no. ill.

5 1, p.

p.

the Subconscious:

Dada

October 1951,

6,

d'Aiijoitrd'hiii, serie 4, no. 3-4,

14

fig. 4, ill.

New York,

1964,

ill.

Sanouillet, Michel, Picabia, I'oeil

Vassar College, 1961, Centennial Loan Exhibition, no. 114

French Draivings and Watercolors

p.

p.

p.

no. 98

1958, Part

ill.

I:

on cover

1900-1940,

78

du temps,

Paris, 1964,

102

Camfield, Art Bulletin, 1966, pp. 317-18,

Guggenheim, 1963-64, 10th Century Master Draivings,

1953, p. 61

34

"The Winston Collection on Tour," Arts, Johnson, Una E., zoth Century Dratvings, Shorewood,

68

May-June

Buffet-Picabia, Gabrielle, Aires abstraites, 1957, p. 37

Saarinen, Art News, 1957,

D.I.A., 1957-58, no. 81, p. 67,

D.I.A., 1962,

H.,

P-2.35

1952, Coincidences

Rose Fried Gallery,

I.

America," Magazine of Art, vol. 44, no.

Art

Rose Fried Gallery,

Museum

Baur, John

Some Areas

of Search

8,

REFERENCES:

LeBot, 1968, pp. 127-28,

ill.

no. 19

ill.

no. 41

Larousse, 1969, no. 1078, p. 345 of

Modern

Art, 1968-69,

Guggenheim, 1970-71, Picabia, no.

The Machine, 56, p. loi

D.I.A., 1972-73

ill.

p. 88

Pearlstein, Philip, "Hello

Neivs, vol. 6^, no.

5,

and Goodbye, Francis Picabia," Art

September 1970,

Seuphor, L'Art abstrait, i97i,no. 11,

ill.

p.

54

p. 211,

ill.

p. 21

W-43

\ f_io.T-KK\T

aV

i^\kh,\^ LftUIRE

Four

iH

H

am

ATeTAT

D

/^

155


79.

FRANCIS PICABIA Alarm Clock

I

Ink on paper, 1.1.,

(Keveil Matin). 1919

x 9"

1x1/2

vertically "Francis Picabia";

l.r.

"Reveil Matin"

PROVENANCE: Tristan Tzara, Paris

Winston Collection, 1954 EXHIBITIONS: D.I. A., 1957-58, p. 80.

D.I. A., 1961,

Museum

of

Did not

travel

French Drawings and Watercolors

Modern

Art, 1968-69,

The Machine,

Guggenheim, 1970-71, Picabia, no.

66, p. 109,

p. 90,

ill.

ill.

REFERENCES: Tristan Tzara, ed., Anthology Dada:

March

15, 1919,

ill.

Buffet-Picabia, Gabrielle,

"Memories

and Duchamp," Robert Motherwell, Poets, Wittenborn,

Dada

4-5, Zurich,

inner cover

New

Arp, Jean, statement

in

York, 1951,

of Pre-Dada: Picabia ed.,

Dada

p. 166,

ill.

Painters p.

and

130

Picabia in Menioriam, Orbes, Paris,

April 10, 1955

Verkauf, Willy, Dada, Monographie einer Bewegiing,

Janco and H. Bollinger, 1958,

p.

M.

20

Seuphor, Abstract Painting, 1962, no. 103,

81

p. 311,

ill.

p.

Carrieri, Raffaele, Futurism, Milan, 1964, p. 185,

ill.

p. 83

Dada: Art and Anti-Art, McGraw-Hill, New York and Toronto, 1965, ill. p. 76 Camfield, Art BÂŤ/tom, 1966, p. 319, ill. no. zy Musee National d'Art Moderne, Paris, 1966-67, Dada, ill. on Richter, Hans,

front and back of cover

Wescher, Herta, Collage, Abrams, ill.

p.

New

York, 196S,

fig.

16,

134

G-171

J

A similar drawing of approximately the same time is in the collection of Guido Rossi, Milan. A composition of an alarm clock, completely

made by

hand drawn, unlike

Picabia's scrapbook. (See cited above).

156

this

work which was

placing inked clock-parts on paper, appears in

Guggenheim Picabia catalogue


F^EVEIL t^hXlfl


8o.

PABLO PICASSO Still Life.

Pencil u.r.

1913

on paper,

9%

x

ii-yie"

"Picasso / 1913"

PROVENANCE:

Pablo Picasso 1881-1973

Buchholz Gallery,

New York

Winston Collection, 1947 Born

in

Malaga, Spain. 1891 studied

Da Guarda

at

School of

EXHIBITIONS:

Arts and Industries where father taught. 1S95 to Barcelona,

entered art school there. 1900 in Paris, studio in

first trip

to Paris. 1904 settled

"Bateau Lavoir." 1901-04 Blue Period;

1904-0S Rose Period. Association with Steins at this time.

1907 influence of African and Iberian

art.

1908 association

with Braque; with him evolved Analytic, Synthetic Cubism

and

collage. 1920's neo-classic period. 1925

marginal Surrealism. 1919-30 produced

through

many

30's

sculptures.

Late 30's monochromatic and diagrammatic style of

Guernica. Spent

War

years in Paris; refused to return to

Spain during Franco regime. Intense activity in ceramics and lithography after War. 1948

of Picasso

York, on 90th birthday.

158

to south of France. Late

more loosely constructed. 1963 opening Museum, Barcelona. Series of erotic works 19691971 major e.xhibition at Museum of Modern Art, New

4o's-5o's paintings

70.

moved

Cranbrook, 1951, no. 71 Albion College, 1956, no. 24 D.I. A., 1957-58, no. 82, p. 70,

ill.

p.

6^

D.I. A., 1962, Picasso

New York, Novemberand Maecenas: A Tribute to Curt

Marlborough-Gerson Gallery, December, 1963,

Artist

Valentin, no. 176, p. 94,

ill.

Worth Art Center Museum and Dallas Museum of Fine Arts, February 8-March 26, 1967, Picasso Retrospective Fort

Exhibitions, no. 168, p. 102

Indiana University, 1971, Reflection, no. iii, pp. p. 8

D.LA., I972--73

G-157

8,

70,

ill.


8i.

PABLO PICASSO Glass on a Table (Verre sur ime table). 1914 Collage, l.r.

oil,

sand and pencil on cardboard

"Picasso"

PROVENANCE: Daniel-Henry Kahnvveiler, Paris Jean Lur^at, Paris,

192.1

Martha Hennebert,

Paris

Galerie Jeanne Bucher, Paris

Winston Collection, 1952 EXHIBITIONS: University of Michigan, 1955, no. 53, p. 15 D.I. A., 1957-58, no. 83, p.

70

D.I. A., 1962, Picasso

D.I.A., 1972-73

REFERENCE: Zervos, Christian, Pablo Picasso, oeiwres de i^ii a 1^17, Paris, 1942, vol.

II,

pl.

453, p. 212

W-96

159


82.

PABLO PICASSO un

Still

Life with Guitar (Guitare stir

The

Portal, Fontainbleu (Le Portail). 1921 verso

Oil on canvas, 39 1.1.

table).

1921 recto

x 3814"

recto "Picasso"

PROVENANCE: the

artist,

Paris

/

Pierre Loeb, Paris

Saidenberg Gallery,

New

York, 1947

Winston Collection, 1953 EXHIBITIONS: University of Michigan, 1955, no. 54, D.I. A., 1957-58, no. 84, p. 70,

ill.

on cover

ill.

p. 18

D.I.A., 1962, Picasso D.I. A., 197Z-73

REFERENCES: Cahiers d'Art, Paris, nos. 3-10, 1938,

ill.

for advertisement of

Galerie Pierre, Paris, n.p.

Zervos, Christian, Pablo Picasso, oetivres de 1920 a 1922, Paris, 1942, vol. IV, pi. 334, p. 128; verso, pi. 282, p.

100

Degand and Arp, Aujourd'hiii, 1957, ill. p. 30 Vassar Alumnae Magazine, 1958, p. 11 The Bloomfield Art Association, cover for invitation Arts Festival Ball, June 11, i960

Taylor, Collections, 1963, p. 303 Baro, Art in America, 1967, p. 72

Baro,

W-97

160

The Collector

in

America, 1971,

p.

183

to

The


83.

PABLO PICASSO Portrait of a

Woman Seated under a

Ink and wash on paper, I.e.

2.6

Light. 1938

x 17V&"

"8.9.38. Picasso"

PROVENANCE: the artist, Paris

Ronald Emanuel, London, 1938 London and New York

Charles Fry,

B. T. Batsford, Ltd.,

New York

Winston Collection, 1948 EXHIBITIONS: University of Michigan, 1955, no. 55, p. 15 D.I.A., 1957-58, no. 85, p. 70.

Did not

travel

D.I. A., 1962, Picasso

Indiana University, 1971, Reflection, no. 112, p. 71, D.I.A., 1972-73

G-189

162

il'

P-73 m--'


PABLO PICASSO Portrait of

EXHIBITIONS:

Dora Maar. 1941

University of Michigan, 1955, no. 56, p. 15 D.I. A., 1957-58, no. 86, p. 70,

Oil on canvas, i6Vs x l.i.

13%"

"Picasso"; on stretcher "25 mi 41"

ill.

p.

69

D.I. A., 1962, Picasso

Fort

Worth Art Center Museum and Dallas Museum of 8-March 26, 1967, Picasso Retrospective

Fine Arts, February

PROVENANCE:

Exhibitions, no. 64, p. 96 D.I.A., 1972-73

the artist, Paris

New York Gallery, New

Samuel Kootz, Sidney Janis

Winston Collection, 1953

REFERENCES: York, 1947 Janis, Harriet

York, 1946,

and Sidney, Picasso â&#x20AC;&#x201D; The Recent Years,

pi.

New

73

Taylor, Collections, 1963, p. 293

W-98

163


Jackson Pollock 191Z-1956 Born

in

Cody, Wyoming. Studied painting

at

Manual

Arts

High School, Los Angeles. 1929 studied with Thomas Hart Benton, Art Students' League,

New York.

1935 settled in

New York. first

1938-42 worked on Federal Arts Project. 1943 one-man show at Peggy Guggenheim's Art of This Cen-

tury gallery. Before 1947 painted in Surrealist idiom using

mythical or totemic figures. 1947 style using drip

first

paintings in mature

technique on unprimed canvas. 1950

exhibited at 25th Venice Biennale;

was shown extensively

United States and Europe subsequently. 1956 killed

mobile accident.

164

in

in auto-


85.

JACKSON POLLOCK Moon

Vessel. 1945

Oil and enamel on composition board, I.e.

33%

x

171/2"

"Jackson Pollock"

PROVENANCE: the artist,

New York

Peggy Guggenheim,

New York

Winston Collection, 1946 EXHIBITIONS: Art of This Century,

New

York, April 2-20, 1946, Jackson

Pollock, no. 9

University of Michigan, 1955, no. 57, p. 15 D.I. A., 1957-58, no. 88, p. 70, D.I. A., 1961,

ill.

p.

71

American Paintings and Watercolors, no. 183,

p. II

The Museum

of

Modern

Art,

New

York, April 15 -June

4,

1967, Jackson Pollock, no. 12, p. 132. Travelled to Los

Angeles County

Museum

of Art, July 19-September

3,

1967

D.I. A., 1969, Detroit Collects D.I. A., 1971-73

REFERENCES: Saarinen, Art Neius, 1957, p. 64

Taylor, Collections, 1963, p. 300

Baro, Art in America, 1967, Kroll, Jack, p.

"A Magic

ill.

Life,"

p.

72

Newsweek,

April 17, 1967,

ill.

97

The Connoisseur, 1968, fig. 5, ill. p. 262 The Collector in America, 1971, ill. p. 183

Miesel,

Baro,

W-124

This painting

is

a fine

example of Pollock's

post-1947 "drip" work for which he

is

best

style before the

known. Clearly

he was already preoccupied with a technique incorporating a

form of random dripping. Lydia Malbin responded

to the picture

gallery,

upon seeing

in

1946

where she had been looking

Pollock's

work was completely new

overwhelming strength finity

it

in

it.

at

at

once

Peggy Guggenheim's

for

an Andre Masson.

to her,

but she

felt

She thought there was an

an af-

between Pollock's largely automatic approach and

Masson's automatism. She has speculated on the possible correspondence between the glazed surfaces of her

own

ce-

ramics and Pollock's surface quality. This painting was the first

Pollock purchased by a private collector.

165


86.

MEDARDO ROSSO The

Flesh of Others

(Came altrui; Chair a

plaisir;

Chair a autnii). 1883

Wax over plaster, 10%

x 9V2 x

6%"

Unsigned

Medardo Rosso 1858-1928

PROVENANCE: the artist

Born

in Turin.

1870 to Milan.

Drawn

to Milanese

Scapigliatitra group. i88z enrolled in Brera

Academy, Milan;

expelled 1883. 1884 to Paris, assistant briefly to Dalou; met

Rodin. 1886-89 showed at Paris Salon and Salon des Independants. 1900 met Etha Fles

Achieved renown

in

who became

One man

shows: 1904 Salon d'Automne, Paris; 1905 Vienna; 1906 partially

and Symbolism. Greatly admired by

from Impressionism

Italian Futurists for his

rendering of interaction of environment and subject. 1910 first

one-man exhibition

in Italy

in

Florence; subsequent recognition

aided by Futurist support.

Agatha Verkroost, Amsterdam

Winston Collection, 1963 (through Alexandrine Osterkamp, Amsterdam)

his patroness.

France and Northern Europe.

London. His concepts derived

'

Etha Fles

REFERENCES: Barr,

Margaret

Scolari,

V, 13, 1961,

ill.

p.

241 (hereafter cited as Barr, "Rosso and

Etha Fles," 1962) Barr,

of

Margaret

Modern

Art,

Scolari,

New

as Barr, Roiso, 1963)

W-219

166

"Medardo Rosso and His Dutch

Patroness, Etha Fles," Nederlands Kunsthistorisch Jaarboek,

Medardo Rosso, The Museum

York, 1963, pp. 23, 25 (hereafter cited


^:

1


87-

MEDARDO ROSSO Man in

the Hospital

ospedale;

Bronze,

Dopo

(Malade a

la visita).

I'hopital;

Malato

all'

18S9

9x8x11"

Unsigned

PROVENANCE: the artist

;

Etha Fles

Agatha Verkroost, Amsterdam

Winston Collection, 1963 (through Alexandrine Osterkamp, Amsterdam) REFERENCES: Barr, "Rosso

and Etha

Fles," 1962,

Barr, Rosso, 1963, p. 30, Barr, Margaret Scolari,

ill.

p.

ill.

p.

241

78

"Medardo Rosso and His

Utrecht Friend," Art Neii's Quarterly, portfolio no. Spring 1964, p. 81,

ill.

8,

78 (hereafter cited as Barr,

p.

"Rosso and Friend," 1964)

W-216 While

a patient at Lariboisiere Hospital in Paris,

struck by a sick old

man

in

an armchair

inspired this profound image of to Etha Fles

and Rosso,

gestions for Rodin's

bronze in

168

Paris.

mute

this piece

Monument

who

Rosso was

subsequently

resignation. According

provided leading sug-

to Balzac.

Rosso cast

this


MEDARDO ROSSO Jewish Boy (Enfant

Wax over plaster,

jiiif;

81/2

x

Bimbo 5

ebreoj. 1892

x 8"

Unsigned

PROVENANCE: the artist

Etha Fles

Agatha Verkroost, Amsterdam

Winston Collection, 1963 (through Alexandrine Osterkamp, Amsterdam) REFERENCES: Barr,

"Rosso and Etha

Fles," 1961,

Barr, Rosso, 1963, p. 36, Barr,

ill.

ill.

p.

p.

78

141

p. 78

"Rosso and Friend," 1964,

ill.

W-218

Rosso, so bent on capturing the transitory and the fragile,

understandably was drawn to children as subjects for his

He

art.

subtly suggests their vulnerability, intimate dependence

upon

their

potential.

of the

170

surroundings and their undeveloped individual

Rosso claimed that

this sculpture

young Baron Rothschild.

was

a likeness


MEDARDO ROSSO Sick

Boy (Enfant malade; Bimbo malato; Bimbo

morente). 1S513

Wax

over plaster,

ii'/i

xioxy'/^"

Unsigned

PROVENANCE: the artist

Etha Fles

Agatha Verkroost, Amsterdam

Winston Collection, 1963 (through Alexandrine Osterkamp, Amsterdam) REFERENCES: Barr,

"Rosso and Etha

Fles," 1962,

Barr, Rosso, 1963, pp. 38, 40, Barr,

ill.

"Rosso and Friend," 1964,

p. ill.

ill.

p.

241

78 p.

78

W-217

171


90.

MEDARDO ROSSO Behold the Boy. 1906-07

Ecce

Flier;

Wax

over plaster, 17 x 14 x 8"

I.e.

