Rudolf Bauer: Works on Paper (full catalogue PDF) - Weinstein Gallery

R U DOLF BAUE R
WORKS ON P A P E R

RUDOLF BAUER
WORKS ON PAPER
with a text by Peter Selz
W EINSTEIN G ALLERY

Published by Rowland Weinstein and Weinstein Gallery, San Francisco, in cooperation
with the <strong>Rudolf</strong> <strong>Bauer</strong> Estate and Archives, San Francisco
Published on the occasion of the exhibition <strong>Rudolf</strong> <strong>Bauer</strong>: <strong>Works</strong> on Paper
at Weinstein Gallery, May–June 2010
© 2010 Weinstein Gallery.
<strong>Rudolf</strong> <strong>Bauer</strong> artworks and archive documentation © <strong>Rudolf</strong> <strong>Bauer</strong> Estate and
Archives. Additional copyright notices below.
All rights reserved.
ISBN 978-0-9790207-1-1
Library of Congress Control Number 2010927152
Production and project direction by Briana Tarantino
Edited by Jasmine Moorhead
Artwork photography by Nick Pishvanov
Designed by Linda Corwin, Avantgraphics
Printed in the U.S.A. by California Lithographers
Weinstein Gallery
383 Geary Street
San Francisco, California 94102
415-362-8151
www.weinstein.com
Barnett Newman artwork © Barnett Newman Foundation/Artists Rights Society (ARS), New York;
digital image © The Museum of Modern Art/Licensed by Scala/Art Resource, New York, and the
Museum of Modern Art, New York. Letter from Alfred Barr to Mrs. Solomon Guggenheim, Alfred H.
Barr, Jr., Papers, 12.II.3.A., The Museum of Modern Art Archives, New York; image © The Museum of
Modern Art, New York. Additional photographs: <strong>Rudolf</strong> <strong>Bauer</strong> Estate and Archives, San Francisco;
Solomon R. Guggenheim Museum Archives, New York; <strong>Rudolf</strong> <strong>Bauer</strong> Papers, 1918–1983, Archives
of American Art, Smithsonian Institution; Hilla Rebay Archives, Wessling, Germany.
Front cover: RUDOLF BAUER. RB0567-Untitled (detail). Ink, watercolor, and gouache on paper, 9 1 ⁄2 x 8 inches. c. 1918–25
Back cover: RUDOLF BAUER. RB0565-Untitled. Ink and gouache on paper, 11 7 ⁄8 x 8 1 ⁄8 inches. c. 1915–30

Never was I so impressed instantaneously as when I saw the first
Non-Objective painting, a watercolor by <strong>Rudolf</strong> <strong>Bauer</strong>. To get such
beauty from something that has been produced from the artist’s
own imagination appealed to me enormously, because in my
business career my object has always been the introduction of
something entirely new and created.
— Solomon R. Guggenheim

<strong>Rudolf</strong> <strong>Bauer</strong>, Berlin, c. 1917

DOCUMENTARIANS AND SURVIVORS:
RUDOLF BAUER’S WORKS ON PAPER
One of the really interesting aspects of <strong>Rudolf</strong> <strong>Bauer</strong>’s art is that his early career is dominated
by figurative work. He’s so well known for his abstract work that it’s easy to forget
this early period of his career. . . . And it’s interesting to think about these origins
because at the very deepest possible sense <strong>Bauer</strong>’s work is humanist. . . . This is the core
foundation of his work, and it’s important to remember that foundation when we come
to the later work. —Timothy Anglin Burgard, de Young Museum, San Francisco1 To spend time with <strong>Rudolf</strong> <strong>Bauer</strong>’s works on
paper is to begin to understand a little more
about this extraordinary artist and to feel all the
more keenly that his creative powers cannot be circumscribed
by a single term like “Non-Objective”
art. It is also to understand the humanity and humor
that are integral to his visionary work. For <strong>Bauer</strong>,
drawing and painting on paper was never secondary.
It was a constant presence in his life and art.
From the very beginning, <strong>Bauer</strong> made his name
and reputation with his works on paper. His early
caricatures were featured in popular magazines
and newspapers such as Simplicissimus and Figaro.
Not only did this represent how <strong>Bauer</strong> earned his
living, it was a key way in which this sometimes
reserved and private artist could best connect to
the world around him.
<strong>Rudolf</strong> <strong>Bauer</strong>’s works on paper at The Museum of
Non-Objective Painting, New York
By 1917 <strong>Bauer</strong>’s career was beginning to flourish, and his works on paper were instrumental to this
process. His drawings appeared regularly on the cover of the avant-garde magazine Der Sturm.
Then, in the early 1920s, Katherine Dreier acquired thirteen works on paper and the oil painting
Andante 5 for the Société Anonyme. This collection brought the most important works of European
modern art to the United States for the first time. Dreier later described <strong>Bauer</strong>’s impact: “We
had no artist in those early years whose work so appealed to the public.” 2 It was also a watercolor
that was requested by Alfred H. Barr, Jr., director of the Museum of Modern Art (see page 6), to
be included in the museum’s important Fifth Anniversary Exhibition. 3 He had been rebuffed three
years earlier by Hilla Rebay with a similar request. 4 Perhaps most significantly, it was a <strong>Bauer</strong> work
on paper that first caught the eye of his longtime patron Solomon R. Guggenheim. As Guggenheim
explained in a filmed press conference in 1941: “Never was I so impressed instantaneously as
when I saw the first Non-Objective painting, a watercolor by <strong>Rudolf</strong> <strong>Bauer</strong>. To get such beauty
DOCUMENTARIANS AND SURVIVORS 5

6 RUDOLF BAUER
from something that has been produced from the artist’s own imagination appealed to me enormously,
because in my business career my object has always been the introduction of something
entirely new and created.” 5
Beyond their reach as ambassadors of <strong>Bauer</strong>’s reputation, these works on paper are also significant
as documentation of a complex historical moment. In the time period surrounding World
War I Germany harbored one of the greatest artistic revolutions of the 20th century. As one of the
youngest artists associated with Galerie Der Sturm, <strong>Bauer</strong> was in a unique position to engage with
the most innovative avant-garde artists of the time—the German Expressionists, the Futurists, the
Cubists including Picasso and Gleizes, as well as the Non-Objective world of Vasily Kandinsky.
<strong>Bauer</strong> integrated each of these diverse influences into his own unique work.
By the time of <strong>Bauer</strong>’s first solo exhibition at Der Sturm in November 1917, the Americans had
entered the war and Germany’s defeat was imminent. One month after <strong>Bauer</strong>’s second solo exhibition
in 1918, Germany had lost the war, Kaiser Wilhelm II had abdicated, and the Weimar
Republic was born. Germany was sent into a state of disarray both fiscally and culturally. The period
has been described as a fourteen-year-long New Year’s Eve Party, alternating between celebration
and recovery.
Unlike movements before or after it, German Expressionism and the avant-garde art of the
Weimar Republic was predominated by works on paper. Oil painting gave way to pencil, charcoal,
watercolor, crayon, and gouache. This paper revolution was caused not by simple artistic
Right: Letter from Alfred Barr to
Irene Guggenheim requesting a
watercolor by <strong>Rudolf</strong> <strong>Bauer</strong> for
Modern <strong>Works</strong> of Art: Fifth
Anniversary Exhibition at the
Museum of Modern Art. Above,
the work Abstraction which was
ultimately exhibited

