The Solomon R. Guggenheim Foundation presents watercolours and unrivalled collages by Hilla Rebay : This collection, the work of thirty-eight years, is being exhibited by public request, November-December 1948

HILLA REBAY

CONFUOCO (1946)

11 x 14, Watercolour

MUSEUM OF NON-OBJECTIVE PAINTING
1071 FIFTH AVENUE NEW YORK 28, N. Y.

HILLA REBAY 1 947

The Solomon R. Guggenheim Foundation presents watercolours
and unrivalled collages by Hi Ha Rebay. This collection, the
work of thirty-eight years, is being exhibited by public request.

NOVEMBER-DECEMBER 1948

THE MUSEUM OF NON-OBJECTIVE PAINTING

INTRODUCTION

The present exhibition of watercoiours and collages by H ilia Rebay is
only the latest of a long series of one-man shows by this artist in the
important cities of the world.

In Strassburg, Alsace, where she was born, Hilla Rebay began to draw
portraits as a child of six, and at the age of eleven, she accomplished
her first excellent portrait in oil. Her drawings were called Holbein-like
by the greatest of academic masters, E. V. Gebhard, Duesseldorf. Her
formal art education began when she was not yet sixteen, at the Acad-
emies of Duesseldorf and Paris, where she received several first prizes.
In 1913, her paintings were exhibited at the Salon des Independents in
Paris. In 1914 and 1915, after exhibiting in the free Secession in Berlin,
she exhibited at the Munich Spring Secession, and was accepted even
in the Summer Secession of Munich, which had the most difficult of all
juries to pass. In 1915, after exhibiting in Switzerland, she was invited
to show at the "Sturm," Berlin, by Herwarth Walden; who was the first
promoter of Leger, Gleizes, Delaunay, Metzinger, Chagall, Kandinsky,
Marc, Klee and Bauer, as well as of all the other prominent painters of
our time. There she had a one-man show.

In 1918, Hilla Rebay became a member of the "November Gruppe,"
and exhibited with them each year, until she was a member of the
exclusive "Krater" group. From 1923 to 1927, she lived and exhibited
in Rome and Paris, until she was invited to America, where her first show
was at the Worcester Museum in 1927. Following that, she had several
one-man shows in New York: one at the Marie Sterner and two at the
Wildenstein Galleries. During the same years and later on, her paper
paintings, negro drawings and non-objective paintings were exhibited
in Parisian one-man shows at the Galerie Carmine and at Bernheim
Jeune, Paris, several times. In the Salon de Tuileries and at the Salon
d'Autumne, she exhibited in the group with Gleizes and Delaunay in
1937 and 1938.

Her greatest admirer was Felix Feneon, the foremost of French art
experts, who considered her the greatest woman painter and who
honored her by having her paper paintings above his desk, before
his seat in his dining room, as well as opposite his bed, and who in many
letters, until he died, implored her to paint, instead of working for other
artists. It was Hilla Rebay, who was chiefly responsible for the first Salon
for Non-Objective Painting in Paris, in the Palais des Beaux Arts, opened
by the President of France in 1947, in which the American group oc-

cupied the Hall of Honour, and which group created such a sensation,
that it continues to be spoken of in Paris as extraordinary.

Such famous art critics as Andre Salmon and the late Ivanhoe Rambasson,
who was honorary curator of all museums of France, often wrote of her
art and called her the creator of the school of collage of Paris; since her
shows stimulated many artists to try cutting in coloured papers, even
lines, only to find out how difficult it is, to create art in this medium,
and especially an atmosphere and rhythm.

As a painter, Hilla Rebay progressed through the several phases of
painting by way of academism, expressionism, cubism, and abstraction;
she finally attained fulfillment in Non-Objectivity. This, she considers
the sole expression of Art for the coming "rhythmic spiritual era,"
which is so much in contrast to the bygone epochs of materialistic static
reproduction. A procession of painting which, though increasing in
quality of workmanship and volume, embodied no spiritual advance,
since the time of the caveman's first imitative wall designs.

