Chapter
Open Access
The Impact of Exhibiting Abstraction: The Propagation of an Avant-Garde
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Christina Bartosch
Chapters in this book
- Frontmatter I
- Frontmatter 5
- Acknowledgements 9
- Note to the Reader 11
- Introduction Questioning the ‘fathers of abstraction’ 13
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Part One: The Exhibition of Abstract Art, 1908–1915
- The Form and Function of Modern-Art Exhibitions in the Early Twentieth Century 27
- Strategies in the Presentation of an Avant-Garde 34
- The Impact of Exhibiting Abstraction: The Propagation of an Avant-Garde 50
- Conclusion 56
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Part Two: Case Studies: Artists and Exhibitions
- Introduction & Disclaimer 61
- Tentatively Exhibiting Abstraction: Balla’s Behaviour with Different Audiences 62
- Boccioni: The Coexistence of Figuration and Abstraction 76
- Kandinsky Strategizing: How to Target Various Audiences at Once 91
- When Less Is More – Kupka’s Concentrated Exhibition Activity 106
- Suprematist Exhibition Behaviour: Malevich at the Centre of Attention 119
- Mondrian’s Consistency towards Abstraction 134
- Picabia: Ambassador of Abstraction 147
- Women Artists Exhibiting (Abstraction?) 160
- Première for Abstraction: Kandinsky at the Sonderbund in Düsseldorf, 1910 169
- Kandinsky Continues: The NKVM’s Ausstellung II, Turnus 1910/11 in Munich, 1910 179
- From Munich to Moscow: Kandinsky’s Abstraction at the Jack of Diamonds Exhibition, 1910 190
- Picabia as Kandinsky’s First Follower at the Salon de Juin, Rouen 1912 199
- Abstraction Double Bill: Kupka and Picabia at the Salon d’Automne, Paris 1912 208
- Total Abstraction: The First Fully Abstract Exhibition: Picabia in New York, 1913 216
- Famous Last Words – So What? 226
- A1: Exhibitions and Exhibited Artworks 227
- A2: Comparative Table of Exhibition Statistics for the Seven Male Artists 313
- A3: Table of Exhibitions by the 13 Women Artists 315
- A4: Methodology Extended: Coding the Dataset 323
- Register of Artist Names 333
- Table of Figures and Tables 336
- List of References 339
- Illustration Sources 349
- Addendum 359
Chapters in this book
- Frontmatter I
- Frontmatter 5
- Acknowledgements 9
- Note to the Reader 11
- Introduction Questioning the ‘fathers of abstraction’ 13
-
Part One: The Exhibition of Abstract Art, 1908–1915
- The Form and Function of Modern-Art Exhibitions in the Early Twentieth Century 27
- Strategies in the Presentation of an Avant-Garde 34
- The Impact of Exhibiting Abstraction: The Propagation of an Avant-Garde 50
- Conclusion 56
-
Part Two: Case Studies: Artists and Exhibitions
- Introduction & Disclaimer 61
- Tentatively Exhibiting Abstraction: Balla’s Behaviour with Different Audiences 62
- Boccioni: The Coexistence of Figuration and Abstraction 76
- Kandinsky Strategizing: How to Target Various Audiences at Once 91
- When Less Is More – Kupka’s Concentrated Exhibition Activity 106
- Suprematist Exhibition Behaviour: Malevich at the Centre of Attention 119
- Mondrian’s Consistency towards Abstraction 134
- Picabia: Ambassador of Abstraction 147
- Women Artists Exhibiting (Abstraction?) 160
- Première for Abstraction: Kandinsky at the Sonderbund in Düsseldorf, 1910 169
- Kandinsky Continues: The NKVM’s Ausstellung II, Turnus 1910/11 in Munich, 1910 179
- From Munich to Moscow: Kandinsky’s Abstraction at the Jack of Diamonds Exhibition, 1910 190
- Picabia as Kandinsky’s First Follower at the Salon de Juin, Rouen 1912 199
- Abstraction Double Bill: Kupka and Picabia at the Salon d’Automne, Paris 1912 208
- Total Abstraction: The First Fully Abstract Exhibition: Picabia in New York, 1913 216
- Famous Last Words – So What? 226
- A1: Exhibitions and Exhibited Artworks 227
- A2: Comparative Table of Exhibition Statistics for the Seven Male Artists 313
- A3: Table of Exhibitions by the 13 Women Artists 315
- A4: Methodology Extended: Coding the Dataset 323
- Register of Artist Names 333
- Table of Figures and Tables 336
- List of References 339
- Illustration Sources 349
- Addendum 359
