Picasso's War, page 52
BACK TO NOTE REFERENCE 12
Hans Prinzhorn, Artistry of the Mentally Ill: A Contribution to the Psychology and Psychopathology of Configuration, trans. Eric von Brockdorff (New York: Springer Verlag, 1972), 267.
BACK TO NOTE REFERENCE 13
Barr to Conger Goodyear, June 14, 1935, MoMA Exhibition Records (44.3), MoMA Archives. According to the 1935 agreement, the Dutch government turned the Kröller-Müller lands into a new national park and set up a private foundation to run the Kröller-Müller Museum, which opened in 1938.
BACK TO NOTE REFERENCE 14
Goodyear to Hon. Cordell Hull, May 14, 1935, and Barr to Grenville T. Emmet, July 8, 1935, in MoMA Exhibition Records (44.4), MoMA Archives. The secret payment is recorded in Rovers, De eeuwigheid verzameld: Helene Kröller-Müller (1868–1939), 426.
BACK TO NOTE REFERENCE 15
Margaret Scolari Barr, “Our Campaigns,” 40.
BACK TO NOTE REFERENCE 16
Barr, What Is Modern Painting?, 20; Kantor, Intellectual Origins of the Museum of Modern Art, 216.
BACK TO NOTE REFERENCE 17
Alfred H. Barr, Jr., ed., Vincent Van Gogh: With an Introduction and Notes Selected from the Letters of the Artist (New York: Museum of Modern Art, 1935), 20.
BACK TO NOTE REFERENCE 18
Staedel Museum director George Swarzenski to Barr, August 17, 1935, MoMA Exhibition Records (44.3), MoMA Archives. In 1938, Swarzenski fled Germany for the United States.
BACK TO NOTE REFERENCE 19
“$1,000,000 Paintings by Van Gogh Here: Collection Lent to Museum of Modern Art to Be Put on View Next Month,” New York Times, October 14, 1935.
BACK TO NOTE REFERENCE 20
Barr to Ing. V. W. van Gogh, November 21, 1935, MoMA Exhibition Records (44.4), MoMA Archives.
BACK TO NOTE REFERENCE 21
“Van Gogh Attendance,” New York Times, December 11, 1935; Lewis Mumford, “The Art Galleries,” New Yorker, November 16, 1935.
BACK TO NOTE REFERENCE 22
“Van Gogh Art Arrives: Guarded Like Mint; Exhibit Opens Tuesday,” San Francisco Chronicle, April 26, 1936; Steve Spence, “Van Gogh in Alabama, 1936,” Representations, vol. 75, no. 1 (Summer 2001), 35–36; Lynes, Good Old Modern, 135.
BACK TO NOTE REFERENCE 23
“U.S. Scene,” Time, December 24, 1934, 24.
BACK TO NOTE REFERENCE 24
Adolf Hitler, “Address on Art and Politics,” September 11, 1935, in Norman H. Baynes, ed. and trans., The Speeches of Adolf Hitler: April 1922–August 1939, vol. 1 (New York: Howard Fertig, 1969), 569–92.
BACK TO NOTE REFERENCE 25
Paul Westheim, who was Jewish, fled Germany in 1933 and made his comments in 1938. Huber, “ ‘The Nordic Painter Only Paints with Uncut Ears,’ ” 197.
BACK TO NOTE REFERENCE 26
In fact, Saint-Rémy is a short drive from Avignon, but Picasso’s Avignon was the Carrer d’Avinyó in Barcelona—the street whose brothel was an inspiration for the Demoiselles d’Avignon—which was considerably farther away.
BACK TO NOTE REFERENCE 27
Margaret Scolari Barr, “Our Campaigns,” 39.
BACK TO NOTE REFERENCE 28
29. THE YEAR WITHOUT PAINTING
In a 1923 interview with Marius de Zayas, Picasso said, “Cubism is not either a seed or a foetus, but an art dealing primarily with forms.” Barr, Picasso: Forty Years of His Art, 12.
BACK TO NOTE REFERENCE 1
In 1927, in one of the first popular histories of modern art, Barr’s mentor Frank Jewett Mather wrote that Cubism “is effectively dead,” adding that “Futurism, again a discarded aberration, is only interesting for its incidental philosophical and historical implications.” Mather, Modern Painting, 367.
BACK TO NOTE REFERENCE 2
In the catalog, Barr wrote that the exhibition had evolved from “a series of lectures based on material collected in Europe in 1927–28 and given in Spring 1929.” Alfred H. Barr, Jr., Cubism and Abstract Art (New York: Museum of Modern Art, 1936), 9.
