Léger A vision of the contemporary city 1910

Temporary exhibitions
Organised by
The Philadelphia Museum of Art
Fondazione Musei Civici di Venezia
Press
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Curator
Anna Vallye
/1
Scientific directors
Gabriella Belli
Timothy Rub
In collaboration with
Carlos Basualdo
Exhibition project
Daniela Ferretti
Léger
A vision of the contemporary city
1910 - 1930
—
Museo Correr, Venice
8th February – 2nd June 2014
—
“If pictorial expression has changed, it is because modern life has required it...
The view from the window of a railway carriage and car travelling at speed has altered
the customary appearance of things. A modern man registers a hundred times more
sensorial impressions than an artist of the 18th century…
The compression of a modern painting, its variety, its decomposition of forms, are the
result of all this”.
Fernand Léger, 1914
These were the words used by Fernand Léger (1881–1955) on the eve of the outbreak
of the First World War to comment on the radical transformations the spread of the
second Industrial Revolution was bringing to every sphere of everyday life, in which an
increasingly frantic, or more modern, rhythm in life was changing art and its rules.
The Philadelphia Museum of Art and the Fondazione Musei Civici di Venezia are
dedicating a major exhibition to Léger and his extraordinary career within the
European artistic avant-garde, to be hosted in the rooms of the Museo Correr.
This important event, open from 8th February to 2nd June 2014, will be the first
major exhibition about the French artist’s work to be held in Italy, and will focus
on the theme of the depiction of the contemporary city.
Divided into five sections (The metropolis before the Great War, The painter of the city,
Advertising, The performing arts, Space), ‘Léger. A vision of the contemporary city
1910 - 1930’ is curated by Anna Vallye with the scientific direction of Gabriella
Belli and Timothy Rub, director of the PMA in Philadelphia and exhibition project
by Daniela Ferretti, in the wake of the success at the Philadelphia Museum of Art,
“Léger. A vision of the contemporary city 1910-1930” presents over 100 works,
of which more than 60 by Léger himself. The selection includes the outstanding
‘La Ville’, a painting that led the way to the most experimental and Cubist/Futurist
experimentation of his production, and which has exceptionally been loaned by the
Philadelphia together with a group of another 25 important works.
Painted by Léger in 1919 on his return to Paris after serving at the Front during the First
World War, this large picture would influence an entire generation of artists, becoming
a manifesto of painting dedicated to the subject of the contemporary city. The
painting’s subject is the city and its frantic activity, its architecture of Cubo-Futurist
assemblages, and its inhabitants: mechanical, almost robotic men, harmoniously
integrated into the dynamism of the new “urban machine”.
>>
Press Information
Fondazione Musei Civici di Venezia
Ufficio Stampa e Relazioni Esterne
Riccardo Bon
T +39 0412405225 / 32
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Villaggio Globale International
Antonella Lacchin
T +39 0415904893 M +39 3357185874
[email protected]
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Palazzo Ducale
Museo Correr
Torre dell’Orologio
Ca’ Rezzonico
Museo del Settecento Veneziano
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Casa di Carlo Goldoni
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Galleria Internazionale d’Arte Moderna
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30124 Venezia
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This extraordinary work, constituting the incipit of the exhibition, will be flanked by a series
of important works from public and private European and American collections
(Tate Liverpool, the Avery Art and Architecture Library of Columbia University in New
York, the Dansmuseet of Stockholm, the Centre Pompidou of Paris, the Musée National
Fernand Léger in Biot, the Toledo Museum of Art in Ohio and the Fondation Beyeler of
Basel, to mention a few), enabling the visitor not only to compare Léger’s picture with
many other innovative compositions by the same artist, all linked to the theme of the
modern city and some of them virtually unknown in Italy (such as his work for
theatre design and advertising, and sets for theatre and cinema), but also to explore
the links between his own work and that of other exponents of this fruitful avant-garde
season.
His rich production, which explored almost every field of artistic endeavour, from
advertising and cinema to graphic design and theatre, will be compared in the
exhibition with other masterpieces by leading artists of the period, friends and
travelling companions in experimentation, among whom Duchamp, Picabia, Robert
Delaunay, El Lissitzky, Mondrian, Le Corbusier; all artists who, like Léger himself,
have contributed to renewing the notion of how to depict the city, each using the form
best suited to his personal aesthetic interests but falling within one of the many ‘isms’ of
the early 20th century, from Cubism to Futurism, Constructivism to the Neoplasticism
of De Stijl.
