Picasso's War, page 50
BACK TO NOTE REFERENCE 20
Frederick James Gregg, “Europe Raids the John Quinn Collection,” The Independent, February 27, 1926.
BACK TO NOTE REFERENCE 21
Jean Cocteau, introduction to Catalogue des tableaux modernes provenant de la collection John Quinn (Paris: Hôtel Drouot, October 1926); Janet Flanner, Paris Was Yesterday: 1925–1939 (New York: Viking Press, 1972), 10.
BACK TO NOTE REFERENCE 22
Confusion about exchange rates has distorted historical understanding of the Quinn estate sales. Judith Zilczer has written that the Hôtel Drouot sale of thirty-six paintings and thirty-six watercolors yielded “approximately $308,000 for the Quinn Estate,” with The Sleeping Gypsy selling for “520,000 francs or about $102,900.” In fact, according to U.S. Federal Reserve exchange rates for October 1926, The Sleeping Gypsy sold for about $15,300 and the total auction yielded $48,510. Combined with the $91,570 achieved for the 819 works sold in New York and private sales of perhaps as much as $200,000 for the Picassos, Seurats, and other works, total proceeds would have amounted to about $350,000 for more than twenty-five hundred artworks—well below Zilczer’s estimate of $600,000 and a significant loss on Quinn’s original investment. Even in Paris, the Quinn estate probably lost money overall on his original investment. Zilczer, “Dispersal of the John Quinn Collection,” 17.
BACK TO NOTE REFERENCE 23
Zilczer, “Dispersal of the John Quinn Collection,” 20.
BACK TO NOTE REFERENCE 24
19. THE VERY MODERN MR. BARR
Barr to Annie Elizabeth Wilson Barr, March 18, 1924, in Roob, “Alfred H. Barr, Jr.,” 5; “Lectures on Modern Art,” Poughkeepsie Star, November 3, 1923, in Kantor, Intellectual Origins of the Museum of Modern Art, 32.
BACK TO NOTE REFERENCE 1
Kantor, Intellectual Origins of the Museum of Modern Art, 8.
BACK TO NOTE REFERENCE 2
Macdonald, “Action on West Fifty-third Street—II,” New Yorker, December 19, 1953.
BACK TO NOTE REFERENCE 3
Interview with Philip Johnson, December 18, 1990, Oral History Program, MoMA Archives, 2.
BACK TO NOTE REFERENCE 4
Roob, “Alfred H. Barr, Jr.,” 2.
BACK TO NOTE REFERENCE 5
Erwin Panofsky compared Morey to Kepler after the publication of his book Sources in Medieval Style. Lee Sorensen, “Charles Rufus Morey,” in The Dictionary of Art Historians, arthistorians.info/moreyc.
BACK TO NOTE REFERENCE 6
Application for a fellowship at Harvard, undated, in Kantor, Intellectual Origins of the Museum of Modern Art, 33.
BACK TO NOTE REFERENCE 7
Roob, “Alfred H. Barr, Jr.,” 5; Barr to Paul J. Sachs, August 3, 1925, in Kantor, Intellectual Origins of the Museum of Modern Art, 89.
BACK TO NOTE REFERENCE 8
“Boston Is Modern Art Pauper,” Harvard Crimson, October 30, 1926, in Barr, Defining Modern Art, 52–53.
BACK TO NOTE REFERENCE 9
Macdonald, “Action on West Fifty-third Street,” 81.
BACK TO NOTE REFERENCE 10
Roob, “Alfred H. Barr, Jr.,” 11.
BACK TO NOTE REFERENCE 11
Barr to Sachs, May 1, 1927, Paul J. Sachs Papers (HC 3), folder 109, Harvard Art Museums Archives.
BACK TO NOTE REFERENCE 12
Barr, “An American Museum of Modern Art,” Vanity Fair, November 1929.
BACK TO NOTE REFERENCE 13
Kantor, Intellectual Origins of the Museum of Modern Art, 172.
BACK TO NOTE REFERENCE 14
In 1928, the museum in Shchukin’s former palace was closed and his paintings were combined with the former Morosov collection in the former Morosov townhouse, but many were put in storage for insufficient space. The combined collection was entirely closed at the start of World War II. Semenova, The Collector, 242–45.
