Picasso's War, page 45
At the Cullman Center, Salvatore Scibona, Lauren Goldenberg, and Paul Delaverdac enabled me to spend an unforgettable year with an impossibly accomplished group of writers. At the New York Public Library I was expertly assisted by Deirdre Donohue, Richard Foster, Declan Kiely, Matt Knutzen, Thomas Lannon, Melanie Locay, Tal Nadan, Kyle Triplett, Lori Salmon, Emily Walz, and many others.
At the Museum of Modern Art Archives, Michelle Elligott, Christina Eliopoulos, Michelle Harvey, Ana Marie, Elisabeth Thomas, and their colleagues efficiently steered me through vast holdings on Alfred Barr and the early years of the museum. In the Conservation Department, Michael Duffy provided valuable help with The Sleeping Gypsy and in the Department of Painting and Sculpture, Janet Yoon generously shared information about several crucial artworks. At the MoMA Library, Jennifer Tobias and others helped me locate rare early-twentieth-century publications. Victoria Barr not only enthusiastically supported the project but shared her own fascinating memories and assisted with seemingly intractable research questions.
Elaine Rosenberg (1921–2020) and her daughters Marianne Rosenberg and Elisabeth R. Clark provided extraordinary access to the Paul Rosenberg Archives, without which this story could not have been told. I owe a special debt to Ilda François, who facilitated innumerable visits to the Rosenberg library, often on very short notice.
At the Harry Ransom Center, Elizabeth L. Garver helped me navigate the Carlton Lake Collection and its exceptionally rich holdings on Henri-Pierre Roché. At the Getty Research Institute, Sally McKay and her colleagues allowed me to work in one of the world’s great art libraries and to consult their sprawling archives of twentieth-century art dealers, critics, and artists. At the Harvard Art Museums Archives, Megan Schwenke provided indispensable assistance with the Paul J. Sachs Papers and allowed me to complete a yearslong quest for documents related to The Sleeping Gypsy.
At the Musée national Picasso in Paris, Emilia Philippot, Violette Andres, and Audrey Mazeyrie provided generous access to the Picasso Archives and helped with research questions. At the Picasso Administration, Christine Pinault permitted me to draw on important Picasso letters and materials. In Brussels, Bernard Ruiz-Picasso and Pauline Vidal at the Fundacíon Almine y Bernard Ruiz-Picasso para el Arte allowed me to use rare material related to Olga Picasso and to the Paul Rosenberg family, and Thomas Chaineux came through with crucial information about Olga Picasso’s family in Russia and career in the Ballets Russes. Georges Matisse welcomed me at the Archives Matisse in Issy-les-Moulineaux. At the Bibliothèque Kandinsky in Paris, Thomas Bertail helped with essential research in the Cahiers d’Art archives. At Editions Cahiers d’Art in Paris, Staffan Ahrenberg, Paul Ferloni, and Gaëtane Girard answered innumerable queries. Pierre Sicre de Fontbrune and Christian Derouet shared valuable insights, as did Caroline Fournillon-Courant at the Musée Zervos in Vézelay. In Amsterdam, Michiel Nijhoff allowed me to study Paul Rosenberg’s correspondence with the Stedelijk Museum. And despite multiple COVID postponements, Gwen Strauss at the Dora Maar House in Ménerbes gave unflagging support to the project.
In the United States, many other institutions and archives helped at critical junctures. At the Morgan Library and Museum in New York, Maria Molestina-Kurlat allowed me to spend many days studying their Paul Rosenberg and Pierre Matisse papers. At the Albright-Knox Art Gallery, Gabrielle Carlo shared documents related to A. Conger Goodyear. At Yale, I was able to consult the Gertrude Stein and Alice B. Toklas Papers at the Beinecke Rare Book and Manuscript Library and the Dwight Macdonald Papers at the Yale University Library. At Columbia University’s Oral History Archives, David A. Olson helped with a transcript of Paul J. Sachs’s unpublished memoirs. And at the Archives of American Art, Marisa Bourgoin and her staff allowed me to make frequent use of their phenomenal artists’ records, as well as their copies of the Alfred H. Barr, Jr. Papers.
