Conversations with Ernst Beyeler

[LCR]

Not so long ago a book was published interviews journalist and art critic Christophe Maury Ernst Beyeler (I of stories about him material, in particular, on his death, I will not repeat itself, but it is one of the largest and most important art institution of the past century). This book was an unexpected success, has been translated into several languages. That translated into Russian:

Ernst Beyeler

A passion for art

Conversations with Christophe Maury

1 from the bookstore to the gallery

«In the beginning was the book shop"
Erik Orsenna, Colonial Exhibition

Christophe Maury: For sixty years, as you drive in those old walls of the professional life of international scope.

Ernst Beyeler: Actually, I never left the neighborhood. The school opposite - it is my high school. Here I found my first job. At the time, Basel was absolutely nothing to do with the world of art. And now, more than sixty years, I have not changed this quarter. At the beginning of our history it was a few dilapidated house. A man named Oscar Schloss took him from the city to lease and opened its bookstore.

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How it all began?

When I met with Oscar Schloss, he was sixty-two years. This was a real romantic. He was born in Germany, in Worms, in the family wine producers and traders of Jewish descent, traveled a lot for his company. He loved to read, so that mission, he always took the book, especially the first pocket edition, small volumes Reclam publishing house in a yellow cover. He kept reading. He stumbled upon a few books about Buddhism, read them, he became a Buddhist and realized that he could not sell more wine. Then he asked that his family has contributed its share of the inheritance, and bought land in Munich, which he built on the houses. In one of them was located based publisher of Buddhist. He grew vegetables and various herbs to live in complete self-sufficiency. Then he sold everything and decided to go to Ceylon in the Buddhist monastery.

And how he was in Basel?

At this point there are several versions. One of them says that on his way to Ceylon, he stayed in Switzerland for skiing, fell and broke his leg. In the hospital he fell in love with his nurse. Upon recovering, he settled on the mountain Tessin of Locarno, and led it and perfection. All this was in 1934 that time the chancellor, Hitler had a law that Germany was forbidden to export capital, especially companies belonging to people of Jewish origin, so that Oscar Schloss could not get money from the sale of its publishing. He was devastated and was forced to seek work. He met another German expatriate, Dr. Leuben, who had a publishing house in Frankfurt, who offered him work in his branch of Basel. But all these details do not matter. Oscar Schloß was not particularly competent, but he had an unmistakable flair. He organized a bookstore around the literature, philosophy, and the stock incunabula and rare editions. Of course, a great place it was given to the Buddhist literature. In his store also sold prints and drawings ...

You're also not very well known literature?

I studied high school there, and I was terribly bored. Trade was not interested in me, but I was anxious to start working. I loved his city and its environs, I had friends with whom we met regularly at the club rowing - I visit him and to this day. Actually, I did not have any reason to complain about their lives. I thought I learned a lot working in the store Schloss.

What's the idea you went to work: You like to earn money, to become independent?

It wanted to find a job that would be to my liking. I did not know which way I go. I relied on the case. When a friend offered to introduce me to Oscar Schloss and go to work for him, I refused. I knew this quarter - in fact I was in school on the contrary ... It all happened quite naturally. Schloss asked me to write letters to the proposals to libraries and to monitor the condition of books. This work leaves me time to read, I would like to know and understand as many things.

What have you learned over the years?

Schloss gave me a lesson, a very simple, but I follow him until now. He had a dog, incredibly lazy St. Bernard. This dog was so lazy that he was too lazy to even get up and go to the bowl with food, and he could just die of hunger. Schloss brought the cat who pounced on the food. Seeing this, the old dog rose and went there not to leave food to the enemy. For me, this lesson was very important. People rarely feel the absolute need to buy art - indeed, why should they suddenly decide to buy this or that picture? So I always tried to find on every work of two competitors. My attempts to lie, tell the customer that the non-existent opponent did not give positive results. But when the second client was real, buyers are immediately sensed this and hurried to buy. For each of his paintings, I tried to find the cat.

During the war, selling books was probably easy?

Many German immigrants brought with them books, engravings, drawings. Oscar Schloss was this ability - bewitch people. Do not engage, namely, cast a spell. It was a bit shy, but I felt that kept the conversation interested, he could talk endlessly. He had a very subtle and precise sense of books and art.

And what kind of people were clients of your store?


They were mostly residents of Basel - lawyers, doctors and, of course, university professors. Bookstore Castle art (in German Schloss means "castle") was known for the quality of the proposed literature and eclecticism of choice.

