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PRESS KIT «SAUL STEINBERG. VISUAL WRITING »
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TOMI UNGERER MUSEUM - INTERNATIONAL CENTER OF ILLUSTRATION, NOVEMBER 27 2009 - FEBRUARY 28 2010
1. PRACTICAL INFORMATION
PAGE 2
2. PROJECT
PAGE 3
3. THE VISIT
PAGE 4
4. PRESENTATION OF THE CATALOG
PAGE 7
5. SAUL STEINBERG’S BIOGRAPHY
PAGE 10
6. LIST OF DONATIONS
PAGE 12
7. SELECTIVE BIBLIOGRAPHY
PAGE 14
8. FEATURES AROUND THE EXHIBITION
PAGE 16
9. VISUALS AVAILABLE FOR THE PRESS
PAGE 18
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1. Practical Information
Tomi Ungerer Museum – International Center of Illustration
Venue:
2, Avenue de la Marseillaise, Strasbourg
Tel: 33 03 69 06 37 27
Fax: 33 03 69 06 37 28
Museum Hours:
Open daily from 12pm to 6 pm and Saturdays and Sundays 10am to 6pm. Closed Tuesdays
Closed yearly: January 1st, Good Friday, May 1st, November 1st and 11th, December 25th
Group visits:
For all groups of 10 or more, reservations are required with the Museums’ Educational Services
Department
call 03 88 88 50 50 (from Monday to Friday 8:30am to 12:30pm)
Ticket prices:
General public: 5 Euros
Reduced Admission: 2.50 euros
Free Admission for the following:
- children under 18
- Culture card holders
- Atout Voir card holders
- Museums Pass musées card holders
- Edu’Pass card holders
- handicapped visitors
- Art and Art History students
- the unemployed
- those receiving social assistance
- CUS agents with badges
- for everyone , the first Sunday of each month
1-day Pass : 8 euros, reduced admission 4 euros (access to all of Strasbourg’s city museums and
temporary exhibits).
3-day Pass : 10 euros (access to all of Strasbourg’s city museums and their temporary exhibitions).
Museums Pass Musées – valid one year, 180 museums: 69 euros individual pass, family pass 119
euros (access to over 180 museums in Alsace, Switzerland and Germany)
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2. The Project
The “Saul Steinberg. Visual Writing” Exhibition on view from November 27th 2009 to February 28th
2010 at the Tomi Ungerer Museum-International Center of Illustration
will inaugurate programming at the museum honoring the history of illustration in the 20th century.
Saul Steinberg (1914-1999), American artist of Rumanian descent is especially renowned for his
sixty-year contribution of illustrations and covers at The New Yorker magazine. For the first time ever
this exhibit brings together Steinberg’s original work and exclusive archived documents from private
and public European collections.
Saul Steinberg is considered a master of drawing and illustration: “You draw like a king”, Le
Corbusier once wrote him. The artist was born in Rumania and fled from Europe to the United States
during the rise of Fascism. After settling in New York he began drawing for advertising and the press
making a name for himself with his numerous cartoons for The New Yorker. His work was presented
at MoMA as early as 1946.
The exhibit at the Tomi Ungerer Museum highlights Steinberg’s sharp, synthetic line in all its
graphical technique. When symbols and calligraphy are added, the whole becomes true “visual
writing”, the work’s hallmark, according to art critic Pierre Schneider. His iconographical themes are
extremely diversified; we discover among others, music, animals, women, forged documents, the
nose, masks, landscapes, architecture and the city. But his major work was undoubtedly a critique of
American society’s institutions and symbols. An important element of the visit also includes work on
view by other modern cartoonists influenced by Steinberg.
The exhibition and its catalog published by the Museums of Strasbourg is comprised of
approximately 150 original works and documents from archives loaned by private and public
collections across Europe. These are supplemented by several films including “La Ligne de
Steinberg” directed by the artist’s niece Daniela Roman and Thierry Fontaine.
We would like to extend warm thanks to the Saul Steinberg Foundation and especially to its director,
Sheila SCHWARTZ, as well as Peter KASSOVITZ, Bernard PARMEGIANI and the Institut National de
l’Audiovisuel.
Commissioner: Thérèse WILLER, curator of the Tomi Ungerer Museum – International Center of
Illustration
Scientific collaborator: Bénédicte MATHEY, certified assistant of conservation for cultural heritage
The Tomi Ungerer Museum – International Center of Illustration
The Tomi Ungerer Museum – International Center of Illustration opened its doors in 2007 and is the
first Museum in France devoted to this sector of the arts. Located in the villa Greiner, a late 19th
century edifice in the heart of Strasbourg in a historical neighborhood with exceptional architectural
surroundings, the museum was named after Strasbourg’s renowned illustrator and artist who was
born in 1931. The visit mainly presents work on paper, a product of the artist’s successive donations
to his native city since 1975. The museum was designed to present every aspect of the artist’s
prolific, world-famous work, from children’s books to satirical drawing to posters and advertisements
and also includes sculptures. The museum is also designed to exhibit diverse 20th century artists on
the international scene who have shaped the history of the little-known art of illustration.
