Though the truth be crushed to the earth, it shall rise again and to my mind has come the realization that the many years of silence must be broken. The world must and should know the truth of my husband’s life, his hopes, his labors, his honesty and his bitter betrayal. Rudolf Bauer, artist of great spiritual scope, writer of vision, master thinker, Rudolf Bauer!
—Mrs. Louise Bauer, 1954
Early in the twentieth century in Berlin, a German caricaturist and political cartoonist named Rudolf Bauer began to make his mark. While Bauer's illustrations delighted his audience and paid the bills, it was his avant-garde experiments in Cubism, Futurism, and Constructivism that stirred his soul. Bauer caught the attention of Herwarth Walden, founder of the famed Galerie Der Sturm in Berlin, who mounted three solo shows of Bauer's paintings amid exhibitions of works by Marc Chagall, Vasily Kandinsky, Paul Klee, Franz Marc, and other modernist luminaries.
In America Bauer's work was introduced to the American public in the early 1920s through the legendary Société Anonyme. Bauer's work was featured in the exhibition bulletin of the Museum of Modern Art, New York, as early as 1933. Solomon R. Guggenheim became Bauer's champion and patron and purchased more than three hundred works for his collection. A 1937 article in Time magazine cites a Bauer painting as Guggenheim's favorite and pictures the copper magnate sitting proudly in front of it. Guggenheim established a foundation for Non-Objective painting and committed to the construction of the now-famous museum on Fifth Avenue, efforts that can be argued were the direct result of Bauer's ideas.
Bauer's work The Holy One (1936) was the inspiration for the main attraction at the 1939 World's Fair, the Trylon and Perisphere buildings. Art historian Robert Rosenblum has also noted the striking similarity of Bauer's Blue Triangle (1934) to Barnett Newman's Abstract Expressionist sculpture Broken Obelisk (1963-69), one of the centerpieces of the collection of the Museum of Modern Art. The curator and art historian William Moritz has noted that "Bauer's work during the thirties and forties … was very much seen and quite influential, so no responsible history of abstract art can fail to discuss his work." Why then have the name Rudolf Bauer and his work disappeared into near oblivion? Was his erasure from the annals of art history intentional and malevolent? These are the questions that continue to stir debate, as the art world begins to rediscover the work of this visionary artist.
Bauer's place in art history is linked to the lives of two people: Solomon R. Guggenheim and Hilla Rebay, the Guggenheim Museum's founding director. Bauer and Rebay had met in Berlin. Rebay, in turn, had come to America and introduced Bauer's work to Guggenheim. Rebay's conviction, coupled with Guggenheim's financial resources, built her a prominent place in the history of art. Nearly single-handedly, she introduced "Non-Objective" art to the American public. Rebay was instrumental in establishing not only the Guggenheim collection but also the iconic building designed to house it, as she was the one to arrange for Frank Lloyd Wright to design this new "temple" of art on Fifth Avenue. The opening of the museum in 1959 was colored by a purge of many of Solomon Guggenheim's prized works. This change of direction, in which much of the Non-Objective art was relegated to the basement, was enacted by Harry Guggenheim, Solomon's nephew, who helmed the Foundation following Solomon's death in 1949. No artist suffered a more dramatic rise and fall in this chapter of the Guggenheim's history than Rudolf Bauer.
Bauer was born in 1889 in Lindenwald, a town in a border region between Germany and Poland that is now part of Poland. His family moved to Berlin in the 1890s. Anecdotal evidence and a large body of highly accomplished, realistic student works suggest that Bauer was an avid artist from an early age. When the moment arrived for the fledgling artist to discuss his desire to go to art school, his father, disapproving of this choice, beat him so brutally that Bauer ran away from home, never to return. Bauer did enter art school in Charlottenburg, a suburb of Berlin, in 1905, but he was never able to count on support from his family again.
Galerie Der Sturm was founded by Herwarth Walden in Berlin in 1912, two years after the founding of the magazine of the same name. Bauer was initiated into Der Sturm (The Storm) circle around 1915 and, with his participation in a number of group exhibitions, began to put aside his commercial illustration work in favor of painting. It is likely that it was at Der Sturm that Bauer first saw the work of Kandinsky, an artist whose philosophy and approach would have a strong impact on Bauer's artistic direction. Bauer would become a fixture at Der Sturm, working as Walden's assistant and being given solo shows in 1917, 1918, and 1920. He taught at Walden's Der Sturm School, where Klee was also an instructor. This was a prolific period for Bauer. In addition to his Non-Objective work at Der Sturm, he completed a series of representational pastels depicting the horrors of World War I. References to the war may also be found in his Non-Objective art of the period. Several paintings include floating crosses—symbols, perhaps, of casualties of war. Composition 32 (1918) pictures what appears to be barbed wire running through the center of the composition. The masterpiece of this Expressionist period is White Cross (1919), a painting that Bauer considered one of his finest.