BACK TO NOTE REFERENCE 15
Alfred H. Barr, Jr., “Is Modern Art Communistic?,” New York Times Magazine, December 14, 1952.
BACK TO NOTE REFERENCE 16
Sachs to Barr, January 19, 1929, Paul J. Sachs Papers (HC 3), folder 110, Harvard Art Museums Archives.
BACK TO NOTE REFERENCE 17
20. “HAD HE LIVED ANOTHER DECADE…”
Marquis, Missionary for the Modern, 62; Saarinen, Proud Possessors, 364.
BACK TO NOTE REFERENCE 1
Kert, Woman in the Family, 273.
BACK TO NOTE REFERENCE 2
Valentine Dudensing to Pierre Matisse, November 6, 1928, in Pemberton, Portrait of Murdock Pemberton, 99.
BACK TO NOTE REFERENCE 3
Abby Rockefeller to Eustache de Lorey, August 26, 1929, in Kert, Woman in the Family, 262.
BACK TO NOTE REFERENCE 4
Perlman, Lives, Loves, and Art of Arthur B. Davies, 360.
BACK TO NOTE REFERENCE 5
Perlman, Lives, Loves, and Art of Arthur B. Davies, 372.
BACK TO NOTE REFERENCE 6
Lynes, Good Old Modern, 10.
BACK TO NOTE REFERENCE 7
Barr, Picasso: Fifty Years of His Art, 45.
BACK TO NOTE REFERENCE 8
After meeting with Goodyear, Hekking traveled to New York City to locate La Toilette, which was now at the Wildenstein Gallery following Paul Rosenberg’s purchase. On January 26, Hekking arranged to buy the Picasso for $6,500 through the Fellows for Life Fund, which Goodyear and Hekking had created. Minutes, Special Meeting of the Art Committee, January 23, 1926, and Rosenberg cables to Hekking, January 23 and 26, 1926, William M. Hekking Papers, Albright-Knox Art Gallery Digital Assets and Archives, Buffalo, New York.
BACK TO NOTE REFERENCE 9
George F. Goodyear, Goodyear Family History (Buffalo: Goodyear, 1976), 182; interview with Elizabeth Bliss Parkinson Cobb, July 6, 1988, Oral History Program, MoMA Archives, 17.
BACK TO NOTE REFERENCE 10
Forbes Watson, editorial, The Arts, vol. 9, no. 1 (January 1926), 3.
BACK TO NOTE REFERENCE 11
Kert, Woman in the Family, 277.
BACK TO NOTE REFERENCE 12
Kert, Woman in the Family, 277.
BACK TO NOTE REFERENCE 13
Lynes, Good Old Modern, 47.
BACK TO NOTE REFERENCE 14
The statement is unsigned, but its language and references are unmistakably Barr’s. “Publicity for Organization of Museum” (second release), August 1929, 3–4, Press Release Archives, MoMA Archives.
BACK TO NOTE REFERENCE 15
Barr, “An American Museum of Modern Art,” Vanity Fair, November 1929, 136.
BACK TO NOTE REFERENCE 16
Barr to Mrs. Thomas F. Conroy, August 8, 1966, Alfred H. Barr Papers (I.A.580), MoMA Archives.
BACK TO NOTE REFERENCE 17
Lynes, Good Old Modern, 49.
BACK TO NOTE REFERENCE 18
“Publicity for Organization of Museum,” 6.
BACK TO NOTE REFERENCE 19
21. A MUSEUM OF HIS OWN
Roob, “Alfred H. Barr, Jr.,” 19.
BACK TO NOTE REFERENCE 1
“The New Museum of Modern Art Opens,” New York Times, November 10, 1929.
BACK TO NOTE REFERENCE 2
All quotations by Margaret Scolari in this chapter come from Paul Cummings, “Oral History Interview with Margaret Scolari Barr Concerning Alfred H. Barr,” New York, February 22, April 8, and May 14, 1974, Archives of American Art, Washington, D.C.
BACK TO NOTE REFERENCE 3
“Modern Art Museum Opens in New York,” Art News, November 9, 1929; Edward Alden Jewell, “The New Museum of Modern Art Opens,” New York Times, November 10, 1929; Lloyd Goodrich, “A Museum of Modern Art,” The Nation, December 4, 1929.