"M. Rosso"

PROVENANCE:

Rome

Anita Gemito,

Peridot Gallery,

New

York, June 1959

Winston Collection, December 1959 EXHIBITIONS: Peridot Gallery, 16, i960,

New

York, December

Medardo Rosso,

no. 12,

15,

1959-January

ill.

D.I. A., 1972-73

REFERENCES: Ashton, Dore,

"A

Sculptor of Mystical Feeling,"

York Times, December

27, 1959, p.

New

X17

Kramer, Hilton, "Medardo Rosso," Arts Magazine,

December

1959, vol. 34, no.

ill.

3,

on cover and

Art Netvs, January i960, vol. 58, no.

9, p. 36,

"From Exhibitions Here and There," Art vol. IV, no. 2-3, i960, no. 5,

Barr,

"Rosso and Etha

p.

ill.

p.

ill.

ill.

p.

37

International,

79

Fles," 1962,

Barr, R0550, 1963, pp. 58-59,

p. 31

Medardo Rosso,"

Barr, Margaret Scolari, "Reviving

ill.

237

p.

57

"People Are Talking About

Medardo Rosso," Vogue

Magazine, October

ill.

1963,

i,

p.

155

"Rosso and Friend," 1964, p. Si, ill. Read, Modern Sculpture, 1964, no. 7, pp.

Barr,

Geist, Sidney, Brancusi:

Grossman, Baro,

New

in

23, 303,

ill.

20

p.

A Study of the Sculpture,

York, 1968,

The Collector

78

p.

ill.

America,

p.

184

ill.

p.

'

182

W-so This piece,

Man

in

the Hospital and Jewish

Boy were among

Rosso's favorite works. In these he believed he had suc-

ceeded in transmitting "the emotion, the unification of space and air."

It is

light,

commissioned portrait of Alfred

a

William Mond, child of Emile

Mond

of London. Rosso has

recorded the boy's sudden appearance from behind a curtain at a large reception in his parents' house. In explanation of

the

title.

monde

Rosso

said:

"Voila

banal." Ecce Piier

completed during the

lyz

last

is

la

vision de purete dans

un

the only piece of sculpture Rosso

quarter of his

life.


31.

MORGAN

RUSSELL

Synchromy No.

2,

To

Light; Synchroiny to Light. 1913?

Oil

on canvas mounted on cardboard,

On

reverse

13

x gyg"

"1912/N0. 2/Morgan Russell"

PROVENANCE:

Morgan

Russell 1886-1953

Rose Fried Gallery,

New York

Winston Collection, 1953

Born

in

New York. Studied

at Art Students' League,

New

York with Robert Henri, 1906-07. 1909 to Paris, knew Matisse, Leo Stein among others. 191Z developed Synchromism in collaboration with MacDonald-Wright, which pure color was explored. Influence of Orphism, Delaunay and Kupka important. tions 1913

New

Munich and

First

Galerie Bernheim-Jeune, Paris, October in

Paris; included in

1913, Les Syrichromistes:

Morgan

27-November

8,

Russell et Stanton

MacDonald-Wright

Synchromist exhibi-

Rose Fried Gallery,

New

York, January i6-February 23,

1952, Coincidences, no. 18

Armory Show,

York. After 1920 returned to figurative work. Died

Broomall, Pennsylvania.

i

EXHIBITIONS:

m

Rose Fried Gallery,

New

York, October 26-November 30,

1953, Morgan Russell, 1584-1953; An Memoriam, no. 3

Exhibition in

Walker Art Center, Minneapolis, April i-May

Morgan

Russell: Paintings, no. 3,

2,

1954,

ill.

University of Michigan, 1955, no. 58, p. 15

Pioneers of American Abstract Art, circulated by the

American Federation of Arts

December

to Atlanta Public Library,

1-22, 1955; Louisiana State Exhibit

Shreveport, January 4-25, 1956; Louisville,

February 8-March

J.

i;

B.

Museum,

Speed Art Museum,

Lawrence Museum,

Williamstown, Massachusetts, April 19-May 10; George

Thomas Hunter 9,

May 24-June 14; New York, December 19, 1956- January

Gallery, Chattanooga,

Rose Fried Gallery,

1957; no- 32->P-ii

D.LA., 1957-58, no. 89,

p. 70,

ill.

p.

71

D.LA., 1962, American Paintings and Drawings, no. 142, p. 10

Corcoran Gallery of 2,

1963,

The

New

before 1940, no. 83,

M. Knoedler & 6,

1965,

Washington, D.C., April 26-June

Art,

Tradition p.

â&#x20AC;&#x201D; Modern Americans

64

Co., Inc.,

New

York, October 12-November

Synchromism and Color

Painting, no. 44, pp. zo, 52,

ill.

Principles in

American

p. 25, fig.

9 National Collection of Fine Arts, Smithsonian Institution,

Washington, D.C., December

2,

Roots of Abstract Art

in

The New

Museum

Jersey State

May 20-September

1965 -January

9,

1966,

America, 1910-1930, no. 143

10, 1967,

Cultural Center, Trenton,

Focus on Light, no. 87

D.I.A., 1972-73

REFERENCES: Read, Modern Painting, 1959, no. 33, p. 365, il Baro, The Collector in America, 1971, p. 187

W-126

174

p.

294


William Agee dates the painting 1913 and

Synchromie en

bleti-violace

(Synchromy

the inscription on the reverse written by the

artist.

Russell's

first

it

and

County Museum

in the

summer

Synchromy

to Light

from Genesis following the

to Mrs.

Imniere jut

.' .

.

coming

title in

the Catalogue of the dit:

Que la

huniere

Harry Payne Whitney, Russell's benefactress and It is

probable that

when

painting

this

although identical, version completed

early twenties

is

in the

Russell had returned to his abstract

Synchromies." (Agee, Knoedler catalogue, 1965, Russell himself described this painting: "There in the

to be

The painting was dedicated

patron from 1908 to 1915. a later,

titles,

by virtue of the passage

Bernheim-Jeune exhibition: 'Alors Dieu soitl et hi

sketch

of 1913. "This painting and

the sketch originally carried the French as

its

of Art) to be

completely abstract paintings, which must

have been done

known

it

which was probably not

Agee considers

(Collection Los Angeles

titles

to Light), in spite of

ordinary sense ...

Its

subject

is

p. 52)

is

no subject

the bleu-fonce

evolving according to the particular form of

my

canvas."

(Bernheim-Jeune catalogue, 1913, as quoted from Agee,

Knoedler catalogue,

p. 52.)

175


Luigi Russolo Born

in

1

885-1947

Portogruaro, near Venice. 1901 to Milan; trained as

a musician, largely self-taught as

an

artist.

Signed Futurist

movement From 1913 experiments with Art of

painting manifestos, 1910. Participated actively in as painter until 1913.

Noises, concerning which he wrote important manifesto.

With painter Ugo

Piatti

constructed noise producing

machines, Intonanimori; 1913-14 gave performances on them in Italy

and England. Participated

in later

phase of Futurism,

but spent more time in elaborating music than painting. After 1930 interest in mysticism and

Al

Yoga

reflected in

book

di la delta materia, 1938. 1940's returned to painting,

but in simple, figurative

176

style.


LUIGI

RUSSOLO

REFERENCES: Russolo, Maria Zanovello, Russolo, I'uomo,

Nietzsche; Nietzsche mid c.

Madness (Nietzsche

e la pazzia). Corticelli,

1909

p.

" 'Nietzsche' ";

l.r.

pi.

2,

no. 2726, p. 221,

587 (another impression)

Martin, 1968,

"L Russolo"

I'artista,

24

Archivi del divisionismo, vol.

Etching on paper, 8 x 8" (sheet) 1.1.

Milan, 1958,

pi.

31 (another impression)

G-274

PROVENANCE: Benedetta Marinetti,

Rome

Russolo apparently

Winston Collection, 1954

but

Kalamazoo Institute of Winston Collection

Arts, 1968, Graphics

left

40 etching plates to his widow,

known how many

editions

were made of

from The

Krannert Art Museum, 1969, Extensions of the

Museum

not

each, either before or after his death.

EXHIBITIONS:

Toledo

it is

of Art, 1972,

A

Artist, p. 29

Collector's Portfolio,

no. 133

177


93-

LUIGI RUSSOLO Perfume (Profumo). 1909-10 Oil on canvas, l.r.

ifii/g

x z^Vi"

"L. Russolo"

PROVENANCE;

Rome

Benedetta Marinetti,

Winston Collection, 1956 EXHIBITIONS:

Famiglia Artistica, Milan, opened December 20, 1910, no. 48 Padiglione Ricordi, Milan, opened April 30, 191 1, Prima EsposizioTie Libera, sponsored by Societa Umanitaria, Casa del

Lavoro

Did not

D.I.A., 1957-58, p. 80.

Museum 146,

ill.

of

Modern

travel

Art, 1961, Futurism, no. 86, pp. 15,

Z7

p.

D.I.A., 197Z-73

REFERENCES: Russolo, Maria Zanovello, Russolo, I'tiomo. Corticelli,

Archivi del futurismo, vol.

2,

Archivi del divisionismo, vol. Pierre, Jose,

Le Futurisme

Lausanne, 1967,

p. 205,

no. iia, p. 306

ill.

p.

no. 2729, p. 221, pi. 588

2,

et le

dadaisme. Rencontre,

14

Calvesi, Maurizio, "Boccioni e

il

futurismo milanese,"

L'Arte moderna, vol. V, no. 38, 1967, Baro, Art in America, 1967,

ill.

Martin, 1968, pp. 83-84,

45

Baro,

I'artista.

Milan, 1958, pp. 23, 24, 26, 97

The Collector

in

pi.

p.

ill.

p.

46

73

America, i^ji,

ill.

p.

181

Tercian, Le Sedatif qui ne tasse pas, Printel, Paris, 1972, ill.

p.

38

W-12 The

synesthetic tendencies

from the 19th-century

Symbolism

which Futurism had inherited

Italian scapigliatura

and from

are expressed in this lovely painting. Russolo

has created a visual correspondence for non-visual sensations.

Form, color and

light are

arranged to simulate

olfactory

â&#x20AC;&#x201D; and more remotely â&#x20AC;&#x201D; auditory sensations

and

development

their

picture has

still

more

in time.

in

The

common

ultra-femininity of this

with the d'Annunzian

celebration of the eternal feminine than with the Futurist scorn for

178

women.


?t^/

'"rr^


Kurt Schwitters 1887-1948 Born

in

Hanover. 1909-14 studied

in

Dresden and

Berlin.

1918 began experimenting with collage; exhibition at

Der Sturm Gallery,

Berlin. 1919

formulated concept of

MERZ, permitting the use of any and collages 192.0's

all

materials for

and paintings with collage elements. Throughout

created a construction which he called Merzbaii

and which grew to

fill

his

home. Considered

as a

Dada artist Dada

although his works combine Cubist structure with viewpoint. 19Z3-31 published in

Norway where

England and started

180

Merz magazine. 1937-40 lived moved to

he began another Merzbau. 1941 a third

Merzbau.


94.

KURT SCHWITTF.RS

EXHIBITIONS: Galerie Berggruen, Paris, June, 1954

Composition: Ashofj, Ellen. 1911 Collage on paper, ii'/u, x l.r.

"Kurt Schwitters, zi"

S'^/i^"

Kurt Schwitters Collages, no. 41 University of Michigan, 1955, no. 60, p. 15

Albion College, 1956, no. 25,

ill.

on cover

D.I.A., 1957-58, no. 93a, p. 73

PROVENANCE:

Indiana University, 1971, Reflection, no. iz6,

Tristan Tzara, Paris

G-62.

p. 77,

ill.

p.

77

Winston Collection, 1954

181


95-

KURT SCHWITTERS

EXHIBITIONS:

The Pinacotheca

C 48

5.Y.

Cut Merz. 1946

Collage on paper, I.e.

"KS/46";

1.1.

81/2

x SVi"

"C

Mz

F

15'

46/s y cut"

York, January 19 -February

D.I.A., 1957-58, no. 93c, p. 73,

of

Modern

ill.

Art, 1561-62,

p.

72

The Art

of Assemblage,

no. 223, p. 164

PROVENANCE:

The Pinacotheca

New

Cranbrook, 1951, no. 44

"Kurt Schwitters 1946

Museum l.r.

Gallery,

1948, Kurt Schwitters, no. 11

W-46 Gallery,

New York

Winston Collection, 1948

^"^^

^(^%l 6

.

y ^^


96.

KURT SCHWITTERS

EXHIBITIONS:

5 s; Merz. 1946

Cranbrook, 195 1, no. 43, ill. University of Michigan, 1955, no.

Collage and watercolor on paper, l.r.

y'/ir,

x

5%"

"KS/46"

D.I. A., 1957-5S, no. 93b, p.

61,

ill.

p. 65

73

W-61

PROVENANCE: Katherine

S.

Dreier, "West Redding, Connecticut

The Pinacotheca

Gallery,

New York

Winston Collection, 1948

183


97-

KURT SCHWITTERS Ent Garett, Merz. 1947 Collage on paper, 1.1.

"KS 47

Mz F

8%

17";

x

I.r.

6%" "ent garett"

PROVENANCE: the artist

The Pinacotheca

Gallery,

New York

Winston Collection, 1948 EXHIBITION:

Cranbrook, 195 1, no. 47

W-63

K>^/

184

//^x^/7

M^

GJIUS^


KURT SCHWITTERS Examiner z86i Merz. 1947 Collage on paper, 8Y2 x 1.1.

6%"

"Kurt Schwitters/Examiner

zi

..r.

47 100

PROVENANCE: the artist

The Pinacotheca

Gallery,

New York

Winston Collection, 1948 EXHIBITIONS:

Cranbrook, 195 1, no. 45 University of Michigan, 1955, no. 62, p. 16 D.I.A., 1957-58, no. 93d, p. 73,

ill.

p.

72

Indiana University, Reflection, 1971, no. 117,

p.

77

REFERENCE: Taylor, Collections, 1963,

p.

298

W-So

KURT -so

t-.i.i

«•

H

>

R„!BBL

JCf ,k.;.'-

t

i.M-'

185


Gino Severini 1883-1966 Born

in

classes.

Cortona,

Italy.

1899 to Rome, attended

life

drawing

1901 met Boccioni and Balla. 1906 settled in Paris;

associated with avant-garde there. Signed both Futurist

painting manifestos.

The most

Paris-oriented of the Futurists,

mid-1911 moved into closer contact with Milanese Futurists

whom he

familiarized with Parisian developments. 1915-16

turned more toward Cubism and figurative classicism. 1917

one-man exhibition important

treatise,

at Stieglitz Gallery,

Du Cubisme au

From 1922 executed many

York. 1921

murals. 1940-42 theater decor and

costumes. Lived most of his

186

New

classicisme.

life in Paris,

where he

died.


99-

GINO SEVERINI Study for "Portrait of Pastel l.r.

Mme.

M.S." 1912

and charcoal on paper, 19!^ x 13 ^a"

"G. Severini/1911"

PROVENANCE: the artist AJfinston Collection, 1955

EXHIBITIONS: D.I.A., 1957-58, no. 95, p. 73,

Museum

of

Modern

ill.

p.

74

Art, 1961, Futuristn, no. 105, pp. 69, 147

D.I.A., i97i-73

REFERENCES: Archivi del fiiturismo, vol.

2,

no. 10, p. 338,

ill.

p.

314

Taylor, Collections, 1963, p. z$6

Baro, Art in America, 1967,

ill.

p. 73

Baro, The Collector in America, 1971,

ill.

p.

181

W-4

Madame

M.S. was the wife of Mr. R. R. Meyer-See,

formerly manager to Martin Henry Colnaghi, then joint

founder and director of the Sackville Gallery and subsequently owner of the Marlborough Gallery, London. Severini

had

his first

one-man show

at the

Marlborough

Gallery in April 1913, but neither this drawing, nor the related painting (Art Gallery of Ontario, Toronto)

were

exhibited then.

187


loo.

GINO SEVERINI Portrait of Mine. Severini; Portrait of Mile. Jeanne

Paul Fort. 1913 " Watercolor on paper, zS'^ x 21^4 l.r.

"G. Severini/MCMXIII"

PROVENANCE: the artist

Winston Collection, 1952 EXHIBITIONS:

Marlborough Gallery, London, April 1913, The Futurist Painter Severini Exhibits His Latest Works, no. zy Der Sturm, Berlin, Summer 1913, Gemlilde und Zeichnungen des Futuristen Gino Severini, no. zy D.I. A., 1957-58, no. c)6, p. 73,

ill.

p.

24

REFEREN'CES:

Degand and Arp, Mellquist,

Aujoiird'hui, 1957,

XX^ Siede,

1958,

Archivi del fiiturismo, vol. Baro,

The Collector

in

z,

ill.,

ill.

p. 31

n.p.

no. Z5, p. 338,

America, 1971,

ill.

p.

ill.

p.

318

r8i

W-6

Severini's wife

is

the daughter of the poet Paul Fort,

and

was painted during the months marriage which took place on August

this graceful likeness

preceding their

z8,

1913. Although his Futurist colleagues disapproved of Severini's

bow to convention, ApoUinaire, Merrill, and who arrived from Milan in an appropriate white

Marinetti,

automobile, were

among the

witnesses.