Besides being a painter, Hilla Rebay has long been a collector of the
work by such great masters as Kandinsky and Bauer, as well as that of
Gleizes, Seurat, Leger, Klee, Chagall, Delaunay, and others. Her earliest
collection and some of her own works, including many of her superb
paperplastics, were combined in 1937 with the collection of Solomon
R. Guggenheim, to provide the nucleus of the permanent collection of
the Museum of Non-Objective Painting.

But, even since 1937, she has not missed any opportunity to collect,
especially the works by Kandinsky, whom she considers with Rudolf
Bauer, the greatest master of creative painting of all time. To see this
collection, especially of Kandinsky, so rare in quality and choice, is a
must for any well-informed art expert. Some of this collection, part of
which arrived from her European estate, now comprises paintings also by
Domela, Moholy, Modigliano, Leger, Gleizes, Chagall, Mondrian, Seurat,
Valmier, Gildewart, Xceron, Nebel, as well as many fine American non-
objective painters' works. Many of these masters would have been
ignored or in bitter need, without her help and foresight but neglected,
such as Rembrandt was, when he lay dying in the poorhouse, because he
too was above fashion and commercial-minded interests. It is already
evident that in the future, The Solomon R. Guggenheim Foundation col-
lection will need no exchanges nor eliminations, because of the remark-
able judgment with which its paintings have been chosen. The unending
appeal and variety of contrasts in creative paintings, of rhythmical life
and spiritual content, are beyond the outdated static ideal of the materi-
alistic past, and present the rhythmic form ideal of the future. The silly
search for a loose brush stroke as well, with which so many self-elected,

so-called art experts of today clutter their vision, ever since they so
unanimously had missed Rembrandt, Seurat and Van Gogh as well,
whose real essential was their research and basic knowledge of con-
structive pictorial law. This, however, was always overlooked by all
hunters for the materialistic sensualities of the brush stroke, who are
equally unable to realize the importance of rhythmic advance, leadership
of which belongs to America's very nature. There these rhythmic artistic
qualities of an invisible or visionary reality are not only created, studied
and searched for, but recognized as much needed practical modern life
essentials, of help and influence to betterment. Not only by the steel
magnate or by the window displayer or the commercial advertiser,
the engine builder, the dancer, but also by educators, the physician,
the prison authority, as well as by teachers; so as to mention only a few
who to this art attribute utility, never contributed to any objecive (now
outdated) static painting and who have sent enthusiastic letters and
reports to the Solomon R. Guggenheim Foundation.

It is the rhythm, which is between the forms that creates the infinity of
life in these creative non-objective paintings. This rhythmic element is
obvious in Hilla Rebay's paintings, as also the perfection of balance,
which is so especially outstanding in the work of Rudolf Bauer, the
greatest painter of all time, as his work is marked by the sublime austerity
of rhythm. Influential art like this develops in the onlooker reverence to
the visionarily perceived realities of all spiritual dimensions and essences,
about which Hilla Rebay has written and taught so much. To support
and present this great master Bauer, Hilla Rebay has unselfishly devoted
endless efforts of protection and many kinds of sacrifices, ever since
she met him in the Sturm in Berlin in 1916. While introducing these two
artists to each other, the visionary pioneer Herwarth Wolden, suddenly
inspired, loudly exclaimed: "A historical moment." This has already
become evident.

The present exhibition of Hilla Rebay's watercolours shows 254 selected
paintings and paper collages retrospectively to 1913. It has a double
interest, since these small works are in such contrast to her huge oil
paintings. These watercolours are really watercolours at their best, and
no other non-objective painter has brought out watercolours with such
powerful intensity without loosing the design. The collages show a
finesse of design and of texture, which has never been done before and
probably can never be rivalled. The versatility of this great artist is
astounding, as she is known for her powerful, dramatic, if not tender
and lyrical non-objective oil paintings with their exquisite colours, their
inventiveness, their powerful rhythm of motives and contrasts. Which
have created the enthusiasm of connoisseurs, wherever they have been
seen. However, like all really great artists, Hilla Rebay is far too busy

