About This Artwork

Robert Delaunay
French, 1885–1941

Champs de Mars: The Red Tower, 1911/23

Oil on canvas
63 1/4 x 50 5/8 in. (160.7 x 128.6 cm)
Signed and dated, l.r.: "r.d. 1911"
Inscribed on verso: "Champs de Mars / LA Tour rouge / 1911 / r. delaunay (epoque destructive)"

Joseph Winterbotham Collection, 1959.1

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Galerie Barbazanges, Les Peintres R. Delaunay, Marie Laurencin, February 28–March 13, 1912, cat. 5.

Berlin, Galerie der Sturm, XII Ausstellung: R. Delaunay, Ardengo Soffici, Julie Baum, February 1913, cat. 1.

Budapest, Museum House, International Post-Impressionist Exhibition, April–May 1913, cat. 41.

São Paolo, Brazil, Conservatório Dramático e Musical, June 12, 1924.

São Paolo, Brazil, exhibited during Tarsila do Amaral show, September 1929.

São Paolo, Brazil, Sociedade Pro Arte Moderna, Primero Exposição de Arte Moderna da Sociedade pro Arte Moderna: Pintura, Escultura, Arquitetura, 1933 (ill.), as Torre Eiffel.

Paris, Orangerie des Tuileries, Robert Delaunay (1885–1941), May 25–August 30, 1976, pp. 21 and 54, cat. 29 (ill.); traveled to Baden-Baden, Staatliche Kunsthalle, September 17–November 7, 1976.

Philadelphia Museum of Art, Futurism and the International Avant-Garde, October 26, 1980–January 4, 1981, cat. 84 (ill.).

Nagaoka, Japan, Niigata Prefectural Museum of Modern Art, Masterworks of Modern Art from The Art Institute of Chicago, April 20–May 29, 1994, pp. 92–93, cat. 24 (ill.); traveled to Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994, and Yokohama Museum of Art, August 6–September 25, 1994.

New York, Solomon R. Guggenheim Museum, Visions of Paris: Robert Delaunay's Series, January 16–April 25, 1998, pp. 32–33, and 35, cat. 30 (ill.); traveled to Berlin, Deutsche Guggenheim, November 7, 1997–January 4, 1998.

Paris, Centre Georges Pompidou, Robert Delaunay 1906–1914: De L’Impressionisme à Abstraction, June 3, 1999–August 16, 1999, pp. 137 and 147 (ill.).

Madrid, Museo Thyssen-Bornemisza, Robert y Sonia Delaunay, 1905–1941, October 8, 2002–January 12, 2003, pp. 154–155, cat. 55 (ill.).

Publication History

Apollinaire, Guillaume, Les Fenêtres (Album edited by R. Delaunay) (Paris, 1912), pl. 3.

Galerie Barbazanges, Les Peintres R. Delaunay, Marie Laurencin, exh. cat. (Paris: Galerie Barbazanges, 1912), cat. 5.

Bulletin de L’Effort Moderne 6 (June 1924), n.p. (ill.), as La Tour Eiffel.

Einstein, Carl, Die Kunst des 20 Jahrhunderts (Berlin: Im Propyläen, 1926), pp. 342 and 563 (ill.), as Der Eifelturm.

Bazin, Germain, “L’Orphisme,” L’Amour de l’Art XIV:10 (December 1933), pp. 246 and 248, fig. 311, as La Tour Eiffel.

Sociedade Pro Arte Moderna, Primero Exposição de Arte Moderna da Sociedade pro Arte Moderna: Pintura, Escultura, Arquitetura, exh. cat. (São Paolo, Brazil: Sociedade Pro Arte Moderna, 1933) (ill.), as Torre Eiffel.

Zervos, Christian, Histoire de l’Art Contemporain (Paris: Éditions Cahiers d’Art, 1938), p. 247 (ill.), as La Tour Eiffel.

“El Juicio de Paris,” Cuadernos Americanos 2:4 (July-August 1943), p. 59 (ill), as La torre Eiffel.

do Amaral, Tarsila, “Recordações de Paris,” Habitat 6 (1952), p. 21 (ill.).

Degand, Léon, “La Peinture Cubiste,” Art d’Aujourd’hui 3–4:4 (1953), p. 15 (ill.), as Torre Eiffel.

