Édouard Manet (1832-1883), Devant la glace Solomon R ... · century from the collection of the...

Édouard Manet (1832-1883), Devant la glace, 1876, oil on canva, 93 x 71,6 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.27

CONTENTS

Page 4

PRESS RELEASE

Page 7

PREFACE BY BRUNO MONNIER, THE PRESIDENT OF CULTURESPACES Page 8

ITINERARY OF THE EXHIBITION

Page 22

KEY DATES

Page 25

THE ARTISTIC PROJECT TEAM

Page 26

THE HÔTEL DE CAUMONT - CENTRE D’ART

Page 27

CULTURESPACES, PRODUCER OF THE EXHIBITION Page 28

THE CULTURESPACES FONDATIONPage 29

SPONSOR OF THE EXHIBITION

0

VISUALS AVAILABLE FOR THE PRESS

Page 38

AROUND THE EXHIBITION

Page 39

PRACTICAL INFORMATION

4 Press kit - Masterpieces from the Guggenheim collection. From Manet to Picasso, the Thannhauser collection

The Hôtel de Caumont Art Centre will hold an exhibition of an ensemble of Impressionist, post-Impressionist, and avant-garde masterpieces from the beginning of the twentieth century from the collection of the Solomon R. Guggenheim Foundation in New York. For the first time, around fifty major works from the Thannhauser Collection, or linked to its history, will be presented in Europe in an itinerant exhibition that began in the Guggenheim Bilbao Museum. Ranging from Manet to Picasso, Degas, Gauguin, Cézanne, van Gogh, Braque, and Matisse, these masterpieces attest to the commitment to modern art—lasting for more than half a century—of some of the most influential and famous art dealers in Europe.

THE HÔTEL DE CAUMONT ART CENTRE 1 MAY–29 SEPTEMBER 2019

A CULTURESPACES PRODUCTION, IN COLLABORATION WITH THE SOLOMON R. GUGGENHEIM FOUNDATION, NEW YORK.

Since the 1900s, Heinrich Thannhauser (1859–1935) and his son Justin (1892–1976) had been the patrons, friends, and promoters of innovative artists who transformed Western art at the end of the nineteenth century and the first half of the twentieth century.

While building up a prestigious collection, father and son developed a programme of remarkable exhibitions in their galleries in Munich, Berlin, Lucerne, and Paris, and eventually in New York, where Justin settled in the 1940s. The gallery also held one of the first major retrospective exhibitions of Picasso’s oeuvre in 1913, which helped to forge a long and close friendship between Justin Thannhauser and the artist. Having settled in New York, Justin Thannhauser soon established himself as an art dealer in the United States. As they had no successor, Justin and his second wife, Hilde, decided in the 1960s to bequeath the major works in their collection to the institution founded in 1937 by Solomon R. Guggenheim, whose philanthropic values and interest in modern art they shared. Ever since, these works have constituted one of the core elements of this major museum, where they are displayed in a gallery that bears the name of the legatee.

MASTERPIECES FROM THE GUGGENHEIM COLLECTION FROM MANET TO PICASSO: THE THANNHAUSER COLLECTION

Press kit - Hôtel de Caumont - Centre d’Art 5

This bequest considerably enriched the body of works by Cézanne in the New York museum, which until that point only possessed a single work by the artist: l’Homme aux bras croisés (Man with Crossed Arms, circa 1889). Bibémus (Bibémus Quarries) will return for the first time to Aix-in-Provence, where it was painted circa 1894–1895.

The exhibition brings together other emblematic works: major paintings by Picasso, such as Le Moulin de la Galette (1900), an exceptional loan from the Guggenheim Museum, as well as masterpieces by van Gogh and Manet, which have been restored to their former splendour, thanks to a recent restoration campaign that was conducted specifically for this exhibition.

The major works from this prestigious collection will be complemented by other pictures from the Guggenheim Museum, which, although they are not part of the Thannhauser bequest, have been part of the history of the gallery or the collection, and which shed further light on it.

The exhibition also provides an opportunity to retrace the history of the galleries and the Thannhauser Collection and includes photographs, inventory books, and other archive documents from the gallery’s collection, which shed light on the relations established between Thannhauser and the avant-garde artists, collectors, and dealers of the time.

Curatorship: Megan Fontanella, Curator in the Solomon R. Guggenheim Museum.


Georges Braque (1882-1963), Paysage près d’Anvers, 1906, oil on canva, 60,3 x 81,3 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.1 © Adagp, Paris, 2019


PREFACE BY BRUNO MONNIER, PRESIDENT OF CULTURESPACES

Bruno MonnierPresident of Culturespaces

Culturespaces and the Hôtel de Caumont are proud to present this extraordinary ensemble of masterpieces from New York’s Solomon R. Guggenheim Museum, which have never been exhibited in Europe. A veritable jewel in the Guggenheim Museum, the Thannhauser Collection will be leaving for the first time—and quite exceptionally—the famous Franck Lloyd Wright building, in which its legatee, Justin K. Thannhauser, established it for the first time in 1965. After an initial exhibition in the Guggenheim Bilbao Museum, and before ending its journey in Milan in the rooms of the Palazzo Reale, the fifty masterpieces will be exhibited in Aix-en-Provence during the summer months, where they will be displayed to the general public.

In fact, it was in this city and the surrounding region that some of the major works in the collection were executed and which will be displayed in the Hôtel de Caumont: Paul Cézanne’s majestic Bibémus (Bibémus Quarries), his poignant views of the area round the Jas de Bouffan, and his wonderful still lifes that would ‘astonish Paris’ at the end of the nineteenth century. Amongst the undoubtedly Provençal masterpieces that will return for the first time to the region where they were painted more than one hundred years ago, will feature works by van Gogh, including the wonderful Montagnes à Saint-Rémy (Mountains at Saint-Rémy).

This exhibition will also take the visitor further afield: to Munich, where Heinrich Thannhauser had the foresight to acknowledge the beginnings of the avant-garde when he promoted the works of Kandinsky, Franz Marc, and the Der Blaue Reiter (The Blue Rider) movement; to Paris, where Justin Thannhauser established friendships with the artists of his generation, and in particular with Pablo Picasso, and with whom he remained friends for the rest of his life; and to New York, to the cosmopolitan salon that was the Thannhausers’ residence in Manhattan, a venue for the city’s artistic and cultural scene. Via these wonderful masterpieces of Impressionism, post-Impressionism, and European modern art, the exhibition also recounts the history of a specific family: its trajectory via the innovations and upheavals of the twentieth century, guided from generation to generation and from country to country by its passion for art.

