The Development History of Guggenheim Museum

The founder of the Art Museum is solomon guggenheim, who was born in the United States in the19th century. He is a very influential family of Swiss descent and accumulated wealth by the coal industry. According to the habits of educated people, Guggenheim and his wife Irene Rothschild grew up in the tradition of fraternity and aesthetics, became enthusiastic patrons of art, and accumulated many works of ancient masters. But in 1927, when Guggenheim first met a young German aristocratic woman, Hilla Rebay von Ehrenwiesen, and listened to her introduce an experimental trend in contemporary European painting, his collection direction changed greatly.

Rabe believes that non-concretization is the birth of a new artistic style and aesthetic philosophy. Between the abstract viewpoint of obtaining form from the experience world in aesthetics and the non-concreteness in pure artistic creation, Leibai chose the latter, thinking that it is full of mysterious connotation. The word "non-figurative" was translated by Rabe from the German term "Gegenstandslos", which means literariness. The word "no object" comes from Kandinsky's theoretical works, and the highest aesthetic feeling and spiritual law it expresses have an important influence on Leibai. "Unprecedented," Rabe wrote when describing the mission of art for the first time, "is there any greater progress than painting from figurative to non-figurative, from material to spiritual? Because we are destined to be more creative, it is our destiny to turn to the spiritual world. Humanism will develop and naturally feel more energy from great art, which is the glory of non-concrete masterpieces. "

Influenced by the passionate words of Hot Shell, and guided by the advanced concept of collecting in this relatively unknown field, Guggenheim began to systematically purchase works of non-figurative artists from 1929. Early buyers included robert delaunay, wassily kandinsky, fernanda Regul and laszlo Moholi-Naji. Russian artist Kandinsky was one of the first people to explain this kind of pure non-imitation painting, and his works finally laid the overall collection direction. The artist's colorful canvas is full of vivid forms of concentration or contrast, showing the abstract philosophy defined by Kandinsky in his most widely circulated theoretical works. In On Artistic Spirit (Uber Das Gastig in der Kunst1911) and Punkt und Linie Zu Flache1926), he compared color to the tone of music and shape to the carrier of different feelings. He invented.

Soon, the walls of the Guggenheim hotel suite were covered with new collections. Subsequently, his focus inevitably turned to the possibility of public exhibition of these works, and he established the solomon guggenheim Foundation on 1937, with the aim of "promoting, encouraging and educating the arts and enlightening the public". After owning the foundation, Guggenheim envisioned a museum building to accommodate the growing art collection. Under his plan, Rebay soon began to plan how best to realize their dreams. Since 1930s, her correspondence with Guggenheim has been full of plans and suggestions for building an "art gallery-palace" of non-figurative art.

Finally, 1939, Guggenheim rented an old car showroom in East 54th Street, Manhattan, new york. With the help of architect William Mushenheim, Rabe transformed it into a fully functional temporary exhibition space and named it the Museum of Non-figurative Painting. Only some paintings of the simplest abstract art are exhibited in the museum; Some abstract or figurative works considered as avant-garde artists, such as Xia Jiaer, were also included in the collection of this period, but they remained in the hotel suite in Guggenheim and did not participate in the exhibition. As the first curator, Leibe welcomed and supported many young American abstract painters and showed their works.

1943, in order to meet the requirements of the increasingly prosperous museum of non-figurative art, Rebe decided to start a new journey: to build a permanent building to accommodate Guggenheim's collection and hold foundation activities. She chose Frank Lloyd Wright, a famous American architect, whose organic architecture responded to Leibe's non-objectification thought: a new art which is realized as a direct expression of the creator's soul and is full of rationality and idealism. Wright's original art museum was announced to the media in 1946, but the building could not be completed in the following 13 years due to various obstacles such as post-war inflation, the government's re-planning of the building, the change of the location of the art museum and Guggenheim's death in 1949. 1952, the institution was officially renamed Solomon R Guggenheim art museum in memory of its founder. "Museum of Non-figurative Painting Art", a name with a clear aesthetic scope, has been changed to a more neutral and memorable name, which reflects some institutional reflections of solomon guggenheim Art Museum during the death of its donor. 1948, the art museum purchased all the property of Karl Nierendorf, an art agent in new york who specializes in Spanish painting, thus increasing Guggenheim's collection by 730 pieces, including Kandinsky's 18 pieces, paul klee's 165438 pieces and Xia Jiaer's and Farninger's 6 pieces. However, this acquisition may be more important to Guggenheim's future development. Nierendorf's rich collection of expressionism and surrealism expanded Guggenheim's original collection direction.