Does your boss store to replenish your knowledge?

Sure. I owe him. He told me a lot. I worked in the evenings. We talked about literature, about religion. I always dreamed of seeing the world, travel, travel to Africa, and these conversations have allowed me to make an imaginary trip around the world.

So, it was the happiest time of your life?


It was extremely interesting period, but happy? - No, because it happened during the war. And although in a sense we're at war not affected, however, our everyday life was not easy. Every day, Oscar Schloss received from Germany, the news of the disappearance of their loved ones. This undermined his strength. He lived in constant anxiety for his family, for his friends. He died of a heart attack in April 1945 - stress, in which he lived more than ten years, with the most cursed the moment when Hitler came to power, he was killed.

Death of Oscar Schloss meant that the shop will be closed. Do you intend to replace it?


No, not at all. His heirs would eliminate shop and go to Israel. But the elimination meant that everything will be sold on the monstrously low prices. We were regular customers. I decided to take advantage of this situation, but did not feel able to continue the work begun by Schloss. This store was completely a creation of his hands, he did not quite fit my inclinations. I made heirs Schloss proposal and they accepted it. I promised them to buy the store in installments. In autumn, we concluded a contract.
While it was possible to inexpensively create a stock of books. I bought in Prague, boxes of books confiscated in German bookstores. The market was a lot of books on art: to keep these books in the store were costly - it was necessary to monitor their condition, to protect them from damage ... But I knew that my shop would never be "perfect bookshop" - that is why I had not enough patience. In any case, the 1 st December 1945, I jumped into the water.

In principle, the special concerns you did not have?

Were. I immediately called the bank and announced that my predecessor had left a debt of six thousand Swiss francs, and in those days it was quite a significant amount. They gave me a month to have to repay this debt. In addition, I had to start paying the heirs. Thus, at the very beginning of its activities at the new bookstore Castle art has been a liability in a few thousand francs. I was young, unknown, inexperienced. It was necessary to improve the situation.

, but the store was a large supply of books?


Yes, and it could help me. However, the delay was not. I was incredibly lucky: in my rowing club found a man who liked it when young people set out on business, he decided to help me. He lent me a 8000 Swiss francs in the first place, that I pay off debt, and secondly, that I could organize a little shop. I immediately put out the duty of Oscar Schloss and began looking for a way to develop the activities of the store. It was necessary to sell more, and to sell, I was thoroughly aware of their products. We had a lot of prints and drawings. It occurred to me that sell them should be easier than books. Also, I bought a delicious Japanese prints from private collections. And so in 1947, the curtain cloth bookshelves, I organized his first exhibition. But I seriously did not know enough. I relied on my eyes and asked several friends, the owners of works of art, lend me your stuff. This exhibition was quite successful. Visitors liked it, and the prices I have been very moderate.

Why did you not continue to work with Japanese engravings?

This show convinced me that there should be a real professional in his craft: study prints, learn the Japanese language. Experts on Japanese prints will never agree with each other, so decisions had to Marchand, that is me. But in order to make the right decisions, we had the most to be an expert, but I was just a passion of an amateur. The following year I organized the exhibition of prints by Durer and Rembrandt, a year - an exhibition of African and Iranian art, and this experience confirmed me in my own opinion.

Why did you refuse the sale of books, because you got yourself some experience in this area?

I lacked discipline. I lost a lot of time. We were incunabula, rare and original edition. I could not understand them, because I always wanted to read everything. I soon realized that because I get nothing - certainly I can continue to read and acquire knowledge that would enrich me intellectually, and perhaps even spiritually, but knowledge can not eat. You see, I had no literary education, I rushed to read Goethe, Schiller ...

For two years I think you know what you want to do. It only remained to choose a period, style ...


I tried to display the best Swiss artists - Auberjonois, Gubler, Berger, Hodler, Amiet. As well as young artists of Basel, in which I have been in the workshops. I gave the painting, but to sell them was not easy. The public does not trust modern art, because his value has not yet been confirmed time. But it was important to show the quality, rather than names. I'm still searching for a suitable period of my art, painting, which I can learn well enough to work seriously. I exhibited prints and drawings of artists from Toulouse-Lautrec to Picasso. Finally, in 1951, I organized the first exhibition of paintings, which included the work of Bonnard, Renoir, Picasso and Matisse. The work I borrowed the French and Swiss collectors - while it was still possible.
 
A book of the store stock?

I gradually eliminated all the books. The walls were empty, and I began to work on projects exhibitions.