This exhibition would not have materialised without the generosity and support of the Solomon R. Guggenheim Museum in New York. We would like to express our gratitude, in particular, to its director, Richard Armstrong, for agreeing to loan us this ensemble of exceptional works, and we would like to thank Megan Fontanella, curator of modern art and manager of the Thannhauser Collection within the museum, for accepting to adapt the presentation of this collection for the general public of Aix-en-Provence.


ITINERARY OF THE EXHIBITION

1. THE THANNHAUSER COLLECTION, THE GREAT JEWEL OF THE GUGGENHEIM MUSEUM The Thannhauser bequest represented an important moment in the history of the Guggenheim Museum in New York and considerably broadened the scope of its collection. Established with an emphasis on abstract art, at the beginning of the 1960s the museum held only a few examples of late nineteenth-century art, such as the paintings by Georges Seurat presented in this room.

In 1954, the first Cézanne to enter the Guggenheim collection, Homme aux bras croisés (Man with Crossed Arms), had caused a sensation in the press when it was acquired by James Johnson Sweeney, the museum’s director, for 97,000 dollars, which was a considerable sum of money at the time. Ten years later, the Thannhauser Collection immediately enriched the museum with Impressionist, Post-Impressionist, and modern paintings, including four works by Cézanne, which had been carefully selected for their quality.

With regard to the ensemble promised to the museum, donor Justin Thannhauser stated: ‘I feel strongly that these 75 pictures represent a unity you do not find in other museums. They cover 75 to 100 years and I see one coming from the other.’

1. Paul Cézanne, Homme aux bras croisés, vers 1899, oil on canva, 92 x 72,7 cm Solomon R. Guggenheim Museum, New York, 54.1387

2. Georges Seurat (1859-1891), Paysannes au travail, 1882-1883, oil on canva, 38,5 x 46,2 cmSolomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, don, 41.713

21


2.CENTRED AROUND MODERN ART: THE THANNHAUSER GALLERY IN MUNICH When Heinrich Thannhauser inaugurated his Moderne Galerie in the Arco-Palais in the centre of Munich in November 1909, he announced that the gallery would focus on ‘all that is fresh, powerful, distinct, modern in the best sense’. The opening exhibition presented around two hundred works by French and German painters, including fifty-five Impressionist works, which, assembled with the help of Rudolf Meyer-Riefstahl in Paris, provided the most comprehensive overview of the movement presented in Munich to date.

French art from the late nineteenth century was henceforth featured prominently in the gallery; such work was shown in the private rooms of the apartment on the upper floor and in the majestic atrium on the ground floor.

Édouard Manet’s and Pierre-Auguste Renoir’s female figures, painted in a novel and spontaneous manner, attest to the attention paid by these artists to the changing moral values and social structures in French culture at the turn of the century. Paul Cézanne, meanwhile, broke away from any direct conventional representation of space in his still lifes and landscapes painted near Aix-en-Provence.

Sculpture was also a part of this overview, and the Thannhauser gallery notably displayed, besides Artistide Maillol, bronzes by Edgar Degas, nearly all of which had been excluded from exhibition during the artist’s lifetime. In 1929, the Thannhausers’ gallery acquired more than sixty sculptures by the artist from the Norwegian art dealer Walther Halvorsen.

1. Paul Cézanne (1839-1906), Environs du Jas de Bouffan, vers 1885-1887, oil on canva, 65,1 x 81 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3907 2. Edgar Degas (1834-1917), Danse espagnole, vers 1896-1911 (fondu vers 1919-1926), Bronze, 40,3 x 16,5 x 17,8 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.9 © David Heald

1 2


1. Paul Cézanne (1839-1906), Bibémus, vers 1894-1895, oil on canva, 71,4 x 90,1 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.6 2. Édouard Manet (1832-1883), Devant la glace, 1876, oil on canva, 93 x 71,6 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.27

21

Bibémus (Bibémus Quarries), Cézanne Cézanne executed many landscapes that represented the abandoned stone quarries of Bibémus, near Mont Sainte-Victoire. The artist rented a cabin in this spot between 1895 and 1899 and he enjoyed working in the isolation and solitude of the quarries. The region’s bright colours, above all the red sandstone and the rocky terrain of the quar-ries with their wild shrubs, influenced the artist’s increasingly geometric style. For the first time, this highly emblematic work representing the region, painted in the environs of Aix-en-Provence, will return to its native town after more than a century and a half.

Devant la glace (Before the Mirror), Manet Édouard Manet painted this view of a woman seen from the back in 1876. The sitter was a famous courtesan, the mistress of the successor to the Dutch throne. This highly intimate painting represents her wearing a corset and the viewer’s eye is drawn to this item of clothing. Like his contemporaries, the Impressionists, Manet wished to depict very aspect of modern life, including the private world of sensual pleasures. The painter said: ‘The satin corset may be the nude of our era’. The picture was painted in a very modern style and the brushstrokes are free and expressive and lacking in details, creating the impression of a fleeting image.


Édouard Manet, Femme en robe à rayures, vers 1877-1880, oil on canva, 175,5 x 84,3 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.28

Femme en robe à rayures (Woman in Striped Dress), Manet A young woman posed for Édouard Manet. Dressed fashionably, wearing a striped dress and holding a Japanese fan, she is looking beyond the confines of the picture. Upon Manet’s death in 1883, this picture was unfinished in his studio. Based on photographs and scientific analyses, the work reveals that finishing touches were subsequently applied and that the painting was trimmed down its sides and along the top. The picture is also covered in a thick layer of varnish, which was probably applied to the surface to facilitate its sale at the time.

The gradual removal of this layer of varnish revealed the original rapid brushstrokes that were so characteristic of Manet’s work. In addition, the inventories made at the time described the dress as violet, but before the restoration the dress’s stripes ap-peared to be almost green. The restored picture now has deep blue violet hues. The work will be exhibited for the first time in France since its restoration, which was completed in 2018.


3. FROM FATHER TO SON: THE THANNHAUSERS’ CENTRES OF INTEREST Capital of the liberal Weimar Republic, Berlin was a cultural centre in the 1920s and embraced unconventional art movements and lifestyles. The Thannhausers found it an ideal place in which to develop their business. Justin Thannhauser began in 1927 by organising a ‘special exhibition’ (Sonderausstellung), which the public and the critics greeted with enthusiasm. Amongst the two hundred and sixty-three works, the exhibition presented Mountains at Saint-Rémy by Vincent van Gogh. Painted during the artist’s convalescence, in 1889, it represents his subjective vision of the Provençal landscape through the use of thick and vibrant brushstrokes.

