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t f S' i I 9tj f> I I I I(1 u h

VisionsofParis:RobertDelaunay'sSeries

OrganizedhyMarkRosenthal

EssaybyMatthewDrutt

majorartist.

Guggenheim.

theartistaswellaspoems - writtenbyGuillaume

Huidobro - thatwereinspiredbyDelaunay'sart.

M^^- i50.'.-'.

VisionsofParis

RobertDeiaunay'sSeries

GUGGENHEIMMUSEUM

VisionsofParis:RobertDelaunay'sSeries

Ois;.ini/cdb\M.irkRomihIliI

DeutscheGuggenheimBerlin

November7,1997Januar\4,1998

SolomonR.GuggenheimMuseum

January16-April25,1998

ThisexhibitionoriginatedatDeutsche

GuggenheimBerlinaspartoftheongoing

collaborationbetweenDeutscheBankandthe

SolomonR.GuggenheimFoundation.

NewWnk..\llrightsreserved.

book©1997L&MSer\icesB.V.Amsterdam le.xtsreprintedfromArthur.\.Cohen,ed.,

SomaDelaunay.©1978SoniaDelaunay;

translations©1978ArthurA.Cohen.Usedby permissionofX'ikingPenguin,adi\isionof

PenguinBooksUS.\Inc..\11rightsreserxed.

ISBN0-8109-6906-8(hardcover)

ISBNn-89207-196-6(softcover)

GuggenheimMuseumPublications

1071FifthAvenue

X<\N^'ork,NewYork10128

Hardcovereditiondistributedby

HarryN.Abrams,Inc.

100Fifth.\\enue

NewYork.XcwYork10011

Frontcover:TourEiffel{EiffelTower),1911

(cat.no.27).

1914(cat.no.59).

DesignedbyMichelleMartinoLapedota

PrintedinItalybyMariogros

inbracketscorrespondtothosediscussedby

MatthewDruttinhisessay."Simultaneous

andindicatedatingthatisatvariancewiththe date_gi\entotheworkb\itsownerorwithwhich ithasbeenpreviouslypublished. I k

TableofContents

11

IiilKxIiulion

,\///;/,linsfiitluil 15

Matl/uhIhalt

49

Catalogue

Sainl-Severiii,CM.iH)s.I12

TheCity,cat.nos.I!^21

TheEiffelTower,cat.nos.2243

1he11'indows,cat.nos.44.59

124
'Lal.iimirrc"InRolxrlDclaiiiiay 128
b)RobertDekiunay 132

BlaiseCendrars,andV'icenteHuidobro

139

SelectedBibliography

I I.

Foreword

(»illicsul)jc(twouldl)cmounted. .ilxmiidcd. insigiitsonDelaunay'sart. exhilMtiontooccurinallitsglorv.

Tlumiashrens

Acknowledgments

Moderne,CentreGeorgesPompidou,Paris;Anne

Zurich,isalsohighlyappreciated.

York,andRobertaEntwistle,London.

crucialrolesinthenegotiationofloans.

SpecialthanksgotoPaulSchwartzbaum,Chief

ihciicnlluisiasni.iiulhelp. thisexhibitionpossible. .1/.A'.

Introduction

MarkRosenlluil

p.ie.iiiol1reiuhi^lorx. hislm|)ressionis(colleagues. izeditwithineven,alloxcrcompositions. iheirascendantcharacter. u '^M

Frenchpatriotism.

gle-mindedcoherenceoftheotherseries. incolor. 12 millenium.uulitsshifttowardurbanization.

3.Ibid.,pp.llOir.

4.Delaunay,"ThreeNotes,"j).,i8.

13

SimultaneousExpressions:

RoliertDelaunay'sEariySeries

MatthewDrutt

inlermittenlly. datesandreferences. lifty-odd\earssincehisdeath.'

EarlyYears(1885-1908)

ofParis. 17 third - providedatouchstoneforDelaunay'sowntheoriesof indiameter.Privatecollection,Switzerland exhibitionatGalerieDruetin1905. 18 m'-y asdescribedbyDelaunayinhisnotebooks: transitiontoFauvism.

Paris,190809,fig.26).

uedtoevolvethrough190809,beginningin1907 - asa IS

AfterservingayearofmilitaryserviceinLaon - during

prisehisfirstmatureworks.

