Picasso's War, page 53
“United States Planes New European Factor,” New York Times, January 29, 1939; “Conference Secret,” New York Times, February 1, 1939; “Fight for Details on Foreign Policy Looms in Congress,” New York Times, February 5, 1939.
BACK TO NOTE REFERENCE 1
Lynes, Good Old Modern, 195.
BACK TO NOTE REFERENCE 2
Interview with Monroe Wheeler, July 21, 1987, Oral History Program, MoMA Archives, 64.
BACK TO NOTE REFERENCE 3
Lynes, Good Old Modern, 202.
BACK TO NOTE REFERENCE 4
Lynes, Good Old Modern, 197.
BACK TO NOTE REFERENCE 5
Ernest Hemingway, “A year ago today…,” in Ernest Hemingway and Alfred H. Barr, Quintanilla: An Exhibition of Drawings of the War in Spain (New York: Museum of Modern Art, March 1938). Hemingway had been trying to interest Barr in Quintanilla for several years. Hemingway to Barr, September 1, 1934, Alfred H. Barr Papers (6.B.17), MoMA Archives.
BACK TO NOTE REFERENCE 6
Barr, preface to Bauhaus 1919–1928, ed. Herbert Bayer, Walter Gropius, and Ise Gropius (New York: Museum of Modern Art, December 1938).
BACK TO NOTE REFERENCE 7
Edward Alden Jewell, “Plan Picasso Show,” New York Times, January 24, 1939.
BACK TO NOTE REFERENCE 8
“Art’s Acrobat,” Time, February 13, 1939, 44–46.
BACK TO NOTE REFERENCE 9
Mary Callery to Barr, February 17, 1939, MoMA Exhibition Records (91.7), MoMA Archives.
BACK TO NOTE REFERENCE 10
“Art’s Acrobat,” 44.
BACK TO NOTE REFERENCE 11
Mary Callery to Barr, February 17, 1939, MoMA Exhibition Records (91.2), MoMA Archives; Rosenberg to Barr, February 23, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 12
Barr to Rosenberg, draft letter, March 16, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 13
Daniel Catton Rich to Barr, March 15, 1939, MoMA Exhibition Records (138.2), MoMA Archives.
BACK TO NOTE REFERENCE 14
Barr to Rosenberg, March 20, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 15
Rosenberg to Barr, March 28, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 16
Margaret Scolari Barr, “Our Campaigns,” 54.
BACK TO NOTE REFERENCE 17
Interview with Stanton L. Catlin, July–September 1989, Oral History Program, MoMA Archives, 24.
BACK TO NOTE REFERENCE 18
“Reich Legion of 5,000 Ready to Quit Spain,” New York Times, April 23, 1939.
BACK TO NOTE REFERENCE 19
Henry McBride, “Opening of the New Museum of Modern Art,” New York Sun, May 13, 1939.
BACK TO NOTE REFERENCE 20
In addition to attending shows like the Van Gogh show, Eleanor Roosevelt would go on to write an introduction to the museum’s 1941 exhibition of Native American art. Frederick H. Douglas and René d’Harnoncourt, Indian Art of the United States (New York: Museum of Modern Art, 1941), 8.
BACK TO NOTE REFERENCE 21
Franklin D. Roosevelt, “Address on Museum of Modern Art” [delivered May 10, 1939], New York Herald Tribune, May 11, 1939.
BACK TO NOTE REFERENCE 22
Barr to Daniel Catton Rich, July 20, 1939, MoMA Exhibition Records (138.2), MoMA Archives.
BACK TO NOTE REFERENCE 23
Rosenberg, in Benoît Remiche, ed., 21 rue La Boétie (Ganshoren, Belgium: IPM Printing SA, 2016), 131.
BACK TO NOTE REFERENCE 24
Barr, Matisse: His Art and His Public, 224.
BACK TO NOTE REFERENCE 25
Margaret Scolari Barr, notes with party hats inscribed by Brancusi, Alfred H. Barr Papers (VI.B), MoMA Archives. See also Margaret Scolari Barr, “Our Campaigns,” 56–57.
BACK TO NOTE REFERENCE 26
In “Our Campaigns,” Margaret Scolari Barr writes that Barr accompanied her to Geneva in “late July/early August.” But Barr’s correspondence indicates that he sailed for New York on July 26, so the Geneva trip must have taken place before then. Barr to Rich, July 20, 1939.
BACK TO NOTE REFERENCE 27
Rich to Barr (cable), September 6, 1939, MoMA Exhibition Records (138.2), MoMA Archives.
BACK TO NOTE REFERENCE 28
Jere Abbott to Barr, September 1939, Alfred H. Barr Papers (I.A.27), MoMA Archives.
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33. “MORE IMPORTANT THAN WAR”
Barr to Daniel Catton Rich (cable), September 11, 1939, MoMA Exhibition Records (138.2), MoMA Archives.
BACK TO NOTE REFERENCE 1
Rich to Barr, September 12, 1939, MoMA Exhibition Records (138.2), MoMA Archives.
BACK TO NOTE REFERENCE 2
Christian Zervos to Barr, September 6, 1939, MoMA Exhibition Records (91.4), MoMA Archives.
BACK TO NOTE REFERENCE 3
Barr to Rosenberg, September 12, 1939, MoMA Exhibition Records (91.7), MoMA Archives.
BACK TO NOTE REFERENCE 4
Barr to Stein, September 8, 1939, MoMA Exhibition Records (91.4), MoMA Archives.
BACK TO NOTE REFERENCE 5
Barr to Justin Thannhauser, September 8, 1939, MoMA Exhibition Records (91.4), MoMA Archives.