In 1928, the Thannhauser gallery held a major retrospective of Gauguin’s oeuvre, with no less than 230 works by the artist, borrowed from major public and private collections. Justin’s presentations in the Berlin gallery in many ways reflected his father’s early interests in Munich. It was Heinrich who had organised a survey of Van Gogh’s oeuvre in 1908, in collaboration with the artist’s heirs. In 1910, the gallery in Munich had also held a major exhibition devoted to Gauguin, with twenty-six works by the artist, including Haere Mai. Painted on the distant island of Tahiti in 1891, this work represents an idealised and romantic vision of an unsullied paradise, which appealed to many Europeans at the turn of the century.

21

1. Vincent van Gogh (1853-1890), Montagnes à Saint-Rémy, Saint-Rémy-de-Provence, juillet 1889, oil on canva, 72,8 x 92 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.24

2. Paul Gauguin (1848-1903), Haere Mai, 1891, oil an hessian, 72,5 x 92 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.16


Vincent van Gogh (1853-1890), Le Viaduc, Asnières, 1887, oil on canva, 32,7 x 41 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.17

Van Gogh’s Le Viaduc (Roadway With Underpass) represents a tunnel next to the Quai d’Asnières (now called Asnières-sur-Seine), a Parisian faubourg, where he often visited his friend, the artist Émile Bernard. A woman can be seen walking in the shade beneath the viaduct, drawn to the other side by a barely visible glimmer of light. Chimneys are visible above the railway bridge, surrounded by lush vegetation. During this time, van Gogh’s technique was greatly influenced by exhibitions of French artists linked to Impressionism and post-Impressionism. In 2018, the R. Guggenheim Foundation began to restore the work, whose original colours have been revealed. The work was exhibited in France in Thannhauser’s Parisian gallery at the end of the 1930s.

In addition to the expansion to Berlin, in 1920 Justin Thannhauser had founded a gallery in Lucerne, with his cousin Siegfried Rosengart.


4. ON THE LOOKOUT FOR MODERN ART: JUSTIN THANNHAUSER AND HIS FRIENDS In 1913, when the Thannhausers lent works to the major exhibition of modern art in New York, better known as the Armory Show, the gallery in Munich held one of the first retrospectives of Picasso’s oeuvre in Germany. This exhibition, which presented works dating from 1901 to 1912, marked the beginning of a lasting friendship between the artist and Justin Thannhauser, who wrote the catalogue’s preface. Hence, while Heinrich Thannhauser consolidated his reputation in Munich, Justin developed his taste for modern art and demonstrated his support for a new generation of vanguard artists.

Having assisted his father in the Moderne Galerie from around the age of seventeen, Justin continued his academic studies in Berlin, Florence, and Paris in the early 1910s. His philosophy and art history teachers and colleagues were prominent figures such as Henri Bergson, Adolph Goldschmidt, and Heinrich Wölfflin. Another acquaintance in Paris, the German painter Rudolf Levy, was a friend of Henri Matisse and the expatriates who frequented the Café du Dôme, in Montparnasse. It was probably through the so-called ‘Dômiers’ that Justin came to know the key Parisian art dealers, which strengthened his position within the network of American and European modern art galleries.

The Matisse exhibition that Justin held in Berlin in 1930 was organised through his contacts in the Parisian art world. The show, prepared in collaboration with the artist and comprising two hundred and sixty-five paintings, sculptures, drawings, and engravings, was the most comprehensive retrospective of Matisse’s oeuvre in Germany up to that point.

Francis Picabia (1879-1953), Portrait de Mistinguett, vers 1908-1911, oil on canva, 60 x 49,2 cm Solomon R. Guggenheim Museum, New York, 66.1801 © Adagp, Paris, 2019


Pablo Picasso (1881-1973), Le Moulin de la Galette, Paris, vers novembre 1900, oil on canva, 89,7 x 116,8 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.34 © Succession Picasso 2019

Le Moulin de la Galette, PicassoPicasso was nineteen when he painted Le Moulin de la Galette (1900). This was his most important work executed during his first stay in Paris—the artistic epicentre at that time—, where he had come to visit the Universal Exhibition. The work reflects the young Picasso’s fascination with the Bohemian atmosphere of Parisian nightlife.

The strong influence of Henri Toulouse-Lautrec is evident in the choice of subject matter and the composition. The figures on the left and right are outside the frame, which reinforces the impression of instantaneity, giving it a photographic quality.

Picasso’s style subsequently evolved from a more naturalistic period to his melancho-lic Blue Period, followed by his Pink Period, and finally, working in conjunction with Georges Braque, he developed geometric lines and the deconstruction of forms, with the flat areas that characterised cubism.


5. CHAMPION OF THE AVANT-GARDE: THE MUNICH-BASED ARTISTS AND DER BLAUE REITER In the years preceding the Great War, the support that the Thannhausers gave to emerging artists—those based in Munich as well as abroad—played an important role in the proliferation of avant-garde styles. In 1909 and 1910, two exhibitions established the Neue Kunstlervereinigung Munchen (NKVM, or New Artists’ Association of Munich), which was openly opposed to conservatism in society and the contemporary German art market. The Thannhausers thus demonstrated their open-mindedness in providing a venue for such artists to exhibit their work, whereas the most conventional critics reacted to the paintings by Kandinsky, Münter, and Jawlensky by calling them ‘absurdities of incurable madmen’.

In 1911–12, the first exhibition of Der Blaue Reiter (The Blue Rider) group confirmed the gallery’s foresight. Led by Wassily Kandinsky and Franz Marc, the group drew inspiration from sources as diverse as French Fauvism, Art Nouveau, Bavarian popular culture, and Russian folklore, and promoted the development of an art that was free of any figurative constraints, and which experimented with lyrical, symbolic, and spiritual expression.

In addition to presenting paintings by the movement’s founding members, and in the cosmopolitan spirit that characterised the movement, the Blaue Reiter exhibition enabled the German public to discover works by French artists such as Robert Delaunay and Henri Rousseau (works by the latter presented posthumously).

In 1914, the Thannhausers also mounted the first major exhibition in Germany devoted to Paul Klee, a Swiss artist who was also associated with the artists’ group Der Blaue Reiter.