Strasbourg’s tenth museum bears witness to the tradition of illustration which has been an
important element of the town since the development of printing: Gustave Doré was born in
Strasbourg and the Superior School of Decorative Arts has faithfully passed on the tradition of
illustration thanks to its internationally famous workshop.
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3. The visit
The “Saul Steinberg, Visual Writing” exhibition including nearly 135 works, documents and archives
is on view on the first floor of the Tomi Ungerer Museum – International Center of Illustration.
The visit is divided into six sections with eleven subsections thematically unveiling Steinberg’s rich
collection of works. Works by other illustrators are an integral part of the visit, contextualizing the era
and shedding light on today’s creation.
Three films will be projected non-stop as an additional feature to the visit :
Daniela ROMAN and Frederic FONTAINE, La ligne Steinberg, AAPA. 2008. 26 minutes
Peter KASSOVITZ, Saul Steinberg, ORTF, 1966, 14 minutes
Steinberg, “Du Cote de chez les Maeght”, ORTF, emission broadcast on 7/10/1973, 14 minutes with
a sonorous background composed of extracts:
“Portrait of Hitch”, from Alfred HITCHCOCK’s movie. The Trouble with Harry. 1955 UNIVERSAL music
by Bernard HERRMAN. 2 minutes; extract from Violostries by Bernard PARMEGIANI. 1964.
INA-GRM, 2mn.
The exhibition includes the following sections:
• Biography
I owe my training to family albums. We would look through the photographs of our relatives, uncles,
aunts, cousins, grandparents and great-grandparents (…). These portraits became my first source of
inspiration. (Saul Steinberg and Aldo Buzzi. Ombres et reflets. Paris. Christian Bourgois Editor. 2002.
pp.15-16 )
Several series of photographs taken by Steinberg’s friends in addition to drawings are on show
during the exhibition. Robert Doisneau, Irving Penn, Stefan Moses and Inge Morath reveal a portrait
of the artist and his work.
Exceptional loan: an exquisite corpse drawn with Picasso in 1958 marking Steinberg’s encounter
with this painter and his fascination for surrealist games.
• Illustrated drawings
The New Yorker represents my political world. It is my duty. It allows me to express subversive
politics. (Saul Steinberg, Art in America. 1970)
Saul Steinberg began his career publishing cartoons for Italian humor tabloids, especially Settebello
and Bertoldo. His drawings were connotative of an era, analogous to Maurice Henry or Dubout. He
immigrated to the United States in 1941, where he collaborated in the prestigious magazine The
New Yorker with a reputation for publishing cartoonists’ work and making illustrators such as Chas
Addams, James Thurber and Peter Arno famous. There, he developed a process of one-line drawing,
or drawings consisting of a single line, with or without captions. He diversified this technique to
include letters, numbers and symbols, becoming true puzzles to which he added color and collage.
Altogether, Steinberg produced nearly 800 cartoons and illustrations for the magazine. In addition to
the original drawing featured on June 6th 1970’s cover having for theme Millet’s The Angelus, various
covers and illustrations for articles are on display.
Sub-section: first cartoons for The New Yorker
•
Visual writing and forged papers
Sudden infatuation, obsessive repetition: Steinberg thinks of nothing but the fingerprint, seeing it
everywhere metaphorically speaking, in a thousand forms both unexpected and plausible: the round
striated imprint of passports and police files becomes the favored painting on an easel, a face,
landscape, cloud, hill, etc. (Roland Barthes. All except you, Paris. Galerie Maeght. Edition Repères.
Collection Edition d’art, 1083, p.30)
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From the forties onward Steinberg tried his hand at several graphic styles drawn on a single sheet of
paper. Researching his own personal calligraphy: “I am a writer who draws” he was known to say and
a series of drawings repeatedly making use of hatchings dots, lines, etc. are proof of this
experimentation. This search lends itself to forgery: from his years in exile beginning in 1940 when
he fled fascist Italy, Steinberg evokes the Administration’s obsession for stamps and fingerprints: he
twists this around, reproducing it, using it as a new motif for his iconographical repertory, making
use of rubber stamps to create archetypes (man standing, the walking man, the Indian with a spear,
woman, etc.) and simple geometries. After motif, the stamp becomes the pretext for a game around
forgery and disguise. Thus Steinberg begins drawing diplomas, passports, letters and all sorts of
official documents that he gives to his friends authorizing them, if the need should arise, to exercise
their craft of painter and sculptor (Giacometti), photographer (Henri Cartier-Bresson, Sigrid Spaeth)
and architect Le Corbusier).
Sub-section: visual writing, forged documents, literature and music
•
Metamorphoses
A mask represents how people want to project themselves, what they want to be. An individual’s life
can be divided into two parts: emotional, physical, intimate life and political and social life, when we
come in contact with others and must constantly present ourselves as we’re expected. You are
always expected to wear the same facial expression to reassure people. People are shocked when
you don’t look like yourself anymore or when you loose or gain weight. (Saul Steinberg. Le Masque.
texts by Michel Butor and Harold Rosenberg. Photographs by Inge Morath, Paris, Maeght Editor,
1966. n.p.)
