Modern masters from European and

American collections the Museum of

Modern Art, New York, 1940

Author
Museum of Modern Art (New York, N.Y.)

Date

1940

Publisher
[publisher not identified]

Exhibition URL
www.moma.org/calendar/exhibitions/2796

The Museum of Modern Art's exhibition history—

from our founding in 1929 to the present—is
available online. It includes exhibition catalogues,
primary documents, installation views, and an
index of participating artists.

MoMA © 2017 The Museum of Modern Art

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MODERN
FROMEUROPEANAND AMERICANCOLLECTIONS

THE MUSEUMOF MODERNART, NEWYORK,1940

MASTER S
/\y cU \ A t £<?•Y-£
kMfit
V LENDERS TO THE EXHIBITION

Mr. Stephen C. Clark, New York; Mr. Marcel Fleischmann, Zurich; Mr. Rene Gaffe, Brussels; Mr. A. Conger
Goodyear, New York; Dr. and Mrs. David M. Levy, New York; The Lewisohn Collection, New York; Miss Ann
Resor, New York; Mr. Edward G. Robinson, Beverly Hills; Miss Sally Ryan, London; Mr. John Hay Whitney,
New York; Miss Gertrude B. Whittemore, Naugatuck, Connecticut; The Ferargil Galleries, New York; Wildenstein
& Company, Inc., New York; The Brooklyn Museum, Brooklyn, New York; The Pennsylvania Academy of the
Fine Arts, Philadelphia; Phillips Memorial Gallery, Washington.

TRUSTEES OF THE MUSEUM

Stephen C. Clark, Chairman of the Board; John Hay Whitney, 1st Vice-Chairman; Samuel A. Lewisohn, 2nd
Vice-Chairman; Nelson A. Rockefeller, President; Alfred H. Barr, Jr., Vice-President; John E. Abbott, Vice-
President; Mrs. John S. Sheppard, Treasurer; Mrs. Robert Woods Bliss, Mrs. W. Murray Crane, Marshall Field,
Edsel B. Ford, Philip L. Goodwin, A. Conger Goodyear, Wallace K. Harrison, Henry R. Luce, William S. Paley,
Mrs. John Parkinson, Jr., Mrs. Charles S. Payson, Mrs. Stanley Resor, Mrs. John D. Rockefeller, Jr., Beardsley
Ruml, Edward M. M. Warburg.

HONORARY TRUSTEES: Frederic Clay Bartlett, Frank Crowninshield, Duncan Phillips, Mrs. Rainey Rogers, Paul
J. Sachs.

STAFF OF THE MUSEUM

Alfred H. Barr, Jr., Director; John E. Abbott, Executive Vice-President; Julian Street, Jr., Secretary; Department
of Painting and Sculpture: Alfred H. Barr, Jr., Curator; Dorothy C. Miller, Assistant Curator; Department of
Architecture: John McAndrew, Curator; Film Library: John E. Abbott, Director; Iris Barry, Curator; Department
of Circulating Exhibitions: Elodie Courter, Director; Department of Publications: Monroe Wheeler, Director;
Registrar: Dorothy H. Dudley; Publicity Department: Sarah Newmeyer, Director; Librarian: Beaumont
Newhall; Department of Public Relations: Julian Street, Jr., Director; Educational Project: Victor E. D'Amico,
Director; General Administration: lone Ulrich, Assistant Treasurer and Comptroller; Douglas L. Baxter, Assistant
to the Executive Vice-President; Florence West, Office Manager; John Ekstrom, Technical Manager; John
Bostoff, Chief Engineer; Ernest J. Tremp, Assistant at Information Desk.