V.'i/'


loi.

REFERENCES:

GINO SEVERINI

Seuphor, L'Art abstrait, 1950,

Study for "Sea = Dancer." 1913

Archivi del futuris!no,vo\.

Charcoal on paper, zy^g x 19 ^g" l.r.

Johnson, Una 11)00-1^40,

"G. Severini"

PROVENANCE:

E.,

ill.

ill.

p.

Shorewood,

New York,

1964,

319

pi. 40, p.

Seuphor, Abstract Painting, 1962, no. 22,

p. 315,

Francoeur, Chicago Mid-West Art, 1967,

ill.

i, p.

The Collector

Baro,

Winston Collection, 1952

p. 153,

no. 29, p. 338,

Twentieth Century Drawings: Part

Martin, 1968, note

the artist

2,

in

p.

1:

72

ill.

p.

29

7

145, pi. 102

America, 1971,

Seuphor, L'Art abstrait, 1971, no. 40,

ill.

p.

p. 215,

181 ill.

p.

107

EXHIBITIONS:

G-206 University of Michigan, 1955, no. 64, p. 16, D.I.A., 1957-58, no. 97, p. 73,

Museum

of

Modern

ill.

p.

ill.

74

Art, 1961, Futurism, no. 113, p. 147

Guggenheim, 1963-64, zoth Century Master Drawings, no. Ill

.

~-jfi"

189


loz.

During the winter and spring of 1913, while recuperating from a severe illness at Anzio, Severini worked on a

GINO SEVERINI Sea = Dancer; Dancer beside the Sea (Mare = Danzatrice).

number

1913-14

Sea = Dancer exemplifies stunningly the kind of association

Oil with sequins on canvas, 36V2 x l.r.

la

avec route

Mer/a Monsieur

ma

at

which he

of object-situations that

28%"

was

called "plastic analogies."

also described in his

contemporary but unpublished manifesto.

"G. Severini"; on reverse "Gino Severini/Danseuse aux

Bords de

of pictures

Madame Harry Winston

sympathie Paris 10 -mai -I95r -G. Severini"

sea with

its

dance on the spot

movements and in

my

scintillating contrasts of silver

plastic sensibility

evokes the far

covered with sparkling paillettes

PROVENANCE; the artist

Sea = Dancer was the

Winston Collection, I95r

Wmston/Malbin

University of Michigan, 1955, no. 63, p D.I.A., 1957-58, no. 98, p. 73,

Museum ill.

p.

of

Modern

ill.

p. 75.

.

16

Did not

travel

Art, 1961, Futurism, no. 113, p. 72,

73

D.I. A.,

1972-73

REFERENCES: Aires, November 9, 1952, p. i Alumnae Magazine, 1958, ill. on cover and

La Nacio7i, Buenos Vassar

p. i

"The Winston Collection on Tour," Arts, 1958, ill. p. 34 Venturi, Lionello, Gino Severini, De Luca, Rome, 1961, pi. 29 Archivi del futurismo, vol.

2,

no. 38, p. 339,

ill.

p.

321

Carrieri, Raffaele, Futurism, Milione, Milan, 1963, pi. 107

Taylor, Collections, 1963, p. 303

Gino

Pacini, Piero,

Severini, Sadea/Sansoni, Florence,

1966, p. 32, pi. 30

Le Futurisme

Pierre, Jose,

Lausanne, 1967, no. 20,

et le

p. 205,

dadaisme. Rencontre, ill.

p.

24

Calvesi, Maurizio, "I futuristi e la simultaneita: Boccioni,

Carra, Russolo e Severini," L'Arte moderna, vol. V, no. 39, 19S7,

ill.

Martin, 1968,

p.

pi.

102

ioi,pp. 144-45

Seuphor, VArt abstrait, 1971, no.

W-5

150

5, p.

206,

ill.

p.

135

first

in

Futurist

Collection.

"the

and emerald,

off vision of a

dancer

her surroundings of

and sounds." (Archwi del futurismo,

noises,

EXHIBITIONS:

He writes,

(al posto), its zig-zag

work

light,

vol. i, p. 78)

to enter the


I03.

GINO SEVERINI Soldier in Trench (Sotdati in trincea). Pencil on paper, -/% x l.r.

"1914

G

c.

1915

7%"

Severini" (Inscription added later by artist)

provenance: Galerie Berggruen, Paris

Winston Collection, 1956 EXHIBITIONS: D.I. A., 1957-58, p. 80.

Did not

travel

Milan, i960. Arte Italiana, no. 176,

p. 101,

ill.

p.

64

G-164

After 1914 Severini began to withdraw from Futurism.

Somewhat unexpectedly, therefore, this gentle artist, who endured most of the war in his Paris flat, in 1915 produced striking series of war paintings. The figure shown here is

related in concept to those

Armored

New it is

in the masterful

Train, 1915, Collection Mr. Richard

S. Zeisler,

York. But Piero Pacini and Joan M. Lukach agree that

preparatory for another unexecuted

same group.

192.

found

a

work

in the


I04.

GINO SEVERINI

Severini executed a

number

of fastidiously organized

collages with corrugated cardboard such as this one. These Still

Life with Cherries.

Collage on paper, l.r.

ig'/i

have posed considerable problems

in

dated references within the work. The Lacerba page of

"G. Severini"

March

15,

"Contro

PROVENANCE:

il

1913 with Papini's provocative heading futiirismo," found here, could thus be taken as a

humorous, contemporary reference the artist

the Futurist fold in 1913. But

suggested in this calm collage

University of Michigan, 1955, no. 65, p. 16

approach of 1915 and

D.I.A., 1957-58, no. 99, p. 73

p. 164,

ill.

Modern

Art,

The Art

of Assemblage, no. 117,

p.

19

D.I. A., 1972-73

stylistic

stay in Italy

and

after.

in close

is

much

Back

and

intellectual

Rosenberg became 2.0,

79,

closer to Severini's

in Paris after a

prolonged

touch with Braque, Picasso and

Gris, Severini gradually turned to

p. Z9

Indiana University, 1971, Reflection, no. 130, pp. ill.

on

grounds the dialogue between Cubism and Futurism

EXHIBITIONS:

of

to Severini's role in

bringing the Florentine writer and his La Voce friends into

Winston Collection, 195Z

Museum

dating and are

usually assigned to the years of 1912 or 1913 on the basis of

x 261/2"

his dealer

Cubism. In 1916 Leonce

and no doubt favored and

encouraged the dominantly Cubist control which

is

found

in this collage.

G-8

193


I05.

MARIO SIRONI Composition (Composizione).

1913

c.

Crayon and tempera on paper, 18% x iz^s" l.r.

"Sironi"

PROVENANCE:

Mario

Sironi 1885-1961

II

Milione, Galleria d'Arte Moderna, Milan

Winston Collection, 1954 Born

in

Tempio Pausania,

mathematics

whom artist.

Rome.

at University,

Sardinia.

met

To Rome

to study

EXHIBITIONS:

Severini and Boccioni with

University of Michigan, 1955, no. 67, p. 16

he visited Balla's studio; decided to become an

1914

first

exhibited in Futurist-sponsored

Officially joined Futurist

movement

show

1915.

in

Work

tended toward personal version of social realism even while

member

of Futurist group. After

World War

I

style

D.I. A., 1957-58, no. loi, p. 76,

1910's exhibited with

subjects.

Died

Agnoldomenico, Mario

Sironi, Milione, Milan, 1955,

changed;

Novecento group which sought return and

77

REFERENCES: Pica, ill.

to nature, traditional techniques

p.

ill.

in

Milan.

p. 9

Scheiwiller, Vanni, ed., Piccola antologia di poeti futtiristi,

Milan, Al Insegna del Pesce, 1958,

Read, Modern Painting, 1959, Archivi del futurismo, vol.

2,

Winston, Atijourd'hui, 1962, Baro,

The Collector

in

opposite

ill.

p. 366,

ill.

no. 4, p. 390, ill.

p.

96

113

p.

ill.

p.

372

p. 10

America, 1971,

ill.

p.

181

W-z8 The ambivalence

of Sironi's loyalities

stfong, rhythmic drawing.

toward

On

brought out

these quasi-automata, the Futurist

moonlit unreality of nightmare.

a

in this

artist leans

form similar to

the other, he seeks to suggest

Yet the subtle chiaroscuro of

194

is

one hand, the

a Cezanne-inspired analysis of solid

that pursued by Leger. in

On

this

continuum of motion.

drawing evokes the

proto-Dada or

Pittiira

Metafisica


1

io6.

MARIO SIRON! Man

on Motorcycle. 1918

Collage of newspaper and l.r.

oil

on paper,

9!,^

x 6V4"

"Sironi"

PROVENANCE: II

Milione, Galleria D'Arte Moderna, Milan

Winston Collection, 195 EXHIBITION:

Indiana University, 1971, Reflection, no. 133,

p. 80,

ill.

p.

81

REFERENCE: Archil'! del juturismo, vol. 1, no. 69, p. 391,

ill.

p.

388

W-3Z

155


107-

FRANK STELLA Sketch

Red Lead. 1964

Oil on canvas, 55 x 40", shaped canvas

On

stretcher "Sketch

Red Lead

PROVENANCE:

Frank

Stella b.

1936

the artist

Galerie Lawrence, Paris, 1964

Born

Maiden, Massachusetts. 1950-54 at Phillips Academy, Andover, Massachusetts with Hollis Frampton in

and Carl Andre; 1954-58 at Princeton, studied there in William Seitz's open painting studio and with Stephen Greene. Early works influenced by Abstract Expressionism

and Jasper Johns. Personal

began

style

to

emerge with

Black Series, 1958. i960 included in 16 Americans exhibition, the

Museum

of

exhibition Castelli Gallery,

Europe. 1964 included

Canvas exhibition

at

in

Modern

New

Art;

first

York. 1961

one-man first trip

to

32nd Venice Biennale; Shaped

Guggenheim Museum. 1965

trip to

Los Angeles; South America. 1967 designed costumes and sets for

Merce Cunningham's Scramble. 1970 one-man

exhibition.

196

Museum

of

Modern

Art,

New

York.

Winston Collection, 1964

W-Z27

1964. F. Stella"


1

io8.

YVES TANGUY Shadow Country Oil l.r.

(Terre d'ombre). 1917

on canvas, 39 x 31%" "Yves Tanguy. iy"

PROVENANCE:

Yves Tanguy 1900-1955

Galerie Rive Gauche, Paris

Winston Collection, 195 Born to

in Paris.

1918 joined Merchant Marines and travelled

friendship with film-maker and poet Jacques Prevert. 1923 started painting, inspired

by seeing

a

work

by de Chirico.

Painted stark landscapes probably inspired by Brittany

where he vacationed

By 1927 had met Andre group, exhibiting with them

as a child.

Breton and joined Surrealist

thereafter. Early 30's after trip to Africa,

forms shifted from

vegetal to mineral: "boneyard" images, chains of indeter-

minate beings of

EXHIBITIONS:

South America and Africa. 1910 formed lasting

War,

in infinite landscapes.

1939 upon outbreak

to United States. 1940 married

American

Cranbrook, 1951, no. 53 University of Michigan, 1955, no. 70, p. 16 ill. The Museum of Modern Art, New York, September

October

Sage. 1941

moved

to

Yves

Tanguyâ&#x20AC;&#x201D; A

D.I. A., 1957-58, no. 105, p. 76,

ill.

p.

Retrospective,

6-

ill.

p. 15

80

D.I.A., 197^-73

REFERENCES: Read, Herbert, Surrealism, Harcourt-Brace, London, 193S,

Surrealist, pi.

Kay

30, 1955,

Woodbury, Connecticut.

89

Canaday, John, Mainstreams of Modern Art, 1959, no. 677, ill-

P-

534

Matisse, Pierre, ed., Yves Tanguy:

New York,

1963, no. 64,

ill.

p.

A Summary

60

Goldwater, Space and Dream, 1967,

W-73

ill.

p.

77

of his

Work,


109.

MARK TOBEY Battle of the Lights. 1956

Gouache on paper, 44 X l.r.

"Tobey

35 1/2"

56"

/

PROVENANCE:

Mark Tobey

b.

1890

the artist

Willard Gallery,

Born

in Centerville,

Wisconsin. 1906-09 attended Art

New

Insti-

one-man exhibition Knoedler Gallery. 1918 converted to Baha faith. Met Janet Planner, Marcel Duchamp. 1922-Z5 Seattle. 1923 studied Chinese brush painting. 1925-26 travelled to Europe tute of Chicago. 1911 to

York. 1917

first

New York

Winston Collection, 1958

'

EXHIBITIONS:

i

and Near

East. 1927-29 lived in Seattle, Chicago,

New

York.

1931-38 taught in London. 1934 to Orient, studied Japanese calligraphy in

Zen monastery. 1935 developed "white

ing" of mature

style.

1956 received Guggenheim International of the Lights; 1958

Basel where he

still

first

Award

for Battle

prize 29th Venice Biennale. i960 to

resides.

1961 received

first

prize Carnegie

International, Pittsburgh. 1968 retrospective Dallas

of Fine Arts.

writ-

1948, chosen for 24th Venice Biennale;

Museum

The Solomon

R.

Guggenheim Museum,

New

York, March

Guggenheim International Awards. Musee National d'Art Moderne, Paris,

26- June 7, 1957,

Exhibited at

November 28-December 15, 1956 Museo Nacional des Artes Plasticas, Mexico August

24, 1958, First

of Painting

City,

June 6-

hiter-American Biennale Exposition

and Graphic

Arts, sponsored

by the

Instituto

Nacional de Bellas Artes D.I. A., 1962, America?! Paintings p. II,

ill.

p.

and Drawings,

no. 195,

30

The Museum of Modern Art, New York, September 12November 4, 1962, Mark Tobey, no. 94, p. 109. Travelled the Art Institute of Chicago, February

22-March

24, 1963

REFERENCES:

A Moving Encounter,"

Kuh, Katherine, "Mark Tobey:

Saturday Kevieiv, October 27, 1962, Tillim, Sidney, vol. 37, no. I,

Baro, Art

W-49

i?i

"Month

in

p.

30

Review," Arts Magazine,

October 1962,

America, 1967,

ill.

ill.

p. 51

p. 75

to


Joaquin Torres-Garci'a 1874-1949 Born

in

Montevideo, Uruguay. 1891 returned with family to

Spain; studied drawing at Escuela de Artes y Oficios and

painting with Vinardel. 1891 to Barcelona; studied at

Academia de

Turn

Bellas Artes,

Academia Baixas

until

1894 or 95.

worked with Gaudi. Met Madrid. 1900 first one-man exhibition at

of century style decorative;

Julio Gonzales in

Salon La Vanguardia, Barcelona. 1909-10 travelled to Brussels

and

Paris.

wooden of urban

1911 settled in Spain; 1915 designed

life

entered

around 1918. 1920 to

work

New

as

York; 1912 to Europe; lived

various countries. 1918 met first

first

Cubism and dynamism more personal style emerged

toys. Influence of Futurism,

in

Van Doesburg; 1919 Mondrian,

Constructivist works. 1930 founded magazine Cercle et

Carre with Seuphor. 1931 wrote Kaison

et nature; 1934 to Montevideo. 1944 Universalismo Constructivo published; founded Torres-Garcia Workshop. His blend of abstraction

and representation was extremely in the

United States.

influential, particularly


no.

JOAQUIN TORRES-GARCIA Symmetrical Composition. 1931 Oil and aqueous paint on canvas, 48 x

On

reverse u.c. "J.

24%"

TORRES-GARCIA

/

MERCEDES

i8f

MONTEVIDEO / "CONSTRUCCION" / COL. M. P." (frame

made by

the artist)

PROVENANCE: Manolita

P.

de Torres-Garci'a, Montevideo

Winston Collection, 1956 EXHIBITIONS:

XXVIII Biennale, Venice, June i6-October p. 291,

ill.

zi, 1956, no. 2,

no. 94

D.I. A., 1957-58, no. 106, p. 76,

ill.

D.I. A., 1969, Detroit Collects, no.

p.

78

182

REFERENCES:

Degand and Arp, Aujoiird'hiii, 1957, ill. p. 31 Saarinen, Art News, 1957, p. 65 "The Winston Collection on Tour," Arts, 1958, Read, Modern Painting, 1959, no. 91, p. 367, ill. Miesel, The Connoisseur, 1968, fig. 6, ill. p. 262

ill.

p.

p.

303

39

W-86

Z03


III.

ANDY WARHOL 1966

Self Portrait.

Acrylic and silkscreen enamel on canvas,

21%

x 22%"

Unsigned

PROVENANCE:

Andy Warhol

b.

1928?

the artist

Leo Born

in Cleveland,

Ohio. 1945-49 studied pictorial design at

Carnegie Institute of Technology (now Carnegie-Mellon University). 1949 settled in

New

York; worked

commercial work published

cial design; first

in

commerGlamour

advertisement. 1960-61 began paintings with imagery openly

derived from comic strips and advertisements. 1963 began films.

