default
Arthur G. Dove: Red Sun, 1935, The Phillips Collection, Washington, D.C.
*

From Hopper to Rothko: America’s Road to Modern Art

June 17 to October 3, 2017

American art from the first half of the twentieth century is still relatively unknown in Europe. The three central themes of the exhibition – landscapes, portraits, and cityscapes – present a cross-section of American painting. The show will trace the beginnings of abstract painting, which also developed during this time. After 1945, this culminated in Abstract Expressionism, and New York City became the new center of the art world. Works from The Phillips Collection highlight all of these developments.

The exhibition From Hopper to Rothko: America’s Road to Modern Art will provide a panorama of subjects and styles ranging from Impressionism to Abstract Expressionism – taking visitors on a journey through landscape art, portrait painting, and cityscapes to Color Field Painting, with works along the way by George Inness (1825–1894), Marsden Hartley (1877–1943), Georgia O’Keeffe (1887–1986), Richard Diebenkorn (1922–1993), and more. Through his activity as a collector, Duncan Phillips (1886–1966), an art critic and patron of the arts, and founder of The Phillips Collection in Washington, D.C., championed and supported America’s modern artists helped shape the canon of 20th century American art. Opening in 1921, The Phillips Collection predated the founding of the Museum of Modern Art (1929) and the Whitney Museum of American Art (1931). Phillips’s view of art as a universal language that transcends national schools and eras endures to this day as an inspiration to others.


The Phillips Collection, Washington, D.C.,
in cooperation with the Museum Barberini, Potsdam.

Edward Hopper: Sunday, 1926, The Phillips Collection, Washington D.C.

Edward Hopper: Sunday, 1926, The Phillips Collection, Washington D.C.

American art from the first half of the twentieth century is still relatively unknown in Europe. The three central themes of the exhibition – landscapes, portraits, and cityscapes – present a cross-section of American painting. The show will trace the beginnings of abstract painting, which also developed during this time. After 1945, this culminated in Abstract Expressionism, and New York City became the new center of the art world. Works from The Phillips Collection highlight all of these developments.

American art from the first half of the twentieth century is still relatively unknown in Europe. The three central themes of the exhibition – landscapes, portraits, and cityscapes – present a cross-section of American painting. The show will trace the beginnings of abstract painting, which also developed during this time. After 1945, this culminated in Abstract Expressionism, and New York City became the new center of the art world. Works from The Phillips Collection highlight all of these developments.

Edward Hopper: Sunday, 1926, The Phillips Collection, Washington D.C.

Edward Hopper: Sunday, 1926, The Phillips Collection, Washington D.C.

The exhibition From Hopper to Rothko: America’s Road to Modern Art will provide a panorama of subjects and styles ranging from Impressionism to Abstract Expressionism – taking visitors on a journey through landscape art, portrait painting, and cityscapes to Color Field Painting, with works along the way by George Inness (1825–1894), Marsden Hartley (1877–1943), Georgia O’Keeffe (1887–1986), Richard Diebenkorn (1922–1993), and more. Through his activity as a collector, Duncan Phillips (1886–1966), an art critic and patron of the arts, and founder of The Phillips Collection in Washington, D.C., championed and supported America’s modern artists helped shape the canon of 20th century American art. Opening in 1921, The Phillips Collection predated the founding of the Museum of Modern Art (1929) and the Whitney Museum of American Art (1931). Phillips’s view of art as a universal language that transcends national schools and eras endures to this day as an inspiration to others.


The Phillips Collection, Washington, D.C.,
in cooperation with the Museum Barberini, Potsdam.

Claude Monet

Duncan Phillips (1886–1966) was a member of a wealthy Gilded Age family in the USA. He was only 32 years old in 1918 when he began his plans to open a museum in Washington D.C. It is thanks to his initiative that the first American museum of modern art was founded. He remained the director of the Phillips Collection until his death in 1966.

Claude Monet
About the founder of the Phillips Collection
Duncan Phillips, Summer 1921

Duncan Phillips, Summer 1921

Duncan Phillips (1886–1966) was a member of a wealthy Gilded Age family in the USA. He was only 32 years old in 1918 when he began his plans to open a museum in Washington D.C. It is thanks to his initiative that the first American museum of modern art was founded. He remained the director of the Phillips Collection until his death in 1966.

About the founder of the Phillips Collection
About the artist

Born in 1840 in Paris, Claude Monet was introduced to painting outdoors while still a youth by Eugène Boudin, who was sixteen years his senior and well-known for his beach scenes. This became a central theme of Monet’s creative process. He explored the effect of light by repeatedly painting series of the same landscape at various times of day and during all seasons. He died in Giverny in 1926 – at the place where he had planted his magnificent garden full of flowers.

The Phillips Collection, Washington D.C.

Founded in 1921 in Washington D.C., The Phillips Collection was the first museum of modern art in the United States. The museum’s holdings include 188 paintings by contemporary American artists. Phillips was an enthusiastic supporter of young American artists who had received little recognition up to that point in time.

He purchased their works, wrote essays about their art, and dedicated exhibitions to them. His ability to discover artistic talent beyond the fashionable and the mainstream was extremely influential. Milton Avery, Arthur G. Dove, Kenneth Noland, Georgia O’Keeffe and John Sloan – today celebrated stars in American art history – are only a few of the artists whose works Phillips was the first to purchase for a museum collection. In addition, he was also interested in European art, collecting French Impressionist works among others. Today The Phillips Collection holds around 4,000 works, including famous paintings such as Pierre-Auguste Renoir’s Luncheon of the Boating Party (1880/81).