The quantity and variety of the works and projects displayed – from the first urban
landscape of all, “Smoke over rooftops” of 1911, to the so-called mural pictures executed
between 1924 and 1926; from the costumes and choreographies for the “Ballets
Suédois” to such famous works as “The typographer” (1919), “Man with a cane” (1920)
and “Mechanical element” (1924), and Marcel L’Herbier’s film “L’inhumaine”, for which
he helped with the sets and which constitutes a celebration of cinema as synthesis of
the arts – will enable visitors to judge the artistic results of those crucial two
decades between 1910 and 1930 with their multifarious facets, when Paris was
truly the world’s capital for art, culture, trade and society, before the stock market
crashes caused its inexorable decline. And it was in Paris that Léger and the avant-garde
artists, responsive to the stimuli originating from that extraordinary “forge” of stimuli
and innovation that was the modern metropolis, played a leading role in redefining the
place of art within society.
Léger’s work in this field was truly pioneering – and the exhibition stresses the fact
– both for his multi-disciplinary conception of art and for his striving to change the
forms of painting, thereby meeting the demands of the new urban reality, in line with a
phenomenon that after the Second World War would be dubbed mass communication.
Reworking his style, which was first influenced by Picasso’s Cubism and his
contacts with leading exponents of the European avant-garde, like Robert Delaunay,
Jacques Lipchitz and Juan Gris, Fernand Léger gradually formed a wholly personal
manner, and from the period immediately after the Great War began to impose himself
as a major architect of painting. His “realism”, attuned to urban life, was certainly the
most interesting result of the cross-fertilisation between the various forms of art and
the style of the first mass media.
The exhibition is accompanied by a catalogue published by Skira-Milan, 2014.
Fernand Léger will be remembered in an exhibition, which takes place almost simultaneously with
the one of Correr Museum, held at the Musée National Fernand Léger in Biot, France.
“Fernand Léger: reconstruire the réel, 1924-1946” is an exhibition that, from 1st March to 2nd
June 2014, will shed light on part of artist’s career which is still little explored by investigating his
relationship with the principles of a movement that, at first sight, was far from being his formation:
Surrealism.
www.musee-fernandleger.fr
Léger in front of “La Ville” (1919) during the
opening of A.E. Gallatin Collection at The
Philadelphia Museum of Art, 14 may 1943
Philadelphia Museum of Art Collection
—
Fernand Léger
La Ville, 1919
Oil on canvas 231,4x298,5 cm
Philadelphia Museum of Art
© Fernand Léger, by SIAE 2014
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Léger
A vision of the contemporary city
1910 - 1930
—
FERNAND LÉGER - BIOGRAPHICAL NOTES
Fernand Léger lived through a period of great change that transformed everyday life.
He witnessed the transformation from candles to gas and electricity, from horse-drawn
carts to cars and the airplane, and from a prevalently rural society to an increasingly
urban one. His generation also saw the birth of new means of communication, such as
the cinema, telegraph and radio.
Born in 1881 at Argentan, Normandy, after an apprenticeship in architecture at Caen,
he entered the École des Arts Décoratifs in Paris in 1903. After destroying most of his
early works, in 1908 he began to develop a personal style, influenced by Cubism and
Picasso’s work.
In 1914, he was called up and served during the First World War in the trenches of the
Ardennes and Verdun; it was an experience that was to mark him for life. At the end of
the war, he worked on painting, murals, tapestries, mosaics, sculpture and ceramic;
he also collaborated in sets and costumes for theatrical shows. In 1924, he produced
an avant-garde film called “Ballet mécanique”. And he also worked for ballet, being
responsible for the costumes and sets of Darius Milhaud’s “La création du monde”.
His art enjoyed increasing success in various exhibitions in France, Switzerland and the
United States. Between 1940 and 1945, he moved to New York, where he produced a
number of huge mural paintings.
He died on 17th August 1955 at Gif-sur-Yvette in France.
