This post goes with a book review of the exhibition catalogue Visionaries: Creating a Modern Guggenheim (2017) for Museum Bookstore which is posted here and also follows in a slightly different form below.
It has been one of life’s great pleasures to see Franz Marc’s Die gelbe Kuh many times over the years at the Solomon R. Guggenheim Museum. Every time I get the same huge surge of joy as the first, and I think other people feel the same way. When the painting is where it lives normally, in the Thannhauser wing, you can sit on a bench in the gallery and watch people come in, weaving their way through some much smaller woodcuts and decorated books, and then turn the corner to be met by this enormous colourful and cheerful painting. Always a lot of oohs and ahhs and delighted small children.
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People admiring Franz Marc’s Stallungen (1913, l) and Die gelbe Kuh (1911) at the Guggenheim.
Visionaries: Creating a Modern Guggenheim
Edited and introduced by Megan Fontanella with chapters by Vivien Greene, Jeffrey Weiss, Susan Thompson, Tracey Bashkoff, Lauren Hinkson, and Susan Davidson and published by Guggenheim Museum Publications, this catalogue accompanies the eponymous exhibition held at the Solomon R. Guggenheim Museum in New York City, 10 February-6 September 2017; 312 pages with color reproductions of all the paintings and sculptures from the exhibition plus archival photographs, illustrations, letters, and newspaper and magazine notices.
The “modernization” of European art around 1900 is usually associated with the evolution of line, color, and figuration toward abstraction, as manifested by Expressionism and Futurism. The fact that art collectors and dealers played an important role in codifying what we think of now as Modernism is brought to full light in the catalogue Visionaries: Creating a Modern Guggenheim, produced to coincide with the exhibition of the same name.
In fact the catalogue seems, at least at first glance, intent upon driving home the idea that art is a business, opening with the normally blank flyleaf emblazoned with corporate logos and an unprecedented “Sponsor Statement” by Francesca Lavazza, heir to the Lavazza coffee brand, the underwriter of the exhibition. However the scholarly contents are innovatively presented and well-researched, with five sections devoted to each of the “visionaries” (in this case being the collectors, not the artists), paired with a focus on one of the museum’s key acquisitions. An opening essay by the Guggenheim’s curator of collections and provenance, Megan Fontanella, introduces the scope of the exhibition and the historical circumstances that allowed American entrepreneur Solomon Robert Guggenheim to decide in the 1920s, after five decades dominating the U.S. mining industry, to become the world’s foremost collector and exhibitor of what became dubbed “non-objective” art. (42) As in the rest of the book, the introduction offers wisely-selected and superbly reproduced works from both the immediate exhibition and from other sources.
Of great interest are photos of the assorted collectors and dealers in domestic settings, surrounded by their objets, which are very revealing, perhaps beyond what is intended by their inclusion in a book that is an official history of the Guggenheim. It is impossible, for example, not to be vexed by the careless profligacy of Peggy Guggenheim, niece of Solomon and founder of the Guggenheim Collection Venice. She is shown on the terrace of an Île Saint-Louis flat, wearing pearls and sipping an espresso as the Nazi-occupied Paris of the 1940s falls away across the river, Constantin Brancusi’s Maiastra (1912) set perilously on the parapet beside her. (254)
In fact the catalogue is an outstanding exercise for those willing to read between its restrained lines. Taken this way, an excellent contemporized portrait of the Guggenheim’s co-founder and first director, Hilla Rebay, emerges. Fontanella and Susan Thompson dispense with the “female hysteria” characterization of Rebay as the occult-obsessed lover of painter Rudolf Bauer to focus on her acumen as a businesswoman and strategic positioning as a collage artist. Thompson shows Rebay’s collages – figurative portraits for the most part, more like mosaics made with bits of paper than Hanna Höch’s more associative and confrontational critiques of Weimar culture – as a distinct oeuvre outside the canonical avant-garde’s concentration on sculpture and painting.
Equally calculating and less sympathetic is Rebay’s outsize ambition as Guggenheim’s chief advisor and deal-maker. Fontanella reports:
Rebay […] did attend the notorious Entartete Kunst show in Munich in August 1937, fresh from the June establishment of the Solomon R. Guggenheim Foundation. The foundation would make important purchases from the ensuing German-government-sponsored degenerate art sales: [Wassily] Kandinsky’s Der blaue Berg (1908-09) and Einige Kreise (1926), and [Paul] Klee’s Tanze Du Ungeheuer zu meinem sanften Lied (1922) were among the works that entered its holdings this way in 1939 – works that might have been destroyed. (30)
…Or works that might have been returned to their rightful owners.