A mixture of poetry and enigma, trompe-l’œil was of particular interest for Steinberg. If he excelled in
the production of forged documents, he also enjoyed drawing in or adding human figures on diverse
and banal objects (benches, lamps, chairs, bathtubs, moving boxes) using ink. In the sixties
Steinberg further explores trompe-l’œil sculpture, something he describes as “museum caricatures”.
He created wooden drawing tables in trompe-l’œil, objects – a fake Leica, false matchboxes or
crayons – drawings and collages. More social type than trompe-l’œil or caricature, Steinberg creates
masks from brown paper shopping bags: “The mask is not a portrait but a sort of prototype. Making
us seem permanently optimistic. Adding that: “A mask represents how people want to project
themselves, what they’d like to be.” The illusion of appearances takes on the same sort of meaning
with man’s metamorphoses into animal, or the opposite. Steinberg’s favorite animal the cat often
figured in his drawing, adopting a human face and attitude.
Sub-section: trompe-l’œil, man-animal, masks
•
Landscapes
As a former child, it is an honor for me to realize that during my lifetime I have actually been in
countries or on oceans and rivers that I have seen on a planisphere or read about in Jules Verne.
(Steinberg, interview with Jean Frémon. Paris. Galerie Maeght Lelong, Repères. Cahiers d’art
contemporain, no. 30, 1986, p.18).
Saul Steinberg’s “landscapes” are both interiors and exteriors. The illustrator took inspiration from
different environments, that of his youth when he was studying architecture in Italy, followed by his
adult years spent in the U.S. and during numerous trips to Europe. Architecture remained a constant
theme throughout his work, rekindled by his friendship with Le Corbusier. America, however, was his
theme of predilection, seen through his critical eye in satirical renditions of the streets and cocktail
parties replete with prototypical characters. The zenith of this is a work created for the 1958 World
Fair in Brussels entitled “The Americans” which sketches out a panorama of American society and its
stereotypes and codes, one of its panels is on display at the museum, Downtown – Big City. Copies of
The New Yorker, documents of archives and by products of the era produced by Saul Steinberg
complete the presentation of original drawings.
Sub-section: landscapes and architectures, design and interiors, America
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•
Heirs
Giants of illustration Jean Bose, Chaval and André François recognize Saul Steinberg as the
incontestable master of the genre. Three scenes treating mores with synthetic and expressive line
show a taste for absurd and offbeat situations taken from real life. Contemporaries Ronald Searle,
Jean-Jacques Sempé and Tomi Ungerer, have distinguished themselves in similar sectors of
illustration and given graphic arts of the late 20th century its most remarkable works. A special place
has been set aside for Pierre Etaix (born in 1928), man of cinema and circus, illustrator who gaily
practiced the burlesque and visual gags. Christian Antonelli, Philippe Geluck and Serguei represent a
new generation of cartoonist-illustrators. They have developed a caustic, satirical vision of modern
society using modes of expression that, while sometimes quite different from each other, all share a
love for the line.
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4. Presentation of the Catalog
Saul Steinberg, L’écriture visuelle
editorship by Thérèse WILLER
Texts by Philippe DAGEN; Daniela ROMAN, Jean-Philippe THEYSKENS, Iain TOPLISS, Tomi UNGERER,
Thérèse WILLER
20 x 26 cm
192 pages
150 colored illustration approx.
ISBN : 978-2-35125-074-7
SOMMAIRE
Préface
Introduction de Tomi UNGERER
Textes :
- Daniela Roman : Mon oncle d’Amérique
- Iain Topliss : Saul Steinberg
- Philippe Dagen : Steinberg postmoderne ?
- Jean-Philippe Theyskens: Un américain à Bruxelles. Saul Steinberg et le Pavillon des ÉtatsUnis à l’Expo 58.
- Thérèse Willer : Les « Héritiers »
Catalogue des œuvres exposées
Biographie
Bibliographie sélective
EXTRAITS
Introduction de Tomi Ungerer
C’est au centre culturel américain de Strasbourg que j’ai découvert le premier album de Steinberg All
in Line. Un déclic, une illumination.
Tomi Ungerer
Textes
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Daniela Roman : Mon oncle d’Amérique
Nous étions complices quand je lui disais, tu es mon oncle d’Amérique, l’oncle SAM et nous riions
ensemble de l’image que cela nous évoquait... Lui ne souhaitait qu’une chose : que l’on soit amis et
non pas oncle et nièce. Mais je dois dire que nous n’avons jamais été capables de dépasser cette
relation familiale et hiérarchique, où je me voyais toute petite à côté de lui, nimbé de sa célébrité et
ses talents artistiques.
Pourtant...
Daniela Roman
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Iain Topliss : Saul Steinberg
What was Saul Steinberg? Neither an artist nor cartoonist, but something different from and greater
than both, whose borrowed styles and techniques, not adopted but appropriated, everything drawn at
one remove, became his primary language. He did not just add to the art of illustration but enlarged
and reformed the genre to the point at which imitation would become impossible. Steinberg was a
hybrid and the producer of hybrid artwork at the crossover point of the three orders of the sign—the
iconic, the indexical and the symbolic. His oeuvre was truly “l’écriture visuelle”.
