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The follow- ing Staff members are also thanked for their assistance: Diana Murphy, 10 Editorial Coordinator, Lewis Kachur and Nancy Spector, Curatorial As- sistants.

Hirschfeld, as Exhibition Coordinator; and Carol Fuerstein, in her capacity as the Guggenheim's Editor, all of whom, thanks to their analogous involvement in all three installments, made valuable and determinative contributions to the Kaisky in Paris exhibition. Bar- nett has also enriched the catalogue by writing a searching essay.

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Summers, Registrar; Jane Rubin, Associate Registrar; Guillermo Alonso, Assistant Registrar; Stephanie Stitt, Registrar's Coordinator; Saul Fuerstein, Preparator; William Smith, David M. Cartmel, Technical Services Coordinator; Leni Potoff, Associate Conservator; Gillian Mc Millan, Assistant Conservator; Elizabeth Estabrook, Conservation Coordinator; Scott A. To these federal agencies I take pleasure in extending the deeply felt gratitude of the Guggenheim's Trustees and Staff. Briggs, Information; Christopher O'Rourke, Building Superintendent; Robert S. No fewer than eight major museums in five differ- ent countries will have shared parts of the cycle with us by the conclusion of the present show, and it is a pleasure, therefore, to salute Peter C. Heald, Pho- tographer; Myles Aronowitz, Assistant Photographer; Holly Fullam, Photography Coordinator Mimi Poser, Officer for Development and Public Affairs; Carolyn Porcelli, Ann Kraft, Development Associates; Richard Pierce, Public Affairs Associate; Elizabeth K. Greenberg, Public Affairs Coordinator; Linda Gering, Special Events Coordinator; Ann D. Development Coordinator; Veronica Herman, Membership Assistant; Amy Sephora Pater, Public Affairs Assistant; Peter Meitzler, Computer Assistant Agnes R. Ornstein, Accounting Assistant; Stefanie Levinson, Sales Manager; Robert Turner, Manager, Cafe and Catering; Maria Masciotti, Assistant Cafe Manager; Fred Lee, Assistant Cafe Manager-Kitchen Preparation; Katherine W. Guggen- heim Museum originated the three exhibitions devoted to Kandinsky's life- work, the public range of the project extended far beyond the presentations that opened in New York. So it has become fashionable to listen to the great masters' swan songs and abandon the idea of the avant-garde in art history. On the large stone slab that covers his grave appear these words only: 'Wassily Kandinsky, 1866-1944.'" Burial is in the Cimetiere nouveau de Neuilly, rue Vimy, Nanterre, i6e division, serie 53, tombe no. In France the connection between money and art is considered not quite decent. Even what seemed unthinkable a few years ago has been achieved: de Chirico's last paintings, those from 1920 until his death in 1978, have been rehabilitated. 246-247: "Kandinsky continued working until March 1944, then he fell ill. He was buried in the cemetery in Neuilly, only a few per- sons being present at the funeral. Kandinsky's correspondence fre- quently has to do with money. Messer, Vice-President Christian Derouet, Secretary Edouard Balladur Karl Flinker Jean-Claude Groshens Pontus Hulten Jean Maheu Werner Schmalenbach Armin Zweite t Hans K. Guggenheim Foundation, New York, 1985 ® The Solomon R. Hirschfeld, both of whom so painstakingly organized this exhibition, and to Carol Fuerstein for her thoughtful editing of the catalogue. K33A4 1985 76o'.09i'4 84-27617 ISBN: 0-89107-049-8 Kandinsky Society Claude Pompidou, President Dominique Bozo, Vice-President Thomas M. Guggenheim Foundation HONORARY TRUSTE] S IN PERPETUITY Solomon R. Thannhauser, Peggy Guggenheim president Peter Lawson-Johnston vice president The Right Honorable Earl Castle Stewart trustees Carlo De Benedetti, Elaine Dannheisser, Michel David-Weill, Joseph W. Despite all of its flaws, this essay is a tribute to the warm and constructive reception Nina Kandin- sky gave everyone who shared her admira- tion for her husband's work. Messer for his faith in my ability to deal with the Pans period, for his understanding and pa- tience while this essay was in preparation, to Vivian Endicott Barnett and Susan B. Janklow, Barbara Jonas, Denise Saul, Hannelore Schulhof secretary-treasurer Theodore G. Jackson staff Vivian Endicott Barnett, Curator; Lisa Dennison, Susan B. The large sums of money required nowadays for the realization of major museum shows and publications have long since outstripped the financial capacities of most originating museums. Guggenheim Museum deputy director Diane Waldman administrator William M. It would be unthinkable to conclude an undertaking of such magnitude without stressing the enabling part played by sponsors.KANDINSKY IN PARIS KANDINSKY IN PARIS: 1934-1944 KANDINSKY IN PARIS 1934-1944 This exhibition and catalogue are supported by a grant from the National Endowment for the Humanities. In tins context we can scrutinize the output of Kandinsky's last ten years, and 12 take a closer look at what little the critics have said about it. Kandinsky can easily be excused for talking about money at such length in his letters because he had to fight a hard battle in order to earn any in Paris.Additional funding for the exhibition has been provided by the National Endowment for the Arts. Guggenheim Museum, New York Library of Congress Cataloging in Publication Data Kandinsky, Wassily, 1866-1944. They generally dismiss the last decade as a period of only secondary importance, a phase that we can skip even if we wish to grasp his work as a whole. Michel Conil Lacoste, Kandinsky, New York, 1979, p. Andre Breton, "Some Appreciations of the Work of Wassily Kandinsky" in Wassily Kandinsky, exh. Breton's twenty-two-line preface for the catalogue for the show, which opened at Guggenheim Jeune on Feb. ." The letters to Kandinsky cited in these notes are preserved in the Kandinsky Archive, MNAM. Frank Stella, "Complexite simple- Ambigui'te" in Kandinsky: Album de I'e.xposition, exh. Not one Paris dealer wanted to Kandinsky he was asked to write in 1958, he did not dwell on the Paris years, and acknowledged that he did not understand them very clearly.


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