[LCR]

2 of the Basel gallery owner


Christophe Maury: Well, you came to a success. But let's not exaggerate, it is only a modest success of local importance, do not extend beyond the city with a population of two hundred thousand people. He asked whether you develop their activities outside the Basel?

 Ernst Beyeler: Basel - a charming city, but at the time he was completely unknown in the medium of art. Here in Zurich have been dealers of art. But I was still too early to ask whether you want to move to Paris, London go to New York. I knew that in the future I will have to resolve this issue. I'm ready for it. But in the meantime it was necessary to decide to leave me out of Basel, or to stay.
Basel has long acquired an international dimension - to think, this is the spirit of the Cathedral. It was here from 1431 to 1434 years. held a Christian church, which was divided Catholic and Orthodox churches on the basis of the famous filioque. Erasmus is not by chance came here and stayed here to live. The geographic location of the city - on the shores of the Rhine at the crossroads between Germany, France and Italy - gave him strategic importance militarily and intellectually. Through Basel passed an ancient Roman road leading north to England. The famous University of Basel taught hundreds of students, who then went off to the world, but retained links with the city ... The city is strong humanist tradition, so it does not contradict the spirit of my projects. And then, here I had friends, rowing club, the snowy peaks of only a few hours by road from my house - what to look elsewhere if you are here I have found a sense of emotional balance?

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Yes, and then, there was a museum ... After all this time, you met with Georg Schmidt?

Yes, and this knowledge proved decisive. Basel museum has historically been the world's first "democratic" museum. The city has acquired a collection of Holbein, other primary exhibits, our great curators organized the first exhibition in the Kunsthalle. At that time, as collectors continue to buy the Dutch and the Impressionists, the city hosted the first exhibition of Picasso, Braque, it was in 1932, the same year at the Georges Petit in Paris, opened the first retrospective of Picasso. In 1949 in Basel, an exhibition of late works of Claude Monet. All of this speaks to the interest of our little town to the art, and its taste.
In 1936 he opened a new museum building, and Georg Schmidt became its chief curator. He had a very radical views: he bought a modern painting - for example, Mondrian - and the German "degenerate art", thus saving these paintings from destruction. He managed to create around himself a network of curious and energetic people fully trusted him. One of them was a banker Raoul La Roche, have formed a fine collection, which included many works of Cubism. It was this way: Arriving in Paris, he met with one student who told him: "It is necessary to buy modern art!". La Roche succumbed to persuasion, and the student brought him a picture, which occurred from the gallery Kanvaylera. So La Roche won the art, the paramount importance which is now clear to all. At that time, the student wore a name Jeanneret, he later changed it to Le Corbusier ... Later Raoul La Roche donated his rich collection of Cubist as a gift to the museum of his native city, Basel. Georg Schmidt was quite ubiquitous: he lectured, gave the conference, attended by more listeners. Major collectors have lent him anything he asked - the most significant works, such as Three Rabbi Mark Shagalla or canvases by Picasso. I repeat: he saved the work of German artists. He really was a pioneer. Many curators from other museums turned to him for advice.

Now this is the salvation of "degenerate art" may seem a bit suspicious, does not it?

Unfortunately, in our time, when this period is now behind us, there are people who talk about "stealing". We must remember the context in which these acts were committed. The works stolen or confiscated by the Nazis, were exhibited for sale in bulk, it was impossible to know which of them come from museums, and what - from private collections. Nobody knew anything. Even now, it's hard to figure it out. However, all work sold v1939, in Lucerne, it is unquestionably came from museums. Unsold paintings can be either destroyed or shipped to America, where there were many fans of this painting, as it would lead to extinction in Europe, an entire layer of art.

And you, someone in this reproach?

Yes, at the Improvisation 10. I bought this canvas Kandinsky in Cologne Marshal Ferdinand Moller, who assured me that he had received it from Ganoverskogo Museum, desired or forced to get rid of that work "degenerate art". She was among the paintings, which Muller had saved: he took them off the stretcher, rolled, packed in metal boxes and buried in his garden. When the Soviet army approached Berlin, he moved to Cologne - all understood that it would end badly. In Cologne, Moeller offered me this paper vmesste with other works. Artwork produced enormous impression on me, and I said Moeller, that buy it, but I had to ask him to wait a month, so I can raise money - 18,000 francs. I did not know that it came from a private collection.
Years later, Ian Lissitzky, the son of the former owner of the canvas, has accused me - he claimed that I took advantage of the situation, knowing the actual origin of the picture. He hired a private detective and asked him to find work, pick her up and bring in the U.S., where he has drawn on its promise to sell. His lawyers wrote to me threatening letters. But the fact is that this paper could claim not only Lissitzky. I met with all the heirs and voluntarily invited them to repair the damage, although he was not obligated to do so. But I could not part with one of the central works of my collection. I explained that I bought it, not knowing that it belonged to private individuals. And then, because Nazis could simply destroy them! Muller rescued her, and then I bought it and cherished. In general, in the end I managed to defend this great canvas.