1. Franz Marc (1880-1916), Vache jaune (Gelbe Kuh), 1911, oil on canva, 140,7 x 189,2 cm Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, 49.1210 Exposé à la Moderne Galerie Heinrich Thannhauser, Munich, lors de la première exposition du Blaue Reiter, 1911-1912

2. Georges Braque (1882-1963), Paysage près d’Anvers, 1906, oil on canva 60,3 x 81,3 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.1 © Adagp, Paris, 2019

1 2


Kandinsky’s works are central to the Guggenheim, which has more than 150 of the artist’s works. Kandinsky left Russia, his native country, at the age of thirty, to study painting in Munich, one of Europe’s major cultural centres at the time. Solomon Guggenheim was determined to collect a wide range of the artist’s works in order to illustrate every period in his career. The work, entitled Blue Mountain (Der blaue Berg, 1908–1909), in the Guggenheim Collection was exhibited in the Thannhauser Moderne Galerie in Munich during the first Der Blaue Reiter (The Blue Rider) exhibition.

The motif of the rider in this picture symbolises the artist’s crusade against conventional aesthetic values and his desire to create a better utopian future via art’s capacity for transformation.

In 1911, Thannhauser’s Moderne Galerie in Munich held the first German exhibition of Klee’s work. In Flower Bed (Blumenbeet, 1913), formerly on loan to the Thannhauser galleries, Klee concealed the naturalistic subject matter by using fragmented forms and the juxtaposition of dissonant colours, which was an approach used by the avant-garde movements that emerged in Europe during the years leading up to the First World War. Nevertheless, Klee managed to create a work that was impossible to categorise, and renewed his style, technique, and subject matter throughout his career.

1. Vassily Kandinsky (1866-1944), La Montagne bleue (Der blaue Berg), 1908-1909, oil on cardboard, 106 x 96,6 cmSolomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, don, 41.505 Exposé à la Moderne Galerie Heinrich Thannhauser, Munich, 1914 2. Paul Klee (1879-1940), Parterre de fleurs (Blumenbeet), 1913, huile sur carton, 28,2 x 33,7 cmSolomon R. Guggenheim Museum, New York, succession de Karl Nierendorf, acquisition, 48.1172.109 Anciennement en consignation dans les galeries Thannhauser

1 2


6. FROM PARIS TO NEW YORK: THE THANNHAUSERS’ ART SALONS In the 1930s, the international economic crisis and the rise of Nazism affected Thannhauser’s business. The gallery in Berlin closed in 1937, shortly after Justin moved with his family to Paris; they lived in a charming residence on rue Miromesnil, embellished with works by Monet, Degas, Picasso, and others. After the outbreak of the Second World War, the Thannhausers ultimately settled in New York in early 1941. Although some artworks that had remained in Germany were destroyed during an air raid, and the Parisian residence was pillaged during the German Occupation, a considerable number of other pieces in the Thannhauser collection survived. For instance, ninety works had been temporarily placed with the Stedelijk Museum in Amsterdam in 1938, and nine paintings had been part of a traveling exhibition in Latin America and North America since this same year, before all were returned to the Thannhausers in New York at the war’s end. Although he did not open a new gallery in New York, Justin Thannhauser continued to deal art privately, advise museums and galleries about art acquisitions, and help to organise major exhibitions. The house in which the Thannhausers lived from 1946, on East 67th Street, became a key gathering place for the city’s cultural circles. Those who visited the Thannhauser residence included prominent figures in the worlds of art, music, theatre, film, and photography such as Leonard Bernstein, Louise Bourgeois, Henri Cartier-Bresson, Marcel Duchamp, Jean Renoir, and Arturo Toscanini. The director of the Solomon R. Guggenheim Foundation, Thomas Messer, was, of course, also a guest, as was Peggy Guggenheim, Solomon Guggenheim’s niece who operated a museum-gallery in New York in the 1940s.

Justin often travelled from the United States to Europe. He remained in contact with Picasso, who he invited to stay in what Thannhauser called his ‘little house’.

1. Pablo Picasso (1881-1973), Jardin à Vallauris, Vallauris, 10 juin 1953, oil and lacquer paint (?) sur toile, 19,1 x 26,9 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.64 © Succession Picasso 2019

2. Pablo Picasso (1881-1973), Nature morte : Fruits et pot, 22 janvier 1939, oil and lacquer paint (?) sur toile, 27,2 x 41 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Hilde Thannhauser, 84.3231 © Succession Picasso 2019

21


Pablo Picasso (1881-1973), Le Homard et le chat, Mougins, 11 janvier 1965, oil and lacquer on canva 73 x 92,1 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3916 © Succession Picasso 2019

Le Homard et le chat (Lobster and Cat), PicassoAfter the death of his first wife, Käthe, in 1960, Justin Thannhauser married Hilde Breitwisch. On this occasion, Pablo Picasso gave the couple Le Homard et le chat (Lobster and Cat), which was executed in 1965. A dedication written in red and in French can be seen on the canvas: ‘Pour Justin Thannhauser, votre ami, Picasso’ (‘For Justin Thannhauser, your friend, Picasso’).

The work, which has a slightly comic aspect, was a reference to eighteenth-century still lifes, while focusing on the picture’s theme, which represents a real confrontation. A cat with a dark brown coat on the right is in direct conflict with a bright blue lobster on the left of the picture. The palette, composition, and the expressively applied paint create an animated picture: the cat’s back is arched, his tail is straight, and his fur is standing up on end with his eyes wide open, while the lobster, seen from above, appears to be carefully balancing on his many spindly legs.


7. THANNHAUSER AND PICASSO: THE STORY OF A FRIENDSHIP With the Thannhauser bequest, more than thirty works by Picasso entered the Guggenheim collection. Covering a period of some sixty-five years, they attest to the friendship between the two men, Justin Thannhauser’s admiration for the artist’s work, and also his enterprising approach as a dealer and collector who was continually able to embrace new styles over the decades.

In this room, three portraits of women correspond with very different periods in Picasso’s oeuvre. Inspired by muses and companions who accompanied the development of his painting (Fernande Olivier, Olga Khokhlova, and Marie-Thérèse Walter), they show the evolution of Picasso’s pictorial style as he liberally drew inspiration from sources as varied as ancient and modern art. Hence, while classical statuary from antiquity inspired the sculptural aspects of Woman in an Armchair (1922), Fernande with a Black Mantilla (circa 1905), painted more than fifteen years earlier, attests to the influence of Fauvism: despite the almost monochrome palette, the colour is unconstrained by drawing. Woman With Yellow Hair, executed in 1931, reveals a renewed interest in surface treatment and colour. In this portrait of Picasso’s then-muse, Walter, the curvilinear contours and flat areas of bright colour signal a radical change in Picasso’s practice.