Aznar, José Camón, Picasso y el Cubismo (Madrid: Espasa-Calpe, 1956), p. 142, fig. 83, as Tour Eiffel.

Habasque, Guy, Robert Delaunay: Du Cubisme à l’Art Abstrait (Paris: S.E.V.P.E.N., 1957), pp. 261 and 362–363, no. 88, as La Tour Eiffel.

Art Institute of Chicago Annual Report 53:3 (1958–1959), p. 10.

Paintings in The Art Institute of Chicago (Chicago: Art Institute of Chicago, 1961), pp. 123–4, and 429 (ill.).

Barry, Edward, “A Legacy that Grows—Winterbotham Collection,” The Chicago Tribune (August 25, 1963), p. F4, as Champ de Mars.

Speyer, A. James, “Twentieth-Century Paintings and Sculpture,” Apollo LXXXIV:55 (September 1966), p. 222.

Instituto de Arte de Chicago (El Mundo de los Museos) (Buenos Aires: Editorial Codex, 1967), pp. 14 and 71, no. 58 (ill.).

Vriesen, Gustav and Max Imdahl, Robert Delaunay—Licht und Farbe (Cologne: M. DuMont Schauberg, 1967), p. 40.

Amaral, Aracy A., Blaise Cendrars no Brasil e os modernistas (São Paolo, Brazil: Martins, 1970), pp. 106–107 and 114.

Maxon, John, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), p. 111 (ill.).

Grung, Sandra, Supplement to Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1971), p. 29.

Morin, Isabelle, Analyse Raisonné des Catalogues d’Exposition des Peintres Cubistes (1907–1914) (Paris: Institut d'art et d'archéologie, 1972), p. 15.

Gordon, Donald E., Modern Art Exhibitions 1900–1916 (Munich: Prestel-Verlag, 1974), I: 211, no. 904, II: 553, 663, and 702–703.

Amaral, Aracy A., Tarsila—sua obra e seu tempo (São Paolo: Editora Perspectiva, 1975), pp. 86, 115, note, 3, 117, 129, 179, 287, 467, and 487.

Hoog, Michel, Robert Delaunay, trans. by Alice Sachs (New York: Crown Publishers, 1976), p. 19 (ill.).

Rudenstine, Angelica, The Guggenheim Museum Collection: Paintings 1880–1945 I (New York: Solomon R. Guggenheim Foundation, 1976), pp. 104–107.

Orangerie des Tuileries, Robert Delaunay (1885–1941), exh. cat. (Paris: Orangerie des Tuileries, 1976), pp. 21 and 54, cat. 29 (ill.).

Hoog, Michel, “Robert Delaunay,” La Revue du Louvre et des Musées de France XXVI:2 (1976), p. 121, fig. 2.

“Le puits et les fenêtres: Robert Delaunay,” L’Architecture d’Aujourd’hui 187 (October–November 1976), p. XXI (ill.).

Art Institute of Chicago: 100 Masterpieces (Chicago: Art Institute of Chicago, 1978), pp. 124–125, no. 72 (ill.).

Buckberrough, Sherry Ann, Robert Delaunay: The Early Years, Ph.D. dissertation, University of California, Berkeley, 1978, pp. 131–132, 479, 570, pl. 102.

Robert/Sonia Delaunay, exh. cat. (Tokyo: Musée National d’Art Moderne, 1979), n.p. (ill.).

Speyer, A. James and Courtney Graham Donnell, Twentieth Century European Paintings (Chicago: University of Chicago Press, 1980), p. 38, no. 1E2.

d’Harnoncourt, Anne, Futurism and the International Avant-Garde, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1980), cat. 84 (ill.).

Clarke, Jane, Gallery Guide (Chicago: The Art Institute of Chicago) (ill.).

Silk, Gerald D., “Futurism in Context,” Arts Magazine 55:6 (February 1981), p. 148 (ill.).

Glaubinger, Jane, “A Double-Sided Drawing by Ludwig Meidner,” Bulletin of The Cleveland Museum of Art LXIX:9 (November 1982), p. 302, fig. 6.

___, “Two Drawings by Joseph Stella,” Bulletin of The Cleveland Museum of Art LXX:10 (December 1983), p. 383, fig. 3.

Girardet, Sylvie, Claire Merleau-Ponty, and Anne Tardy, “Le muse de fer,” Monuments historiques 132 (April–May 1984), p. 31.

