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Roob, Rona. “Alfred H. Barr, Jr.: A Chronicle of the Years 1902–1929.” The New Criterion, special issue (Summer 1987), 1–19.
Rubin, William, Hélène Seckel, and Judith Cousins. “Les Demoiselles d’Avignon.” Studies in Modern Art 3. New York: The Museum of Modern Art, 1993.
Russell, John. Matisse: Father and Son. New York: Harry N. Abrams, 1999.
Saarinen, Aline B. The Proud Possessors: The Lives, Times and Tastes of Some Adventurous American Art Collectors. New York: Random House, 1958.
Sabartés, Jaime. Picasso: An Intimate Portrait. Translated by Angel Flores. New York: Prentice-Hall, 1948.
Saltzman, Cynthia. Old Masters, New World: America’s Raid on Europe’s Great Pictures. New York: Viking Penguin, 2008.
Semenova, Natalya, with André Delocque. The Collector: The Story of Sergei Shchukin and His Lost Masterpieces. Translated by Anthony Roberts. New Haven: Yale University Press, 2018.
Sinclair, Anne. My Grandfather’s Gallery: A Family Memoir of Art and War. Translated by Shaun Whiteside. New York: Farrar, Straus and Giroux, 2014.
Spurling, Hilary. Matisse the Master: A Life of Henri Matisse: The Conquest of Color. New York: Alfred A. Knopf, 2005.
Stein, Gertrude. The Autobiography of Alice B. Toklas. New York: Harcourt, Brace and Company, 1933.
Tinterow, Gary, and Susan Alyson Stein, eds. Picasso in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 2010.
Tomkins, Calvin. Merchants and Masterpieces: The Story of the Metropolitan Museum of Art. New York: E. P. Dutton and Company, 1970.
Utley, Gertje R. Picasso: The Communist Years. New Haven: Yale University Press, 2000.
van Hensbergen, Gijs. “Guernica”: The Biography of a Twentieth-Century Icon. New York and London: Bloomsbury, 2004.
Weber, Nicholas Fox. Patron Saints: Five Rebels Who Opened America to New Art, 1928–1943. New Haven: Yale University Press, 1992.
Whelan, Richard. Alfred Stieglitz: A Biography. New York: Little, Brown, 1995.
Wood, Beatrice. I Shock Myself: The Autobiography of Beatrice Wood. Edited by Lindsay Smith. San Francisco: Chronicle Books, 2006.
Zilczer, Judith. “The Noble Buyer”: John Quinn, Patron of the Avant-Garde. Washington, D.C.: Smithsonian Institution Press, 1978.
Notes
Unless otherwise indicated in the notes:
Letters by John Quinn, and letters from Henri-Pierre Roché to John Quinn, are in the John Quinn Papers, Manuscripts, and Archives Division, The New York Public Library.
The diaries of Jeanne Robert Foster and the letters of Foster to Quinn are in the Foster-Murphy Collection, Manuscripts and Archives Division, The New York Public Library.
Letters from Paul Rosenberg to Picasso are in the Picasso Archives, Musée national Picasso, Paris.
The diaries of Henri-Pierre Roché are in the Carlton Lake Collection of French Manuscripts, Harry Ransom Center, The University of Texas at Austin.
Translations of Paul Rosenberg’s letters to Picasso, Henri-Pierre Roché’s diary entries, and other French texts are by the author.
ABBREVIATIONS OF ARCHIVES WHERE ORIGINAL DOCUMENTS ARE LOCATED:
Archives Matisse: Archives Matisse, Issy-les-Moulineaux, France.
Getty Research Institute: Getty Research Institute, Los Angeles, California.
Harvard Art Museums Archives: Harvard Art Museums Archives, Harvard University, Cambridge, Massachusetts.
Harry Ransom Center: Harry Ransom Center, The University of Texas at Austin, Texas.
MoMA Archives: Museum of Modern Art Archives, Museum of Modern Art, New York.
Morgan Library: Department of Literary and Historical Manuscripts, The Morgan Library and Museum, New York.
PROLOGUE
Quinn to Roché, March 14, 1924.
BACK TO NOTE REFERENCE 1
Joseph Brummer knew Rousseau in Paris and had his portrait painted by him shortly before Rousseau’s death.
