Picasso's War, page 51
BACK TO NOTE REFERENCE 10
Alfred Barr, ed., Henri-Matisse Retrospective Exhibition (New York: Museum of Modern Art, 1931), 19.
BACK TO NOTE REFERENCE 11
Henry McBride, “The Museum of Modern Art Gives a Matisse Exhibition with Special Success,” New York Sun, November 7, 1931; Pierre Matisse to Henri Matisse, November 12, 1931, in Spurling, Matisse the Master, 330.
BACK TO NOTE REFERENCE 12
Barr to G. F. Reber, July 1, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives; Margaret Scolari Barr, notes for “Our Campaigns,” September 1930, Margaret Scolari Barr Papers (III.F.20), MoMA Archives.
BACK TO NOTE REFERENCE 13
Barr to Picasso, draft letter in French, December 16, 1939, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 14
Barr to Goodyear, December 19, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 15
Goodyear to Barr, December 22 and 30, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 16
Barr to Picasso, January 26, 1932, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 17
Mauny to Barr, February 26, 1932, Alfred H. Barr Papers (XI.J.2), MoMA Archives.
BACK TO NOTE REFERENCE 18
25. DEFEAT
Paul J. Sachs to Conger Goodyear, June 13, 1932, Paul J. Sachs Papers (HC 3), folder 1364, Harvard Art Museums Archives.
BACK TO NOTE REFERENCE 1
Barr to Abby Rockefeller, June 21, 1932, Alfred H. Barr Papers (I.A.3), MoMA Archives.
BACK TO NOTE REFERENCE 2
Rockefeller to Goodyear, December 16, 1936, Alfred H. Barr Papers (I.A.17), MoMA Archives.
BACK TO NOTE REFERENCE 3
Kert, Woman in the Family, 315, 319–20.
BACK TO NOTE REFERENCE 4
Barr to Sachs, February 1932, in Lynes, Good Old Modern, 94.
BACK TO NOTE REFERENCE 5
Jere Abbott to his father, April 7, 1927, in Leah Dickerman, “An Introduction to Jere Abbott’s Russian Diary, 1927–1928,” October, vol. 145 (Summer 2013), 116.
BACK TO NOTE REFERENCE 6
Henry-Russell Hitchcock to Virgil Thomson, September 27, 1928, in Marquis, Missionary for the Modern, 47–48; interview with Philip Johnson, December 18, 1990, Oral History Program, MoMA Archives, 15.
BACK TO NOTE REFERENCE 7
Barr to Margaret Scolari Barr, undated [early July 1930], Margaret Scolari Barr Papers (II.18), MoMA Archives.
BACK TO NOTE REFERENCE 8
Barr to Margaret Scolari Barr, undated [July 1933], Margaret Scolari Barr Papers (II.21), MoMA Archives.
BACK TO NOTE REFERENCE 9
Margaret Scolari Barr to Barr, July 17–23, 1932, Margaret Scolari Barr Papers (II.21), MoMA Archives.
BACK TO NOTE REFERENCE 10
Margaret Scolari Barr to Barr, July 23 and 28, 1932.
BACK TO NOTE REFERENCE 11
Margaret Scolari Barr to Barr, July 28, 1932.
BACK TO NOTE REFERENCE 12
Richardson, Life of Picasso: Triumphant Years, 467.
BACK TO NOTE REFERENCE 13
Margaret Scolari Barr to Barr, July 28, 1932.
BACK TO NOTE REFERENCE 14
Margaret Scolari Barr to Barr, July 28 and August 1, 1932, pt II, Margaret Scolari Barr Papers (II.21), MoMA Archives; Henri Matisse to Pierre Matisse, August 10, 1933, quoted in Cowling et al., Matisse Picasso, 376.
BACK TO NOTE REFERENCE 15
Margaret Scolari Barr to Barr, August 2, 1932, Margaret Scolari Barr Papers (II.21), MoMA Archives. This was despite the Carnegie Institute having awarded Picasso its international art prize, the Carnegie Prize, in 1930, for an elegant but deeply conservative 1923 portrait of Olga, which, as Jack Flam writes, “gave the impression that modern art had never really happened.” Flam, Matisse and Picasso, 149.
