Collection
Museum Tinguely

Collection of Museum Tinguely

Works and work groups belonging to all phases of Jean Tinguely’s career are to be found in the museum's collection. Along with selected temporary loans, they afford the visitor an extensive view of the artist’s career. Apart from sculptures, the collection furthermore comprises a large number of drawings and letter-drawings, documents, exhibition posters, catalogues and documentation such as photographs. In the measure of the possible all the exhibits are accessible to the public and regularly shown, be it in the permanent collection or as loans to exhibitions worldwide.

The museum’s collections are the result of a generous donation by the artist’s widow, Niki de Saint Phalle, made on the occasion of its foundation, a donation of works from the Roche collection, as well as several other gifts and acquisitions.

>> Biography of Jean Tinguely

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Online collection

The following applies for uses of pictures in relation to our collection:
Museum Tinguely does not own any copyright in works by Jean Tinguely or other artists in the collection. The clarification of these rights and payment in respect of them is a matter for the applicant. In Switzerland, the collecting society responsible for this is ProLitteris, Zurich (link website: www.prolitteris.ch). Museum Tinguely undertakes no liability for third party claims arising from infringement of copyright and personality rights.


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Jean Tinguely


Requiem pour une feuille morte

1967

Material / technique: Pencil, black ballpoint pen and felt-tip pen and charcoal on three white sheets of paper pasted together
Size: 31.3 x 74.2 cm
Inv.Number: 3978
Creditline: Museum Tinguely, Basel, Schenkung Galerie Ziegler, Zürich

In 1966 Tinguely began work on his piece “Requiem pour une feuille morte“ for the Swiss Pavilion at the World Exposition in Montreal. Drawing on his experience in stage design in Paris with the “Eloge de la folie“, he now constructed an easy-to-dismantle relief for exhibitions. He used the entire wall space at his studio in Soisy-sur-Ecole to create this piece. He began by cutting wheel shapes in various dimensions out of wooden panels, then painted them black and mounted them in a rhythmic sequence on a long frame made up of eight sections and mounted before the wall. The distance from the wall makes it easier for the master builder to reassemble the piece. The overlapping or adjacent circular forms create a transparent ensemble of geometric figures. And the entire gigantic wheelwork is set spinning by a tiny, white-painted sheet of metal.