The Baroness Hilla von Rebay, also a young artist, moved in 1917 to Berlin from Zurich, where she had been studying. Her former lover the sculptor Hans (Jean) Arp had given her an introduction to Der Sturm the previous year. No longer romantically involved with Arp, Rebay met Bauer at the gallery and was courted by him. In 1919 one of Rebay's engravings was published on the cover of Der Sturm, and she was featured in a two-person show at the gallery. That same year they moved into a studio together at 25 Ahornallee in Berlin's fashionable Westend. This marked the beginning of their tempestuous lifelong relationship.
In 1920 Katherine Dreier, co-founder of the Société Anonyme (with Marcel Duchamp and Man Ray), visited Galerie Der Sturm in 1920 and purchased the Bauer oil Andante V (1915–17). Bauer was one of many European artists whose work was first introduced to the American public by Dreier. Later Dreier would say of Bauer, "We had no artist in those early years whose work so appealed to the public in general and which received so much response."
From Expressionism to Lyricism
From 1921 until 1924 Bauer's painting evolved from an expressionist to a more lyrical abstract style. The compositions became simpler, less biomorphic, and more elegant and uplifting as compared to the expressionistic work from the war-torn teens. By late 1925 or early 1926 Bauer became completely absorbed with a geometric style that would define the remainder of his career. The period seems to have been launched with the watercolor Allegro (c. 1925) and a group of similarly sized works on paper. Paintings such as Colored Swinging (1935), the four-paneled Tetraptychon series (1926-30), and his Symphony triptych (1930–34) are typical of this period's geometric forms and vibrant colorful compositions.
A Difficult Relationship
Bauer's early relationship with Rebay was affectionate but difficult. One of the factors straining the relationship was that Rebay's parents did not find Bauer to be a suitable match for their daughter. Other lifestyle preferences challenged the relationship early on. Bauer was willing to suffer privation in order to focus on his Non-Objective art, the bohemian lifestyle of a struggling artist was not for Rebay. Rebay had the means to escape and, ultimately, she did. As late as 1926, when living in Rome doing society portraits and selling her "ballet pictures," Rebay would exclaim upon receiving a letter from Bauer, "He is my boy. He was too poor to marry me."
In 1927 Rebay sailed to the United States armed with letters of introduction. Through her connections she met Mrs. Solomon Guggenheim. Eventually Rebay became friendly with the Guggenheims, and Solomon, charmed by her, asked her to paint his portrait. Solomon probably first encountered Non-Objective art at Rebay's studio in Carnegie Hall, which she had set up as an informal gallery. Rebay owned watercolors by Bauer, Kandinsky, and Klee. Rebay wrote to Bauer that Guggenheim had fallen in love with one of Bauer's watercolors and wanted to buy it. The opportunity for Rebay to prove that she was right about Bauer and Non-Objective art had arrived. Guggenheim hired Rebay as his personal curator.
Over the next several years Rebay helped Guggenheim amass what would become one of the world's greatest collections of modern art. Guggenheim collected predominantly works by Bauer and Kandinsky, many of them acquired directly through Bauer in Germany. In July of 1930, as part of a studio tour of Europe organized by Rebay, the Guggenheims traveled to France, then on to Germany to meet Vasily Kandinsky and Rudolf Bauer for the first time.
In September of 1930, flush with money from sales of his work to Guggenheim, Bauer decided the time was right to establish a new art salon in Berlin. Named Das Geistreich (The Realm of the Spirit), Bauer conceived it as a "temple of non-objectivity," a sanctuary where Guggenheim and other well-heeled buyers would congregate to choose works for their collections. It was the first museum in the world dedicated to Non-Objective art, featuring primarily the works of Bauer and Kandinsky. As Susanne Neuburger has noted, "It was the first germ of the idea that was to become the Solomon R. Guggenheim Museum." Few people in Germany were buying art, which made Bauer especially reliant on collectors from other countries. What Bauer could not anticipate was that as the decade wore on, collectors, including Guggenheim, were less and less inclined to visit Germany because of the deteriorating political situation.
