Twenty contemporary painters from the Philippe Dotremont collection, Brussels

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The true artist is always the explorer. His broad field ot exploration is the
seemingly illimitable sea of huntan expression. ISis islands are always
"beyond" until he finds them, discovers them to us— then leaves them for
other islands beyond. And a collector who teams up Mcith the truly creative
artists of his day, as Georges Salles has suggested in an appreciation of the
Philippe Mtotremont Collection, becomes also an Argonaut.

Botremont, as Salles says, does not collect for the sake of amassing worhs
of art, but to freshen his view, "to go forward, to enjoy a risk." And I
remember the two intpressions of Ms collection which I carried away from
tny first visit: the quality ot its individual examples and its ntaker's
courage of choice.

These are the characteristics of even such a tnodest sampling of the
Philippe Mtotremont Collection as this group of Twenty Contemporary
Painters provides. This is why ire regard it such a privilege to be able to
present it in the Guggenheim Museum. Along these two lines the tiotremont
Collection is a model for entulation.

But one must keep in niind that these Twenty Contemporary Painters are
nterely a sample of the whole. Because we chose to limit the group to living
artists we had to forego the chance of including Botremont's famous Leger,
Soldier nrith Pipe, 1916, his fine Matisses, early and late, his Bufys, his
Kandinskgs, his Klees and other "old" masters of the contemporary scene.
With a view to opening up as wnuch less familiar territory as possible in a
limited showing we have possibly done Philippe Botremont's breadth of
taste an injustice by including none of his numerous examples of American
work: his Calders, his Tobey, his Sam Francis and others. And because the
exhibition focussed on painting one misses his handsome Pevsner, Arp,
Gonzalez, Jacobsen and their fellows.

In his generosity Philippe Botremont has not only afforded us a rich
opportunity to make the acquaintance of a score of the leading contem-
porary European artists on their highest level of quality, but he has also
shown us how an alert, sensitive and prescient collector approaches the
living art of today and the gratification such an approach can provide. We
are deeply grateful to hint for it.

We are also most appreciative of Madame Paul Wierens' kindness in
permitting us to reproduce the late Paul Vierens' characteristically warm
and perceptive appreciation of the Philippe Botremont Collection.

Finally we owe particular thanks to Mrs. Louise Averill Svendsen for her
care in the preparation of this catalogue.

Jantes Johnson Sweeney, Birector

THE PHILIPPE DOTREMOiVT COLLECTION

Since a collection is in itself a tcorh of art, it is interesting to exhibit it as
such. For the collector this is, moreover, a test, just as every one'ntan
show is a test for an artist. It is a chance to take one's hearings, to get
in touch tvith the public, with the critics. It is also an act of faith, the op>
posite of a display of self-conceit, or of empty vanity. It Is a pause, a halt-
ing place in a career. For the man of action with his sights set on a
target, or for the dreanter in pursuit of his dream, it is the hour of sum-
tning up, of reflection,

I would wager that Mr. Philippe Dotremont, who lends so generously, so
frequently, to the organizers of exhibitions, the works he has brought
together in his fine Brussels honte, is not at all displeased to see the whole
of "his work" take its place in the galleries of a ntuseum. He sees it, this
"tvork" of his, this collection, stripped of a certain magic given it by the
intimate family surroundings where it is a part of his daily life and of that
of his relatives and friends. Does he see it better? More objectively, no
doubt, and as if sontething which had been an integral part of his daily
existence were now set apart front him. He has the right, in my opinion,
to take pride in his success, to consider it as an original creation in his
own likeness.

Every collection reflects not only the tastes but also the temperantent and
the intelligence of the one who formed it. Among the rivols of Balxac's
Cousin Pons, we have the maniac and the crackpot, stingy and extrava-
gant ones, the modest and ostentatious, the timid soul and the enthusiast:
a whole gallery, a collection of collectors , , ,

But if we had to base our idea of Mr, Philippe Dotremont's character on
his preferences and choices, we would have to say that this man, often
peremptory in judgment and quick in sensibility — businesstnan doubling
as a genuine amateur, that is to say, as a connoisseur who is a sort of
"dowser" — of fers an exceptional mixture of daring and of wisdom, of
fervor and of sang-froid.

