Exhibiting Abstraction Strategies in the Propagation of an Avant-garde 1908–1915
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 p...
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| Abstract | 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 and as such uncovers strategies for the dissemination of early abstract painting in exhibitions.
Die Zeit um 1910 ist als Zeitpunkt der „Geburt der Abstraktion“ in die Kunstgeschichte eingegangen. Doch wo und wann Werke der nicht-figurativen Kunst öffentlich sichtbar wurden, ist bisher kaum beachtet worden. Exhibiting Abstraction ist die erste Publikation, die sich der Präsentation abstrakter Kunst zwischen 1908 und 1915 widmet und dabei Strategien zur Verbreitung der frühen abstrakten Malerei in Ausstellungen aufdeckt. |
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| AbstractList | 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 and as such uncovers strategies for the dissemination of early abstract painting in exhibitions.
Die Zeit um 1910 ist als Zeitpunkt der „Geburt der Abstraktion“ in die Kunstgeschichte eingegangen. Doch wo und wann Werke der nicht-figurativen Kunst öffentlich sichtbar wurden, ist bisher kaum beachtet worden. Exhibiting Abstraction ist die erste Publikation, die sich der Präsentation abstrakter Kunst zwischen 1908 und 1915 widmet und dabei Strategien zur Verbreitung der frühen abstrakten Malerei in Ausstellungen aufdeckt. 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. Die Zeit um 1910 ist als Moment der "Erfindung der Abstraktion" in die Kunstgeschichte eingegangen. Wo und wann Werke nicht-figurativer Kunst öffentlich präsentiert wurden, ist bisher aber wenig Aufmerksamkeit geschenkt worden. Exhibiting Abstraction widmet sich erstmals der Präsentation abstrakter Kunst zwischen 1908 und 1915. Mithilfe der systematischen Erfassung aller in diesem Zeitraum ausgestellten Werke von Giacomo Balla, Umberto Boccioni, Wassily Kandinsky, Frantisek Kupka, Kazimir Malevich, Piet Mondrian und Francis Picabia und der Analyse ihrer Ausstellungsaktivität, werden Strategien der Verbreitung früher abstrakter Malerei in Ausstellungen aufgedeckt. Die zentrale Rolle, die Kunstausstellungen bei ihrer Lancierung und Verbreitung einnahmen wird herausgestellt. 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. |
| Abstract_FL | Die Zeit um 1910 ist als Zeitpunkt der „Geburt der Abstraktion“ in die Kunstgeschichte eingegangen. Doch wo und wann Werke der nicht-figurativen Kunst öffentlich sichtbar wurden, ist bisher kaum beachtet worden. Exhibiting Abstraction ist die erste Publikation, die sich der Präsentation abstrakter Kunst zwischen 1908 und 1915 widmet und dabei Strategien zur Verbreitung der frühen abstrakten Malerei in Ausstellungen aufdeckt. |
| Author | Bartosch, Christina |
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| Keywords | Ausstellungsgeschichte art 20th century abstract art exhibition history František Kupka Kazimir Malevič 20. Jahrhundert Klassische Moderne Piet Mondrian Abstrakte Kunst Wassily Kandinsky |
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| Snippet | 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... 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... Die Zeit um 1910 ist als Moment der "Erfindung der Abstraktion" in die Kunstgeschichte eingegangen. Wo und wann Werke nicht-figurativer Kunst öffentlich... |