choice but by necessity. It was no longer economically viable for artists living and working in
Germany to do involved paintings on canvas in large quantity. There were simply not enough
patrons in the position to purchase them. <strong>Works</strong> on paper provided an opportunity for artists
to sell their art cheaply and more frequently with far less of a fiscal commitment on the part of
the collector.
The primary subject matter
of this art was the people
themselves. <strong>Works</strong> on paper
gave the artists an opportunity
to enter into the lives of
their subjects in a new and
honest way. As cabarets,
theaters, and brothels came
to dominate German nightlife,
the patrons of and participants
in these worlds—
women and the men surrounding
them—became
the central subjects of
<strong>Bauer</strong>’s drawings. Karole
Vail, a curator at the Guggenheim
Museum, comments
that much of <strong>Bauer</strong>’s
figurative work of this moment in Berlin fits into the satirical tradition of German Expressionists
like Otto Dix and George Grosz. 6 Cabaret life in Berlin during the Weimar era
The up close and personal nature of works on paper gives the
viewer an opportunity to see the essence of the individual. As a result of this powerful imagery,
simple drawings on paper ascended to the highest level of importance. The subsequent wave of
works on paper would go on to define the social and cultural evolution of Germany during the
Weimar Republic.
The oil paintings that were produced during these years were collected by German museums or
resided in the collections of prominent families. Soon after Hitler was appointed Chancellor of Germany
in 1933, he labeled the work of <strong>Bauer</strong> and his cohorts as “degenerate.” The oils were
stripped from the walls of museums and private homes. Many of these seminal works of art were
displayed in the Entartete Kunst (Degenerate Art) exhibition of 1937. After that, they were sold at
fire-sale prices; if they did not sell, they were destroyed by the Nazis. This act made oil paintings
from this period even more scarce. <strong>Works</strong> on paper, on the other hand, were easier to transport
and hide. They found a way to escape and survive.
In addition to <strong>Bauer</strong>’s figurative work, he was creating completely abstract, Non-Objective works
on paper. It was in these abstract works that <strong>Bauer</strong> embraced the visual language of Non-Objectivity
as a way to awaken the human spirit and move toward a higher spiritual realm in art. It
appears that <strong>Bauer</strong> worked in both these styles of art simultaneously for about a decade, with the
figurative work informing the Non-Objective work and Non-Objective elements being very
DOCUMENTARIANS AND SURVIVORS 7

8 RUDOLF BAUER
Left: RUDOLF BAUER. Römisches Wagenrennen von Ulpiano Chéca. Ink and gouache on board,11 1 ⁄4 x 19 5 ⁄8 inches. 1905;
Right: RUDOLF BAUER. RB0589-Prison Drawing 186. Pencil on paper, 8 x 8 3 ⁄4 inches. 1938
prominent in his figurative works. In his Non-Objective works <strong>Bauer</strong> was able to take risks with new
techniques, materials, and symbolic forms. Paper was the perfect vehicle for this approach.
Although there can be no question about the grandeur of his oils, there is an intimate, personal
side to his Non-Objective works on paper unobtainable in the larger scale work. Some of the most
striking examples of <strong>Bauer</strong>’s Non-Objective work are executed on paper.
The works of <strong>Rudolf</strong> <strong>Bauer</strong> featured in this exhibition span from 1905–38. In that same time period
humanity witnessed the fall of the German monarchy, the Russian monarchy, the Austro-Hungarian
Empire, and Ottoman Empire. The world felt the impact of the rise of fascism, communism, the
final phase of the industrial revolution, and mechanized warfare. Through all of this, these works of
art on paper were documentarians and survivors. In many ways we should not have this opportunity:
this work should have been sold or destroyed long ago. If not by the hand of man, then by
time itself. The story these works tell should have been erased, along with so many great things of
this period, but they survived.
After spending several months of 1938 in a Berlin prison, <strong>Bauer</strong> was released with the help of
Solomon Guggenheim and Hilla Rebay, his former lover and Guggenheim’s curator. Before he fled
Germany for the United States he carefully stored his personal collection of works on paper. After
his exile to the U.S. in 1939 he would never see it again. This exhibition is the most complete overview
of <strong>Bauer</strong>’s works on paper since they were put away for safekeeping more than 70 years ago.
ROWLAND WEINSTEIN
Weinstein Gallery
NOTES
1. Interview with Timothy Burgard, Ednah Root Curator of American
Art, Fine Arts Museums of San Francisco, 2007.
2. Robert L. Herbert, Eleanor S. Apter, and Elise K. Kenney, eds., The
Société Anonyme and the Dreier Bequest at Yale University: A
Catalogue Raisonné (New Haven and London: Yale University Press,
1984), p. 56.
3. Letter from Alfred Barr to Irene Guggenheim, November 2, 1944.
Alfred H. Barr, Jr. Papers, The Museum of Modern Art Archives.
4. Letter from Hilla Rebay to <strong>Bauer</strong>, March 30, 1931, quoted in Joan
Lukach, Hilla Rebay: In Search of the Spirit in Art (New York:
George Braziller, 1983), p. 135. Rebay writes, “The Barr (sic) who is
Director of the new museum [MoMA] wants to do an international
abstract exhibition on one floor of a skyscraper which is known as
the ‘new museum.’ It is sponsored by wealthy people and
always very crowded. Right now Heckel, Kirchner, Rotluff, Nolde,
Kokoschka, Hofer (very good), Dix, Grosz, Klee, Belling, Sintenis
and similar sculptors are exhibited there. They had also wanted to
borrow Kandinskys and watercolors by you from Guggi [Guggenheim]
and me, but I said: refuse, that is no company for you.”
5. Quoted from footage included as part of the 2009 Guggenheimpublished
DVD “Art, Architecture, and Innovation: Celebrating the
Guggenheim Museum,” Solomon R. Guggenheim Archives, N.Y.
6. Interview with Karole Vail, Assistant Curator, Solomon R. Guggenheim
Museum, 2007.

RUDOLF BAUER REVISITED
Peter Selz
Iwell remember the Museum of Non-Objective Painting on East 54th Street in Manhattan.
There, Solomon R. Guggenheim’s Collection, formerly housed in his suite in the Plaza Hotel,
was exhibited in stately ambience of luxury. The paintings, mostly by Vasily Kandinsky and
<strong>Rudolf</strong> <strong>Bauer</strong> were set in wide silver-colored frames, hung on gray velour walls, and displayed at
knee-height, close to the floor, which was covered with matching thick gray carpet. The paintings
were lit with newly invented fluorescent tubes. Music by Bach, Chopin, and Beethoven was
piped into this temple of art. At certain unannounced times the Baroness Hilla von Rebay, the
Museum’s director and curator, would appear and inform the public that modern art from
Manet to Picasso—as exhibited in the nearby Museum of Modern Art—was essentially a preparation
for the great Non-Objective art of the future as exemplified by Kandinsky and <strong>Bauer</strong>. In
1939, MoMA inaugurated its new building on 53rd Street with an exhibition entitled Art in Our
Time, but the Guggenheim trumped this with its exhibition The Art of Tomorrow, in accordance
with the appellation of the New York 1939 World’s Fair, named World of Tomorrow. I was twenty
years old at the time, having arrived from Munich three years earlier, and was somewhat
familiar with Kandinsky. But who was <strong>Bauer</strong>, whose large paintings of rhythmic movement and
strong flowing color, were prominently featured in this new museum? I was greatly impressed by
The Art of Tomorrow.
<strong>Rudolf</strong> <strong>Bauer</strong> paintings in the Museum of Non-Objective Painting, New York
RUDOLF BAUER REVISITED 9