He otcns to relying on his emotions — I tvould lihe to say on his instinct, on
his "flair" — but he reasons aftertcards, analyses tvhat he feels, and if he
admits that he is incapable of offering an explanation of beauty, he hnows
how to express clearly what, in the work of art, touches him, what essen-
tial quality he discovers in it. He feels pure pleasure, the gratification
that Poussin assigned to painting as its aim; but he is not satisfied with
motnentary enjoyment and giving himself up to his own humor, and he
wants a certain logic to preside over the "construction" that his "work of
art", his collection, represents for us.

The collection of Mr. Philippe Dotremont is based in fact on solid founda-
tions. Faures, cubists, expressionists — at least the masters of these move-
ments which have given to the twentieth century its character — furnish
for it the points of departure, which are key positions. Modern art was
not born yesterday, but it is not dead today. It is perhaps more alive
today than it was yesterday. But everything is interrelated, is linked
together, is unified, despite the breaks, the schisms and skirmishes which
have less to do with art itself, than with its history. For Mr. Philippe
Dotremont the itnportant thing is to be aware of values which, front the
ntotnent they cease to be values in terms of "shock," become an integral
part of the treasury of tradition. It is a question of espousing, in a sense,
the general movement of artistic evolution, without being carried atcay by
fashion, and tvithout taking part in the polemics hettceen factions. It con-
sists in having confidence in those introducing something new, and in
keeping intact the capacity for sympathy, for wonder, but, in the end,
above all, for lenderstanding. The collection of Mr. Philippe Dotremont
can be taken, so to speak, as a sort of example of quality, a guidepost to
critieisnt.

You will notice that the principal tendencies, which at the present time
share the preferences of youth, are represented in this collection by sig-
nificant and important works. When they are brought together in this
collection and confronted with the works of the great forerunners, do
they not acquire a more precise tneaning and a more o&viotes importance?
Equally instructive are the relationships between artists of divers groups,
ortgidis and backgrounds, between Frenchmen, Belgians, between painters

and sculptors. Every work in a collection has its identity, its otvn life
certainly, but is, at the same time, part of a tvhole, a voice in a chorus, or
the tintbre of an instrument in a syntphony. Chords and dissonances can-
tribute to the harmony of the ensemble, to the development of its effects.
The collector is, in a sense, the orchestra conductor.

We are living in an exciting period front ntany points of view, probably
in a great art period, in which many things are being challenged, in uihich
the idea of reality is being modified, in which the inexpressible is tahing
form, in tvfticit what is happening in the mind and in the heart of man
becomes all at once more real than what his senses apprehend. Of all
this, one is aware on visiting and studying the collection of Mr. Philippe
Ootrentont. Moreover, this collection invites us to a certain rehabilita-
tion of "eclecticism." But we must agree on the sense of this word! An
intliscriminate, a careless eclecticism mixes the good with the mediocre,
and results in the worst possible confusion in people's minds. A judicious
eclecticistn, which is what Mr. Dotremont's is, seeks and finds the good in
all the vclid forms of art, and sontetimes in directions that are completely
opposite.

He laughs at formulas, at systents, at dogntatism. His eclecticism is critical
and, let us repeat it, creative. It is perhaps not idle to recommend such
an attitude, such an open and independent spirit, to the attention of our
contemporaries, just noiv tvlten ive see the great battle — which is always
inherent in living art — degenerating into partisan strife and into futile
quarrels of petty groups.

Finally let us emphasize that we are happy to see the collection of Mr.
Philippe Dotremont take its place — teznporarily — in a museum, since we
know many a mtiseum director tvlio in Itis heart is envious of "the archi-
tect" of a collection of this quality and of this kind and would like to be
able to take his own inspiration from such an example.

Paid Fiereits (1S95-1957)

Director, the Royal Museums of Fine Arts of Belgium

From the introduction to the exhibition catalogue. Collection PhUippe Dotremont, Stedelijk Museum, Amsterdam, 1954.

Digitized by the Internet Archive

in 2011 with funding from

Solomon R. Guggenheim Museum Library and Archives

http://www.archive.org/details/twentycontemporaOOdotr

I'ublo Pivussv irOMA\ II ITIi IXX;. 19'>:',. Oil on wtwd, 32 x 39%".

KurelAppel BAIiDARIC MDE. 1957. Ui! on canvas, 76^^ x 51\i".

