Copyright
The use of image material may incur copyright fees. According to Swiss Law image material may also be used free of charge for press purposes in the context of current reporting. However, this use is only permitted in connection with the current exhibition and within the course of its duration.
Any further or cross-border use requires the permission of the copyright holder. Please note that Fondation Beyeler is not the owner of these copyrights and expressly declines responsibility for copyright fees arising from the use of image and film material (e.g. from Pro Litteris, VG-Bildkunst or similar institutions).
To download images, log in and use the image captions and associated copyrights©. We look forward to receiving a sample copy. The media releases on the exhibition can be found here:
Contact
Silke Kellner-Mergenthaler
Head of Communications
Tel. +41 - (0)61 - 645 97 21
presse@fondationbeyeler.ch
Silent Vision – Images of Calm and Quiet at the Fondation Beyeler
Mark Rothko, Untitled (Red-Brown, Black, Green, Red), 1962
Oil on canvas, 206.0 x 193.5 cm, Fondation Beyeler, Riehen/Basel, Beyeler Collection: © 1998 Kate Rothko Prizel & Christopher Rothko / 2019, ProLitteris, Zurich; Photo: Peter Schibli
Pablo Picasso, Buste de femme de profil (Femme écrivant), 1932
Oil on canvas, 143 x 100 cm
private collection, long term loan at the Fondation Beyeler
© Succession Picasso / 2020, ProLitteris, Zurich
Film Stills: TWO OR THREE THINGS I KNOW ABOUT EDWARD HOPPER
TWO OR THREE THINGS I KNOW ABOUT EDWARD HOPPER‘ by Wim Wenders, 2020 © Road Movies
TWO OR THREE THINGS I KNOW ABOUT EDWARD HOPPER‘ by Wim Wenders, 2020 © Road Movies
Edward Hopper
Edward Hopper, Cape Cod Morning, 1950
Oil on canvas
86.7 x 102.3 cm
Smithsonian American Art Museum, Gift of the Sara Roby Foundation
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: Smithsonian American Art Museum, Gene Young
Edward Hopper, Gas, 1940
Oil on canvas
66.7 x 102.2 cm
The Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
© 2019 Digital image, The Museum of Modern Art, New York / Scala, Florence
Edward Hopper, Railroad Sunset, 1929
Oil on canvas
74.5 x 122.2 cm
Whitney Museum of American Art, New York; Josephine N. Hopper Bequest, Inv. N.: 70.1170. © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala
Edward Hopper Lighthouse Hill, 1927
Oil on canvas
73.8 x 102.2 cm
Dallas Museum of Art, gift of Mr. and Mrs. Maurice Purnell
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: Dallas Museum of Art, Photo by Brad Flowers
Edward Hopper, Cape Ann Granite, 1928
Oil on canvas
73.5 x 102.3 cm
Private Collection
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Edward Hopper Portrait of Orleans, 1950
Oil on canvas
66 x 101.6 cm
Fine Arts Museums of San Francisco, gift of Jerrold and June Kingsley
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: Randy Dodson, The Fine Arts Museums of San Francisco
Edward Hopper Lee Shore, 1941
Oil on canvas
71.8 x 109.2 cm
The Middleton Family Collection
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: © 2019. Photo Art Resource / Scala, Florence
Edward Hopper, Second Story Sunlight, 1960
Oil on canvas
102.1 x 127.3 cm
Whitney Museum of American Art, New York; Purchase, with funds from the Friends of the Whitney Museum of American Art., Inv. N.: 60.54. © Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala
Edward Hopper Burly Cobb’s House, South Truro, 1930–1933
Oil on canvas
64.1 x 92.1 cm
Whitney Museum of American Art, New York, Josephine N. Hopper Bequest
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala
Edward Hopper Cobb’s Barns, South Truro, 1930–1933
Oil on canvas
87.2 x 127.2 cm
Whitney Museum of American Art, New York, Josephine N. Hopper Bequest
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala
Edward Hopper Cobb’s Barns, South Truro, 1930–1933
Oil on canvas, 74 x 109.5 cm
Whitney Museum of American Art, New York, Josephine N. Hopper Bequest
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala
Edward Hopper Road and Houses, South Truro, 1930–1933
Oil on canvas
68.4 x 109.7 cm
Whitney Museum of American Art, New York, Josephine N. Hopper Bequest
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala
Edward Hopper Square Rock, Ogunquit, 1914
Oil on canvas
61.8 x 74.3 cm
Whitney Museum of American Art, New York, Josephine N. Hopper Bequest
© Heirs of Josephine Hopper / 2019, ProLitteris, Zurich
Photo: © 2019. Digital image Whitney Museum of American Art / Licensed by Scala
Goya
Francisco de Goya, La maja vestida, 1800-1807
Oil on canvas
95 x 190 cm
Museo Nacional del Prado, Madrid
© Photographic Archive. Museo Nacional del Prado. Madrid
Francisco de Goya, Doña María del Pilar Teresa Cayetana de Silva Álvarez de Toledo, XIII duquesa de Alba, 1795
Oil on canvas
192 x 128 cm
Fundación Casa de Alba, Palacio de Liria, Madrid.