10 RUDOLF BAUER
<strong>Rudolf</strong> <strong>Bauer</strong> was born in 1889 in a small town in eastern
Germany, which is now part of Poland. In 1904, he settled
in Berlin, and like Lyonel Feininger, who, when he first
arrived in Berlin, supported himself by sending comic strips
to American and German newspapers, and George Grosz,
who made caricatures for Esquire magazine, <strong>Bauer</strong> earned
his living by producing cartoons for several of the humor
magazines which were so prevalent at the time. He was a
talented and highly skilled draftsman who would make
drawings with appropriate captions, satirizing the world of
fashion, the military, the upper classes, the lower classes,
the intelligentsia, etc. In many of his caricatures the comic
and the satirical interact. There are delightful drawings of
people disporting themselves in scant clothing on the
beach and there are clowns and circus scenes. <strong>Bauer</strong>
liked to draw pictures of women with their bosoms partially
or fully exposed, encountering strolling gentlemen or
seductive hookers walking the streets of Berlin, as well as
<strong>Rudolf</strong> <strong>Bauer</strong> as a young man
pictures of elegant soirées and hunting parties, drawings of
people on their way to the opera and of ordinary types
with large mugs of beer. He drew excellent portraits, including the copy, done in ink and
gouache, of the portrait of Friedrich von Schiller, which used to hang in our classrooms in
Germany. <strong>Bauer</strong> continued producing caricatures even after he ridiculed army officers and
depicted soldiers shooting from their foxholes. As time went on, he made drawings in which he
incorporated Cubo-Futurist elements. In these works, sometimes caustic and sarcastic, <strong>Bauer</strong>
caricatured an epoch. And not all his drawings were humorous. He thought well enough of his
caricatures to have them installed in an upstairs room of his own museum, Das Geistreich, in the
early 1930s, where they honored the walls surrounding a billiards table and modernist furniture.
In 1912 <strong>Rudolf</strong> <strong>Bauer</strong> came into his own when he encountered
Herwarth Walden and his Sturm circle and saw paintings
by Kandinsky and the Italian Futurists. Walden was a
great impresario and propagator of new ideas. When many
of the old bourgeois values began to crumble in the 20th
century, a deep-seated antagonism against foreign culture
re-emerged in Wilhelmine Germany and it took extraordinary
courage on Walden’s part to open the gates to international
modernism. Herwarth Walden was a man who,
through his prodigious energy and enthusiasm and the
hydra-headed organization which he created, became the
catalyst of expressionism in all its guises and of the modern
movement in general. He started his enterprise with a journal,
Der Sturm, which among many of its contributors published
works by August Strindberg, Adolf Loos, Karl Kraus, and
RUDOLF BAUER. Portrait of Schiller.
Ink and gouache on board,
11 1 ⁄4 x 19 5 ⁄8 inches. 1905

Heinrich Mann. When he first saw paintings by Oskar Kokoschka he brought the young artist
from Vienna to Berlin and began printing his work, followed soon thereafter with reproducing
paintings by the Brücke artists, who had just arrived in Berlin from Dresden. In 1912 Walden
decided to organize the first of hundreds of Sturm exhibitions in his rooms on the Potsdamer
Strasse. He added the Munich painters of the Blue Rider to his stable and adopted many of
Kandinsky’s ideas about art as well as exhibiting his paintings. Walden introduced the Futurists to
Germany, showing their revolutionary paintings and printing their manifesto. Then, in 1913, he
created the First German Autumn Salon, which was the first international exhibition embracing
all the new trends in art. From France there were paintings by Chagall, the Delaunays, Léger,
Picabia; from Italy, all the Futurists; from Russia, the Burliuks, Natalie Goncharova, and Michael
Larionoff; Mondrian from the Netherlands; and Klee from Switzerland. America was represented
by Lyonel Feininger and Marsden Hartley. Unlike the Armory Show which was mounted in New
York the same year and included the moderns among mostly traditional artists, the Sturm exhibition
was a great manifestation of what the Guggenheim Collection called years later the “Art
of Tomorrow.” The Sturm continued its progressive program during and after the War: there
were the “Sturmabende” with lectures and poetry readings; there was the “Sturmschule” which
provided training in stage design, poetry, music, as well as painting, and also jobs for young
artists like <strong>Bauer</strong>. The Sturm publishing house issued the writings of Kandinsky, Apollinaire, and
others—texts that became seminal to the writings by <strong>Bauer</strong> and Rebay. During the early years of
the Weimar Republic, Walden continued to sponsor artists—Max Ernst, Georg Muche, Kurt
Schwitters, László Moholy-Nagy, as well as <strong>Rudolf</strong> <strong>Bauer</strong>.
<strong>Bauer</strong> must have been inspired when he saw the first Sturm exhibition in 1912, and soon
became part of Walden’s circle. It was there, in 1916, that he first met Hilla Rebay von Ehrenwiesen,
and began a life-long, stormy relationship. <strong>Bauer</strong>’s first design of the cover of the
monthly Sturm magazine in May 1917 was in a Cubist style, while the October cover was more
fluid and organic. It was in the fall of 1917 that he had his first solo exhibition in the Sturm gallery,
which consisted of 120 abstract oil, gouaches, watercolors, drawings, and lithographs. He wrote
an introductory text which insisted on a total separation between art and nature and stressed
Interior rooms of Das Geistreich, Berlin
RUDOLF BAUER REVISITED 11

12 RUDOLF BAUER
Der Sturm magazine covers featuring work by <strong>Rudolf</strong> <strong>Bauer</strong>
that the expression of feelings and emotions
was the essence of true works of art.
He also affirmed the equivalence of music
and art. For that reason he gave musical
titles, such as Allegretto, Fugal, Presto, Sinfonie,
to his canvases in which dynamic
floods of strong color gyrate over the surface
in energetic movement. Theodor
Däubler, poet and eminent critic, wrote
with great insight in the Berliner Börsen-
Courier, “Kandinsky is the first artist, after a
long struggle, to discard the object. <strong>Bauer</strong>
was able to instantly produce compositions
of painterly-musical feeling. In temperament
the significant Russian and the
young German are very different. With
Kandinsky there is an unexpected blossoming
of totally new visions of color.
<strong>Bauer</strong> is close to Cubism and transforms his
musical dreams into color. . . . Compared
to Kandinsky, his work is more tactile, almost
sculptural in character.”
In 1918 <strong>Bauer</strong> had his second solo Sturm
exhibition. On that occasion he contributed
his essay “The Cosmic Movement”
to Walden’s book Expressionism—The Turning
Point. In his article <strong>Bauer</strong> emphasizes
again the primacy of feeling in the creative
act and proceeds to illustrate graphically
ways and means to express different
emotions such as calm, restlessness, anger,
and doubt by judicious use of line and
color. Here he anticipates Kandinsky’s
treatise Point and Line to Plane, published
by the Bauhaus in 1926, and even <strong>Rudolf</strong>
Arnheim’s more sophisticated text on
the grammar of form, based on Gestalt
psychology.
In 1918, Germany, having lost the War,
compelled the Kaiser to abdicate and
proclaimed a republic. Artists, in response
to the putative November Revolution,

formed the Novembergruppe of painters, sculptors,
writers, and architects, in the hope of
bringing about a coherent association for a
renewal of creative endeavor. <strong>Bauer</strong> found
himself to be among the 22 artists, including
Kokoschka, Otto Mueller, Erich Mendelsohn and
Max Pechstein, who attended the first meeting
in Berlin. <strong>Bauer</strong>, however, was never active
politically during these times of turmoil. The
extensive correspondence between <strong>Bauer</strong> and
Rebay also mentions many of the German
Dadaists. Richard Hülsenbeck, George Grosz,
and Max Ernst were among his acquaintances.
He writes about attending the infamous Dada
Fair in Berlin and meeting Kurt Schwitters, who
wrote an aleatoric chance poem, “Portrait of
<strong>Rudolf</strong> <strong>Bauer</strong>,” which in his collagist Merz language
concludes: “Crackle whirlyfishes first it
lets itself be twirled around.” <strong>Bauer</strong>, however,
stayed aloof from the Dadaists, as he did from
political art, as he was primarily concerned with
his own work and career.
Page from <strong>Rudolf</strong> <strong>Bauer</strong>’s 1918 essay “The Cosmic
Movement”
<strong>Rudolf</strong> <strong>Bauer</strong> with a group of fellow artists from the “Abstraction” section of the Great Berlin Art Exhibition, c. 1926.
Photo published in the newspaper Der Welt Spiegel
RUDOLF BAUER REVISITED 13