Let's talk about this work.

I did not immediately appreciated its historical importance, although he was shocked by its strong rhythms. On the right, we see the line and three domes - perhaps the memory of the Kremlin. Improvisation 9, which is now in the museum in Stuttgart, in general, something like my work, but it is still very figurative, at her castle, and depicted a rider on the hill. At my work can only see shapes, organized around a dynamic yellow triangle. According to one preserved the sketch, it displays a Sunday, Russian Easter. It is possible that three wavy lines on the left depict women at the tomb. Everything is organized around an open tomb, and this fragmentation to fragments wonderful - everyone can find his vision. Yes, this Sunday gives the picture its entire force. This is one of the first abstraction in the history of art. I hung it in the gallery immediately after purchase.

So, you are immediately attracted by contemporary art. But what was the impetus, the starting push?

I fully fell under the action of one picture. In 1943 in Milan, I saw Guernica. It completely shocked me, shokirovapa. Guernica embodies the full, the maximum belief. This picture shows all of the materials of the twentieth century: the concrete, steel, there are present and the media, personified the radio, so heavy, so weighty ... Sun-electric light sets in sharp contrast with light. I was shocked. Guernica has become for me a masterpiece, operezhayushim his life. During the Korean War, Picasso tried again to express this power. Even before that, in order to protest against the episode in Swine Bay in Cuba in 1962, he wrote the rape of the Sabines - I bought it in Geneva, with Norman Granz. The war is embodied in this picture as madness, violence, killing a woman. In contrast to what we see in Guernica, the horse - not a victim, but the bearer of death, as is often found in painting. We can assume that the woman in the foreground had been raped. The strain of pictures enhanced by the fact that it seems that it goes toward the viewer. It expressed a presentiment of impending war. Luckily, this war has been avoided? But the threat of it is still present, it is urgent. That is why we decided to always put a reproduction of Guernica, life-size at the exhibition "Tribute", which was organized in our fund in March 2003, I recall the night before the meeting of the UN Security Council on February 5, 2003, a huge tapestry that reproduces Guernica and presented to the United Nations in 1985 by Norman Rockefeller, blue cloth covered, because it was impossible to proedstavit imagine that U.S. Secretary of State Colin Powell will make the consent of the Security Council to war with Iraq before this absolute condemnation of all wars, signed Picasso. This is a strong condemnation of the politics of art, challenge the most aggressive and disturbing picture in the history of art, indeed, unprecedented. Newspaper «Frankfurter Algemeine Zeitung» (10 th fervralya 2003) wrote that stifle beautiful cry emitted by Picasso in 1937 when news of the bombardment and destruction of the town of Guernica - the gesture is highly symbolic. He once again showed incredible performance, which keeps this picture in 70 years after the Picasso painted it. The initial shock of Guernica has not disappeared.

Let's go back to George Schmidt ...

In 1951, I sold him fovistskogo Matisse later - Bathers Cezanne painting very much. I am very proud their sales in the Basel museum, which was already beginning to be quoted among the collectors. The passion of George Schmidt of the arts and his courage helped him to break down prejudices and to persuade the Government to buy works of art, though not always: sometimes he had to admit defeat, as in the case of cabin Jourdan, latest work of Cezanne, who caught a cold, working on her stormy night , and died shortly afterwards. Schmidt suggested that the city had bought the painting, he presented it to the City Council and explained its fundamental visionary aspect. However, City Councilman for Education, was under the influence her brother-sculptor, persuaded the Council to vote against. This is - a disgrace to the city, which allowed to take Cezanne in Milan, where she was sold to the Roman National Gallery of Modern Art. However, more often Schmidt managed to get to the Museum of wonderful things. Schmidt was a very significant figure in the cultural life of Basel, his presence has had on the inhabitants of the city a stimulating influence in the arts.

means that his presence encouraged you to stay in Basel.

