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Hilla Rebay von EhrenwiesenCat Friends Portrait, Collage on Paper - Guggenheim Museum Founder1930s
1930s
About the Item
A portrait of two cats is deftly assembled by trailblazing modernist Hilla Rebay.
The work is signed and titled lower left. 'Muschi et Antonio v. Rebay - Rome'. Titled to verso ‘Muschi et Antonio’.
Different lighting changes the nature and color of the work. In a few photos, we have an acute side light and it picks up the surface creases and slight 3 dimensionalities of one piece of cut paper are laid on top of another. With a more common viewing with a top gallery light, the effects of the cut paper are minimally visible.
Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim, Framed Size 22 x 27
The German-born Hilla Rebay (1890–1967) was a prolific artist who obtained a solid academic training as a portrait and figure painter. Having initially secured portrait commissions in order to make a living, Rebay would later devote herself to non-objective painting—art without representational links to the material world—which she considered to be the most superior form of art. Belief in the spirituality of art and its educational powers, as well as the force of intuition, guided her throughout her life. Work is framed under glass.
Thanks especially to her friends the artists Hans Richter and Jean Arp, Rebay explored new and radical directions in painting in the 1910s and early 1920s. Arp gave Rebay a copy of Vasily Kandinsky’s seminal treatise On the Spiritual in Art (1911) and the almanac Der Blaue Reiter. He introduced her to the Dada movement in Zurich and to Herwarth Walden, the influential owner of the avant-garde Galerie Der Sturm in Berlin. ( From the Guggenheim Museum )
- Creator:Hilla Rebay von Ehrenwiesen (1890-1967, American)
- Creation Year:1930s
- Dimensions:Height: 17.5 in (44.45 cm)Width: 21.5 in (54.61 cm)
- Medium:
- Movement & Style:Blue Rider
- Period:
- Condition:some light toning to paper commensurate with age.
- Gallery Location:Miami, FL
- Reference Number:1stDibs: LU385310401502
Hilla Rebay von Ehrenwiesen
A woman credited largely for the existence of the Solomon R. Guggenheim Museum in New York City, Hilla Rebay also was an accomplished artist in modernist styles that included collage and biogmorphic-linear oil paintings. She is remembered primarily for being the key person in first exposing the American public to avant-garde art and creating revolutionary museum environments for that art. To remind the public that Rebay was an artist in her own right, curators at the Guggenheim Museum held a retrospective of her work in the spring and summer of 2005. Hilla Rebay was born to minor nobility in Strasbourg, Alsace. Her father, a career army officer from Bavaria, and her mother encouraged her obvious childhood art talent. She studied locally and then enrolled in 1909 at the Academie Julian in Paris. There she was much influenced by avant-garde movements especially theosophist artists and writers led by Wassily Kandinsky. In 1910, she spent time in Munich where she was further exposed to modern art, and she returned to Paris in 1913, having exhibited work in Cologne and Munich. In Paris she studied at the Academie Julian. By 1914, she was exhibiting with the Secession Group in Munich, the Salon des Independants in Paris, and the November Gruppe in Berlin--all rebelling against prevalent realism and traditional teaching methods. In Berlin, she associated with many modernist artists including Vasily Kandinsky, Paul Klee, and Marc Chagall. In 1917, she med Rudolph Bauer, a German painter in non-objective styles who became her long-time lover and in the future the cause of controversy because she was accused of devoting disproportionate exhibition space to him at the Guggenheim Museum. Hilla Rebay first visited the United States in 1927 and stayed for an extended time period, which included giving painting lessons to Louise Nevelson, seeking portrait commissions, designing posters and exhibiting her own work at venues including the Worcester Art Museum and a Manhattan gallery. Among her portrait commission subjects was Solomon Guggenheim, whose wealthy family had extensive western mining interests. Rebay had met Solomon and his wife Irene when they purchased two of her paintings at the Manhattan show. To that time, the couple were collectors of conventional art, but during the sittings, Hilla talked to him of what was going on in avant-garde art circles. She brought painters of leading-edge styles to meet Guggenheim and encouraged him to collect their art, which he did--filling his Plaza Hotel apartment. Rebay supervised the collection, and in 1937, she led the establishment of a Guggenheim foundation to build "The Museum of Non-Objective Art," in 1939. The main focus of the collection was works of the Dutch De Stijl Group that included Piet Mondrian and Theo van Doesburg, and of Bauhaus artists from Germany such as Paul Klee, Vasily Kandinsky, and Laszlo Moholy-Nagy. During this time, Rebay was reaching out to many young non-objective American artists including Jackson Pollock and Rudolf Bauer.
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