Picasso's War, page 47
BACK TO NOTE REFERENCE 7
Brown, Armory Show, 145.
BACK TO NOTE REFERENCE 8
Brown, Armory Show, 235. The heroic account of the show was first written by the participants themselves, including Walt Kuhn in his 1938 memoir, The Story of the Armory Show.
BACK TO NOTE REFERENCE 9
Quinn to Joseph Conrad, March 30, 1913. Quinn’s burlesque toast at the Armory is recorded in Walter Pach, Queer Thing, Painting (New York: Harper and Brothers, 1938), 203.
BACK TO NOTE REFERENCE 10
Avis Berman, “ ‘Creating a New Epoch’: American Collectors and Dealers and the Armory Show,” in Kushner and Orcutt, The Armory Show at 100, 417, 422.
BACK TO NOTE REFERENCE 11
“Cubists of All Sorts,” New York Times, March 16, 1913.
BACK TO NOTE REFERENCE 12
Quinn to Walter Pach, April 2, 1913.
BACK TO NOTE REFERENCE 13
Flam, Matisse and Picasso, 37.
BACK TO NOTE REFERENCE 14
Quinn to Jacob Epstein, April 28, 1913.
BACK TO NOTE REFERENCE 15
Meyer Schapiro, “Rebellion in Art,” in Daniel Aaron, ed., America in Crisis: Fourteen Crucial Episodes in American History (New York: Alfred A. Knopf, 1952), 204.
BACK TO NOTE REFERENCE 16
Frederick James Gregg, “The World’s New Art Centre,” Vanity Fair, January 1915.
BACK TO NOTE REFERENCE 17
One outsider who did buy significantly from the show was Arthur Jerome Eddy, a Chicago lawyer and collector, who was the second-largest private buyer (after Quinn) and acquired works by Picabia, Duchamp, and Derain. Brown, Armory Show, 122–24.
BACK TO NOTE REFERENCE 18
Quinn to George Russell, March 2, 1913.
BACK TO NOTE REFERENCE 19
Brown, Armory Show, 183.
BACK TO NOTE REFERENCE 20
Foster, “Art Revolutionists on Exhibition in America.”
BACK TO NOTE REFERENCE 21
6. CUBISM IN CONGRESS
Quinn to Maud Gonne, April 12, 1914.
BACK TO NOTE REFERENCE 1
Quinn to James Huneker, February 4, 1913.
BACK TO NOTE REFERENCE 2
Quinn to Augustus John, January 19, 1913; “Mr. Morgan’s Art Objects,” New York Times, March 14, 1903; Robert May, “Culture Wars: The U.S. Art Lobby and Congressional Tariff Legislation During the Gilded Age and Progressive Era,” Journal of the Gilded Age and Progressive Era, vol. 9, no. 1 (January 2010), 77.
BACK TO NOTE REFERENCE 3
Quinn to Arthur Brisbane, June 30, 1913.
BACK TO NOTE REFERENCE 4
Whelan, Alfred Stieglitz, 289.
BACK TO NOTE REFERENCE 5
Quinn to John Kewstub, February 1911.
BACK TO NOTE REFERENCE 6
Quinn to John, January 19, 1913.
BACK TO NOTE REFERENCE 7
Chairman Oscar Underwood, tariff hearings, January 29, 1913, in John Quinn, “Memorandum in Regard to the Art Provisions of the Pending Tariff Bill,” submitted to the Senate Finance Committee, June 1913.
BACK TO NOTE REFERENCE 8
May, “Culture Wars,” 84; Quinn to Brisbane, June 30, 1913; Quinn, “Memorandum,” 13.
BACK TO NOTE REFERENCE 9
Quinn to Senator James O’Gorman, June 27, 1913.
BACK TO NOTE REFERENCE 10
Quinn to President Woodrow Wilson, September 13, 1913.
BACK TO NOTE REFERENCE 11
Quinn to May Morris, December 16, 1913, in Londraville, On Poetry, Painting, and Politics, 140; Quinn to John Johnson, October 2, 1913.
BACK TO NOTE REFERENCE 12
Quinn, “Memorandum,” 19.
BACK TO NOTE REFERENCE 13
Quinn to Judge Learned Hand, July 1913.