His presence was one of the elements, but not only, not the only one! I said: even if the abstraction from the beauty of the shores of the Rhine, Basle managed to cultivate a love for art. Did you know that the city acquired two works by Picasso on the basis of popular vote?

Rudolf Staehelin owned a very substantial collection of contemporary art, which included two important works by Picasso: Seated Harlequin (1923) and Two Brothers (1906). These paintings, along with other were transferred to long-term storage of the museum in Basel and hung in the permanent exhibition. However, in 1967 the son Staehelin decided to sell them. Was impossible to reconcile with their disappearance from the museum. In order to make a decision on their purchase, was organized by a referendum, as half of their value should have to pay the taxpayers. Prior to the referendum, scheduled for December 17, young people in the old bikes with huge wheels traveled through the city and asked residents to vote for the purchase of a Picasso. They were handing out tracts, painted on the streets - giving the impression that the people voted in favor of the Picasso, but not for his paintings. One of my friends from the boating club told me: "I'm not going to vote, but two cyclists persuaded me. Imagine, I voted for Picasso! ". The city only about this and talked.

Since both the canvas remained in the museum. Immediately after the referendum, we called Pablo Picasso, he was delighted and later often told this story. He was very proud of such a plebiscite in Basel population. In a flood of joy, he invited the director of the museum, the Franz Mayer, to visit him, and he came back from him with a present - three canvases and pastels. On a wave of public enthusiasm for the famous collector Maya Zaher gave city kubistskogo Picasso. Do you know any other city in the world, able to such gestures? Here is another item that urged me not to leave Basel. And then, in London, Paris and New York there was no need for another gallery. And in Basel, I found a place. I watched the quality our catalogs and distributed them throughout the world, so everyone knows that there is something going on. I've always loved the publishing work - do the layout, check the layout, choose the photos ...

You always do write lyrics to a directory?

My principle - as little as possible texts, at first I limited quotations from the artists themselves - it is much more interesting than the chatter in the preface. In the gallery you can see works of art, and in their university study. This is a very different approach. Eventually I learned to relate to the statements of artists with caution. Some of them say so cleverly, with such conviction that it appears that this great creator. In fact, everything is just the opposite. Works of great artists and innovators discover something new and profound, something quite distinct from intellectualism history of art. When Alberto Giacometti talked about his work, his speech was always very simple and genuine, it was evident that this interpretation visionary.

Gradually, our catalogs became famous. To gallery and museum directors began to arrive and American collectors. Basel truly become a city of contemporary art.

[fross]

Thank you, your return came and interesting material on the forum.

[LCR]

3 Picasso, the Minotaur

«Where is my ability to create,
invention of forms? I do not know. I think only one
 - About the work. I write as I breathe. At work, I relax.
 Idleness, visits my tire.
Often I stub out the light at three o'clock in the morning "-
he said Beyeler.
Patrick O'Brien, Pablo Picasso Ruitz

Christian Mori: Your carefully prepared catalogs have helped you become a famous museum curators and collectors, as well as by the artists. You met with Picasso because of them?

Ernst Beyeler: In the late fifties, the Impressionists were still too expensive for me. Even Matisse had I can not afford. Products Picasso was still accessible due to the huge amount of work. I looked for a man who could get me some canvases by Picasso. An artist among my friends, Jean Plank - we still have to mention his name - well-known Parisian gallery owners and collectors. It was he who opened my contemporary art in 1953-1955. He helped me to find work for my show, brought me a beautiful canvas, sometimes tried to convince me to assess the work less significant. Arriving to Picasso, he told him that works for me. Picasso said that he was receiving catalogs of our galleries and stores them, and agreed to take me.
That was in 1957, six years before I put Absinthe Drinker his blue period, which came from the Kunsthalle in Hamburg. I hung it in front of banks of Matisse - the two pictures Nazis as a kind of "degenerate art". So, Picasso knew about the existence of our gallery and how carefully we prepare exhibitions and catalogs. Since I first saw him at his villa Notre-Dame-de-Vie in Mougins.

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What was he, Picasso?

Picasso. He was a Picasso. How do I respond differently? I do not know how to behave. In the room were his wife, Jacqueline Miguel and Secretary. Picasso stood in front of me and waited to see what I talk. He smiled, but his expression was stern, searching. We talked about art. Gradually, the atmosphere tense. I am not a scientist, I can not comment on the art. But I behaved and not as a trader, a speculator. We just talked - wisdom spoken with enthusiasm. Not a word was said either about the motives of interest, or of envy Marchand. He was interested in my show. I told him about them. He liked it. "What you are now ready?" - He asked.