Pablo Picasso (1881-1973), Fernande à la mantille noire, Paris, vers 1905, oil on canva, 100 x 81 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3914 © Succession Picasso 2019


THE THANNHAUSER LEGACY: 60 YEARS OF COMMITMENT TO AVANT-GARDE ART By the end of his life, Justin Thannhauser had already endured the untimely deaths of his two sons, Heinz and Michel, as well as that of his first wife, Käthe, in addition to considerable material losses that his German Jewish family had suffered in Europe during the Second World War. He said, ‘My family, after 500 years of living in Germany, is now extinguished. That is why I am doing what I am with my collection’. In 1963, he expressed that it was through this philanthropic act—his donation of art to the Solomon R. Guggenheim Foundation—that ‘finally there may the sense of my life work become apparent’.

After twenty-five years spent in New York, Justin Thannhauser retired to Berne with Hilde in 1971. Justin died in Gstaad, in Switzerland, on December 26, 1976, at the age of eighty-four. The Thannhauser Collection officially entered the Guggenheim’s holdings in 1978. Hilde Thannhauser donated two additional paintings in 1984 and bequeathed another ten works in her husband’s memory in 1991. Exhibited in a dedicated gallery in the museum that bears the name of the donors, the collection at the Guggenheim continues to honour the central role this family played in defending and promoting avant-garde art for more than half a century.

Pablo Picasso (1881-1973), Deux pigeons aux ailes déployées, Cannes, 16-19 mars 1960, oil on canva, 59,8 x 73,1 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.66© Succession Picasso 2019


1905 : Heinrich Thannhauser ceases his work in the lighting business and opens the Moderne Kunsthandlung in Munich with his friend Franz Josef Brakl, former opera singer.

1908 : The Moderne Kunsthandlung mounts a major Vincent van Gogh exhibition, in association with the dealer Paul Cassirer, the Parisian gallery Bernheim-Jeune and the artist’s estate.

1909 : Heinrich dissolves his partnership with Brakl and opens the Moderne Galerie in Munich. His 17-year-old son, Justin, assists him in the business. The inaugural show, comprising some two hundred works by French and German artists, opens to enthusiastic reviews.

First exhibition of the Neue Künstlervereinigung München (New Artists’ Association of Munich, NKVM). Two other NKVM exhibitions follow in 1910 and 1911.

1911 - 1913 : The gallery presents the premiere exhibition of Der Blaue Reiter (The Blue Rider) group in 1911 and one of the first significant exhibitions of Pablo Picasso’s art in Germany in 1913. Through his gallery, Heinrich lends works to the landmark International Exhibition of Modern Art (known as the Armory Show) in New York.

1914 - 1917 : At the outbreak of the First World War, Justin is called into military service. He returns to Munich in 1916, shortly after being wounded and awarded an Iron Cross.

Justin marries Käthe (or Kate) in 1917. In the next years they have two sons, Heinz (or Henry), born the same year, and Michel, born in 1920.

1920 : Given the difficult political and economic situation, Justin settles his German Jewish family in Switzerland. He opens the Galerie Thannhauser in Lucerne with his cousin Siegfried Rosengart, who had worked in the Munich gallery.

1921 : Justin returns to Munich after his father develops a serious throat condition. Justin assumes complete responsibility for the art dealership. Rosengart continues to manage the Thannhauser branch in Lucerne.

1926 : The gallery in Munich hosts an important Edgar Degas exhibition, featuring the bronzes of the artist.

KEY DATES


1927 : With the opening of a gallery in Berlin, the business is renamed Galerien Thannhauser.

1928-1930 : Rosengart assumes full control of the Lucerne gallery and changes its name to Galerie Rosengart. The Munich gallery is dissolved in 1929, and Justin continues operations in Berlin. In 1930, he mounts a comprehensive exhibition of Henri Matisse’s work.

1933-1934 : In spring, Justin begins renting a small apartment in Paris, at 2, place des Pyramides.The following year, Justin helps organize exhibitions of works by Degas and Picasso for the Galería Müller in Buenos Aires.

1935 : Heinrich Thannhauser dies in Lucerne on November 24.

1937 : In April, the Thannhausers emigrate from Germany to France and move into their new residence-gallery at 35, rue de Miromesnil, in Paris. The Berlin gallery is closed at the end of the year. Some of their artworks are left in Germany and destroyed during an air raid in World War II.

1938 : Justin transfers 90 artworks to Amsterdam in June, for storage at the Stedelijk Museum over the next year.

1939 : Nine Thannhauser pictures are shipped from France to South America for a traveling exhibition, La pintura francesa de David a nuestros días, organized by René Huyghe, curator of paintings at the Musée du Louvre.

1940 : On June 14, German troops occupy Paris, and the Thannhausers, traveling in Switzerland, are compelled to stay there. At the end of the year, they leave for New York, where they arrive 16 days later. Their Paris home is plundered; the German soldiers transport Thannhauser property back to Germany and the archives of the founding Munich gallery are lost. The works exhibited in South America will circulate across the United States until 1946, when they are returned to the Thannhausers in New York.

1944 : Heinz Thannhauser, successor to his father’s art business, joins the American Air Force. He is killed during a military expedition in Italy.


1945-1960 : Grief-stricken and aware of the poor health of Michel, Justin decides against opening a gallery in New York. He places a large number of works from his art collection up for auction and continues to facilitate art sales from his home.

1962 : Following his son Michel’s suicide in 1952, and his wife Käthe’s death in 1960, Justin marries Hilde Breitwisch.

1963 : Justin Thannhauser arranges to bequeath 75 works from his private art collection to the Solomon R. Guggenheim Foundation in New York. Starting in 1965, the works are placed on extended loan to the Museum and housed in a gallery bearing the Thannhauser name.

1976 : Justin Thannhauser dies in Gstaad. His collection officially enters the Guggenheim’s holdings two years later.

1984 : Hilde Thannhauser donates a work by Picasso and a work by Van Gogh to the Guggenheim. She agrees to give an additional ten works as a bequest. They will enter the Guggenheim’s collection when she dies in 1991.

1. Justin et Hilde Thannhauser avec Harry Guggenheim, président de la Solomon R. Guggenheim Foundation, et une maquette montrant le projet d’aile Thannhauser au Guggenheim Museum, 1963 © Solomon R. Guggenheim Foundation, New York

2. Exposition «Masterpieces of Modern Art by courtesy of the Thannhauser Foundation», aile Thannhauser, Solomon R. Guggenheim Museum, New York, 30 avril - 3 octobre 1965 © Solomon R. Guggenheim Foundation, New York

1 2


THE ARTISTIC PROJECT TEAM

CURATORSHIP

REALISATION AND PRODUCTION

Milly Passigli, Directrice déléguée de la Programmation, Agnès Wolff, Directrice de la production culturelle de Culturespaces, Cecilia Braschi, Responsable des expositions pour l’Hôtel de Caumont - Centre d’art, Sophie Blanc, Régisseuse pour l’Hôtel de Caumont- Centre d’art et Livia Lérès, Iconographe au sein de Culturespaces.