In the early 1950s, 1965- 1950, the limitation of the exhibition scope of art galleries was widely criticized. Although Rebe is often accepted and supported by young new artists, most people still think that her evaluation criteria for non-figurative art are too extreme and limited. Recognizing that the continued appointment of Rebe will not bring any effective reform to the exhibition policy, members of the Committee passed a resolution in 1952 demanding her resignation, and announced that Johnson sweeney would replace her in seven months. Sweeney is the former director of MOMA's painting and sculpture department. He accepted his new management and planning role with a broader artistic vision and sensibility than Rebay. He believes that the collection of works of art should also include the development of modern art history except figurative art. In order to make up for the serious vacancy of museum collection, such as the sculpture collection denied by Rebe on the grounds of tangible existence, he began an ambitious purchase plan. Since sweeney took office in 1960, Constantine Brancusi's 1 1 works, alexander archipenko's three works, Calder's seven works, max ernst and giacometti's bronze sculptures and other important works, such as Paul Cézanne's Man with Arms Crossing, willem de kooning's, Franz Klein's and Jackson Pollock's abstract expressionism works, have all been. In addition to the collection purchased by sweeney, the museum also received a legacy donation from Katherine S. Derel, the founder of Societe Anonyme, who owns Duchamp's works.

When Wright's building opened in1October1959 10 and 2 1, countless people lined up to experience the building and visited the wonderful opening exhibition showing the fine works of the art museum. Over the years, artists and museum directors have found Wright's special exhibition space a welcome challenge. When Wright intends to form a closed structure with a simple curve, it provides a new possibility for the museum's facilities layout, exhibition and artistic examination and thinking.

Shortly after the opening of the art gallery, sweeney resigned. 196 1 year, Thomas m Messer set up a new management team, which expanded sweeney's efforts in modern and professional museum personnel and structure management. During his 27-year tenure, Messer began an ambitious public publishing project, which not only focused on short-term exhibitions, but also made a detailed catalogue of new collections and established academic research institutions. Under the leadership of Messer, the exhibition department and technical department have been expanded due to the increase of exhibition and publishing activities. In terms of collection, he continued the overall growth trend initiated by Sweeney, and the works of Broncusi, Calder, giacometti, Klee, Kupka, raiguel, Joan Miro and Egon schiele entered the collection of the art museum as important works of modern art. In the more modern category, Messer is responsible for buying several works by his favorite artists, such as Jean Dubuffet, Francis Bacon, anselm kiefer, robert rauschenberg and David Smith. During his tenure, Messer also bought the works of Latin American and Eastern European artists, who are fierce advocates of international avant-garde art.

1963, the collection of the museum accepted the masterpieces of impressionism, post-impressionism and modern France collected by Justin K. Thannhauser as permanent loans, which experienced dramatic growth. Two years after Thannhauser's death, these paintings and sculptures officially entered the museum's collection at 1978. Thannhauser's legacy made an important historical statement for the art period before the Guggenheim Art Museum was originally collected, which increased the collection of Picasso and Parisian painters in the Art Museum. Van Gogh's Mount Saint Remy and Picasso's Woman Ironing are two masterpieces donated by Thannhauser, but they only account for a small part of the total. 198 1 year, Hilde Thannhauser, the widow of Justine, announced that three works were added to this donation, namely works by Georges Braques, Picasso and Van Gogh. After the death of 199 1 Hilde, the museum accepted her donation, including ten important works, which were paintings by Cezanne, Klee, Manet, paskin, Picasso and Monet, among which Monet's works were the first collection of the museum. In order to fully display the paintings and sculptures donated by Thannhauser 1963, the Guggenheim Art Museum has made necessary expansion in the exhibition space-the k·Thannhauser exhibition hall was set up on the second floor of the Monitor building in 1965, and the Monitor in 1989 was renamed Thannhauser.