Preoccupation with repetition, boredom and,

in the mid-60's,

novels, cinema,

with morbid images. Major innovator

mixed-media fusions of music,

dance, as well as

in

graphic

art.

Lives and

works

New York

EXHIBITIONS:

film in

in

and

New York.

The Collection

University of Michigan, 1969, Prints from

of

Mrs. Lydia Winston Malbin Krannert Art Museum, 1969, Extensions,

May

Pasadena Art Museum, Travelled to

Museum

4-September

6,

May

I

of

p.

31

12-June 21, 1970,

Contemporary

1970; Whitney

Museum

Andy Warhol.

Art, Chicago, July

of

American

.,"

The Michigan

Art,

-June 20, 1971

REFERENCES: Lytle, Robert,

Daily,

March

"Looking For Reality? i,

Glueck, Grace,

The

New

W-104

204

,

in

magazine. 1957 Art Directors Club Medal for giant shoe

making

Castelli,

Winston Collection, 1967

1969, ".

.

.

.

.

ill.

Or,

York Times,

Has Andy Warhol Spoiled

May 9,

1971,

ill.

p.

23

Success?,"


Umberto Boccioni

DRAWINGS AND PRINTS The following checklist of Boccioni drawings and prints is drawn from Joshua C. Taylor's The Graphic Work of Umberto Boccioni, The Museum of Modern Art, New York, 1961.

That catalogue

lists

almost

all

Boccioni's graphics,

those in the Winston/Malbin Collection.

and contains

all

Each entry

marked with the Taylor catalogue number Winston/Malbin Collection number (W-oo).

is

(T-oo) and the

Revisions in dating, grouping and

Marianne W. Martin.

titles

have been made by


DRAWINGS 112.

Young Man on

116.

the

Bank

Standing

of a River. 1902?

l.r.

Black chalk with traces of red and green chalk with white

gouache on buff wove, 11% x l.r.

Nude

Soft Pencil

"B902"(?)

117.

T-i;W-i42

c.

1907

bristol board,

16% x 7"

"Umberto Boccioni"

T-22;

8%"

Girl.

on ivory

W-130

Study of an

Arm with Hand

Resting on the Shoulder,

c.

1907

on white wove, 9% x 5%" "Umberto Boccioni"

Pencil

Verso: Study of a Wagnerian Scene

{?). c.

l.r.

1908

T-23;W-x63 Unsigned

W-321 113.

118.

Study of Pencil

Study for "Beata Solitudo." 1907

l.r.

Pencil l.r.

on brown wove with blue-gray thread, 13V2 x 8V4"

Verso:

Summary

c.

1907

5% x9%"

"U Boccioni"

T-Z5;W-x35

"Umberto Boccioni/907"

T-18; W-203

Two Hands and Forear7ns.

on buff wove,

119.

Study for "Landscape with Four Peasants at Work." 1907-08 Pencil on white wove,

Sketches. 1907

4%

x

5

%"

"UB" T-6; W-X78 l.r.

Pencil

Unsigned 120. 114.

Head

of a Bull. 1907-08

Pencil

on white wove, 6V4 x

Study for "Beata Solitudo." 1907 Pencil, with graffiti in

pen and India ink, on white wove, l.r.

X

73/8

45/8"

T-8;

"U Boccioni" T-19; W-X73E

4%"

"Boccioni"

W-X46

l.r.

115.

Pianist

and

Listener,

Verso: Body of a Bull. 1907-08 c.

Pencil

1907

1.1.

"U. Boccioni"

Pen and brush with black ink, 7 x 7I4" l.r.

"Boccioni"

T-13; W-162

114

2.08

116


izi.

Study of a Bull's Body. i^o-/-o8

Study for "Lombard Landscape: Rural Symphony." 1908

124.

Pencil on white wove, 6Ve. x 4V2"

Pencil on white wove, 4V2 x 6Vs" I.r.

122.

"Boccioni";

"UB"

I.r.

"Umberto Boccioni"

W-X24

T-113;

Verso: Study of a Bull's Forelegs. 1907-08

Verso: Studies tvith Script

Pencil

Pencil

Unsigned

Unsigned

Study of a Bull's Forelegs. 1907-08

on white

Pencil I.r.

"UB"/

T-12;

123.

I.e.

T-ii;W-X4

laid, 5'/^

125.

x 4"

Study for "Lombard Landscape: Rural Symphony." 1908 Pencil

"Boccioni"

u.l.

W-X5

on white wove,

"B";

I.r.

6%

x 4I4"

"Boccioni"

T-ii4;W-x3i

Verso: Sketch of a Bull's Head. 1907-08

Verso: Detail of a Tree Trunk

Pencil

Pencil

Unsigned

I.r.

Study for "Lombard Landscape: Rural Sy?npho?iy." 1908 Pencil I.r.

on white wove, 4I4 x

126.

6'/^"

ivith

Tivo Kneeling Figures and Urn.

on white wove,

4I/2

x

c.

1908

6%"

"UB" T-123; W-X75 I.e.

W-xia

Verso: ivith

Study of Trees Pencil

"Boccioni"

T-7;

"Boccioni"

Woman Seen from

the Back; Architectural Detail

Notation.

127.

Sheet of Studies luith Sketch of Windoiv and Foliage, and

Study of Arm.

Pencil

c.

1908

Pen and black ink on white

Unsigned

I.r.

laid, 5

% x 7%"

"Boccioni"

T-66;

W-X69

â&#x20AC;˘i-r'

&:,-

119 L--

117

209


128.

Woman;

Seated

Study for "The Story of a Seamstress." 1908

Pencil on buff wove, l.r.

7x6% "

"Umberto Boccioni"

T-33;W-X30 Verso: Graffiti Pencil

Unsigned 129.

Head

of a

Young Woman; Study

for

"The Story

of a

Seamstress." 1908

on buff wove, 6V2 x 6V2"

Pencil l.r.

W-196

T-34; 130.

133

"Boccioni"

Man

Woman,

Confronting Spectre of a

c.

i^oS

HvTit-v^^'^

Pen and brown ink on buff wove, jVg x 4I4" l.r.

"Boccioni"

T-37;

W-X96

Verso: Sheet of Studies with Figures

Pen and brown ink Unsigned 131.

Embracing Couple on a Cloud over a Lake with Floating Heads. 1908 Pencil, pen, brush with India ink

and wash on white wove,

65/8x43/4" u.r.

"Quanto

T-38; 132.

male nella

c'e di

felicita

W-X20

Kneeling

Man; Study

for

"The Dream: Paolo and

Francesca." 1908 Pencil l.r.

on white wove,

"Boccioni";

T-36;

u.r.

9%

and

1.1.

x ii%" "I fidanzati"

W-X74 134

Verso: Fragment of a Page with Arithmetical Figures, etc. Pencil

Unsigned 133.

Sheet tvith Three Studies of a Reclining Nude, and a Reclining Couple; Study for

"The Dream: Paolo and Francesca."

1908. Pencil,

pen and black ink with blue and ochre wash on

white ruled paper,

6%

x I2V^"

"Umberto Boccioni/908" T-39;W-x87 l.r.

134.

Agitated

Crowd Surrounding a High

Pencil, pen, brush

Verso: Fragment of a City Plan

Unsigned

Monument.

and India ink on white wove, 14I4 x

"Umberto Boccioni/908" T-55;W-x8 u.r.

Pencil

Equestrian

91/2"

~


135-

Kneeling Allegorical Figure; Study for a Decorative Page

138.

Heading. 1908

blue threads, 9Y4 x

wove with

x 6"

7%

l.r.

7%" 139.

W-204

9%

140.

Sheet of Studies with Bust of a

Compositions,

W-20i

Pencil I.e.

Study for "Allegory of the Nativity." 1908

and India ink on white wove,

l.r. "UB" T-6i;W-x72

c.

1908-09

5%"

x

Unsigned

Pencil, pen, brush

Shawl Writing,

T-49; W-173 bristol board,

1 1 '74"

T-58;

Boccioni's Sister in a

Pen and black ink on tan wove, 7V2 x l.r. "Boccioni"

Allegorical Figure with Ledger; Study for a Decorative

Pen and black ink over pencil on white

c.

and India

x

ink, 6I/2

x

7%"

"Boccioni"

6%" 141.

Old

Woman

Pen and ink l.r.

Eating, 01

"Boccioni"

T-72;W-i9i

Pen, brush and India ink

Unsigned

142

Woman

1909

T-5i;W-X7i

9%

Verso; Graffiti.

138

1908

"Umberto Boccioni" T-47; W-171

gray-

Page Heading. 190S

137.

in Bed.

"Boccioni"

T-56; 136.

Mother

Pen and black ink on white wove,

Pen, brush and black ink over pencil on tan

l.r.

Boccioni's

c.

1908-09

and

Two

Figure


142..

Figure of an Pencil

Old Woman,

on white wove,

c.

1909

147.

x 2.%"

7

l.r.

Woman Pencil

Leaning on a Chair (Boccioni's

on white wove, 15% x

Sister), c.

1909

148.

Study of a Pencil

Woman

l.r.

in a

Loose Robe.

c.

on buff wove, 16Y4 x 14%"

l.r.

Horse with Blinkers,

c.

1909

of a

l.r.

luith

Cap.

c.

1909

61/2x4%"

T-80;

W-zoe

W-X52

Landscape with Leafless Tree. Pencil

Workman

"U. Boccioni"

Verso: 146.

41/2"

"UB"

Head

1.1.

"Boccioni"

T-67;

x

W-X70

Pencil on buff wove,

Pen and India ink on white wove, 6Vs x 4" l.r.

6%

Crayon

149.

of a

1909

Verso: Unidentifiable Fragment

1909

"UB" T-69;W-ii7 Head

c.

"Boccioni"

T-1S9;

I.e.

145.

Street ivith Houses,

Crayon on white wove,

145/8"

"UB" T-68;W-xi5 I.e.

144.

on buff wove,

5%

c.

1909

Summary Compositional Sketch

Pencil

Unsigned

x jYn"

"Boccioni" 150.

T-114; W-X73 B

Standing Pencil l.r.

150

Workman

with Cap.

on white wove,

7x3%"

"UB"/"Boccioni"

T-81;

143

laid, 5

"Boccioni"

T-iz5;W-i67

T-79;W-x38 143.

1909

c.

and pen and black ink on buff

Pencil

"Boccioni"

l.r.

Landscape with Geese,

W-X39

151

c.

1909

%

x ioVt'


151

Buck of a fashionably Dressed Woman, on ivory wove,

Pencil l.r.

6%

1909

c.

x 4'^"

"Boccioni"

T-87; W-X65 Verso:

Man

tvith a

Briimned Hat.

Pencil

Unsigned 152..

Workman from

/

1909-10

c.

on white wove, ^Vs

Pencil 1.1.

the Rear.

4V2"

>^

"U. Boccioni"

T-82.;

W-X93

Verso:

Head

of a Horse

Pencil

Unsigned 153.

Back of a Workman Pencil on white I.l.

in Full Trousers, c.

wove,

6%

1909-10

3%"

x

"Boccioni"

T-84;

W-xSS

Woman.

Verso: Profile of a Standing Pencil l.r.

154.

"UB"

Standing Pencil

Workman

tvith

Arms

Folded,

and crayon on white wove, 7 x

c.

1909-10 152-

4'/2"

"UB" T-85;W-xzS 1.1.

Verso: Study of a Decanter and Stopper Pencil

Unsigned 155.

Rear of a Walking Figure, Pencil l.r.

c.

1909-10

on white wove, 7'^ x 4V2"

"UB";u.r. "L0I6"

T-86;W-i79 156.

Head and Nude Torso Pencil l.r.

of a

on white wove, 6 x

Workman,

c.

1909-10

4I4 "

"U. Boccioni"

T-9i;W-X37 Verso: Fragment of a Sketch of a Reclining

Woman

Pencil

Unsigned

153

213


157-

Workman Wearing a Cap Lower Pencil 1.1.

Right,

c.

Derby, Inverted

Head

of

Man with

161.

1910

on white wove,

6%

x

3%"

u.r.

c.

1909-10

on white wove,

Pencil

"UB";

l.r.

15

x 10^4 "

"Boccioni"

T-97;W-i38

"Boccioni"

T-90;

Seated Male Nude.

W-X49 Verso: Seated

Verso: Untitled

Woman

with Dark Blouse

Pencil

Pencil

l.r.

"UB"

Unsigned 162. 158.

Man

Walking Pencil l.r.

in a

Rumpled

on white wove,

6I/2

Suit.

c.

1910

Harnessed Horse with Feedbag.

x 41/8"

I.e.

c.

1909-10

on buff wove, 7 x 9V8"

Pencil

"UB" W-X44

T-104;

"Boccioni"

T-93;W-i78 Verso: Rear 159.

Study for "Giants and Pygmies"; Dramatic Composition of a Tree.

c.

163.

Head

W-xzi

Reclining Pencil

of a Horse with Feedbag.

Pencil l.r.

160.

Male Nude.

on buff wove,

c.

1 1

1909-10

% x 7V2"

"Umberto Boccioni" T-95;W-i39

on white wove,

"Boccioni"

T-105;

W-X32

Verso: Bust of a

LI.

Pencil

Unsigned Verso: Graffiti

and Study of a foreshortened Hand

Pencil

Unsigned

162

157

Z14

Harnessed Horse

Unsigned

4%"

"Boccioni"

T-40;

Profile of

Pencil

1909-10

Pen and brownish-black ink on white wove, 6V2 x l.r.

and

Man

7%

x

c.

41/2"

1909-10


i64-

Head

of a

Woman,

c.

Pencil on buff wove, l.r.

169.

i<}09-io

fi'/g

T-IZ7; W-143

Head

l.r.

of a

Woman 170.

"Boccioni"

Sheet of Studies with

Pencil

Pencil l.r.

of a

Two

Portraits of a

Bookplate, "In Letizia Ben Fare."

Unsigned

Head

on paper toned dark brown,

T-i33;W-zi3

Pencil

165.

Barroiv. 1909-10

131/2x115/4"

"Boccioni"

Verso:

Wheel

Black, white and orange chalk

x 45/8"

Woman

(Boccioni's Sister). 1909-10 l.r.

on white wove,

4%

x

4%"

c.

Man,

related to

1910

and pen and India ink on white wove,

6%

x 4V&"

"Boccioni"

T-44;

W-X88

"Boccioni"

T-129; W-169 Verso: Graffiti Pencil

Unsigned 166.

Young Woman Pencil l.r.

Seiving. 1909-10

on rough white wove,

9%

x

6%"

"U. Boccioni"

T-ii8;W-i7i 167.

Seated

Woman

Reading. 1909-10

Black, white and orange chalk on paper toned dark brown,

i5%xi3%" l.r.

168.

"Boccioni"

T-131;

W-ziz

Seated

Woman

Leaning on her Elboiv. 1909-10

Black, white and orange chalk and black ink on paper toned

dark gray, is^gx l.r.

131/2"

"Boccioni"

T-i3z;W-iZ5

.M'

'Wl^.

166

169

ZI5


lyi.

Head

of a

"In Letizia

Ben Fare."

c.

related to Bookplate,

1910

6%

on white wove,

Pencil l.r.

Woman, possibly x

4%"

"Boccioni"

T-45;W-x89 lyz.

Study of a Young

Woman

Female Face; related c.

with

Arms

and of a Ben Fare."

Raised,

to Bookplate, "hi Letizia

1910

on white wove, 6^4 x 41^"

Pencil 1.1.

"Boccioni"

T-46;

W-144

Verso Head of a :

Woman

Pencil

Unsigned 173.

Sheet of Studies luith Three Landscapes and Figures, Pencil, l.r.

c.

Two Allegorical

19 10

pen and India ink on buff wove, 6V2 x

6%"

"Boccioni"

T-S5;W-X28 174.

Two Women Walking in Pencil l.r.

on white wove,

6%

Street Dress,

x

c.

1910

4%"

"Boccioni"

T-ii9;W-x9 Verso: Ttvo Sketches of a Bust of a

Workman, One

Inverted.

176

Pencil

Unsigned 175.

Two Standing Women Pencil l.r.

on white wove,

in Street Dress, c.

61/2

1910

x 4V^"

"Boccioni"

T-iio;W-xi6 Verso;

Man

in a

Short Coat, and Study of a Paneled

Door

Pencil l.r.

176.

"U Boccioni"

Young Woman Reading

(Ines).

1910

Charcoal over gray wash on rough white wove, l.r.

18% x 13%"

"U. Boccioni"

T-i36;W-i23 177.

Self Portrait.

1910

Gray wash and pen with black ink on white wove, loy, x8y4" l.r.

"21-I-910 / U. Boccioni"

T-I39; W-IZ2

177

2.16


178.

Curly Haired Child (Fianimetta). i^io

on white ruled paper, iz% x

Pencil I.r.