Copyright, 1940, by The Museum of Modern Art. Printed in the United States of America.
INDEX OF A RT I S T S
Page Page

BRANCUSI: Bird in Space ..... 33 LEHMBRUCK: Kneeling Woman 37

BRAQUE: Man with a Guitar .... 28 MAILLOL: Desire . 35

CEZANNE: La Montagne Sainte-Victoire 18 Torso . 34,35

The Card Players 19 MATISSE: White Plumes 27

DEGAS: At the Milliner's ..... 15 MIRO: Composition 32

DERAIN: The Window on the Park ... 26 PICASSO: The Studio . 31

DESPIAU: Assia 36 RENOIR: Le Moulin de la Galette 16

i

EAKINS: Mrs. Letitia Wilson Jordan Bacon . . 12 Little Margot Berard 17

EPSTEIN: Madonna and Child .... 38 ROUAULT: Clown's Head 25

GAUGUIN: The Spirit of the Dead Watching . 22 ROUSSEAU: The Sleeping Gypsy 23

VAN GOGH: Night Cafe 20 Color frontispiece

L Arlesienne ..... 21 RYDER: Macbeth and the Witches . . .14

GRIS: The Chessboard ...... 30 SEURAT: The Side Show 23

HOMER: The Fox Hunt 13 VUILLARD: Le Salon Hessel, Rue de Rivoli . 24

LA FRESNAYE: The Conquest of the Air ... 29 WHISTLER: The White Girl 10,11
FOREWORD
"We must make . . . something solid and enduring like the art of the museums."
Paul Cezanne.

When the Museum of Modem Art agreed to exhibit the masterpieces which had been

lent by the Italian government to the Golden Gate International Exposition last sum

mer, it was decided that a group of distinguished modern painters and sculptors should

be shown in the illustrious company of the Italian masters. The Museum has therefore
brought together a number of works of high quality by some of the foremost artists of

the last third of the nineteenth century and the first third of the twentieth.
The roll of the Italian exhibition includes some of the greatest names of Italian art,

although it is in no sense intended as a survey of the field. The desire to balance the

Italian exhibition of twenty-nine pieces has necessarily limited the modern works in

number. While many other artists, both European and American, would have been in

cluded in a larger exhibition such as Art in Our Time held a few months ago at the

Museum of Modern Art, it is felt that this smaller group makes possible a more direct

and stimulating comparison with the Italian masters.

Among the twenty-nine modern works are a number of masterpieces. Cezanne and

Renoir are each represented by two works, Cezanne by a landscape and a monumental

figure composition, Renoir by one of the finest Impressionist paintings, the Moulin de la

Galette, and a child's portrait. One of Seurat's six major compositions, La Parade, is

included. The Arlesienne and the Night Cafe are among the great van Goghs, and

Gauguin's Tahitian period is magnificently shown in The Spirit of the Dead Watching.

The Sleeping Gypsy, just acquired by the Museum, is believed by many authorities to

be the greatest work of the Douanier Rousseau. Whistler's graciously beautiful White
Girl , one of the best early paintings by the Anglo-American master, may be compared
with the more modest but psychologically acute Letitia Bacon of Thomas Eakins.

Homer's dramatic daylight realism is strikingly seen in his Fox Hunt, which seems as

far removed as possible from the nocturnal mystery of Ryder's equally important

Macbeth and the Witches.

It is more difficult to apply the word masterpiece to works which have been produced
within the short span of the twentieth century, but it may be said that with a few

exceptions each work in this exhibition represents the artist at the height of his powers.
Lehmbruck's Kneeling Woman is not only his finest achievement but is surely one of

the greatest masterpieces of modern sculpture. The Bird in Flight is Brancusi's most

admired bronze. Despiau's Assia and Epstein's Mother and Child are both major pieces

by sculptors better known in this country through their portrait busts. Braque is repre
sented by an excellent early cubist painting, Picasso by a magnificent still life of

1925, Roger de La Fresnaye by his most important composition, Rouault by the impos

ing Clown's Head. The Derain, Window on the Park, just purchased by the Museum in

honor of one of its founders, is one of the artist's most renowned works.
Imaginary contests between the heroes of antiquity and their modern counterparts

have always had a certain fascination. Here, within the Museum of Modern Art, some

such trial of strength may actually take place, for the Museum, believing in the power
and quality of the modern artist, has not hesitated to accept the challenge made possi

ble by its act of hospitality toward the Italian masters. Whichever side, the old or the

new, seems to triumph, one fact is sure: the great indebtedness of the modern masters

to the work of their ancestors of the Italian Renaissance and Baroque— a debt that is

continually being paid not only by the explicit homage which modern artists so often
offer to the past but by the ever-changing illumination which the art of the living

throws upon the art of the dead.