at work, to exhibit often or to promote her own fame, but often she has
arranged group exhibitions of American artists, whom she has unselfishly
taught and financed for many years. Her courage in helping totally
unknown painters is rare indeed, especially for a museum director. She
arranged the first group exhibition of American painters in Europe
since the war, an exhibition which has proved a sensation in Paris and
Switzerland, and which still is touring in Germany. And all this by a
woman who is known, to the many, who write to her from all over the
world, only as an art writer, editor, lecturer and museum director, and
who is one of the world's foremost artistic figures of our time. Ever since
1911 she was a helping friend to great painters, neglected, today as
always, and the pioneer promoter of this extraordinary creative non-
objective new form ideal, with its practical usefulness to mankind.
This has been certified in thousands of public comments, now on
record in the Museum of Non-Objective Painting; comments of great
importance as testimony to the public's response to this great Art and its
usefulness. Also, Hilla Rebay's forceful leadership in museum arrange-
ment and organization, as well as in the presentation and display of
art, have become famous in the international world of Art. Her vision
and indubitable courage are based on forty-five years of study, ex-
perience, and knowledge. Already as a young girl she proved her
foresight when she bought, with her pocket money of five or ten dollars,
paintings by the then totally unknown, ridiculed Van Gogh and Gauguin.

Hilla Rebay certainly never feared the fate which confronted her, like
all pioneers, that of being misunderstood and attacked, and she was
especially indifferent to it in 1913, when, working all alone in Alsace-
Lorraine, unaware of the non-objective theories of Kandinsky and of
his work, she openly declared reproductive art as mere skill, and dis-
carded her own renown for such skill (though already considered a
master of it in Paris) and started out all by herself, the unending study
of non-objective creative painting's counterpoint. Realizing its extraordi-
nary influence and importance for the future of mankind, as the only
possibility to bring rhythmic order into the individual, thereby developing
his visionary and spiritual faculties and therefore the only possibility
for achieving international peace, which must be based on the individuals.
Therefore, it is no wonder that Hilla Rebay is truly the foremost art figure
of our day; and that famous European art-historians continually proffer
requests for permission to write the rich and fascinating story of her
life, and about her devotion to the best in Art, which has been found to
be the painting of non-objective creation.

ELISE RUFFINI

Asst. Professor of Art
Teachers College
Columbia University

LARGO (1946)

10 ft. xlOft., Oil

Of Hilla Rebay's paintings in the 1948 Exhibition in
the Salon de Realites Nouvelles, at the Palais des
Beaux Arts in Paris, one of which is reproduced
above, Rene Massat wrote in "Le Courier des Arts
et des Sciences," August 1948:

"Hilla Rebay, who animated the group of Non-
Objective painters in New York, and also organized
the collection and the Museum of Non-Objective
Painting sponsored by the Solomon R. Guggenheim
Foundation, reveals in her remarkable contributions
the sensitive mentality and mind of the great artist
she is, and who has written: 'The Non-Objective
painter is the prophet of the spiritual era. Those who
have experienced the benefit of this art derive a
spiritual wealth, which to them can never be lost.' "

Many French artwriters and critics wrote about H ilia Rebay . . .
"Mme. Hilla Rebay is the virtuoso of cutting out and creator of the School
of Collage in Paris. Her success is great and legitime."

Andre Salmon
"Revue de France"

"Hilla Rebay knows it well. These are creations of Quality.'

Andree Warnot
'Comoedia Paris"

"Mme. Rebay solves the difficult problem to create harmony and better
still an atmosphere."

Louis Vauxelles
"Excelsior Paris"

"Hilla Rebay under the auspices of Felix Feneon gives us a penetrant
perception and expresses profoundly elementary being."

Waldemar George
"La Patria Paris"

"What art has this young woman— what avalanche of talent."

