Feiniger, Lyonel - American - born in New York, 1871.

Painter. Lived in Germany from 1887 - 1939. Taught at the Bau-Haus et Weimer and Dessau 1919 - 1935. Returned to America 19

Feinger though born in America spent most of his life in Germany. His contribu-
tion to Art is rather through his technique than through his approach. The angu-
lar lines in his earlier compositions related his work closely with the stage, es-
pecially as expressed in the film of "Doctor Caligari". Whether Feiniger influeneed
the stage first or the stage Feiniger, it would be hard to say - but through light
effects and shadows, these cross-lines were often to be found on the German stage.
Since his return to America, the poet has come to the fore, and has superceeded the
theatrical effects of his earlier work. His present work is delicate and strongly
poetic, to which his technique and new color scale lend themselves perfectly.

1946

K.S.D.

Represented by 2 small Wood Cuts.

Bought at the Exhibition of Modern German Art, Anderson Gallery 1923.

FEININGER, Lyonel Charles. Painter, musician.

Born in New York, 1871. Studied music with his father; to Germany in 1887, when he decided to become a painter. Studied at the Kunstgewerbeschule in Hamburg, then in the Berlin Academy till 1891, and later in Belgium. In 1892 to Paris,, attended the Colarosse Academy. From 1893 to 1903 active in Berlin as illustrator and cartoonist. 1906-07 in Paris. Gave up illustrating for painting, returned to live near Berlin. Belonged to the Berlin S ecession in 1910. Painted his first cubist canvas in 1912. Assotiated with "Die Blaue Reiter" in 1913. From 1919 to 1933 taught and worked at the Bauhaus in Weimar and Dessau. In 1924 formed eith Klee, Kandinsky and Jawlensky the "Blue Four" group, which later exhibited in the United States. After 1933 his work was considered in Germany as "degenerate art" by the Nasis. Returned to the United States in 1936 and settled in New York. Murals for the New York World's Fair, 1939.

The Museum of Modern Art in New York organised a retrospective exhibition of his work in 1944.

BIBL.: Catalogue of L. Feininger and M. Hartley exhibitions. Museum of Modern Art, New York, 1944.

Mrs. van Doesburg

Nov. 8, 1948

FEININGER, LIONEL

Born in 1871 from German parents. Went in 1887 to Hamburg, then to Berlin where he studied music. Started as a caricature designer. His first work was grotesques. Went in 1897 to Paris. He was impressed by the cubists and became the German Cubist. In 1909 he painted his Frauenkopf portrait of a woman, influenced from Picasso and Braque.

Mrs. van Doesburg

Nov. 8, 1948

FEININGER, LIONEL

Born in 1871 from German parents. Went in 1887 to Hamburg, then to Berlin where he studied music. Started as a caricature designer. His first work was grotesques. Went in 1897 to Paris. He was impressed by the cubists and became the German Cubist. In 1899 he painted his Frauenkopf portrait of a woman, influenced from Picasso and Braque.

PRESERVATION PHOTOCOPY: ORIGINAL MATERIAL RESTRICTED

Mrs. van Doesburg.

LYONEL FEININGER (American Painter)

Since the beginning of The Bauhaus, was a professor there. Was the first person
who introduced the magazine *De Stijl* in The Bauhaus in 1919. Was reproduced in
1919 in the magazine *De Stijl*. He was, besides a painter, a composer, and played
piano very well.

Born in New York, N.Y., 1871. Studied music with his father; to Germany in 1887 when he decided to become a painter. Studied at the Kunstgewerbeschule in Hamburg, then in the Berlin Academy till 1891. In 1892 studied in the Colarossi Academy in Paris. From 1893 to 1903 active in Berlin as illustrator and cartoonist. 1906-07 in Paris, gave up illustrating for painting. Returned to Germany to live near Berlin; belonged to the Berlin Secession. In 1912 painted his first cubist canvas. Associated with "Der Blaue Riter" group, 1913. From 1919 to 1933 taught and worked at the Bauhaus in Weimar and Dessau. In 1924 formed with Klee, Kandinsky and Jawlensky "The Blue Four" group which exhibited in the United States. After 1933 his work in Germany was considered by Nazis as degenerate art. Returned to the United States in 1936 and settled in New York. 1939 murals for the New York World's Fair. Retrospective exhibitions of his work at the Museum of Modern Art in New York, 1944 and at the Carnegie Institute, 1946.