BACK TO NOTE REFERENCE 3
Daix, Picasso: Life and Art, 229.
BACK TO NOTE REFERENCE 4
Mumford, “The Art Galleries,” New Yorker, November 16, 1935, in Mumford, Mumford on Modern Art, 125.
BACK TO NOTE REFERENCE 5
The details of their summer in Paris come from Margaret Scolari Barr, “Our Campaigns,” 42–43.
BACK TO NOTE REFERENCE 6
Barr, Cubism and Abstract Art, 16.
BACK TO NOTE REFERENCE 7
Margaret Scolari Barr, “Picasso: A Reminiscence,” unpublished ms., 1975, 5, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.
BACK TO NOTE REFERENCE 8
Margaret Scolari Barr, “Our Campaigns,” 42.
BACK TO NOTE REFERENCE 9
Margaret Scolari Barr, “Our Campaigns,” 42; Rosenberg to Picasso, January 1936, in FitzGerald, Making Modernism, 235.
BACK TO NOTE REFERENCE 10
Kahnweiler to Stein, August 7, 1935, in Madeline, Correspondence: Picasso and Stein, 350.
BACK TO NOTE REFERENCE 11
Barr, Cubism and Abstract Art, 11.
BACK TO NOTE REFERENCE 12
Barr, Cubism and Abstract Art, 19.
BACK TO NOTE REFERENCE 13
Conger Goodyear to Abby Rockefeller, March 12, 1936, Alfred H. Barr Papers (I.A.17), MoMA Archives.
BACK TO NOTE REFERENCE 14
Barr to Margaret Scolari Barr, undated, 1946, Margaret Scolari Barr Papers (II.16), MoMA Archives.
BACK TO NOTE REFERENCE 15
30. SPANISH FURY
Margaret Scolari Barr to Barr, September 25, 1936, Alfred H. Barr Papers (I.B.3), MoMA Archives.
BACK TO NOTE REFERENCE 1
In his 1964 memoir, Brassaï claimed that Picasso met Dora Maar at the café shortly after he had first seen her, “at almost exactly the same time” as Maya’s birth. But in her 1988 interview with Juan Marín, Maar refuted that they met at that time, explaining that they were first introduced by Éluard at a film screening in January 1936. Brassaï, Picasso and Company, 42; Juan Marín, “Conversando con Dora Maar,” Goya, no. 311 (March–April 2006), 117.
BACK TO NOTE REFERENCE 2
Sabartés, Picasso: An Intimate Portrait, 128.
BACK TO NOTE REFERENCE 3
Baldassari, Picasso: Life with Dora Maar, 194.
BACK TO NOTE REFERENCE 4
Penrose, Picasso: His Life and Work, 291.
BACK TO NOTE REFERENCE 5
Among the other sponsors of the NAACP exhibition, titled “An Art Commentary on Lynching,” were Sherwood Anderson, Pearl Buck, Dorothy Parker, Carl Van Vechten, and George Gershwin. Marlene Park, “Lynching and Antilynching: Art and Politics in the 1930s,” Prospects, vol. 18 (1993), 328. Barr’s trip to the Jim Crow South is recorded in Margaret Scolari Barr, “Our Campaigns,” 49.
BACK TO NOTE REFERENCE 6
Meyer Schapiro, “Nature of Abstract Art,” Marxist Quarterly (January–March 1937), 77.
BACK TO NOTE REFERENCE 7
Barr, What Is Modern Painting?, 47.
BACK TO NOTE REFERENCE 8
Margaret Scolari Barr, “Picasso: A Reminiscence,” lecture, 1973, 8, Margaret Scolari Barr Papers (III.A.19), MoMA Archives. The episode is recounted in less detail in Margaret Scolari Barr, “Our Campaigns,” 48.
BACK TO NOTE REFERENCE 9
Margaret Scolari Barr to Barr, September 25, 1936.
BACK TO NOTE REFERENCE 10
Anne Umland and Adrian Sudhalter, eds., Dada in the Collection of the Museum of Modern Art (New York: Museum of Modern Art, 2008), 17.
BACK TO NOTE REFERENCE 11
Katherine Dreier to Barr, February 27, 1937, MoMA Exhibition Records (55.2), MoMA Archives.