BACK TO NOTE REFERENCE 4
“I have no painting by Picasso,” Conger Goodyear wrote to Jere Abbott, April 9, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 5
Kantor, Intellectual Origins of the Museum of Modern Art, 208. Kirstein would later attribute his early Picasso infatuation to Barr’s influence.
BACK TO NOTE REFERENCE 6
Jacques Mauny, “Painting in Paris,” The Arts, January 1930, 317.
BACK TO NOTE REFERENCE 7
Agnes Mongan to Bernard Berenson, January 2, 1939, in Weber, Patron Saints, 338.
BACK TO NOTE REFERENCE 8
Philip Johnson to Margaret Scolari, April 30, 1929, Margaret Scolari Barr Papers (II.34), MoMA Archives.
BACK TO NOTE REFERENCE 9
22. THE PARIS PROJECT
On the advice of Barr’s mother, who was concerned about dealing with the French bureaucracy, Scolari and Barr had decided to get a marriage license at City Hall in New York before departing for Europe. Margaret Scolari Barr, “Our Campaigns,” 24.
BACK TO NOTE REFERENCE 1
Paul Cummings, “Oral History Interview with Margaret Scolari Barr Concerning Alfred H. Barr,” New York, February 22, April 8, and May 14, 1974. Archives of American Art, Washington, D.C., 9.
BACK TO NOTE REFERENCE 2
P. Morton Shand, “The Work of Mr. Robert Mallet-Stevens,” Architects’ Journal, vol. 66 (October 5, 1927), 443; Margaret Scolari Barr, “Our Campaigns,” 25.
BACK TO NOTE REFERENCE 3
Murdock Pemberton, “The Art Galleries,” New Yorker, December 13, 1930.
BACK TO NOTE REFERENCE 4
Margaret Scolari Barr, “Footnotes to Picasso Lecture,” note 3, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.
BACK TO NOTE REFERENCE 5
Margaret Scolari Barr, “Our Campaigns,” 25.
BACK TO NOTE REFERENCE 6
Barr, “Critical Catalog: Loan Exhibition of Modern Graphic Art,” Fogg Museum, spring 1925, 201, Alfred H. Barr Papers (IV.B.164), MoMA Archives.
BACK TO NOTE REFERENCE 7
Henry McBride, “More Paintings by Picasso,” New York Sun, March 11, 1933.
BACK TO NOTE REFERENCE 8
Barr viewed Picasso’s art as driven by a series of “supersessions and conflicts: sculptural, three-dimensional forms versus flat pictorial forms; the monochrome versus maximum intensity and variety of color; overt prettiness versus grotesque ugliness; emotional nullity versus convulsive passion; realism versus abstraction.” Barr, Picasso: Fifty Years of His Art, 11.
BACK TO NOTE REFERENCE 9
Margaret Scolari Barr, “Footnotes to Picasso Lecture,” note 3.
BACK TO NOTE REFERENCE 10
Mather, Modern Painting, 373.
BACK TO NOTE REFERENCE 11
Erwin Panofsky, Meaning in the Visual Arts (Garden City, N.Y.: Doubleday, 1955), 328.
BACK TO NOTE REFERENCE 12
Kantor, Intellectual Origins of the Museum of Modern Art, 33.
BACK TO NOTE REFERENCE 13
Barr, diary, December 30, 1927, in “Russian Diary 1927–28,” October, vol. 7 (Winter 1978), 17.
BACK TO NOTE REFERENCE 14
23. “WHEN A PICASSO WINS ALL THE RACES…”
Tériade, “Une Visite à Picasso,” L’Intransigeant, November 27, 1928.
BACK TO NOTE REFERENCE 1
FitzGerald, Making Modernism, 155.
BACK TO NOTE REFERENCE 2
“On Expose,” L’Intransigeant, April 29, 1929.
BACK TO NOTE REFERENCE 3
Rosenberg to Picasso, September 10, 1929.
BACK TO NOTE REFERENCE 4
Louis Vauxcelles, “Une Rétrospective Corot,” Excelsior, May 31, 1930, 1.
BACK TO NOTE REFERENCE 5
“Carnet Mondain,” Le Journal, June 15, 1930.