- The exhibition of the artist, which you do not particularly like, Bonnard.
- This is a good artist!

He was always on the side of artists that did not stop him from criticizing them, sometimes very severely. When he spoke, it was necessary to "read between the lines. Several times I asked him if he would not sell me something. "Then we'll see" - he replied. I knew that all sales made through Kanvaylera, his exclusive Paris Marchand. Jacqueline and Miguel made me realize that I must insist, but I did not dare. I went to him several times, and once, taking my hand, he brought me into the hall and said: "Choose." Suddenly I found myself in the cave of Ali Baba - in the hall was more than eight canvases ... I'm confused: I could not sit in his studio for the whole day! Then I thought about Kanvaylere - Picasso just gave him work, which wanted to sell ... and he allowed me to choose! Picasso saw that I did not know what to do, and encourage me: "Just imagine that you - Vollard! He came to my studio, watching all the work. Usually, he wanted to buy everything. We agreed on price, then he took from his pockets bichevku to pack paintings. We lowered them down and laid in a taxi. So do not hesitate to choose! ". In the end, I chose 45 canvases. Picasso looked at them and put 26 - I could buy them. I was shocked by the ease with which this transaction was concluded, and the directness of Picasso. Among the works that I had bought was the salvation of 1932, which predicted the central theme of Guernica. Later, Bill Rubin, curator of New York Museum of Modern Art, the exhibition of Picasso hung job-provozvestnitsu front of Guernica.
Sometimes Picasso was very sharp. Once his dog grabbed Jean Planck pants. Picasso laughed and did not react. He loved to tell any stories, play the scene. He said that accumulate with age problem: his husky old accountant, Max Pelker, asking him the most delicate issues, shouting to the whole street. It seemed to me that Picasso did not grow old. I told him that one visitor galleries surprised that in the later his work is no serenity, like a Matisse. "And what you said? - What do you too young to write the later work. He chuckled.

Thus, Picasso - the central figure in your collection, and now - Fund?

The collection is based on cubism and abstraction. This - her balance and, perhaps, its originality in comparison with a collection of Kanvaylera, who placed first in cubism in general, and Picasso, but did not understand a Kandinsky or Mondrian. However, creativity and personality of Picasso put it in the center of the art of the twentieth century. He wanted to outdo all, their ingenuity, an analog which can only be found in Leonardo da Vinci, he changed history. Try to imagine what it would be without the French art of Picasso. That would be the art of Mannerism. Picasso pulled up all along. He stimulated Braque, Gris, Matisse, Leger, Mondrian, and many others. When the Russian artists came to Paris, they came to his studio. She stayed there for long, but they went out of it with a totally updated looks - both born constructivism.

which predominated in the nature of Picasso's?

His ambitious personality suppressed. He could not afford everything and knew it was a child. "As a child - he said - I drew like Raphael. I put all my life to learn to paint like a child. He had nothing in common with the ideal person in our imagination - a polite, nice, polite, humane. It was a king, it was a god. In Mougins mother came to him offering their daughters. It was the Minotaur, and he knew it. It was a vital force Minotaur, and while he was capable of amazing and genuine tenderness. They said he was stingy. But who can be generous after living in poverty? Yes, he thought he could count. But at the same time he gave a lot, in particular, during the war, when it was necessary to help artists to flee from Paris. He gave a lot and sometimes forget that.
Working for him was the most important thing. He worked all the time. He had only to look at something - and started internal work. You know, Picasso would not be a Picasso, if he did not have incredible visual memory. Like Mozart, who always could write everything I heard. Picasso memorize everything I saw. I quite clearly understand this by comparing two of his works. I had just bought a woman in a green, a portrait of Dora Maar. I unpacked it and put it on his desk near the Lady Cezanne in a yellow chair. The facial expression, aspect ratio, position in space at both works seemed to me very related. Then I put them next to each other and stared. His hands were folded models equally. Busts are written with a force, hair - gathered in chignon at Madame Cezanne, flowing from Dora Maar - express the same severity. Cezanne neckerchief Picasso has replaced the neck. And in both portraits of the left hand wall is visible, the Cezanne - barely outlined, Picasso - more accentuated. So what is this homage to Cezanne? Reminiscences of the sight leaf? It is clear that Picasso saw this Cezanne from Vollard and transpoziroval it. So I had two paintings extraordinary force, and canvas Picasso was still also has the absolute, crazy dynamics. Both canvases are in our collection.