Charles de Viel
"Le Mont Parnasse"

'Miss Hilla Rebay professes the absolute in Art, a fabulous world, riots
of colours, which however, never confuse, equally great fantasy her
exacting imagination finds it solidity in the design."

P. Beam
"Pan's"

:I§18^C<%

,-v \.Cf-

BLACK LINES (1948)

7 x 10, Watercolour

DARK ACCENT (1948)

7x10, Watercolour

10

10 x 8, Collage

11

FUGUETTE (1945)

12 x 13, Watercolour

INTERWOVEN (1948)

7 x 10, Watercolour

12

LIBERO (1948)

9x11, Watercolour

FLOATING (1939)

19 x 15, Collage

ALLEGRO (1939)

19 x 15, Collage

13

IMPROVISATION (1922) 11x8, Watercolour

SCHERZO (1924)
14

11 x 8, Watercolour

LISTING COL

1. WOOD CUT

2. WOOD CUT

3. WATERCOLOUR

4. WATERCOLOUR

5. WATERCOLOUR

6. WATERCOLOUR

7. WATERCOLOUR

8. WATERCOLOUR

9. COLLAGE

10. WATERCOLOUR

11. WATERCOLOUR

12. WATERCOLOUR

13. COLLAGE

14. WATERCOLOUR

15. WATERCOLOUR

16. DRAWING

17. COLLAGE

18. COMPOSITION

19. COLLAGE

20. COLLAGE

21. COLLAGE

22. COLLAGE

23. COLLAGE

24. COLLAGE

25. COLLAGE

26. WATERCOLOUR

27. COLLAGE

28. WATERCOLOUR

29. WATERCOLOUR

30. WATERCOLOUR

31. COLLAGE

32. OIL

LAGES AND PAINTINGS

(1911
(1911
(1913
(1914
(1914
(1914
(1914
(1914
(1915
(1915
(1915
(1916
(1916
(1916
(1916
(1916
(1916
(1916
(1916

(1916
(1916

(1916

(1916
(1916
(1916

(1916
(1916

(1916
(1917
(1917
(1917
(1917

4x7

4x8

8i/4xl9

33/4x6

3i/2x5

33/4x6

63/4x9

33/4x6

8'/2xll

i2y2x9y4

8'/4xl23/4
4'/2x6

8y4xioy2

T/gx6%

7y2xio
iix8y2

4y4x33/4

4x7

8x7

10%x8y2

33/4x5i/2

6y2x9'/2

5y8x73/4

4x6

5'/8x5'/g

7y2xio

4y2x6'/4

83/4xll

4'/2x33/4
5'/4x5y2
5x63/4
4y4x53/4

INK
INK

COLLAGE

COLLAGE AND
WATERCOLOUR

COLLAGE

COLLAGE AND
WATERCOLOUR

COLLAGE AND
WATERCOLOUR

COLLAGE

COLLAGE

COLLAGE AND
WATERCOLOUR

WATERCOLOUR

COLLAGE AND
WATERCOLOUR

33. OIL

(1917)

4y2x53/4

34. COLLAGE

(1917)

4x4'/2

35. COLLAGE

(1918)

9x9

36. COLLAGE

(1918)

3'/8x5y2

37. WATERCOLOUR

(1918)

2x4

38. WATERCOLOUR

(1918)

2x3

39. COLLAGE

(1919)

8y2xll

40. COLLAGE

(1920)

4%xl0

41. SCHERZO

(1924)

83/4xll

COLLAGE

42. FUGUE

(1924)

9'/2xl3

COLLAGE

43. NEGRO GIRL

(1937)

10x12

'ENCIL DRAWING

44. ERECT

(1937)

17xl3'/2

COLLAGE

45. COMPOSITION

(1938)

17xl3y2

COLLAGE

46. GREEN THEME

(1938)

17x133/,

COLLAGE

47. REGRETS

(1938)

llx8V2

COLLAGE

48. FIGURE

(1939)

13i/2xl7

COLLAGE

49. COMPOSITION

(1939)