SCENOGRAPHY

Hubert le Gall, is a French designer, artist, and contemporary art sculptor who creates original scenographies for many exhibitions.

Exploring the history of the collection, the scenography evokes the intimate atmosphere of the galleries in Munich, Berlin, and Lucerne, as well as the Thannhausers’ Paris residence and New York home. Differing from the current presentation of the collection in New York and from the contemporary presentation of the exhibition in Bilbao, this scenography corresponds to the approach adopted by Justin Thannhauser, who, when he decided on the decor and furniture for the inaugural exhibition of his bequest in the Guggenheim rooms in 1965, set out to make the visitors feel as though they were as familiar with the works as he was in his own living room.

Megan Fontanella est diplômée en histoire de l’art de Dartmouth College et au Courtauld Institute of Art de Londres. Elle est spécialisée dans l’art français de la fin du XIXe siècle et conservatrice au Solomon R. Guggenheim Museum de New York. Depuis 2005, elle a été commissaire de plusieurs expositions pour les musées Guggenheim à Berlin, Bilbao, New York et Venise, ainsi que des expositions itinérantes à travers le monde : « Visionaries: Creating a Modern Guggenheim » (2017); « Art d’un autre genre: Abstraction internationale et le Guggenheim », 1949-1960 (2012); et « Le grand bouleversement: l’art moderne de la collection Guggenheim, 1910-1918 » (2011).

Elle a également organisé « Visions of Modernity » (2012-13), la présentation finale du Deutsche Guggenheim, à Berlin. Plus récemment, Megan Fontanella a co-organisé « Giacometti » (2018) et « Alberto Burri : Le traumatisme de la peinture » (2015-2016), ainsi que « Robert Motherwell: Early Collages » (2013). Megan Fontanella est aussi responsable de la galerie Thannhauser du Guggenheim. Elle mène des recherches sur les provenances pour le Guggenheim et collabore à des initiatives interdépartementales liées à la gestion des collections.

Pho

tog

rap

hy b

y D

avi

d M

. Hea

ld ©

So

lom

on

R. G

ugg

enhe

im F

oun

da

tion


© C

ultu

resp

aces

/S.

Lloy

d

THE HÔTEL DE CAUMONT-CENTRE D’ART, AIX-EN-PROVENCE

A CULTURAL INSTITUTION, A MISSION OF PUBLIC INTEREST Classed as a historical monument, the Hôtel de Caumont is one of the most beautiful private mansions dating from the 18th century in Aix-en-Provence. Situated close to the Cours Mirabeau, in the Mazarin district, the mansion was recently fully restored, and has been home to an art centre since May 2015.

Its aim is to present two temporary art exhibitions per year, devoted to the great names in the history of art, ranging from classical to contemporary art. Reproducing the atmosphere and aesthetic features of an 18th century private mansion, the Caumont Centre d’Art plays a key role in the cultural life of Aix: it is a place where visitors can discover and enjoy a passion for art.

CÉZANNE IN THE REGION OF AIX This twenty-minute film is broadcast every day in the auditorium and presents the life and career of this illustrious Impressionist painter, a precursor to Cubism, as well as his passion for Aix-en-Provence and its surrounding region, through the key events that shaped his life and his artistic creation.

CONFERENCES, CONCERTS AND PERFORMANCES The Hôtel de Caumont - Centre d’Art is a space of exchange and dialogue between the different types of artistic expression. In this capacity, it welcomes exhibitions and artists, dance performances and musical animations, as well as readings and conferences in an attempt to broaden artistic horizons.

THE CAFÉ CAUMONT Located in the historic drawing rooms of the ground floor, with their beautiful terrace overlooking the gardens, the Café Caumont is the ideal setting for a quiet lunch, brunch or afternoon tea. The café is an elegant venue at the heart of the Mazarin district. Lounge evenings are proposed.


CULTURESPACES, PRODUCTEUR ET RÉALISATEUR DE L’EXPOSITION

Avec 28 ans d’expérience et 4 millions de visiteurs par an, Culturespaces, créé en 1990 par Bruno Monnier, est le premier opérateur privé dans la gestion complète de monuments, musées et centres d’art. Depuis 2012, Culturespaces est aussi l’un des pionniers dans la création de centres d’art numériques et d’expositions numériques immersives.

Les sites mis en valeur et gérés par Culturespaces :- l’Atelier des Lumières à Paris (en 2018),- le musée Maillol à Paris (depuis 2016),- l’Hôtel de Caumont - Centre d’Art, Aix-en-Provence (depuis 2015),- les Carrières de Lumières aux Baux-de-Provence (depuis 2012),- la Maison Carrée, la Tour Magne et les Arènes de Nîmes (depuis 2006),- le musée d’Art et d’Histoire et le Théâtre antique d’Orange (depuis 2002), - la Cité de l’Automobile à Mulhouse (depuis 1999),- le musée Jacquemart-André à Paris (depuis 1996),- le Château des Baux-de-Provence (depuis 1993),- la Villa Ephrussi de Rothschild, Saint-Jean-Cap-Ferrat (depuis 1992).

Culturespaces prend en charge la mise en valeur des espaces et des collections, l’accueil des publics, la gestion du personnel et de l’ensemble des services, l’animation culturelle, l’organisation des expositions temporaires ainsi que la communication nationale et internationale des sites. Conscient que le patrimoine doit être préservé pour les générations futures, Culturespaces participe également chaque année au financement de programmes de restauration des monuments et des collections qui lui sont confiés.

Culturespaces, ayant pour objectif de se centrer sur l’expérience du visiteur pour développer la démocratisation culturelle, met en place une politique d’excellence dans l’accueil des publics : ouverture 7 jours sur 7, audioguides gratuits, applications de visite, livrets-jeux et wifi gratuits, offre tarifaire réduite pour les familles, les jeunes et les seniors.

More information on www.culturespaces.com

http://www.culturespaces.com


« DISCOVERING THE HOTEL DE CAUMONT »

Initiated by the Fondation Culturespaces in 2015, ‘À la découverte de l’Hôtel de Caumont’ (‘Discovering the Hôtel de Caumont’) was established to make regional heritage accessible to children who have little or no access to culture. To date, more than 3,500 children have been able to take part in this project, which is funded by corporate and individual sponsorship.

