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Robert Delaunay, Formes circulaires, 1930 Solomon R. Guggenheim Museum, New York © Robert Delaunay - L & M SERVICES B. V. AMSTERDAM, by SIAE 2010
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Jean Dubuffet, L’Instant propice, 1962
Solomon R. Guggenheim Museum, New York © Jean Dubuffet by SIAE 2010 -
Vasily Kandinsky, Weisses Kreuz, 1922
Collection Peggy Guggenheim, Venezia © Vasily Kandinsky by SIAE 2010 -
Solomon R. Guggenheim Museum, New York © 2010 The Hilla von Rebay Foundation
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Piet Mondrian, Zomer, Duin in Zeeland, 1910 Museo Solomon R. Guggenheim, New York © 2010 Mondrian/Holtzman Trust c/o HCR International Virginia USA
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Robert Delaunay, Tour Eiffel aux arbres, 1910 Museo Solomon R. Guggenheim, New York © Robert Delaunay - L & M SERVICES B. V. AMSTERDAM, by SIAE 2010
A Defining Moment
Peggy and Solomon Guggenheim: The Avant Gardes of Abstraction
“I am very much afraid of definitions, and yet one is almost
forced to make them. One must take care, too, not to be inhibited by them.” So
wrote painter Robert Delaunay to his fellow artist August Macke in 1912, a time
when the art world was having something of an identity crisis, hovering between
colorful, cubist figuration and the pure abstraction of later painters such as Piet
Mondrian and his De Stijl cohorts. The period—as most of the 20th
century’s important art movements—is amply represented in the collection of
Peggy and Solomon Guggenheim, which will be plain to see at a new exhibition of
early abstract works from the collection, opening February 20 at the imposing
Byzantine church of San Marco, Vincelli, Italy.
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