14 RUDOLF BAUER
<strong>Bauer</strong>’s Non-Objective work intrigued Katherine Dreier, whose Société Anonyme included it in its
first exhibition in 1920. This was <strong>Bauer</strong>’s first contact with the American art world. Dreier, with the
guidance of Marcel Duchamp and Man Ray, picked up the banner for modern art after Alfred
Stieglitz had closed his 291 Gallery in 1917. The Societé Anonyme, which exhibited and acquired
some of the best modern European and American art, was the first museum of modern art and
it exhibited <strong>Bauer</strong>’s work again in 1921 and 1928. It was a floating museum without a permanent
home, mounting important shows in Brooklyn, Worcester, MA, and Detroit, and it was finally
donated to the Yale Art Gallery in 1941. In a letter to <strong>Bauer</strong> in 1949, Dreier reminded the painter
that his work was in her collection and ended cogently: “I hope this does not mean that you
have given up your painting, though that can easily happen.” As, indeed it did.
In the 1920s and 30s, as <strong>Bauer</strong> continued to explore the possibilities and opportunities of Non-
Objective art, his paintings and watercolors, like Kandinsky’s, became more geometric.
Solomon R. Guggenheim began to purchase paintings by <strong>Bauer</strong> under the counsel of Hilla
Rebay, who had painted Guggenheim’s portrait in 1928. In addition to acquiring paintings by
<strong>Bauer</strong>, Guggenheim also appointed him as his agent for the acquisition of abstract paintings by
leading European artists. In 1930 <strong>Bauer</strong> was able to establish his own private museum of Non-
Objective painting in Berlin which he called Das Geistreich (“The Realm of the Spirit”). It was
meant to be a temple of the art of the future with paintings by Kandinsky, Rebay, and many of
<strong>Bauer</strong>’s own. The villa was surrounded by a park and became a fashionable salon. In a report in
the Berliner Tageblatt (March 8, 1934) we read about a tea party for a small circle of the elite,
Das Geistreich, Berlin

which included a princess, a state secretary, a field marshal, and various aristocrats. In 1930,
<strong>Bauer</strong> took a trip to Dessau to finally meet Kandinsky at the Bauhaus. He also began to enjoy an
international reputation. His painting Symphony (c. 1929) from the Guggenheim Collection was
featured on the cover of the October 1933 Bulletin of the Museum of Modern Art, announcing
the Museum’s exhibition of Cubism and Abstract Art. The following year a <strong>Bauer</strong> painting was
included in the Museum’s important show Modern <strong>Works</strong> of Art: Fifth Anniversary Exhibition.
Two years later Rebay
organized a traveling
exhibition of the Guggenheim
Collection which
opened in Charleston,
South Carolina, and went
on to Philadelphia, Baltimore,
and Chicago.
<strong>Bauer</strong> himself came to
America to see the exhibition
in which he was
represented with sixty
paintings. Among other
artists in this initial show
were Kandinsky, Rebay,
Moholy-Nagy, Paul Klee,
and Albert Gleizes. In RUDOLF BAUER. Sinfonie 23.
1937, after returning from Oil on canvas, 29
Paris where several of his
paintings were included in an exhibition at the Jeu de Paume, he found that the Nazis had
closed Das Geistreich and, having been denounced by a Nazi member of his family, he was
arrested by the Gestapo in 1938, for being a “Degenerate Artist” and for speculating in foreign
currency. During his time in jail the painter produced a series of remarkable geometric drawings.
It took the intervention of <strong>Bauer</strong>’s friend and mentor F.T. Marinetti, members of the von Rebay
family, as well as lawyers and dollars from Guggenheim to have him released, and in 1939 he
sailed for the U.S., never to return to Germany.
1 ⁄2 x 39 1 ⁄2 inches. 1919
The Museum of Non-Objective Painting opened in its own location in New York in June 1939. The
gallery concept and design were in keeping with <strong>Bauer</strong>’s Geistreich. The permanent collection
included Moholy-Nagy, Balcomb Greene, Friedrich Vordemberge-Gildewart, Rolph Scarlett,
Maria Vieira da Silva, Jean Xceron, and, of course, Hilla von Rebay, a large number of Kandinskys,
as well as 215 <strong>Rudolf</strong> <strong>Bauer</strong>s. It constituted a major collection of mostly Non-Objective
work. Under Rebay’s direction, it also presented 74 temporary shows and numerous traveling
exhibitions between 1939 and 1952. The list of artists in these exhibitions constitutes a compendium
of just about all of the European and American modernists. The temporary space on 54th Street
was also the venue of lectures and of abstract films by Viking Eggeling, Oskar Fischinger, Norman
McLaren, Hans Richter, James Whitney, and Thomas Wilfred.
RUDOLF BAUER REVISITED 15

16 RUDOLF BAUER
Left: RUDOLF BAUER. The Holy One (Red Point). Oil on canvas, 51 3 ⁄8 x 51 3 ⁄8 inches. 1936. Collection of the Solomon R. Guggenheim
Museum, New York; Right: Trylon and Perisphere, New York World’s Fair, Flushing Meadows, Queens, New York,
1939–40
<strong>Rudolf</strong> <strong>Bauer</strong>’s painting, The Holy One (Red Point) (1936) with its tall red pyramid standing next to
a large yellow circle, was featured on the cover of the Guggenheim Collection’s catalogue for
the second Charleston show (1938) and again appeared as the frontispiece of the first NY show.
It was undoubtedly the inspiration for Wallace Harrison’s Trylon and Perisphere, the logo of the
1939 World’s Fair. In this context it is worth noting that <strong>Bauer</strong>’s painting Blue Triangle (1934), in
which a squat pyramid serves as the base for an upside-down obelisk, appears like a two-dimensional
model for Barnett Newman’s famed sculpture, Broken Obelisk (1963–69). Certainly, there is
an affinity. <strong>Bauer</strong>’s geometric paintings were related to the hard-edge paintings of his time, to the
Abstraction-Creation and Circle et Carré in Paris and the American Abstract Artists group, founded
in New York in 1936. Again, <strong>Bauer</strong> stayed aloof from joining these compatible associations.
<strong>Rudolf</strong> <strong>Bauer</strong> had turned to geometric abstraction in the late 1920s. His paintings, watercolors,
gouaches, and drawings were now done with mathematical precision. He created compositions
of circles and squares, rectangles and triangles, targets and vectors, spirals, ellipses and
ovoids, as well as free forms and doodles, arranged in rigorous formal order. While related to
Kandinsky’s painting of the Bauhaus and Paris periods, <strong>Bauer</strong>’s paintings do not turn to oriental
splendor, but his canvases have a great sense of the real; many of them actually are not all
that non-objective. A blue circle is a circle of blue color and a black triangle is just that, looking
ahead, so it seems to me, to later minimal painting. Furthermore, <strong>Bauer</strong>, the former caricaturist,
frequently admits humor, indeed, a sense of wit, into his pictures.
There is no doubt that <strong>Bauer</strong> was a fine painter who produced work of great merit. His career was
not helped, however, by the Baroness’s unrestrained adulation. We read in her essay in The Art