BACK TO NOTE REFERENCE 2
Quinn to Gwen John, March 13, 1924.
BACK TO NOTE REFERENCE 3
Walter Pach reported Havemeyer’s comments in Pach to Quinn, December 26, 1923, in Reid, Man from New York, 608.
BACK TO NOTE REFERENCE 4
Jeanne Robert Foster, interview by Richard Londraville, in Londraville, Too Long a Sacrifice, 213.
BACK TO NOTE REFERENCE 5
Quinn to John, March 13, 1924.
BACK TO NOTE REFERENCE 6
1. NOT IN AMERICA
Quinn to James Huneker, May 30, 1911.
BACK TO NOTE REFERENCE 1
Arthur Hoeber, “Art and Artists,” Globe and Commercial Advertiser, April 21, 1911, in Marilyn McCully, ed., A Picasso Anthology: Documents, Criticism, Reminiscences (Princeton, N.J.: Princeton University Press, 1997), 79–80.
BACK TO NOTE REFERENCE 2
Edward Steichen to Alfred Stieglitz, undated, 1911, in Charles Brock, “Pablo Picasso, 1911: An Intellectual Cocktail,” in Greenough, Modern Art in America, 118.
BACK TO NOTE REFERENCE 3
Quinn to Gwen John, January 5, 1911.
BACK TO NOTE REFERENCE 4
Bullen, Post-Impressionists in England, 100.
BACK TO NOTE REFERENCE 5
George Russell to Quinn, December 7, 1910, in Reid, Man from New York, 95.
BACK TO NOTE REFERENCE 6
Quinn to George Russell, February 7, 1911.
BACK TO NOTE REFERENCE 7
Quinn to Augustus John, February 3, 1911.
BACK TO NOTE REFERENCE 8
Quinn to Augustus John, February 3, 1911.
BACK TO NOTE REFERENCE 9
One of Quinn’s few known encounters with French modern art before 1911 was a pair of Manets he saw in Dublin in 1902. Reid, Man from New York, 29. In spring 1911, Quinn also writes that he has seen works by Cézanne and “one or two” Van Goghs. Quinn to George Russell, March 5, 1911.
BACK TO NOTE REFERENCE 10
May Morris to Quinn, April 5, 1911, in Londraville, On Poetry, Painting, and Politics, 82.
BACK TO NOTE REFERENCE 11
Quinn to Townsend Walsh, December 9, 1910.
BACK TO NOTE REFERENCE 12
Quinn’s early biography is recounted in Reid, Man from New York, 4–6.
BACK TO NOTE REFERENCE 13
Francis Hackett to Quinn, August 16, 1907, in Reid, Man from New York, 49.
BACK TO NOTE REFERENCE 14
Brock, “Pablo Picasso,” 121.
BACK TO NOTE REFERENCE 15
Quinn to Huneker, May 30, 1911.
BACK TO NOTE REFERENCE 16
Lisa Mintz Messinger, ed., Stieglitz and His Artists: Matisse to O’Keeffe (New York: Metropolitan Museum of Art, 2011), 50.
BACK TO NOTE REFERENCE 17
Alfred Stieglitz to Edward Alden Jewell, December 19, 1939, in Greenough, Modern Art in America, 499n50.
BACK TO NOTE REFERENCE 18
2. THE HALF-LIFE OF A PAINTING
John Sloan to Quinn, August 16, 1910, in Reid, Man from New York, 88.
BACK TO NOTE REFERENCE 1
John Butler Yeats to Quinn, October 23, 1902, in Reid, Man from New York, 11.
BACK TO NOTE REFERENCE 2
Quinn to T. W. Rolleston, March 8, 1912, in Reid, Man from New York, 118.
BACK TO NOTE REFERENCE 3
Mike Wallace, Greater Gotham: A History of New York City from 1898 to 1919 (New York: Oxford University Press, 2017), 344.
BACK TO NOTE REFERENCE 4
Ezra Pound to Quinn, March 9, 1915, in Timothy Materer, ed., The Selected Letters of Ezra Pound to John Quinn, 1915–1924 (Durham and London: Duke University Press, 1991), 20. American collectors had been buying Impressionist paintings since the late nineteenth century, but as late as 1907, Roger Fry’s purchase of a Renoir caused controversy at the Metropolitan Museum and for the most part the post-Impressionists were shunned.
