Abstract Critical

New Harmony: Abstraction Between the Wars

Installation view: New Harmony: Abstraction between the Wars, 1919–1939, Solomon R. Guggenheim Museum, New York, May 10–September 8, 2013. Photo: David Heald © Solomon R. Guggenheim Museum, New York

Installation view: New Harmony: Abstraction between the Wars, 1919–1939, Solomon R. Guggenheim Museum, New York, May 10–September 8, 2013. Photo: David Heald © Solomon R. Guggenheim Museum, New York

At the Guggenheim New York is the exhibition New Harmony: Abstraction Between the Wars 1918-1939. The show’s chronology overlaps with last year’s MoMA exhibition Inventing Abstraction 1910:1925 but does not claim to be as comprehensive. The text below is the exhibition’s press-release.

Installation view: New Harmony: Abstraction between the Wars, 1919–1939, Solomon R. Guggenheim Museum, New York, May 10–September 8, 2013. Photo: David Heald © Solomon R. Guggenheim Museum, New York

Installation view: New Harmony: Abstraction between the Wars, 1919–1939, Solomon R. Guggenheim Museum, New York, May 10–September 8, 2013. Photo: David Heald © Solomon R. Guggenheim Museum, New York

 While some artists turned to figuration and pictorial order after World War I, a subject thoroughly explored in the Guggenheim exhibition Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936 (October 1, 2010–January 9, 2011), New Harmony embraces the avant-garde practices of abstraction in artistic nexuses across Europe.

László Moholy-Nagy b. 1895,Bácsbarsód, Hungary; d. 1946, Chicago A II, 1924, oil on canvas, 115.8 x 136.5 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection. © 2013 Artist's Rights Society (ARS), New York/VG Bild-Kunst, Bonn

László Moholy-Nagy, b. 1895,Bácsbarsód, Hungary; d. 1946, Chicago A II, 1924, oil on canvas, 115.8 x 136.5 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection. © 2013 Artist’s Rights Society (ARS), New York/VG Bild-Kunst, Bonn

As borders were reopened or redrawn, newly invigorated centers of creative exchange emerged in European cities during the 1920s and ’30s in response to the tumult of war. De Stijl’s radical vision, as conceptualized by Dutch artists Piet Mondrian and Theo van Doesburg, sought a universal aesthetic language formed from principles of geometry, suggesting that balance and equilibrium would foster harmony in art and society. Russian Constructivists like Naum Gabo, who believed in idealistic theories of geometric abstraction, migrated west as Soviet policy began to support more conservative expression against the avant-garde arts in 1921. Likewise, the Weimar Bauhaus—a German artistic and educational community dedicated to developing a universally accessible design vocabulary—became home to artists with socially minded ideals devoted to abstraction. The faculty included Josef Albers, Vasily Kandinsky, Klee, and László Moholy-Nagy, among others.

Vasily Kandinsky b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France Striped (Rayé), November 1934, oil with sand on canvas, 81 x 100 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris

Vasily Kandinsky b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France
Striped (Rayé), November 1934, oil with sand on canvas, 81 x 100 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
© 2013 Artists Rights Society (ARS), New York/ADAGP, Paris

Other interwar artists endeavored to provoke reactions by surrendering rational control or turning to Freudian theory. Kurt Schwitters explored unexpected combinations incorporating detritus of everyday life among abstract formal elements in a quest for “freedom from all fetters,” as evident in his Merz works, collages, paintings, and environments. Even among the largely representational imagery of Surrealism the abstract realm of biomorphic forms became a primary element of expression through the influence of Joan Miró’s paintings and Jean Arp’s sculptures and reliefs.

Fernand Léger b. 1881, Argentan, France; d. 1955, Gif-sur-Yvette, France.Composition with Aloes, No. 4 (Composition à l'aloës, no. 4), 1934–35, oil on canvas, 113.3 x 146 cm Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris

Fernand Léger b. 1881, Argentan, France; d. 1955, Gif-sur-Yvette, France.Composition with Aloes, No. 4 (Composition à l’aloës, no. 4), 1934–35, oil on canvas, 113.3 x 146 cm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris

Abstract art, born in the prewar heyday of the avant-garde, remained vibrant in the interwar period and offered opportunities to artists for reflection and continued exploration. Through the presentation of diverse abstract styles drawn from the Guggenheim’s holdings, New Harmony brings together some of the most influential artists working in Europe between the world wars.

New Harmony: Abstraction Between the Wars 1918-1939 is on at the Solomon R. Guggenheim Museum until the 8th of September.

  1. Patrick Jones said…

    Maybe this will show my prejudice,but this work looks awfully good still,compared with so much work reviewed on Abstract Critical.I have no way of getting to grips with cake painting,irony ,tropes,etc.and think English painting and its post-modern concerns conspicuously misses the point.Which is why Modernism and its continued study, is so important to budding abstract artists.