9 Bäumleingasse, Basel, Ernst Beyeler's Gallery

Introduction
Ernst Beyeler was a Swiss arts dealer. He started his carrier in Oskar Schloss's library in Basel. His work in this library probably helped him develop a sharp eye as he observed many engravings and Japanese prints. Indeed, as an art dealer Ernst Beyeler became wellknown for his catalogues. Artists like Picasso, art collectors and museum curators soon noticed these daring catalogues. From the 1950's to his death Beyeler was unanimously recognized as a demanding art dealer and a great collector. Along his career as an art dealer he became a modern art collector himself. He easily admits that he was not a discoverer but was interested in the "big names". He collected Picasso's work, Kandinsky's, Matisse's, Klee's, Giacometti's and many others. At the same time he also collected African and Alaskan art. This passion for art is also very linked to the city of Basel and a passion for nature.

Influences and entourage

Jean Planque and Pablo Picasso.

Ernst Beyeler and Pablo Picasso at Mougins, 1969

In 1951 Beyeler sets up an exhibition gathering Bonnard, Renoir, Picasso and Matisse. At that time, he meets Georg Schmidt,  the curator of the Kunst Museum in Basel, who exposed modern art as well. In 1953, Beyeler sees Picasso's Guernica for the first time. This is when the fascination for modern art in general and Picasso in particular starts. In 1957, his friend, the artist Jean Planque, introduces him to Picasso at Mougins. Picasso lets him pick 26 paintings for his gallery among which Beyeler probably bought some paintings for his personal collection.
Picasso, Braque and many other modern artists collected African art and were highly influenced by African masks during their cubist period (1907-1909). Beyeler also collected African art, probably as an attempt to grasp the early influences on cubism, which he admired and collected.

G. David Thompson and the 100 Klees.

G. David Thompson observing a Giacometti sculpture

In 1959, Beyeler meets David Thompson in Pittsburg. Thompson represents a great influence as a collector for Ernst Beyeler. At that time Thompson wants to sell his collection. He is known for his successes in the steal business in America during the second world war. Thompson is a proud man and refuses to built a foundation or to give his collection to the Carnegie Museum in Pittsburg. His personality is very different from Beyeler's, who is a discreet man. However, Beyler is highly impressed by Thompson's collection. He is even more impressed  by the actual hanging of David Thompson's collection. What strikes him is the harmony of that displaying. This, does not come as a surprise as Beyeler is already known for his taste and brilliant ability to expose different works of art. This meeting with Thompson, the businessman and the collector, probably influenced Beyeler as far as his future collection and its displaying are concerned. Incidentally, Beyeler bought Thompson's hundred Klee collection during his visit in Pittsburg... Klee becomes a landmark in Beyeler's modern art collection.

Anecdote.

Beyeler's visit in Pittsburg also shows his attachment for a painting he cherishes: Kandinsky's Improvisation 10. He sold this painting once to a newly rich housewife. Beyeler likes to recall this woman's naïvety when she bought Kandinsky's Improvisation 10 without actually knowing Kandinsky and art in general. This woman had a fresh attitude towards art and was genuinely moved by a work of art. The idea of emotion facing art is central in Beyeler's attitude as a collector. Indeed, he  has always claimed his high standards as far as quality was concerned -as opposed to quantity-. Later Beyeler bought that painting back for his personal collection.
David Thompson wanted to trade his hundred Klee collection for a certain amount of money that Beyeler did not posses when they met. Beyeler offered money, a Cezanne and a Matisse but Thompson wanted Improvisation 10 ! Beyeler almost missed the deal because he refused to give Improvisation 10 away. This is the point when the collector proves to be stronger than the salesman.

Alberto Giacometti by Henry Cartier-Bresson

Alberto Giacometti.

Two years after his first visit to Thompson Beyeler buys his Giacometti collection. Beyeler was fascinated by the artist's work and kept nine sculptures for his private collection. The picture below shows Beyeler's tribute to Alberto Giacometti's works. Beyeler was photographed with Giacometti's sculpture. The photography is a hint to Cartier- Bresson's picture of Giacometti in his studio. 