Fernand Léger
Curtain design for the ballet “Skating Rink”,
1922
watercolor on paper, 406x476 mm
Stockholm, Dansmuseet
© Dansmuseet - Musée Rolf de Maré
© Fernand Léger, by SIAE 2014
—
Fernand Léger
Animated landscape, 1924
oil on canvas, 49,53x65,07 cm
Philadelphia Museum of Art
© Fernand Léger, by SIAE 2014
The painting, which depicts Fernand Léger
with the art dealer Leon Rosenberg, was
realised after a trip to Venice.
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Léger
A vision of the contemporary city
1910 - 1930
—
GENERAL INFORMATION
Venue
Museo Correr – second floor
Piazza San Marco, Venice
Open to the public
8th February 2014/ 2nd June 2014
Opening times
10 am – 6 pm daily
The ticket office closes 1 hour before
the exhibition’s closure
Last entry at 5 pm
Information
www.mostraleger.it
www.correr.visitmuve.it
[email protected]
Call center
848082000
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Vaporetto
Line 1 or Line 2
alight at Vallaresso or San Zaccaria
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Pre-sales
single € 1,00
groups € 1,00
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Entry
Full € 13,00
Reduced € 11,00
Children aged 6 to 14; students aged 15 to 25*; group
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School reductions € 5,00
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Visits out of hours € 30,00
minimum purchase 15 tickets. Also allows entry to
The image of the European city from Renaissance to
Enlightenment exhibition
Free
disabled people with a companion; guides authorised by
the Provincia di Venezia; tour interpreters accompanying
groups; adults (max. 2) accompanying groups of children
or students; leaders (max. 1) accompanying groups of
adults; MUVE ordinary partners.
Guided visits
it is possible to combine a guided visit with The image
of the European city from Renaissance to Enlightenment
exhibition conditional on purchase of special reduced
price ticket of €2.
Single € 5,00
Groups € 100,00
Schools € 80,00
Audioguide
adults € 5,00
it is possible to use the audioguide in The image of the
European city from Renaissance to Enlightenment
exhibition conditional on purchase of special reduced
price ticket of €2.
whisper € 1,00
obligatory for groups of 15 persons or more free for those
purchasing a guided visit
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Works in
Display
Léger
A vision of the contemporary city
1910 - 1930
—
WORKS IN DISPLAY
1. Fernand Léger
Paesaggio animato, 1924
olio su tela, 49,5 x 65,1 cm
Filadelfia, Philadelphia Museum of Art,
donazione Bernard Davis, inv. 1950-63-1
2. Fernand Léger
Contrasto di forme, 1912 circa
olio su carta su cartone, 64 x 48 cm
Riehen/Basilea, Fondation Beyeler,
Beyeler Collection
3. Marcel Duchamp
Nudo che scende le scale (n.1), 1911
olio su cartone su tavola, 95,9 x 60,3 cm
Filadelfia, Philadelphia Museum of Art,
The Louise and Walter Arensberg
Collection, inv. 1950-134-58
4. Jacques Lipchitz
Bagnante, 1917
bronzo, 89,5 x 36,8 x 27,9 cm
Filadelfia, Philadelphia Museum of Art,
lascito Mrs. Irving R. S
5. Fernand Léger
Fumo sui tetti, 1911
olio su tela, 45,7 x 54,9 cm
Collezione privata
Courtesy of Luxembourg & Dayan
6. Albert Gleizes
Paysage, 1914
olio su tela, 73,3 x 92,3 cm