BACK TO NOTE REFERENCE 14
Quinn to John Cotton Dana, January 26, 1914.
BACK TO NOTE REFERENCE 15
Alice Thursby to Quinn, quoted in Quinn to Walter Pach, February 17, 1914.
BACK TO NOTE REFERENCE 16
Quinn to Mary Harriman Rumsey, December 22, 1913.
BACK TO NOTE REFERENCE 17
Joseph Conrad to Quinn, August 17, 1913, in Reid, Man from New York, 167.
BACK TO NOTE REFERENCE 18
Quinn to Alice Thursby, February 17, 1914.
BACK TO NOTE REFERENCE 19
7. THE CHESS PLAYER AND THE SHOWMAN
Seymour de Ricci, “La ‘Peau de l’Ours,’ ” Gil Blas, March 3, 1914.
BACK TO NOTE REFERENCE 1
Joachim Gasquet, “La bataille autour de la ‘Peau de l’Ours,’ ” Paris-Midi, March 3, 1914.
BACK TO NOTE REFERENCE 2
Daniel-Henry Kahnweiler, 1955 interview by Georges Bernier, in Bernier and Cabanne, D.-H. Kahnweiler, 23; Kahnweiler, My Galleries and Painters, 45.
BACK TO NOTE REFERENCE 3
Kahnweiler sold Picasso’s Young Acrobat on a Ball (1905) to Ivan Morosov in October 1913. To the Armory, Kahnweiler sent Woman with a Mustard Pot (1910) for $675; Head of a Man (1912) for $486; and the early Blue period masterpiece Madame Soler (1903) for $1,350. Brown, Armory Show, 301–02.
BACK TO NOTE REFERENCE 4
Louis Vauxcelles, “Les Arts: Exposition Toulouse-Lautrec,” Gil Blas, January 25, 1914.
BACK TO NOTE REFERENCE 5
André Gybal,“Toulouse-Lautrec,” Les Hommes du jour, February 21, 1914.
BACK TO NOTE REFERENCE 6
Rosenberg, “Autobiographical Notes,” in Paul Rosenberg and Company, 131.
BACK TO NOTE REFERENCE 7
Ephrussi’s friendship with Proust is discussed in Edmund de Waal, The Hare with Amber Eyes: A Family’s Century of Art and Loss (New York: Farrar, Straus and Giroux, 2010), 75–76.
BACK TO NOTE REFERENCE 8
In his memoir, Rosenberg recalls that his father bought Bedroom (1889) when they attended Émile Bernard’s 1892 Van Gogh exhibition, but since that work was not shown there, it seems more likely that he acquired it from Ambroise Vollard’s 1895 exhibition, where it did appear. The work is now in the collection of the Art Institute of Chicago. Rosenberg, “Autobiographical Notes,” 128–30.
BACK TO NOTE REFERENCE 9
Julie Manet recorded Renoir’s comments during her visit to his studio two days after the January 13, 1898, publication of “J’accuse!…,” which had created a national uproar. Renoir was still complaining about Zola when she saw him again the following week. Julie Manet, diary, January 15 and January 20, 1898, in Jane Roberts, ed. and trans., Growing Up with the Impressionists: The Diary of Julie Manet (London: Sotheby’s Publications, 1987), 124–26.
BACK TO NOTE REFERENCE 10
Rosenberg made a brief written account of his final meeting with Renoir, two weeks before the artist’s death, and of Renoir’s funeral. Rosenberg, “My Two Visits to Renoir’s Home,” in Paul Rosenberg and Company, 137–40.
BACK TO NOTE REFERENCE 11
Rosenberg, “Autobiographical Notes,” 134.
BACK TO NOTE REFERENCE 12
Kahnweiler, My Galleries and Painters, 32.
BACK TO NOTE REFERENCE 13
A typescript draft of Rosenberg’s manifesto has survived. Rosenberg, “Letter Draft,” undated [early 1914], in Paul Rosenberg and Company, 22–23. For Kahnweiler’s comment about Rosenberg, see Hook, Rogues’ Gallery, 159.
BACK TO NOTE REFERENCE 14
8. END OF AN IDYLL
Foster, diary, August 5–6, 1914, in Londraville, Dear Yeats, Dear Pound, 55.