Francisco de Goya, Witches’ Sabbath (El Aquelarre), 1797-98
Oil on canvas
43 × 30 cm
Museo Lázaro Galdiano, Madrid
Close Up
Berthe Morisot, Girl on a Divan, (Jeune Femme au Divan), 1885
Oil on canvas
61 x 50.2 cm
Tate, London; Bequeathed by the Hon. Mrs A.E. Pleydell-Bouverie
through the Friends of the Tate Gallery 1968, Photo ©Tate
Beyeler Restaurant im Park
Beyeler Restaurant im Park, 2019. Photo: Robert Rieger.
Beyeler Restaurant im Park, 2019. Photo: Robert Rieger.
Beyeler Restaurant im Park, 2019. Photo: Robert Rieger.
Beyeler Restaurant im Park, 2019. Photo: Robert Rieger.
Beyeler Collection
Claude Monet, Nymphéas, 1916 – 1919
Water Lillies
Oil on canvas, 200 x 180 cm
Fondation Beyeler, Riehen/Basel
Photo: Peter Schibli, Basel
Henri Matisse, Nu bleu, la grenouille, 1952
Blue Female Nude, the Frog
Cut papers, painted with gouache, on paper on canvas, 141 x 134 cm
Fondation Beyeler, Riehen/Basel
© 2017 Succession
H. Matisse/ProLitteris, Zurich
Photo: Peter Schibli, Basel
Paul Klee, Wald-Hexen, 1938, 145 (K5)
Forest witches
Oil on paper on jute, 99 x 74 cm
Fondation Beyeler, Riehen/Basel
Photo: Robert Bayer, Basel
Head of a life-sized Malanggan puppet, Kovabat (Mike Gunn) or Mandas (Augustin Krämer) with bird
Probably Lemakot, North New Ireland, Melanesia, wood,
painted, inserted eyes made of «Turbo petholatus» snail shell, 77 cm
Fondation Beyeler, Riehen/Basel
Photo: Robert Bayer, Basel
Alberto Giacometti, L’homme qui marche II, 1960
Walking Man II
Bronze, 189 x 26 x 110 cm
Fondation Beyeler, Riehen/Basel
© 2017, Fondation
Giacometti/ProLitteris, Zurich
Photo: Robert Bayer, Basel
Francis Bacon, Portrait of George Dyer Riding a Bicycle, 1966
Oil and pastel on canvas,
198 x 147,5 cm
Fondation Beyeler, Riehen/Basel
© 2017, The Estate of Francis Bacon/ProLitteris, Zurich
Photo: Peter Schibli, Basel
Marlene Dumas, Broken White, 2006
Oil on canvas, 130 x 110 cm
Fondation Beyeler, Riehen/Basel
© Marlene Dumas
Photo: Peter Cox
Museum
The Fondation Beyeler, designed by Renzo Piano
Photo: Mark Niedermann
The Fondation Beyeler, designed by Renzo Piano
Photo: Mark Niedermann
The Fondation Beyeler in springtime
Photo: Mark Niedermann
The Fondation Beyeler in summer
Photo: Mark Niedermann
The park of the Fondation Beyeler in springtime
Ellsworth Kelly, White Curves, 2001, and Alexander Calder, The Tree, 1966
© Ellsworth Kelly; Calder Foundation, New York
Photo: Mark Niedermann
The annual Summer Party
Photo: Mathias Mangold
Concert at the annual Summer Party
Photo: Mathias Mangold
An intimate evening with Bryan Ferry presented by Fondation Beyeler and Bayer
Photo: Caroline Minjolle
The Artshop at the Fondation Beyeler
Photo: Mark Niedermann
Opening of the exhibition "Monet", 2017
Photo: Mathias Mangold
Installation views
View of the permanent collection of the Fondation Beyeler, Monet room, 2013
Claude Monet, Le bassin aux nymphéas, around 1917–1920 and La cathédrale de Rouen: Le portail (Effet du matin), 1894
Fondation Beyeler, Riehen/Basel, Beyeler Collection
Ellsworth Kelly, White Ring, 1963, private collection, © 2013, Ellsworth Kelly
photo: Serge Hasenböhler
View of the permanent collection of the Fondation Beyeler, 2014
Paul Klee, Glüht nach, 1939, Ohne Titel (Gefangen/Diesseits–Jenseits/Figur), um 1940, Zeichen in Gelb, 1937, Schlamm-Assel-Fisch, 1940, Mumom sinkt trunken in den Sessel, 1940, Vor dem Blitz, 1923
Fondation Beyeler, Riehen/Basel, Beyeler Collection
photo: Mark Niedermann
View of the permanent collection of the Fondation Beyeler, 2016