THE INITIATIVE OF THE CULTURESPACES FOUNDATION ‘A la découverte de l’Hôtel de Caumont’ is an innovative way of approaching art and history because it takes a fresh look at the everyday lives of children in the eighteenth century. Aimed at children who have little access to culture due to social, psychological, physical, or geographic reasons, this two-stage programme helps children to develop general cultural awareness and arouse their curiosity about historical, architectural, and heritage issues.

Organisations that have already benefitted from this initiative in 2018 (up to 15 September):

• 25 schools in the high priority educational network in Aix-en-Provence and Marseille • 5 social organisations • 2 medico-social facilities • Marseille Public Hospital (Assistance Publique Hôpitaux de Marseille, APHM) • APHM Assistance Publique Hôpitaux de Marseille

ABOUT THE CULTURESPACES FOUNDATION

Operating under the aegis of the Fondation Agir Contre l’Exclusion (a foundation that combats social exclusion), and recognised as a public utility foundation, the Culturespaces Foundation promotes access to cultural heritage for children who are hospitalised, suffer from a handicap, or who are made vulnerable by poverty or social exclusion. With the conviction that the discovery of historic monuments and museums is the best way of providing access to culture, the Culturespaces Foundation specialises in creating customised educational initiatives before, during, and after visits.

[email protected]

© C

ultu

resp

aces

/ S

téph

anie

Tet

u

Supported by the Denibam Fondation and SEMEPA.

An educational and cultural programme aimed at children who

have limited access to culture

https://www.fondation-culturespaces.com/fr/home


THE EXHIBITION SPONSOR

In just a few years, the Fondation Crédit Agricole Alpes Provence has become a major sponsor of art and culture in Provence, by funding major exhibitions in the Région Sud Provence-Alpes-Côte d’Azur.

After supporting the exhibitions ‘Turner and Colour’, ‘Sisley the Impressionist’, ‘Nicolas de Staël in Provence’, and recently ‘Marc Chagall: From Black and White to Colour’, the Fondation Crédit Agricole Alpes Provence is continuing its policy of knowledge sharing and cultural dissemination via its support of the exhibition ‘Masterpieces from the Guggenheim—from Manet to Picasso: the Thannhauser Collection’.

The exhibition—held in one of Aix-en-Provence’s finest mansions—of around fifty masterpieces from the prestigious Guggenheim Collection in New York, between 1 May and 29 September 2019, is a major cultural event that will consolidate the promotion and attractiveness of our region.

The Crédit Agricole Alpes Provence is proud to support, via its Foundation, this major exhibition in 2019 and hopes that as many people as possible—local, national, and international visitors—will be able to see this exceptional exhibition, which will bring together the greatest artists of the nineteenth and twentieth centuries: Manet, Degas, Monet, Cézanne, van Gogh, Gauguin, Seurat, Braque, Matisse, Picasso, Kandinsky, and many others.

THE FONDATION CRÉDIT AGRICOLE ALPES PROVENCE :

THE EXHIBITION SPONSOR


VISUALS AVAILABLE FOR THE PRESS

1. Édouard Manet (1832-1883), Devant la glace, 1876, huile sur toile, 93 x 71,6 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.27 2. Vincent van Gogh (1853-1890), Montagnes à Saint-Rémy, Saint-Rémy-de-Provence, juillet 1889, huile sur toile, 72,8 x 92 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.24 3. Vassily Kandinsky (1866-1944), La Montagne bleue (Der blaue Berg), 1908-1909, huile sur toile, 106 x 96,6 cmSolomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, don, 41.505 Exposé à la Moderne Galerie Heinrich Thannhauser, Munich, 1914 4. Pablo Picasso (1881-1973), Nature morte : Fruits et pot, 22 janvier 1939, huile et peinture laque sur toile, 27,2 x 41 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Hilde Thannhauser, 84.3231 © Succession Picasso 2019

1 2

3 4

The mention © Succession Picasso 2018 is obligatory for any reproduction of Picasso’s images.It is strictly forbidden to reframe, cut, superimpose, or alter reproductions of Pablo Picasso’s works.If you wish to reproduce an image in a format larger than 1/4 of a page, please contact Picasso Administration: Elodie de Almeida Satan - [email protected]


5. Paul Klee (1879-1940), Parterre de fleurs (Blumenbeet), 1913, huile sur carton, 28,2 x 33,7 cmSolomon R. Guggenheim Museum, New York, succession de Karl Nierendorf, acquisition, 48.1172.109 Anciennement en consignation dans les galeries Thannhauser

6. Pablo Picasso (1881-1973), Jardin à Vallauris, Vallauris, 10 juin 1953, huile et peinture laque sur toile, 19,1 x 26,9 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.64 © Succession Picasso 2019 7. Pablo Picasso (1881-1973), Le Moulin de la Galette, Paris, vers novembre 1900, huile sur toile, 89,7 x 116,8 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.34 © Succession Picasso 2019

8. Pablo Picasso (1881-1973), Nature morte : Compotier et cruche, 21-22 janvier 1937, huile et peinture laque (?) sur toile, 49,9 x 60,9 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.61© Succession Picasso 2019

6

7 8

5


119. Pablo Picasso (1881-1973), Deux pigeons aux ailes déployées, Cannes, 16-19 mars 1960, huile sur toile, 59,8 x 73,1 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.66© Succession Picasso 2019

10. Pablo Picasso (1881-1973), Le Homard et le chat, Mougins, 11 janvier 1965, huile et peinture laque (?) sur toile, 73 x 92,1 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3916© Succession Picasso 2019 11. Georges Seurat (1859-1891), Paysannes au travail, 1882-1883, huile sur toile, 38,5 x 46,2 cmSolomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, don, 41.713 12. Georges Braque (1882-1963), Guitare, verre et compotier sur un buffet, début de 1919, huile et tempera (?), sable et fusain avec graphite sur toile, 80,8 x 99,5 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser Foundation, par échange, 81.2821 © Adagp, Paris, 2019

9 10

12


14

13. Franz Marc (1880-1916), Vache jaune (Gelbe Kuh), 1911, huile sur toile, 140,7 x 189,2 cm Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, 49.1210 Exposé à la Moderne Galerie Heinrich Thannhauser, Munich, lors de la première exposition du Blaue Reiter, 1911-1912

14. Georges Braque (1882-1963), Paysage près d’Anvers, 1906, huile sur toile, 60,3 x 81,3 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.1 © Adagp, Paris, 2019