8%"

"Boccioni"

W-X17

T-141;

Verso: Curly Haired Child (Fiammetta). 1910 Pencil on white ruled paper

Unsigned

T-141 179.

a;

W-xioy

Curly Haired Child (Fiammetta). 1910 Pencil

on two joined sheets of ruled white paper,

16X4 X

iz%"

I.r.

"Boccioni"

T-i43;W-x6 Verso: Cursory Sketch of Figure

(?).

Pencil

Unsigned 180.

Curly Haired Child (Fiammetta). 1910 Pencil on ruled white paper, 8V4 x

8%"

Unsigned T-144;

W-x6i

Verso: Fragment Pencil

Unsigned 181.

Bust of a Pencil I.r.

Woman

with Black Hat.

on white wove, 7 x

c.

1910

180

4%"

"Boccioni"

T-14S; W-X41 Verso: Walking Horse tvith Feedbag Pencil I.r.

i8z.

"UB"

Study for "Modern Idol." 1910 Pencil I.r.

on white wove,

5%

.x

5 14"

"Boccioni"

T-148; W-X33 183.

Woman Pencil

Reclining,

on tan wove,

1910

c.

9

/â&#x20AC;˘g

x 9"

"UB" T-i5i;W-zoo

I.r.

184.

Man

Shoeing a Horse. 1910

Pencil on white laid, I.r.

5%

x

4'/^"

"Boccioni"

T-i5i;W-X90 Verso:

Same

Figure from the Front

Pencil

Unsigned

Z17


185.

Study of the City

Overpass, Telephone Pole and

ivitli

Verso: Horses and Figures in a Landscape. 1910

Streetcar. 1908-10

Pencil l.r.

Pen and India ink

on ivory wove,

7%

x

51/2"

T-108;

W-X73 C 190.

18S.

The Bridge

of Gamboloita. 19 10

Charcoal, pen and ink on buff wove, lo^s x l.r.

"Boccioni/ponte

di

Man

9%"

Gamboloita visto/dalla

W-X42

Verso:

Man

Crowd in

191.

"UB"

Composition Study for "The City Rises." 1910

on white wove,

% x 6"

"U Boccioni" T-i54;W-x85

Pencil

Nos. 187-193 are preliminary sketches for The City Rises

T-161;

Harnessed Horse. 1^10

Verso: Unidentifiable Subject

l.r.

Pencil l.r.

on white

l.r.

laid,

4%

x

5

%"

Verso: Muzzle and

W-40A

Unsigned 192.

Neck

of

Horse

Composition Study for "The City Rises." 1910 Pencil

Pencil

Unsigned

T-162;

Three Horses Tended by Men; Stone Pavement. 1910 Pen and brush with India ink on white wove,

41/2

x 6V4"

Unsigned T-158; W-.X97

187

on white wove,

"Boccioni"

l.r.

218

3

"UB"

Pencil

"Boccioni"

T-157; W-X43

189.

x 7"

Front of Corner Building. 1910

Crayon on white wove, 7 x 9"

188.

41/2

Pencil and crayon

W-xSo

1.1.

187.

on white wove,

T-159;

maggio

1910/abbastanza nuovo"

W-X103

"Boccioni"

l.r.

altalinea

a;

Leading a Horse. 1910

Pencil

ferroviaria/ sufficientemente interessante/mattina 28

T-II2;

"Boccioni"

l.r.

T-158

"Boccioni"

W-X34

5'/!

x 8^4 "


^-

190

k-_ 191

^^a^

J 192


193-

Two Composition Sketches for "The City Rises" and Two for a Scene of an Urban Croivd. 1910 Pencil I.r.

on white wove, 5V2 x

7%"

"Boccioni"

T-163;

W-X40

Verso:

Group

of Figures Related to Scene of

Urban Croivd.

1910 Pencil

Unsigned T-i63a; W-xioi 194.

Composition Sketch for "Mourning." 1910 Pen and ink on white wove, I.r.

6%

x

7%"

"Boccioni"

T-iS5;W-x84 195.

Study for " Mourning." 1910 193 Pencil, charcoal,

on buff wove, I.r.

9%

x 18 V?"

"Boccioni"

T-167; 196.

and blue and orange pencil with gray wash

W-X54

Sheet of Studies for "Mourning." 1910

Pen and ink on double-ruled white wove, SVg x

8'/^"

"UB" T-16S; W-X98 I.r.

197.

Study for "The Laugh." 1910-11 Pencil I.r.

4%

on white wove,

x 6"

"Boccioni"

T-i73;W-X9i 198.

Study for "The Laugh." 1910-11 Pencil I.r.

on white wove,

41/2

x

5

Y%"

"Boccioni"

T-174; W-X73 F Verso:

Man

with Moustache

Pencil

195

Unsigned 199.

Study for "The Riot." 1911 Pencil I.r.

on white wove, 6Vs x 6Vs"

"Boccioni"

T-178; W-XZ3 zoo.

Tu'o Workmen; Study for "The Street Pavers." 19 ir Pencil I.r.

on white wove

partially discolored, 55^3 x SVg"

"Boccioni"

T-i79;W-6i-58-3ioA


196

199

197


"

20I.

Man

11

11

Laying Pai'ing Stones: Study for "The Street Pavers.

1911

5% x

Pen and black ink on white wove, l.r.

814"

"Boccioni"

Portrait of a

Young Man (Vico

and gray wash on ivory wove, 11% x "1911"

Hand. 1911

T-203a;W-3i2

6%"

"U. Boccioni"

Head

(Inesf).

1911

on white wove, 12% x 9^4

"Boccioni"

T-i83;W-i35 Verso: Profile of a Face Pencil

Unsigned 205.

Sketch for "Study of Pencil

Women Amid Housesâ&#x20AC;&#x201D; Ines."

191

on white paper, 24 x 19%"

"1911/ U.B." T-i84;W-323 l.r.

Verso: Study for "States of Mind: Pencil l.r.

The

Farewells." 191

on white paper

"UB" W-132

T-193; 20S.

Bald-Headed Pencil l.r.

Man

with Moustache,

c.

191

on discolored white wove, yVs x sVg"

"Boccioni"

T-i85;W-207 207.

Analytical Study of a

Woman's

Charcoal on buff wove, 4^8 x "Boccioni"

Profile. 191

4%"

l.r.

T-186; 208.

W-X19

Analytical Study of

Woman Seated on a Divan.

1911-12

Pen and black ink on white paper, 814 x 121/8" Unsigned: l.r. "La seur [sic] de/par Boccioni" (by

artist's

hand)

T-i87;W-X56 209.

Drawing

after "States of

Mind: Those

Who

Go." 19 12

Black ink over pencil on white wove, 12V2 x 16% " Unsigned T-201;

8

x loVs"

"Mascagni"

Queen

I.e. "Boccioni"; 1.1. "La regina d'inghilterra"; u.r. "Londra marzo 1912/Mascagni futurista"; l.r. composer's autograph

Planar Study of a Woma?i's

l.r.

l.r.

Pencil

T-i82;W-i70

Pencil

"Boccioni";

Victoria. 19 12

9%"

Pencil, pen and black ink on white wove, 8^4 x

204.

on white stationery bearing the letterhead of the

Verso: Caricatures of Pietro Mascagni and

Baer?). 1911

Boccioni's Sister Leaning on her

l.r.

Pencil

T-203;W-i53

T-i8i;W-209 203.

of Pietro Mascagni. 191Z

1.1.

Pencil l.r.

Head

Savoy Hotel, London,

T-i8o;W-6i-58-3ioB 20Z.

Lio.

W-DIA

neg. 10949


III.

Mother Sewing,

Boccioni's

c.

i^iz

Pen and black ink on reddisli-tan oiled paper,

g'/g

:*?^<

x jVi"

Unsigned T-Z04; \V-184 Verso: Standing Figure of a

Wonmn

Pen and brush and black ink l.r.

ziz.

"Boccioni"

Old

Woman

in Full

Gown.

c.

1911

Pen and hlue-black ink on white wove, 6 x l.r.

4'/4"

"Boccioni"

T-zo5;W-i9Z Z13.

Boccioni's

Mother Sewing,

c.

191Z

Pen and black ink on reddish-tan oiled paper, 6V4 x l.r.

fiVs"

"Boccioni"

T-Z06; W-X95 Verso; Sheet of Studies with Full-faced

Mother,

c.

Z05.

Head

(verso)

of Boccioni's

191Z

Pen and brush with black ink

Unsigned

T-Z06

a;

W-X104

207

209

223


214-

Analytical Study of a c.

Woman's Head against

l.L

11% x

W-xii

T-220;

Bust of Boccioni' s Mother. 1912 Pencil l.r.

on buff

laid pasted

219.

on white paper,

8% x 6%"

W-X48

l.r.

on buff

220.

laid pasted

on white paper,

8% x

"Boccioni"

Analytical Studies of the

l.r.

W-X68

Pen and ink on white wove envelope, l.r.

"Boccioni"

T-Z24;

Head

of Boccioni's

Mother and

pen and India ink on white

laid, 61/2

x

8%"

T-2i6:W-xi8

224

x 4"

Study for the Sculpture "Fusion of a Head and a Window."

"Boccioni"

ZI4

5

"Boccioni"

Another Female Head. 19 12 Pencil,

W-X27

1912

6%"

T-2i5;W-X92 217.

against the Light with

against the Light (Boccioni's Sister). 1912

T-222;

Dimensions." 1912 Pencil

Head

u.r.

Bust of Boccioni's Mother; Study for "Abstract

Woman's Head

Frame. 19 12

Pen and brown ink on buff wove,

"Boccioni"

T-Z14;

Analytical Study of

Pen and brownish ink on buff wove, 12% x 8^4 " Unsigned

8V2"

"Boccioni"

T-188;

216.

218.

Window

Pen and brownish-black ink on white wove,

215.

Buildings,

1911

2-15

W-X58

5% x 4%"


3

211.

Analytical Study of the Shoulder

and Breast of a

Woman. 191Z Pencil l.r.

on white

laid, 13

x ^Vi"

Men.

191

"Boccioni"

T-Z17; 'W-X13 22Z.

Group

of Seated

c.

Pen on lined white wove,

7%

x

5

%"

Unsigned T-207; 223.

Man

W-1S4

with Newspaper in a Cafe.

c.

1913

Pen and brownish ink on lined white wove, SVs x

5-78"

Unsigned T-208; W-163

218

223

225


2Z4.

Man at a

Cafe Table,

Paris,

228.

1913

c.

Pen and brownish ink on lined white stationery from the

Taverne de I'Hermitage, SVs x l.r.

5%"

in

l.r.

Head

Motion (Towards the

Left).

229.

1913

Portrait of Silvia. j$i$ Pencil, gray

W-X83

of a

and blue-black wash on rough

"Boccioni"

wash, and black ink on heavy tan

paper, 253/8x185/8"

"Boccioni"

u.r.

226.

ink,

91/2"

T-278; W-X25

Pencil on white wove, 6 x 4V8"

T-234;

pen and India

white wove, ixY^ x

"Boccioni"

Male Figure

of Boccioni's Mother. 1914-15

Pencil,

T-232;W-I74 225.

Head

Man; Study

related to Collage

"Dynamism

of a

T-293; W-131

Man's Head." 1914 Pen and brownish-black ink on lined stationery from the Ristorante Savini, Milan, 8V2 x l.r.

5I4 "

Caricature of Portly

wove, 25 X l.r.

Man

laid,

12 x

c.

1914

8%"

"Boccioni"

T-280; W-208

2.24

zz6

2oi/4"

"Boccioni"

T-295;W-i28 with Cigarette,

Brush and black ink on white l.r.

Portrait of Boccioni's

Mother. 1915-16

Black chalk, red, green and blue watercolor on buff

"Boccioni"

T-279; W-175 227.

230.

zi8


2.Z9

230


PRINTS 231.

Impression of Venice. 1907 Etching printed l.r.

in

3% x

brownish black,

55/8"

"U. Boccioni"

T-297; W-133 23 2.

Mother Crocheting. 1907

Boccioni' s

Etching and drypoint printed in brownish black on

white wove, l.r.

Woman

on Sofa

Kestirtg

Etching and drypoint

wove, l.r.

"1907" (printed

I.e.

in reverse)

W-xiz

T-299; 233.

x 12V8"

145/8

Boccioni"; on plate

"U

95/8

in

(Gisella).

1907

brownish black on cream

x 13'/"

"U Boccioni" W-xioo

T-3015;

234.

Lovers and Siiuins Etching printed l.r.

in

a Landscape,

190S

c.

x i2Vs"

in colors, 8'/,

"Boccioni"

T-302;W-i58A 235.

The Kimono;

Portrait of hies.

Etching and drypoint printed vi'hite l.r.

wove, 7 x

c.

in

1909

brownish black on

5'/2"

"Umberto Boccioni"; on

plate

l.r.

"Boccioni," on right

"INES" T-303; W-160 sleeve

23S.

Sheet of Studies with Five Portraits,

c.

1909

Etching and drypoint printed in brownish black on

white wove, 7 1/1 x

ii%"

"Umberto Boccioni" T-304; W-xioi L l.r.

237.

Landscape

ivith Industrial Plants.

1909-10

Etching printed in brownish black on white wove, l.r.

T-3Q7; 238.

Head

x 6"

V2

x $Vi"

W-X99

of ahoy. 11)10

Etching printed l.r.

3%

"Umberto Boccioni"

in

reddish

"U Boccioni" on

plate

brown on white wove,

1.1.

5

"1910"

T-3i5;W-X53 239.

Woman

and Child

at the Table,

c.

1910

in brown ink on white wove, "Umberto Boccioni" T-3IO;W-2II

Etching printed l.r.

240.

Boccioni's

Mother Sewing,

Etching printed

wove,

5'/)

X

in

4'/2"

"U Boccioni" T-3l6;W-X2Z

l.r.

c.

1910

brownish black on white

5%

x gVs"


Documents and Miscellany


DOCUMENTS AND MISCELLANY

GUILLAUME APOLLINAIRE 241.

251.

L'Antitradition futuriste: manifeste

=

Antitradition: manifesto

= synthese (The Futurist

synthesis), Paris,

June

29,

252.

La splendeur geometrique

Vestito antineutrale: manifesto futurista (Anti-neutral

Futurist Manifesto), Milan,

Pamphlet

Pamphlet

25 3

.

March

11,

Sensibility:

1914

Contre

le

luxe feminin: manifeste futuriste (Against Feminine

13x9"

Pamphlet

Tree (W-37)

111/2x9/8"

Palette

and

Two Brushes, c. x 9"; brushes

91/2

1925 (Made by the

x i",

101/2

254. artist)

x i"

X 17"

CONSTANTIN BRANCUSI Two Sketches for the

base of the Blond Negress, Paris,

1952 (G-757) Pencil 8

X

31/2"

ALEXANDER CALDER Three Sketches for Mobile, 1949 (G-6z2) Ink and pencil 103/4

X SVa" each

MARCEL DUCHAMP Surrealism in 1^47. {W-130)

Book cover loYxG X 9 X 3" F.

MARINETTI

T.

Manifeste du futurisme (Futurist Manifesto), Le Figaro, Paris,

February 20, 1909

Pamphlet 111/4

230

X 18"

11,

1920

GINO SEVERINI

Palette 295/8

250.

et la sensibilite

Luxury: Futurist Manifesto), Milan, March

Documents pertaining Rome, 1913 (W-9) Pencil

249.

mechanique

Wood

UMBERTO BOCCIONI

24S.

1913

111/2x91/2"

Rose (W-3S)

palette 8V2

247.

11,

Mechanical Splendor and the Numerical

13 X 10"

246.

et

Clothing, Futurist Manifesto), September 11, 1914

Wood 245.

May

Manifeste

in Liberty:

numerique: manifeste futuriste (The Geometric and

JiVixsVa"

244.

liberie:

and Words

Ill/2X9y8"

GIACOMO BALLA

243.

mots en

et les

Pamphlet

11I/2X9I/8"

//

fils

Futurist Manifesto), Milan,

1913

Pamphlet

242.

L'hnagination sans

futuriste (Wireless Imagination

m

to exhibition at Galleria Futurista,

and watercolor

X 5/2";

7'/2

X sYa";

71/4

X

51/2"


Documentation

131


DOCUMENTATION

Exhibitions E.x'hibitions

the

which were composed

partially of

Winston Collection are indicated by an

drawn

other exhibitions listed were

entirely

works from

asterisk. All

from the

Winston Collection. '

The Detroit

March 6-30, 1947, A Loan XVII-XX Centuries.

Institute of Arts,

Exhibition of French Paintings,

Books

Exhibition organized by Paul L. Grigaut. Taylor, Joshua

C, "Harry Lewis Winston:

and

Futurist

Museum

Other Twentieth-Century Art," Great Private Collections, ed.

Douglas Cooper, introduction by Kenneth Clark,

Macmillan,

New York, in

^iristo7t Collection.

New

of Art, Bloomfield Hills,

Catalogue foreword by E.I.G.

The Llniversity of Michigan Museum of Art, Alumni Memorial Hall, Ann Arbor, Michigan, October 30November 27, 1955, 20th Century Painting and Sculpture from The Collection of Mr. and Mrs. Harry Leivis Winston.