D.C.M.
1 WHISTLER: The White Girl. 1862. Oil on canvas, 85'/i x 43 inches. Lent by Miss Gertrude B.
Whittemore, Naugatuck, Connecticut.
James Abbott McNeill Whistler. American, 1834-1903. After early studies in Paris he lived in London where he fought English
philistinism with vitriolic wit. His work seemed so revolutionary that in 1878, seven years after he had painted his now beloved
portrait of his mother, John Ruskin, the leading English critic, called one of his Nocturnes a "paint pot flung in the face of
the public."

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2 EAKINS: Mrs. Letitia Wilson Jordan Bacon. 1888. Oil on canvas, 59 x 39 V2 inches. Lent by the
Brooklyn Museum, Brooklyn, New York.
Thomas Eakins. American, 1844-1916. Lived in Philadelphia. He painted American people —sporting scenes, prize fights, rowing,
hunting, hospital scenes and, above all, portraits which are remarkable for their ruthlessly honest penetration of character.
Though grossly underestimated as an artist during his lifetime, his integrity has been an inspiration to many American painters
during recent years.

12
 HOMER: The Fox Hunt. 1893. Oil on canvas, 38 x 68 inches. Lent by the Pennsylvania Academy
of the Fine Arts, Philadelphia.
Winslow Homer. American, 1836-1910. Originally an illustrator for Harper's Weekly. Almost uninfluenced by his European con
temporaries, he painted the American out-of-doors with simplicity, enthusiasm and unsurpassed power.

13
4 RYDER: Macbeth and the Witches. Oil on canvas, 28 Vi x 36 inches. Lent by the Ferargil Galleries,
New York.
Albert Pinkham Ryder. American, 1847-1917. Ryder's scenes of romantic legend or clouded moonlight might have been banal had it not
been for his mastery of design and his profound poetic feeling.

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5 DEGAS: At the Milliner's. About 1882. Pastel, 27 x 27 inches. Lent by Dr. and Mrs. David M.
Levy, New York.

N Hila ire-Germain-Edgar
them in point
time somewhat
of view.
eclipsed
Degas. French,
Influenced
1834-1917.
principally
by the fame of Cezanne
Exhibited in 1874 with
by masters of the Renaissance,
and Renoir, Degas'
the

position
Impressionists
Japanese prints,
as one of the greatest
though
Manet
never
and
and
closely
photography.
allied

most versatile
with
For a
artists
of modern times is now almost unquestioned.

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6 RENOIR: Le Moulin de la Galette. 1876. Oil on canvas, 30% x 44% inches. Lent by John Hay Whitney,
New York.
Illustrated, no. 3, in color portfolio Art in Our Time, Museum of Modern Art, 1939.

Auguste Renoir. French, 1841-1919. His youthful works of the 1870's are the finest Impressionist paintings. Later under the influence of
old masters like Rubens and Titian, his art became richer in color and more rhythmic in form until it sings in a ripe, full-throated,
luxuriant harmony.

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II 7 RENOIR: Little Margot Berard. 1879. Oil on canvas, 16'/8 x 12
by Stephen C. Clark, New York.
inches. Lent

Reproduced, Museum of Modern Art Color Print no. 3.

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8 CEZANNE: La Montagne Sainte-Victoire. 1885-1887. Oil on canvas, 23% x 28% inches. Lent
by the Phillips Memorial Gallery, Washington.
Paul Cezanne. French, 1839-1906. Influenced first by Daumier, Delacroix, Courbet and Renaissance and Baroque masters, and
later by Manet, Pissarro and the Impressionists with whom he exhibited.
Cezanne in his own words tried to make of Impressionism something solid and lasting "like the art of the museums." He wanted
to get back to the traditions of the old masters without sacrificing the new technique of vibrating color which the Impressionists
of the 1870 s had developed. In attempting to solve this problem he became one of the greatest and probably the most in
fluential artist of the last hundred years.
/52
1s 9 CEZANNE: The Card Players. 1892. Oil on canvas, 25 x 32 inches. Lent by Stephen C. Clark,
New York.
Reproduced, Museum of Modern Art Color Print no. 2.