Patronage and Power
Guggenheim had discovered Non-Objective art through Bauer's work and, according to his comments and letters from Rebay, liked Bauer's work best. This fact has often been slanted to imply that Bauer's work was foisted upon Guggenheim by Rebay, but it is significant to note that Rebay recognized other great artists, such as Piet Mondrian, whose work she was unable to persuade Solomon to purchase.
In spite of Guggenheim's clear admiration for Bauer's work and its inclusion in major exhibitions in Europe at Galerie Der Sturm and in the United States with the Société Anonyme, Rebay still felt compelled to trumpet his praises compulsively. Her overpromotion of the artist became notorious. Rebay featured Bauer's work on the cover of all five Guggenheim Foundation catalogues and consistently opened and closed her catalogue essays about Non-Objective art with references to Bauer and his genius. Almost every advertisement for the collection pictured a sole work by Bauer. Rebay practically demanded fealty to Bauer's work from the other artists she considered for the collection, which only served to diminish Bauer's favor in the art world. Contrary to her intentions, her determination to make him world-famous by the force of her will hurt Bauer's reputation and created great resentment. Bauer's reputation would likely have withstood the test of time had she not insisted on this rarified position for his work.
The Guggenheim Foundation
Rebay, inspired by Bauer's Das Geistreich, lobbied Guggenheim to consider founding his own museum. In 1936 Guggenheim's collection became the Solomon R. Guggenheim Foundation, with Rebay as its director. The establishment of a not-for-profit foundation served as the first legal step toward creating a museum to house the collection. While looking for suitable real estate and architects, Rebay began to organize exhibitions of the "Solomon R. Guggenheim Collection of Non-Objective Paintings." The collection had its public debut in 1936 at the Gibbes Memorial Art Gallery in Charleston, South Carolina. On a mission to illuminate Bauer's genius to a public who may never have seen Non-Objective art before, Rebay's catalogue essays, like her letters, displeased other artists in the collection such as Robert Delaunay and Kandinsky.
In 1936 Bauer traveled to the United States to attend the opening of the Guggenheim exhibition in Charleston. Since he spoke no English, Rebay served as his interpreter. This was Bauer's first visit to the United States and the first time he saw his work installed so prominently outside Germany. He visited Charleston in April, attended an exhibition of his work in Chicago in May, and spent the rest of May in New York, before returning to Germany in early June. It is clear that this trip left a favorable impression on Bauer and led him to believe that his dream of a permanent museum for his work was possible through Guggenheim.
Back in Berlin, Das Geistreich had become a lonely island of individualism in a menacing sea of Nazism. The Bauhaus had been closed down by the government in 1933, and artists such as Bauer were increasingly ostracized. Many had already fled the country. Rebay wrote Bauer in August 1937 to report that she had visited the Degenerate Art exhibition in Munich, which featured many artists from their Der Sturm days, including works by Kandinsky, Klee, Moholy-Nagy, and, of course, Bauer. Why Bauer lingered so long in this hostile environment remains a mystery. He was not Jewish, yet his patron was one of the richest Jews in the world. This association would not go unnoticed in Nazi Germany.
In July 1937 Bauer traveled to Paris because his work was included in an exhibition called Origines et développement de l'art international indépendant, organized by the Musée du Jeu de Paume. In this large survey of the period, his painting was shown alongside the work of Picasso, Georges Braque, Léger, Chagall, and Joan Miró. It is believed that while he was in Paris he received word from friends that it was too dangerous to return to Berlin; yet he ignored the warning. According to the Rebay documentarian Sigrid Faltin, it is likely that his sister, a Nazi zealot who had disowned him, turned him in to the authorities for his art. Bauer was suddenly a prisoner in Berlin. Defiant, he scavenged scraps of paper and pencils while in prison, so that he could continue to draw.
Distraught by the news that Bauer had been imprisoned, Rebay implored Guggenheim to help free him. The baroness traveled to Germany with a suitcase filled with cash to rescue the "king" of Non-Objective art. To help broker a deal with the Gestapo, Rebay asked her brother, General Franz-Hugo von Rebay, to meet with Bauer's captors, and he agreed to do so. After a couple of visits Bauer was released him unconditionally. Unwelcome and unsafe at home, Bauer made the choice to emigrate to the United States. Beset by bureaucratic difficulties in securing an exit visa and by the challenge, both emotional and physical, of packing up the contents of his home and studio, Bauer finally set sail for New York a year later in August 1939.