BACK TO NOTE REFERENCE 1
Foster, diary, August 15, 1914, in Londraville, Dear Yeats, Dear Pound, 55–56.
BACK TO NOTE REFERENCE 2
Richardson, Life of Picasso: Painter of Modern Life, 341.
BACK TO NOTE REFERENCE 3
Danchev, Braque, 116.
BACK TO NOTE REFERENCE 4
Kahnweiler, My Galleries and Painters, 41.
BACK TO NOTE REFERENCE 5
Picasso to Kahnweiler, June 12, 1912, in William Rubin, Picasso and Braque: Pioneering Cubism (New York: Museum of Modern Art, 1989), 394–95.
BACK TO NOTE REFERENCE 6
Stein, Autobiography of Alice B. Toklas, 136.
BACK TO NOTE REFERENCE 7
Stein to Mabel Dodge Luhan, December 1912, in Richardson, Life of Picasso: Painter of Modern Life, 271.
BACK TO NOTE REFERENCE 8
Eva Gouel to Stein, November 10, 1914, in Madeline, Correspondence: Picasso and Stein, 169.
BACK TO NOTE REFERENCE 9
Eva Gouel to Stein, June 23, 1914, and Gouel and Picasso to Stein, June 25, 1914, in Madeline, Correspondence: Picasso and Stein, 145–47.
BACK TO NOTE REFERENCE 10
Braque to Kahnweiler, July 15, 1914, in Rubin, Picasso and Braque, 429.
BACK TO NOTE REFERENCE 11
Picasso to Kahnweiler, July 21, 1914, in Daix, Picasso: Life and Art, 138.
BACK TO NOTE REFERENCE 12
Braque to Kahnweiler, August 1, 1914, in Rubin, Picasso and Braque, 430.
BACK TO NOTE REFERENCE 13
“We went up to Paris before the call up…just for a few hours to put my affairs in order,” Picasso wrote to Stein on August 8, 1914. According to John Richardson, Picasso and Eva made the trip on July 30 or 31, in which case he would have learned of the imminent mobilization before Braque. Richardson, Life of Picasso: Painter of Modern Life, 344.
BACK TO NOTE REFERENCE 14
O’Brian, Picasso, 207.
BACK TO NOTE REFERENCE 15
Picasso and Eva Gouel to Stein, October 6, 1914, in Madeline, Correspondence: Picasso and Stein, 162.
BACK TO NOTE REFERENCE 16
Picasso to Stein, September 11, 1914, in Madeline, Correspondence: Picasso and Stein, 159.
BACK TO NOTE REFERENCE 17
Assouline, Artful Life, 114–15.
BACK TO NOTE REFERENCE 18
Richardson, Life of Picasso: Painter of Modern Life, 346.
BACK TO NOTE REFERENCE 19
Assouline, Artful Life, 114.
BACK TO NOTE REFERENCE 20
Daniel-Henry Kahnweiler, 1961–62 interview by Paule Chavasse, “Le cubisme et son temps—la guerre,” one of six broadcasts for France III, INA (Institut national de l’audiovisuel) archives, www.ina.fr.
BACK TO NOTE REFERENCE 21
Kahnweiler, My Galleries and Painters, 35.
BACK TO NOTE REFERENCE 22
Richardson, Life of Picasso: Painter of Modern Life, 344.
BACK TO NOTE REFERENCE 23
Along with Arthur Davies, who bought the Picasso watercolor, John Quinn was one of the very few buyers of a Kahnweiler work at the Armory Show, acquiring Derain’s 1912 Window at Vers for $486. Notably, none of the six Picasso and Braque oil paintings Kahnweiler sent found buyers. Brown, Armory Show, 250, 262, 301–02.
BACK TO NOTE REFERENCE 24
Assouline, Artful Life, 117.
BACK TO NOTE REFERENCE 25
Richardson, Life of Picasso: Painter of Modern Life, 346.
BACK TO NOTE REFERENCE 26
Kahnweiler, My Galleries and Painters, 50.
BACK TO NOTE REFERENCE 27
9. THE GRAND ILLUSION
Henry McBride, “Cubistic Water Colors and Drawings Attract Many Visitors to Carroll Galleries,” New York Sun, December 14, 1914.
