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Kurt Seligmann (Swiss-American, 1900 - 1962)

The Beautiful Hat (Le Beau Chapeau), 1929

Oil on wood, 81 × 65 cm

Ultra-Furniture (1938), Kurt Seligmann

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One is the loneliest number, for sure. This final page of Jacques Seligmann & Co general correspondence is calling out to join its compatriot pages in the completed state. Jump in to review it here and support @archivesofamericanart in making these records even more useful for provenance researchers.

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Mosaics/Murals (No. 8)

Seligman, AZ (three pics)

Kingman, AZ

San Bernardino, CA

San Diego, CA

Seligmann, Kurt (1900-1962) - 1952 Autumn (Christie's New York, 2005) by RasMarley Via Flickr: Oil on canvas; 76.2 x 63.5 cm. Kurt Seligmann was a Swiss-American Surrealist painter and engraver. Born in Basel he was the son of a successful Furniture Department store owner. After study at the Ecole des Beaux Arts, Geneva, and several unhappy years working in his father's business in Basel, Seligmann left for Paris where he looked up his old friends from Geneva, the sculptor Alberto Giacometti and the art critic Pierre Courthion. Through Giacometti he met Hans Arp and Jean Helion, who admired his sinister biomorphic paintings and invited him to join their group, Abstraction-Creation Art Non-Figuratif. In the mid-1930s his work began to take on a more baroque aspect, as he animated the prancing figures in his paintings and etchings with festoons of ribbons, drapery and heraldic paraphernalia. It was about this time (1935) that he married Arlette Paraf, a granddaughter of the founder of the Wildenstein Gallery. Together they traveled extensively, first around the world (a year-long honey-moon trip in 1936) and then to North America and British Columbia (1938). In 1937, Seligmann was formally accepted as a member of the Surrealist group in Paris by André Breton, who collected his work. At the outbreak of World War Seligmann was the first European Surrealist to arrive in New York, ostensibly for an exhibition of his work. Once there, he began a concerted effort to aid his Surrealist colleagues left behind in France and bring them to safety. Seligmann's art continued to evolve and really matured in the 1940s in the United States, where he did his best work. Beginning in 1940, he and Arlette lived at the Beaux Arts Building at 40th Street in New York, and later acquired a farm north of the city in the hamlet of Sugar Loaf, in Orange County. Seligmann befriended many American artists and became a close friend of the art historian Meyer Schapiro. With Schapiro as author, he produced in 1944 a limited edition set of six etchings illustrating the Myth of Oedipus, surely his masterpiece in this medium and one of the greatest works of Surrealist printmaking. As the Surrealists' expert on magic, he also wrote The History of Magic : The Mirror of Magic (Pantheon Books, 1948). Mythology and esoterica always informed the fascinating and turbulent imagery of his "dance macabre" paintings, and his work began to be exhibited widely and acquired by museums throughout the United States and Europe after the war. Seligmann taught for many years at various colleges around New York, particularly at Brooklyn College, from which he retired in 1958. The changing nature of the New York art world toward an embracement of Abstract Expressionism caused his work to be relegated to past history. Due to illness, he gave up his New York apartment and retired to his farm, where he died of an accidental self-inflicted gunshot wound in 1962.