New Haven, Yale University Art Gallery,
donazione Collection Société Anonyme
7. Robert Delaunay
Finestre in tre parti, 1912
olio su tela, 40,6 x 96,5 cm (con cornice)
Filadelfia, Philadelphia Museum of Art,
A.E. Gallatin Collection, inv. 1952-61-13
8. Juan Gris
Natura morta davanti alla finestra aperta
(Place Ravignan), 1915
olio su tela, 115,9 x 88,9 cm
Filadelfia, Philadelphia Museum of Art,
The Louise and Walter Arensberg
Collection, inv. 1950-134-95
9. Robert Delaunay
Dramma politico, 1914
olio e collage su cartone, 88,7 x 67,3 cm
Washington, DC, National Gallery of Art,
donazione Joseph H. Hazen Foundation, Inc.,
inv. 1971-2-1
10. Frank Kupka (František Kupka)
Dischi di Newton
(studio per Fuga in due colori), 1912
olio su tela, 100,3 x 73,7 cm
Filadelfia, Philadelphia Museum of Art,
The Louise and Walter Arensberg
Collection, inv. 1950-134-122
11. Robert Delaunay
La torre Eiffel (fronte), 1925 circa
olio su iuta, 130,8 x 31,7 cm
Filadelfia, Philadelphia Museum of Art,
The Louise and Walter Arensberg
Collection, inv. 1950-134-43a
12. Robert Delaunay
Senza titolo (retro), 1925 circa
olio su iuta, 130,8 x 31,7 cm
Filadelfia, Philadelphia Museum of Art,
The Louise and Walter Arensberg
Collection, inv. 1950-134-43b
13. Fernand Léger
L’orologio, 1918
olio su tela grezza, 50,7 x 61,5 cm
Riehen/Basilea, Fondation Beyeler,
Beyeler Collection
14. Fernand Léger
La città, 1919
olio su tela, 231,1 x 298,4 cm
Filadelfia, Philadelphia Museum of Art,
A.E. Gallatin Collection, inv. 1952-61-58
15. Fernand Léger
Schizzo per La città (primo stato), 1919
olio su tela, 65 x 54 cm
Toledo, Toledo Museum of Art,
acquistato con il contributo della Libbey
Endowment, donazione Edward Drummond
Libbey, 2000.9
/1
Works in
Display
16. Fernand Léger
La città (frammento, terzo stato), 1919
olio su tela, 129,9 x 97,2 cm
Filadelfia, Philadelphia Museum of Art,
The Louise and Walter Arensberg
Collection, inv. 1950-134-124
25. Fernand Léger
Manifesto per il film La Roue,
diretto da Abel Gance, 1920
gouache, acquerello e grafite su carta,
425 x 314 mm
Donald B. Marron Collection
17. Fernand Léger
L’impalcatura (primo stato), 1919
olio su tela, 64,9 x 53,8 cm
Filadelfia, Philadelphia Museum of Art,
A.E. Gallatin Collection, inv. 1952-61-57
26. Le Corbusier (Charles Éduard
Jeanneret) e Pierre Jeanneret
Padiglione smontabile per fiere
commerciali, 1928
da “L’Architecture Vivante”, primavera/estate
1929, Éditions Albert Morancé, Paris
tav. 28, foglio: 27 x 22,5 cm
New York, Columbia University, Avery
Architectural and Fine Arts Library,
donazione W.K. Harrison
18. Fernand Léger
La bandiera, 1919
olio su tela, 64,7 x 81 cm
New York, Collection
Mr. e Mrs. Howard e Nancy Marks
19. Fernand Léger
Il tipografo (ultimo stato), 1919
olio su tela, 130,3 x 97,5 cm
Filadelfia, Philadelphia Museum of Art,
The Louise and Walter Arensberg
Collection, inv. 1950-134-125
20. Fernand Léger
L’uomo con il bastone (primo stato), 1920
olio su iuta, 65,1 x 49,7 cm
Filadelfia, Philadelphia Museum of Art,
The Louise and Walter Arensberg
Collection, inv. 1950-134-126
21. Fernand Léger
Uomini in città, 1919
olio su tela, 145,7 x 113,5 cm
Venezia, Collezione Peggy Guggenheim
(Solomon R. Guggenheim Foundation,
New York)
22. Fernand Léger
Illustrazione per Blaise Cendrars,
J’ai tué, La Belle Édition, Paris 1918