BACK TO NOTE REFERENCE 5
Henry James, The American Scene (New York and London: Harper and Brothers Publishers, 1907), 186.
BACK TO NOTE REFERENCE 6
Quinn to Augustus John, February 10, 1913; Quinn to Judge Learned Hand, July 29, 1913.
BACK TO NOTE REFERENCE 7
Quinn to Townsend Walsh, September 3, 1909, in Reid, Man from New York, 74.
BACK TO NOTE REFERENCE 8
Quinn to Judge Learned Hand, July 29, 1913.
BACK TO NOTE REFERENCE 9
Quinn to John Butler Yeats, March 22, 1911.
BACK TO NOTE REFERENCE 10
3. PARIS, EAST
By 1914, both painters had begun signing the front of their canvases again. William Rubin, Picasso and Braque: Pioneering Cubism (New York: Museum of Modern Art, 1989), 19.
BACK TO NOTE REFERENCE 1
Marius de Zayas to Alfred Stieglitz, July 10, 1911, in de Zayas, How, When, and Why Modern Art Came to New York, 164–65.
BACK TO NOTE REFERENCE 2
Penrose, Picasso: His Life and Work, 146; Richardson, Life of Picasso: Painter of Modern Life, 228.
BACK TO NOTE REFERENCE 3
Richardson, Life of Picasso: Early Years, 400.
BACK TO NOTE REFERENCE 4
O’Brian, Picasso, 66. Alfred H. Barr, Jr., described Leo Stein’s limited influence with devastating precision: “For the two brief years between 1905 and 1907 he was possibly the most discerning connoisseur and collector of 20th-century painting in the world.” Barr, Matisse: His Art and His Public, 57.
BACK TO NOTE REFERENCE 5
Richardson, Life of Picasso: Painter of Modern Life, 35.
BACK TO NOTE REFERENCE 6
Kahnweiler, My Galleries and Painters, 24.
BACK TO NOTE REFERENCE 7
Kahnweiler, My Galleries and Painters, 27.
BACK TO NOTE REFERENCE 8
Daniel-Henry Kahnweiler, 1969 interview by Pierre Cabanne, in Georges Bernier and Pierre Cabanne, D.-H. Kahnweiler: Marchand et critique (Paris: Nouvelles Éditions Séguier, 1996), 34.
BACK TO NOTE REFERENCE 9
Kahnweiler learned of the painting from the German connoisseur Wilhelm Uhde in May 1907. His visit to rue Ravignan took place some weeks after July 1. Monod-Fontaine, Daniel-Henry Kahnweiler, 97.
BACK TO NOTE REFERENCE 10
Kahnweiler, My Galleries and Painters, 38.
BACK TO NOTE REFERENCE 11
Richardson, Life of Picasso: Painter of Modern Life, 34.
BACK TO NOTE REFERENCE 12
Kahnweiler, My Galleries and Painters, 38.
BACK TO NOTE REFERENCE 13
Richardson, Life of Picasso: Painter of Modern Life, 34.
BACK TO NOTE REFERENCE 14
Kahnweiler, “Der Kubismus,” 1916, in Rubin et al., “Les Demoiselles d’Avignon,” 234.
BACK TO NOTE REFERENCE 15
Richardson, Life of Picasso: Early Years, 352–54.
BACK TO NOTE REFERENCE 16
Olivier, Picasso and His Friends, 96.
BACK TO NOTE REFERENCE 17
Kahnweiler, My Galleries and Painters, 36.
BACK TO NOTE REFERENCE 18
Kahnweiler, My Galleries and Painters, 29.
BACK TO NOTE REFERENCE 19
Semenova, The Collector, 202.
BACK TO NOTE REFERENCE 20
Kean, French Painters, Russian Collectors, 205.
BACK TO NOTE REFERENCE 21
Richardson, Life of Picasso: Painter of Modern Life, 317.
BACK TO NOTE REFERENCE 22
Richardson, Life of Picasso: Painter of Modern Life, 299; FitzGerald, Making Modernism, 41.
BACK TO NOTE REFERENCE 23
Richardson, Life of Picasso: Painter of Modern Life, 324.