A great many people in Europe and the United States assisted with unpublished material, images, and information, including Janet Hicks and Dan Trujillo at Artists Rights Society (ARS), New York; Jennifer Belt and Ken Johnston at Art Resource, New York; Amanda McKnight at the Barnes Foundation in Philadelphia; Diana Widmaier-Ruiz-Picasso, Maya Widmaier-Ruiz-Picasso, Claire Rougée, and Olivia Speer at DWP Editions in Paris; Paul Matisse at the Pierre Matisse Estate; Marilyn Palmeri at the Morgan Library and Museum in New York; and Jonathan Hoppe and Anastasia Hughes-Peng at the Philadelphia Museum of Art.
Phyllis Stigliano not only provided superb photo research but also shared her unparalleled expertise in the Picasso world. I am also grateful to her team, Mikael Colboc and Maud Fernandez, who diligently helped with final research on two continents. Macy Bayern and Sophie Strauss-Jenkins assisted with difficult archival quests. Suzanne Pekow Carlson and Quinton Singer contributed invaluable fact-checking. Any remaining errors are my own.
Many other people shared advice, knowledge, and support, among them Christopher Benfey, Andrew Butterfield, Faya Causey, Harry Cooper, Elizabeth Cowling, Andrea Crawford, Jim Cuno, Yasmine El Rashidi, John Elderfield, Cathy Fagan, Martin Filler, Ross Finocchio, Barbara Fleischman, Jamey Gambrell, Alma Guillermoprieto, Delphine Huisinga, Janis Londraville, Ed Mendelson, Philippe de Montebello, Francine Prose, Jill Shaw, Charles Stuckey, Mark Tribe, Gijs van Hensbergen, and Robert Walsh.
To many editors I owe the opportunity to explore themes related to this book. A decade and a half ago at The New York Times, Nancy Kenney and Jodi Kantor gave me the chance to investigate the hidden secrets of the Museum of Modern Art. Daniel Zalewski at The New Yorker encouraged me to examine the deep human forces at play in the international museum world. At The Wall Street Journal, Robert Messenger pushed me to think critically about the geopolitics of the art market. At Vanity Fair, David Friend supported a delightful foray into Alfred Barr’s adventures in art and politics during the Cuban Revolution. And at Book Post, Ann Kjellberg allowed me to reconsider a number of crucial figures in the early-twentieth-century avant-garde.
I am incomparably fortunate to have had as a mentor the late Bob Silvers, who taught me how to write about politics and ideas in the pages of The New York Review of Books and who introduced me to many of the writers I admire most. I am grateful to Rea Hederman and Daniel Mendelsohn of the Robert B. Silvers Foundation for allowing me the honor of being among the inaugural recipients of the writer’s grant established in his will.
Special acknowledgment goes to Emily Eakin, who connected me with my fantastic agents, David Kuhn and Nate Muscato; their enthusiasm and expert attention has been unwavering. I am also grateful to Becky Sweren, Erin Files, and other members of the remarkable Aevitas team for seeing the project through. To Andrew Blackwell I owe thanks for diagramming the story for me at a sushi restaurant—and making it look easy. Blake Gopnik provided invaluable criticism and advice at a crucial stage.
The editorial team at Crown have energetically supported the project from the outset. In Libby Burton, I am lucky to have an exceptionally talented editor who not only embraced my manuscript but greatly improved it. Tim Duggan first recognized the importance of this story and gave me the chance to write it. Aubrey Martinson offered incisive input and kept the project rigorously on track. Loren Noveck provided expert production help. And the design team, Debbie Glasserman and Anna Kochman, came up with a particularly inspired layout and cover.
Finally, I owe more than I can say to friends and family. Antoine and Maya Schouman provided accommodations in Paris and Jessica Nash and Elmar Caspers offered me their house in the Netherlands. In New York, Susan and Jesse Roth always managed to have an extraordinary feast ready. On the North Shore of Lake Superior, John Shepard and Suzanne Brust provided a pristine retreat in which to complete a difficult chapter. And in Georgian Bay, Mike Eakin and Janet Schumacher allowed me to finish the book on one of the most beautiful islands in the world. John and Sybil Eakin provided invaluable comments on numerous drafts; Marion Eakin listened to me tell and retell the story. As for EJ, LP, and AR, they know who they are. Without them, the radium would be gone.
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