BACK TO NOTE REFERENCE 1
Frederick James Gregg, “The World’s New Art Centre,” Vanity Fair, January 1915.
BACK TO NOTE REFERENCE 2
Henry McBride, “Arthur B. Davies and Cubism,” New York Sun, November 2, 1913.
BACK TO NOTE REFERENCE 3
Quinn to Walter Pach, August 30, 1915.
BACK TO NOTE REFERENCE 4
Vérane Tasseau, “Daniel-Henry Kahnweiler’s International Partnerships,” in Force, Pioneers of the Global Art Market, 81.
BACK TO NOTE REFERENCE 5
Judith K. Zilczer, “Robert J. Coady, Forgotten Spokesman for Avant-Garde Culture in America,” American Art Review, vol. 2, no. 6 (November–December 1975), 81.
BACK TO NOTE REFERENCE 6
Reid, Man from New York, 207.
BACK TO NOTE REFERENCE 7
De Zayas, How, When, and Why Modern Art Came to New York, 93–94.
BACK TO NOTE REFERENCE 8
Stieglitz also claimed that declines in the stock market were hurting sales. Pepe Karmel, “Pablo Picasso and Georges Braque, 1914–1915,” in Greenough, Modern Art in America, 193.
BACK TO NOTE REFERENCE 9
Third Exhibition of Contemporary French Art (New York: Carroll Galleries, 1915), 10.
BACK TO NOTE REFERENCE 10
Henry McBride, “What Is Happening in the World of Art,” New York Sun, March 14, 1915.
BACK TO NOTE REFERENCE 11
Frederick James Gregg, “A Note on Pablo Picasso,” in Third Exhibition of Contemporary French Art, 14.
BACK TO NOTE REFERENCE 12
McBride, “Cubistic Water Colors.”
BACK TO NOTE REFERENCE 13
Quinn to James Huneker, April 3, 1915.
BACK TO NOTE REFERENCE 14
Reid, Man from New York, 207.
BACK TO NOTE REFERENCE 15
Quinn to C. K. Butler, September 3, 1914.
BACK TO NOTE REFERENCE 16
Quinn to Harriet Bryant, October 6, 1914.
BACK TO NOTE REFERENCE 17
Quinn to Walt Kuhn, November 17, 1914.
BACK TO NOTE REFERENCE 18
First Exhibition of Works by Contemporary French Artists (New York: Carroll Galleries, 1914), 2.
BACK TO NOTE REFERENCE 19
See Quinn to Harriet Bryant, February 19, 1915; Quinn to John Butler Yeats, February 20, 1915; and Quinn to Walt Kuhn, August 30, 1915.
BACK TO NOTE REFERENCE 20
Quinn to Walter Pach, August 24, 1915, in Reid, Man from New York, 208.
BACK TO NOTE REFERENCE 21
Quinn bought Picasso’s Nudes in a Forest (Study for “Three Women”) (1908) from Stieglitz in July 1908. Judith Zilczer, “Alfred Stieglitz and John Quinn: Allies in the American Avant-Garde,” American Art Journal, vol. 17, no. 3 (Summer 1985), 21.
BACK TO NOTE REFERENCE 22
Quinn to Ambroise Vollard, August 11, 1915.
BACK TO NOTE REFERENCE 23
Quinn to Roché, March 24, 1923.
BACK TO NOTE REFERENCE 24
Quinn to Mrs. James Byrne, March 26, 1915.
BACK TO NOTE REFERENCE 25
Quinn to Jacob Epstein, July 31, 1915, in Reid, Man from New York, 209.
BACK TO NOTE REFERENCE 26
Quinn to Vollard, August 11, 1915.
BACK TO NOTE REFERENCE 27
Quinn to Gordon Craig, August 10, 1915.
BACK TO NOTE REFERENCE 28
Quinn to Lady Gregory, April 27, 1915.
BACK TO NOTE REFERENCE 29
Reid, Man from New York, 214.
BACK TO NOTE REFERENCE 30
Unsigned introduction to Third Exhibition of Contemporary French Art, 13. Quinn was closely involved with the catalog and likely supervised this text.
