Bigindicator

The Collection of Hermann and Margrit Rupf

Event  |  Reviews  |  Comments
20160906181351-fernand-leger-395x500
Green Leaves (Still Life) (Les feuilles vertes [Nature morte]), 1927 Oil On Canvas 92 X 73 Cm © Hermann und Margrit Rupf-Stiftung, Kunstmuseum Bern
The Collection of Hermann and Margrit Rupf

Avenida Abandoibarra, 2
Bilbao
Bizkaia
ES
November 11th, 2016 - April 23rd, 2017
Opening: November 11th, 2016 10:00 AM - 8:00 PM

QUICK FACTS
WEBSITE:  
http://www.guggenheim-bilbao.es
COUNTRY:  
Spain
EMAIL:  
informacion@guggenheim-bilbao.es
OPEN HOURS:  
Tue-Sun 10-8
TAGS:  
works on paper, painting, sculpture

DESCRIPTION

The Rupfs were the first private Swiss collectors to occupy themselves with abstract art. At the beginning, they were guided by their personal taste in the formation of their collection and in 1954 their holdings—approximately 250 artworks as well as many art books—were given to the Museum of Fine Arts Bern as a foundation, an extremely significant contribution to the museum’s collection. Today, the foundation’s collection consists of more than 900 works including paintings, sculptures, and works on paper.

Bernese businessman Hermann Rupf (1880–1962) was one of the first collectors who, in 1907 Paris started to purchase works by Pablo Picasso, Georges Braque, and also by the Fauves Othon Friesz and André Derain. Parisian art dealer Daniel-Henry Kahnweiler (1884–1979), with whom the Rupfs enjoyed a life-long friendship, played a central role in their collecting. Through Kahnweiler, many groups of works by Fernand Léger, Juan Gris and, later, André Masson were added to the collection.

The Rupfs also maintained friendly relations with Paul and Lily Klee and from 1913, works by Klee were regularly added to the Rupf collection. They were also important supporters of numerous artists, scientists, and musicians in Bern itself. Hermann Rupf, who was also the co-owner of the mercery Hossmann & Rupf, was as an active art critic and a relevant figure in the promotion of the appreciation for contemporary art. His writings and criticism— directed against conservative art policies—could be understood as pleas for the understanding of contemporary art.

The creation of the Rupf Foundation in 1954 guaranteed the conservation, consolidation, and expansion of the collection. In line with the intention of the Rupfs, the main investment of the Foundation was directed towards contemporary artists such as Meret Oppenheim, Lee Byars, Donald Judd, Joseph Beuys, or James Turrell, among others.


Los Rupf fueron los primeros coleccionistas privados suizos que centraron su labor en el arte abstracto. En sus inicios, se guiaron por sus propios criterios personales para ir formando su colección y, en 1954, decidieron ceder sus obras —unas 250 piezas y numerosos libros de arte—, en calidad de fundación, al Kunstmuseum Bern, lo que supuso una contribución muy significativa a los fondos de esta institución. En la actualidad, la fundación cuenta con más de 900 piezas, entre pinturas, esculturas y obras sobre papel.

El empresario bernés Hermann Rupf (1880–1962) fue uno de los primeros coleccionistas que, en el París de 1907, comenzó a adquirir obras de Pablo Picasso, Georges Braque y de artistas del Fauvismo, como Othon Friesz o André Derain. El marchante de arte parisino Daniel-Henry Kahnweiler (1884–1979), con quien Rupf mantendría una gran amistad durante toda su vida, desempeñó un papel fundamental en la formación de la colección del suizo. A través de su galería, se pudieron incorporar conjuntos de obra de Fernand Léger, Juan Gris y, posteriormente, de André Masson.

Los Rupf mantuvieron también una gran amistad con Paul y Lily Klee, y a partir de 1913 adquirieron obras de Klee regularmente. Así mismo, los Rupf fueron importantes mecenas de numerosos artistas, científicos y músicos de la ciudad de Berna. Hermann Rupf, copropietario de la mercería Hossmann & Rupf, fue un activo crítico de arte y jugó un papel relevante en el desarrollo del gusto por el arte contemporáneo. Sus escritos y críticas, dirigidos contra la política cultural conservadora de la época, reclamaban una mayor comprensión del arte contemporáneo.

Con la creación en 1954 de la Fundación Rupf se garantizó la conservación, consolidación y expansión de la colección. Siguiendo los propósitos de los Rupf, la Fundación dedica su inversión, fundamentalmente, a la adquisición de obras de artistas contemporáneos, como Meret Oppenheim, Lee Byars, Donald Judd, Joseph Beuys o James Turrell, entre otros.

ArtSlant has shutdown. The website is currently running in a view-only mode to allow archiving of the content.

The website will be permanently closed shortly, so please retrieve any content you wish to save.