BACK TO NOTE REFERENCE 16
Rosenberg to Picasso, July 22 and 25, 1932.
BACK TO NOTE REFERENCE 17
Anne Sinclair states that the letter was written in 1942 and not intended to be opened until after Rosenberg’s death. It is uncertain that Margot Rosenberg ever knew about it. Sinclair, My Grandfather’s Gallery, 149–51.
BACK TO NOTE REFERENCE 18
Elaine Rosenberg, interview with the author, March 2016.
BACK TO NOTE REFERENCE 19
Rosenberg, typed notes describing Wildenstein partnership, Paul Rosenberg Archives (B.29.13), Museum of Modern Art.
BACK TO NOTE REFERENCE 20
Margaret Scolari Barr to Barr, August 3, 1932, Margaret Scolari Barr Papers (II.21), MoMA Archives.
BACK TO NOTE REFERENCE 21
26. “MAKE ART…GERMAN AGAIN”
Picasso: 11. September Bis 30. October 1932 (Zurich: Kunsthaus Zürich, 1932), with Barr’s pencil annotations, Alfred H. Barr Papers (XI.B.39), MoMA Archives.
BACK TO NOTE REFERENCE 1
Barr to Conger Goodyear, November 25, 1932, Alfred H. Barr Papers (I.A.5), MoMA Archives.
BACK TO NOTE REFERENCE 2
Christian Geelhaar, “Picasso: The First Zurich Exhibition,” in Bezzola, Picasso by Picasso, 38.
BACK TO NOTE REFERENCE 3
C. G. Jung, “Picasso,” Neue Zürcher Zeitung, November 13, 1932, in Gerhard Adler and R.F.C. Hull, eds. and trans., The Collected Works of C. G. Jung, vol. 15, Spirit in Man, Art, and Literature (Princeton, N.J.: Princeton University Press, 1966), 136–41.
BACK TO NOTE REFERENCE 4
Geelhaar, “Picasso: The First Zurich Exhibition,” 38.
BACK TO NOTE REFERENCE 5
Interview with Helen Franc, April 16, 1991, Oral History Program, MoMA Archives, 30; 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., 17.
BACK TO NOTE REFERENCE 6
Writing from St. Anton am Alberg on February 4, Barr informed Abby Rockefeller that he would “probably go to a specialist in Stuttgart or Vienna.” In her retrospective account in “Our Campaigns,” Margaret Scolari Barr writes that they arrived in Stuttgart before Hitler was named chancellor, but Barr’s contemporaneous letters make clear they were in Austria until early February. Barr to Rockefeller, February 4, 1933, Alfred H. Barr Papers (I.A.8), MoMA Archives.
BACK TO NOTE REFERENCE 7
The woman’s father had lived in Marseille and known Cézanne’s friend Fortuné Marion, who wrote him an important series of letters about Cézanne. Frau Haag gave these to Barr, who would publish them in 1937. John Elderfield, “Alfred Barr’s Insomnia—and the Awakening of Cézanne’s Interest in Geology,” Princeton Art Museum, spring 2020, 9–11.
BACK TO NOTE REFERENCE 8
Barr, “Art in the Third Reich—Preview, 1933,” in Barr, Defining Modern Art, 172.
BACK TO NOTE REFERENCE 9
Margaret Scolari Barr, notes for “Our Campaigns,” 1933, Margaret Scolari Barr Papers (III.F.21), MoMA Archives.
BACK TO NOTE REFERENCE 10
“Hitler Proclaims War on Democracy at Huge Nazi Rally,” New York Times, February 11, 1933.
BACK TO NOTE REFERENCE 11
Barr, “Art in the Third Reich,” 163.
BACK TO NOTE REFERENCE 12
Barr, “Art in the Third Reich,” 167.
BACK TO NOTE REFERENCE 13
Barr, “Art in the Third Reich,” 168.
BACK TO NOTE REFERENCE 14
Barr, “Art in the Third Reich,” 169.
BACK TO NOTE REFERENCE 15
Margaret Scolari Barr, notes for “Our Campaigns,” 1933.