The Museum of Non-Objective Painting and Bauer's Life in the United States
The Museum of Non-Objective Painting showcasing the Guggenheim collection opened in New York City on June 1. The exhibition, titled Art of Tomorrow, was displayed in a former automobile showroom at 24 East 54th Street, a welcoming, comfortable, even luxurious environment where one could escape from the hubbub of New York, listen to classical music, and see the new art. The collection continued to be dominated by works by Bauer and Kandinsky.
Two months later Bauer arrived in the United States from Germany, in August 1939, to a hero's welcome. The newly freed artist stayed with Rebay at her home in Connecticut during his first four months in the U.S., after which time he suggested, probably to Rebay's dismay, that he would like a home of his own. In order to make his wish a reality, it was necessary for Bauer to settle his accounts with Solomon Guggenheim and the Foundation. Guggenheim conveyed to Rebay and Bauer the financial support he was willing to provide. In a letter from Bauer to Guggenheim, responding to Guggenheim's letter dated November 14, 1939, Bauer outlined some concerns he had regarding the purchase of his work by the Guggenheim Foundation. "It is not clear to me whether the capital invested for this purpose is to be considered the purchase price of the pictures and is to belong to me or whether I am merely to enjoy the interest." Bauer went on to discuss block discounts, leaving his estate to the Foundation in the event he was paid the cash price requested, and other matters. Perhaps the most critical point that the artist made in his letter concerned the word "output," which Bauer was unable to find in his dictionary but "the translation of which sounds bad." The implication of this wording, which Bauer sensed but did not fully grasp, was that Guggenheim was planning to lay claim to the artist's future work as well.
A few weeks later, on December 9, 1939, Bauer signed the contract, which "he believed, because of Rebay's solemn vow, was as had been outlined verbally to him." Not speaking the language and perhaps not wanting to insult his patron, who had just saved him from night and fog, Bauer signed the document, even though it had not been translated into German. In it Bauer agreed to relinquish ownership of the 110 works of art listed in Schedule A of the contract, mostly major oils, to Guggenheim in exchange for the following:
- —Payment of $41,000 to purchase a grand beach house in Deal, New Jersey;
- —Cancellation of a debt of $12,400;
- —Payment of the $7,000 balance due on a modernist body for Bauer's Duesenberg automobile;
- —Interest on a trust fund of $300,000 in Chilean Nitrate Sinking Debentures, paying 5% per annum.
The contract further dictated that Bauer was to leave his entire estate to the Foundation upon his death. It also appears that as part of this negotiation the artist was obligated to produce "ten extra large pictures special to the museum."
Bauer, trusting Rebay, signed the document, purchased the mansion in Deal, and began a new life in America, complete with an attractive, Austrian-born maid named Louise Huber hired for him by the Foundation. Shortly thereafter Bauer began translating the contract himself. He discovered that instead of a lump-sum payment of $300,000, which he had expected, the contract provided him with only $15,000 a year in interest on bonds that Guggenheim had placed in trust for him. While this was a lot of money in 1939, it is decidedly not what the artist had expected. (At this rate he would not receive the equivalent $300,000 for twenty years.) Moreover, at the end of Bauer's lifetime these debentures, along with the house, would revert back to the Solomon R. Guggenheim Foundation.
Crushed by what he perceived to be a terrible betrayal, he lost his will to paint. At the age of fifty, at the height of his artistic powers, instead of focusing on painting, Bauer became a man obsessed with protecting his creative legacy. Bauer disputed the contract, but details of the dispute and settlement are not clear. What we do know is that Bauer incurred a substantial tax burden ($40,000) based, ironically, on the assessed "selling" price of $300,000 for his work. The tax and resultant penalties alone represented nearly three years of interest from the trust. We also know that long after Bauer's death his widow left behind an estate containing mostly early paintings and a large body of works on paper, contrary to Section 3 of the contract. Mrs. Bauer and the Guggenheim Foundation reached a settlement after Bauer's death in which Mrs. Bauer paid the Foundation $20,000 to keep the pieces that remained in the artist's estate.