17xl3'/2

COLLAGE

50. BOULLY

(1939)

173/4xl33/4

COLLAGE

51. FUGUE,

INTENSITY

(1939)

17xl3'/2

COLLAGE

52. FUGUE

(1939)

17x13%

COLLAGE

53. DISTANT

(1939)

13y2xl7

COLLAGE

54. GRAY IN GRAY

(1939)

13'/2xl7

COLLAGE

55. COUNTERFUGUE

(1939)

13'/2xl7y4

COLLAGE

56. FLOATING

(1939)

17x13%

COLLAGE

57. POINT AND LINE

(1939)

13'/2xl7

COLLAGE

58. LYRICAL

INVENTION

(1939)

17xl3'/2

COLLAGE

59. VERTICAL

(1939)

17xl3'/2

COLLAGE

60. DELICATE

(1939)

17'/4xl33/4

COLLAGE

61. ALLEGRO

(1939)

17x13%

COLLAGE

62. PINKNESS

(1939)

9x11%

COLLAGE

63. CENTERED

COMPOSITION

(1939)

9x1 iy4

COLLAGE

64. COMPOSITION

(1939)

5'/8x6y2

COLLAGE AND
WATERCOLOUR

65. RHYTHMIC

(1940)

13i/2xl0%

COLLAGE AND
WATERCOLOUR

COUNTER FUGUE (1939) 17 x 13, Collage

UPWARD (1938)

17 x 13, Collage

66. COMPOSITION

67. BLUE ACCENT

68. PIZZICATO

69. VERA

70. BLUE MOTIF

71. ASCENDING
#A9

72. PIZZICATO

73. ALLEGRO

74. CONTRASTS

75. VIVACE

76. WATERCOLOUR

77. PIZZICATO

78. LIGHT

79. EXPRESSIVO

80. PURPLE FORM

81. FUGUETTO

82. PIZZICATO

83. SCHERZO #3

84. IN GRAY

85. ANIMATO

86. RONDINO

87. ANDANTINO

88. COMPOSITION

#14

89. COLLAGE -8

90. VIVACE

91. TENDERNESS

92. LENTO

93. FUGUETTO

94. CIRCLE

95. WHITE COMET

96. YELLOW SQUARE

97. LEADING ON

98. ANDANTE

(1940) 17y2xl0'/2

(1941) 13y4xll
(1943) 8'/2xll
(1943) 8'/2xll
(1943) 1 1 xl3'/2

(1943) IT 3/4x9

(1944) 9x12

(1944) ioy2xi3y2

(1944) 12x16

(1944) 9x12

(1944) 12x16

(1944) 10'/2xl4i/2

(1944) 10x13

(1944) 11x14

(1944) llxl5'/2

(1944) 10y4x73/4

(1944) 11x14

(1944) 8'/2xll'/2

(1944) ll'/2xl4

(1944) ll'/2xl5y2

(1944) 10y4x63/4

(1944) 193/4xl33/4

(1944)
(1944)
(1944)
(1944)
(1944)
(1944)
(1944)
(1944)
(1944)
(1945)
(1945)