BACK TO NOTE REFERENCE 31
Brown, Armory Show, 145.
BACK TO NOTE REFERENCE 8
Brown, Armory Show, 235. The heroic account of the show was first written by the participants themselves, including Walt Kuhn in his 1938 memoir, The Story of the Armory Show.
BACK TO NOTE REFERENCE 9
Quinn to Joseph Conrad, March 30, 1913. Quinn’s burlesque toast at the Armory is recorded in Walter Pach, Queer Thing, Painting (New York: Harper and Brothers, 1938), 203.
BACK TO NOTE REFERENCE 10
Avis Berman, “ ‘Creating a New Epoch’: American Collectors and Dealers and the Armory Show,” in Kushner and Orcutt, The Armory Show at 100, 417, 422.
BACK TO NOTE REFERENCE 11
“Cubists of All Sorts,” New York Times, March 16, 1913.
BACK TO NOTE REFERENCE 12
Quinn to Walter Pach, April 2, 1913.
BACK TO NOTE REFERENCE 13
Flam, Matisse and Picasso, 37.
BACK TO NOTE REFERENCE 14
Quinn to Jacob Epstein, April 28, 1913.
BACK TO NOTE REFERENCE 15
Meyer Schapiro, “Rebellion in Art,” in Daniel Aaron, ed., America in Crisis: Fourteen Crucial Episodes in American History (New York: Alfred A. Knopf, 1952), 204.
BACK TO NOTE REFERENCE 16
Frederick James Gregg, “The World’s New Art Centre,” Vanity Fair, January 1915.
BACK TO NOTE REFERENCE 17
One outsider who did buy significantly from the show was Arthur Jerome Eddy, a Chicago lawyer and collector, who was the second-largest private buyer (after Quinn) and acquired works by Picabia, Duchamp, and Derain. Brown, Armory Show, 122–24.
BACK TO NOTE REFERENCE 18
Quinn to George Russell, March 2, 1913.
BACK TO NOTE REFERENCE 19
Brown, Armory Show, 183.
BACK TO NOTE REFERENCE 20
Foster, “Art Revolutionists on Exhibition in America.”
BACK TO NOTE REFERENCE 21
6. CUBISM IN CONGRESS
Quinn to Maud Gonne, April 12, 1914.
BACK TO NOTE REFERENCE 1
Quinn to James Huneker, February 4, 1913.
BACK TO NOTE REFERENCE 2
Quinn to Augustus John, January 19, 1913; “Mr. Morgan’s Art Objects,” New York Times, March 14, 1903; Robert May, “Culture Wars: The U.S. Art Lobby and Congressional Tariff Legislation During the Gilded Age and Progressive Era,” Journal of the Gilded Age and Progressive Era, vol. 9, no. 1 (January 2010), 77.
BACK TO NOTE REFERENCE 3
Quinn to Arthur Brisbane, June 30, 1913.
BACK TO NOTE REFERENCE 4
Whelan, Alfred Stieglitz, 289.
BACK TO NOTE REFERENCE 5
Quinn to John Kewstub, February 1911.
BACK TO NOTE REFERENCE 6
Quinn to John, January 19, 1913.
BACK TO NOTE REFERENCE 7
Chairman Oscar Underwood, tariff hearings, January 29, 1913, in John Quinn, “Memorandum in Regard to the Art Provisions of the Pending Tariff Bill,” submitted to the Senate Finance Committee, June 1913.
BACK TO NOTE REFERENCE 8
May, “Culture Wars,” 84; Quinn to Brisbane, June 30, 1913; Quinn, “Memorandum,” 13.
BACK TO NOTE REFERENCE 9
Quinn to Senator James O’Gorman, June 27, 1913.
BACK TO NOTE REFERENCE 10
Quinn to President Woodrow Wilson, September 13, 1913.
BACK TO NOTE REFERENCE 11
Quinn to May Morris, December 16, 1913, in Londraville, On Poetry, Painting, and Politics, 140; Quinn to John Johnson, October 2, 1913.
BACK TO NOTE REFERENCE 12
Quinn, “Memorandum,” 19.
BACK TO NOTE REFERENCE 13
Quinn to Judge Learned Hand, July 1913.