15. Paul Cézanne (1839-1906), Fiasque, verre et poterie, vers 1877, huile sur toile, 46,2 x 55,2 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.3 16. Paul Gauguin (1848-1903), Haere Mai, 1891, huile sur toile de jute, 72,5 x 92 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.16

13

15 16


17 18

2019

17. Vincent van Gogh (1853-1890), Paysage enneigé, Arles, février 1888, huile sur toile, 38,3 x 46,2 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Hilde Thannhauser, 84.3239

18. Paul Cézanne (1839-1906), Environs du Jas de Bouffan, vers 1885-1887, huile sur toile, 65,1 x 81 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3907

19. Paul Cézanne (1839-1906), Bibémus, vers 1894-1895, huile sur toile, 71,4 x 90,1 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.6 20. Claude Monet (1834-1917), Le Palais ducal vu de Saint-Georges-Majeur, 1908, huile sur toile, 65,4 x 100,6 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3910


21 23

21. Pablo Picasso (1881-1973), Fernande à la mantille noire, Paris, vers 1905, huile sur toile, 100 x 81 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3914 © Succession Picasso 2019

22. Paul Cézanne, Homme aux bras croisés, vers 1899, Huile sur toile, 92 x 72,7 cm Solomon R. Guggenheim Museum, New York, 54.1387

23. Édouard Manet, Femme en robe à rayures, vers 1877-1880, Huile sur toile, 175,5 x 84,3 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.28

24. Vincent van Gogh (1853-1890), Le Viaduc, Asnières, 1887, huile sur carton 32,7 x 41 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.17

22

24


27 2825. Henri Rousseau (1844-1910), Les Joueurs de football, 1908, huile sur toile, 100,3 x 80,3 cm Solomon R. Guggenheim Museum, New York, 60.1583 Anciennement collection Justin K. Thannhauser

26. Robert Delaunay (1885-1941), La Ville, 1911, huile sur toile, 145 x 112 cmSolomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, don, 38.464 Exposé à la Moderne Galerie Heinrich Thannhauser, Munich, lors de la première exposition du Blaue Reiter, 1911-1912

27. Francis Picabia (1879-1953), Portrait de Mistinguett, vers 1908-1911, huile sur toile, 60 x 49,2 cm Solomon R. Guggenheim Museum, New York, 66.1801 © Adagp, Paris, 2019

28. Edgar Degas (1834-1917), Danse espagnole, vers 1896-1911 (fondu vers 1919-1926), Bronze, 40,3 x 16,5 x 17,8 cmSolomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.9 © David Heald

25 26


29. Justin et Hilde Thannhauser avec Harry Guggenheim, président de la Solomon R. Guggenheim Foundation, et une maquette montrant le projet d’aile Thannhauser au Guggenheim Museum, 1963 © Solomon R. Guggenheim Foundation, New York

30. Exposition «Masterpieces of Modern Art by courtesy of the Thannhauser Foundation», aile Thannhauser, Solomon R. Guggen-heim Museum, New York, 30 avril - 3 octobre 1965 © Solomon R. Guggenheim Foundation, New York

29

30


THE CATALOGUE

To complement the exhibition, Culturespaces is publishing a 192-page catalogue that includes all the works presented in the exhibition.

On sale in the gift shop and on : www.boutique-culturespaces.com.

A SPECIAL EDITION OF CONNAISSANCE DES ARTS

The special edition of Connaissance des Arts provides an overview of 44 pages of the theme of the exhibition. On sale for €9,5 in the gift shop and online : www.boutique-culturespaces.com.

THE GUIDED TOUR FOR SMARTPHONE AND TABLET

This application, which is available in French and English, enables you to discover the finest works in the exhibition thanks to around twenty audio commentaries and the exhibition preview. The visit is in very high definition with an exceptional zoom depth. THE GUIDE AUDIO

An audio guide with a selection of major works is available in two languages (French and English) at a cost of €3. THE ACTIVITY BOOK FOR YOUNG CHILDREN

Given freely to each child (7–12 years old) who visits the exhibition, this activity book provides a guide that enables youngsters to observe, in an entertaining way, the major works in the exhibition by solving various puzzles. TOURS

Guided tours for groups and individuals are available for the entire duration of the exhibition. Workshop tours are also available for children aged six to eleven. Reservations: www.caumont-centredart.com

AROUND THE EXHIBITION


ADDRESS Hôtel de Caumont-Centre d’Art 3, rue Joseph Cabassol 13100 Aix-en-Provence Tél. : 04.42.20.70.01

OPENINGS Throughout the exhibition: 10 a.m. to 7 p.m. Last admission: 30 minutes before closing time.

RATES Hôtel de Caumont-Centre d’Art + exhibition : Full rate : €14 I Senior rate : €13 Reduced rate (Education Pass holders, students, disability card holders and unemployed): €11 Youth rate (7 to 25 years old) : €9.5 I Scolarship : €6.5 I Offer for families : €41Free for children under the age of 7 and journalists.

Group visit from 15 people (reservation) Contact : [email protected]

The rooms in the Hôtel de Caumont can be reserved for private or professional events. Contact: [email protected]

PRESS CONTACT Claudine Colin Communication Christelle Maureau [email protected] T. +33 (0)1 42 72 60 01

WEB #ExpoGuggenheim

PRATICAL INFORMATION

PARTNERS

Caumont Centre d’Art https://facebook.com/CaumontCentredArt

@Caumont_Aix https://twitter.com/Caumont_Aix

@caumontcentredart https://instagram.com/caumontcentredart

3, rue Joseph Cabassol13100 Aix-en-ProvenceT. +33 (0)4 42 20 70 01www.caumont-centredart.comOuvert 7 jours sur 7 de 10h à 18h (octobre-avril)de 10h à 19h (mai-septembre) CONTACT PRESSEClaudine Colin CommunicationChristelle [email protected]. +33 (0)1 42 72 60 01 www.claudinecolin.com

Avec le soutienexceptionnel du

Avec le soutien de

3, rue Joseph Cabassol13100 Aix-en-ProvenceT. +33 (0)4 42 20 70 01www.caumont-centredart.comOpen everydayfrom 10 am to 6 pm (october-april)from 10 am to 7 pm (may-september)

PRESS CONTACTClaudine Colin CommunicationChristelle [email protected]. +33 (0)1 42 72 60 01www.claudinecolin.com

Édouard Manet (1832-1883), Devant la glace Solomon R ... · century from the collection of the...

Documents

Transcript of Édouard Manet (1832-1883), Devant la glace Solomon R ... · century from the collection of the...