Louise Bourgeois, Lair, 1962, In Respite, 1992, Felix Gonzalez-Torres, “Untitled” (For New York), 1992
© 2017, ProLitteris, Zurich / © The Felix Gonzalez-Torres Foundation
photo: Mark Niedermann
View of the permanent collection of the Fondation Beyeler, 2015
Henri Rousseau, Le lion, ayant faim, se jette sur l’antilope, 1898/1905; with mask, Kepong or Matua, New Ireland, Melanesia;
figure of a cultural hero or creator ancestor, Biwat group, Yuat River, Lower Sepik region, northeastern New Guinea, Melanesia; male figure, Nalik, 18th/19th century, Malom, northeast coast, New Ireland, Melanesia; head of a life-size Malanggan doll, Kovabat (Mike Gunn) or Mandas (Augustin Krämer) with bird, probably Lemakot, northern New Ireland, Melanesia; head of a life-size Malanggan doll, Kovabat, (according to Mike Gunn: "Head-Rain"), Tabar Islands, New Ireland, Melanesia
photo: Mark Niedermann
View of the permanent collection of the Fondation Beyeler, 2016
Marlene Dumas, The Swan, 2015, Broken White, 2006,
Nuclear Family, 2013
© Marlene Dumas
photo: Mark Niedermann
View of the permanent collection of the Fondation Beyeler, 2014
Claude Monet, Le bassin aux nymphéas, around 1917-1920, Auguste Rodin, Iris, messagère des dieux (Figure volante), 1890/91, Claude Monet, Le pont japonais, around 1918–1924
Fondation Beyeler, Riehen/Basel, Beyeler Collection
photo: Mark Niedermann
Installation view exhibition “Wolfgang Tillmans”,
Fondation Beyeler, Riehen/Basel, 2017; photo: Mark Niedermann
Installation view exhibition “Wolfgang Tillmans”
Fondation Beyeler, Riehen/Basel, 2017; photo: Mark Niedermann
Installation view exhibition “Wolfgang Tillmans”
Fondation Beyeler, Riehen/Basel, 2017; photo: Mark Niedermann
Extension Project
extension project
The extension project of the Fondation Beyeler by Atelier Peter Zumthor
House for Art and Pavilion (right-hand side), View from the Berower Park
Courtesy Atelier Peter Zumthor & Partner
extension project
The extension project of the Fondation Beyeler by Atelier Peter Zumthor
House for Art, View from the Iselin-Weber Park
Courtesy Atelier Peter Zumthor & Partner
extension project
The extension project of the Fondation Beyeler by Atelier Peter Zumthor
House for Art, View from the Iselin-Weber Park
Courtesy Atelier Peter Zumthor & Partner
extension project
The extension project of the Fondation Beyeler by Atelier Peter Zumthor
Pavilion and House for Art (left-hand side), view from the Berower Park
Courtesy Atelier Peter Zumthor & Partner
extension project
The extension project of the Fondation Beyeler by Atelier Peter Zumthor
House for Art, Exhibition Space
Courtesy Atelier Peter Zumthor & Partner
© Successió Miró / Calder Foundation, New York / Art Resource, NY / 2017, ProLitteris, Zürich
extension project
The extension project of the Fondation Beyeler by Atelier Peter Zumthor
House for Art, View from the Iselin-Weber Park
Courtesy Atelier Peter Zumthor & Partner
The Iselin-Weber Park
Photograph: Mark Niedermann
Peter Zumthor
Photograph: Martin Mischkulnig
Extension project
Models and architectural plans by Atelier Peter Zumthor
Photo: Adriano Biondo
Extension project
Models and architectural plans by Atelier Peter Zumthor
Photo: Adriano Biondo
Extension project
Models and architectural plans by Atelier Peter Zumthor
Photo: Adriano Biondo
People
Director Sam Keller
Photo: Matthias Willi
Managing Director Ulrike Erbslöh
Photo: Matthias Willi
Ernst and Hildy Beyeler
Ernst Beyeler and Sam Keller
Photo: J. Isler
Hildy and Ernst Beyeler
Photo: Kurt Wyss
Ernst and Hildy Beyeler in front of Galerie Beyeler
Photo: Niggi Bräuning