Exhibiting Abstraction
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Christina Bartosch
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Funded by:
FWF – Der Wissenschaftsfonds
About this book
The time around 1910 has entered art history as the moment when «abstraction was invented». However, where and when works of non-figurative art became present in the public eye has been afforded little attention to date. Exhibiting Abstraction is the first publication to be devoted entirely to the presentation of abstract art between 1908 and 1915. It uncovers strategies for the dissemination of early abstract painting in exhibitions with the aid of a register of exhibited works by Giacomo Balla, Umberto Boccioni, Wassily Kandinsky, Frantisek Kupka, Kazimir Malevich, Piet Mondrian and Francis Picabia shown to the public within this period, and an analysis of the artists’ exhibition activities. The key role played by art exhibitions in the works’ introduction and dissemination is highlighted.
Author / Editor information
Christina Bartosch, Austrian art historian; she studied art history at the University of Paris IV-Sorbonne and University College London, and gained her doctorate at the University of Vienna in 2020. Her research specialities lie in the field of exhibition history and the history of abstraction. From 2017-2020 she was responsible for the scientific output of the FWF-funded research project she co-initiated, "Exhibitions of Modern European Painting 1905-15", Institute of Art History, University of Vienna. The Database of Modern Exhibitions (DoME) was created in the same context. She is the founder and director of the company "recollect", which plans and implements the maintenance and management of public and private collections. Since 2022, she has lived and worked in Hongkong.
Topics
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Frontmatter
I -
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Frontmatter
5 -
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Acknowledgements
9 -
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Note to the Reader
11 -
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Introduction Questioning the ‘fathers of abstraction’
13 - Part One: The Exhibition of Abstract Art, 1908–1915
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The Form and Function of Modern-Art Exhibitions in the Early Twentieth Century
27 -
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Strategies in the Presentation of an Avant-Garde
34 -
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The Impact of Exhibiting Abstraction: The Propagation of an Avant-Garde
50 -
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Conclusion
56 - Part Two: Case Studies: Artists and Exhibitions
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Introduction & Disclaimer
61 -
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Tentatively Exhibiting Abstraction: Balla’s Behaviour with Different Audiences
62 -
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Boccioni: The Coexistence of Figuration and Abstraction
76 -
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Kandinsky Strategizing: How to Target Various Audiences at Once
91 -
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When Less Is More – Kupka’s Concentrated Exhibition Activity
106 -
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Suprematist Exhibition Behaviour: Malevich at the Centre of Attention
119 -
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Mondrian’s Consistency towards Abstraction
134 -
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Picabia: Ambassador of Abstraction
147 -
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Women Artists Exhibiting (Abstraction?)
160 -
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Première for Abstraction: Kandinsky at the Sonderbund in Düsseldorf, 1910
169 -
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Kandinsky Continues: The NKVM’s Ausstellung II, Turnus 1910/11 in Munich, 1910
179 -
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From Munich to Moscow: Kandinsky’s Abstraction at the Jack of Diamonds Exhibition, 1910
190 -
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Picabia as Kandinsky’s First Follower at the Salon de Juin, Rouen 1912
199 -
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Abstraction Double Bill: Kupka and Picabia at the Salon d’Automne, Paris 1912
208 -
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Total Abstraction: The First Fully Abstract Exhibition: Picabia in New York, 1913
216 -
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Famous Last Words – So What?
226 -
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A1: Exhibitions and Exhibited Artworks
227 -
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A2: Comparative Table of Exhibition Statistics for the Seven Male Artists
313 -
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A3: Table of Exhibitions by the 13 Women Artists
315 -
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A4: Methodology Extended: Coding the Dataset
323 -
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Register of Artist Names
333 -
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Table of Figures and Tables
336 -
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List of References
339 -
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Illustration Sources
349 -
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Addendum
359
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Manufacturer information:
Walter de Gruyter GmbH
Genthiner Straße 13
10785 Berlin
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