Bibl.: L.Feininger and M.Hartley. Catalogue of the Exhibition in the Museum of Modern Art, New York, 1944.

Copy of Mr. Lozinski's research after Mr. Hamilton had corrected his preliminary notes and had made some suggestion.

Born in New York, 1871. Studied music with his father; to Germany in 1887, when he decided to become a painter. Studied at the Kunstgewerbeschule in Hamburg, then in the Berlin Academy till 1891, and later in Belgium. In 1892 to Paris, attended the Colarosse Academy. From 1893 to 1903 active in Berlin as illustrator and cartoonist. 1906-07 in Paris. Gave up illustrating for painting, returned to live near Berlin. Belonged to the Berlin Secession in 1910. Painted his first cubist canvas in 1912. Associated with "Die Blaue Reiter" in 1913. From 1919 to 1933 taught and worked at the Bauhaus in Weimar and Dessau. In 1924 formed with Klee, Kandinsky and Jawlensky the "Blue Four" group, which later exhibited in the United States. After 1933 his work was considered in Germany as "degenerate art" by the Nazis. Returned to the United States in 1936 and settled in New York. Murals for the New York World's Fair, 1939.

The Museum of Modern Art in New York organized a retrospective exhibition of his work in 1944.

Bibl.: Catalogue of L. Feininger and M. Hartley exhibitions. Museum of Modern Art, New York, 1944.

### FEININGER, Lyonel Charles, Painter, musician.

Born in New York, 1871. Studied music with his father; to Germany in 1887, when he decided to become a painter. Studied at the Kunstgewerbeschule in Hamburg, then in the Berlin Academy till 1891, and later in Belgium. In 1892 to Paris, attended the Gitarresse Academy. From 1893 to 1903 active in Berlin as illustrator and cartoonist. 1906-07 in Paris. Gave up illustrating for painting, returned to live near Berlin. Belonged to the Berlin Secession in 1910. Painted his first cubist canvas in 1912. Associated with "Die Blaue Reiter" in 1913. From 1919 to 1933 taught and worked at the Bauhaus in Weimar and Dessau. In 1924 formed with Klee, Kandinsky and Jawlensky the "Blue Four" group, which later exhibited in the United States. After 1933 his work was considered in Germany as "degenerate art" by the Nabis. Returned to the United States in 1936 and settled in New York. Murals for the New York World's Fair, 1939.

### Bibliography
Catalogue of L. Feininger and N. Hartley exhibitions. Museum of Modern Art, New York, 1944.

Born in New York, 1871. Studied music with his father; to Germany in 1887, when he decided to become a painter. Studied at the Kunstgewerbeschule in Hamburg, then in the Berlin Academy till 1891, and later in Belgium. In 1892 to Paris, attended the Ecole des Beaux-Arts. From 1893 to 1903 active in Berlin as illustrator and cartoonist. 1906-07 in Paris. Gave up illustrating for painting, returned to live near Berlin. Belonged to the Berlin Secession in 1910. Painted his first cubist canvas in 1912. Associated with "Die Blaue Reiter" in 1913. From 1919 to 1933 taught and worked at the Bauhaus in Weimar and Dessau. In 1924 formed with Klee, Kandinsky and Jawlensky the "Blue Four" group, which later exhibited in the United States. After 1933 his work was considered in Germany as "degenerate art" by the Nazis. Returned to the United States in 1936 and settled in New York. Murals for the New York World's Fair, 1939.

Bibliography:
Catalogue of L. Feininger and N. Hartley exhibitions. Museum of Modern Art, New York, 1944.

