Editing Jean Arp (section)

==Career==

=== Dada ===
In 1904, after leaving the [[École des Arts et Métiers]] in Strasbourg, he went to Paris where he published his poetry for the first time. From 1905 to 1907, he studied at the [[Weimar Saxon-Grand Ducal Art School|Weimarer Kunstschule]] in Germany, where he met his uncle, German landscape painter [[Carl Arp]]. In 1908 he returned to Paris, where he attended the [[Académie Julian]]. Arp was a founder-member of the first modern art alliance in Switzerland Moderne Bund in Lucerne in 1911,<ref>{{cite web|title=Hans Arp|url=https://www.theartstory.org/artist/arp-hans/|access-date=18 August 2022}}</ref> participating in their exhibitions from 1911 to 1913.<ref name="Jean Arp">[http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A11&page_number=1&template_id=6&sort_order=1&section_id=T004220 Jean Arp] [[Museum of Modern Art]], New York</ref>

In 1912 he went to Munich and called on [[Wassily Kandinsky]], the influential Russian painter and art theorist. Arp was encouraged by him in his researches and exhibited with the [[Der Blaue Reiter]] group.<ref name=NYTRussell>{{cite web|last1=Russell|first1=John|title=Jean Arp – A Pioneer Worthy of Honor|url=https://www.nytimes.com/1986/08/10/arts/art-view-jean-arp-a-pioneer-worthy-of-honor.html|work=The New York Times|date=10 August 1986}}</ref> Later that year, he took part in a major exhibition in Zürich, along with [[Henri Matisse]], [[Robert Delaunay]], and Kandinsky.<ref name=NYTRussell/> In Berlin in 1913, he was taken up by [[Herwarth Walden]], the dealer and magazine editor who was at that time one of the most powerful figures in the European avant-garde.<ref name=NYTRussell/>

In 1915 he moved to Switzerland to take advantage of Swiss neutrality. Arp later told the story of how, when he was notified to report to the German consulate in Zürich,<ref name=Richter>[[Hans Richter (artist)|Hans Richter]]", quoted in ''Dada XYZ'', 1948; archived in ''the Dada Painters & Poets: Anthology'' (2nd edition, 1981), edited by Robert Motherwell</ref> he pretended to be mentally ill in order to avoid being drafted into the German Army: after [[sign of the cross|crossing himself]] whenever he saw a portrait of [[Paul von Hindenburg]],<ref name=NYTRussell/> Arp was given paperwork on which he was told to write his date of birth on the first blank line. Accordingly, he wrote "16/9/87"; he then wrote "16/9/87" on every other line as well,<ref name=Richter/> then drew one final line beneath them and, "without worrying too much about accuracy", calculated their sum.<ref name=BretonAnthology>"[https://books.google.com/books?id=8C8hBQAAQBAJ&dq=arp+%22the+accuracy+of+his+addition%22&pg=PT199 Hans Arp]", by [[André Breton]], in ''[[Anthology of Black Humor]]''; originally published 1940</ref> [[Hans Richter (artist)|Hans Richter]], describing this story, noted that "they [the German authorities] believed him."<ref name=Richter/>
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WHAT ABOUT THE UNDRESSING PART, you might ask. This is my fault - I distinctly remember seeing that in an art encyclopedia in the mid-90s, it's why I remembered the 'adding up his birthdate' story in the first place, and when I added it to the article here in 2005 I didn't think to cite my source more precisely than "an art book I once read", because it was early 2005 and to be painfully honest, the culture on Wikipedia was a bit sloppier at the time. And now this factoid has spread. If you can find a source for the part about the nudity, good, you can restore it, BUT it MUST be a source from BEFORE 2005. Because most of the other sources use my wording, and the ones that don't, we can't trust to have not based it on this. I've hunted down the 'added up his birthdate' detail, and found a new detail about 'crossing himself in front of Hindenburg', and it's not likely that those would have been enough by themselves, and it fits with Arp's personality, but 'it sounds plausible' isn't enough.
	
There's also a bit where [[Jean-Jacques Lebel]] said "Hans Arp, when a soldier, blew his nose in the flag when his name was called", ("On the Necessity of Violation", https://www.jstor.org/stable/i247895, Vol. 13, No. 1, Autumn, 1968 of The Drama Review) – but that was an 'essay on experimental theater', so I'm not certain how much we can trust it to be literally true.-->[[File:Pagoda Fruit by Jean Arp, Tate Liverpool.jpg|thumb|400x400px|Jean Arp, 1949, ''Pagoda Fruit'', bronze [[Tate Liverpool]]]]
It was at an exhibition that year where he first met the artist [[Sophie Taeuber]] who was to become his collaborator in the production of works of art and a significant influence on his artistic style and working method.<ref>Carolyn Lanchner, ''Sophie Taeuber-Arp'' (New York: Museum of Modern Art, 1981) 9f</ref> They married on 20 October 1922.<ref>Carolyn Lanchner, ''Sophie Taeuber-Arp'' (New York: Museum of Modern Art, 1981) 20</ref>

