| 词条 | Miller Company Collection of Abstract Art |
| 释义 |
| image_file = Piet Mondriaan Victory Boogie Woogie.jpg | backcolor = #FBF5DF | image_size = 200px | title = Victory Boogie Woogie | artist = Piet Mondrian | year = 1942–44 | type = Oil and paper on canvas | height_metric = 127 | width_metric = 127 | height_imperial = 50 | width_imperial = 50 | metric_unit = cm | imperial_unit = in | museum = Gemeentemuseum, The Hague. Formerly owned by Samuel Irving Newhouse, Jr. and Emily and Burton Tremaine / The Miller Company Collection of Abstract Art, Meriden, CT. }} The Miller Company Collection of Abstract Art (c. 1945-55) was formed in Meriden, Connecticut as part of the Miller Company. The collection was formed by then-CEO Burton Tremaine, Sr. and his wife/Miller Co. art director Emily Hall Tremaine in c. 1945. The collection itself is most noted for its Painting toward architecture exhibition, putting forth Post-WWII art, design and architecture crossovers, originating at the Wadsworth Atheneum in Hartford, CT, and travelling to at least 28 additional venues in 1947–52 across the United States.[1][2][3][4] The business purpose of the exhibitions was part of the wave of developing corporate art collections at the time. The Miller Co. approach however was considered to be more in line with cutting edge, Modern art and design, led by Burton and Emily Hall Tremaine. Their concept was to refer to c. 1920s European art / design crossovers and apply those general principles to post-WWII America, and recent technological developments in their fluorescent lighting. They encouraged architects and designers to adopt these principles to develop new interior design forms to incorporate Miller Co. lighting into commercial interiors.[2][1] Painting toward architecture exhibition (1947-52)The exhibition featured and referred to leading Modernists in European and American art and architecture with a connection to then-Miller Company lighting designs. Artworks exhibited included works by many artists including those by Josef Albers, Leo Amino, Jean Arp / Hans Arp, Harry Bertoia, Ilya Bolotowsky, Georges Braque, Alexander Calder, Mary Callery, Stuart Davis, Max Ernst, Lyonel Feininger, Perle Fine, Juan Gris, James Guy, Jean Hélion, Charles-Edouard Jeanneret, Wassily Kandinsky, Kunisada, Paul Klee, Fernand Léger, Jacques Lipchitz, John Marin, Roberto Matta, Carlos Mérida, Joan Miro, Piet Mondrian, Henry Moore, Laszlo Moholy-Nagy, Ben Nicholson, Georgia O'Keeffe, I. Rice Pereira, Pablo Picasso, Jose de Rivera, Kurt Schwitters, Charles Sheeler, Rufino Tamayo, Mark Tobey, John Tunnard and Theo van Doesburg.[5] Photographs of Modern architectural designs accompanied the artworks starting in c. December 1948 and included those by Le Corbusier, Walter Gropius (Bauhaus), Oscar Niemeyer, and Frank Lloyd Wright. Also, as part of the overall Painting toward architecture initiative, Oscar Niemeyer was commissioned to make a design, with Roberto Burle Marx for the unbuilt Tremaine House, a Modernist icon. At generally the same time, Frank Lloyd Wright made a design for a small complex at Meteor Crater, Arizona, on property that the Tremaines co-leased. This design was also unbuilt. In the exhibition, Roberto Burle-Marx's Design for a garden was exhibited.[1] In parallel, a book also entitled Painting toward architecture was released in November 1948. The catalogue essay was written by Henry-Russell Hitchcock; Alfred H. Barr, Jr. of the Museum of Modern Art in New York, wrote the foreword. [6] Graphic designer Bradbury Thompson designed the catalogue.[4] Through its run, the travelling exhibition received substantial national media coverage and deepened a discussion on Modern art and architecture in the United States.[4][5] Apart from Painting toward architecture, there were other Miller Company art shows at Wesleyan University (1945), Cornell University (1951), Smith College (1951-52), and Trinity College in Hartford (1958). Throughout this time period, artworks were loaned to many other exhibitions at various museums.[5] Highlight of Painting toward architecture, a special exhibition at the Museum of Modern Art in New YorkIn February-April 1949, during the Painting toward architecture (1947-52) exhibition run, the Museum of Modern Art exhibited From Le Corbusier to Niemeyer: Savoye House - Tremaine House 1949. According to the museum, "The theme of this show is based on Henry Russell-Hitchcock’s book on the Miller [Company] Collection of abstract art, Painting toward architecture..." Exhibited with documentation showing Le Corbusier's iconic Villa Savoye was juxtaposed Oscar Niemeyer's maquette with an integrated Design for a garden gouache-work (1948) for the unbuilt Tremaine house. [7]. In 2010, Berry Bergdoll, a curator at MoMA asserted the importance of the exhibition as fusing strands of the geometric and organic soon after WWII.