Lyonel Feininger: 1871 -

Born in New York of German parents, who were both musicians. 1887 went to Germany to study music, but instead attended the School of Industrial Arts, Hamburg, and 1892-93 he studied at the Academy of Paris (Paris, France). In 1891 he studied at the Academy of Berlin; then Paris, where he studied under the name of Paul Klee. In 1906 he began to draw illustrations for "Ulk", "Lustige Blätter", and "Harpers Young People". 1906-08 he lived in Paris, making cartoons for "Le Témoin" and the Chicago Sun-Tribune. 1908-09 he worked in Berlin, exclusively as a painter. 1913 exhibited with the Blaue Reiter founded in 1911 by Kandinsky and Franz Marc. 1919-34 taught at the Bauhaus at Weimar and Dessau. 1924 formed, with Kandinsky, Klee and Jawlensky, "The Blue Four". 1931 Retrospective Exhibition, National Gallery, Berlin. 1933-36 lived in Halle. 1936 returned to the U.S. 1938 made murals for the Marine Transportation Building, New York World's Fair. 1939 murals for the Masterpieces of Art Building.

Feininger became the first well-known German through the exhibition of his political cartoons in the "Grosse Berliner Kunst Ausstellung" (Great Berlin Art Show). Since 1910 he has acquired a reputation as a painter of equally grotesque and perspectively distorted landscapes and figure compositions. This is interesting, insofar as Feininger's artistic development is one more confirmation of the very well-known fact that without the Romanticist and Impressionist soil, the plant of abstract art would not have grown. From its early beginning in the 18th century Fueseli, Blake and Friederich, though romanticists, have favored the irrational, "border cases of perspective which undermine the truth of space, and at the same time -- as a related activity -- have sought the abnormal outer relationship between persons and things and inside them." The caricature, therefore, is as much the rational favorite of Romanticism as the relapse into the pre-rational animation of nature -- sun, trees, clouds, ships, houses, etc.

Feininger - the Romanticist and Cartoonist - then was well prepared to receive the baptism of Cubism when he made his third trip to Paris in 1911. From then on his tortured reality of stretched space and mysterious things exploded into the new clear air of a wholly dynamic reality. Liberated into an ever moving interpenetration, things are here and there at the same time. Inside is also outside, and solid things no longer stretch themselves into distortion, but have the new power to change their identity. All this is no longer "space" - if that term has any distinct meaning. Nor does it - furtively - reintroduce space by sneaking it in again through the back door, after an illegitimate excursion.
Feininger reached very soon a degree of crystallic transparency and lightness and thereby a degree of immaterial dynamism which Cubism itself never achieved. His art is unique in intensity and lightness, beyond which it allows the insight into the opening of

a supra-spacial vision. This insight is the more breathtaking as it sustains the
full span from C. D. Friederich - like romantic reality of distorting and dissolving
space and tortured people to the new vision of open space and liberated people. One
has only to compare Friederich's "Monk by the Sea", his views from cliffs, or his
gaps into mountainous woods with similar composition by Feininger - to understand what
Western Art has gone. Feininger uses oil as well as water color, and the graphic
arts as media.

By 1933 more than 24 German museums owned paintings by Feininger and about 30 American
museums own paintings of his now.

Alexander Dornern 1949.

Important Exhibitions:

Erster Deutscher Herbstsalon, arranged by Der Sturm, 1912, Berlin.

International Kunst Ausstellung, 1922, Dusseldorf.

Collection of Modern German Art introduced by W. R. Valentiner, 1923, New York.

Exhibition at Braxton Gallery, 1930, Hollywood, Calif.

One-man Exhibition: Künstler Verein, 1931, Cologne.

Multi-National Exhibition, 1926, Berlin. This exhibition went to Berne, Switzerland and London, 1926; to New York, 1927.

One-man Exhibition: Buchholz Gallery, 1943, New York.

Feininger and Hartley: Museum of Modern Art, 1944, New York.

Bibliographies:

Buch der Neuer Künstler by Kassak and Moholy-Nagy, 1922.