Left: RUDOLF BAUER. Blue Triangle. Oil on canvas, 51 x 50 inches. 1934. Collection of the Solomon R. Guggenheim Museum,
New York; Right: BARNETT NEWMAN. Broken Obelisk. Cor-ten steel, in two parts, 24 feet 10 inches x 10 feet 11 inches x 10
feet 11 inches. 1963–69. Collection of the Museum of Modern Art, New York, and installed in the museum’s Donald B. and
Catherine C. Marron Atrium
of Tomorrow catalogue that “in this collection is represented the development of a genius, the
greatest of all painters, spiritually the most advanced artist whose influence leads in the future.
<strong>Rudolf</strong> <strong>Bauer</strong>, whose every work of Non-objectivity is an accomplished masterpiece and so extraordinarily
organized that no form, no point, could be eliminated or changed without upsetting the
perfect organization of his creation.” Rebay’s infatuation with <strong>Bauer</strong> and <strong>Bauer</strong>’s good personal
relation with Solomon Guggenheim,
his chief patron, led him
to believe that he would have
a major voice in the direction
of the new museum, which, he
hoped, would be a great temple
of art in the New World,
based on his Geistreich in Berlin.
He also expected to have a
major say in the selection of its
architect. But Rebay consulted
with Walter Gropius and Ludwig
Mies van der Rohe, Wallace
Harrison, and for some time
with the visionary Frederick
Kiesler, who had migrated to
<strong>Rudolf</strong> <strong>Bauer</strong> and Filippo Tommaso Marinetti at <strong>Bauer</strong>’s Das Geistreich New York in 1931 and was
Museum in Berlin, 1930s
RUDOLF BAUER REVISITED 17

18 RUDOLF BAUER
brought to Rebay’s attention by the distinguished art dealer, J.B. Neumann. In 1943, however,
she contacted Frank Lloyd Wright, who, she felt was the man for the job. In this same year,
America’s greatest architect and one of its richest men, Solomon R. Guggenheim, signed the
contract, where upon the copper magnate purchased the property on Fifth Avenue at 89th
Street, facing Central Park, where the Guggenheim Museum stands today.
Soon after his arrival in America <strong>Bauer</strong>
signed a contract with Guggenheim
to trade 110 works and the eventual
donation of his entire estate to the
Guggenheim Foundation in exchange
for a monthly stipend, a mansion in
Deal, N.J., facing the Atlantic ocean
and a Duesenberg car. It appears
that <strong>Bauer</strong>, not well versed in English
at the time, signed this document
upon Rebay’s guidance, but soon
regretted what he had done, realizing
that he signed away his life’s work for
a relatively low annual retainer. He felt
that he had been cheated and
blamed his former lover, Rebay, who
in 1943 was briefly detained by the
U.S. government as an “enemy alien.”
Their relationship deteriorated and
they wrote resentful, angry letters, full
of accusations and recriminations.
<strong>Bauer</strong>, also penned antagonistic, in-
Fernand Léger, Hilla Rebay, Hans Richter, and <strong>Rudolf</strong> <strong>Bauer</strong>, at sulting letters to Mr. Wright, which the
Rebay's home in Greens Farms, Connecticut, c. 1941
architect evidently never bothered
to answer. In 1944, <strong>Bauer</strong> married his
former housekeeper and also sued Rebay for slander, which was the final expression of his animus.
During the last fourteen years of his life, the painter never picked up a brush again.
Solomon Guggenheim died in 1949, and Hilla Rebay was forced to resign three years later when
James Johnson Sweeney was appointed director of the Foundation. He dismantled the unique
treatment of the space and framing of the paintings and painted the walls white. When he
presided at the opening of the Frank Lloyd Wright building, there were no <strong>Bauer</strong>s on the slanting
walls, even though he was still highly regarded in Germany. In 1950 an article in Leipzig’s
Zeitschrift für Kunst called “Painting in the Spirit of Music” signifies him—together with Rebay,
Moholy-Nagy, and Morris Graves as leading abstract painters in America. At the new Museum,
however, things looked dismal for the artist. He received a letter from Jerome Ashmore, professor
of philosophy at Columbia University, who reported to him in 1953 that “much of the work
shown is mainly of value to a pedantic historian of art. Of the cosmic spirituality reflected in your

work there is none. . . . The exhibition hanging in that Fifth Avenue location today takes the
observer no place while you take the observer to eternity.”
It took years to reinstate <strong>Bauer</strong>’s reputation as a modernist painter of significance. It must be
remembered that his private museum in Berlin served as the model for the original venue of the
Guggenheim Collection and that his painting Blue Triangle predicted one of the icons of modernist
American sculpture. It was not until 1968 that his paintings were shown again at the
Guggenheim museum in a tribute to Rebay. Then, in 1969 and 1970, there were solo exhibitions
at the Galerie Gmurzyska in Cologne and at Hutton-Hutschnecker in New York, followed by
shows in Brussels, Wiesbaden, and London. In 1987, Thomas M. Messer, who succeeded
Sweeney as the Guggenheim’s director for many years, observed that, “There was a time when
the works of <strong>Rudolf</strong> <strong>Bauer</strong> were exhibited too often at this institution. I believe we are now coming
out of a time when his work has been exhibited too little.” Aside from shows in Milan, Berlin,
Stuttgart, London, Zurich, Chicago, and elsewhere, <strong>Bauer</strong>’s work returned to the Guggenheim in
2003 in its reprise of The Art of Tomorrow, an exhibition that was shown in New York, Munich,
Murnau, and Berlin. After many years of disregard, <strong>Bauer</strong> is finally reinstated in his place as an
eminent figure in the history of abstract painting. To quote William Faulkner: “The past is never
dead, it’s not even past.”
About the author: Peter Selz is a distinguished art historian, whose expertise ranges from German Expressionism
to kinetic art to California modernism. Born in Germany, Selz emigrated to the United States in 1936 and
obtained his doctorate at the University of Chicago. He is the author of the 1957 German Expressionist Painting,
one of the first English-language books on that subject. He became Chief Curator in the Department of
Painting and Sculpture at the Museum of Modern Art in 1958, leaving in 1964 to become the founding director
of the Berkeley Art Museum and professor of the History of Art at UC Berkeley. He currently lives and works
in Berkeley.
RUDOLF BAUER REVISITED 19

20 RUDOLF BAUER
PLATES
RB1251-Untitled Gouache and ink on board 12 5 ⁄8 x 18 7 ⁄8 inches c. 1905

RB2191-Untitled Watercolor, pastel, gouache, and ink on paper
22 3 ⁄4 x 12 3 ⁄4 inches c. 1918–25
WORKS ON PAPER 21

RB1721-Eier Ausverkavft (Eggs Clearance Sale) Pastel, watercolor, gouache, and ink on paper 10 1 ⁄8 x 8 1 ⁄4 inches c. 1914–25
22 RUDOLF BAUER

RB0646-Untitled Watercolor on paper 16 3 ⁄8 x 14 3 ⁄8 inches c. 1910–25
WORKS ON PAPER 23

RB1992-Untitled Gouache, pencil, and ink on paper
15 1 ⁄4 x 10 1 ⁄4 inches c. 1918–25
24 RUDOLF BAUER
RB1990-Untitled Pencil on paper
15 1 ⁄8 x 11 3 ⁄8 inches c. 1918–25

RB2240-Untitled Watercolor, gouache, ink, and pencil on paper 18 7 ⁄8 x 13 5 ⁄8 inches c. 1910–13
WORKS ON PAPER 25

RB0631-Untitled Gouache, watercolor, and pencil on paper
16 1 ⁄4 x 12 inches c. 1910–12
26 RUDOLF BAUER
RB1694-Untitled Watercolor and pencil on paper
15 1 ⁄8 x 11 3 ⁄8 inches c. 1910–12

RB0659-Untitled Charcoal on paper
18 1 ⁄2 x 16 3 ⁄8 inches c. 1915–25
RB1653-Untitled Pastel, gouache, and ink on paper
12 1 ⁄8 x 11 inches c. 1915–25
WORKS ON PAPER 27

28 RUDOLF BAUER
RB1446-Keipa Pastel, ink, and pencil on paper
11 1 ⁄4 x 8 7 ⁄8 inches c. 1918–25
RB2350-Beulchen Watercolor, gouache, and pastel on paper
9 7 ⁄8 x 8 inches c. 1918–25