Saint-Severin(1909-10)

painting-landscapes,stilllifes,nudes - Delaunayturnedto havelookedlikeatthetime. dilTerentlycoloredefTects.""' 20 tlu-W.P.WilstachFund liteluwer),1'JU'J.(Jiloncardboard, :H.8X26.8cm(13"/,.,x10"/,..inches).

CrheSpireof.\olre-Damt)],1908.Waxon

canvas,58x38cm(22'/•x15inches).

Ofl'cntlichcKunsi.sammlun^cnRaM-1.

Kun.simuM-um.Donationo(.Margijrritr

.\r])-Has i'llLI, mm mm fig.10.Stud)lor.Stiiiil-.StTirm,1909.

Pfiitiloilpaper,17.5x10..5cm

(6ViiX4'/ainches).Locationunknown fig.II.StudylorSaintSeverm,1909.

Pencilonpaper,17.5x10.5cm

(6VbX4'/"inches).Locationunknown fig.12.Stud)forSainl-Seimn,1909.

Pencilonpaper,17.5x10.5cm

(6'/sX4'/sinches).Ix)calionunknown fig.13.Stud\for.Srtw/-.S"(n",1909.

Pencilonpaper,17.5x10.5cm

(6VaX4'/ainches).Locationunknown 22

It;,l").Sdml-Seirim,1921i.

Lithugruplionpaper,(if)x51cm

(257,.,X20'/,,,inches).C:ollccik)nof

15..mdj.Ghcerbrandl,Paris

lig.I[.SamlCloud.Eludfdfpaysao,- (SamICloud.Studyojlandscape),1910 (1909|.Oiloncanvas,61x50cm (24X19"1..inches).MnseeNational d'ArtModerne,CientreCTe(>rf»es

Pompidou,Paris,DonationofSonia

andCharlesDelaunay,1963 worksmoreoftrn. datingto1909andleftunfinisheduntil1915.

191t15(versoofAsp/ialhivrkers,1916).

Oiloncanvas,115x86cm

(45'/ix33V»inches).Kunstmuseum

Winterthur

sketchbookarepreparatory - andtheirtentativecharacter expositioninParisinspring1909." accomj)lislimentscritically: quitegett/iere.^

Sei'erin.\'o./,MauricePrincetremarked:

23
paiiiitrwhowasafoundingmemberoftheNeue heobserved: inglinescorrespondingtothemotion.'^

EugeneDelacroix.

TheCity(1909-11)

natestheskylineofParis. 24

KxposiiionIntt-rii.Kionalt-dcParis,1878

firstSainl-Severinpaintings. in.\ugust1909. meanttohe. formati\e,theotherdefinitixe. 25
(23y"X12inches).liOcaiioiiuiikiiowii betweentheCityandWindowspaintings. inseveralkeyrespects.

1910and'IhcCilxmtlirmiddleof1911."

26
newail.siiii^iini;outDckuiii.ulorpraise: coloring,whicharestrongandlively.'^ arciioleworlh) andrepresentation.'"" clearlyindebtedtol)(>launay'sexample.

MoitoilI).Mav

paintingsfrom1910II: 27

TheCityisgoinglomovethismorning.

Itisgoingtobreakawayfromtheearth,

Rootupitsfoundations

Disentanglethemfromthegreasyclay^

includingGlei/esandLeTauconnier.

1911,fig.22).""

Saint-Severinjjainlings:

chiaroscuro,etc."^

TheEiffelTower(1909-12)

asmandpa.ssionasDelaunay's. 28
ailiin.im'olstasis,notlln\. lower."

24Xl.Tcm(9'ir.X3''

•.inches).The

Fine.\rtsMuseumofSanFrancisco.

.Museumpurchase,WilliamH.NOhle

Re(|uesiFniul.1979.48

remainsproblematic. 29
'19i.X24iiuli<->iLI^Miiiioiiunkiiowii 'Thislastcom- anotherreasonfordatingthatworkto1910). /"m;(1910), 'inDelaunay's1912exhibitionatGalerie inthelateautumnof1910 - aftertheDelaunaysmovedinto ilu'irnewstudioonruedesGrands-AugustinsinNovember - ingspareorunpainted. alreadyverysecure." "Itwaslateroneofthefiveworks dramaticairandpower." 30
31
.\non\mousgift smokearealsocomjDarable.'^ ^\k-^ lig.2y..Siud\-forTourEiJ/elEijjelTower,.

