Prehistoric Pictures and American Modernism

Abstract

In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title Prehistoric Rock Pictures in Europe and Africa, it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius. Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and the American Abstracts Artists group, who sought inspiration from the prehistoric images’ primordial creativity. With a transnational scope, the book brings to the surface new facts about the transatlantic connections between Paris and New York and the importance of communication and collaboration between them. In doing so, Seibert reveals that this debate was about more than just legitimizing abstract art forms from the past, but also about recognizing an autonomous American abstract art. Presenting unseen archival material, letters, and exhibition documentation, Prehistoric Pictures and American Modernism offers a new reading of the development of modern American abstraction, and will hold an important place in the historiography of the movement, its global traditions, and its legacy. This book is about the connection of prehistory and US-American modernism in the first half of Twentieth century, particularly at the Museum of Modern Art.It aims to initiate a valuable collaboration to the historiography of European and Us American art history, cultural history, visual culture, global history, and anthropology. MoMA curator Alfred Barr’s exhibition Prehistoric Rock Pictures in Europe and Africa (April 28–May 30, 1937) served as a catalyst for the appropriation of prehistoric rock painting. This show displayed a range of prehistoric rock art copies from the collection of the German ethnologist Leo Frobenius. It was my aim to situate this special example in a broader context, drawing attention on the modern interactions established between prehistoric, archaic, primitive, and indigenous art, and their reception by European and U.S. avant-garde artists who helped define postwar abstraction. Indeed, largely disregarded in modern American art history until now, this book highlights the vital importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstracts Artists group. With unseen archival material, letters, and exhibition documentation, this book will hold an important place in the historiography of modern American art, its global traditions, and its legacy.