Delaunay und Deutschland, exh. cat. (Cologne, Germany: Dumont Buchverlag, 1985), pp. 153, pl. 6, p. 293, fig. 2, 361, fig. f, and 362.

Art Institute of Chicago, The Joseph Winterbotham Collection: A Living Tradition (Chicago: The Art Institute of Chicago, 1986), pp. 13, 47 (ill.), and 60, as Champs de Mars (The Red Tower), 1911.

David Travis, “In and Of the Eiffel Tower,” Art Institute of Chicago Museum Studies 13:1 (1987), pp. 12, 14–15, fig. 11.

Wood, James N. and Katharine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1988), p. 116 (ill.).

Nouveau Larousse Encyclopedia (1993).

Wohl, Robert, A Passion for Wings: Aviation and the Western Imagination, 1900–1918 (New Haven, Conn.: Yale University Press, 1993), pp. 183–184, pl. 237.

Wood, James N., Treasures of 19th-and 20th-Century Painting: The Art Institute of Chicago (New York: Abbeville Press, 1993), p. 209 (ill.).

Düchting, Hajo, Robert und Sonia Delaunay: Triumph der Farbe (Cologne: Benedikt Taschen, 1993), pp. 24–25 and 93 (ill.).

Kimura, Shigenobu, Shuji Takashina, and Koichi Kabayama, Journey into the Masterpieces: 20th Century (Kodansha Publishers, 1993).

Masterworks of Modern Art from The Art Institute of Chicago, exh. cat. (Tokyo: Asahi Shimbun 1994), pp. 92–93, cat. 24 (ill.).

Andreotti, Margherita, “The Joseph Winterbotham Collection,” The Art Institute of Chicago, Museum Studies 20:2 (1994), pp. 142–143 (ill.).

Wood, James N. and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: The Art Institute of Chicago, 1996, p. 6 (ill.).

Murphy, Kevin D., “Cubism and the Gothic Tradition,” in Architecture and Cubism (Montreal, Québec: The Canadian Centre for Architecture, 1997), pp. 70–71 (ill.).

Tarsila anos 20, exh. cat. (São Paulo, Brazil: Galeria de Arte do Sesi, 1997), p. 124.

Tarsila do Amaral: Projeto Cultural Artistas do Mercosul (São Paulo, Brazil: Museu de Arte Moderna de São Paulo, 1998), pp. 36–37 and 221 (ill.).

Rosenthal, Mark, Visions of Paris: Robert Delaunay’s Series, exh. cat. (New York: Solomon R. Guggenheim Museum, 1998), pp. 32–33, and 35, cat. 30 (ill.).

Gotlib, Nádia Battella, Tarsila do Amaral, a modernista (São Paulo, Brazil: Editora SENAC, 1998), pp. 164–165 and 166 (ill.).

Art and its Histories: The Challenge of the Avant-Garde (New Haven, Conn.: Yale University Press, 1999), pp. 161–162, pl. 127.

Robert Delaunay 1906–1914: De L’Impressionisme à Abstraction, exh. cat. (Paris: Éditions du Centre Pompidou, 1999), pp. 137 and 147 (ill.).

Amaral, Aracy, Tarsila Cronista (São Paulo, Brazil: Editora da Universidade de São Paulo, 2001), pp. 71–72, as Tour Eiffel.

Museo Thyssen-Bornemisza, Robert y Sonia Delaunay, 1905–1941, exh. cat. (Madrid: Museo Thyssen-Bornemisza 2002), pp. 154–155, cat. 55 (ill.).

Sotheby’s, New York, Russian Art (New York: Sotheby’s, April 23, 2004), p. 82, fig. 2, as The Eiffel Tower.

Ownership History

Sold by Galerie L’Effort Moderne, Paris, to Tarsila do Amaral (1886–1973), Paris and São Paolo, Brazil, 1923 [letter from Aracy A. Amaral of July 15, 1975 in curatorial file]; sold to the Galerie Michel Couturier, Paris, c. 1952 [letter mentioned above]. Sold by Justin K. Thannhauser, New York, to the Art Institute, 1959.




View mobile website