America, compiled by Jean Lipman and the

editors of Art in America, introduction

Viking Press,

Cranbrook Academy

1963, pp. Z92.-303.

Baro, Gene, "Futurism Preserved: Lydia Winston Malbin,"

The Collector

of

Michigan, November 8-25, 1951, Mr. and Mrs. Harry Leivis

by Alan Pryce- Jones,

York, 1971, pp. 180-189.

Catalogue

te.xt

by Jean Paul

Slusser.

Albion College, Albion, Michigan, April 10-25, 1956, Selections

from The Collection of Mr. and Mrs. Harry Birmingham, Michigan. Exhibition

Leivis Winston,

organized by Vernon Bobbit; checklist.

Articles

Saarinen, Aline B., "Collecting

Master Plan," Art Neivs,

Modern Masters on

vol. 56, no. 6,

The

a

L[ydia] Winston au Musee de December 1957, pp. 30-31.

Arp, Alexander Dorner, Benedetta Marinetti, Elizabeth

Arts, vol. 31, no. 4,

Arts,

pp. 10-13. Reprinted from

The Detroit

4,

P.

Institute of Arts

Museum

Boston to Virginia

December

Modern Art," March 1958,

13,

1957-January

of Art, January

23-March

Institute, April

ii-May

5,

12,

Edwards, Hugh, "Umberto Boccioni," The Art Institute of Chicago Quarterly, vol. LII, no. 1, April i, 1958, pp. Z5-28.

The Art

no. II, Christmas 1958, n. p.

Double

Richmond,

Museum

Milwaukee Art 1958; Walker Art Center,

Minneapolis, June 13-August Institute of

of Art,

1958; San Francisco

13, 1958;

Catalogue, 1957-58.

Mellquist, Jerome, "La Collection Winston,"

Richardson, and Harry and

Lydia Winston. Circulated by Institute of Contemporary

January 1958, pp. 34-39.

Vassar Alumnae Magazine, vol. XLIII, no.

and

Elizabeth Payne. Catalogue texts by Josef Albers, Jean

Payne, Antoine Pevsner, E.

Winston, Lydia Kahn and Harry, "Collecting

3,

Leivis Winston. Exhibition organized by Paul L. Grigaut et

Detroit," Attjonrd'htii, no. 15,

"The Winston Collection on Tour,"

27-November

Modern Artâ&#x20AC;&#x201D; Paintings, Sculpture and Drawings from The Collection of Mr. and Mrs. Harry

pp. 32-34, 64-66.

Degand, Leon and Jean Arp, "La Collection H[arry]

Detroit Institute of Arts, September

1957, Collecting

October 1957,

3,

1958.

Chicago, March 14-April 27, 1958,

An Exhibition of Drawings and Prints from The Mr. and Mrs. Harry Leivis Winston Collection. E.xhibition

Boccioni:

XXe Siecle,

organized by

issue.

Hugh Edwards and

catalogue essay by

Marianne Martin. Canaday, John, "True Story, Happy Endingâ&#x20AC;&#x201D; 100 DrawTheir Trip from Verona to Michigan," The York Times, Sunday, July 23, 1961, p. 10.

ings:

Grand Rapids Art Museum, Michigan, December

New

January

2,

1960, Exhibition of Greetings

Contemporary

Artists

3,

1959-

From

from The Winston Collection.

Winston, Lydia Kahn, "Reflections on Art Collecting as a Creative Process," 19, 1961.

On

Wayne

State University,

The Art Gallery

November

The Winston Winston, Lydia Kahn Aujourd'hui, no. 35,

Harry Lewis, "Le Futurisme," February 1962, pp. 4-13. et

Mid-West

Art, vol.

3,

no. 3,

March

1967, pp. 7-9.

Baro, Gene, "Collector: Lydia Winston," Art in America, vol. 55, no. 5,

September-October 1967, pp. 72-75.

Miesel, Victor H.,

"The

'heart' of

The Winston

Collection,

Collection. Exhibition organized by

Kenneth Saltmarsh; '^

Francoeur, George, "The Winston Collection," Chicago

of Windsor, Willistead Park, Windsor,

Ontario, February 8-26, i960, Graphics and Drawings from

the occasion of a Special Convocation.

The

checklist.

Detroit Institute of Arts, February

Graphic Arts

in Private

6,

i960.

organized by Paul L. Grigaut. Palazzo Reale, Milan, April 30-June 26, i960, Arte italiana del

XX secolo da collezione americane. Travelled to Galleria

Nazionale d'Arte Moderna, Rome, July 6-September

Birmingham, Michigan," The Connoisseur, April 1968,

i960. Exhibition organized by

pp. 259-i63-

International Council of

232

8-March

Detroit Collections. Exhibition

18,

James Thrall Soby,

The Museum

of

Modern

Art,

New


New York

York. Special

showing

Warehouse, October 24 and

at Santini

Brothers

J. B.

Grand Rapids Art Museum, Michigan, March i-April 1961, Graphics and Drawings from The Winston

The Museum September

of

Modern

York,

May

Los Angeles February

19, 1961. E.xhibition

Work

1964,

The

B.

The

i,

Arts Council of Great Britain, London, September 19-

October

Museum, Amsterdam, April 19-May 28, 1962, Umberto Boccioni —Draivings and Graphics by Umberto Boccioni from The Collection of Mr. and Mrs. Harry Leivis

Mr. and Mrs. Harry Lewis Winston of Birmingham,

Modern

Art,

New

Museum

17, 1964,

Umberto Boccioni: iS8z-i^i6. An Arts

Council exhibition of his graphic art from the collection of Michigan. Travelled to City Art Gallery, Manchester,

October 31-November

21, 19S4; City

November 28-December

of

York. Exhibition organized by William

S.

19, 1964;

Art Gallery, Leeds,

Art Gallery, Aberdeen,

January 2-23, 1965. Catalogue foreword by Gabriel White

Lieberman. Catalogue introduced by Willem Sandberg.

and essay by Reyner Banham.

The .Museum of Modern Art, New York, to B. Speed Art Museum, Louisville, Kentucky, November J. 2-23, 1962; University of Nevada Student Union, Reno,

The Bloomfield Art Association, Birmingham, Michigan, March 13-23, 19S6, An Exhibition of Posters Designed by 20th Century Artists from The Collection of Mr. and

January 2-23, 1963; Washington University,

Mrs. Harry

Circulated by

Missouri,

March

Miami Beach,

St.

Miami Beach Art

1-29, 1963;

Louis,

Center,

July 1-25, 1963; Reed College, Portland,

L.

Winston. Exhibition organized by Arlen Linn.

Wayne

State University, Detroit, April

Posters

By 20th Century

Oregon, September 2-23, 19S3; Arizona State University,

Artists

iz-May

2,

1966,

from The Winston

Collection.

Tempe, February i6-March

7,

1964; Western Washington

State College, Bellingham, April 1-22, 1964; San Francisco

Kresge Art Center Gallery, Michigan State University,

State College, June 13-August 9, 1964.

East Lansing, October 2-30, 1966, Posters by 20th

The

Detroit Institute of Arts, January lO-February

Century Artists from The Lydia and Harry Lewis Winston 4,

1962,

Collection. Exhibition organized by Paul Love.

French Draivings and Watercolors from Michigan

The Bloomfield Art Association, Birmingham, Michigan, November i-December i, 1966, Greetings from the Artists.

Collections. Catalogue introduction by Paul L. Grigaut.

The

Detroit Institute of Arts, April

i-May

6,

1962,

Exhibition organized by Arlen Linn.

American Paintings and Draivings from Michigan

Kresge Art Center Gallery, Michigan State Universit)-, East

Collections. Exhibition organized by Paul L. Grigaut.

The

Detroit Institute of Arts,

May

i-June

6,

1962,

Lansing,

The

March

5-26, 1967,

Winston Collection of

Varied Works of Picasso. Exhibition organized by

Personal Greetings from 20th Century Artists. E.xhibition

Franklin Page.

organized by Paul Love.

J.

B.

Speed Art Museum, Louisville, Kentucky, November

December

30, 1962, Greetings

7-

from The Lydia and Harry

The

Detroit Institute of Arts, April-May 1967, Exhibition

of Boccioni Draivings

from The Lydia and Harry Lewis

Winston Collection. Exhibition organized by Franklin

Winston Collection. Exhibition organized by Ellen Sharp;

Page; checklist.

checklist.

The LIniversity of Michigan Museum of Art, Alumni Memorial Hall, Ann Arbor, December 11, 1963-February

Ohio Wesleyan University, Delaware, Ohio, November 1-30, 1967, Greetings from The Winston Collection. Exhibition

7,

1964, Personal Greetings

Harry "

organized by

and Draivings from The Winston Collection. Exhibition organized by Dr. G. Stuart Hodge; checklist.

Winston. The International Council of The

'

L. Winston). Exhibition

Franklin Page; checklist.

Stedelijk

'

Contemporary Prints— Low Countries (Lent by

Mr. and Mrs. Harry

1961, Graphics

'

Modern Prints— France (Lent by Mr. and Mrs.

Winston). Exhibition organized by Franklin

L.

Speed Art Museum, Louisville, Kentucky, March 3-29,

J.

organized and catalogue

Michigan, June 25-August

Flint Institute of Arts, Flint,

Winston. E.xhibition organized by

Page; checklist.

of Art, January 14-

Umberto Boccioni by Joshua C. Taylor.

of

7-

Art—Pritits Lent by

Speed Art Museum, Louisville, Kentucky, February

Harry

The

introduction by Peter Selz. Catalogues Futurism and

Graphic

B.

4-29, 1964,

Detroit Institute of Arts, October i8-December 19, 1961 and

County Museum

L.

Modern

Franklin Page; checklist.

31-

19S1, Futurism. In coordination with

5,

1964, Leaders of

Mr. and Mrs. Harry

J.

New

Art,

2,

7,

Collection; checklist. "

Speed Art Museum, Louisville, Kentucky, January

February

26, i960.

L.

from

Artists to

Mr. and Mrs.

Winston: checklist.

The Detroit Institute of Arts, March 8-April 7, 1963, The Dutch Contribution to The International Development

organized by Richard Wengenrath.

Henry Ford Community College, Dearborn, Michigan, December 1967-January 1968, Posters from The Winston Collection. Exhibition organized by George Francoeur.

of Art Since 194). Text written and original exhibition

First

organized by Dr. Willem Sandberg; D.I. A. exhibition organized by Paul L. Grigaut.

1965, Posters of the 20th Century from

National Savings Bank, Detroit, January 3-March

4,

The Lydia and Harry

Lewis Winston Collection.

^33


Kresge Art Center, Michigan State University, East Lansing,

The

Michigan, February 4-15, 1968, Prints from The Winstoti

500 Posters from

Collection. Statement by Lydia

Winston Malbin,

Kresge Art Center, vol.

February 1968.

i,

no.

5,

Gilmore Art Center, Kalamazoo

November lo-December Collection of Lydia

and Harry

Leivis

UCLA

The

October

Michigan,

of Lydia Winston Malbin.

Art Galleries, Los Angeles, September 19-

31, 1971, Posters

Winston Collection/Mrs.

Graphics from The

15, 1968,

The Collection

Exhibition organized by Samuel Wagstaff.

Bulletin,

Institute of Arts,

Detroit Institute of Arts, February 15-March 15, 1971,

from The Lydia and Harry Lewis Bar/iett Malbin, Birmingham,

Michigan. Exhibition organized by Frederick Wight;

Winston (Mrs. Barnett

Malbin). Exhibition organized by Harry Greaver.

checklist.

Catalogue essay by Ellen Sharp.

University Art Gallery, Frick Fine Arts Building, University

The University of Michigan Museum of Art, Alumni Memorial Hall, Ann Arbor, February 16- March 16, 1969, Graphics from The Collection of Lydia and Harry Lewis

of Pittsburgh,

Winston. Exhibition organized by Charles Sawyer;

Catalogue acknowledgements by Pamela Pierrepont Bardo

checklist

The

Harry

and

and announcement.

Detroit Institute of Arts,

May

15-June 22, 19S9,

Detroit Collects. Exhibition organized by Samuel Wagstaff.

16, 1969,

Collection of Lydia

and Harry

Leiuis

Wayne

Winston (Mrs. Barnett

State University address by Lydia

L.

text

by Robert Wang.

The Toledo Museum

of Art, Ohio, April 2-30, 1972,

Collector's Portfolio:

An

A

Exhibition of prints and posters

'

and

Norman

The

Detroit Institute of Arts, April

Thai,

Jr.

13-May

21, 1972,

and Drawings, Catalogue of an and Drawings from Six Detroit

Detroit Collects Prints

Exhibition of

The Bloomfield Art

Collections. Exhibition organized

Association, Birmingham, Michigan, 8,

The

Winston Collection (Mrs. Barnett Malbin).

Winston Malbin.

January ii-February

16, 1972,

Charles Gunther. Catalogue introduction by Otto Wittman

The

Malbin). Catalogue introduction by Muriel B. Christison; reprint of

1971-January

(Dr. a7id Mrs. Bar?iett Malbin). Exhibition organized by

Champaign, October iz-November

Extensions of the Artist: Prints from

14,

from The Lydia and Harry Lewis Witiston Collection

Krannert Art Museum, College of Fine and Applied Arts, University of Illinois,

December

Twentieth Century Print as Seen through The Lydia and

and catalogue

introduction by Ellen Sharp.

and

1970, Fifty Recent Graphics

Pri7its

The University of Michigan Museum of Art, Alumni Memorial Hall, Ann Arbor, May 21-June 18, 1972, Posters and Portfolios from The Collection of Lydia and Harry

Multiples Loaned by Dr. and Mrs. Barnett Malbin

(The Lydia and Harry Leivis Winston Collection). Exhibition organized and catalogue introduction by

Arlen Linn.

Lewis Wiiiston. Exhibition organized by Charles H. Sawyer;

Kresge Art Center Gallery, Michigan State University, East

checklist.

Lansing, October 3-25, 1970, Contemporary

The Winston

PritJts

The

from

Collection. Exhibition organized by Paul Love;

March

Museum, Bloomington, February

zi, 1971, Reflection

Thru a

Collector's Eye:

10-

A

and drawings from the collection of Lydia and Harry Lewis Winston (Dr. and Mrs. Barnett Malbin). selection of prints

Exhibition organized by

Thomas

T. Solley and John

Nozynski; catalogue essay by Ellen Sharp. Travelled to The University of Wisconsin, Milwaukee,

April 30, 1971.

234

from The Lydia and Harry Lewis Winston and Mrs. Barnett Malbin). Checklist with

Collection (Dr.

checklist.

Indiana University Art

Detroit Institute of Arts, July 18, 1972- April 20, 1973,

Selections

March

30-

introduction by Frederick

The

Society of

The Four

February 3-March .

.

.

in all

4,

J.

Cummings.

Arts,

Palm Beach,

Florida,

1973, Collecting Prints

and Sculpture

media. Exhibition organized and catalogue

introduction by John Gordon.


The Lydia and Harry Lewis Winston (Dr.

Collection

and Mrs. Barnett Malbin)

A LISTING OF

THE COLLECTION

Works included in the Guggenheim exhibition are marked asterisk. The listing is arranged alphabetically by artist and chronologically under each artist. The following is a list of abbreviations for various media: oil on canvas— o/c, gouache— g., watercolor— wc, collage — col., mixed by an

media — m.m., etching— etch., lithograph — litho., serigraph— seri. Where not indicated, the support I

II

Individual Graphics (partial listing) Portfolios of Graphics (partial listing)

IV

Posters;

V

paper.

Paintings, Drawings, Sculpture

III

VI

is

Designed by the

artist (partial listing)

Rare Books containing original graphics

(partial listing)

Artists as Illustrators

VII

Miscellany

VIII

Antiquities

^3.^


PAINTINGS, DRAWINGS, SCULPTURE Square Syiake

bronze

Stripes in Blue

oil

on

Study for "Mirage A"

oil

on paper

The Share

ink

I96I

Personages

ink

I96I

Playthings

g-

1949

Head and

o/c.

Robert Adams Josef Albers '

Pierre Alechinsky

Karel Appel '

Alexander Archipenko

Nude No. Nude No.

I9IZ

2

crayon

c.

1912

Head

ink and pencil

c.

1910

Form I Abstract Form U

ink

1912

ink

192.2

Bird Forms

wood

Untitled

col.

Dream Column Lunar Armor

stone and bronze

Ganeniede

bronze

c.

1950

Composition

brass

c.

1954

'

Abstract

''

'â&#x20AC;˘

Henry Bacon

1922 c.

1938; 1956

granite

Kahn

1938

I89I

ink

I9I5

Untitled

plastic (1)

1932

"

Work

o/c.

*

Spring Buds

o/c.

c.

190S

'

The

o/c.

c.

1908

*

Study Related to "Abstract c.

1913

'

Study for "Mercury Passing

A Jean Baier

Fountain

Stairu'ay of Fareu'ells

1902

Velocity"

before the Sun."

g-

'"

Goldfish

pastel

c.