He thought of himself as a product of Bucharest. Bucharest, an art deco city of primitivism and the
avant-garde, both European and Asiatic, was, he later declared, one of those “places where two or
three rivers converge and mingle, where there is something essential that has nothing to do with the
ordinary character of the place, something that emerges at a particular moment when cultures, the
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forces of south, north, east, and west come together and give birth to a tornado, a typhoon, a
waterspout, or if you like, an eddy––Dada”. Or, give birth to a Saul Steinberg.
But although he embraced the Dadaist debunking of high art, he rejected central Dadaist tenets: the
emphasis on chance, on the non-rational, on the unimportance of inspiration and craft. Dada,
moreover, sprang into life as a reaction against the carnage of the First World War, using an
historical cause to severe links with historical causality. But Steinberg was unusually receptive to his
age and its conditions, and his work invariably has subterranean links to both his life and times.
Although he was never a central player in the great events of his epoch, nonetheless his work reveals
the sedimentary deposit of the world-historical dramas of the twentieth century. Both his life and his
art were driven this way and that by the currents that shaped the twentieth century: the collapse of
the old world of Eastern Europe, the rise of Fascism in Italy and German, the war in China, North
Africa and the Mediterranean, the opportunities of cosmopolitan post-war Europe, the Cold War, the
vibrant, trashy, exhilarating civilization of mid-century America in all its glory and subsequent decline.
He became––in formally inventive ways––the closest and most intelligent observer of the twentieth
century.
Iain Topliss, professeur à La Trobe University, Melbourne, Australie
Texte traduit en français par Jean-François Allain
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Philippe Dagen : Steinberg postmoderne ?
Pourquoi Saul Steinberg, maintenant ? Dix ans après sa mort, les expositions et les livres semblent
devoir se multiplier. Il y a quelques mois, une jeune artiste française, Camille Henrot, dont la vidéo et
l’installation sont les modes de travail, le citait parmi ses préférences alors que l’on aurait supposé
qu’elle ne pouvait qu’ignorer son nom Qu’est ce qui fait que son œuvre puisse apparaître comme de
celles dont l’époque actuelle à besoin – l’époque et ses artistes ?
Philippe Dagen, professeur d’histoire de l’art contemporain à l’université Paris I
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Jean-Philippe Theyskens : Un américain à Bruxelles. Saul Steinberg et le Pavillon des ÉtatsUnis à l’Expo 58.
- Que pensez-vous de l’Exposition de Bruxelles, monsieur Steinberg ?
- Très bien, très bien !... on aurait dit Jérôme Bosch, il y a quelques jours… (…) : cela faisait penser au
paradis, ou à l’enfer… Vous savez, il faut des expositions : on s’endimanche.
À peine l’Expo 58 inaugurée, la foule se presse pour découvrir le pavillon américain et son voisin,
celui de l’Union soviétique. Pour les États-Unis, l’architecte Edward Durell Stone a conçu un
gigantesque pavillon circulaire translucide. Des panneaux de matière plastique sont suspendus à
l’anneau de compression en béton qui forme une corniche-auvent et retient les câbles qui convergent
vers un cylindre métallique de tension. Celui-ci prend la place du moyeu si l’on compare la structure
du toit à une gigantesque roue de bicyclette. Ouvert au soleil (sun) comme à la pluie, ce cylindre
rappelle l’oculus du Panthéon à Rome tandis que les dimensions du tun (tambour de 105 m de
diamètre et 30 m de haut) rattrapent celles du Colisée. Aéré et lumineux, l’intérieur se déploie
autour d’un plan d’eau et de saules qui ont été englobés dans la construction. Un étage en balcon
ceinture l’intérieur. Pour scénographier l’exposition, Bernard Rudofsky et Peter G. Harnden ont
travaillé non sans difficultés : commencé parmi les derniers à Bruxelles, le chantier a été géré de
main de maître mais problèmes budgétaires et coupes sombres vont se répercuter sur les derniers
aménagements. Le secteur privé sera mis à contribution pour étoffer une présentation sinon
inconsistante et qui n’aurait pas résisté à la comparaison avec celle, impressionnante, des Russes.
Cependant l’esprit qu’entend illustrer le commissaire général de la participation américaine, Howard
S. Cullman, est préservé : une ambiance détendue et même fun insiste sur le mode de vie et décline
les ambiances quotidiennes. Cette authenticité sera parfois coûteuse : le concessionnaire de hot
dogs doit bientôt importer des USA ses petits pains (buns) pour satisfaire ses clients américains
tandis que les visiteurs européens dévalisent les toilettes gratuites achalandées – luxe inédit pour
l’époque - en moelleux rouleaux de papier toilette. Pour triviaux qu’ils soient, ces faits témoignent de
l’expérience pratique de l’american way of life que l’on veut ici proposer. Et si, in extremis, IBM
présente ses machines et qu’une section illustre les développements dans la maîtrise de l’énergie
atomique, le grand public retiendra surtout de la visite le spectacle quotidien d’un défilé de mode
organisé par le magazine Vogue. Au balcon comme au bord de l’eau, la foule admire les mannequins
qui empruntent un plan incliné pour gagner un podium au milieu de l’étang. Sur certains clichés les
spectateurs se confondent avec les silhouettes des panneaux muraux de Saul Steinberg dressés non
loin.