Junge Kunst: Lyonel Feininger, Leipzig, 1924.

Reproduced in De Stijl 1918-19; 1921-22.

Catalogue for International Kunst Ausstellung, Dusseldorf, 1922.

Lyonel Feininger: Kunstblatt by P. Westheim, 1917.

Lyonel Feininger: Neue Blatter für Kunst und Dichtg by R. Probst, 1919.

Lyonel Feininger by W. Wolfradt, Leipzig, 1924.

Die Kunst des 19. und 20. Jahrhunderts by Hans Hildebrandt, Handbuch der Kunst Wiss. 1924.

Die Kunst des 20. Jahrhunderts by C. Einstein, Propyl. Kunstgesch., 1926.

"Zehn Jahre November-Gruppe" by Willi Grohmann, Kunst der Zeit, 1928.

Paintings by 19 Living Americans; Museum of Modern Art, New York, 1929-30.

Lyonel Feininger by Willi Grohmann in Deutsche Kunst und Dekoration, 1930.

Lyonel Feininger by L. Grote in Mus. der Gegenwart, 1931.

Z. Schaffen Feininger's by A. Schardt, Kunstblatt, 1931.

Feininger -2-

Bibliographies cont'd.

Introduction to Exhibition Catalogue by L. Thermaelen, National Gallery, Berlin, 1931.

Lyonel Feininger by A. Dorner, Catalogue Kestner Gesellschaft, Hannover, 1932.

Abstraktion in der Malerei by H. Klumpp, 1932.

Der Romantiker Feininger by G. H. Theunissen, Kunst der Nation, 1934.

Cubism and Abstract Art: Museum of Modern Art, N. Y., 1936.

Lyonel Feininger in Bull., by A. Dorner, Rhode Island School of Design, 1938.

Contemporary German Art: The Institute of Modern Art, Boston, 1939.

The Glorious Feininger by P. Rathbone, Bull., St. Louis Museum, 1940.

Feininger's Counterpoint in Paint by J. Lane, Art News, 1941.

Abstract and Surrealist Art in America by S. Janis, 1944.

Lyonel Feininger by Alfred H. Barr and A. Schardt: Museum of Modern Art, N. Y., 1944.

Painting and Sculpture in the Museum of Modern Art by Alfred H. Barr, N. Y., 1948.

Painting Toward Architecture by H. R. Hitchcock, 1948.

For a more exhaustive bibliography see: Feininger and Hartley: Museum of Modern Art, New York, pp. 51-52, 1944.

copy CD

LYONEL FEININGER

Painter, Graphic Artist

Born New York, 1871, of German parents, both musicians. 1887, to Germany to study music, but instead attended the applied arts school, Hamburg. 1891, studied at the Academy, Berlin; 1892-95, Colarossi Academy, Paris. 1894-1906, illustrator for *Ulk, Lustige Blätter*, 1906-08, Paris, cartoonist for *Le Témoin* and the *Chicago Sunday Tribune*. 1908-09, worked in Berlin exclusively as painter. 1915, exhibited in Berlin with *Der Blaue Reiter*, founded in 1911 by Kandinsky and Franz Marc. 1919-35, taught at the Bauhaus, Weimar and Dessau. 1924, formed, with Kandinsky, Klee and Jawlensky, The Blue Four. 1931, retrospective exhibition, National Gallery, Berlin. 1933-36, lived in Halle. 1936 returned to the United States. 1938, murals for the Marine Transportation Building and Masterpieces of Art Building, New York World's Fair. Lives in New York.

Feininger first became well-known through his exhibition of political cartoons in 1904 at the Grosse Berliner Kunst Ausstellung. From 1910 his reputation grew as a painter of equally grotesque and perspectively distorted landscapes and figure compositions. This is interesting, insofar as Feininger's artistic development is one more confirmation of the well-known fact that without the Romanticist and Impressionist, abstract art would not have been. From the early beginning in the eighteenth century, Fuseli, Bäake and Friedrich, though romanticists, favored the irrational, "border cases" of perspective which undermine true space. At the same time, as a related activity, they sought the abnormal outer and inner relationship between persons and things. The caricature, therefore, is as much the rational favorite of Romanticism as the relapse into the pre-rational animation of nature, sun, trees, clouds, ships, houses, etc.