RB0566-Untitled Ink and gouache on paper 12 1 ⁄2 x 8 5 ⁄8 inches c. 1915–25
WORKS ON PAPER 29

30 RUDOLF BAUER
RB1789-Untitled Pastel, watercolor, gouache, ink, and pencil on paper 18 x 10 7 ⁄8 inches c. 1933

RB1466-Maxe Watercolor, pastel, gouache, and ink on paper 12 x 8 1 ⁄4 inches c. 1918–25
WORKS ON PAPER 31

RB2314-Untitled Watercolor, gouache, and ink on paper 12 1 ⁄2 x 11 1 ⁄2 inches c. 1918–25
32 RUDOLF BAUER

RB1971-Untitled Watercolor, pastel, gouache, colored pencil, and ink on paper 8 5 ⁄8 x 11 7 ⁄8 inches c. 1918–25
RB1555-Untitled Collage, pastel, gouache, and ink on paper 9 7 ⁄8 x 13 3 ⁄4 inches c. 1918–25
WORKS ON PAPER 33

RB2244-Untitled Watercolor, gouache, and ink on paper 20 3 ⁄4 x 17 1 ⁄8 inches c. 1910–15
34 RUDOLF BAUER

RB1701-Wasserstoffsuperoxyd (Water-material-super-oxide)
Watercolor, gouache, and ink on paper 10 1 ⁄2 x 8 1 ⁄2 inches c. 1912–25
RB1678-Untitled Watercolor, pastel, and gouache on paper 8 1 ⁄4 x 12 7 ⁄8 inches c. 1912–25
WORKS ON PAPER 35

RB2546-Untitled Watercolor, gouache, pastel, ink, and pencil on paper
19 3 ⁄8 x 9 1 ⁄2 inches c. 1918–25
36 RUDOLF BAUER
RB1588-Untitled Watercolor, gouache, and pencil on paper
9 3 ⁄4 x 4 3 ⁄4 inches c. 1918–25

RB2400-Untitled Chalk and charcoal on paper 19 1 ⁄2 x 15 7 ⁄8 inches c. 1912–25
WORKS ON PAPER 37

38 RUDOLF BAUER
RB1934-Untitled Pastel and charcoal on paper 16 1 ⁄4 x 10 1 ⁄2 inches c. 1910–18

RB1935-Untitled Pastel and charcoal on paper
17 3 ⁄4 x 11 3 ⁄8 inches c. 1910–18
RB1963-Untitled Pastel and charcoal on paper
16 3 ⁄4 x 11 7 ⁄8 inches c. 1910–18
WORKS ON PAPER 39

40 RUDOLF BAUER
RB1585-Ankara Pastel, gouache, and pencil on paper
12 x 5 1 ⁄8 inches c. 1910–18

RB1461-Untitled Pastel and pencil on paper 14 1 ⁄2 x 10 1 ⁄2 inches c. 1910–18
WORKS ON PAPER 41

RB1944-Untitled Watercolor, pastel, gouache, and pencil on paper
19 1 ⁄4 x 10 3 ⁄4 inches c. 1918–25
42 RUDOLF BAUER
RB1986-Untitled Pastel, colored pencil, and pencil on paper
17 3 ⁄4 x 11 1 ⁄8 inches c. 1918–25

RB1995-Untitled Watercolor, gouache, pastel, and ink on paper 14 5 ⁄8 x 10 1 ⁄8 inches c. 1910–25
WORKS ON PAPER 43

RB2233-Untitled Pastel and charcoal on paper
24 1 ⁄8 x 15 1 ⁄2 inches c. 1910–25
44 RUDOLF BAUER
RB0599-Untitled Gouache and watercolor on paper
18 x 10 3 ⁄4 inches c. 1914–25

RB0552-Untitled Gouache and pastel on paper 18 1 ⁄2 x 13 inches c. 1914–25
WORKS ON PAPER 45

46 RUDOLF BAUER
RB2634-Untitled Pastel and charcoal on paper
22 7 ⁄8 x 18 7 ⁄8 inches c. 1910–20
RB2179-Untitled Pastel, gouache, charcoal, and ink on paper
20 7 ⁄8 x 16 inches c. 1910–20

RB2189-Untitled Pastel and charcoal on paper 21 1 ⁄4 x 16 inches c. 1912–25
WORKS ON PAPER 47

RB1998-Untitled Pastel and gouache on paper 20 1 ⁄4 x 16 1 ⁄4 inches c. 1910–20
48 RUDOLF BAUER

RB2222-Untitled Pastel and charcoal on paper 22 x 18 3 ⁄4 inches c. 1910–20
WORKS ON PAPER 49

RB1250-Untitled Pastel and ink on paper 19 x 21 7 ⁄8 inches c. 1910–20
50 RUDOLF BAUER

RB2418-Untitled Charcoal on paper 22 1 ⁄2 x 16 inches c. 1910–24
WORKS ON PAPER 51

RB2192-Untitled Pastel, gouache, charcoal, and ink on paper 20 1 ⁄2 x 15 7 ⁄8 inches c. 1918–25
52 RUDOLF BAUER

RB1978-Untitled Watercolor, gouache, ink, and pencil on paper 18 1 ⁄8 x 12 1 ⁄2 inches c. 1914–18
WORKS ON PAPER 53

RB1854-Untitled Charcoal and ink on paper
18 5 ⁄8 x 11 3 ⁄8 inches c. 1910–18
54 RUDOLF BAUER
RB2145-Untitled Charcoal on paper
23 5 ⁄8 x 15 1 ⁄2 inches c. 1914–18

RB0090-Von Bismarck, Kaiser Wilhelm II, and Von Hindenburg Watercolor and ink on card 14 3 ⁄4 x 9 3 ⁄4 inches c. 1910–18
WORKS ON PAPER 55

RB2287-Untitled Watercolor, charcoal, and pencil 14 3 ⁄4 x 11 1 ⁄4 inches c. 1914–18
56 RUDOLF BAUER

RB2283-Untitled Watercolor, pastel, gouache, and charcoal on paper 16 5 ⁄8 x 11 1 ⁄2 inches c. 1914–18
WORKS ON PAPER 57

58 RUDOLF BAUER
RB2178-Untitled Pastel and charcoal on paper 16 1 ⁄2 x 22 3 ⁄4 inches c. 1914–18
RB2186-Untitled Pastel and charcoal on paper 15 1 ⁄2 x 24 1 ⁄8 inches c. 1914–18

RB2238-Untitled Pastel, gouache, and ink on paper 24 3 ⁄4 x 15 3 ⁄8 inches c. 1914–18
WORKS ON PAPER 59

60 RUDOLF BAUER
RB2146-Untitled Charcoal on paper 22 1 ⁄2 x 19 inches c. 1914–18
RB2143-Untitled Pastel and charcoal on paper 20 5 ⁄8 x 18 3 ⁄4 inches c. 1914–18

RB0645-Furios kampfender Soldat Pastel and ink on paper 15 x 12 inches c. 1914–18
WORKS ON PAPER 61

RB1240-Untitled Ink on paper 4 1 ⁄4 x 12 7 ⁄8 inches c. 1905–25
RB1201-Untitled Charcoal on paper (with watermark) 9 3 ⁄8 x 18 5 ⁄8 inches c. 1910–18
62 RUDOLF BAUER

RB1249-Untitled Pastel, gouache, and ink on paper 14 5 ⁄8 x 11 1 ⁄2 inches c. 1916–25
WORKS ON PAPER 63

RB0042-Portrait of Josef Giampietro Pastel on paper 22 x 16 inches c. 1913–20
64 RUDOLF BAUER