13'/2xll

12'/4x8

113/4x8

lli/2x83/4

8x9%

7y2xll

ny2x9

103/4xl3
9y4x73/4
15xl93/4
9x12

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

COLLAGE AND
WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR
AND CRAYON

WATERCOLOUR
AND CRAYON

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR
AND CRAYON

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR

99. PIZZICATO

100. LARGO

101. PRISMATIC

102. WITHIN A
CIRCLE

103. RED CIRCLE

#2

104. RED AND GREEN

105. LARGO

106. CON MOTO

107. ANDANTE #D

108. FUGUETTA

109. LENTO

110. CROSS

111. ROUND ACCENTS

112. RED CIRCLE

113. BLUE FORM

114. CON FUOCO

115. RED LINES

116. TWO YELLOW
TRIANGLES

117. POINTED

118. LOVELY BLACK

119. RED FORM

120. NOCTURNE

121. CIRCLES

122. CIRCLES

123. FUGUETTO

124. TRIANGLE
MOTIVE

125. PRESTO #1

126. COLLAGE #1

127. LEGGERO

128. PRESTO #2

129. GREEN RED
PURPLE

130. CONTRASTS

(1945) 143/4xl0 WATERCOLOUR

(1945) ll'/2x9 WATERCOLOUR

(1945) 13i/2xl0 WATERCOLOUR

(1945) 13'/4xl0y4 WATERCOLOUR

(1945) 113/4x9

(1945) 7x10

(1945) 19'/2xl3y2

(1945) ll%x8%

(1945) 11x10

(1945) 9x8

(1945) 13y4xl0

(1945) ll'/2x83/4

(1945) 10y2x9

(1945) 8x8%

(1946) 12x15
(1946) 11x14
(1946) 9x8'/4

(1946) 7y2x5'/2

(1946) liy4x83/4

(1946) 18xliy2

(1946) 13y2xlO

(1946) 9x12

(1947) 8x9'/2
(1947) 12x16
(1947) 7x10

WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR

WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR

(1947) 12x18 WATERCOLOUR

(1947) 12'/2xl9 COLLAGE

(1947] 15'/2xl9 COLLAGE

(1947) 15'/2xl9 COLLAGE

(1947 15'/2xl9 COLLAGE

CON BRIO (1931) 9x 8, Walercolour

(1947) 83/4xll'/2
(1947) 8'/2xll

WATERCOLOUR
WATERCOLOUR

TWO RINGS (1939) 1 7 x 1 3, Collage

17

GRAY IN GRAY (1939) 17 x 13, Collage

;h

INTENSITY (1939)

^

17 x 13, Collage

131. LARGO

132. CIRCLE

133. GREEN ACCENTS

134. TWO RINGS

135. FANTASY

136. CURVED

137. GLOWING

138. STRENGTH
THROUGH JOY

139. IMPROVISATION

140. FUGUETTA

141. SCHERZANDO

142. BLUE CIRCLE

143. THREE CIRCLES

144. POINTED AND
STRAIGHT

145. IMPROVISATION

146. TWO CIRCLES

147. RED POINT

148. RED AND GREEN

149. YELLOW CROSS

150. ANCHE

151. RED SQUARE

152. BLUE CIRCLE

153. INTERMEZZO

154. BLACK LINES

155. DARK ACCENTS

156. CREATION

157. RECTANGLE

158. SOMBRE NOTE

159. BLACK CROSS

160. PAPERPLASTIC

161. PAPERPLASTIC

162. PAPERPLASTIC

163. THREE SMALL
CIRCLES

164. PIZZICATO

(1947) 10x7

(1947) 7y4x7y2

(1947) 91/4x91/4

(1947) 93/4xl23/4

(1947) 13'/2xl0'/4

(1947) 133/4xl0

(1947) 7x10

(1947) 71/4x71/4

(1947) 7'/2x7

(1947) 12x9'/4

(1947) 113/4x8%

(1947) 83/4xll'/2

(1947) 83/4xll

(1947)

(1947)

(1947)

(1947)

(1947)

(1947)

(1948)

(1948)

(1948)

(1948)

(1948)

(1948)

(1948)

(1948)

(1948)

(1948)

(1948)

(1948)

(1948)

13x10

9x1 iy2

7'/2x73/4

9i/2x8

8x12

liy2xl4

7x10

7x10

7x10

7x1 oy2

7xl0'/2

7x10

llxl3'/2

6'/2xll

15xl9'/2

10y2xl3

7x10

9'/2x6'/2

8y4xioy2

(1948) 15x18
(1948) 10x11

WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR

WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR

WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR
COLLAGE
COLLAGE
COLLAGE

WATERCOLOUR
WATERCOLOUR

165. ANIMATED

CONTRASTS

(1948)

17xlli/2

WATERCOLOUR

166. WHITE CIRCLE

(1948)