Feininger, the Romanticist and Cartoonist, was then well prepared to receive the baptism of Cubism when he made his third trip to Paris in 1911. From then on his tortured reality of stretched space and mysterious things exploded into

(Lyonel Feininger)

the new clear air of a wholly dynamic reality. Liberated into an ever-moving
interpenetration, things are here and there at the same time. Inside is also
outside. Solid things no longer stretch themselves into distortion, but have
the new power to change their identity. All this is no longer "space", if that
term has any distinct meaning. Nor does it, furtively, reintroduce space by
sneaking it in again through the back door. Feininger reached very soon a degree
of crystallic transparency and lightness and thereby a degree of non-material
dynamism which Cubism itself never achieved. His art is unique in intensity
and lightness, beyond which it allows insight into the opening of a supra-spatial
vision. This insight is the more breathtaking as it sustains the full span from
G.D. Friedrich, like the romantic reality of distorting and dissolving space
and liberated people. One has only to compare Friedrich's *Monk by the Sea*,
his views from cliffs, or his gaps into wooded mountains with similar compositions
by Feininger to understand how far Western art has gone. Feininger uses oil
as well as water color and the graphic arts as media. By 1933 more than twenty-
four German museums owned paintings by Feininger and about thirty American
museums own paintings of his now.

Alexander Dorner, 1949

Exh.: 1st German Herbstsalon, 1915; Der Sturm, 1917; "Modern German Art",
Anderson Galleries, New York, 1923; "The Blue Four" (with Kandinsky, Klee,
Jawlensky), New York and elsewhere, 1925-34; "Paintings by 19 Living Americans",
Museum of Modern Art, 1929; Société Anonyme, 83rd exhibition 1939; Buchholz
Gallery, New York, 1941-48; "Feininger and Hartley", Museum of Modern Art, 1944;
"Villon and Feininger", Institute of Contemporary Art, Boston, 1949.

(Lyonel Feininger)

Bibl.: P. Westheim, "Lyonel Feininger", Das Kunstblatt, I (1917), No. 5, p.65-70;
W. Wolfradt, "Lyonel Feininger", Jahrbuch der jungen Kunst, Leipzig, 1924, p.65-73;
Hildebrandt, 1924; Einstein, 1924; Paintings by 19 Living Americans, Museum
of Modern Art, 1929; A. Dorner, catalogue, Lyonel Feininger, Kestner Gesellschaft,
Hanover, 1932; H. Klumpp, Abstraktion in der Malerei, Berlin, 1932; A.J. Schardt
and A.H. Barr, Jr., Feininger, Museum of Modern Art, 1944; F.S. Wight,
Feininger, Institute of Contemporary Art, Boston, 1949.

LOCOMOTIVE 1866

Woodcut, 3 5/8 x 4 5/8. 1941.456.

Purchased: "Modern German Art", Anderson Galleries, New York, 1925.

SIDEWHEELER 1868

Woodcut, 2 3/4 x 4 5/8. 1941.457.

Feininger, 1871-

Copy for George Hamilton

Born in New York of German parents, who were both musicians. 1887 went to Germany to study music, but instead attended the School of Industrial Arts, Hamburg. 1891, studied at the Academy, Berlin; 1892-93, Golarossi Academy, Paris. Painter, engraver and illustrator. 1894-1906, illustrated for "Ulk", "Lustige Blätter", and "Harpers Young People". 1906-08, Paris making cartoons for "Le Temoin" and the Chicago Sun-Tribune. 1908-09, worked in Berlin exclusively as painter. 1913, exhibited with Der Blaue Reiter, founded in 1911 by Kandinsky and Franz Marc. 1919-34, taught at the Bauhaus at Weimar and Dessau. 1924, formed, with Kandinsky, Klee and Jawlensky, "The Blue Four". 1931, Retrospective Exhibition, National Gallery, Berlin. 1933-36, lived in Halle. 1936, returned to the United States. 1938, made murals for the Marine and Masterpieces of Art Building, New York World's Fair. 1939, murals for the Building of the Masterpieces of Art, Halle in New York.