He listened to people whether it is from its surroundings?

He listened to the artists, a lot of talking to them. Listened to whether he Marchand? I do not think so. Once I saw his meter bed, very beautiful, full of freshness. I told him that she was gorgeous, but very fragile and therefore it would be difficult to sell, especially to Americans who buy for eternity. Only a pastel by Degas sold well in the U.S., because Degas covered them with lacquer to preserve them. Picasso did not have believed it. "I think that cover the bed with varnish - it spoils it. Two days later the whole freshness disappears - he said. And he compared the bed with the impression that it produced dancers of Diaghilev: "At first it seems that their dance - almost as an act of love, but when you see them a second time, it is quite wrong." He never covered his bed with lacquer.

After a referendum in Basel, it was decided to buy two canvases by Picasso, whether expressed his gratitude to his city?

There were two of the project. First, in Basel, was supposed to install a large sculpture of Picasso, but city officials still lingered. After his death, we have received from Bernard Picasso, a small sculpture, which increased and placed in the Basel museum, an area of Picasso. Then there was the draft order windows for the cathedral. A competition was held, but the results were unsatisfactory. I have asked Picasso to think about these stained glass windows. He later admitted to me that when I made him this offer, he could not accept it, but then he saw that he did Matisse chapel in Vence. "How can you decorate the chapel?" - He asked Matisse. "What's that? With a chapel, that brothel, this is all the same! "- Said Matisse. When Picasso agreed to create a stained-glass windows for the Basel Cathedral, unfortunately, it was too late.

you have organized two major exhibitions of works belonging to you by Picasso, "Picasso 1900-1932" and "Picasso 1932-1965. What was his reaction?

He was always happy with the quality of our catalogs. But after I bought the lot drawing, we were able to organize other exhibitions. His ninetieth birthday, I invited him to make an exhibition of ninety drawings. "And why not a hundred sculptures to my century?" - He replied. We have made this exhibition of drawings. To please him, I brought him a lot of posters. "What is the name your wife?" - He asked. "Hildy".
He took a drawing depicting Jacqueline's profile, painted it and wrote the dedication: "For Hildy Beyeler. Then he took another reproduction: "What is the name of your best friend?". I called his name, another, more ... Picasso painted some sixty reproductions and wrote on them inscriptions. "You see, they will be happy" - said to me, by signing them.
- Oh, I have one friend, the painter, he would be very flattered when it receives your gift. But it is an abstract painter ....
- An abstract painter? All artists are brothers. What's his name?
- Mark Tobey.

[Yurko]

If this still voice .. and .. you can drive without looking up .. listen and obritat new knowledge .. just super !!!!!!!

[Yaya]

[LCR]

4, Mark Tobey, an American in Basel

Ernst Beyeler: In 1958 at the Universal Exhibition in Brussels, I noticed one picture, White Journey, «Journey in white, dynamics and spirituality which I was impressed. Its author, an American artist Mark Tobey, was completely unknown to me. Later, I bought two or three more of his work. Toby learned obyu this. My interest in his work pleased him, and he went into the gallery. I wanted to make it show, and I told him about it. "Yes, you can make an exhibition" - he replied. But I realized that Basel interested him more than a gallery - a city he fell in love at first sight.

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Christophe Mori: What he was doing?

In 1930. in a Japanese monastery he learned technique of sumi-e. These ink drawings were released and allowed him to do an abstract painting. His first «write writings» dated 1935 That is, he was one of the first! Back in the U.S., he wrote a lot of abstractions - Broadway, parades, holidays - if you look at them from a distance, they become completely abstract. Childe Hassam, and many others have abstractionists when writing Broadway, Broadway a lively and an electric excitement in the night. Toby continued to work, more and more closer to total abstraction. He wrote his abstraction for many years. His works were very diverse, as he did not repeat his paintings, even those who liked. Thus, each of his work was a rarity.

In principle, Mark Tobey, enthusiastic Zen applied to the baha'i religion, the reader of oriental literature and philosophy, there was no reason to settle in Basel ...

By your description Toby to add his passionate love for music. He even composed the music himself, and in a rather mature age, began taking piano lessons ... With regard to Basel, then, as I said, he fell in love with the city at first sight. The first time he arrived in June. The weather was beautiful. All bloomed. We dined in the garden of a friend, pastor Hassler. Toby told me that the city he loves, and he wanted to stay. I knew that not far is free house, and told him about it. After drinking coffee, we went to watch the house. Toby rang, and the door opened very young naked girl, probably, she just left the pool in the garden. "I do not want to show the house, he exclaimed with a laugh - I rent it, I'll be back in Seattle for a year and then come and settled here." All of what happened. The house stood empty year. Then Toby drove into him.