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3 10 VAN GOGH: Night Cafe. Aries, 1888. Oil on canvas, 28 x 36 Va inches. Lent by Stephen C.
Clark, New York.
Vincent van Gogh. Dutch, 1853-1890. Worked in France, 1886-1890. Distraught by his inability to adjust his life or his art to
an unsympathetic world, he killed himself. Today the world honors his martyrdom and loves his vibrant emotional pictures which
fifty years ago seemed repulsive and incomprehensible.

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M 11 VAN GOGH:
Lent by the Lewisohn
L'Arlesienne (Mme.
Collection,
Ginoux).
New York.
Aries, 1888. Oil on canvas, 36 Va x 28^ inches.

Illustrated, no. 4, in color portfolio Art in Our Time, Museum of Modern Art, 1939.

M 21

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12 GAUGUIN: The Spirit of the Dead Watching (Manao Tupapau). Tahiti, 1892. Oil on canvas,
28% x 36% inches. Lent by A. Conger Goodyear, New York.
Illustrated, no. 5, in color portfolio Art in Our Time, Museum of Modern Art, 1939.

Paul Gauguin. French, 1848-1903. Gave up a successful business career for art, and then abandoned civilization to paint in the
South Seas, where he died. Under the influence of primitive and folk art, he tried to make painting simple, direct and decorative,
in reaction against the elaborate semi-scientific attitude of Impressionism.

22
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II 13 SEURAT: The Side Show (La Parade). 1889. Oil on canvas, 39!4 x 5914 inches. Lent by Stephen

II C. Clark,
Georges-Pierre
With scientific
New York.
Seurat.
precision
French, 1859-1891. Seurat's brief career
he took the small brush strokes of the Impressionists
as an artist was dominated by a passion for system and order.
and made them into dots all of the same size. Each
dot is a light or dark shade of one of the six pure primary colors— blue, yellow, red, green, violet and orange. With similar logic,

T
he analyzed lines and tones and their emotional effects of sadness, calm and joy. Though his method seems over-scientific, Seurat
painted several of the greatest compositions of modern times. To artists of today he is the supreme example of intelligence and

M
discipline.

14 ROUSSEAU: The Sleeping Gypsy (La Bohemienne Endormie). 1897. Oil on canvas, 51 x 79
inches. The Museum of Modern Art, gift of Mrs. Simon Guggenheim. (See frontispiece for color

M
reproduction.)
Henri Rousseau. French, 1844-1910. Called "le Douanier" because of his job as a minor customs officer. Greatest of the many
"modern primitives," self-taught artists of the people, whose fresh eye, untutored technique and imaginative power have inter
ested modern artists.

T 23

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15 VUILLARD: Le Salon Hessel, Rue de Rivoli. 1901. Oil on canvas, 29 x 25 inches. Lent by
Wildenstein & Company, Inc., New York.
Jean Edouard Vuillard. French, born 1868. Lives in Paris. Influenced by Degas and Toulouse-Lautrec. Developed a personal,
intimate kind of indoor Impressionism which places him, with Rouault, Bonnard and Matisse, at the top of the oldest generation
of living French painters.

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Pnotograpn Pierre Matisse Gallery

16 ROUAULT: Clown's Head. 1917. Oil on canvas, 44 V* x 29% inches. Lent by Edward
G. Robinson, Beverly Hills.

II Georges
stained
Rouault. French,
glass, his work,
born 1871. Lives in Paris.
even when not specifically
Influenced
religious
by Rembrandt,
in subject matter,
Daumier,
is profoundly
Goya and medieval
concerned with human
injustice and pathos, subjects which he embodies in forms and colors of somber power.

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17 DERAIN: The Window
Modern Art, purchased
on the Park.
in memory
1912. Oil on canvas,
of Mrs. Cornelius
51 x 35 inches. The Museum
J. Sullivan.
of
H
Andre Derain. French, born 1880. Lives in Paris. Derain's early work was influenced by many sources, including Negro
sculpture,
Courbet
Cezanne
and Corot,
and medieval
he exerted
Italian frescoes.
a wide influence
After
upon younger
the war,
men.
through his adaptation of the French tradition of

26
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18 MATISSE: White Plumes. 1919. Oil on canvas, 28% x 23% inches. Lent by Stephen C.
Clark, New York.
Illustrated, no. 7, in color portfolio Art in Our Time, Museum of Modern Art, 1939.
Henri-Matisse. French, born 1869. Lives in Nice. Matisse in 1905 was the leader of the Fauves (wild beasts) group who
went beyond Gauguin in using bright flat color and heavy black outlines.
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19 BRAQUE: Man with a Guitar. 1911. Oil on canvas, 45% x 32 inches. Lent by Marcel Fleisch-
mann,
Georges
Zurich.
Braque. French, born 1881. Lives in Paris. The foremost French master of Cubism, which with Picasso he invented about
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1908. He remains one of the most distinguished French painters.