Feininger first became well-known through his exhibition of political cartoons 1904 at the "Grosse Berliner Kunst Ausstellung". Since 1910 his reputation grew as painter of equally grotesque and perspectively distorted landscapes and figure compositions. This is interesting, insofar as Feininger's artistic development is one more confirmation of the well-known fact that without the Romanticist and Impressionist, abstract art would not have been. From the early beginning in the 18th century Russell, Blake and Friedrich, though romanticists, have favored the irrational, "border cases" of perspective which undermine true space. At the same time, as a related activity, they have sought the abnormal outer and inner relationship between persons and things. The caricature, therefore, is as much the rational favorite of Romanticism as the relapse into the pre-rational animation of nature, as sun, trees, clouds, ships, houses, etc.

Feininger, the Romanticist and Cartoonist, was then well prepared to receive the baptism of Cubism when he made his third trip to Paris in 1911. From then on his tortured reality of stretched space and mysterious things exploded into the new clear air of a wholly dynamic reality. Liberated into an ever-moving interpenetration, things are here and there at the same time. Inside is also outside. Solid things no longer stretch themselves into distortion, but have the new power to change their identity. All this is no longer "space" if that term has any distinct meaning. Nor does it furtively reintroduce space by sneaking it in again through the back door. Feininger reached very soon a degree of crystalloid transparency and

Zehn Jahre November-Gruppe by Willi Grohmann, Kunst der Zeit, 1928.

Paintings by 19 Living Americans: Museum of Modern Art, New York, 1929-30.

Lyonel Feininger by L. Grote in Museum der Gegenwart, 1931.

Introduction to Exhibition Catalogue by L. Thormaelen, National Gallery, Berlin, 1931.

Cubism and Abstract Art: Museum of Modern Art, New York, 1936.

Lyonel Feininger by Alfred H. Barr and A. Schardt: Museum of Modern Art, New York, 1944.

Painting and Sculpture in the Museum of Modern Art by Alfred H. Barr, New York, 1948.

Feininger and Hartley: Feininger by Alois J. Schardt and Alfred H. Barr, Jr., Museum of Modern Art, New York, 1944. Contains a bibliography of works by and about Feininger, p. 46-52.

Lyonel Feininger:

1 Page -- 2 Columns

1 Column: approx. 425 words: Type: 1946:J

1 Column: approx. 344 words: Type: 1948: M

Biography 132 words
Important Exhibitions 68 words
200 words

Statement 365 words A.D.
365 words

Lyonel Feininger: 1871 -

Printers Copy

Born in New York of German parents, who were both musicians. 1887 went to Germany to study music, but instead attended the School of Industrial Arts, Hamburg. 1891 studied at the Academy, Berlin; 1892-93 Colarossi Academy, Paris. Painter, engraver and illustrator. 1894-1906 illustrator for "Ulk", "Lustige Blätter", and "Harpers Young People". 1906-08 Paris making cartoons for "Le Témoin" and the Chicago Sun-Tribune. 1908-09 worked in Berlin exclusively as painter. 1913 exhibited with Der Blaue Reiter, founded in 1911 by Kandinsky and Franz Marc. 1919-34 taught at The Bauhaus at Weimar and Dessau. 1924 formed, with Kandinsky, Klee and Jawlensky, "The Blue Four". 1931 Retrospective Exhibition, National Gallery, Berlin. 1933-36 lived in Halle. 1936 returned to the United States. 1938 made murals for the Marine Transportation Building, New York World's Fair. 1939 murals for the Building of the Masterpieces of Art.