Peggy Guggenheim must be among the collectors who have contributed to the outstanding collection of the art museum for a long time. Although the Peggy Guggenheim Museum of Art is an autonomous system and geographically far away from guggenheim museum bilbao, new york, since Peggy Guggenheim presented her art collection and luxury residence containing it to Guggenheim, new york as a legacy, the Venetian Peggy Guggenheim Collection has become an indispensable part of the Solomon R Guggenheim Foundation. The collection exhibited in Venice Square adjacent to the Grand Canal has become the most respected cultural attraction in Venice. Peggy Guggenheim emphasized the style trend that his uncle Solomon ignored-surrealism and American "gesture painting" in the early postwar period-which made most of his more than 300 works with different styles not found in Guggenheim's original collection. When they merged, their collections formed a transcontinental whole, and they began to pursue the complex and diverse art history of the 20th century. Their alliance laid the direction of internationalization of the organization. After 1988, under the leadership of Thomas Krens, the curator of the museum, Guggenheim expanded his business scope and continued an ambitious acquisition plan aimed at expanding his photo and contemporary art collection. 1992, Wright's building was rebuilt, and new buildings were added, which increased quite comprehensive exhibition space, thus making Wright's rotunda and Thannhauser exhibition hall fully display their brilliance. At the same time, Guggenheim SOHO opened in lower Manhattan, adding nearly 2,700 square meters of exhibition space for contemporary multimedia art. ..

1997, through the establishment of the Guggenheim Museum in Bilbao and the Guggenheim Museum in Berlin, Germany, the international venues of the whole institution have been increased. Guggenheim in Bilbao is managed by Guggenheim and established by Basque government, which is part of a long-term plan to turn Bilbao into a major metropolis. Designed by Gary, it is regarded as a masterpiece of architecture all over the world. It dramatically demonstrates Guggenheim's ability to achieve his basic goal-collecting and displaying the art of our time. The new art gallery owns Eduardo purchased by Guggenheim. The works of Eduardo Chillida, De Cunin, Jenny holzer, mark rothko, richard serra and antoni tapies. , have gradually increased their collections to supplement and improve Guggenheim's existing collections. The spacious exhibition hall designed by Gary is suitable for displaying large-scale art in the second half of the 20th century, which will mostly challenge the capacity of traditional natural history exhibition halls. The Art Museum also has a special exhibition hall for contemporary Basque and Spanish artists. The Guggenheim Art Museum in Bilbao provides conditions for the special relationship between Guggenheim's cultivation and local art.

Guggenheim in Berlin, Germany was produced by Guggenheim in cooperation with Deutsche Bank. It is located in a private exhibition space in Berlin's historic Huntdenlinden. Guggenheim's exhibition plan is the rotation of some planned exhibitions or works by some internationally renowned artists, such as Jeff Koons, rosenquist and Rachel Whitehead.

In 200 1 year, when two venues designed by Koolhaas opened in Las Vegas, Guggenheim's museum network expanded to the western United States: Guggenheim Las Vegas, a huge exhibition space for special exhibitions, including contemporary art, architecture and design, and the collection of Guggenheim Winter Palace. On the basis of Guggenheim in Bilbao, the new art museum in Las Vegas has updated the record of the combination of great art and magnificent architecture, from Wright to Hilary Rabe and Solomon? Guggenheim's cooperation began. After Gary cooperated with museo guggenheim bilbao, Guggenheim and Koolhaas cooperated with the new Las Vegas Art Museum again, which once again provided the world with the most outstanding architectural space for appreciating art in this era.