BACK TO NOTE REFERENCE 14
Quinn to John Cotton Dana, January 26, 1914.
BACK TO NOTE REFERENCE 15
Alice Thursby to Quinn, quoted in Quinn to Walter Pach, February 17, 1914.
BACK TO NOTE REFERENCE 16
Quinn to Mary Harriman Rumsey, December 22, 1913.
BACK TO NOTE REFERENCE 17
Joseph Conrad to Quinn, August 17, 1913, in Reid, Man from New York, 167.
BACK TO NOTE REFERENCE 18
Quinn to Alice Thursby, February 17, 1914.
BACK TO NOTE REFERENCE 19
7. THE CHESS PLAYER AND THE SHOWMAN
Seymour de Ricci, “La ‘Peau de l’Ours,’ ” Gil Blas, March 3, 1914.
BACK TO NOTE REFERENCE 1
Joachim Gasquet, “La bataille autour de la ‘Peau de l’Ours,’ ” Paris-Midi, March 3, 1914.
BACK TO NOTE REFERENCE 2
Daniel-Henry Kahnweiler, 1955 interview by Georges Bernier, in Bernier and Cabanne, D.-H. Kahnweiler, 23; Kahnweiler, My Galleries and Painters, 45.
BACK TO NOTE REFERENCE 3
Kahnweiler sold Picasso’s Young Acrobat on a Ball (1905) to Ivan Morosov in October 1913. To the Armory, Kahnweiler sent Woman with a Mustard Pot (1910) for $675; Head of a Man (1912) for $486; and the early Blue period masterpiece Madame Soler (1903) for $1,350. Brown, Armory Show, 301–02.
BACK TO NOTE REFERENCE 4
Louis Vauxcelles, “Les Arts: Exposition Toulouse-Lautrec,” Gil Blas, January 25, 1914.
BACK TO NOTE REFERENCE 5
André Gybal,“Toulouse-Lautrec,” Les Hommes du jour, February 21, 1914.
BACK TO NOTE REFERENCE 6
Rosenberg, “Autobiographical Notes,” in Paul Rosenberg and Company, 131.
BACK TO NOTE REFERENCE 7
Ephrussi’s friendship with Proust is discussed in Edmund de Waal, The Hare with Amber Eyes: A Family’s Century of Art and Loss (New York: Farrar, Straus and Giroux, 2010), 75–76.
BACK TO NOTE REFERENCE 8
In his memoir, Rosenberg recalls that his father bought Bedroom (1889) when they attended Émile Bernard’s 1892 Van Gogh exhibition, but since that work was not shown there, it seems more likely that he acquired it from Ambroise Vollard’s 1895 exhibition, where it did appear. The work is now in the collection of the Art Institute of Chicago. Rosenberg, “Autobiographical Notes,” 128–30.
BACK TO NOTE REFERENCE 9
Julie Manet recorded Renoir’s comments during her visit to his studio two days after the January 13, 1898, publication of “J’accuse!…,” which had created a national uproar. Renoir was still complaining about Zola when she saw him again the following week. Julie Manet, diary, January 15 and January 20, 1898, in Jane Roberts, ed. and trans., Growing Up with the Impressionists: The Diary of Julie Manet (London: Sotheby’s Publications, 1987), 124–26.
BACK TO NOTE REFERENCE 10
Rosenberg made a brief written account of his final meeting with Renoir, two weeks before the artist’s death, and of Renoir’s funeral. Rosenberg, “My Two Visits to Renoir’s Home,” in Paul Rosenberg and Company, 137–40.
BACK TO NOTE REFERENCE 11
Rosenberg, “Autobiographical Notes,” 134.
BACK TO NOTE REFERENCE 12
Kahnweiler, My Galleries and Painters, 32.
BACK TO NOTE REFERENCE 13
A typescript draft of Rosenberg’s manifesto has survived. Rosenberg, “Letter Draft,” undated [early 1914], in Paul Rosenberg and Company, 22–23. For Kahnweiler’s comment about Rosenberg, see Hook, Rogues’ Gallery, 159.
BACK TO NOTE REFERENCE 14
8. END OF AN IDYLL
Foster, diary, August 5–6, 1914, in Londraville, Dear Yeats, Dear Pound, 55.