[8] Other Modernist design activity at the Miller CompanyDuring this time, as part of a wider Modernist agenda, Miller Co. activities included Philip Johnson closely consulting on product design for the company for at least a three-year period[9] Josef Albers, formerly at the internationally influential Bauhaus in Germany, was hired to work on the corporate logo; and Serge Chermayeff, president of the "New Bauhaus", the School of Design in Chicago, to contributed graphic design and interior design concepts utilizing Miller Co. lighting.[4][1]Corporate art activity privatized (after c. 1955) to Tremaine CollectionBy the mid-1950s, the growing art collection activity morphed away from the Miller Co. to the private Tremaine Collection and the Tremaine's art/design decision-making activities took place in Meriden; Madison, CT; New York City and beyond. In actuality, many artworks marketed as from the Miller Co. were in actuality privately owned by the Tremaines and lent for the corporate initiative.[4] Part of the international avant-garde, the Tremaines were in contact with several visual artists and decision-makers now spotlighted in 20th century art and design survey books. In their later work, officially prviate and not collected to the Miller Company, they developed a strong reputations as important art collectors of art from the 1960s, and they continued collecting in the 1970s. In the later decade, they offered land that they partly owned on their Arizona ranch to Walter de Maria to test his now-iconic The Lightning Field, a 1-mile x 1 km earthwork designed to attract lightning into an art performance with metal poles, before its relocation to New Mexico.[4] "By the early 1980s the Tremaine collection had grown to more than 400 works by European and American artists", reported the New York Times,[10] and it was "considered by museum directors, dealers and art writers to be one of the greatest private collections of 20th century art in the world", reported the Hartford Courant.[11] The collection was estimated to be worth USD$84 million in 1987.[4] In 2015 dollars, this amount can be very roughly estimated at over USD$150 million.[12] President Obama photographed with former Miller Co. star artworkIn 2014, U.S. President Barack Obama was photographed in front of one of the artworks formerly in the Miller Company Collection of Abstract Art, Victory Boogie Woogie by Piet Mondrian, at its current location in the Netherlands. The artwork is also on the cover of a biography on Emily Hall Tremaine. The painting was sold in 1998 for USD$40 million. [13][14]References1. ^1 2 3 Preece, R. J. (2017).[https://www.artdesigncafe.com/painting-toward-architecture-miller-co-exhibition "Rethinking 'Painting toward architecture' (1947-52)"]. artdesigncafe.com / Sculpture magazine. Retrieved June 26, 2018. 2. ^1 Louchhiem, Aline. (December 1947). "Abstraction on the assembly line". ARTnews. Retrieved June 26, 2018. 3. ^(January 19, 1948). "Art in the factory". Newsweek. p. 90. 4. ^1 2 3 4 5 6 Housley, Kathleen L. (2001). Emily Hall Tremaine: Collector on the Cusp. Emily Hall Tremaine Foundation: Meriden, CT. 5. ^1 2 (July 16, 2016).[https://www.artdesigncafe.com/painting-toward-architecture-artworks "The Painting toward architecture exhibition (1947-52) by the Miller Company Collection of Abstract Art: Documentation and historical information"]. artdesigncafe. Retrieved June 26, 2018. 6. ^Hitchcock, Henry-Russell (essay). (1948). Painting toward architecture. The Miller Company: Meriden, CT. Retrieved January 22, 2017. 7. ^(c. 1949). [https://www.moma.org/calendar/exhibitions/2727?locale=en "Museum exhibits architectural models and plans, 'from Le Corbusier to Niemeyer']. Museum of Modern Art, New York. Retrieved June 26, 2018 8. ^Bergdoll, Barry. (Summer 2010). The synthesis of arts and MoMa. Docomomo, 42, pp. 110-13. 9. ^Schieps, Marguerite T. (1995), The Miller Company: The first 150 years. (Research: Allen L. Weathers, curator, Meriden Historical Society.) Studley Press, pp. 89-91. 10. ^Fowler, Glenn. (March 27, 1991). [https://www.nytimes.com/1991/03/27/obituaries/burton-g-tremaine-executive-89-dies-a-collector-of-art.html Burton G. Tremaine, Executive, 89, Dies; A Collector of Art]. New York Times. Retrieved July 10, 2015. 11. ^Rizzo, Frank. (November 3, 1991). Tremaine Collection Going To Auction: Bidding A Fond Farewell Gavel To Signal End Of An Era. Hartford Courant. Retrieved July 10, 2015. 12. ^Measuring worth website (historical). Retrieved July 19, 2015. 13. ^(undated). [https://basvanderlans.nl/commerciele-lessen-victory-boogie-woogie/ "Mondriaan's Victory Boogie Woogie: 10 Commerciële Lessen!"]. basvanderlands.nl. [News websites have removed the photo; photo can be seen here.] Retrieved June 28, 2018. 14. ^Troy, Nancy J. (2013). The afterlife of Piet Mondrian, chapter 1 - Mondrian and Money: Victory Boogie Woogie. University of Chicago Press. 1 : Art collections in the United States |
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