Through the expanding star-shaped art appreciation space network, each component shines with its unique brilliance, which shows that Guggenheim is committed to global public utilities while emphasizing the combination of education, art and architecture. Generally speaking, these spaces enable the Foundation to achieve its mission and goals, collect as many art of the highest quality as possible, and show art to the widest audience. Guggenheim's commitment to international projects reflects its history, tradition, the breadth of its collection and its contribution to outstanding culture. In July, 2000, Guggenheim cooperated with the Tashi Museum of Elmy in St. Petersburg, which further expanded his idea of a museum without borders. Thomas Krens, curator of the guggenheim museum bilbao, Mikahil Piotrovsky, curator of the Hermitage Museum in Elmy, and Mr. Shwydkoi, Minister of Culture of the Russian Federation, signed a long-term cooperation agreement, confirming that the two institutions will work together to achieve the following goals:

First, expand international cultural ties; B, make the collections of various art galleries face a wider audience; C, strive to realize the collection strategy that * * * can supplement the collection of colleges and universities; D. realize joint exhibitions, publications, education and various activities.

An important part of this cooperation is to expand museums and explore cultural development opportunities in different parts of the world. The first concrete project of its cooperation is to establish a new Guggenheim Museum in Las Vegas, Nevada on 200 1 10, which was designed by Rem Koolhaas, an architect who won the Pritzker Prize. This new museum, called "Gem Box", just like its name, belongs to Guggenheim Museum and Tashi Museum in Elmy, and is used to display their important works. Its first exhibition was called "Masterpieces and Master Collectors: Impressionism and Early Modern Paintings in Tash and Guggenheim Museums in Elmy". The exhibition highlights the relationship between works of art and collectors, whose appreciation ability plays a vital role in the formation of each art institution.

At the same time, Guggenheim is also a partner of Elmy Tashi Museum in developing the East Wing of the former General Staff Building in Russia. The east wing of the former General Staff Building, with an area of 38,000 square meters, is located next to the White House in St. Petersburg. It was built in the early19th century, based on the drawings designed by Italian architect Carlo Rossi. In order to promote this project, cultivate and support other cooperative projects between Guggenheim and Tash, Elmy in the fields of art, architecture, design and education, the Tash Guggenheim Foundation in Elmy was established in 2002. The main project of the new foundation is to support and ensure the implementation of the renovation plan of the General Staff Building.

In 200 1 1 year, the Guggenheim and Tashi Museum in Elmy welcomed another huge institution to join their cooperation: Kunsthistorisches. The Triple Alliance maintained the original strategic goal between Guggenheim and Tashi Museum in Elmy, and jointly held several exhibitions. The latest exhibition is "Art through the ages: from Titian to Picasso's masterpieces", which is on display at the Guggenheim Museum in Las Vegas. As far as the exhibition itself is concerned, it is very spectacular, dating back from the Renaissance art in the15th century to the modern art in the 20th century, including paintings from six countries. The exhibition works come from the collections of three major art institutions-Guggenheim, Tash, Elmy and Vienna Museum of Art History. On this basis, this exhibition reflects a new level of international cooperation between cultural institutions. Due to the combination of resources between the alliances, this exhibition has become perhaps the largest concentrated display of cultural and artistic products in the world. Its innovation in design planning and collection enjoyment makes it possible to display exhibitions and carry out academic research projects throughout the art period from prehistoric times to the present.

As we all know, Tash, Elmy and Vienna Museum of Art History have encyclopedic collections in some fields. For Guggenheim, although he has a rich collection in the past 60 years, it is undoubtedly an important progress to be close to the new collection field. Before the opening of its famous Wright design building 1959, Solomon R Guggenheim Art Museum had a history of 20 years, and its collection had a history of more than 30 years. Different from other art galleries established almost at the same time in new york, the Whitney Museum of American Art, which is famous for its series collection of American art, and the new york Museum of Modern Art, which is famous for its concern and rich collection of modernist culture, started with a clear aesthetic concept: the concept of non-objectivity in art was clearly expounded by Sheila Leibe, the first curator of the art museum, intuitively presented by Wassily Kandinsky, and supported by Solomon R. Guggenheim Art Museum. Although this collection concept based on simple and abstract painting style is special, it promotes the collection of important works in the art museum.