It was the perfect American, traveled a lot. He visited friends - Ben Nicholson, John Cage. His health deteriorated over time - he was diseased lungs and heart. Mark Ritter, his secretary, is helping him - in fact he did everything - led economy, preparing ... Once Tobi was married, but at the end of his life surrounded by men, in particular, a naive artist, Per Halsten. He has lived in Basel 16 years until his death.

When he settled in Basel, you become friends. Has it become "your" artist?

We saw very often. We loved walking in the woods. He was very observant, noticing all the details. He picked up the leaves, searching for their new forms, shapes. He is a frequent visitor to the gallery, it has stimulated our work: we took pictures for the exhibition, bought the work, book other work ... He was surprised, amused by his fresh and energetic brushstroke in the works of Picasso. And always glad when some of the artist bought in the museum. We vystalyali many of his works, but were never linked contract. My principle - to remain free in their actions and always choose the best work. He knew that I'll never be the custodian of his work. In 1964, GV the Paris Museum of Decorative Art was organized by his big retrospective. Later I tried to get an exclusive on his legacy.

Your first purchase was White Journey. In the work of Toby white color is very important ...

This color osnovopolozhen in the literal sense of the word. Color basics. This is the result of meditation. Toby test white to feel its depth. It is very evident in Oncoming White, «being born white, the picture in 1972 Both of these works are very important, above all, its format (he wrote only seven or eight large paintings), but particularly picturesque power, established that founder color.

[LCR]

5 presser of Winterthur


Christophe Maury: a picture of the clients you most remember?

Ernst Beyeler: There is always a faithful friend, whose passion for art, and whose purchases are the guarantee of friendship. But one client I will never forget, especially as it relates to the painting by Kandinsky Improvisation 10.
This happened during the summer exhibition at the gallery. One lady, who looked pretty simple, was looking at pictures. When he reached the canvas Kandinsky, she exclaimed: "Wow, what a picture!". I approached her. She asked the price, and I answered: "Twenty-eight thousand francs."

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- I want to buy it. Who is its author?
- Kandinsky.
- Who is it?
- Wassily Kandinsky was born in 1866 in Moscow and died in 1944 in Paris, where he lived, acquired French citizenship. This artist, among others founded the group "Blue Rider". He lived in Berlin, then fled from the Nazis in Paris and exhibited there with the group "Abstraction-Creation". I think he is the father of abstract art ...
- Really? Very good. And this watercolor?
- It costs 25,000 francs.
- I take it. Who wrote it?
- Cezanne.
- A-ah. And who is Cezanne?

I explained to her and tell a little about life and the importance of Paul Cézanne for Contemporary Art, quoted Picasso: "He was a father to us all ... I felt like a watchman at the museum, but I was amused and intrigued the confidence with which she pointed out to me the best painting exhibitions. Her spontaneity is very entertained me. Her instincts led me in bewilderment.

- And this picture?
- It costs 35,000 francs.
- Beru. And who is its author?
- Gauguin.
- Who is Gauguin?

I replied, and then in turn, began to ask her questions. She worked as a presser in Winterthur, and then received an inheritance and did not need more in the media, wanted to somehow put their money. In a city where she lived, was the large collection Rinehart and Hanlozera. "And now there is nothing happening." It was very touching. And naive.

She's gone she bought paintings.

you saw again?

Yes. A few years later she again came to the gallery and invited me to buy all three pictures. I was surprised: "What are you still pretty?". She assured me that they had her in love as ever, but she needed the money - after its purchase in our gallery, she continued to buy, and ultimately followed the advice of Zurich Marchand, who persuaded her to buy contemporary art. She climbed a profound debt. I bought her Cezanne and Gauguin. For Kandinsky, I proposed to her almost twice what it paid. She agreed.

Then he told me that when she went to his bank in Winterthur put money into an account, the banker said to her: "Madam, take into debt as you want for such operations? Would you like another loan? ".

Is there a moral of this story?

Even the two. First, buying a painting, you need to trust your instincts. Secondly, we should always be attentive to the quality. As for me, Improvisation 10 finally returned to my collection. I took her from the gallery and hung at home.

[LCR]

[LCR]