stampe con cliché al tratto, colorate a
pochoir
pagina, 19,4 x 17,2 cm
Washington, DC, National Gallery of Art
23. Fernand Léger e Blaise Cendrars
La Fin du Monde filmée par l’Ange de
N.-D., Éditions de la Sirène, Paris 1919
22 stampe colorate a pochoir,
ciascuna 31,4 x 25,1 cm
Filadelfia, Philadelphia Museum of Art,
A.E. Gallatin Collection, inv. 1952-61-141
24. Fernand Léger
Studio per Dischi nella città, 1920
grafite, gouache e collage su carta,
1285 x 1610 mm
Parigi, Centre Pompidou, Musée
National d’Art Moderne, Centre de
Création Industrielle, donazione, 1982
27. Fernand Léger
Il grande rimorchiatore, 1923
olio su tela, 125 x 190,6 cm
Biot, Musée National Fernand Léger,
Musées Nationaux du XXème Siècle
des Alpes-Maritime, donazione Nadia
Léger and Georges Bauquier, 1969
28. Djo-Bourgeois (Georges Bourgeois)
L’Inhumaine, 1924
manifesto per il film diretto da Marcel
L’Herbier
litografia, 163 x 124 cm
Parigi, Collection Cinémathèque
Française
29. Marcel L’Herbier
L’Inhumaine, 1924
film muto, bianco e nero,riversato su DVD
regia di Marcel L’Herbier, sceneggiatura
di Pierre Ducharnais, scenografie di
Fernand Léger, Robert Mallet-Stevens,
Claude Autant-Lara e Alberto Cavalcanti
New York, The Museum of Modern Art
30. Fernand Léger
Elemento meccanico, 1924
olio su tela, 146 x 97 cm
Parigi, Centre Pompidou, Musée
National d’Art Moderne, Centre
de Création Industrielle, lascito
della baronessa Eva Gourgaud, 1965
31. Cassandre (Adolphe Jean-Marie
Mouron)
Le Plus Fort: L’Intransigeant, 1925
manifesto pubblicitario
litografia a colori, 109,2 x 150,5 cm
Filadelfia, Philadelphia Museum of Art, A.E.
Gallatin Collection, inv. 1949-88-2
32. Francis Bernard
Le Bal des Petits Lits Blancs, 1927
manifesto per evento benefico
litografia, 157,5 x 115,9 cm
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Works in
Display
Rye (NY), The Merrill C. Berman
Collection
33. Jean Carlu
Disques Odéon, 1929
manifesto pubblicitario
litografia, 251,5 x 132,1 cm
Rye (NY), The Merrill C. Berman
Collection
34. Fernand Léger
“La Danse”, 1924
periodico, 37 x 24,9 x 1 cm
Filadelfia, Philadelphia Museum of Art Library
35. Fernand Léger
Scenografia per Skating Rink, 1921
acquerello su carta, 222 x 298 mm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
36. Fernand Léger
Progetto di sipario per Skating Rink, 1922
acquerello su carta, 406 x 476 mm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
37-43. Fernand Léger
Progetti di costumi per Skating Rink, 19211922
• Uomo con pantaloni a righe, 1921
acquerello su carta, 298 x 178 mm
• Donna con gonna gialla, 1921-1922
acquerello su carta, 225 x 145 mm
• Donna con gonna rossa, 1922
grafite, gouache, china e inchiostro
acquerellato su carta, 250 x 170 mm
• Donna con vestito verde, 1921-1922
acquerello su carta, 254 x 152 mm
• Uomo con pantaloni marroni, 1921-1922
acquerello su carta, 250 x 160 mm
• Uomo con giacca a scacchi, 1921-1922
acquerello su carta, 227 x 150 mm
• Marinaio, 1921-1922
grafite, gouache e inchiostro
acquerellato su carta, 250 x 170 mm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
44-45. Sonia Delaunay-Terk
Progetti per i costumi per Tristan Tzara
Le Coeur à Gaz, Librairie des Arts
Décoratif, Paris 1925 circa
stampe a matrice, 38,1 x 55,9 cm (cad.)