 

Make African and Alaskan art enter into dialogue with Modern art

What is striking in Ernst Beyeler's collection is his ambition to show links and echoes between different works of art. This is particularly true for Picasso and African or Alaskan art .

Beyeler: a photographic memory.

The following video is an excellent example of Beyeler's relationship to art and his extraordinary eye for art in general. This example will help us understand how works of art alude to one another within his collection. Here Beyeler explains the link he saw between Cézanne's Madame Cézanne au fauteuil jaune (1888-1890) and Picasso's Femme en vert (Dora) (1944).

Excerpt from Thomas Isler's documentary: Art Dealer, Ernst Beyeler, 2007

Here, the triangle-shaped head of Picasso's painting works as a reminder of  this Guinean Headdress.

Figure (Femme assise), 1930

Headdress, a mantsho-na-tshol, 19th/20th century

Here, the head of the Malian ritual pounder could be an example of Picasso's inspiration for this Woman (1907) and prefigures his Demoiselles d'Avignon -a landmark for Cubism-.

Ritual Pounder, deble,  1870

Work of a Senufo master from the Sikasso region, Mali

Femme, 1907

Here in Picasso's works the peculiar representations of the teeth are rooted in Alaskan art.

yup’ik Mask, 1900

Kuskokwim, Alaska

Femme dans un fauteuil, 1927

Chat et Homard, 1965

Another example of echo in Beyeler's collection is this Ceremonial Cloth of the Kuba and Paul Klee's Zeichen in Gelb (1937)

Ceremonial Cloth of the Kuba, 1920

Democratic Republic of the Congo

Zeichen in Gelb, 1937

The Fondation Beyeler: a Swiss jewellery nestling in a green setting

Put Basel on the map!

As a young art dealer Beyeler first wondered if he wanted to leave his native country. And the response came to him naturally. He loved his surroundings, he loved his city -Basel- and he loved his rowing club! So why move? Indeed, the young arts dealer, against all odds -Basel is a rather small city compared to Zürich , which is developing as far as art is concerned in the 1950's- decided to stay in his hometown. The young man is ambitious: rather than moving to London or Paris he wants to make the world move to Basel. He sees the town as the crossroads of Europe and wants to develop its prestige -which he did-.

A view of Ernst Beyeler's hometown: Basel

Fondation Beyeler, designed by Renzo Piano, 1997, Riehen

In 1989 Beyeler's entire private collection is presented for the first time at the Centro de Arte Reina Soffia in Madrid. Beyeler starts to think seriously about the future of his collection and his and his wife Hildy's legacy - the couple has no children-. Once again the question of the setting is raised. First, the possibility of bequesting the collection to the Kunstmuseum Basel was considered, or even to Paris' Centre Pompidou or the MoMA in New York. However, Ernst and Hildy Beyeler could not accept to see their collection only twice a year, as moving to a foreign country was out of the question. So they decided the collection would stay in Basel but not in a Museum. Beyeler was attached to his freedom as a collector and wanted to remain free of  Museums' tights. The idea that some of his masterpieces would remain in some museum reserve collection was unbearable. Beyeler wanted his collection to be able to move. He wanted to be able to stage it and above all keep his freedom. This is how the idea of a foundation emerged: in the outskirts of Basel, in nature...

Let the works of art express themselves.

The natural setting is dear to Ernst Beyeler. First, because he loves long walks in the forest but also because he thought that works of primitive and modern art would communicate easily in a green setting. The architecture of the foundation, designed by Renzo Piano, is rather classic. Beyeler chose pink peruvian stone: a hint to his taste for quality and exoticism? Nevertheless, the architecture is harmonious and works well with the vegetation. The choice is deliberate: Beyeler did not want a daring architecture in order not to interfere with the works of art. The foundation includes three rooms and allows the visitors to contemplate Beyeler's private collection and regular temporary exhibitions. The visiting experience is relaxing and is very different from extremely long museum-visits.

Creating his own masterpiece?