Jean-Philippe Theyskens, historien de l’art
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Thérèse Willer : Les « Héritiers »
Le dessin d’illustration a sans conteste été marqué, dès la deuxième moitié du XXe siècle, par
l’œuvre de Saul Steinberg. D’après Michel Ragon, voici par exemple ce qui déclencha le phénomène
chez les dessinateurs français dans l’immédiat après-guerre : « En 1945, une sélection des dessins
du New Yorker exposée à l’ambassade des Etats-Unis à Paris et la publication du premier album de
Saul Steinberg, All in Line, donnent à la caricature française un coup de poing ». En effet, certains
journaux américains avaient favorisé un genre qui se taillait la part du lion dans le vaste domaine du
dessin satirique, le cartoon, et avaient fait connaître ainsi Chas Addams, Sam Cobean, Rea Irvin,
William Steig ou James Thurber. Ces dessins d’humour étaient accompagnés d’une légende très
courte, ou n’en comportaient aucune et étaient alors appelés sight laughs, littéralement des « rires
au premier coup d’œil ». Mais ils se caractérisaient toujours par un trait simplifié et stylisé, qui a
donné naissance au terme de one-line drawing. La technique qui y était le plus souvent attachée
était le dessin à l’encre de Chine, tracé à la plume ou au pinceau sur le papier. Saul Steinberg, qui fit
ses débuts au New Yorker en 1941, devint rapidement maître en la matière. Rien d’étonnant à ce
que de nombreux dessinateurs de par le monde l’aient reconnu comme tel. En France, c’est le cas de
Bosc, Cabu, Chaval, Desclozeaux, Pierre Etaix, Folon, André François, Ronald Searle, Jean-Jacques
Sempé, Siné, Tomi Ungerer, Willem, Wolinski, pour ne citer qu’eux, de même que la génération
suivante, dont font partie entre autres Antonelli, Geluck, Plantu, Sergueï.
De prime abord, on constate que les styles graphiques de ceux qui se réclament de Steinberg sont
très différents, parfois même aux antipodes, les uns des autres. L’une des raisons en est sans doute
la diversification de leur production : l’œuvre de Ronald Searle et d’André François s’étend à de
nombreux secteurs graphiques, du livre pour enfants à la publicité, celle de Bosc et de Chaval est
plus spécifiquement satirique, celle de la jeune génération se montre pour sa part plus proche du
dessin de presse. C’est finalement Geluck, le créateur du « Chat », qui explicite de la manière la plus
juste ce qui relie le maître à ses héritiers : « Un seul trait de plume de Steinberg m’importe ». C’est en
effet avant tout la ligne qui a les a marqués, et qui reste leur dénominateur commun, même si
chacun la réinterprète à sa manière. On la retrouve précise et pointue dans les dessins en noir et
blanc d’André François, de Ronald Searle et de Sempé, comme dans ceux de Chaval et de Bosc,
ludique chez Pierre Etaix, acide chez Christian Antonelli, concise et claire chez Sergueï et Geluck.
Thérèse Willer, conservatrice du Musée Tomi Ungerer - Centre international de l'Illustration
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5. Saul Steinberg’s Biography
1914
Born in Râmnicu Sărat, Romania.
1932
Attends philosophy and literature courses at the University of Bucharest.
1933
Studies Architecture at the Regio Politenico in Milan and obtains his degree in 1940.
1936
Publishes his first cartoons in the Milanese humor tabloid Bertoldo, published by Giovannino
Guareschi.
1940
Publishes first cartoons in the United States in Harper’s Bazaar and Life.
1941
Anti-Semitic laws force him to flee Italy. He spends a year in Saint Domingo awaiting his visa for the
United States. First publication at The New Yorker.
1942
His political cartoons appear monthly in the magazine PM. The same year he signs a contract with
The New Yorker. In June he arrives in New York.
1943
Obtains US citizenship and a commission as an ensign in the US Naval Reserve. Assigned to Naval
Intelligence and the Office of Strategic Services (OSS). Travels to China, India, North Africa and Italy.
First individual show in April at the Wakefield Gallery of New York.
1944
Transferred to Propaganda services in Naples, followed by Rome, were he draws propaganda
campaigns. Marries Hedda Sterne, a Romanian-born artist, of the New York School.
1945
Publishes All in Line, his first book of drawings, more than 20,000 copies sold.
1946
Meets key figures such as Alexander Calder, Bernard Rudofsky, Leo Lionni, Marcel Breuer and Le
Corbusier. Spends the Fall in Paris, where he meets Henri Cartier Bresson who introduces him to
French artists and intellectuals including Simone de Beauvoir and Jean-Paul Sartre. Participates in
the "Fourteen Americans" exhibition at the MoMA, honouring young avant-garde artists, along with
Arshile Gorky and Mark Tobey.