Brooklyn, Brooklyn Museum Libraries,
Special Collections, donazione
M.D.C. Crawford
46. Fernand Léger
Elemento meccanico, 1925
olio su tela, 65,4 x 45,1 cm
Collezione privata
47. El Lissitzky (Eliezer Lisickij)
La vittoria sul sole, 1923
portfolio di 10 litografie a colori, ciascun
foglio: 53,3 x 45,7 cm con cornice
Filadelfia, Philadelphia Museum of Art,
donazione George J. Roth, inv. 1953-23-1-10
48. Jean Epstein
Bonjour, Cinéma!,
Éditions de la Sirène, Paris 1921
libro, cm 17,9 x 11,4 cm
Filadelfia, Philadelphia Museum of Art Library
49. Fernand Léger
Illustrazioni per André Malraux,
Lunes en Papier, Éditions de la Galerie Simon,
Paris 1922
libro con xilografie, 32,2 x 23,3 x 0,6 cm
Filadelfia, Philadelphia Museum of Art,
donazione Carl Zigrosser, inv. 1964-152-6
50. Fernand Léger
Copertina per “Broom”, vol. 1, n. 3, gennaio
1922 Harold Loeb, Roma
xilografia, 32,5 x 24 cm
New York, Rare Book and Manuscript
Library, Columbia University
51. Fernand Léger
Illustrazione per il programma dei Ballets
Suédois, 1923
grafite, acquerello, gouache e china su carta,
325 x 246 mm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
52. Fernand Léger
Scenografia con tre figure deiformi per La
Création du Monde, 1923 circa
acquerello su carta, 420 x 630 mm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
53. Fernand Léger
Copertina per “Little Review”, 1923
periodico, 24,1 x 19,1 x 0,60 cm
Filadelfia, Philadelphia Museum of Art Library
54. Fernand Léger
Progetto di figura deiforme per La Création du
Monde, 1923 circa
grafite, acquerello, gouache e china su carta,
370 x 195 mm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
55. Fernand Léger
Composizione, 1923-1927
olio su tela, 128,3 x 97,2 cm
Filadelfia, Philadelphia Museum of Art, A.E.
Gallatin Collection, inv. 1952-61-63
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Works in
Display
56. Francis Picabia
Relâche: Contre Tous les Académismes da “La
Danse”, n. 50/51 novembre/dicembre 1924,
Paris
ciascuna pagina: 37 x 25 cm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
57. Francis Picabia
Modellino per Relâche, 1933
(riproduzione secondo l’originale del 1924)
legno, pittura metallica, carta e cartoncino,
46 x 61 x 40,5 cm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
58. Francis Picabia
Progetto di sipario per Relâche, 1924
grafite, acquerello e china su carta,
320 x 500 mm
Stoccolma, Dansmuseet, Museum Rolf de
Maré
59. René Clair e Francis Picabia
Entr’acte, 1924
film in bianco e nero riversato su DVD
scenografia di Francis Picabia, musiche
originali di Erik Satie, coreografia di Jean
Borlin, con la partecipazione di Marcel
Duchamp, Man Ray e Jean Borlin
New York, The Museum of Modern Art
Archives
60. Fernand Léger e Dudley Murphy
Ballet Mécanique, 1924
film muto, bianco e nero, riversato su
video ad alta definizione, 16 minuti
New York, Anthology Film Archives
61. Marchel Duchamp
Anémic Cinéma, 1926
film muto, bianco e nero, riversato su DVD,
7 minuti con la collaborazione di Man Ray e
Marc Allégret
New York, The Museum of Modern Art,
Circulating Film and Video Library
62. Fernand Léger
Progetti di affresco per un music hall
(a sinistra) e per un muro esterno (a destra),
1922, da “L’Architecture Vivante”, autunno/
inverno 1924
Éditions Albert Morancé, Paris tav. 9
foglio: 22,5 x 27 cm
New York, Avery Architectural and Fine
Arts Library, Columbia University,
donazione W.K. Harrison
63. Robert Delaunay
Forme circolari, 1930
olio su tela, 128,9 x 194,9 cm
New York, Solomon R. Guggenheim
Museum, Solomon R. Guggenheim
Founding Collection 49.1184
64. Vilmos Huszár e Gerrit Rietveld
Viste del modello in scala per
Composizione spazio-colore presentate
alla Juryfreie Kunstschau, Berlino, 1923
da “L’Architecture Vivante”, autunno/inverno
1924, Éditions Albert Morancé, Paris