In our first international cooperation, we are showing works from The Phillips Collection and presenting this pioneering museum.

Main gallery with a special exhibition featuring contemporary American and French painting with an Egyptian head from the Eighteenth Dynasty (1570-1293 BCE), 1927

Main gallery with a special exhibition featuring contemporary American and French painting with an Egyptian head from the Eighteenth Dynasty (1570-1293 BCE), 1927

Marjorie und Duncan Phillips in der Hauptgalerie, um 1922, Photo: Clara Sippre

Marjorie und Duncan Phillips in der Hauptgalerie, um 1922, Photo: Clara Sippre

The Rothko Room with the works Green and Tangerine on Red (1956), Ochre and Red on Red (1954), and Green and Maroon (1953), 2006

The Rothko Room with the works Green and Tangerine on Red (1956), Ochre and Red on Red (1954), and Green and Maroon (1953), 2006

Das Gebäude der Phillips Collection in der 21st Street, N. W., Washington, D. C., 2007

Das Gebäude der Phillips Collection in der 21st Street, N. W., Washington, D. C., 2007

Founded in 1921 in Washington D.C., The Phillips Collection was the first museum of modern art in the United States. The museum’s holdings include 188 paintings by contemporary American artists. Phillips was an enthusiastic supporter of young American artists who had received little recognition up to that point in time.

Founded in 1921 in Washington D.C., The Phillips Collection was the first museum of modern art in the United States. The museum’s holdings include 188 paintings by contemporary American artists. Phillips was an enthusiastic supporter of young American artists who had received little recognition up to that point in time.

Main gallery with a special exhibition featuring contemporary American and French painting with an Egyptian head from the Eighteenth Dynasty (1570-1293 BCE), 1927

Main gallery with a special exhibition featuring contemporary American and French painting with an Egyptian head from the Eighteenth Dynasty (1570-1293 BCE), 1927

Marjorie und Duncan Phillips in der Hauptgalerie, um 1922, Photo: Clara Sippre

Marjorie und Duncan Phillips in der Hauptgalerie, um 1922, Photo: Clara Sippre

The Rothko Room with the works Green and Tangerine on Red (1956), Ochre and Red on Red (1954), and Green and Maroon (1953), 2006

The Rothko Room with the works Green and Tangerine on Red (1956), Ochre and Red on Red (1954), and Green and Maroon (1953), 2006

Das Gebäude der Phillips Collection in der 21st Street, N. W., Washington, D. C., 2007

Das Gebäude der Phillips Collection in der 21st Street, N. W., Washington, D. C., 2007

He purchased their works, wrote essays about their art, and dedicated exhibitions to them. His ability to discover artistic talent beyond the fashionable and the mainstream was extremely influential. Milton Avery, Arthur G. Dove, Kenneth Noland, Georgia O’Keeffe and John Sloan – today celebrated stars in American art history – are only a few of the artists whose works Phillips was the first to purchase for a museum collection. In addition, he was also interested in European art, collecting French Impressionist works among others. Today The Phillips Collection holds around 4,000 works, including famous paintings such as Pierre-Auguste Renoir’s Luncheon of the Boating Party (1880/81).

In our first international cooperation, we are showing works from The Phillips Collection and presenting this pioneering museum.

Then and now: In The Phillips Collection and the Museum Barberini
Annex installation with Henri Matisse's Studio, Quai St. Michel (1916) und Richard Diebenkorn's Interior with View of the Ocean (1957), 1986
default
Exhibition view "From Hopper to Rothko: America's Road to Modern Art", Museum Barberini, Photo: Helge Mundt, © Museum Barberini / VG BILD-KUNST, Bonn 2017
default
Figuration: Reformulation of the Real
View of the extension with Adolph Gottlieb's Equinox (1963), Bradley Walker Tomlin's No. 8, and Philip Guston's Native's Return, 1960s
default
Exhibition view "From Hopper to Rothko: America's Road to Modern Art", Museum Barberini, Photo: Helge Mundt, © Museum Barberini / VG BILD-KUNST, Bonn 2017
default
Removing Boundaries: Abstract Expressionism as Critique
*  
Catalogue
On the occasion of the exhibition From Hopper to Rothko: America’s Road to Modern Art

The catalogue for the exhibition From Hopper to Rothko: America’s Road to Modern Art​ is published by Prestel Verlag and edited by Ortrud Westheider and Michael Philipp with essays by Susan Behrends Frank, Alexia Pooth, Susanne Scharf, Corinna Thierolf, Ortrud Westheider, and Sylvia Yount. They demonstrate that impressionism is no longer about narrating a story but about the act of seeing. Freed of historical and symbolic references, landscapes therefore became the central genre in impressionism.

24 x 30 cm, 248 pages, 200 illustrations

Price at the museum shop: € 29.95

Booktrade edition: € 39.95

On the occasion of the exhibition From Hopper to Rothko: America’s Road to Modern Art

The catalogue for the exhibition From Hopper to Rothko: America’s Road to Modern Art​ is published by Prestel Verlag and edited by Ortrud Westheider and Michael Philipp with essays by Susan Behrends Frank, Alexia Pooth, Susanne Scharf, Corinna Thierolf, Ortrud Westheider, and Sylvia Yount. They demonstrate that impressionism is no longer about narrating a story but about the act of seeing. Freed of historical and symbolic references, landscapes therefore became the central genre in impressionism.

24 x 30 cm, 248 pages, 200 illustrations

Price at the museum shop: € 29.95

Booktrade edition: € 39.95

Media partners