1947
Meets Vladimir Nabokov. Creates murals for the restaurant of the Terrace Plaza Hotel in Cincinnati.
1948
Personal show at the Chicago Institute of Design.
1949
Takes part in an exhibition on interior design “An Exhibition for Modern Living” at the Detroit Institute
of Arts. Publishes his second book of drawings The Art of Living.
1950
Publishes portfolios in Flair, associating photography and drawing.
1952
Individual shows of his drawing in the galleries of Betty Parsons and Sidney Janis in New York and at
the Institute of Contemporary Arts of London.
1953
Exhibits his work for the first time at the Galerie Maeght in Paris, a traveling exhibit also presented at
the Stedelijk Museum in Amsterdam and the Kunstmuseum of Basle, among others. Maeght
becomes his dealer until the 1980’s.
1954
Creates an outdoor mural “Children’s Labyrinth” for the 10th Triennial of Milan. His third book of
illustration is published entitled The Passport, in addition to his first collection of drawings
Steinberg’s Umgang mit Menschen.
1955
Creates a panoramic drawing for the generic of the movie What about Harry? by Alfred Hitchcock
1956
Publication of Dessins, French compilation of his three preceding works
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1957
Second solo show at the Institute of Contemporary Arts in London.
1958
Creates "The Americans", a long mural of 80 panels for the American Pavilion at Brussels World’s
Fair. Visits Pablo Picasso at the villa La Californie, with whom he creates several exquisite corpses.
Meets Inge Morath, Magnum’s photographer, collaborating on a series of masks.
1959
His third collection of drawings, Steinberg is published.
1960
Separates from Hedda Sterne. Meets Sigrid Spaeth, a German photography and design student.
Refocuses on his collaboration at The New Yorker and exhibiting in galleries. Publication of his fourth
drawing book The Labyrinth.
1962
His forth collection of drawing The Catalogue is published.
1963
Takes a solo trip around the world
1964
Publishes his fifth collection of drawings Steinberg’s Paperback.
1965
Publishes his fifth book of drawings The New World.
1966
Exhibition “Steinberg: The Mask” at the Maeght Gallery in Paris. Publication of the eponymous work.
Receives the Medal of the Knights of the order of Arts and Letters from the French government.
1967
Inauguration of the show “Steinberg: The Americans” at the Fine arts Museum of Brussels which is
then presented in Rotterdam and Hamburg.
1968
Influenced by the comics of New York’s Underground.
1973
Publication of his seventh book of drawings The Inspector.
1974
Major exhibition travels through Germany and Austria.
1978 - 1983
Saul Steinberg Retrospective at the Whitney Museum of American Art in New York. Publications in
The New Yorker of a series of autobiographical drawings Uncles, Cousins, Postcards, Dreams.
1982
Exhibition “Steinberg: Still Life and Architecture” at the Pace Gallery of New York.
1987
The New Yorker changes hands. Steinberg puts an end to his collaboration there during several
years.
1988
Exhibit at the Kunsthalle in Nuremberg.
1992
Publication of his sixth collection of drawings The Discovery of America, and an exhibit of his
drawings from the series at the Pace Gallery of New York.
1993
Recommences collaboration at The New Yorker.
1999
Dies of cancer. According to his will, The Saul Steinberg Foundation is created.
He bequeaths a part of his documents to the Beinecke Library at the University of Yale.
2006
Beginning of the four-stop US tour of “Saul Steinberg: Illuminations” and of the European tour until
June 2009.
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6. List of donors
41 European donors (public institutions, galleries, foundations and private collections) have loaned
135 works.
PUBLIC COLLECTIONS AND FOUNDATIONS
AUSTRIA
- Karikaturmuseum Krems
FRANCE
- Centre Pompidou, Musée national d’art moderne - Centre de création industrielle, Paris
- Musée Tomi Ungerer - Centre international de l'illustration, Strasbourg
- Fondation Alberto et Annette Giacometti, Paris
- Fondation Henri Cartier-Bresson, Paris
- Fondation Le Corbusier, Paris
GERMANY
- Neues Museum – Staatliches Museum für Kunst und Design in Nürnberg, Nuremberg
- Vitra Design Museum, Weil am Rhein
ITALY
- Collection Design Institute – Fondo Adami, Meina
SWITZERLAND
- Cartoonmuseum Basel, Basel
GALLERIES
FRANCE
- Galerie Claude Bernard, Paris
- Galerie Lelong, Paris
- Galerie Maeght, Paris
GERMANY
- Galerie Bartsch & Chariau, Munich
ITALY
- Collection Paola Ghiringhelli Folon, Il Chiostro, Saronno
SWITZERLAND
- Galerie Daniel Varenne, Geneva
- Galerie Hauptmann & Kampa, Zurich
PRIVATE COLLECTIONS
BELGIUM
- M. Philippe Geluck Collection
- M. Pascal Lemaître Collection
FRANCE
- M. Christian Antonelli Collection
- Mme Sylvie Baltazart-Eon Collection
- Mmes Annette Doisneau et Francine Déroudille Collection
- M. Pierre Etaix Collection
- Mme Daniela Roman Collection
- M. Sergueï Collection
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GERMANY
- Wolf Geyer, Stuttgart Collection
- Joffe Collection
- M. et Mme Niemann Collection
- Vowinckel-Textor, Cologne Collection
ITALY
- Angelini Collection
- Walter Fochesato Collection
SWITZERLAND
- Dr. Karin Spiesshofer Collection
And all donors who wish to remain anonymous
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7. Selective Bibliography
BOOKS BY THE ARTIST
Saul Steinberg, All in Line, New York, Duell, Sloan & Pearce, 1945.