In 1916 [[Hugo Ball]] opened the [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]], which was to become the centre of Dada activities in Zürich for a group that included Arp, [[Marcel Janco]], [[Tristan Tzara]], and others.<ref>[https://www.guggenheim.org/artwork/artist/jean-arp Jean Arp, Guggenheim Museum]</ref> In 1920, as Hans Arp, along with [[Max Ernst]] and the social activist [[Johannes Theodor Baargeld|Alfred Grünwald]], he set up the Cologne [[Dada]] group. In 1925 his work also appeared in the first exhibition of the [[Surrealist]] group at the Galérie Pierre in Paris.<ref name="Robertson" />

=== The [[Henri Bergson]] Influence ===
In 1926 Arp moved to the Paris suburb of [[Meudon]]. In 1931 he broke with the Surrealist movement to found [[Abstraction-Création]], working with the Paris-based group Abstraction-Création and the periodical, ''Transition''. Beginning in the 1930s the artist expanded his efforts from collage, assemblage (''Trousse d'un Da'', 1921<ref>[https://collection.centrepompidou.fr/artworks/authors/ARP%20Jean%20(ARP%20Hans,%20dit)%E2%86%B9ARP%20Jean%20(ARP%20Hans,%20dit)/year/1914__1932?page=1 ''Trousse d'un Da(da)''], 1921, MNAM, Paris</ref>) and bas-relief to include bronze and stone sculptures.<ref>[[Michael Kimmelman]] (4 May 1990), [https://www.nytimes.com/1990/05/04/arts/review-art-the-power-of-whimsy-jean-arp-s-later-work.html The Power of Whimsy: Jean Arp's Later Work] ''[[The New York Times]]''.</ref> He produced several small works made of multiple elements that the viewer could pick up, separate, and rearrange into new configurations.<ref>[http://www.guggenheim.org/new-york/collections/collection-online/artwork/259 Jean Arp, ''Head and Shell (Tête et coquille)'' (ca. 1933)] [[Solomon R. Guggenheim Museum]], New York.</ref>

[[File:Pastor de Nubes o Formes de Lutin.JPG|thumb|''[[Berger des Nuages|Cloud Shepherd]]'', Jean Arp (1953), [[Ciudad Universitaria de Caracas]]]]
Throughout the 1930s and until the end of his life, he wrote and published essays and poetry. In 1942 he fled from his home in [[Meudon]] to escape German occupation and lived in [[Zürich]] until the war ended.

=== Success ===
Arp visited New York City in 1949 for a solo exhibition at the Buchholz Gallery, and this coincided with a general international recognition of his work. In 1950 he was invited to execute a relief for the [[Harvard University]] Graduate Center in [[Cambridge, Massachusetts]], and would also be commissioned to do a mural at the [[UNESCO]] building in Paris. Arthur and Madeleine Lewja, of [[Galerie Chalette]], who had known Arp in Europe, became his gallery representatives in New York in the late 1950s, and were instrumental in establishing his reputation on the American side of the Atlantic.<ref>[https://www.aaa.si.edu/collections/galerie-chalette-records-6103/series-2 ''Galerie Chalette records, 1916–1999: Artist's Files, 1916–1996,'' Archives of American Art, The Smithsonian, Washington, DC]</ref>

In 1958, a retrospective of Arp's work was held at the [[Museum of Modern Art]] in New York City, followed by an exhibition at the [[Musée National d'Art Moderne]] in Paris in 1962. In 1972, the Metropolitan Museum of Art showcased Jean Arp's work from the Lejwa's collection and a few works lent by Arp's widow, Marguerite Arp. The exhibition was expanded and traveled as "Arp 1877–1966," first exhibited at the Solomon R. Guggenheim Museum and then shown in seven museums in the United States and six in Australia.<ref>[https://www.aaa.si.edu/collections/galerie-chalette-records-6103/historical-note ''Galerie Chalette records, 1916–1999: Historical Note,'' Archives of American Art, The Smithsonian, Washington, DC]</ref> Organized by the [[Minneapolis Institute of Arts]] and the Wurttembergischer Kunstverein of Stuttgart, a 150-piece exhibition titled "The Universe of Jean Arp" concluded an international six-city tour at the [[San Francisco Museum of Modern Art]] in 1986.<ref>Zan Dubin (27 December 1987), [https://www.latimes.com/archives/la-xpm-1987-12-27-ca-31677-story.html Arp Retrospective in S.F.] ''[[Los Angeles Times]]''.</ref>