As we pointed out previously Beyeler's collection shows links between various artists. In addition, creating his foundation, Beyeler wanted the works of art to communicate with nature. In this, the Fondation Beyeler is quite unique. One of the most striking example of this ambition is  Monet's Le Bassin aux Nymphéas (1917-1920) set in a single room near the outdoor fishpond. This splendid setting invites to contemplation!

Another example of this "staging" of works of art applies to Giacometti's sculptures at the Foudation Beyeler. Beyeler is well-known as an art dealer for his catalogues and his framings. The idea of framing  is also central at the foundation. With Giacometti's Homme qui martche Beyeler plays with the windows and openings as well as with lights and contrasts. By doing so, he creates a superior work of art that transcends the dimensions of the sculptures and paintings.

In the photograph above (right), Mark Rothko's painting color scheme works harmoniously with Giacometti's sculptures. The painting might echo the pond outside at twilight with the figures moving toward it. As Beyeler used to say: "the hanging is to the museum what staging is to opera". Visiting the foundation one could not agree more!

 Let nature in and art out.

Alexander Calder, The tree, 1966

The foundation gives the impression of letting nature come in and communicate with the works of art. In addition, Beyeler wanted to put some sculptures IN nature. As if to send the message: nature sublimates art and art sublimates nature.

Wrapped trees, Christo and Jean-Claude, 1998

Legacy.

Ernst Beyeler managed to acquire a prestigious collection. He made his collection evolve trough time and finally fulfilled the dream of a life-time by displaying the works in his very own foundation: a place built as a tribute to artists and their work. Moreover a place where his collection could continue to evolve and where he could still set up new exhibitions in the spirit of his gallery in Basel. True to his nature he decided to stay in his home-town.

A businessman.

Ernst Beyeler at Art Basel, 1970

Beyeler's carrier as a businessman is important for his collection. Had he not grown rich thanks to arts dealing he would never had been able to set up a collection of two hundred and fifty pieces! http://www.fondationbeyeler.ch/sammlung/werke. Of course, money granted him freedom. This is why he did not want to benefit from states credits for the foundation.
The foundation attracts approximatively 60 000 visitors a year. The entry is not free and many visitor are attracted by the gift-shop...Was mercantilism a necessary concession to keep freedom ? Probably. However, Beyeler will be remembered for his demanding nature for both business and art.

Samuel Keller and the future of the collection.

Samuel Keller and Ernst Beyeler the Fondation Beyeler

Beyeler died on February 27, 2010, leaving Samuel Keller in charge of the Foundation. Samuel Keller is the former head of Art Basel and was close to Ernst Beyeler. Since his death two exhibitionss were set at the foundation: A Jean-Michel Basquiat retrospect and VIENNA 1900 – Klimt, Schiele and their Times. The Jean-Michel Basquiat exhibition was impressive and drew links with  modern artist like Picasso, Andy Warhol's Pop Art, and Basquiat's African origins. This exhibition remained true tothe spirit of Beyeler's collection : make works of art enter into dialogue.

In this video: Samuel Keller about the Jean-Michel Basquiat exhibition

VIENNA 1900 in addition to Klimt and Schiele displayed a presentation of furniture of the time.

The Klimt and Schiele exhibition somehow left the visitor hungry for more as far as the number of painting was concerned.
Combining the spirit of Beyeler's collection and remaining relevant as a profitable institution surely represents the challenges for the future of the foundation.

Sources:

Christophe Mory, Ernst Beyeler, la Passion de l'Art, Gallimard, 2009

http://www.fondationbeyeler.ch/

http://www.timesonline.co.uk/tol/comment/obituaries/article7050175.ece 

http://elisabeth.blog.lemonde.fr/2010/02/27/ernst-beyeler/

http://savatier.blog.lemonde.fr/2010/02/27/ernst-beyeler-la-passion-de-lart/

http://www.artclair.com/oeil/archives/docs_article/62766/chez-beyeler---primitifs---et-modernes-sur-un-pied-d-egalite.php

http://www.hebdo.ch/ernst_beyeler_appris_a_regarder_66464_.html