Klee and AmericaMenil Collection, 2006 - 315 pages Paul Klee was a leading figure in European Modernism, and his acclaim at home was quickly matched in the United States, where both private collectors and major museums sought out his work. Klee and America explores the reasons for that enthusiastic reception, especially during the 1930s and 1940s, while the artist was being targeted in Hitler's campaign against Entartete Kunst (degenerate art). Just as the European market for Klee's work was collapsing, American patrons and curators were gobbling it up. And after he had been removed from his teaching post in Dsseldorf and had returned to his childhood home in Switzerland, Klee continued to be represented by a number of German-Jewish art dealers who had emigrated to the U.S. Eventually his work landed in the collections of The Museum of Modern Art and the Guggenheim, among others. Foremost among Klee's earliest American collectors was Katherine Dreier, whose Societe Anonyme, founded with artists Marcel Duchamp and Man Ray, sponsored the exhibitions of pioneering abstract art in which his paintings were first shown in America. In Los Angeles, Walter and Louise Arensberg assembled a vast collection of Klee's paintings. In 1939, Alfred Barr Jr. bought a first canvas for MoMA. Klee and America examines this history and offers an impressive selection of Klee's finest "American" works, both paintings and drawings. |
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Page 234
... Rothko characterized his own artistic quest as a desire for transcendence in his work . Through painting Rothko forged a physical connection with the metaphys- ical realm ( fig . 60 ) . He said , " I do not believe that there was ever a ...
... Rothko characterized his own artistic quest as a desire for transcendence in his work . Through painting Rothko forged a physical connection with the metaphys- ical realm ( fig . 60 ) . He said , " I do not believe that there was ever a ...
Page 235
... Rothko's paintings would increasingly lay claim to an all - enveloping space . As Rothko explained , " By saturating the room with the feel- ing of the work , the walls are defeated and the poignancy of each work ... become [ s ] more ...
... Rothko's paintings would increasingly lay claim to an all - enveloping space . As Rothko explained , " By saturating the room with the feel- ing of the work , the walls are defeated and the poignancy of each work ... become [ s ] more ...
Page 237
... Rothko experienced a similar mo- ment of reckoning as he abandoned his earlier Social Realist concerns and turned in- creasingly toward myth and abstraction . See Ashton , 40-41 . 26. Paul Klee , " Excerpts from Notes , ” in Herbert ...
... Rothko experienced a similar mo- ment of reckoning as he abandoned his earlier Social Realist concerns and turned in- creasingly toward myth and abstraction . See Ashton , 40-41 . 26. Paul Klee , " Excerpts from Notes , ” in Herbert ...
Expressions et termes fréquents
abstract Alfred Flechtheim Alfred H Angeles Anni Albers April Arensbergs Art Gallery Art Museum Arthur Jerome Eddy artist avant-garde Barr Jr Barr's Bauhaus Berlin Bern Black Mountain Blue Four Blue Four Galka Buchholz Gallery Calder California color Cubists Curt Valentin Degenerate Art Dessau Drawings Dreier February Feininger Four Galka Scheyer Galka Scheyer Archives German Art Greenberg grid Guggenheim Museum inches J. B. Neumann January Jawlensky Josef Albers Klee exhibition Klee's Klee's art Kunst March Menil Collection Modern Art mounted on cardboard Munich Museum of Art Museum of Modern Nazis Nierendorf Gallery Norton Simon Museum November October Oil transfer Osamu Okuda painting Paul Klee pen margin Phillips Collection photograph Private Collection Rauschenberg Rivera Rothko San Francisco Museum Société Anonyme Solomon strip frame Sweeney Switzerland Vasily Kandinsky Walter Arensberg watercolor watercolor and pen watercolor on paper weaving wrote York Zentrum Paul Klee Zwitscher-Maschine