For more than a decade Bauer had been Guggenheim's favorite artist and had played a prominent role as advisor to both Rebay and Guggenheim on what to collect. As his relationship with Rebay began to deteriorate, it became clear that Bauer was to have no say in the running of the Foundation that now controlled his art. He began writing letters to Rebay and the Foundation, which were at first thoughtful and polite, but over time became less lucid, very dense, and more like James Joyce prose than business letters. The intrigue between Bauer and Rebay, triggered by Bauer's contract with Guggenheim and Rebay's unwillingness to share administration of the Foundation with Bauer, reached Shakespearean proportions around 1942. Bauer intimated to the FBI that Rebay was a Nazi spy. Rebay was investigated by the FBI and ultimately placed under arrest for hoarding coffee and sugar in her garage—the only crime they could unearth. Four days after Rebay was arrested, Bauer tried to "start a putsch" to remove the baroness from her position through an onslaught of letters to Guggenheim. This "declaration of war" was backed by members of the Foundation staff, many of whom were struggling artists too fearful previously to speak up against Rebay for fear of losing their jobs.
Lonely and isolated, Bauer found a sympathetic and willing companion in Louise Huber, his maid, and a relationship ensued. They married in 1944. This relationship provoked scathing letters and comments from Hilla, who referred to Louise in writing as a streetwalker and a whore. On behalf of Huber, Bauer sued Rebay for slander for the sum of $250,000. According to the artist Rolph Scarlett, when Rebay won the suit in 1945, primarily through the eloquence and connections of her attorney, Bauer lost the "struggle for power." The battle for control of the Foundation between Bauer and Rebay coupled with Rebay's intimate relationship with her boss were no doubt an embarrassment to the extended Guggenheim family. When Guggenheim died in 1949, the collection that Rebay and Bauer helped shape for over twenty years, and the legacy that Guggenheim had sought to establish through its exhibition, was at the mercy of the Foundation's trustees.
The creative legacy left by Solomon Guggenheim, while expanded since his death to an empire of five museums throughout the world, was shaped and shifted by his successors into a program at odds with his vision. There is strong evidence that the resentment held by so many against his curator, Hilla Rebay, and the jealousy leveled against his favorite artist—Rudolf Bauer—were influential in instigating a dramatic change in curatorial program. Three years before construction of Wright's building began, Rebay was asked to step down as director and resign from the board of trustees, and the Museum of Non-Objective Painting became the Solomon R. Guggenheim Museum. While one could assume the reason was to expand the mission of the museum to better and more broadly serve the public through both art and education, another, less altruistic and more personal, agenda was at play. Staffers reported a clear mandate issued by Harry Guggenheim to downplay the significance of the museum's founding director, Rebay, as well as Bauer and the movement they had dubbed the "Art of Tomorrow." Bauer died in November 1953, spared the humiliation of witnessing the total suppression of his work from the collection he had helped to define.
Born in Lindenwald, Germany (now Poland), the son of an engine fitter.
Settles in Berlin and publishes elaborate cartoons and illustrations for newspapers and magazines; studies at the Academy of Fine Arts, Berlin.
Art dealer Herwarth Walden opens the avant-garde Galerie Der Sturm. Bauer meets Walden, who will support his work for the next fifteen years.
Exhibits in Galerie Der Sturm group show for the first time.
Through the Der Sturm group, meets Hilla Rebay von Ehrenwiesen, a 25-year-old baroness and art student.
First solo exhibition at Galerie Der Sturm; includes 120 abstract works.
Writes first important theoretical essay, "The Cosmic Movement."
Second solo exhibition at Galerie Der Sturm.
Exhibits in Der Sturm group show at Georg Kleis Kunsthandel, Copenhagen.
Co-founds the Novembergruppe with Rudolf Belling, Otto Freundlich, and Max Pechstein.
Shares studio with Rebay.
Founds short-lived art group with Rebay and Otto Nebel called Die Krater.
Third solo show at Galerie Der Sturm.
Exhibits work in Rome as part of a Novembergruppe exhibition organized by Filippo Tommaso Marinetti, the founder of Futurism and a friend of Bauer.
Katherine Dreier founds the Société Anonyme; its fall exhibition, held in New York, includes works by Bauer, Man Ray, Kurt Schwitters, and others.
Included in five Société Anonyme exhibitions, among them a show at the Worcester Art Museum, Worcester, Mass.
Writes "Manifesto of Painting," which serves as the main text for the publication celebrating the 100th exhibition by the Der Sturm group. Graphic work reproduced in "Monatsschrift für Kultur und die Kunste," also published by Galerie Der Sturm.
Publishes a lithograph as part of a Bauhaus portfolio.