Feininger first became well known through his exhibition of political cartoons 1904 at the "Grosse Berliner Kunst Ausstellung". Since 1910 his reputation grew as painter of equally grotesque and perspectively distorted landscapes and figure compositions. This is interesting, insofar as Feininger's artistic development is one more confirmation of the well-known fact that without the Romanticist and Impressionist, abstract art would not have been. From the early beginning in the 18th century Fueseli, Blake and Friederich, though romanticists, have favored the irrational, "border cases" of perspective which undermine true space. At the same time -- as a related activity -- have sought the abnormal outer and inner relationship between persons and things. The caricature, therefore, is as much the rational favorite of Romanticism as the relapse into the pre-rational animation of nature -- sun, trees, clouds, ships, houses, etc.

Feininger - the Romanticist and Cartoonist -- was then well prepared to receive the baptism of Cubism when he made his third trip to Paris in 1911. From then on his tortured reality of stretched space and mysterious things exploded into the new clear air of a wholly dynamic reality. Liberated into an ever-moving interpenetration, things are here and there at the same time. Inside is also outside. Solid things no longer stretch themselves into distortion, but have the new power to change their identity. All this is no longer "space" - if that term has any distinct meaning. Nor does it - furtively - reintroduce space by sneaking it in again through the back door. Feininger reached very soon a degree of crystallic transparency and

-2-

lightness and thereby a degree of non-material dynamism which Cubism itself never achieved. His art is unique in intensity and lightness. Beyond which it allows the insight into the opening of a supra-spatial vision. This insight is the more breathtaking as it sustains the full span from C. D. Friederich - like romantic reality of distorting and dissolving space and liberated people. One has only to compare Friederich's "Monk by the Sea", his views from cliffs, or his gaps into wooded mountains with similar composition by Feininger - to understand how far Western Art has gone. Feininger uses oil as well as water color, and the graphic arts as media.

Alexander Dorner 1949.

### Important Exhibitions:

Internationale Kunst Ausstellung, 1922, Dresden.

Exhibition at Braxton Gallery, 1930, Hollywood, California.

One-man Exhibition: Kunstler Verein, 1931, Cologne.

### Bibliography:

Lyonel Feininger: Neue Blätter für Kunst und Dichtung by R. Probst, 1919.

Catalogue for Internationale Kunst Ausstellung, Dusseldorf, 1922.

Reproduced in *De Stijl* 1918-19; 1921-22.

Die Kunst des 19. und 20. Jahrhunderts by Hans Hildebrandt, Handbuch der Kunst Wiss, 1924.

-3-

Lyonel Feininger:

1 Page -- 2 Columns

Biography 132 words

Statement 365 words A.D.

365 words

14

... Now these artists do not seek to give what can, after all, be but a pale reflex of actual appearance, but to arouse the conviction of a new and definite reality. They do not seek to imitate form, but to create form, not to imitate life, but to find an equivalent for life. By that I mean that they wish to make images which by the clearness of their logical structure, and by their closely-knit unity of texture, shall appeal to our disinterested and contemplative imagination with something of the same vividness as the things of actual life appeal to our practical activities. ...

... I want to find out what the function of content is, and am developing a theory ... that it is merely directive of form and that all the essential aesthetic quality has to do with pure form ... I think that in proportion as poetry becomes more intense the content is entirely remade by the form and has no separate value at all ... the sense of poetry is analogous to the things represented in painting. ...

ROGER FRY

From Virginia Woolf, Roger Fry, A Biography. New York 1940.

THE true language of art . . . is not addressed to the mere intel-
ligence, at any rate not directly. Its appeal is far deeper. Pictorial
design uses a language which speaks to something in our inner
nature beyond the reach of words.

Design is founded on the simple elements of straight line and
curve. . . . Order and liberty, reason and imagination, control and
energy . . . that contrast and combination is expressed in the fluid,
flexible lines of nature contrasted and combined with the straight
lines and angles of man's ruling. And according as one element or
the other predominates, there are produced types of design, types
of decoration, which affect us in very different ways.