tavv. 10-11
foglio: 44,5 x 27 cm
New York, Columbia University, Avery
Architectural and Fine Arts Library,
donazione W.K. Harrison
65. Piet Mondrian
N. VI / Composizione n. 11, 1920
olio su tela, 116,3 x 116,3 cm (con cornice)
Liverpool, Tate Liverpool, acquisto 1967
© 2014 Mondrian/Holtzman Trust c/o
HCR International
66. Theo van Doesburg e Cornelis van
Eesteren
Progetto per una casa privata (con
combinazione di colori di Theo van
Doesburg), 1923
da “L’Architecture Vivante”, autunno/inverno
1925, Éditions Albert Morancé, Paris
tav. 5
foglio: 27 x 22,5 cm
New York, Columbia University, Avery
Architectural and Fine Arts Library,
donazione W.K. Harrison
67. Theo van Doesburg e Cornelis van
Eesteren
Combinazione di colori per una casetta
ad Alblasserdam (Olanda), 1923
da “L’Architecture Vivante”, primavera/estate
1924, Éditions Albert Morancé, Paris
tav. 20
foglio: 22,5 x 27 cm
New York, Columbia University, Avery
Architectural and Fine Arts Library,
donazione W.K. Harrison
68. Theo van Doesburg
Contro-composizione V, 1924
olio su tela, 100 x 100 cm
Amsterdam, Collection Stedelijk
Museum
69. Amédée Ozenfant
Natura morta (Nacres n. 2), 1923-1926
olio su tela, 130,3 x 96,5 cm
Filadelfia, Philadelphia Museum of Art,
acquistato con il contributo del Fondo
Edith H. Bell e del Fondo Edward and Althea
Budd, inv. 1975-170-1
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Works in
Display
“Works in display”
70-71. Eileen Gray e Jean Badovici
Progetti per la casa E-1027 a Cap-Martin
Roquebrune, 1926-1929
da “L’Architecture Vivante”, autunno/inverno
1929, Éditions Albert Morancé, Paris
tavv. 32 e 41
fogli: 22,5 x 27 cm
New York, Columbia University, Avery
Architectural and Fine Arts Library,
donazione W.K. Harrison
72. Le Corbusier (Charles Éduard
Jeanneret) e Pierre Jeanneret
Progetto per una casa privata in rue DenfertRochereau, Bologne-Sur-Seine (Villa Cook),
1927
da “L’Architecture Vivante”, autunno/inverno
1927, Éditions Albert Morancé, Paris
tav. 5
foglio: 27 x 22,5 cm
New York, Columbia University, Avery
Architectural and Fine Arts Library,
donazione W.K. Harrison
73. Georges Vantongerloo
Interrelazione di volumi, 1919
pietra, 17,8 x 12,1 x 12,1 cm
Lucerna, Chantal and Jakob Bill collection
74. Willi Baumeister
Pittura murale nero-rosa, 1923
olio, compensato e sabbia su tavola,
116,2 x 76,2 cm
Vienna, Museum Moderner Kunst Stiftung
Ludwig
75-78. Otto Gustav Carlsund
Progetti di un murale per una serie di cinema,
1926-1936
Uomo con megafono I, Operatore grigio,
Musicista II, Macchina verde (1936)
gouache su grafite su carta, 24,9 x 12 cm
(cadauno)
New Haven, Yale University Art Gallery,
donazione della Collection Société Anonyme
79. Ragnhild Keyser
Composizione I, 1926
olio su tela, 129,5 x 65,1 cm
New Haven, Yale University Art Gallery,
donazione della Collection Société Anonyme
80. Jacques Lipchitz
Figura semieretta, 1915
piombo, 48,3 x 12,7 x 8,6 cm
(56,5 x 16,8 x 10,2 cm con base)
Filadelfia, Philadelphia Museum of Art,
A.E. Gallatin Collection inv. 1952-61-71
81. Fernand Léger
Copertina per “Europa Almanach” di Carl
Einstein e Paul Westheim, 1925
Gustav Kiepenhauer Verlag, Potsdam
periodico, 23,5 x 15,5 cm
Filadelfia, Philadelphia Museum of Art Library
82. Fernand Léger
Studio per un murale, 1925
gouache su carta, 241 x 83 mm
(foglio 368 x 211 mm)
Filadelfia, Philadelphia Museum of Art,
A.E. Gallatin Collection, inv. 1952-61-60
83. Fernand Léger
Pittura murale, 1924-1925
olio su tela, 180,2 x 80,2 cm
New York, Solomon R. Guggenheim Museum,
inv. 58.1507
84. Fernand Léger
Composizione murale, 1926
olio su tela, 130,4 x 97 cm
Biot, Musée National Fernand Léger,
Musées Nationaux du XXème Siècle
des Alpes-Maritime, donazione di Nadia
Léger e Georges Bauquier, 1969
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