BACK TO NOTE REFERENCE 16
After coming under intense pressure from local Nazi officials, the Dessau Bauhaus closed in August 1932; Schlemmer finished Bauhaus Stairway the following month. The Bauhaus briefly moved to Berlin under Mies van der Rohe, but was shut down in August 1933. John-Paul Stonard, “Oskar Schlemmer’s ‘Bauhaustreppe,’ 1932: Part I,” Burlington Magazine, vol. 151, no. 1276 (July 2009), 456.
BACK TO NOTE REFERENCE 17
Christian Mengenthaler, National Socialist minister of education for the state of Württemberg, quoted in Barr, “Art in the Third Reich,” 166.
BACK TO NOTE REFERENCE 18
Barr, “Art in the Third Reich,” 168.
BACK TO NOTE REFERENCE 19
Cummings, “Oral History Interview with Margaret Scolari Barr,” 17.
BACK TO NOTE REFERENCE 20
During their stay, the Barrs frequented the Hotel Monte Verità, a former hilltop sanatorium that had been converted into a modernist luxury hotel, with Gauguins, Matisses, and Picassos in the dining room. Barr to Rockefeller, June 3, 1933, Alfred H. Barr Papers (I.A.8), MoMA Archives.
BACK TO NOTE REFERENCE 21
Margaret Scolari Barr, “Our Campaigns,” 32.
BACK TO NOTE REFERENCE 22
Barr, undated memo, “Stuttgart,” Alfred H. Barr Papers (IV.B.113), MoMA Archives.
BACK TO NOTE REFERENCE 23
Philip Johnson to Margaret Scolari Barr, July 1, 1933, in John-Paul Stonard, “Oskar Schlemmer’s ‘Bauhaustreppe,’ 1932: Part II,” Burlington Magazine, vol. 152, no. 1290 (September 2010), 595–602.
BACK TO NOTE REFERENCE 24
Interview with Philip Johnson, December 18, 1990, Oral History Program, MoMA Archives, 32.
BACK TO NOTE REFERENCE 25
Margaret Scolari Barr, “Our Campaigns,” 32.
BACK TO NOTE REFERENCE 26
Barr, “Report on the Permanent Collection,” 3rd draft, summer 1933, Alfred H. Barr Papers (II.C.17), MoMA Archives.
BACK TO NOTE REFERENCE 27
27. CONNECTICUT CHIC
Étienne Bignou to Charles Henschel, January 8, 1932, in Christel Force, “Étienne Bignou: The Gallery as Antechamber of the Museum,” in Pioneers of the Global Art Market, 208.
BACK TO NOTE REFERENCE 1
Kahnweiler to Maurice de Vlaminck, March 8, 1934, in Monod-Fontaine, Daniel-Henry Kahnweiler, 148.
BACK TO NOTE REFERENCE 2
Madeleine Chapsal, “Entretien avec Pierre Loeb,” L’Express, April 9, 1964, in Assouline, An Artful Life, 230.
BACK TO NOTE REFERENCE 3
FitzGerald, Making Modernism, 188.
BACK TO NOTE REFERENCE 4
Barr to Abby Rockefeller, November 6, 1933, Alfred H. Barr Papers (I.A.8), MoMA Archives.
BACK TO NOTE REFERENCE 5
Rosenberg to Picasso, December 16, 1933.
BACK TO NOTE REFERENCE 6
Philip Johnson, interview by Eugene R. Gaddis, November 30, 1982, in Gaddis, Magician of the Modern, 59.
BACK TO NOTE REFERENCE 7
Julien Levy, Memoir of an Art Gallery (Boston: MFA Publications, 2003), 137.
BACK TO NOTE REFERENCE 8
Stein to A. Everett Austin, undated, November 1933, in Gaddis, Magician of the Modern, 226.
BACK TO NOTE REFERENCE 9
Rosenberg to Austin, December 23, 1923, in Gaddis, Magician of the Modern, 228. Rosenberg’s visit was covered by The Hartford Times, December 22, 1933. FitzGerald, Making Modernism, 221.
BACK TO NOTE REFERENCE 10
Rosenberg to Picasso, December 16, 1933.
BACK TO NOTE REFERENCE 11
Rosenberg to Austin (cable), January 22, 1934, in FitzGerald, Making Modernism, 223; Rosenberg to Austin (cable), undated [January 23?] 1934, in James Thrall Soby to Sidney Janis, June 19, 1967, Collectors Records (37), MoMA Archives.