RB0145-Untitled Ink and gouache on paper 11 3 ⁄4 x 15 1 ⁄4 inches c. 1915–25
RB1917-Untitled Watercolor and gouache on paper
16 3 ⁄4 x 10 3 ⁄4 inches c. 1915–25
WORKS ON PAPER 65

66 RUDOLF BAUER
RB1617-Untitled Watercolor, gouache, and ink on paper
9 x 6 5 ⁄8 inches c. 1914–20
RB2012-Untitled Pastel and charcoal on paper
16 3 ⁄4 x 18 3 ⁄4 inches c. 1916–25

RB1991-Untitled Gouache, charcoal, and pencil on paper 18 7 ⁄8 x 13 1 ⁄2 inches c. 1910–20
WORKS ON PAPER 67

68 RUDOLF BAUER
RB1355-Untitled Watercolor, gouache, and ink on paper 15 3 ⁄4 x 11 inches c. 1918–22

RB0626-Untitled Gouache and pen on paper 17 1 ⁄8 x 12 1 ⁄8 inches c. 1912–25
WORKS ON PAPER 69

RB2373-Untitled Charcoal and chalk on paper
17 x 11 3 ⁄8 inches c. 1912–20
70 RUDOLF BAUER
RB1206-Untitled Ink and gouache on paper
7 3 ⁄4 x 5 7 ⁄8 inches c. 1916–24

RB1210-Untitled Ink and gouache on paper 14 1 ⁄2 x 11 3 ⁄8 inches c. 1916–25
WORKS ON PAPER 71

RB1680-Kabluka Notuka Pastel, gouache, ink, and pencil on japon paper 10 3 ⁄4 x 8 5 ⁄8 inches c. 1918–25
72 RUDOLF BAUER

RB2588-Untitled Watercolor, gouache, pastel, and ink on paper 13 x 9 5 ⁄8 inches c. 1918–25
WORKS ON PAPER 73

74 RUDOLF BAUER
RB1977-Halb und Halb (Half and Half) Watercolor, gouache, and ink on paper 12 5 ⁄8 x 8 5 ⁄8 inches c. 1918–25

RB1828-Untitled Watercolor, gouache, ink, and pencil on paper
14 3 ⁄4 x 9 3 ⁄4 inches c. 1918–25
RB2630-Untitled Pastel, gouache, and charcoal on paper
20 1 ⁄2 x 16 1 ⁄4 inches c. 1910–16
WORKS ON PAPER 75

RB1948-Untitled Watercolor on paper
12 x 8 3 ⁄4 inches c. 1912–20
76 RUDOLF BAUER
RB2326-Mary E. Watercolor, gouache, and ink on paper
12 1 ⁄2 x 9 inches c. 1912–20

RB1134-Untitled Gouache on paper 17 7 ⁄8 x 11 1 ⁄2 inches c. 1912–20
WORKS ON PAPER 77

RB1658-Untitled Gouache and ink on paper
11 1 ⁄8 x 8 5 ⁄8 inches c. 1916–25
78 RUDOLF BAUER
RB1317-Philippi Gouache and ink on paper
10 3 ⁄4 x 7 3 ⁄8 inches c. 1916–25

RB2030-In tamengesellschaft Watercolor, gouache, pastel, and ink on paper 10 3 ⁄4 x 8 3 ⁄4 inches c. 1916–25
WORKS ON PAPER 79

RB1610-Y Colored pencil, gouache, and ink on paper 14 7 ⁄8 x 12 1 ⁄2 inches c. 1916–25
80 RUDOLF BAUER

RB1482-Untitled Gouache and ink on paper 8 1 ⁄4 x 11 inches c. 1916–25
RB1393-Untitled Gouache and ink on paper 8 1 ⁄8 x 7 1 ⁄4 inches c. 1916–25
WORKS ON PAPER 81

RB1400-Untitled Gouache and ink on paper
10 3 ⁄16 x 8 3 ⁄8 inches c. 1916–25
82 RUDOLF BAUER
RB1009-Untitled Pastel, ink, and gouache on paper
17 1 ⁄2 x 11 1 ⁄2 inches c. 1916–25

RB1649-Untitled Ink on paper 12 1 ⁄4 x 9 1 ⁄2 inches c. 1916–25
WORKS ON PAPER 83

84 RUDOLF BAUER
RB2399-Untitled Chalk and ink on paper 19 1 ⁄2 x 10 1 ⁄4 inches c. 1910–20

RB2577-Untitled Watercolor, gouache, pastel, and ink on paper 8 1 ⁄2 x 8 1 ⁄4 inches c. 1916–25
WORKS ON PAPER 85

86 RUDOLF BAUER
RB2395-Untitled Gouache, pastel, and ink on paper
18 1 ⁄4 x 6 inches c. 1918–25

RB2620-Untitled Watercolor, gouache, and ink on paper 18 1 ⁄2 x 12 inches c. 1918–25
WORKS ON PAPER 87

88 RUDOLF BAUER
RB2327-Violetta Watercolor, gouache, charcoal, and pencil on paper 12 5 ⁄8 x 7 1 ⁄2 inches c. 1920–25

RB1262-Untitled Ink and gouahe on paper 11 1 ⁄2 x 8 inches c. 1916–25
WORKS ON PAPER 89

90 RUDOLF BAUER
RB2706-Untitled Lithograph with remark (Ink marker) 9 5 ⁄8 x 5 3 ⁄8 inches c. 1914–25

RB2616-Untitled Ink on paper 21 1 ⁄2 x 16 5 ⁄8 inches c. 1912–25
WORKS ON PAPER 91

RB1035-Untitled Gouache on board
24 3 ⁄4 x 17 1 ⁄2 inches c. 1916–25
92 RUDOLF BAUER
RB1565-Untitled Watercolor, gouache, and ink on paper
11 5 ⁄8 x 5 inches c. 1916–25

RB1078-Untitled Gouache and ink on paper
16 3 ⁄4 x 10 3 ⁄4 inches c. 1916–25
RB1613-Untitled Gouache and ink on paper
10 x 6 1 ⁄2 inches c. 1916–25
WORKS ON PAPER 93

RB2614-Untitled Gouache, pastel, ink, and pencil on paper 9 1 ⁄2 x 7 3 ⁄4 inches c. 1916–25
94 RUDOLF BAUER

RB2403-Untitled Pastel, gouache, and ink on paper
18 1 ⁄4 x 9 1 ⁄8 inches c. 1916–25
RB2318-Untitled Watercolor, gouache, and ink on paper
12 3 ⁄8 x 7 1 ⁄4 inches c. 1916–25
WORKS ON PAPER 95

RB1063-Untitled Pastel, ink, pencil, and charcoal on japon paper
14 1 ⁄4 x 10 3 ⁄4 inches c. 1916–25
96 RUDOLF BAUER
RB1655-Lebrun Pastel and ink on japon paper
10 3 ⁄4 x 8 1 ⁄2 inches c. 1916–25

RB1657-Untitled Watercolor, pastel, gouache, and ink on japon paper 8 1 ⁄2 x 10 5 ⁄8 inches c. 1918–30
WORKS ON PAPER 97

98 RUDOLF BAUER
RB1232-Untitled Ink on paper 16 x 10 1 ⁄2 inches c. 1916–25
RB1105-Untitled Pastel, gouache, ink, and charcoal on paper 11 1 ⁄2 x 15 1 ⁄4 inches c. 1914–19

RB1652-Untitled Pastel and pencil on paper 10 1 ⁄8 x 10 1 ⁄8 inches c. 1918–25
WORKS ON PAPER 99

RB1015-Untitled Ink and gouache on paper
17 7 ⁄8 x 11 inches c. 1916–25
100 RUDOLF BAUER
RB1029-Untitled Ink on paper
14 1 ⁄4 x 10 3 ⁄4 inches c. 1918–25