Straight line and curve, repetition and contrast — these are the
foundation. But growing out of these is the whole marvelous
structure of pictorial design, in which other elements gradually
play their part: the potency of space, reserves and silences; the
potency of light and dark, the eloquence of tone; the potency of
imagined mass and volume; the glory and vibration of the lyric
notes of color . . . this language, no less than verbal language
when used in poetry, communicates a meaning, a significance . . .
Art has no existence apart from the bodily senses. And yet it is
a spiritual activity. It is concerned solely with appearances, yet
in its own way . . . it seeks for and discovers something behind

appearances. . . . It is something real, something that profoundly satisfies the whole man — not his intellect only, or his emotions only, or his senses only. If one must suggest a name, I can only suggest Life itself. Not life as we know it in our thwarted, careburdened, precarious existence, but life as we desire it to be, and as we experience it in moments when simply to be alive seems something more precious than any possession. . . . Will anyone ever produce a universally accepted definition of art? I hope not. . . . It is all, as William Blake called it, "a means of conversing with Paradise."

from: LAURENCE BINYON
"The Spirit of Man in Asian Art"

[17]

CATALOGUE

OILS:

1 Afterglow II.
1948. 17x24"

2 Hidden Village.
1948. 20x24"

3 Wanderers along the Shore.
1949. 15½x21"

4 Courtyard II.
1949. 20x18"

5 Courtyard III.
1949. 24x19"

6 Walls and Windows.
1949. 19x15"

7 Church of Old Treptow.
1949. 14x19"

8 In Snow.
1949. 18x27"

9 Street in Mellingen, Thuringia.
1949. 20x25"

[44]

10 The Trees.

1949. 23x27"

11 Steamboat Landing.
(from 1915 sketch)

1949. 19x24"

12 The Cutting.

1949. 17x28"

13 Cloudbank.

1949. 16x28"

14 Factory Windows in
Manhattan.

1949. 28x21"

15 Dunes.

1949. 18x30"

16 Houses by the River, I.

1949. 20x30"

17 The Factory.

1950. 15x28"

18 Houses by the River, II.

1950. 20x30"

19 Yachts.

1950. 21x36"

20 Harbor of Memories.

1950. 24x30"

[ 22 ]

WATERCOLORS:

21 Luminosity.

1948. 11¾x18¼"

22 Perfume and Sweet Candy.

1948. 12x18½"

23 Thuringia.

1948. 12¼x18½"

24 Windclouds at Sundown.

1948. 12x18½"

25 Light Horizon.

1948. 11½x18"

26 Road in Nevada.

1948. 12x18"

27 Sunset.

1948. 11½x18"

28 Northwest II.

1948. 11½x18"

29 Manhattan Tenements.

1948. 18x13½"

30 Approaching Squall.

1949. 12x18¼"

31 Hurrying — Where?

1949. 11½x17¾"

32 Panic.

1949. 12x18¼"

33 Yacht Race.

1949. 12x18½"

[ 42 ]

34 Cloud over the Baltic.
1949. 12x18½"

35 Mural Design I.
1949. 10¾x9¼"

36 Mural Design II.
1949. 9x12"

37 Mural Design III.
1949. 7¼x11"

38 Setting Sun.
1949. 12x18½"

39 The Lighthouse.
1949. 11¾x18¼"

40 Gelmeroda.
1949. 18x11½"

41 Clouds over the Baltic.
1949. 10½x18¼"

42 Heat I.
1949. 11¾x18"

43 Heat II.
1949. 11¾x18"

44 Carefree.
1949. 11½x17¾"

45 Fan Shaped Clouds.
1949. 11¼x17½"

[3]

A COLLECTION OF DRAWINGS IS SHOWN AT THE
SCHAEFFER GALLERIES 52 EAST 58 STREET

Der Sturm / Leitung Herwarth Walden /
Kunstausstellung / Zeitschrift / Verlag
BERLIN W 9 Potsdamer Strasse 134a

Sturm-Künstler
Lyonel Feininger

Markwippach

POSTKARTE