Die drei Pierrots Nr. 2 (The Three Pierrots No. 2)
Framed: 36 7/8 x 29 3/8 x 2 inches (93.66 x 74.61 x 5.08 cm)
- 217
Die erste Ausstellung der Redaktion der Blaue Reiter, Galerien Thannhauser, Munich, December 18, 1911–January 1, 1912, no. 7 (traveled in modified form to several other European cities, 1912–14).
Der Blaue Reiter, Franz Flaum, Oskar Kokoschka, Expressionisten: Erste Ausstellung der Sturm, Der Sturm, Leitung: Herwarth Walden, Berlin, March 12–April 10, 1912, no. 5.
A. Bloch—München, Der Neue Kunstsalon, Munich, May 1913, no. 24 (as Die drei Pierrots).
Stationen der Moderne: Die bedeutenden Kunstausstellungen des 20. Jahrhunderts in Deutschland, Berlinische Galerie, Museum für Moderne Kunst, Photographie und Architektur, September 25, 1988–January 8, 1989, no. 7 (as Die drei Pierrots).
Albert Bloch: The American Blue Rider, Nelson-Atkins Museum of Art, Kansas City, Mo., January 26–December 7, 1997 (traveled), no. 5.
Concerning Expressionism: American Modernism and the German Avant-Garde, Hollis Taggart Galleries, New York, May 19–July 31, 1998, no. 2.
Der Blaue Reiter und das Neue Bild: Von der “Neuen Künstlervereinigung München” zum “Blauen Reiter,” Städtische Galerie im Lenbachhaus und Kunstbau, Munich, July 3–October 3, 1999, no. 251.
St. Louis native Albert Bloch spent more than a decade in Germany beginning in 1908. In Munich in 1911, he was the only American invited to participate in the first exhibition of the avant-garde Blue Rider group. Die drei Pierrots Nr. 2 was one of Bloch's six entries
To Mrs. Albert Bloch (the artist’s widow), Lawrence, Kans., 1961;
to the Nelson-Atkins Museum of Art, Kansas City, Mo., 1997.
Wassily Kandinsky and Franz Marc, Die erste Ausstellung der Redaktion der Blaue Reiter, exh. cat. (Munich: F. Bruckmann, 1911), 3.
Zeitung Hagen, July 6, 1912, clipping, NAMA curatorial files.
Richard C. Green, “Albert Bloch, His Early Career: Munich and der Blaue Reiter,” Pantheon: Internationale Zeitschrift für Kunst 39 (January–March 1981), 71–72, 74.
Janice McCullagh, “Disappearances; Appearances: The First Exhibition of the ‘Blaue Reiter,’” Arts Magazine 62 (September 1987), 46.
Stationen der Moderne: Die bedeutenden Kunstausstellungen des 20. Jahrhunderts in Deutschland, exh. cat. (Berlin: Berlinische Galerie, in association with Nicolai, 1988), 112–13, 120 (as Die drei Pierrots).
Armin Zweite, The Blue Rider in the Lenbachhaus, Munich (Munich: Prestel-Verlag, 1989), 32 (ill. in installation shot of Blue Rider exhibition).
Maria Schuchter, “Albert Bloch,” Ph.D. diss., Universität Innsbruck, 1991, 24 (as Die Drei Pierrots), 62 (as Drei Pierrots), 126.
Bruce Altschuler, The Avant-Garde in Exhibition: New Art in the 20th Century (New York: Harry N. Abrams, 1994), 51.
David Cateforis, “Albert Bloch: The American Blue Rider,” American Art Review 9 (January–February 1997), 132–33, 135.
Charles Cowdrick, “Art: The Reluctant Modernist,” Pitch Weekly (Kansas City, Mo.), February 6, 1997, 47.
Simone Dattenberger, “Schemenhaftes im Spinnweb-Wald,” Münchner Merkur, April 16, 1997, 8.
Alexander Hosch, “Amerikas Blauer Reiter,” Passauer Neue Presse, June 10, 1997, unpaginated.
Henry Adams, Margaret C. Conrads, and Annegret Hoberg, eds., Albert Bloch: The American Blue Rider, exh. cat. (Munich: Prestel-Verlag, in association with Nelson-Atkins Museum of Art and Städtische Galerie im Lenbachhaus, 1997), 27–28, 32, 61, 64, 67, 76n24, 209, pl. 5.
Annegret Hoberg and Henry Adams, eds., Albert Bloch: Ein amerikanischer Blauer Reiter, exh. cat. (Munich: Prestel-Verlag, in association with Städtische Galerie im Lenbachhaus, 1997), 27–28, 32, 61, 64, 67, 76n24, 209, pl. 5.
Frank Baron,
Helmut Arntzen, and David Cateforis, eds., Albert
Bloch: Artistic and Literary Perspectives (Munich: Prestel-Verlag, in
association with Max Kade Center for German-American Studies, University of
Kansas, 1997), 15,
42–43, 45, 53n23, 122, 173, pl. 4.
Julie Aronson, “New at the Nelson: Two Paintings by Albert Bloch Donated,” Calendar of Events (Nelson-Atkins Museum of Art), March 1998, 2, cover.
Concerning Expressionism: American Modernism and the German Avant-Garde, exh. cat. (New York: Hollis Taggart Galleries, 1998), 28, 33, 112.
Annegret Hoberg and Helmut Friedel, eds., Der Blaue Reiter und das Neue Bild: Von der “Neuen Künstlervereinigung München” zum “Blauen Reiter,” exh. cat. (Munich: Prestel-Verlag, in association with Städtische Galerie im Lenbachhaus, 1999), 318, 351, pl. 173.