1914

*

Vortex

pencil

c.

1914-15

''

Futurist Necktie

wc,

c.

1916

The

o/c.

c.

1918

''

Umberto Boccioni A complete

drawings and prints

Malbin Collection

Winston/

found

in

1961.

The drawings

1918

"'

Self Portrait

ink

c.

1920

''

Iridescent Interpenetration

o/c.

''

Fist of

i6i actual drawings.

236

a total of

Boccioni

cardboard,

*

Croivd and Landscape

col.

'"

Rose

painted

'"

Tree

painted

wood and

paint

wood wood

Composition

o/c.

I96I

Flowers

pencil

1963

'

Composition with Figure

o/c.

'-

Self Portrait

o/c.

The

o/c.

I9II

bronze

I9I2

bronze

1912-13

bronze

1913

''

''

The Mother Development of a Bottle Space

I9I6 c.

1908

Unique Forms of Continuity in

*

Street Pavers

Ajtti-Graceful;

in ''

total 179 sheets

with 82 versos, making

and pencil

g.

c.

Joshua C. Taylor's The Graphic

Work of Umberto Boccioni, The Museum of Modern Art, New York,

Injection of Futuristn

o/c.

Boccioni

in the

is

Line of Velocity

Path of a Gunshot

''

listing of the

+

1914

*

Gerrit Benner

Maria Blanchard

1922?

wc.

Portrait of Albert

Balia

1954 c.

'

Giacomo

1940

crayon

'

'

Fish

1916

glass

I

"

Jean Arp

of the Visible

1956

Space

Study for "The Drinker"

oil, g.

col.

and

1914


Georges Braque

Cards and Dice

o/c.

Constantin Brancusi

The Blond Negress

bronze

1933

1952-

c.

1914

Sketch for Base of

The Blond Negress

pencil

Pyramid of the Fatal

pencil

Erich Buchholz

The Beginning

gesso on

Alberto Burri

Grand Ferro M-6

Alexander Calder

Final Sketch for Winston

of

The Cross

col.,

1952

wood

sheet meta

1921 1958

Mobile

ink and pencil

1949

Three Sketches for Mobile

ink

1949

Mobile

ink and pencil

1949

Mobile

painted metal

1949

col.

1914-15

The Poet and his Muse Zeus and Hera

bronze

i960

bronze

1961

Cesar

Iron Bird

iron

1957

Marc Chagall

Dream â&#x20AC;&#x201D; Young Child and

Three Sketches for Winston

The Night of January zo, 7 Dreamed This Picture

Carlo Carra

1915,

Angle of Penetration

(Joffre's

on the Marne against

Two German Christoa Capralos

Cubes)

Fortune

g-

Composition

col.

Colloquies

bronze

n.d.

Nude on Divan

ink

1964

Co}7jposition with Figure

ink

1965

Springtime Panoply

o/c.

Icarus

bronze

n.d.

Broken Light

crayon

1962

aluminum aluminum

1959

King Alan Davie

Trick for the King

oil

Edgar Degas

Dancer Tying her Slipper

pastel

n.d.

Eugene Delacroix

Male

wc. and sepia

n.d.

pencil

n.d.

Edouardo Chillida Pietro

Consagra

William Copley

Corneille

192-9

and ink

1953

(Cornelius van Beverloo)

Wessel Couzijn

Hubert Dalwood

Classical Figure

Figures Bust,

of

Robert Delaunay

Narcisse Virgile de

Open Space

Object;

'

la

Two

i960

Sketches:

and Right Shotdder

Woman

Still

on board

i960

Life

With Red

Tablecloth

o/c.

1937

Flower Picture

o/c.

n.d.

Pena Diaz

Theo van Doesburg Piero Dorazio

'

Still

Life

1916

o/c.

Vbiquita

painted

wood

1955

Untitled

ink and

wash

195S

Romance

o/c.

1959

Abstract

bronze

n.d.

2.37


Joseph D. Downing

Untitled i

col.

c.

1964

Staplage No. i

col.

c.

1964

Staplage No. 3 Untitled

col.

c.

1966

wc.

c.

1971

Figure

o/c.

1954

The Joker

clinker

1954

Jean Dubuffet

Marcel

1966

col.

Staplage No.

Duchamp

1941-41

Valise Containing

and

Miniature Reproductions

Work of the Artist

of the

Set of Discs

and Record

Attachment

to

Go

ni.m.

195Z

1961

on a

Turntable, such as a Record Player or any Fixture to

Max

Ernst

Create

Movement

m.m.

Sitting

Buddha

col.

o/c.

Come

pencil, crayon

Katadoro

Paul Feeley

1924-26

Composition into the Continents

19ZO

and print

plastic paint

1926

on

1963

canvas

wood

1965

wc.

194Z

wc.

1943

the Milan Cathedral

ceramic

n.d.

Head of a at Hands

Girl

pencil

The Unity

of Life

Dabih Lyonel Feininger

Fishing

Smacks

Boats Lucio Fontana

Study for the Doors of

David Fredenthal

Otto Freundlich

'

Looking

Alberto Giacometti

Linear Construction

''

Emile Gilioli Albert Gliezes Julio

Gonzalez

" ""

'

Juan Gris

''

'''

1936-38

o/c.

Space No.

1940

and

Death

Naum Gabo

c.

in

plastic

and

nylon thread

1

c.

1950

The Couple

bronze

1926

Chimera

onyx

1956

The Bather

o/c.

1912

iron

1929-30

iron

1930

pencil

1918

o/c.

1919

Woman The

Man

icitli

Broom

Kiss ii'ith

Guitar

The Siphon

Bottle

Pegeen Guggenheim

Tea Party

o/c.

1945

Etienne Hajdu

The Bud The Siren

ceramic

1949

marble

1956

Yelloii' Stripes

o/c.

1938

Composition

o/c.

1921

iron

1958

a Village

wash and penci

1861

Moonlight

o/c.

1872

Jean Helion

Auguste Herbin Rudolf Hoflehner

'

Goddess of the Mediterranean

Johan

238

B.

Jongkind

St.

Pierre or Vieiv of


The Suicide

Asger Jorn Albert

of

Mr. H.

European Sketch

Kahn

1961

o/c.

wc.

c.

wc.

c.

1890

Sketch of Chateau Blois,

France

pencil

Taxco Germain des Pres

pencil

1937

pencil

n.d.

St.

Vasily Kandinsky

1890

Wrotham

1925

'"

Luminosity

o/c.

192-7

De Profundis

wc.

Light Cubes

wc.

1932 193Z

Diana and the Nymphs

wc.

n.d.

Munich What Remains

g.

Forged

wc.

Angelica Kauffman Paul Klee "'

''

'

Still

1910

ink

Life

and charcoal

c.

1926

1937

Signs in Blue

wc. on tinted cloth

Kotchar

Figure

paint on iron

1932

Aris Koutroulis

Untitled

pastel

1969

Frans Krajcberg

Composition

g-

Composition

g-

1959 i960

Head

Yasuo Kuniyoshi Gaston Lachaise

" '*

Roger de La Fresnaye

''

"'

Louis Latapie •

Henri Laurens

Fernand Leger

""

Levinson

c.

1910-11

Woman

bronze

c.

1910-12

Arratiging Hair

Study for "The 14th of July"

wc.

Composition with a Trumpet

ink and

Dream Caryatid

o/c.

Man

with a Moustache

Woman

in

Armchair

El Lissitzky

Morris Louis

''

stone

I9I9?

I97I

in

Flux

191Z-13 I92I

col.

1969

col.

1969

plexiglas, paper

pencil

Proun No. 9j

col., g., oil

Lasso

c.

pencil

and ink

1967 1972 c.

m.m.

1920-23

1959

on unsized duck

Late Flowering

acrylic resin

Family Portrait

g-

i960

"'

Conception Synchromy

o/c.

I9I6-I7?

Untitled

col.

1949

Alberto Magnelli

Andre Masson

1953

aluminum

Untitled

Quo Numine

I9I8

''

Swanswijk)

Stanton MacDonald-Wright

I9I3

wash

o/c.

Life

Overlapping Squares

''

1937

oil

Windows Windows

Les Levine

(L. C.

Girl

bronze

" Sttll

Lucebert

Young

1938

Woman— Arms Akimbo

The Buoy

Caroline Lee

Mon

of a

c.

1962

Nude under Fig Tree

charcoal and ink

1944

Louis Marcoussis

Loreley

o/c.

1932

John Marin

Small Pointe, Maine

wc.

I9I4

Near Stonington, Maine

wc.

I9I5

The Velvet Gown

ink

1936

Shot Bird

bronze

1958

Shot Bird

bronze

1959

Henri Matisse

Bernard

Meadows

''

*

239


Jean Metzinger

Pierre

'"

Still

Life with Pears

o/c

Still

Life with Pipe

o/c

No. VIII

ink

1969

No.X

ink

1969

Woman Drinking at a River

bronze

Personage; Fratellini

o/c

192.7

o/c

1930

o/c

1535

o/c

1907

g-

1959

Scene with Seven Ladies

o/c

n.d.

Abstract Sculpture

hoptonwood stone

1937

Mignot

Mirko Joan Miro

*

and Bird

Figures

Piet

Mondrian

Composition

in

Nymphiades

Claude Monet

Water

Richard Mortensen

Cahier de Marseilleiu

Adolph

In

J.T. Monticelli

Henry Moore

''

The Park

or

Personage

Gordon Newton

Untitled No.

Kenneth Noland

*

Garden

One plus Two

Louise Nevelson

1954

Black and

White with Blue Square Lilies or

c.

/'ÂŤ

Front of the Sun ''

1512-17

terra cotta

c.

1947

i

charcoal

n.d.

Untitled No. 2

charcoal

n.d.

Baba Yagga

acrylic resin

on

1964

unsized canvas

David Packard

Eduardo Paolozzi

Chong Bae Park Antoine Pevsner

Francis Picabia

*

Head

bronze

19^2.

Head

bronze

1957

Untitled

cast iron

1967

Balled *

Square Relief

plastic

''

Figure

copper

""

Fresco,

''

Landscape, La Creuse

'*

Mechanical Expression

Fauna of the Ocean

Seen through Our

*

Pablo Picasso

Portrait of

Still ''

Marie Laurencin

Alarm Clock

1

Life

Glass on a Table

* Still

1922 1925

-^

brass and tin o/c.

1944 c.

1912

Own

Mechanical Expression ''

on cardboard

wc.

1913

wc.

c.

1917

ink

I9I9

pencil

I9I3

col.

1914

o/c.

192.1

Life luith Guitar (recto);

The Portal (Fontainbleu) (verso) '"

Portrait of a

Woman

Seated under a Light ''

Portrait of

Dora Maar

Jackson Pollock

Moon

Enrico Prampolini

Mechanical Venus

Vessel

ink and

wash

o/c. col.

1938

1941

o/c.

1945

and

oil

on wood

1930

Polimaterico Automatismo

A

col.

1940

col.

1940

Polimaterico Automatismo

C Polimaterico Automatismo

F

140

col.

and

oil

on board

1941


Praying Mantis

bronze

1947

The Six-Headed Horse

gilded bronze

1953-56

"

The

Flesh of Others

1883

Sick

Boy

wax wax

over plaster

''

over plaster

1883

''

Man

in

"

Jewish Boy

Germaine Richjer

Medardo Rosso

'''

Morgan

Russell

'"

Ecce Piier

Synchromy No.

To Luigi Russolo

*

Emilio Scanavino

Kurt Schwitters

C.48 S.Y. Cut-Merz

Elleji

Merz

1947

1947

Untitled

ink

n.d.

Dance

col.

Still

M.S."

of

Mme.

Severini

Life with Cherries

pastel

1912

wc.

1913

=

Dancer"

'

Study for Armored Train

=

wc. col.,

Sea

and crayon

1913

charcoal

1913

Dancer; Dancer

The Sea

o/c. with sequins

1913-14

pencil

1914

Draining

ink

1951

ink and pastel

195-

Abstraction

g-

1952.

Viititled

ink

195S

Untitled

wc. and ink

1963

mosaic

n.d.

Composition

g-

1912

The Dancer

g-

Matt

col.

Life

oit

ii'ith

Epinette

Motorcycle

1913

and

1918

oil

1966-68

Rhotnboidal Dodecahedron

wood wood

Spitball

granite

1971

lead

i960

Piece

1970

Woundâ&#x20AC;&#x201D; Great Wounded One

Francesco Somaini

No.

I

Chaim Soutine

The Red Gladiolas

o/c.

Nicholas de Stael

Abstraction

wc.

Stella

1913 pencil

Abstraction

Still

Frank

195S

g.

Three Documents Pertaining

''

Tony Smith

and

Study for "Portrait of

Study for "Sea

'

1946

col.

*

''

1922

col.

Examiner z86i Merz

beside

Sironi

1959

col.

1946

to Futurist Exhibition

Mario

1908

col.

" Portrait '

1913? c.

col.

Mme. '"

mounted on cardboard

Ent Garett, Merz

S.ss

Velvet ''

1906-07

oil

"

Michel Seuphor

1891

o/c.

Composition: Ashoff,

''

1889

wax over plaster wax over plaster o/c.

Perfume Reliqiiie

''

bronze

2

Light

''

''

Gino Severini

Hospital

"

Peter Stroud

Sketch Red Lead Greeti Circutttuent

Yves Tanguy

'

Shadow Country

Mark Tobey

*

Battle of the Lights

c.

1964

o/c. tviti)

Blue

politec

1919

1950

on masonite

1964

o/c.

1917

g-

1956

Z4I


1

Joaquin Torres-Garci'a ''

Composition

painted

Symmetrical Composition

o/c.

c.

1931 1931

Fragment signed by

Tristan Tzara

Leon Degand

Tristan Tzara, a^td others

ink

Laurence Vail

Figure No. i

tin, glass

and found objects

Figure No. 2

tin, glass

and found objects

Victor Vasarely

Ixion

oil

Self Portrait

m.m.

1967

pencil

19S3

acryiic/c.

1969

Andy Warhol

II

wood

'-

Tom Wesselmann

Study for

Richard Wilt

Du

INDIVIDUAL GRAPHICS Henri-Georges

Adam

Anni Albers Josef Albers

Karel Appel

Still

Life

Geant Poryphyrion

1956

on

glass

n.d. n.d. c.

1964

(partial listing)

Snares

litho.

1959

Triadic Series C, D, E, F

seri.

I9S9

Seclusion

litho.

1941

SoloV

intaglio

1958

Composition

litho.

1958

Composition

litho.

1959

Flying Birds

litho.

1959

litho.

n.d.

Alexander Archipenko

Still

Jean Arp

Everday Magic

woodcut

1961

Untitled

etch.

n.d.

Sophie Taeuber-Arp

Abstraction

litho.

n.d.

Olle Baertling

from Album "The Angles

seri.

Life

of Baertling"

(3)

1965-1

Willi Baumeister

Summetic Landscape

litho

n.d.

Roger

Rose

etch.

n.d.

Robert Broner

Migrations

litho.

1958

Alexander Calder

Quilt

litho.

196S

Flying Saucers

litho.

1968

A

litho.

n.d.

Mary

Bissiere

Gallery

Study for Sculpture

Massimo Gampigli

The Theater

litho.

195

Patrick Caulfield

Glasses and Bottle

seri.

n.d.

Cesar

Composition

litho.

n.d.

Untitled

litho.

Marc Chagall

Romantic Figure

etch,

Teng Beng Chew

State

Christo (Javacheff) Corneille

Wessel Couzijn

!:

Conglomeration

n.d.

litho.

1967

Corridor Store Front

m.m.

1967

Summer Games

litho.

i960

Southern Sea

litho.

1961

Moving Forms

etch.

n.d.

litho.

1963

Composition No.

No.

2.42.

1970

and wc.

2,

No. 3

i.


Allan D'Arcangelo

Landscape

silkscreen

1968

Alan Davie

Zurich Improvisations, No. ly

litho.

n.d.

Maurice Esteve

Aladdin

litho.

n.d.

Helen Frankenthaler

Sky-Frame IV

monotype

1964

What Red Lines Can Do

seri.

1970

Antonio Frasconi

The Dog and

woodcut

1952

Riipprecht Geiger

Untitled

seri.

1968

Marcel Gromaire

Reclining

etch.

1950

Hans Hartung

Abstraction

litho.

n.d.

L6

litho.

1966

Stanley William Hayter

Abstraction

intaglio

n.d.

the Crocodile

Woman

Al Held

Untitled

seri.

1966-68

Anton Heyboer

Untitled

etch.

1962

intaglio

1972

litho.

1968

seri.

n.d.

I

Sue Carol Hirtzel

Black Set z

Howard Hodgkin

Girl

Robert Indiana

Love

on a Sofa

Jasper Johns

Hatteras

litho.

1963

Allen Jones

Slipper

litho.

1968

Asger Jorn

from jubilaeum-serien

litho.

1963

Vasily Kandinsky

Kleine Welten

litho.

1922

woodcut

1922

Kleine Welten IX; X; XI

etch.

