Paul Cézanne, Strada in curva fra alberi (La route tournante en sous-bois), 1873-75, olio su tela, 55 x 46 cm, Museo Solomon R. Guggenheim, New York, Donazione parziale, George Tetzel in memoria di Oscar Homolka e Joan Tetzel Homolka, 1980.

Robert Delaunay, Forme circolari (Formes circulaires), 1930, olio su tela, 128,9 x 194,9 cm, Museo Solomon R. Guggenheim, New York, Solomon R. Guggenheim Founding Collection, Donazione, © Robert Delaunay - L & M SERVICES B. V. AMSTERDAM, by SIAE 2010.

The Avant Gardes of Abstraction: Dialogue between Solomon and Peggy

Tancredi Parmeggiani, Composizione, 1955, olio e tempera su tela, 129,5 x 195 cm, Collezione Peggy Guggenheim, Venezia, © Eredi Tancredi Parmeggiani.

Hilla Rebay, Animato, 1941-42, olio su tela, 94 x 127 cm, Museo Solomon R. Guggenheim, New York, Solomon R. Guggenheim Founding Collection, Lascito, © 2010 The Hilla von Rebay Foundation. Used by permission. All rights reserved.

Vasily Kandinsky, Croce bianca (Weisses Kreuz), gennaio-giugno 1922, olio su tela, 100,5 x 110,6 cm, Collezione Peggy Guggenheim, Venezia, © Vasily Kandinsky by SIAE 2010.

Alexander Calder, Mobile, 1934 circa, vetro, porcellana, filo di ferro e filo, 67 x 117 cm circa, Collezione Peggy Guggenheim, Venezia, © Calder Foundation, by SIAE 2010.

 

Peggy Guggenheim Collection
Vercelli, Arca
Chiesa di San Marco
Piazza San Marco 1
Piedmont Region

Peggy and Solomon R. Guggenheim. The Avant-Gardes
of Abstraction

February 20-May 30, 2010

Peggy and Solomon R. Guggenheim: The Avant-Gardes of Abstraction presents the theme of abstraction in the form of a dialogue between uncle and niece. It traces a path through the exchanges and acquisitions of the two collectors, confirming Solomon and Peggy’s places among the major figures of 20th century art history.

Curated by Luca Massimo Barbero, this is the third in a trio of exhibitions beginning in 2007 which have brought more than 80,000 visitors to Vercelli over the past two years. Visitors have admired historic masterpieces of the twentieth century, the majority belonging to the Peggy Guggenheim Collection, representing her personal vision for her museum. The first exhibition, which focused on Surrealism, was prompted by Peggy’s own words: “[In 1942] I wore one of Tanguy’s earrings and one of Calder’s, in order to demonstrate my impartiality between Surrealist and Abstract art.” Taking the symbolic gesture once more as a point of departure, and focusing attention this time on the other earring, this forthcoming exhibition adds the dimension of Solomon R. Guggenheim’s separate collecting achievement, revealing his passion for abstraction (and that of Hilla Rebay, his first museum director), as well as Peggy’s: from the early avant-garde to Abstract Expressionism and the European Informel.

The exhibition Peggy and Solomon R. Guggenheim: The Avant-Gardes of Abstraction is organized by the Piedmont Region, the Municipality of Vercelli, and the Peggy Guggenheim Collection, Venice.

In 1939 Solomon R. Guggenheim established the Museum of Non-Objective Painting in New York, based on the idea of pure abstraction as the absence of the figurative, whereas Peggy also turned to a more “transgressive” modernism, that of Surrealism, without however neglecting to acquire masterpieces of abstract avant-gardes for her collection and postwar examples of new abstraction of and Abstract Expressionism and beyond.

The show includes over 50 paintings, the majority from the Solomon R. Guggenheim Museum, New York, by such artists as Paul Cézanne, Georges Seurat, Georges Braque, Henri Matisse, Robert Delaunay, Jean Arp, Jean Dubuffet, Pierre Soulages, Adolph Gottlieb as well as by Italian artists befriended by Peggy Guggenheim such as Edmondo Bacci, Giuseppe Santomaso, Tancredi Parmeggiani and Emilio Vedova (with a major work loaned by the Emilio and Anna Bianca Vedova Foundation, Venice). Two pioneering masters central to the pictorial language of abstraction in the 20th century, each represented with several works in this exhibition, were Vasily Kandinsky and Piet Mondrian.

The show benefits from the partnership of Giunti Arte mostre musei, which, in addition to publishing the catalogue, is planning a promotional and educational program. The catalogue includes essays by Luca Massimo Barbero, Associate Curator, Peggy Guggenheim Collection, Tracey Bashkoff, Curator of Collections and Exhibitions, Solomon R. Guggenheim Museum, New York, and Philip Rylands, Director, Peggy Guggenheim Collection.

Piet Mondrian, Composizione 8 (Compositie 8), 1914, olio su tela, 94,4 x 55,6 cm, Museo Solomon R. Guggenheim, New York, Solomon R. Guggenheim Founding Collection, Donazione, © 2010 Mondrian/Holtzman Trust c/o HCR International Virginia USA.

Georges Braque, Violino e tavolozza, 1 settembre 1909, olio su tela, 91,7 x 42,8 cm, Museo Solomon R. Guggenheim, New York, © Georges Braque by SIAE 2010.

Piet Mondrian, Estate, Duna in Zelanda (Zomer, Duin in Zeeland), 1910, olio su tela, 134 x 195 cm, Museo Solomon R. Guggenheim, New York, © 2010 Mondrian/Holtzman Trust c/o HCR International Virginia USA.

 

Jean Dubuffet, L’istante propizio (L’Instant propice), 2-3 gennaio, 1962, olio su tela, 200 x 165 cm, Museo Solomon R. Guggenheim, New York, © Jean Dubuffet by SIAE 2010.