RB2537-Untitled Ink on paper 17 1 ⁄8 x 10 inches c. 1918–25
WORKS ON PAPER 101

102 RUDOLF BAUER
RB1380-Untitled Ink on paper 10 1 ⁄4 x 7 inches c. 1912–20

RB1882-Untitled Gouache and ink on paper 14 x 10 5 ⁄8 inches c. 1912–20
WORKS ON PAPER 103

RB1780-Untitled Ink on paper
20 3 ⁄4 x 15 3 ⁄4 inches c. 1916–25
104 RUDOLF BAUER
RB1883-Untitled Ink on paper
15 3 ⁄4 x 10 3 ⁄4 inches c. 1916–25

RB2621-Untitled Gouache and ink on board 26 x 18 1 ⁄2 inches c. 1916–25
WORKS ON PAPER 105

RB1158-Untitled Ink on paper 11 1 ⁄8 x 11 1 ⁄4 inches c. 1914–20
106 RUDOLF BAUER

RB1728-Untitled Gouache and ink on paper 15 5 ⁄8 x 10 7 ⁄8 inches c. 1912–18
WORKS ON PAPER 107

RB4009-Untitled Ink and pencil on paper (Ink proof master)
15 1 ⁄8 x 10 1 ⁄2 inches c. 1912–17
108 RUDOLF BAUER
RB4040-Untitled India ink, China ink, and pencil on paper
(Ink proof master) 17 x 11 5 ⁄8 inches c. 1914–25

RB1268-Untitled Ink and pencil on paper (Ink proof master) 12 x 6 inches c. 1915–20
WORKS ON PAPER 109

110 RUDOLF BAUER
RB2713-Untitled Ink and pencil on paper (Ink proof master)
13 3 ⁄8 x 6 1 ⁄8 inches c. 1913–20

RB0510-Untitled Colored pencil on paper 9 3 ⁄8 x 12 1 ⁄2 inches c. 1925–38
WORKS ON PAPER 111

112 RUDOLF BAUER
RB2648-Untitled Ink on paper 18 1 ⁄4 x 11 5 ⁄8 inches c. 1916–25

RB2681 Ink on board (Ink proof master) 15 1 ⁄4 x 9 inches c. 1914–25
WORKS ON PAPER 113

114 RUDOLF BAUER
RB1339-Untitled Ink on paper 12 3 ⁄8 x 9 1 ⁄4 inches c. 1916–21

RB1223-Untitled Ink on paper 12 3 ⁄8 x 7 5 ⁄8 inches c. 1916–21
WORKS ON PAPER 115

RB1420-Untitled Ink on paper 9 1 ⁄8 x 8 inches c. 1916–25
116 RUDOLF BAUER

RB1373-Untitled Ink on paper 12 5 ⁄8 x 9 1 ⁄2 inches c. 1916–30
WORKS ON PAPER 117

RB1211-Untitled Ink on paper 11 5 ⁄8 x 9 3 ⁄4 inches c. 1916–25
118 RUDOLF BAUER

RB1770-Untitled Pencil on japon paper 17 1 ⁄8 x 13 3 ⁄4 inches c. 1920–30
WORKS ON PAPER 119

120 RUDOLF BAUER
RB1431-Untitled Ink and pencil on paper 15 x 10 1 ⁄4 inches c. 1920–30

RB1290-Untitled Gouache, ink, and pencil on paper 17 1 ⁄4 x 12 5 ⁄8 inches c. 1925–38
WORKS ON PAPER 121

RB1153-Untitled Watercolor on paper 19 x 25 1 ⁄2 inches c. 1916–20
122 RUDOLF BAUER

RB1274-Untitled Watercolor and gouache on paper 18 1 ⁄4 x 11 3 ⁄8 inches c. 1918–24
WORKS ON PAPER 123

124 RUDOLF BAUER
RB2673-Untitled Watercolor and gouache on paper 18 1 ⁄2 x 11 3 ⁄4 inches c. 1918–24

RB0592-Untitled Gouache on paper 13 x 8 1 ⁄2 inches c. 1916–20
WORKS ON PAPER 125

RB0652-Komposition Watercolor, pencil, colored pencil, and gouache on paper 6 1 ⁄2 x 10 3 ⁄8 inches c. 1915–25
126 RUDOLF BAUER

RB0593-Lyrische Komposition Pastel and watercolor on paper 12 1 ⁄4 x 19 1 ⁄4 inches c. 1915–24
WORKS ON PAPER 127

RB2678-Untitled Watercolor, gouache, and ink on paper 15 3 ⁄4 x 23 5 ⁄8 inches c. 1925–30
128 RUDOLF BAUER

Two Counterpoints Watercolor, tempera, and ink on paper 12 5 ⁄8 x 8 5 ⁄8 inches 1926
WORKS ON PAPER 129

130 RUDOLF BAUER
RB0387-Untitled Watercolor on paper 17 1 ⁄8 x 12 1 ⁄2 inches c. 1918–26

RB1422-Untitled Watercolor and gouache on paper 13 x 9 3 ⁄4 inches c. 1917–25
WORKS ON PAPER 131

RB1160-Untitled Pastel on paper 7 1 ⁄4 x 11 inches c. 1916–25
132 RUDOLF BAUER

RB0653-Untitled Gouache, ink, and pencil on paper 19 1 ⁄2 x 12 3 ⁄4 inches c. 1918–30
WORKS ON PAPER 133

RB1287-Untitled Watercolor, gouache, and ink on paper
19 3 ⁄4 x 12 3 ⁄4 inches c. 1918–30
134 RUDOLF BAUER
RB0655-Untitled Gouache on paper
17 1 ⁄4 x 12 5 ⁄8 inches c. 1918–30

RB0654-Untitled Gouache on paper 18 3 ⁄8 x 12 5 ⁄8 inches c. 1920–30
WORKS ON PAPER 135

136 RUDOLF BAUER
RB0657-Untitled Gouache and colored crayon on paper 19 x 12 5 ⁄8 inches c. 1918–25

RB2672-Untitled Pastel, gouache, and pencil on paper 20 x 13 inches c. 1918–25
WORKS ON PAPER 137

RB2660-Untitled Watercolor and gouache on paper 24 3 ⁄4 x 19 inches c. 1916–24
138 RUDOLF BAUER

RB1437-Untitled Watercolor, gouache, and pencil on paper 13 x 8 1 ⁄8 inches c. 1914–25
WORKS ON PAPER 139

140 RUDOLF BAUER
RB1172-Untitled Watercolor, gouache, pastel, ink, colored pencil, and pencil on paper 19 1 ⁄4 x 12 1 ⁄2 inches c. 1920–26

RB0384-Untitled Watercolor, gouache, and crayon on paper 20 3 ⁄4 x 15 inches c. 1925–30
WORKS ON PAPER 141

RB0359-Untitled Pastel, colored pencil, and ink on paper 20 x 14 7 ⁄8 inches c. 1920–25
142 RUDOLF BAUER

RB0371-Happy Watercolor, ink, tempera, and conte crayon on paper 17 1 ⁄8 x 12 3 ⁄4 inches 1925
WORKS ON PAPER 143

RB0207-Prison Drawing 10 (double-sided)
Pencil on paper 6 1 ⁄4 x 6 1 ⁄2 inches 1938
RB0207-Prison Drawing 10 (side 2)
RB0216-Prison Drawing 19
Pencil on paper 4 1 ⁄2 x 6 inches 1938
RB0223-Prison Drawing 26
Pencil on paper 5 1 ⁄2 x 7 inches 1938
144 RUDOLF BAUER
RB0586-Prison Drawing 183 Pencil on paper 6 x 8 1 ⁄4 inches 1938
RB0581-Prison Drawing 178 Pencil on paper 6 1 ⁄2 x 8 1 ⁄4 inches 1938
RB0222-Prison Drawing 25 Pencil on paper 6 x 9 inches 1938