11x8'/2

WATERCOLOUR

167. CENTERED

(1948)

ny2xi4

WATERCOLOUR

&#' rim

168. CIBERO

(1948)

9y8xiiy8

WATERCOLOUR

169. RED CIRCLE #11

(1948)

i5y2xiiy2

WATERCOLOUR

170. CONSTAMENTE

(1948)

7x10

WATERCOLOUR

171. PURPLE RIOT

(1948)

10x63/4

WATERCOLOUR

172. EMBRANZO

(1948)

10V,x73/8

WATERCOLOUR

1

173. BLACK SQUARE

(1948)

9x83/4

WATERCOLOUR

174. BLUE CIRCLE

^ •

#6
175. RED CIRCLE

(1948)
(1948)

111/4X141/8

6x7'/4

WATERCOLOUR
WATERCOLOUR

'"4

176. BROWN CIRCLE

(1948)

i33/4xiiy2

WATERCOLOUR

177. THREE CIRCLES

(1948)

iiy2x8%

WATERCOLOUR l

YRICAL INVENTION (1939) 17 x 13, Collage

178. SPACE

(1948)

12x8'/2

WATERCOLOUR

179. SCHERZO

(1948)

5'/2x8'/2

WATERCOLOUR

180. COMPOSITION

#83

(1948)

8%xll3/4

WATERCOLOUR

181. CONTRASTS

(1948)

6>/2x8</2

WATERCOLOUR

182. ALTROCHE

(1948)

63/4x93/4

WATERCOLOUR

183. IMPROVISATION

(1948)

9y2xll %

WATERCOLOUR

184. WHITE CIRCLE

(1948)

9x12

WATERCOLOUR

185. CUBES

(1948)

6x9

WATERCOLOUR

186. RING

(1948)

9x12

WATERCOLOUR

187. YELLOW

TRIANGLE
188. TRIANGLE

(1948)
(1948)

9y2xl2
9x12

WATERCOLOUR
WATERCOLOUR

r **£ '

189. ANDANTE

(1948)

9x12

WATERCOLOUR

i

190. YELLOW CHEER

(1948)

6x9

WATERCOLOUR

j£k

191. BLUE CIRCLE

(1948)

10'/2x7

WATERCOLOUR

"§£

192. WATERCOLOUR

(1948)

ioy2x7

WATERCOLOUR

193. BLACK SQUARE

(1948)

10x7'/2

WATERCOLOUR

194. POINTS

(1948)

7x10

WATERCOLOUR

■5^

195. YELLOW CIRCLE

(1948)

9x12

WATERCOLOUR

*~? '. ^fe

196. CONTRASTS

(1948)

lixiiy,

WATERCOLOUR

197. AUINDO

(1948)

13'/2xll

WATERCOLOUR

3RAZIOSO (1945) 17 x 1 5, Collage

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LEGGERO (1945)

17 x 15, Collage

PRESTO (1945)

20

19 x 15, Collage

198. YELLOW AND

BLUE (1948)