1911.Pencilonpaper,24.6x16.2cm

(9"/i6X6Vsinches).StadtbcheGalerie imLenbachhaus.Munich fig.30.Stud\forTourEiffel(EiffelTourr).

1911\crsooffig.29)

ward,sometimein1911.' 'Thedateonthedrawingoriginally examplesoftheseries. summerof1911. 32
'-A^ •-f--' lis.32.StudyforTomEiffel(Eiffel lourr),1910[1913].Inkonpaper. lU.\:50.(Jiiuhcs(13 '.X12 'Locationunknown fig..33.StudyforTourEiffeliEiJfel

Tourr).191011913).Inkonpa|xr.

40..Tx32.4rm'l.5'x12'.in.he.

l>r>caiionunknown wasfinishedatalaterdate. 33
.\.OongcrGoodyear,1964 lainin1912. right - withtheFerriswheelbarelydistinguishablefrom them - whilewhatwasformerlyacityscapeatleftinEiffel

Agroupofdrawings(figs.32and33.cat.nos.34 - 37)has

(figs.32and33)areundated,theotherfour(cat.nos.34 - 37) 34
aioiilidI'IIJ.I1.11).is(

The(AtyofParis.

eilue\e(ulionwasplacedonthe|).iinting. early,leftunfinished,andcompletedlater - asmayhavebeen [WindowwithOrangeCurtains.1912.cat.no.44) - itismore

123X121cm(48/i..x48

'"inches).Locationunknown ;^ic !')tjoulcvardMaUslurljcs.Parivl'>2'i 35

GalerieBarbazanges,MauricePrincetwrote:

toDclaunay(seepp.132-37inthisvolume).

TheWindows(1912-14)

Saint-Severinj\o.1.

Apollinairexvrote:

entireeffortofmodernpainting.^'^^ Towerandcityscape - theshiftthatwasabouttotakeplace 36
alyzedDchinnaxtowardthisnewdirection. clc-\c-lo])nientsinhisart: haveforcedmetofindcolormo\ement."'' 37
d'ArtModcrne,CentreGeorgesPompidou,Paris

TheSimultaneousTowerandRedEiffelTower).

Delaunaywouldwrite:

ofcolor///theWindowspaintings.'lOH writtenduringthesummer of1912:"TheEyeisour highestsense,theonewhich communicatesmostclosely wiihourbrainand consciousness,theideaofthe livingmovementofthe world,anditsmovementis v////"//fl""7)'."""

Ill.April1912,the

DelaiinaysmovedtoLa

MadelaineintheChevreuse

Valleyforthesummer.Itis

notclearwhetherornotthe \\Indowswerebegunin

Paris,butitisgenerally

acceptedthatmostofthem wereexecutedduringthe summermonths.Todate, twenty-threepaintingsand drawings,andonelaterlith- ograph,havebeenassociat- edwiththeseries,butthe possibilitythatothersexist 38
i/.ationoftheseries."" series,toAprilorMay.

Delaunayrepri.sedthemotifatalaterstage.

ashisown. accordingtothe\isiblemovement - thisistheonlyrealits- 39
Delaunay'sworks - sittingastrideajiartialyetdistinct\iewof mustremainananomaly. 40
judgementaboutthework. clearKnuncdbythework: (FirstPart,SecondMotify'"' transparentcolors.'-" (seepp.12831inthis\olume).' ''Thoughlittledi.scernil)le

Delaunay'sWindows.

teninhomagetotheworks."' (seepp.124 - 27iiithisvolume).'*Writtenasaseriesofsin- 41
strugglingwithoxerthepastfouryears - color,light,rhythm,

Itbegan:

Man'ssight."'

.VitheopeningoltheexhibitionatDerSturm, thatitismisunderstood.*^''

LaterYears(1914-41)

42

11.111I

II,\i\i\i\11(11I.1

pp.7277. (New\ork:HarryN..\brams.1967).p.18.quotesdbs_dbs44.pdfusesText_44

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