BACK TO NOTE REFERENCE 12
Conger Goodyear to Abby Rockefeller, December 15, 1936, and Rockefeller to Goodyear, December 16, 1936, Alfred H. Barr Papers (I.A.17), MoMA Archives.
BACK TO NOTE REFERENCE 13
Paul Éluard, “November 1936,” L’Humanité, December 17, 1936, quoted in Daix, Picasso: Life and Art, 246.
BACK TO NOTE REFERENCE 14
Pierre Daix, for example, writes that in 1936 Picasso “did not engage directly in political action…but in his work one can see he was moving toward intervention in the war.” Daix, Picasso: Life and Art, 247. John Richardson has recently offered a more tempered view, noting that the extent of Picasso’s involvement with the Prado is “unclear.” Richardson, Life of Picasso: Minotaur Years, 115. In fact, there is little evidence that Picasso did much of anything to support the frantic evacuation of the Prado, despite repeated invitations to Spain, and the intense efforts of several of his friends, including Zervos, José Bergamín, and Roland Penrose.
BACK TO NOTE REFERENCE 15
Christian Zervos to Picasso, November 26, 1936, in Baldassari, Picasso: Life with Dora Maar, 195; Christian Zervos, “Histoire d’un tableau de Picasso,” Cahiers d’Art, vol. 12, no. 4–5 (1937), 105, in Oppler, Picasso’s “Guernica,” 207.
BACK TO NOTE REFERENCE 16
Berger, Success and Failure of Picasso, 147.
BACK TO NOTE REFERENCE 17
Van Hensbergen, “Guernica,” 32–33.
BACK TO NOTE REFERENCE 18
Chipp, Picasso’s “Guernica,” 39. Picasso himself told Pierre Daix that the pictures in Ce soir on April 30 impelled him to make the initial drawings the next day. Daix, Picasso: Life and Art, 250.
BACK TO NOTE REFERENCE 19
Marín, “Conversando con Dora Maar,” 117; Man Ray, Self Portrait (Boston: Bulfinch Press, 1998), 179; José Bergamín, “Le Mystère tremble: Picasso furioso,” Cahiers d’Art, vol. 12, no. 4–5 (1937), 135.
BACK TO NOTE REFERENCE 20
Maar recounted her conversation with Picasso to John Richardson in 1992. Richardson, “A Different Guernica,” New York Review of Books, May 12, 2016.
BACK TO NOTE REFERENCE 21
Picasso’s statement was made in May 1937 while he was working on Guernica. Barr, Picasso: Fifty Years of His Art, 202, 264.
BACK TO NOTE REFERENCE 22
Zervos, “Histoire d’un tableau,” in Oppler, Picasso’s “Guernica,” 207.
BACK TO NOTE REFERENCE 23
Barr, Picasso: Fifty Years of His Art, 264.
BACK TO NOTE REFERENCE 24
Josep Lluís Sert, “The Architect Remembers,” statement from “Symposium on Guernica,” typescript, 1947, in Oppler, Picasso’s “Guernica,” 200.
BACK TO NOTE REFERENCE 25
Chipp, Picasso’s “Guernica,” 152.
BACK TO NOTE REFERENCE 26
Van Hensbergen, “Guernica,” 72, 76.
BACK TO NOTE REFERENCE 27
Juan Larrea, Pablo Picasso (New York: Curt Valentin, 1947), 72.
BACK TO NOTE REFERENCE 28
Richardson, “A Different Guernica.”
BACK TO NOTE REFERENCE 29
Janice Loeb to Barr, September 8, 1937, Alfred H. Barr Papers (XI.B.11), MoMA Archives.
BACK TO NOTE REFERENCE 30
Cahiers d’Art, vol. 12, no. 4–5 (1937); Chipp, Picasso’s “Guernica,” 152. Ellen C. Oppler refers to the “historic summer issue devoted to Guernica,” in Oppler, Picasso’s “Guernica,” 206. Anne Baldassari dates the release to the opening of the Spanish Pavilion on July 12, in Baldassari, Picasso: Life with Dora Maar, 310.
BACK TO NOTE REFERENCE 31
The first sales of the “Guernica” issue appear to have taken place in mid-October 1937. “Caisse octobre 1937,” in Livre de caisse (June 1937–December 1938), Fonds Cahiers d’Art (CA 71), Bibliothèque Kandinsky, Paris. The fall publication date is also supported by information provided to the author by Pierre de Fontbrune and Christian Derouet.
BACK TO NOTE REFERENCE 32
Chipp, Picasso’s “Guernica,” 152.
