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RUDOLF BAUER

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Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings. Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings.
Presto 10191728 1/2 x 41 in.(72.39 x 104.14 cm) oil on panel
Provenance
The Solomon R. Guggenheim Collection of Non-Objective Art
Private Collection, New York
Private Collection, by descent from the above
Literature
Rebay H., Philadelphia Art Alliance, Gibbes Art Gallery, Baltimore Museum of Art, Museum of Non-Objective Painting, Catalogue of the Solomon R. Guggenheim collection of non-objective paintings, 5th vol., Ill. no. 8
 
Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings.
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