BACK TO NOTE REFERENCE 6
Richardson, Life of Picasso: Triumphant Years, 323, 327.
BACK TO NOTE REFERENCE 7
Rosenberg to Picasso, July 16, 1927.
BACK TO NOTE REFERENCE 8
Harry Kessler, diary, April 10, 1930, in Charles Kessler, trans. and ed., Berlin in Lights: The Diaries of Count Harry Kessler (1918–1937) (New York: Grove Press, 2000), 382.
BACK TO NOTE REFERENCE 9
Rosenberg to Picasso, June 30, 1930, and June 1, 1931.
BACK TO NOTE REFERENCE 10
Rosenberg to Margot Rosenberg, undated, 1942, in Sinclair, My Grandfather’s Gallery, 150.
BACK TO NOTE REFERENCE 11
Sinclair, My Grandfather’s Gallery, 149–50.
BACK TO NOTE REFERENCE 12
Rosenberg to Picasso, July[?] 1925 and September 14, 1929.
BACK TO NOTE REFERENCE 13
Rosenberg to Picasso, August 5, 1927.
BACK TO NOTE REFERENCE 14
“Les Courses,” Le Journal, April 16, 21, and 28, and May 6 and 20, 1929.
BACK TO NOTE REFERENCE 15
Rosenberg to Picasso, September 10, 1929.
BACK TO NOTE REFERENCE 16
Mauny brought along the adventurous New York collector Albert Gallatin, who had met Picasso a few years earlier and to whom Mauny was an informal art adviser. Barr to Jacques Mauny, July 20, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 17
Brassaï, Picasso and Company, 5; Barr, Picasso: Fifty Years of His Art, 167.
BACK TO NOTE REFERENCE 18
Margaret Scolari Barr, “Footnotes to Picasso Lecture,” note 3, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.
BACK TO NOTE REFERENCE 19
Barr to Jere Abbott (cable), June 17[?], 1930, and Conger Goodyear to Barr (cable), June 18, 1930, Alfred H. Barr Papers (I.A.3), MoMA Archives.
BACK TO NOTE REFERENCE 20
Léger had just completed the first of three murals for Reber on the theme of gastronomy and music. Dorothy Kosinski, “G. F. Reber: Collector of Cubism,” Burlington Magazine, vol. 133, no. 1061 (August 1991), 520, 522.
BACK TO NOTE REFERENCE 21
Barr to Jere Abbott (cable), June 23[?], 1930.
BACK TO NOTE REFERENCE 22
24. THE BALANCE OF POWER
See Simonetta Fraquelli, “Picasso’s Retrospective at the Galeries Georges Petit, Paris 1932,” in Bezzola, Picasso by Picasso, 87, 93n33.
BACK TO NOTE REFERENCE 1
Barr to Abby Rockefeller, September 8, 1930, in Kert, Woman in the Family, 283; Conger Goodyear to Paul J. Sachs, October 2, 1931, Paul J. Sachs Papers (HC 3), folder 1363, Harvard Art Museums Archives.
BACK TO NOTE REFERENCE 2
Goodyear to Rockefeller, September 26, 1930, in Kert, Woman in the Family, 301.
BACK TO NOTE REFERENCE 3
Barr to Jacques Mauny, April 25, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 4
Tériade, “Une grande exposition Henri-Matisse,” L’Intransigeant, June 22, 1931.
BACK TO NOTE REFERENCE 5
Henry McBride to Malcolm MacAdam, June 11, 1930, in McBride, Eye on the Modern Century, 198.
BACK TO NOTE REFERENCE 6
Barr to Mauny, July 20, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 7
Kert, Woman in the Family, 303–04.
BACK TO NOTE REFERENCE 8
Barr to Rockefeller, June 25, 1931, Alfred H. Barr Papers (I.A.3), MoMA Archives.
BACK TO NOTE REFERENCE 9
See, for example, Spurling, Matisse the Master, 330–31, and Russell, Matisse: Father and Son, 81. The confusion may stem from Margaret Scolari Barr’s imprecise recollections in “Our Campaigns,” in which she writes they had traveled to Europe “to prepare the Matisse exhibition.” Margaret Scolari Barr, “Our Campaigns,” 26.