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20 LA FRESNAYE: The Conquest of the Air. 1913. Oil on canvas, 91 Vi x 77 inches. Lent by Rene

M Gaffe, Brussels.
Roger de La Fresnaye. French, 1885-1925. Associated with the Cubists. His rare large pictures are among the masterpieces of

M early 20th century painting.

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21 GRIS: The Chessboard. 1917. Oil on wood, 28% x 39% inches. The Museum of Modern Art,
Mrs. John D. Rockefeller, Jr., Purchase Fund.
Illustrated, no. 9, in color portfolio Art in Our Time, Museum of Modern Art, 1939.

Juan Gris (Jose Gonzales). Spanish, 1887-1927. Worked in Paris; one of the foremost Cubists. Remarkable for the distinction and
precision of his style.

30
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5 22 PICASSO: The Studio. 1925. Oil on canvas, 38 x 51 inches. Lent anonymously.

M Pablo Picasso. Spanish,

sculpture
born 1881. To Paris, 1901, where
and Cezanne. With Braque, founded Cubism.
he now lives. Early work
His incalculably protean
influenced by Toulouse-Lautrec,
art cannot be classified.
then by Negro
His early work has greatly

M
influenced the neo-romantic painters of 1930. His later work is claimed by the Surrealists.

31

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5 23 MIRO: Composition. 1933. Oil on canvas, 52Va x 65 inches. Lent by Miss Ann Resor,
New York.
Joan Miro. Catalan, born 1893. Allied with Paris Surrealists, 1924. Lives in Paris. Remarkable for the complete spontaneity
of his invention, his Surrealist sense of humor, and the excitement of his color.

32
BRANCUSI: Bird in Space. 1919. Bronze, 54 inches high. The Museum of Modern Art.
Constantin Brancusi. Rumanian, born 1876. Pupil of Rodin. Lives in Paris. The great sculptor of abstract forms which are
beautiful in themselves rather than as representations of nature. In 1926 there was a law suit over his most admired work.
Bird in Space, which the United States Customs held was not a work of art.
»

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II 25 MAILLOL: Desire. About 1904. Plaster, 47 x 45 inches. The Museum of Modern Art, gift of the
sculptor.

26 MAILLOL: Torso. 1910. Bronze, 43 inches high. The Museum of Modern Art, gift of A. Conger

M Goodyear.
Aristide Maillol. French, born 1861. Lives in Paris. Something of the warmth and serenity of Greek sculpture is reborn in these

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works of one of the foremost living artists.
 Charles Despiau. French, born
1874. Lives in Paris. Rodin's as
sistant, 1903. With Maillol, the
most distinguished of the older
generation of French sculptors.
He differs from Maillol in his ex
tremely sensitive surface modeling.

27 DESPIAU: Assia. 1938. Bronze, 75 Va inches high. The Museum of Modern Art, gift of Mrs. Simon
Guggenheim. (This reproduction is from a photograph of the original cast in plaster.)

36
28 LEHMBRUCK: Kneeling Woman. 1911. Cast stone, 6914 inches high. The Museum of
Modern Art, Mrs. John D. Rockefeller, Jr., Purchase Fund.
Wilhelm Lehmbruck. German, 1881-1919. One of the greatest of 20th century sculptors, much of his art is now
officially repudiated in his own country. His mature work suggests the elongated elegance and spirituality of late
Gothic sculpture.
29 EPSTEIN: Madonna and Child. 1927. Bronze, 67 inches high. Lent by Miss Sally Ryan, courtesy
the Tate Gallery, London.

Jacob Epstein. Born in New York, 1880. Lives in London. Famous for his controversial figures in stone (Christ, Rima, Eve) and for
his vigorous bronze portraits.

38
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