Included in Société Anonyme exhibitions at Smith College, Northampton, Mass., and Detroit Institute of Fine Arts, among others.
Exhibits at Vassar College, Poughkeepsie, N.Y., as part of a Société Anonyme show.
Der Sturm publishes 175-page volume, Einblick in Kunst, Expressionismus, Futurismus, Kubismus, documenting the 150th exhibition since its founding.
Included in the exhibition Grosse berliner Kunstausstellung.
Hilla Rebay sails to the United States.
Solo exhibition Royal Palace, Berlin.
Rebay meets the wealthy philanthropist Solomon R. Guggenheim and begins a portrait commission. As she paints him she encourages Guggenheim to start a collection of Non-Objective art.
Meets Kandinsky at Dessau, where he is teaching at the Bauhaus.
Rebay travels to Europe with the Guggenheims to introduce them to the Non-Objective artists in person. They meet Kandinsky in Dessau and Bauer in Berlin.
Bauer founds his own gallery in Berlin, in part with funds supplied by Guggenheim, through Rebay, in exchange for paintings. He calls it Das Geistreich, which translates as Realm of the Spirit, but also means ingenious.
Produces a deluxe portfolio titled Das Geistreich, which includes writings on Non-Objective art and reproductions of his work.
Lectures in German schools and universities.
Mounts exhibition at Das Geistreich: Werke von Kandinsky und Bauer.
Walden closes Galerie Der Sturm and moves to Russia.
Included in the exhibition Modern European Art at the Museum of Modern Art, New York. His painting Symphony, in the Guggenheim collection, is featured on the cover of the museum’s bulletin.
Exhibits again at the Museum of Modern Art, New York, in Modern Works of Art.
Publishes a manifesto, "Eppure Si Muove" ("And Still It Moves").
Guggenheim publicly exhibits his Collection of Non-Objective Paintings for the first time, at the Gibbes Memorial Art Gallery in Charleston, S.C. Bauer attends this exhibition, his first visit to the U.S. A solo exhibition follows at the Arts Club of Chicago, which he visits.
Returns to Berlin.
Guggenheim collection presented at the Philadelphia Art Alliance.
Work is included in Degenerate Art show in Munich.
Included in Innovation, une nouvelle ére artistique at the Galerie Chanth, Paris; Bauer’s Points (1936) is reproduced on exhibition catalogue cover.
Large group exhibition, Origines et développement de l’art international indépendant, takes place at the Musée du Jeu de Paume (an annex of the Louvre for modern work) in Paris and includes Bauer; museum acquires one painting by Bauer.
Visits both Paris exhibitions, returning to Berlin after each show.
The Nazis order Das Geistreich closed.
Is arrested by the Nazi government around March in Berlin and placed in a Gestapo prison.
Second exhibition of Guggenheim collection at Gibbes Memorial Art Gallery, takes place.
Is released in July with the help of Rebay and Guggenheim and following two meetings between Franz-Hugo von Rebay, Hilla’s brother, and the Gestapo prison officials.
Exhibition of Guggenheim collection at the Baltimore Museum of Art; handbook of collection is published, which includes 415 Non- Objective works and 309 works “with an object.” Collection has 215 Bauer works and 103 works by Kandinsky.
The Museum of Non-Objective Painting, housing the Guggenheim collection and curated by Hilla Rebay, opens on June 1 at 24 East 54th Street in Manhattan, one block away from the Museum of Modern Art. The exhibition is called the Art of Tomorrow. The gallery concept and design are strongly influenced by Bauer’s Das Geistreich.
Selections from the Guggenheim collection are included in Le Salon des Réalités Nouvelles, an exhibition organized in part by artist Robert Delaunay for the Galerie Charpentier in Paris.
Arrives in the United States in August. Lives several months with Rebay at her home in Greens Farms, Connecticut, eventually moving to a house in Deal, New Jersey.
Signs infamous contract with Guggenheim, in which he unwittingly agrees to “sell” 110 works to the Guggenheim Foundation in exchange for a monthly stipend based on interest income instead of a lump-sum payment. Will dispute the contract terms and the Foundation’s control of his art for the rest of his life.
Included in Guggenheim Foundation loan shows at the San Diego Art Gallery; galleries in Massilon, Ohio, and Springfield, Mass.; Dallas Art Museum; Pennsylvania State Center; The Arts Club, Washington, D.C.; a museum in La Plata, Argentina; and Everhart Museum, Scranton, Pa.