BACK TO NOTE REFERENCE 12
James Thrall Soby, “My Life in the Art World,” unpublished ms., ch. 9, 6–7, James Thrall Soby Papers (VIII.A.1), MoMA Archives.
BACK TO NOTE REFERENCE 13
Barr to Austin, January 18, 1933, Alfred H. Barr Papers (I.A.7), MoMA Archives.
BACK TO NOTE REFERENCE 14
Gaddis, Magician of the Modern, 245; Lucius Beebe, “Smart Art and Miss Stein Overwhelm Hartford,” New York Herald Tribune, February 11, 1934; Joseph W. Alsop, Jr., “Gertrude Stein Opera Amazes First Audience: Picked Auditors Laugh at First, but Last Curtain Brings Wild Applause,” New York Herald Tribune, February 8, 1934.
BACK TO NOTE REFERENCE 15
Weber, Patron Saints, 234.
BACK TO NOTE REFERENCE 16
Soby, “My Life in the Art World,” ch. 4, 14.
BACK TO NOTE REFERENCE 17
Gaddis, Magician of the Modern, 242.
BACK TO NOTE REFERENCE 18
Weber, Patron Saints, 237; Craven, Modern Art, 365.
BACK TO NOTE REFERENCE 19
Henry McBride, “Modern Masterpieces Shown,” New York Sun, March 17, 1934.
BACK TO NOTE REFERENCE 20
Soby to Janis, June 19, 1967.
BACK TO NOTE REFERENCE 21
28. “RISKING MY LIFE FOR MY WORK”
Lynes, Good Old Modern, 132. Among the few exceptions were the Detroit Institute of Arts, which had acquired Van Gogh’s 1887 Self-Portrait in 1922, and the Art Institute of Chicago, which had, via the collector Frederick Clay Bartlett, acquired The Bedroom from Paul Rosenberg in 1926.
BACK TO NOTE REFERENCE 1
Douglas Cooper, undated notes, 1938, Douglas Cooper Papers (I.7), Getty Research Institute.
BACK TO NOTE REFERENCE 2
“Pennell Enters Into Art War Here: Etcher Calls Post-Impressionist Exhibit at the Museum Dangerous,” New York Times, September 8, 1921; C. J. Holmes, Notes on the Post-Impressionist Painters: Grafton Galleries 1910–1911 (London: Philip Lee Warner, 1910), in Bullen, Post-Impressionists in England, 186.
BACK TO NOTE REFERENCE 3
Albin Krebs, “Irving Stone, Author of ‘Lust for Life,’ Dies at 86,” New York Times, August 28, 1989.
BACK TO NOTE REFERENCE 4
Irving Stone, Lust for Life, 50th anniv. ed. (New York: Plume, 1984), 70.
BACK TO NOTE REFERENCE 5
Richard Pearson, “Irving Stone, Bestselling Author, Dies,” Washington Post, August 28, 1989.
BACK TO NOTE REFERENCE 6
Barr to Helene Kröller-Müller, November 1, 1927, in Eva Rovers, De eeuwigheid verzameld: Helene Kröller-Müller (1868–1939) (Amsterdam: Prometheus-Bert Bakker, 2014), 373.
BACK TO NOTE REFERENCE 7
Lynes, Good Old Modern, 132.
BACK TO NOTE REFERENCE 8
Lewis Mumford, “Tips for Travellers—The Modern Museum,” New Yorker, June 9, 1934, in Mumford, Mumford on Modern Art, 125–28.
BACK TO NOTE REFERENCE 9
Barr, foreword to The Museum of Modern Art First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh (New York: Museum of Modern Art, 1929), 16. See also Kantor, Intellectual Origins of the Museum of Modern Art, 216.
BACK TO NOTE REFERENCE 10
Eksteins, Solar Dance, 57, 109. Valentiner was working as a consultant for the Detroit Institute of Arts at the time he arranged the purchase of the Van Gogh Self-Portrait. He became director two years later.
BACK TO NOTE REFERENCE 11
Karl Jaspers, Strindberg und Van Gogh: Versuch einer pathographischen Analyse (Berlin: P. Stringer, 1926), in John M. MacGregor, The Discovery of the Art of the Insane (Princeton, N.J.: Princeton University Press, 1989), 222.