MvtorfleVasurclij ZSOLT. 1951-53. Oil on canvas, 47^^^ x SO'^^'

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Joan Iff iro PAINTING. 1953. Oil on canvas, ISy-^.x 78%"

Photograph of Miro's Painting courtesy of Galerie Maeght, Paris, Hervochon, photographer ; others by Paid Bijtehier, Brussels

PIERRE ALECaiNSKY 1927-

Born in Brussels. Studied at Scale Nationale d'Architecture
et d'Arts Decoratifs, Brussels. One of founders of COBRA
movement, 1948. 1951 to Paris where he now lives. Worked
with S. W. Hayter in Atelier 17, 1952. Trip to Japan, 1955.

CLOUDS IN TROUSERS. {HOMAGE TO THE POET MAYAKOVSKY). 1957.
Oil on canvas, 38% x 76%".

KAREL APPEL 1921 ■

Born in Amsterdam. Self-taught. Member of COBRA group,
1948. Murals, City Hall and Stedelifk Museum, Amsterdam ;
UNESCO Headquarters, Paris, 1958. Pittsburgh International,
1952, 1955, 1958; Sao Paulo Bienal, 1953; Venice Biennale, 1954.
Since 1950 has lived in Paris.

BARBARIC NUDE. 1957. Oil on canvas, 76% x SiVs".

SEAN BA3AIIVE 1904-

Born in Paris. Studied literature and sculpture before
turning to painting in 1924. Has designed theater sets
and costumes; stained glass and mosaics, notably a large
mosaic decoration, 1958, for UNESCO Headquarters, Paris.
Lives in Paris.

DIVER. 1949. Oil on canvas, 57V2 x 45".

GASTON BERTRAiVD 1910 —

Born in Wonck, Belgium. 1938 visited Paris. 1942 first
one-man exhibition, Brussels. Represented in Venice Biennale,
1948, 1956; Sao Paulo Bienal, 1951, 1953; Pittsburgh International,
1952, 1955. Teaches at Academy of Fine Arts, Brussels.

COMPOSITION FOR A WALL. 1952. Oil on canvas, 39% x 59".

ALBERTO BVRRI 1915-

Born in Perugia, Italy. A surgeon by profession, gave up
medicine for painting after having been a prisoner of war
in Texas. Included in Venice Biennale, 1952, 1956, 1958;
Pittsburgh International, 1955, 1958 {third prize) ; candidate,
Guggenheim International Award, 1958. Lives in Rome.

SACKING AND RED. 1954. Mixed media collage on canvas, 59 x 98V2".

GIVSEPPE CAPOGROSSI 1906 —

Roman by origin, lived in Paris 1927-33. First one-man

exhibition, 1928. Has traveled extensively in Europe.

Represented in Venice Biennale, 1950, 1952, 1954; Sao

Paulo Bienal, 1955; Pittsburgh International, 1958;

candidate, Guggenheim International Award, 1958. Lives in Rome.

SURFACE N. 137. 1955. OU on canvas, 76% x 63".

JEAiV FAl/TRIER 1898 —

Born in Paris. 1912 studied painting in London; wounded
in World War I. First exhibition in Paris, 1923. 1935-39
lived in Switzerland, later settled in Chatenay-Malabry
(near Paris). Represented in Pittsburgh International, 1958.

"CAN'T GIVE YOU ANYTHING ELSE BUT LOVE." 1957. Oil on paper, 38V2 x 51%"

REIVE GOETTE 1893 —

Born in Antwerp where he resides. Has taught at Scale
des Metiers d'Art, Antwerp, and at &cole Nationale
Superieure di' Architecture, Brussels. Exhibitions : Venice
Biennale, 1954; Sao Paulo Bienal, 1955; Pittsburgh
International, 1955, 1958.

BIRD CATCHER. 1958. OU on canvas, 45% x 3IV2".

HANS BAStTVNG 1904 —

Born in Leipzig, Germany. 1924-28 studied at the Academies
of Fine Arts of Leipzig, Dresden and Munich. First abstract
works 1923. 1935 settled in Paris; became French citizen, 1946.
Participated in Venice Biennale, 1952, 1954; Sao Paulo Bienal,
1955; Pittsburgh International, 1955, 1958.

T. 52-44. 1952. OU on canvas, 38V2 x 51%".

AVGiJSTE HERBm 1882 —

Born in Quievy, France. Moved to Paris, 1903. In 1909
became associated with the cubists. One of founders of
Salon des Surindependants, 1929, and of the periodical
Abstraction- Creation, 1932. Represented in Sao Paulo Bienal,
1953; Pittsburgh International, 1958.