Rebay, still a German citizen, is briefly arrested by the U.S. government for possible Nazi connections (unfounded). Ironically, Bauer is allowed total freedom because he was rescued from the Nazis. In Rebay’s absence, he takes over briefly as the Foundation’s director, a role he has long desired. Guggenheim, however, reconfirms Rebay as director, when she is cleared of the charges.
Through Rebay, Frank Lloyd Wright is commissioned to design a museum as a permanent home for the Guggenheim collection. This decision infuriates Bauer who had been led to believe the architect would be a German, perhaps a former Bauhaus instructor, several of whom are living in the United States.
Bauer marries Louise Huber, a German-speaking Austrian woman hired originally as his maid. This greatly upsets Rebay, who insults Louise in writing. Bauer sues Rebay for slander. This represents the final personal, though not artistic, rift between the two, and begins to alienate Guggenheim from Bauer.
Rebay wins the slander suit against her.
Included in Cubist and Non-Objective Paintings, John Herron Art Museum, Indianapolis.
Included in the second Salon des Réalités Nouvelles, Paris; exhibition travels to Mannheim and Zurich.
The Museum of Non-Objective Painting moves to 1071 Fifth Avenue (where the current Solomon R. Guggenheim Museum now stands). Museum presents a group exhibition of its permanent collection, which includes Bauer’s work.
Solomon R. Guggenheim dies at age 88.
Tenth Anniversary exhibition at the Guggenheim Museum, New York.
Included in exhibition at Galerie Ferdinand Möller, Berlin.
Included in Evolution to Non-Objectivity, Guggenheim Museum, New York.
Hilla Rebay is forced to resign from the directorship of the Guggenheim Foundation by Harry Guggenheim and is replaced by James Johnson Sweeney. Subsequently most of the Bauer collection is relegated to the Museum’s storage.
Dies of lung cancer at his home in Deal, on November 28, at the age of 64.
Art of Tomorrow: Bauer–Kandinsky–Rebay, Exhibition of Non-Objective Painting takes place at Florida Southern College, Lakeland.
Solomon R. Guggenheim Museum, designed by Frank Lloyd Wright, opens with a group exhibition, in which Bauer is not included. Wright has died six months prior to the building’s completion; Rebay is not invited to the opening.
Rebay dies at her home at age 77.
Bauer is Included in Seven Decades, A Selection, at the Guggenheim Museum.
Acquisitions of the 1930s and 1940s, a tribute exhibition to Rebay at the Guggenheim Museum, includes works by Bauer.
Solo exhibition at Galerie Gmurzynska, Cologne.
Solo exhibition at Hutton-Hutschnecker Gallery, New York.
Solo exhibition at Städtisches Museum, Wiesbaden.
Solo exhibition at Galerie Withofs, Brussels.
Included in the exhibition The Non-Objective World: 1914–1924, Annely Juda Fine Art, London.
Included in The Museum of Non-Objective Painting at Washburn Gallery, New York.
Included in exhibition The Non-Objective World: 1914–1955, Annely Juda Fine Art, London, an expanded version of its 1970 exhibition; it travels to the University Art Museum, University of Texas, Austin.
Comprehensive solo exhibition at Galerie Gmurzynska, Cologne. Solo exhibition at Galerie Valentien, Stuttgart.
Included in De Stijl: Circle et Carré, Galerie Gmurzynska, Cologne.
Solo exhibition at Galleria del Levante, Milan.
Solo exhibition, Rudolf Bauer 1889–1953: The Constructivist Years, at Leonard Hutton Galleries, New York.
Included in The Guggenheim Museum Collection: Paintings 1880–1945, Guggenheim Museum, New York.
Included in Herwarth Walden and Der Sturm: Artist and Publications, La Boetie Gallery, New York.
Retrospective exhibition, Rudolf Bauer 1889–1953 takes place at the 20er Haus (Museum of the Twentieth Century), Vienna: travels to Stäatliche Kunsthalle, Berlin.
Included in Vom Klang der Bilder: Die Musik in der Kunst des 20 Jahrhunderts, Staatsgalerie, Stuttgart.
Included in The Twenties in Germany, CDR Fine Arts Ltd., London.
Solo exhibition at Borghi & Co., New York.
20th Century Masters: Painting, Watercolors, Drawings and Prints at Lafayette Parke Gallery, New York.
Rudolf Bauer, Rolph Scarlett, Hilla Rebay takes place at Sid Deutsch Gallery, New York.