BACK TO NOTE REFERENCE 24
Olivier, Picasso and His Friends, 151. A rare exception was Hamilton Easter Field, a wealthy expatriate Brooklynite who commissioned Picasso to make a series of large-scale Cubist paintings for his library in Brooklyn Heights. But Field quickly cooled on the whole idea, and Picasso, who worked on the project on and off for more than two years, never received any payment for his efforts and eventually destroyed one of the giant canvases he had made for it. Rubin, “Appendix: The Library of Hamilton Easter Field,” in Picasso and Braque, 63–69.
BACK TO NOTE REFERENCE 25
4. FRENCH LESSONS
Holroyd, Augustus John, 344.
BACK TO NOTE REFERENCE 1
Holroyd, Augustus John, 378.
BACK TO NOTE REFERENCE 2
Reid, Man from New York, 105.
BACK TO NOTE REFERENCE 3
Holroyd, Augustus John, 378.
BACK TO NOTE REFERENCE 4
Reid, Man from New York, 106–08.
BACK TO NOTE REFERENCE 5
Holroyd, Augustus John, 379–80.
BACK TO NOTE REFERENCE 6
Quinn to John Sloan, undated [November 1912]; Quinn to Augustus John, December 7, 1912.
BACK TO NOTE REFERENCE 7
Quinn to Augustus John, December 7, 1912.
BACK TO NOTE REFERENCE 8
Though it has been largely forgotten today, the original aim of the Armory Show was to exhibit new American, not European, avant-garde art. Meyer Schapiro, “Rebellion in Art,” in Daniel Aaron, ed., America in Crisis: Fourteen Crucial Episodes in American History (New York: Alfred A. Knopf, 1952), 203–04.
BACK TO NOTE REFERENCE 9
Martin Birnbaum to Quinn, July 1912, in Zilczer, “Noble Buyer,” 26. Davies obtained the catalog from Birnbaum after Birnbaum’s return to New York. Perlman, Lives, Loves, and Art of Arthur B. Davies, 212. Kuhn recalled Davies’s comment in Walt Kuhn, The Story of the Armory Show (New York: W. Kuhn, 1938), 8.
BACK TO NOTE REFERENCE 10
Reid, Man from New York, 133.
BACK TO NOTE REFERENCE 11
Quinn to Jack Yeats, December 21, 1912.
BACK TO NOTE REFERENCE 12
Walt Kuhn to Walter Pach, December 12, 1912, in Brown, Armory Show, 78; Quinn to John, December 7, 1912.
BACK TO NOTE REFERENCE 13
Quinn to William Marchant, December 9, 1912; John Quinn, “Modern Art from a Layman’s Point of View,” Arts and Decoration, vol. 3, no. 5 (March 1913), 155–58.
BACK TO NOTE REFERENCE 14
Quinn to John, December 7, 1912.
BACK TO NOTE REFERENCE 15
5. A GLIMPSE OF THE LADY
Brown, Armory Show, 157.
BACK TO NOTE REFERENCE 1
Quinn, introductory speech, February 17, 1913, in Brown, Armory Show, 43–44. For the warning about Quinn’s reputation with women, see Londraville, Dear Yeats, Dear Pound, 136.
BACK TO NOTE REFERENCE 2
Foster’s review of the Armory Show is Jeanne Robert Foster, “Art Revolutionists on Exhibition in America,” American Review of Reviews, April 1913; the “hard-boiled egg” quote is in Brown, Armory Show, 139.
BACK TO NOTE REFERENCE 3
Jeanne Robert Foster, interview by B. L. Reid, in Reid, Man from New York, 148.
BACK TO NOTE REFERENCE 4
The details of Foster’s biography are in Londraville, Dear Yeats, Dear Pound, 18, 23–25.
BACK TO NOTE REFERENCE 5
Foster, “Character Sketch of Charles Copeland,” unpublished typescript [1906]; Charles Copeland to Foster, February 9, 1906, in Londraville, Dear Yeats, Dear Pound, 32–33.
BACK TO NOTE REFERENCE 6
John Butler Yeats to Foster, February 26, 1921, and John Butler Yeats to W. B. Yeats, May 10, 1914, in Londraville, Dear Yeats, Dear Pound, 66–67, 73.