BACK TO NOTE REFERENCE 1
Foster, diary, August 15, 1914, in Londraville, Dear Yeats, Dear Pound, 55–56.
BACK TO NOTE REFERENCE 2
Richardson, Life of Picasso: Painter of Modern Life, 341.
BACK TO NOTE REFERENCE 3
Danchev, Braque, 116.
BACK TO NOTE REFERENCE 4
Kahnweiler, My Galleries and Painters, 41.
BACK TO NOTE REFERENCE 5
Picasso to Kahnweiler, June 12, 1912, in William Rubin, Picasso and Braque: Pioneering Cubism (New York: Museum of Modern Art, 1989), 394–95.
BACK TO NOTE REFERENCE 6
Stein, Autobiography of Alice B. Toklas, 136.
BACK TO NOTE REFERENCE 7
Stein to Mabel Dodge Luhan, December 1912, in Richardson, Life of Picasso: Painter of Modern Life, 271.
BACK TO NOTE REFERENCE 8
Eva Gouel to Stein, November 10, 1914, in Madeline, Correspondence: Picasso and Stein, 169.
BACK TO NOTE REFERENCE 9
Eva Gouel to Stein, June 23, 1914, and Gouel and Picasso to Stein, June 25, 1914, in Madeline, Correspondence: Picasso and Stein, 145–47.
BACK TO NOTE REFERENCE 10
Braque to Kahnweiler, July 15, 1914, in Rubin, Picasso and Braque, 429.
BACK TO NOTE REFERENCE 11
Picasso to Kahnweiler, July 21, 1914, in Daix, Picasso: Life and Art, 138.
BACK TO NOTE REFERENCE 12
Braque to Kahnweiler, August 1, 1914, in Rubin, Picasso and Braque, 430.
BACK TO NOTE REFERENCE 13
“We went up to Paris before the call up…just for a few hours to put my affairs in order,” Picasso wrote to Stein on August 8, 1914. According to John Richardson, Picasso and Eva made the trip on July 30 or 31, in which case he would have learned of the imminent mobilization before Braque. Richardson, Life of Picasso: Painter of Modern Life, 344.
BACK TO NOTE REFERENCE 14
O’Brian, Picasso, 207.
BACK TO NOTE REFERENCE 15
Picasso and Eva Gouel to Stein, October 6, 1914, in Madeline, Correspondence: Picasso and Stein, 162.
BACK TO NOTE REFERENCE 16
Picasso to Stein, September 11, 1914, in Madeline, Correspondence: Picasso and Stein, 159.
BACK TO NOTE REFERENCE 17
Assouline, Artful Life, 114–15.
BACK TO NOTE REFERENCE 18
Richardson, Life of Picasso: Painter of Modern Life, 346.
BACK TO NOTE REFERENCE 19
Assouline, Artful Life, 114.
BACK TO NOTE REFERENCE 20
Daniel-Henry Kahnweiler, 1961–62 interview by Paule Chavasse, “Le cubisme et son temps—la guerre,” one of six broadcasts for France III, INA (Institut national de l’audiovisuel) archives, www.ina.fr.
BACK TO NOTE REFERENCE 21
Kahnweiler, My Galleries and Painters, 35.
BACK TO NOTE REFERENCE 22
Richardson, Life of Picasso: Painter of Modern Life, 344.
BACK TO NOTE REFERENCE 23
Along with Arthur Davies, who bought the Picasso watercolor, John Quinn was one of the very few buyers of a Kahnweiler work at the Armory Show, acquiring Derain’s 1912 Window at Vers for $486. Notably, none of the six Picasso and Braque oil paintings Kahnweiler sent found buyers. Brown, Armory Show, 250, 262, 301–02.
BACK TO NOTE REFERENCE 24
Assouline, Artful Life, 117.
BACK TO NOTE REFERENCE 25
Richardson, Life of Picasso: Painter of Modern Life, 346.
BACK TO NOTE REFERENCE 26
Kahnweiler, My Galleries and Painters, 50.
BACK TO NOTE REFERENCE 27
9. THE GRAND ILLUSION
Henry McBride, “Cubistic Water Colors and Drawings Attract Many Visitors to Carroll Galleries,” New York Sun, December 14, 1914.
