The Database of Modern Exhibitions (DoME)

European Paintings and Drawings 1905–1915

Authored by: Christina Bartosch , Nirmalie Mulloli , Daniel Burckhardt , Marei Döhring , Walid Ahmad , Raphael Rosenberg

The Routledge Companion to Digital Humanities and Art History

Print publication date:  May  2020
Online publication date:  April  2020

Print ISBN: 9781138585584
eBook ISBN: 9780429505188
Adobe ISBN:

10.4324/9780429505188-36

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Abstract

In Europe, until well into the eighteenth century, painters undertook their work primarily through commissions. By contrast, in the nineteenth century, art exhibitions became the primary site through which artists could reach publics, critics, and buyers. Around 1900 exhibitions became the essential battle ground for numerous avant-garde movements—the privileged place for artists to demonstrate their modernist credentials. However, whereas research on early twentieth-century avant-garde art is extensive, we know little about the crucial history of its exhibitions. Art-historical studies have focused on a handful of events, especially those which catalyzed new art movements such as the Salon d’Automne of 1905 in Paris (as the starting point of Fauvism), the first Blaue Reiter exhibition in Munich (1911/1912), the Sonderbund exhibition in Cologne (1912), the Armory Show in New York (1913), and the first manifestation of Suprematism at The Last Futurist Exhibition of Painting 0,10 in St. Petersburg (1915/1916). 1

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