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| SubjectTerms | 1908–1915 20. Jahrhundert 20th century abstract art Abstractism Abstrakte Kunst ART / Criticism ART / General ART / History / General ART / History / Modern (late 19th Century to 1945) ART / Subjects & Themes / General ART / Techniques / Painting Art history art monographs art monographs (AGB) ART / Collections, Catalogs, Exhibitions / General ART / Individual Artists / General Ausstellungsgeschichte Ausstellungsstrategie Avant-garde Avantgarde c 1900 to c 1999 (3MP) -- Early 20th century c 1900 to c 1950 (3MPB) -- c 1910 to c 1919 (3MPBF) c 1910 to c 1919 ca. 1910 bis ca. 1919 Drawing and drawings einzelne Künstler Europa Europe exhibition history exhibition strategy Expressionism Expressionismus Francis Picabia Frantisek Kupka František Kupka Futurism Futurismus Giacomo Balla History of art Individual artists Kazimir Malevich Kazimir Malevič Klassische Moderne Kunst Kunstgeschichte Künstlermonografien Künstlermonografien (AGB) Modernism Modernismus New York City Orphism Orphismus Paintings and painting in oils Piet Mondrian Section d’Or Suprematism Suprematismus Thema Klassifizierung -- Geographische Qualifier -- Amerika (1K) -- Nordamerika (USA und Kanada) (1KB) -- Vereinigte Staaten von Amerika Thema Klassifizierung -- Geographische Qualifier -- Europa (1D) Thema Klassifizierung -- Kunst (A) -- Kunst: Themen und Techniken (AG) -- einzelne Künstler Thema Klassifizierung -- Kunst (A) -- Kunst: Themen und Techniken (AG) -- Kunstgeschichte (AGA) Thema Klassifizierung -- Kunst (A) -- Kunstformen (AF) -- Malerei und Gemälde (AFC) -- Ölmalerei (AFCL) Thema Klassifizierung -- Kunst (A) -- Kunstformen (AF) -- Zeichnen und Zeichnungen (AFF) Thema Klassifizierung -- Stil-Qualifier -- Stile (A) (6A) -- Abstrakte Kunst (6AA) Thema Klassifizierung -- Stil-Qualifier -- Stile (A) (6A) -- Avantgarde (6AQ) Thema Klassifizierung -- Stil-Qualifier -- Stile (E) (6E) -- Expressionismus (6EF) Thema Klassifizierung -- Stil-Qualifier -- Stile (F) (6F) -- Futurismus (6FF) Thema Klassifizierung -- Stil-Qualifier -- Stile (M) (6M) -- Modernismus (6MC) Thema Klassifizierung -- Stil-Qualifier -- Stile (NO) (6N) -- Orphismus (6NM) Thema Klassifizierung -- Stil-Qualifier -- Stile (S) (6S) -- Section d’Or (6SH) Thema Klassifizierung -- Stil-Qualifier -- Stile (S) (6S) -- Suprematismus (6SR) Thema Klassifizierung -- Zeitliche Qualifier -- ca. 1500 bis zur Gegenwart (3M) -- 20. Jahrhundert (ca. 1900 bis ca. 1999) (3MP) -- Erste Hälfte 20. Jahrhundert (ca. 1900 bis ca. 1950) (3MPB) -- ca. 1910 bis ca. 1919 (3MPBF) Thema Subject Codes -- Place qualifiers -- Europe (1D) Thema Subject Codes -- Place qualifiers -- The Americas (1K) -- North America (USA and Canada) (1KB) -- United States of America Thema Subject Codes -- Style qualifiers -- Styles (A) (6A) -- Abstractism (6AA) Thema Subject Codes -- Style qualifiers -- Styles (A) (6A) -- Avant-garde (6AQ) Thema Subject Codes -- Style qualifiers -- Styles (E) (6E) -- Expressionism (6EF) Thema Subject Codes -- Style qualifiers -- Styles (F) (6F) -- Futurism (6FF) Thema Subject Codes -- Style qualifiers -- Styles (M) (6M) -- Modernism (6MC) Thema Subject Codes -- Style qualifiers -- Styles (NO) (6N) -- Orphism (6NM) Thema Subject Codes -- Style qualifiers -- Styles (S) (6S) -- Section d’Or (6SH) Thema Subject Codes -- Style qualifiers -- Styles (S) (6S) -- Suprematism (6SR) Thema Subject Codes -- The Arts (A) -- The Arts: art forms (AF) -- Drawing and drawings (AFF) Thema Subject Codes -- The Arts (A) -- The Arts: art forms (AF) -- Paintings and painting (AFC) -- Paintings and painting in oils (AFCL) Thema Subject Codes -- The Arts (A) -- The Arts: treatments and subjects (AG) -- History of art (AGA) Thema Subject Codes -- The Arts (A) -- The Arts: treatments and subjects (AG) -- Individual artists Thema Subject Codes -- Time period qualifiers -- c 1500 onwards to present day (3M) -- 20th century Umberto Boccioni USA (1KBB) -- US Northeast (1KBB-US-N) -- US Northeast: Mid-Atlantic States (1KBB-US-NA) -- New York (1KBB-US-NAK) -- New York City (1KBB-US-NAKC) USA (1KBB) -- USA Nordosten (1KBB-US-N) -- USA Nordosten: Mid-Atlantic States (1KBB-US-NA) -- New York (1KBB-US-NAK) -- New York City (1KBB-US-NAKC) Wassily Kandinsky Zeichnen und Zeichnungen ÖFOS 2012 -- GEISTESWISSENSCHAFTEN -- Kunstwissenschaften -- Kunstwissenschaften -- Kunstgeschichte ÖFOS 2012 -- HUMANITIES -- Arts -- Arts -- Art history Ölmalerei |
| Subtitle | Strategies in the Propagation of an Avant-garde 1908–1915 |
| TableOfContents | Intro -- Table of Contents -- Acknowledgements -- Note to the Reader -- Introduction -- Part One. The Exhibition of Abstract Art, 1908-1915 -- Part Two. Case Studies: Artists and Exhibitions -- Appendix -- Register of Artist Names -- Table of Figures and Tables -- List of References -- Illustration Sources -- Addendum Illustration Sources -- Tentatively Exhibiting Abstraction: Balla’s Behaviour with Different Audiences -- Register of Artist Names -- Kandinsky Continues: The NKVM’s Ausstellung II, Turnus 1910/11 in Munich, 1910 -- Boccioni: The Coexistence of Figuration and Abstraction -- Conclusion -- Kandinsky Strategizing: How to Target Various Audiences at Once -- Acknowledgements -- Addendum The Impact of Exhibiting Abstraction: The Propagation of an Avant-Garde -- Part One: The Exhibition of Abstract Art, 1908–1915 -- List of References -- When Less Is More – Kupka’s Concentrated Exhibition Activity -- A1: Exhibitions and Exhibited Artworks -- Première for Abstraction: Kandinsky at the Sonderbund in Düsseldorf, 1910 -- Strategies in the Presentation of an Avant-Garde -- Total Abstraction: The First Fully Abstract Exhibition: Picabia in New York, 1913 -- Note to the Reader -- Women Artists Exhibiting (Abstraction?) -- A2: Comparative Table of Exhibition Statistics for the Seven Male Artists -- Part Two: Case Studies: Artists and Exhibitions -- Abstraction Double Bill: Kupka and Picabia at the Salon d’Automne, Paris 1912 -- Introduction & Disclaimer -- Picabia as Kandinsky’s First Follower at the Salon de Juin, Rouen 1912 -- From Munich to Moscow: Kandinsky’s Abstraction at the Jack of Diamonds Exhibition, 1910 -- Mondrian’s Consistency towards Abstraction -- Picabia: Ambassador of Abstraction -- Frontmatter -- A4: Methodology Extended: Coding the Dataset -- Questioning the ‘fathers of abstraction’ -- Table of Figures and Tables -- The Form and Function of Modern-Art Exhibitions in the Early Twentieth Century -- Suprematist Exhibition Behaviour: Malevich at the Centre of Attention -- Famous Last Words – So What? -- A3: Table of Exhibitions by the 13 Women Artists -- |
| Title | Exhibiting Abstraction |
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