1922

Cyclamen

litho.

1964

litho.

n.d.

Klei!te

Ellsworth Kelly

I; III

Welten VU; VIII

III

No. 4 Vert Aris Koutroulis

Veil No. i;

Yasuo Kuniyoshi

Acrobat Still

No.

Life at the

z

Windoiv

cliche verre

1968

litho.

n.d.

litho.

192S

Marie Laurencin

Two

Henri Laurens

Horizontal Figure

litho.

c-

Nude Female Figure

litho.

c.

Untitled

litho.

n.d.

Untitled

litho.

n.d.

Les Levine

Disposables

plastic

Alexander Liberman

Untitled

litho.

1970

Roy

Head

litho.

n.d.

Stedelijk

litho.

n.d.

Swinging White

woodcut

195S

Keeping

etch.

1964

Julio

le

Pare

Girls

and a Dog

multiple

Lichtenstein

Vincent Longo

Lucebert

of a Girl

Still

n.d.

litho.

(3 clear)

1935 1935

1969

Screen

etch.

1967

Green Screen

etch.

1967

Other Side

etch.

1967

Plaid

aquatint and etch.

1968

Frontal

etch.

1970

Klein Circus

etch.

n.d.

Geheime Raad

etch.

1961

M3


Alfred Manessier

Abstraction

Marino Marini

Man and Two

n.d.

litho.

Horses

c.

litho.

1951

Paul Martyka

171 Cubes

intaglio

1972

Andre Masson

Mythology of Being Nocturnal Notebook

etch.

1942,

etch.

1944

Henri Matisse

Mother and Child

litho.

Joan Miro

Lithograph IV

litho.

1944

Untitled

etch.

1947

Untitled

etch.

1947

Cartones

litho.

1959-65

etch.

n.d.

Nude

c.

1951

Amedeo Modigliani

Reclining

Rolf Nesch

The Blue Mask

intaglio

1959

Louise Nevelson

1970

Barnett

Newman

Claes Oldenburg

The Great Wall

intaglio

The Moment

seri.

New Media,

Neiv Forms

on plexiglas

1966

litho.

n.d.

Soft Scissors

litho.

1968

Owl Head

litho.

n.d.

Untitled

litho.

n.d.

Don Quixote

litho.

195.';

Serge Poliakoff

Composition

etch.

1958

Robert Rauschenberg

Stunt

litho.

1962

Pablo Picasso "

Man 1; U;

111

Accident

litho.

1963

Front Roll

litho.

1964

Man Ray

Untitled

etch.

Germaine Richier

Praying Mantis

etch.

Bridget Riley

Fragment

seri.

Larry Rivers

Ford Chassis

Sally

W. Robinson

Georges Rouault

*

Michel Seuphor

on plexiglas

1947 1965 1961

Rhythms

litho.

1969

Purple Grid

litho.

1972

cliche verre

1973

Floral

Garden

Clown

Tristis

Women

aquatint

1934

litho.

n.d.

Neitzsche

etch.

August

seri.

1964

seri.

1971

litho.

1968

Game in Richard Smith

c.

litho.

1

Busts of Tivo Luigi Russolo

n.d. -^

the

summer

'71

c.

1909

Edward Gordon Craig Series

11

Pierre Soulages

Composition

litho.

n.d.

Andrew

Untitled

litho.

1958

Rene

Stasik

Coat

Composition

litho.

1958

Yves Tanguy

Surrealist Figure

etch.

n.d.

Jean Tinguely

Untitled

litho.

Mark Tobey

Untitled

etch.

244

Pierre Tal

c.

1969 1967


Henri Toulouse-Lautrec

Marcelle Lender Doing the Bolero in the

Operetta "Chilperie" All

Franco-Russe

Maurice

Montmartre Montmartre Le Moulin de

Utrillo

n.d.

litho

n.d.

litho

n.d.

litho

n.d.

la

Galette

Notre

Dame

litho

n.d.

Paris Street Scene

litho

n.d.

Victor Vasarely

Untitled

seri.

1963

Jacques Villon

Figures at a Table

litho

n.d.

etch.

1951

litho

1957

Figures

June Wayne

Goe and Catche a

Falling

Starre

III

lirho

Moulin Rouge, L'Union

PORTFOLIOS OF GRAPHICS Anni Albers

(partial listing)

Triadic Series

Homage

Josef Albers

Soft

screenprints

to the

Ten Variants La

Festa, Fontana, losavio,

Salita

1969

Square

Edge-Hard Edge

Accardi, Colla, Dorazio,

(4)

Litografia: Galleria

La

Rubra

litho.

1965

litho.

1967 1963

litho. (i

by each

artist)

Rotella, Sanfilippo, Schifano

and Scialoja

Rue

Jean Arp

L,

Afro, Balla, Conte, Dorazio,

Arte Astratta

Gabrielle Italia

Jarema, Magnelli, Moretta,

Munari, Nativi,

etch. (12)

1958

seri. (i

by each

1955 artist)

Perilli,

Prampolini, Radice, Severini, Soldati

Giuseppe Capogrossi

Untitled

litho. (6)

n.d.

Genevieve Claisse

Cercles

seri. (ii)

1967

Arp, Sonia Delaunay,

Aux

litho. (10)

1950

litho. (40)

n.d.

Nourrittires terrestres

Magnelli, and Taeuber-Arp

Sonia Delaunay

Compositions couleurs idees

MS


Max

Ernst

Les Chiens ont soif

etch. {2); litho. (25)

1964

Histoire Naturelle, signed

collotypes after

1926

original frottages (34)

Honegger

Transmissions

litho. (5)

1954

Warja de Honegger-Lavater

Chaciin sa chimere

etch. (5)

1953

Les Levine

Iris,

litho. (9)

1969

Andre Masson

Mythology

Gottfried

Print-out Portrait of Being:

etch. (9)

;

1942

A Poem Carlos Merida

Estampas del popol imh

litho. (10)

1943

Joan Miro

Untitled

litho. (13)

1948

Richard Mortensen and

A I'Occasion

seri. (6)

1967

Victor Vasarely

" Mortensen/Vasarely"

Ad

Untitled

seri.

1966

Michel Seuphor

Intimes etendures

seri. (10)

I961

Andrew

Prints

Reinhardt

Stasik

de I'exposition

and Poems

intaglio (9)

1958

Georges Valmier

Collection decors et coulenrs

color reproduction (20)

n.d.

Stuart Davis, Indiana, Kelly,

Ten Works by Ten Painters

seri.

1964

litho.

i960

Baden-Baden

litho.

i960

Moderna Museet, Stockholm

litho.

1962

Galerie Denise Rene, Paris

litho.

1962-63

Del Vetro D'Azie, Venice

litho.

1964

Louis Broder Editeur, Paris

litho.

1966

litho. (3)

1967

photomontage

n.d.

Lichtenstein, Motherwell,

Ortman, Poons, Reinhardt, Stella,

IV

Warhol

POSTERS: DESIGNED BY THE ARTISTS Jean Arp

(partial listing)

Galerie Denise Rene, Paris Staatliche-Kunsthalle,

Galerie Im Erker Gallusplatz,

St.

am

Gallen

Museo D'Arte Contemporanea Locarno

246


1

Alexander Calder

Galerie Maeght, Paris, signed

litho.

n.d.

Galerie Maeght, Paris, signed

litho.

n.d.

Rome

litho.

1956

litho.

1969

litho.

1953

Galleria DeU'Obelisco,

Fondation Maeght,

Marcel Duchamp

St.

Paul

New York

Sidney Janis Gallery,

Musee National D'Art Moderne,

litho.

1967

m.m.

n.d.

litho.

195

Fran^aise, Paris, signed

litho.

1954

Grand

litho.

1971

litho.

1952

Franfaise, Paris

litho.

1950

Grand

litho.

1970

Galerie Maeght, Paris

litho. (5)

n.d.

Galerie Maeght, Paris

litho.

197

litho.

1948-49

Pavilion de Marsan, Paris

litho.

1955

Vallauris, signed

litho.

1956

Vallauris, signed

litho.

1956

Galeries 65 Cannes

litho.

1956

Paris

The Bride Stripped Bare Maison de

Fernand Leger

la

.

.

.

Pensee

Fran9aise, Paris

Maison de

Pensee

Palais, Paris

Maison de

Jean Lur9at

la

la

Pensee

Franfaise, Paris, signed

Maison de

Henri Matisse

Joan Miro

Pensee

Palais, Paris

Maison de

Pablo Picasso

la

la

Pensee

Franf aise, Paris, signed

Musee

''

des Arts Decoratifs

Galerie Beyeler, Basel,

signed

litho.

Galerie Lucie Weill, Paris

litho.

1956

&

1956

Galerie Beyeler, Basel

signed

litho.

1957

Vallauris, signed

vvoodblo

1957

litho.

1958

litho.

1958

maitres de I'Ecole de Paris

litho.

1959

Galerie de Remparts, Antibes

litho. (z)

1959

Exposition de Ceramiques, signed

Maison de

la

Pensee

Fran^aise, Paris, signed Affiches orignales des

*

Los Angeles County

Museum

of Art

litho.

1959

Galerie Beyeler, Basel

litho.

1967

litho.

1970

litho.

1971

litho. (2)

1971

Galerie Beyeler, Basel,

signed

Musee National Moderne,

d'Art

Paris

Galerie de Passeur, Paris

M7


1

Robert Rauschenberg

Dwan

New York New York,

Gallery,

litho.

n.d.

litho.

1963

litho.

1968

litho.

1968

litho.

1966

litho.

1954

Ferus Gallery, Los Angeles

litho.

n.d.

Morris International, Toronto

litho.

1965

Jewish Museum, signed St.

Louis

Symphony

Hall,

signed

Wiliem Sandberg

Israel

Museum,

Jerusalem,

signed Galerie Berggruen, Paris,

Gino Severini

signed

Musee National

Ben Shahn

Moderne,

Andy Warhol

Tom

Wesselman

V RARE BOOKS

d'Art

Paris, signed

Galerie

Thomas, Dusseldorf

seri.

1970

Galerie

Thomas, Dusseldorf

litho.

1968

containing original graphics (partial listing)

Josef Albers

Interaction of Color, Yale University Press, 1963

Karel Appel

Hugo

Jean Arp

Dreams and

Georges Braque

Tristan Tzara, La

Cobra

Monographs

Constant

Gerrit

Claus, Karel Appel, Painter, Abrams, 1951 Projects, Fequet

of

Bonne

works

& A. Baudia, 1951-51

Retire, R. Jacquet, 1955

of artists in the

Cobra Group, 1950

Konwenaar, Goede Morgan Haan, Experimentale Groep, 1949

Marcel Duchamp

Le Surrealisme en 1^47, Maeght, 1947

Futurism

ed.

Vanni Scheiwiller, Piccola antologia di poeti

Jean Metzinger

Dn

Cubisme, Compagnie Fran^aise des Arts Graphiques, 1947

Henri Laurens

Homer, L'Odyssee, Creuzevault, 1951

Fernand Leger

Tristan Tzara, La Face interieiire, Seghers, 1953

Louis Marcoussis

Planches de saint, Jeanne Bucher, 193

Andre Masson

Nocturnal Notebook, Curt Valentin, 1944 Georges Duthuit, Le Serpent dans la galere. Curt Valentin, 1945

Joan Miro

Tristan Tzara, Parler seul poeme, Maeght, 1948, 1950

fiittiristi,

Milan, 1958

Albert Gleizes and

Miro-Cartones, 1959-196^, Pierre Matisse Gallery, 1965

Mehmed

D. Nejad

Tristan Tzara, Le

Temps

naissant, 1955

Antoine Pevsner

Carola Giedion-Welcker, Antoine Pevsner, Neuchatel, 1961

Pablo Picasso

Tristan Tzara,

Pierre- Auguste

Renoir

A Haute flamme,

Ambroise VoUard, La Vie

Jacquet, 1955

et I'oeiwre

de Pierre-Anguste Renoir,

Vollard, 1919

Wiliem Sandberg

Nn-XX, Holland, 1959

Joaquin Torres-Garcia

La Citidad

Jacques Villon

Tristan Tzara, Miennes, Caracteres, Paris, 1955

148

sin

nombre, Montevideo, 1941


VI

ARTISTS AS ILLUSTRATO RS Bonnard

(partial listing)

Parallelement

litho.

n.d.

Calligrammes

litho.

1930

Maurice Denis

Thompson's Poems

litho.

n.d.

Raoul Dufv'

La Belle-enfant, ou etch.

1930

Pierre

Giorgio de Chirico

L' Amour a qiiarante

ans

Marie Laurencin

La Princesse de Cleves

aquatint

n.d.

Fernand Leger

Les Illuminations

litho.

1949

Jean Lur^at

Mes Domaines

\vc.

1958

Alberto Magnelli

Poesie de mots iyiconnus

aquatint

1949

Aristide Mailloi

Daphnis Playing on

woodcut

1926

woodcut

1916

woodcut woodcut

1937

his Pipe

Shepherds and Dryad

Maidens

Fill

the

Woodland

L'Art d'aimer Plant Forms

VII

Albert Marquet

Images d'une petite

Andre Masson

Les Hain-Teny

ville

Minos

etch.

n.d.

etch.

1956

Henri Matisse

Pasiphae, chant de

linoleum cut

1944

Joan Miro

La Bague d'Aurore

etch.

1957

Georges Rouault

Parades

litho.

Andre Dunoyer de Segonzac

Les Georgiqiies

etch.

1937-43

Sophie Taeuber-Arp

Poesie de mots inconntis

litho.

1949

Rene

Poets, Painters

litho.

n.d.

Pierre Tal

Coat

MISCELLANY Giacomo

and Sculptors

& wc.

Balla

Palette

and

2 brushes

c.

Umberto Boccioni

Palette

Constantin Brancusi

The

Kiss

ink

Alexander Calder

Yellow Circle

rug

Female Figure

ceramic

Bulls

1925 n.d.

Head

and

oil

on eggshell

1953

ceramic plate rug

Serrure

ANTIQUITIES

1938

(partial listing)

Pablo Picasso

VIII

arabe

1935

Untitled

rug

Owl

ceramic

(partiallisting)

Pre-Columbian: group of 11 stone and ceramic pieces of Aztec and Tarascan origin Etrusco-Corinthian

Oil Flask

terra cotta

Roman

Capital

stone

3-ist

Egyptian

Amulet of two

stone

date uncertain

Cypriot

Figurine

terra cotta

8-7th Century B.C.

Etruscan

Cinerary urn

stone

5 -4th

Anatolian

Bird

bronze

end of 2nd

fingers

c.

6th Century B.C.

Century B.C.

Century B.C.

Millenium B.C.

249


Photographic Credits Black and white illustrations: Detroit Institute of Arts: nos. 64, 103, 112, 114, 116, 117, 152, 157, 166, 188, 190, 193, 199, 207, 220, 2z8, 230, 232

Lew

Gilcrest Studios,

Birmingham: nos.

10, 13, 18, 22, 40,

48, 53, 70, 93, 99, 102, 105, 106, 168, 169, 176, 191, 192,

197, 205

Joseph Khma,

Jr.,

Detroit: nos.

i,

12, 16, 19, 31, 33, 39, 50,

51, 56, 63, 67, 72, 74, 76-80, 83, 86-89, 93, 94, 98, 100,

107, 108, III, 133, 134, 177, 214

Courtesy Dr. and Mrs. Barnett Malbin, Birmingham: nos. 5, 7,

%

II,

12.-

14, i5> 17,

2.0,

2,

24, Z7-31, 35, 37, 38, 42, 44-47,

49, 52, 55a, 55b, 57, 6z, 65, 66, 68, 71, 75, 81, 82, 85, 91, loi,

104, 109, 119, 138, 141, 142, 150, 151, 153, 162, 182, 187,

195, 196, 200, 201, 209, 215, 218, 223, 224, 129

Milwaukee Art Center:

no. 6

Robert E. Mates and Susan Lazarus, 8, 2.1, 25, 34, 36, 41,

New York:

nos.

43, 54, 58, 60, 69, 73, 92, 95, 97,

3, 4,

no

Color Plates: Joseph KHma,

Jr.,

Detroit: nos. 26, 59, 102

Courtesy Dr. and Mrs. Barnett Malbin, Birmingham: no. 61

Robert

E.

Mates and Susan Lazarus,

32, 84, 90, 96,

New

York: nos. 23,

108

Supplementary Photographs: Joseph Klima,

Jr.,

Detroit: p. 27

Baltazar Korab, Birmingham: pp.

5,

17

Courtesy Dr. and Mrs. Barnett Malbin, Birmingham: pp.

8,15,18,20,22,28

250

6,


Exhibition 73/5 3750 copies of

this

catalogue designed by Malcolm Great

have been printed by the Meriden Gravure in

Company

September 1973 for The Trustees of The Solomon R.

Guggenheim Foundation on Futurism:

A Modern

the occasion of the exhibition

Focus

151


Profile for Captain Nemo

Futurism  

art, italian, XX century, modern

Futurism  

art, italian, XX century, modern

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