Rudolf Bauer: Bilder aus den 1930er Jahren und satirische Zeichnungen 1910–1930 at Galerie & Edition Schlegl, Zurich.
Rudolf Bauer: Centennial Exhibition, organized by Portico New York; travels to Fiorella Urbinati Gallery, Los Angeles; Cologne Art Fair; Struve Gallery, Chicago; and Philadelphia Art Alliance.
Included in Degenerate Art: The Fate of the Avant-Garde in Nazi Germany, Los Angeles County Museum of Art, which travels to the Art Institute of Chicago.
Rudolf Bauer: Paintings, Watercolors and Graphics at Harcourts Modern, San Francisco.
Included in Die neue Wirklichkeit: Abstraktion als Weltentwurf at the Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany.
Included in Champions of Modernism: Non-Objective Art of the 1930s and 40s and Its Legacy, which travels through 1998 to Castle Gallery, College of New Rochelle, N.Y.; Mary Washington College Galleries, Fredericksburg, Va.; Gibbes Museum of Art, Charleston, S.C.; Sunrise Museum of Art, Charleston, W.V.; Brevard Museum of Art and Science, Melbourne, Fla.; and Polk Museum of Art, Lakeland, Fla.
Included in Okkultismus und Avantgarde, Schirn Kunsthalle Frankfurt.
Included in Abstraction in the 20th Century: Total Risk, Freedom, Discipline, at the Guggenheim Museum, New York.
Included in The Museum of Non-Objective Painting at Snyder Fine Art, New York.
Included in The American Century: Art and Culture, 1900–1950, Whitney Museum of American Art, New York.
Included in Four Non-Objective Painters at Katharina Rich Perlow Gallery, New York.
The Art of Rudolf Bauer: From Berlin to New York 1910–1940 at Connaught Brown Gallery, London.
Included in The Omnipotent Dream: Man Ray, Confluences and Influences, Turchin Center for the Visual Arts, Appalachian State University, Boone, N.C.
Included in European Art between the Wars, Nassau County Museum of Art, Roslyn Harbor, N.Y.
Rudolf Bauer: Berlin Drawings and Prints of the 1920s and 1930s at the Boca Raton Museum of Art, Boca Raton, Fla.
Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim at the Guggenheim Museum, New York, includes many works by Bauer; it travels in 2005–06 to Museum Villa Stuck, Munich, and Schlossmuseum Murnau; and Deutsche Guggenheim, Berlin.
Solo exhibition, Master Drawings from the Concentration Camps, at Tobey Fine Arts, New York. (Bauer was never actually in a concentration camp; his confinement was in a Gestapo prison.)
Included in Hilla Rebay: A Baroness in Westport, Westport Historical Society, Westport, Conn.
Included in Hilla Rebay and The Museum of Non-Objective Painting at DC Moore Gallery, New York.
Part of the Société Anonyme: Modernism for America exhibition at the Armand Hammer Museum at the University of California, Los Angeles; it will travel through 2010 to The Phillips Collection, Washington, D.C.; Dallas Museum of Art; Frist Center for Visual Arts, Nashville; and Yale University Art Gallery, New Haven, Conn.
Included in an exhibition of work from the Guggenheim Museum collection at Kunst-und Ausstelungshalle der Bundesrepublik Deutschland, Bonn, and the Kunstmuseum Bonn.
Comprehensive solo exhibition at Weinstein Gallery, San Francisco.
Documentary produced on Bauer’s life by KRON-4 TV, San Francisco: Betrayal: The Life and Art of Rudolf Bauer. Airs on KRON-4, as well as Ovation cable TV. Selected for the Jersey Shore Film Festival and the Strasbourg International Film Festival.
Exhibition of works on paper at Weinstein Gallery; catalogue produced with extensive essay by German art scholar and former Museum of Modern Art Chief Curator, Peter Selz.
Der Sturm: Zentrum der Avantgarde, Von der Heydt-Museum, Wuppertal, Germany, represented by Sinfonie 23 (lent by Weinstein Gallery) and Con Brio 5, lent by MUMOK, Museum Moderner Kunst, Siftung Ludwig, Vienna.
Six works on paper included in Draw and Shoot: Fashion Illustrations and Photography from the Collection at Boca Raton Museum of Art.
The Realm of the Spirit—A Rudolf Bauer Retrospective at Weinstein Gallery, San Francisco.
Bauer, a play by Lauren Gunderson, opens at the San Francisco Playhouse, San Francisco.