199. STELLA (1948)

200. CALLING (1948)

201. COMPOSITION

202. COSMIC CENTER

203. DELICATE

204. SENSITIVE (1938)

205. COMPOSITION

206. LILAC SYMPHONIC

207. PIZZICATO

208. RONDINO

209. SCHERZO

210. SCHERZO #2

211. MORCEAU

212. MOVING

213. SELF PORTRAIT
(As a Child)

214. SELF PORTRAIT
(Asa Young Girl)

215. SELF PORTRAIT

216. LE MANDARIN

217. VEIL

218. L'OISEAU

219. RED CROSS

220. LADY AND FLOWERS

221. COLLISION OF WORLD

222. TWO RINGS

223. ALLEGRO

224. REMINISCENCE

225. UPWARD

226. COMPOSITION #5

227. COLLAGE

ioy4xii3/4

13'/2xll

8>/4x7

11x13%

9x15

7y8x7%

6x4'/2

11x13

18x11

ioy2xi4y2

6x8

13'/2xl7

10xl3'/2

10x11

12x16

12'/2x93/e

liy4x83/4

18x22

163/4xl2

16'/2xl33/4

133/4xl7

9x12

123/4x171/,

14x17

13V2xl7

13'/2xl7

ll'/2x9

17x1 3 1/2

83/4xll3/8
83/4xll3/4

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR

COLLAGE

WATERCOLOUR

WATERCOLOUR

WATERCOLOUR
AND CRAYON

WATERCOLOUR
COLLAGE
WATERCOLOUR
WATERCOLOUR
WATERCOLOUR

PENCIL

PENCIL

OIL

COLLAGE

COLLAGE

COLLAGE

WATERCOLOUR

COLLAGE

COLLAGE

COLLAGE

COLLAGE

COLLAGE AND
WATERCOLOUR

COLLAGE

COLLAGE

COLLAGE

228

PHANTASY

113/8x83/4

COLLAGE

229

CHEERFUL

Il%x8%

WATERCOLOUR

230

SYMPHONY IN

A MAJOR

12>/2xl4'/2

COLLAGE

231

YELLOW

9%xl2'/2

COLLAGE

232

COMPOSITION #12

14'/2xl0'/2

WATERCOLOUR

233

INTERSECTED

COMPOSITION

10xl03/4

WATERCOLOUR

234.

COLLAGE

17x93/4

235.

NOCTURNE

10x10%

WATERCOLOUR

236.

BLUE AND GREEN

3%x4%

WATERCOLOUR

237.

ENJOYMENT

4%x6%

COLLAGE AND
WATERCOLOUR

238.

INTERMEZZO

6%x4%

WATERCOLOUR

239.

PRELUDE -74

4y2x33/4

WATERCOLOUR

240.

SCHERZO *76

4%xSV5

COLLAGE AND
WATERCOLOUR

241.

COMPOSITION

6'/2x4

COLLAGE AND
WATERCOLOUR

242.

FUGUE 1 #73

4'/2x4%

COLLAGE AND
WATERCOLOUR

243.

COMPOSITION = 10

14'/2xl03/4

WATERCOLOUR

244.

ANDANTE =27

8x5

WATERCOLOUR

245.

RED CENTER

12x18

WATERCOLOUR

246.

BACCHUS

18x11

COLLAGE

247.

WISTFUL

17x14

COLLAGE

248.

L'ETE

18x14

COLLAGE

249.

TETE

17x14

COLLAGE

250.

THE FAN

17'/2xl4

COLLAGE

251.

LA LOGE

14xl3'/2

COLLAGE

252.

FUGUE

16xl2'/2

COLLAGE

253.

ORCHID

13'/2xl7'/4

COLLAGE

254.

L'OISEAU

17y2xl4

COLLAGE

255.

SUBDUED

13'/2xl0

WATERCOLOUR

rff/^

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M /

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1
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EARLY ABSTRACTIONS AND COLLAGES ARE NOT DATED

21

HILLA REBAY (1929)

Photograph by Moholy Nagy

SENSITIVE (1918)

6x4, Watercolour

23

LEADING (1945)

15 x 20, Walercolour

24

HMIa Re bay's "Sleeping Child," made in Florence, Italy, proves
very well that the non-objective painter can draw.

25

"Attach your eyesight to the visionary rhythm
and do not search for the materialistic
delusion of matter."

Hilla Rebay

■ It IV 1

1 !l

1 ••« • /

• •••

■ '".

*<M'm/rf\\

"*. ^

jk ■ /, \\\ \t\ ' ■ ■

SCHERZO (1945) I 7 x 1 5, Collage

'Creative Painting at last — The Art of the
past was merely part of a development that
finally culminated in the camera" — One
of thousands of intelligent public comments
made in the Museum of Non-Objective
Painting.

28

ARTIST BEFORE ABSTRACTIONS IN 1929 IN NEW YORK CITY

29

COLLAGE (1917)

7%x9%

30

COLLAGE (1916)

31

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