Exhibitions of Modern European Painting 1905-1915

Within just a few years, before World War I, the appearance, and indeed the very notion of (western) painting changed radically. The history of early 20th century modern European art has often been written as the development of new forms and “isms”. Conversely, little systematic research has been done about how those forms and “isms” were presented to and received by the public, and whether and how artists used specific strategies to gain an audience. In the 19th century exhibitions had become the primary place to originate discussions about advances in painting and this seems also to be the case after 1900.
The project aims to study the history of a crucial moment of modern European painting from the perspective of exhibitions. In order to manage an exhaustive research we concentrate on the period from 1905 to 1915. This time frame covers a particular density of avant-garde movements such as Fauvism (the term originates 1905 at the Salon d’Automne in Paris), Expressionism, Cubism, Futurism, Rayonism, Orphism, Suprematism (springing up in the December 1915 exhibition 0,10 in St. Petersburg, already in the middle of a World War).
The first step of the project is the creation of a database of exhibitions taking place in this period, where living European artists participated. We assume to include ca. 600 exhibitions with roughly 180.000 paintings and 2.000-3.000 artists. The database will be as exhaustive as possible and open to research for anybody on the internet. Within the time frame the quantitative and qualitative analysis of the collected data will serve to outline:

  1. The geography and networks of modern painting: Where (in which cities, in which institutions), when, and with whom did artists exhibit?
  2. The chronology and geography of exhibiting new forms and propagating “isms”: Which kinds of paintings were exhibited when and where?
  3. The exhibiting strategies of modern painters: How did artists choose the works to present in which exhibitions? Did they pursue specific policies to make themselves publicly known?
  4. The discourses around modern art exhibitions: How did exhibitions (and their catalogues) interact with art criticism?

The project will deliver a new and much broader ground for our knowledge and understanding of the history of European painting in the early 20th century. We venture to assert that it will change our understanding of Abstract Art and to some extent of the general phenomenon of Avant-gardes at the beginning of the 20th century. Beyond our direct scope of research, the database will be a research tool for multifold purposes, such as research on lesser-known artists, on specific art works and their provenance, on the role of specific institutions and/or cities for modern art. In this respect, the outreach of the project transcends the scholarly field and is also of interest for the art market and for regional histories.