Saul Steinberg, The Art of Living, New York, Harper & Brothers, 1949.
Saul Steinberg, The Passport, New York, Harper & Brothers, 1954.
Saul Steinberg, The Labyrinth, New York, Harper & Brothers, 1960.
Saul Steinberg, The New World, New York, Harper & Row, 1965.
Saul Steinberg, Le Masque, texts by Michel BUTOR and Harold ROSENBERG, photographs by Inge
Morath, Paris, Maeght Editeur, 1966.
Saul Steinberg, The Inspector, New York, The Viking Press, 1973.
DRAWING COLLECTIONS BY THE ARTIST
Saul Steinberg, Steinberg’s Umgang mit Menschen, Hambourg, Rowohlt Verlag, 1954.
Saul Steinberg, Dessins, Paris, Gallimard, 1956.
Saul Steinberg, Steinberg, Munich, R. Piper Verlag, 1959.
Saul Steinberg, The Catalogue, Cleveland-New York, Meridian Books/ World Publishing, 1962.
Saul Steinberg, Steinberg’s Paperback, Munich, Rowohlt Verlag, 1964.
Saul Steinberg, The Discovery of America, introduction by Arthur C. DANTO, New York, Alfred A.
Knopf, 1992.
EXHIBITION CATALOG
Saul Steinberg. Zeichnungen, Aquarelle, Collagen, Gemälde, Reliefs 1963-1974, Editorship Gertrud
Textor, Kölnischer Kunstverein, Cologne, November 14th- December 31st 1974/ Württembergischer
Kunstverein, Stuttgart, February 12th – March 16th 1975/ Kestner-Gesellschaft, Hanover , March 21st
– May 18th 1975/ Kulturhaus der Stadt Graz, June – July 1975/ Museum des 20. Jahrhunderts,
Vienna, July – August 1975, Cologne, Kölnischer Kunstverein, 1974.
Saul Steinberg, text by Harold ROSENBERG, Whitney Museum of American Art, New York, April 14th
– July 9th 1978/ Hishhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.,
October 13th – November 26th 1978/ Arts Council of Great Britain, Serpentine Gallery, London,
January 17th– February 25th 1979/ Fondation Maeght, Saint-Paul, March 14th–April 30th 1979,
Hamburg, Rowohlt Verlag GmbH, 1979.
Saul Steinberg, preface by Valerio ADAMI, Institut Valencià d’Art modern, February 7th – April 7th
2002, Valencia, IVAM, 2002.
Saul Steinberg. Illuminations, text by Joel SMITH and introduction by Charles SIMIC, The Morgan
Library & Museum, New York, November 30th 2006 –March 4th 2007/ Smithsonian American Art
Museum, Washington D.C., April 6th –June 24th 2007/ Cincinnati Art Museum, Cincinnati, Ohio, July
20th – September 20th 2007/ Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New
York, November 2nd 2007 –February 24th 2008/ Fondation Henri Cartier-Bresson, Paris, May 6th –
July 27th 2008/ Kunsthaus Zurich, August 22nd – November 2nd 2008/ Dulwich Picture Gallery,
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London, November 26, 2008 – February 15, 2009/ Museum für Kunst und Gewerbe, Hamburg,
March 13th– June 1st 2009, New Haven and London, Yale University Press, 2006.
WORKS ABOUT THE ARTIST
Joel Smith, Steinberg at The New Yorker, introduction by Ian FRAZIER, New York, Harry N. Abrams,
Inc. Publishers, 2005.
Iain Topliss, The Comic Worlds of Peter Arno, William Steig, Charles Addams and Saul Steinberg,
Baltimore, The Johns Hopkins University Press, 2008.
Saul Steinberg, Introduction by Iain Topliss, Paris, Delpire Editeur. Collection Poche Illustrateur,
2008.
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8. Featured around the exhibition
BOOKLET
A small information booklet printed in French, German and English about the exhibition will be
provided to the public free of charge.
CONFERENCES IN FRENCH
Tuesday, December 8th at 7pm at the Ungerer Museum
“Hommage a Saul Steinberg”, by Christian Antonelli, press illustrator (Le point, Le Monde, Marianne,
Ras l’front…), editorial writer
Wednesday, January 27th at 7pm in the museums’ auditorium
“Les heritiers de Saul Steinberg” by Thérèse Willer, exhibition commissioner and curator of The Tomi
Ungerer Museum
Tuesday February 2nd at 8pm in the museums’ auditorium
“Steinberg postmoderne ?” by Philippe Dagon professor of modern art history at the University of
Paris 1
Tuesday, February 23rd at 7pm in the museums’ auditorium
“Les panneaux de Bruxelles” by Jean-Philippe Theyskens, art historian and conference lecturer at The
Fine Arts Museum of Brussels
GUIDED TOURS IN FRENCH
Sundays, December 6th, 13th, and 20th at 11am (December 13th’s visit is available in L.S.F.)