"NO." 1951. Oil on canvas, 51% x 38V2".

ALFRED MAl^ESSSER 1911-

Born in Saint-Ouen (Somme) , France. 1931 Paris, where
he studied architecture. 1935 worked with Bissiere with
whom he later exhibited. Represented in Sao Paulo Bienal,
1953 {first painting prize) ; Pittsburgh International,
1955 (first prize), 1958. Lives in Paris.

IN THE MEADOW. 1954. Oil on canvas, 45 x 63%".

CEORGES MATHIEV 1921 ■

Born in Boulogne-sur-mer, France. Licence es lettres;
studies in law and philosophy. First paintings, 1942.
First one-man show, Paris, 1949. Has traveled extensively
and exhibited widely in Europe and this country; Pittsburgh
International, 1958. Lives in Paris.

BLANCHE D'ESCAUDOEUVRES. 1957. Oil on canvas, 38Vi x 76%".

JOA/V miRO 1S93 —

Born in. Montroig (Barcelona) . First exhibit in Barcelona
1918. 1919 to Paris. 1922 included in International Dada
Exhibition; 1925 in first surrealist group exhibition.
Winner, Guggenheim International Award, 1958. Lives in
Palma, Majorca.

PAINTING. 1953. Oil on canvas, 78% x rSYs".

PABL& PICASSO 1881 —

Born in Malaga, Spain. 1895 Barcelona. 1900-01 trips
to Madrid and Paris. 1904 settled in Paris. 1907 met
Braque with whom he developed cubism. 1917-21 stage sets
for Diaghilev ballet. 1937 'Guernica.' 1939-40 Royan,
near Bordeaux. Since 1946 has lived in the south of France.

WOMAN WITH DOG. 1953. OU on wood, 32 x 39%".

SERGE POLIAKOFF 1906 —

Born in Moscow; left Russia, 1919; settled in Paris, 1923.
Studied painting in Paris; 1935-37 at Slade School, London.
1938 met Delaunay, Kandinsky. Exhibited at Salon des
Independants, 1938-45; Salon de Mai, 1946-53; Sao Paulo
Bienal, 1955; Pittsburgh International, 1955, 1958.

ABSTRACT CANVAS — RED COMPOSITION. 1953. Oil on canvas, 51% x 38V2"

PIERRE S&VLAGES 1919 —

Born in Rodez, France; settled in Paris, 1946. Self-taught.

Since 1947 has shown extensively in Europe, Japan, South

America, and United States. Stage sets for ballet and

theater, including Jouvet's production, 1951, of Graham

Greene's The Power and the Glory. Winner of IFindsor Award, 1957.

PAINTING. March 14, 1955. Oil on canvas, 76^^ x 47%".

PIERRE TAL COAT 1905 —

Born in Clohars-Carnoet (Finistere) , Brittany; settled in
Paris, 1925. 1936 winner of Prix Paul Guillaume. Studied
sculpture ; designed models for pottery industry in Quimper.
Represented in Venice Biennale, 1956; Pittsburgh International,
1952, 1955, 1958.

PASSAGE AT BROUX. 1954. Oil on canvas, 38Vi x SIW-

AlVTOm TAPIES 1923 —

Born in Barcelona where he now lives. 1946 abandoned study
of law for painting. 1948 founded "Dau al set" group,
Barcelona. 1950 to Paris on French government scholarship.
Represented in Sao Paulo Bienal, 1953, 1957 ; Venice Biennale,
1956, 1958; Pittsburgh International, 1958 {first painting prize).

PAINTING. 1955. Oil on canvas, 76% x 67".

RAOVL VBAC 1910 —

Born in Malmedy, Belgium. 1929 Paris. 1936-39 exhibited
with the surrealists and collaborated on periodical Minotaure.
Participated in Pittsburgh International, 1952 (fourth prize),
1955, 1958 (juror) ; Sao Paulo Bienal, 1951, 1957. Lives in Paris.

PICTURE WITH BLACK DOTS. 1954. Oil on canvas, 51% x 38^2'

yiCian BE VAS/4REI.Y 1908 —

Born in Pecs, Hungary. 1927 student of medicine; later
studied design under Moholy-Nagy, Budapest. 1930, Paris.
Salon de Mai, 1953, 1957, 1958; International Exposition,
Brussels, 1958. Lives in Arcueil (Seine), France.

ZSOLT. 1951-53. Oil on canvas, 47% x 39%".

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