BACK TO NOTE REFERENCE 1
Frederick James Gregg, “The World’s New Art Centre,” Vanity Fair, January 1915.
BACK TO NOTE REFERENCE 2
Henry McBride, “Arthur B. Davies and Cubism,” New York Sun, November 2, 1913.
BACK TO NOTE REFERENCE 3
Quinn to Walter Pach, August 30, 1915.
BACK TO NOTE REFERENCE 4
Vérane Tasseau, “Daniel-Henry Kahnweiler’s International Partnerships,” in Force, Pioneers of the Global Art Market, 81.
BACK TO NOTE REFERENCE 5
Judith K. Zilczer, “Robert J. Coady, Forgotten Spokesman for Avant-Garde Culture in America,” American Art Review, vol. 2, no. 6 (November–December 1975), 81.
BACK TO NOTE REFERENCE 6
Reid, Man from New York, 207.
BACK TO NOTE REFERENCE 7
De Zayas, How, When, and Why Modern Art Came to New York, 93–94.
BACK TO NOTE REFERENCE 8
Stieglitz also claimed that declines in the stock market were hurting sales. Pepe Karmel, “Pablo Picasso and Georges Braque, 1914–1915,” in Greenough, Modern Art in America, 193.
BACK TO NOTE REFERENCE 9
Third Exhibition of Contemporary French Art (New York: Carroll Galleries, 1915), 10.
BACK TO NOTE REFERENCE 10
Henry McBride, “What Is Happening in the World of Art,” New York Sun, March 14, 1915.
BACK TO NOTE REFERENCE 11
Frederick James Gregg, “A Note on Pablo Picasso,” in Third Exhibition of Contemporary French Art, 14.
BACK TO NOTE REFERENCE 12
McBride, “Cubistic Water Colors.”
BACK TO NOTE REFERENCE 13
Quinn to James Huneker, April 3, 1915.
BACK TO NOTE REFERENCE 14
Reid, Man from New York, 207.
BACK TO NOTE REFERENCE 15
Quinn to C. K. Butler, September 3, 1914.
BACK TO NOTE REFERENCE 16
Quinn to Harriet Bryant, October 6, 1914.
BACK TO NOTE REFERENCE 17
Quinn to Walt Kuhn, November 17, 1914.
BACK TO NOTE REFERENCE 18
First Exhibition of Works by Contemporary French Artists (New York: Carroll Galleries, 1914), 2.
BACK TO NOTE REFERENCE 19
See Quinn to Harriet Bryant, February 19, 1915; Quinn to John Butler Yeats, February 20, 1915; and Quinn to Walt Kuhn, August 30, 1915.
BACK TO NOTE REFERENCE 20
Quinn to Walter Pach, August 24, 1915, in Reid, Man from New York, 208.
BACK TO NOTE REFERENCE 21
Quinn bought Picasso’s Nudes in a Forest (Study for “Three Women”) (1908) from Stieglitz in July 1908. Judith Zilczer, “Alfred Stieglitz and John Quinn: Allies in the American Avant-Garde,” American Art Journal, vol. 17, no. 3 (Summer 1985), 21.
BACK TO NOTE REFERENCE 22
Quinn to Ambroise Vollard, August 11, 1915.
BACK TO NOTE REFERENCE 23
Quinn to Roché, March 24, 1923.
BACK TO NOTE REFERENCE 24
Quinn to Mrs. James Byrne, March 26, 1915.
BACK TO NOTE REFERENCE 25
Quinn to Jacob Epstein, July 31, 1915, in Reid, Man from New York, 209.
BACK TO NOTE REFERENCE 26
Quinn to Vollard, August 11, 1915.
BACK TO NOTE REFERENCE 27
Quinn to Gordon Craig, August 10, 1915.
BACK TO NOTE REFERENCE 28
Quinn to Lady Gregory, April 27, 1915.
BACK TO NOTE REFERENCE 29
Reid, Man from New York, 214.
BACK TO NOTE REFERENCE 30
Unsigned introduction to Third Exhibition of Contemporary French Art, 13. Quinn was closely involved with the catalog and likely supervised this text.
BACK TO NOTE REFERENCE 31