BACK TO NOTE REFERENCE 33
Jean-Paul Sartre, “What Is Writing?,” in “What Is Literature” and Other Essays (Cambridge, Mass.: Harvard University Press, 1988), 28.
BACK TO NOTE REFERENCE 34
31. “SUCH A PAINTING COULD NEVER AGAIN BE HAD”
César M. de Hauke to Robert Levy, September 24, 1937, in Rubin et al., “Les Demoiselles d’Avignon,” 195.
BACK TO NOTE REFERENCE 1
Writing at the end of the war, Barr stated that “the painting seems to have been publicly exhibited for the first time in 1937.” Barr, Picasso: Fifty Years of His Art, 258. The painting’s brief exhibition at a group show in Paris during World War I was rediscovered in the late twentieth century. Rubin et al., “Les Demoiselles d’Avignon,” 164.
BACK TO NOTE REFERENCE 2
Kert, Woman in the Family, 376.
BACK TO NOTE REFERENCE 3
Kirk Varnedoe, “The Evolving Torpedo: Changing Ideas of the Collection of Painting and Sculpture of the Museum of Modern Art,” in John Elderfield et al., The Museum of Modern Art at Mid-Century: Continuity and Change, Studies in Modern Art 5 (New York: Museum of Modern Art, 1995), 14–15.
BACK TO NOTE REFERENCE 4
Barr to Cornelius Sullivan, May 7, 1930, in Varnedoe, “Evolving Torpedo,” 63n5; Marquis, Missionary for the Modern, 163; Margaret Scolari Barr, “Our Campaigns,” 47.
BACK TO NOTE REFERENCE 5
Margaret Scolari Barr, “Our Campaigns,” 42; Alfred H. Barr, Jr., “Chronicle of the Collection,” in Painting and Sculpture in the Museum of Modern Art, 1929–1967 (New York: Museum of Modern Art, 1977), 625.
BACK TO NOTE REFERENCE 6
James Ede to Barr, undated [1934], in Kosinski, “G. F. Reber: Collector of Cubism,” 527.
BACK TO NOTE REFERENCE 7
Barr to Stephen Clark, July 13, 1934, and Barr to Abby Rockefeller, July 13, 1934, Alfred H. Barr Papers (I.A.11), MoMA Archives.
BACK TO NOTE REFERENCE 8
Barr, “Chronicle of the Collection,” 625; Margaret Scolari Barr, “Our Campaigns,” 47; Barr to Albert Gallatin, September 9, 1936, in FitzGerald, Making Modernism, 230–31.
BACK TO NOTE REFERENCE 9
Barr, “Chronicle of the Collection,” 625; Rubin et al., “Les Demoiselles d’Avignon,” 178, 198; Edward Alden Jewell, “An Overwhelming Week: A Full Half Hundred Shows, from Picasso to Academism, Inundate the Galleries,” New York Times, November 7, 1937. Doucet promised Picasso that he would bequeath the painting to the Louvre when he died, but he did not.
BACK TO NOTE REFERENCE 10
“Museum of Modern Art, New York, and Art Institute of Chicago Will Cooperate in Showing Largest Exhibition of Works by Picasso Ever Held in This Country,” January 20, 1939, Press Release Archives, MoMA Archives.
BACK TO NOTE REFERENCE 11
Rubin et al., “Les Demoiselles d’Avignon,” 198.
BACK TO NOTE REFERENCE 12
See “Chronology,” in Rubin et al., “Les Demoiselles d’Avignon,” 194–99.
BACK TO NOTE REFERENCE 13
Margaret Scolari Barr, “Footnotes to Picasso Lecture,” note 5, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.
BACK TO NOTE REFERENCE 14
Jean Cocteau, preface to Catalogue des tableaux modernes provenant de la Collection John Quinn (Paris: Hôtel Drouot, 1926), 3.
BACK TO NOTE REFERENCE 15
Margaret Scolari Barr, “Our Campaigns,” 52; Barr to Paul J. Sachs, September 9, 1955, Paul J. Sachs Papers (HC 3), folder 78, Harvard Art Museums Archives.
BACK TO NOTE REFERENCE 16
Barr, letter and transcript dated May 3, 1955, to Paul J. Sachs, July 5, 1955, Paul J. Sachs Papers (HC 3), folder 78. Harvard Art Museums Archives.
BACK TO NOTE REFERENCE 17
32. THE LAST OF PARIS