Sundays, January 10th, 17th, and 24th at 11am
Sundays, February 14th 21st, and 28th at 11am
FUHRUNGEN IN DEUTSCHER SPRACHE
Samstag 12. Dezember, 16. Januar, 13. Februar um 14.30
AN HOUR/A WORK IN FRENCH
Thursday December 3rd at 12:30pm at the Tomi Ungerer Museum
Galerie Maeght, 1967, Saul Steinberg with Bénédicte Mathey, the museum’s scientific collaborator
Thursday, January 7th at 12:30 at the Tomi Ungerer Museum
Parade, 1952, Saul Steinberg with the Museums’ Educational Services
LE TEMPS D’UNE RENCONTRE IN FRENCH
Saturday February 6th at 2:30pm , Tomi Ungerer Museum
“America” with Thérèse Willer, commissioner of the exhibit and curator of the Tomi Ungerer Museum
ADULT WORKSHOPS IN FRENCH
Wednesday, December 9th from 2:30pm to 5:30pm
Workshop on illustration with Christian Antonelli, press illustrator (Le point, Le Monde, Marianne, Ras
l’front…), editorialist
Wednesday, February 3rd from 2:30 to 5:30pm
Workshop on illustration with Yann Kebbi, illustrator (awarded at the Bologna Art Fair 2008, awarded
at the Korean CJ Book Festival 2009. Libération Carnets de Voyage November 2008…).
WORKSHOPS AT THE TOMI UNGERER MUSEUM IN FRENCH
“Ligne, hachure, rature…le trait à la portée de la main” with Yann LEBRAS, illustrator
4 workshops. For children 7-12.
From Monday, December 28th to Thursday, December 31st 2:30pm to 5pm
“Masques” with Edite Fernandez, illustrator
5 workshops. For children 7-12
From Monday, February 8th to Friday, February 12th 2:30 pm to 5pm
CINEMA/VIDEO
“Autour de la ligne”
Sunday, December 16th at 8pm in the museums’ auditorium
Saul Steinberg, by Peter Kassovitz, 1966
La Linea, by Osvaldo Canvandoli, 1972
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Les Shadoks, by Jacques Rouxel, 1978
Les Oiseaux sont des cons, by Jean Mitry and Chaval, 1964
Conte médiocre, by Chavel, 1972
Le chat, by Philippe Geluck, 2008
André François, L’ artiste, by Sarah Moon, 2003
THE MUSEUMS’ LIBRARY
The Museums of Strasbourg Library in association with the exhibition features a selection of
illustrated periodicals by Saul Steinberg (Derrière le miroir, The New Yorker) and rare, first editions of
his illustrated collections. These documents have been taken from the library’s own reserves, rich
with over 100,000 volumes or have been generously loaned by collectors (MAMCS, place Jean-Hans
Arp, from Tuesday to Saturday 2pm to 6pm, Thursdays until 9pm).
BUY PRODUCTS
Books
Three works sold exclusively at the Tom Ungerer Museum’s Shop:
Steinberg, interview by Jean FREMON, Paris. Galerie Maeght Lelong. Repères . Cahiers d’art
contemporain, no. 30, 1986
STEINBERG, Saul and BARTHES, Roland. All except you. Paris. Galerie Maeght. Edition Repères.
Collection Edition d’art, 1983.
STEINBERG, Saul, Le Masque, texts by Michel BUTOR and Harold ROSENBERG, and photos by Inge
MORATH, Paris, Maeght Editor, 1966.
Post cards
A series of six postcards featuring Saul Steinberg’s work available at the Tomi Ungerer Museum.
Bag
Paper bag, created especially for the exhibit, reproducing Business Mask by Saul Steinberg
(Collection Maeght, Paris) including a visitor’s guide.
Available at no cost at the cashier’s desk of the Tomi Ungerer Museum for families and school
groups.
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9. Visuals available to the Press
COPYRIGHT WARNING FOR REPRODUCTION
The ADAGP (www.adagp.fr) grants permission to reprint works under the following conditions:
1-Press publications in accordance with the ADAGP, see specific stipulations.
2-For all other press publications:
-exoneration for the first two reproductions illustrating an article as pertains to a current event of a
maximum format of 1/4 page.
-any reproduction exceeding this number or format is subject to copyright laws
-all reproductions for covers or front pages are subject to authorization by ADAGP press services
-copyright information to be mentioned concerning any of Saul Steinberg’s work: author’s name, title
and date of the work followed by © The Saul Steinberg Foundation/ARS, Adagp Paris 2009
(publication date), applicable to all images, regardless of provenance or place of conservation.
- It is forbidden to manipulate or alter works in any way, shape or form
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