BACK TO NOTE REFERENCE 6
Pierre Loeb to Barr (cable), September 29, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 7
Jacqueline Apollinaire to Barr, October 5, 1939, MoMA Exhibition Records (91.2), MoMA Archives.
BACK TO NOTE REFERENCE 8
Whitney Darrow to Julian Street, Jr., August 10, 1939, MoMA Exhibition Records (91.4), MoMA Archives.
BACK TO NOTE REFERENCE 9
Margaret Scolari Barr, “Our Campaigns,” 56.
BACK TO NOTE REFERENCE 10
Cowling, Visiting Picasso, 47.
BACK TO NOTE REFERENCE 11
Barr, Picasso: Fifty Years of His Art, 70, 88.
BACK TO NOTE REFERENCE 12
Van Hensbergen, “Guernica,” 122–24; Alfred Frankenstein, “Out of the Bombing of Guernica Came a Picasso Mural,” San Francisco Chronicle, September 3, 1939.
BACK TO NOTE REFERENCE 13
Museum of Modern Art (unidentified sender) to R. Lérondelle (cable), November 4, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 14
“Final Paintings Arrive from Europe in Time for Big Picasso Exhibition at Museum of Modern Art,” November 6, 1939, Press Release Archives, MoMA Archives.
BACK TO NOTE REFERENCE 15
Barr to Dora Maar, August 16, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 16
Barr to Rosenberg, September 12, 1939.
BACK TO NOTE REFERENCE 17
Mary Callery to Barr, September 20, 1939, MoMA Exhibition Records (91.2), MoMA Archives.
BACK TO NOTE REFERENCE 18
Julian Street to Sara Newmayer (memorandum), August 18, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 19
Brassaï, Picasso and Company, 40.
BACK TO NOTE REFERENCE 20
Sabartés, Picasso: An Intimate Portrait, 191.
BACK TO NOTE REFERENCE 21
Callery to Barr, September 20, 1939.
BACK TO NOTE REFERENCE 22
Zervos to Barr, October 26, 1939, MoMA Exhibition Records (91.4), MoMA Archives.
BACK TO NOTE REFERENCE 23
Rosenberg to Barr, October 25, 1939, MoMA Exhibition Records (91.7), MoMA Archives.
BACK TO NOTE REFERENCE 24
“Nazis Boast Entire Army Fills West Ready for Attack,” New York Times, November 11, 1939.
BACK TO NOTE REFERENCE 25
“Almanac de Gotham,” Harper’s Bazaar, November 1939, 51.
BACK TO NOTE REFERENCE 26
Andrew C. Ritchie, “The Picasso Retrospective Exhibition in New York,” Burlington Magazine, vol. 76, no. 444 (March 1940), 101; George L. K. Morris, “Picasso: 4000 Years of His Art,” Partisan Review, vol. 7, no. 1 (January–February 1940), 50–53; “The Picasso Show,” New York Times, November 18, 1939.
BACK TO NOTE REFERENCE 27
“The Usefulness of Picasso,” New York Herald Tribune, November 26, 1939.
BACK TO NOTE REFERENCE 28
FitzGerald, Picasso and American Art, 169, 182.
BACK TO NOTE REFERENCE 29
John Graham to Duncan Phillips, undated [1931], in FitzGerald, Picasso and American Art, 123.
BACK TO NOTE REFERENCE 30
Robert Goldwater, “Picasso: Forty Years of His Art,” Art in America, vol. 28, no. 1 (1940), 43–44.
BACK TO NOTE REFERENCE 31
B. H. Friedman, “An Interview with Lee Krasner Pollock,” in Friedman, Jackson Pollock: Black and White (New York: Marlborough-Gerson Gallery, 1969). Michael FitzGerald has persuasively identified the thrown book as Barr’s Picasso: Forty Years of His Art. FitzGerald, Picasso and American Art, 196.
BACK TO NOTE REFERENCE 32
34. ESCAPE
Sabartés, Picasso: An Intimate Portrait, 196.
BACK TO NOTE REFERENCE 1
Barr to Picasso, Rosenberg, and Mary Callery (cables), November 15, 1939, MoMA Exhibition Records (91.3), MoMA Archives.
BACK TO NOTE REFERENCE 2
Henri Matisse to Pierre Matisse, December 17, 1939, in Cowling et al., Matisse Picasso, 381.
BACK TO NOTE REFERENCE 3
Callery to Barr, November 19, 1939, MoMA Exhibition Records (91.2), MoMA Archives.
BACK TO NOTE REFERENCE 4
Sabartés, Picasso: An Intimate Portrait, 196.
BACK TO NOTE REFERENCE 5
Callery, “The Last Time I Saw Picasso,” Art News, March 1–14, 1942.
BACK TO NOTE REFERENCE 6
Monod-Fontaine, Daniel-Henry Kahnweiler 151–52.
BACK TO NOTE REFERENCE 7
Fernand Léger to Rosenberg, December 14, 1939, Literary and Historical Manuscripts (MA3500.270), Morgan Library; Sabartés, Picasso: An Intimate Portrait, 196.
BACK TO NOTE REFERENCE 8
The renewable contracts entered into effect on October 1 for Braque and October 30 for Matisse. Braque to Rosenberg, November 17, 1939, Rosenberg Collection of artist letters (MA 3500.27), Morgan Library; contract between Henri Matisse and Paul Rosenberg dated October 30, 1939, Archives Matisse.
BACK TO NOTE REFERENCE 9
Rosenberg to Barr, December 16, 1939, quoted in Barr to Rosenberg, December 26, 1940, MoMA Exhibition Records (91.7), MoMA Archives.
BACK TO NOTE REFERENCE 10
Rosenberg to Picasso, February 1, 1940.
BACK TO NOTE REFERENCE 11
C. Denis Freeman and Douglas Cooper, The Road to Bordeaux (New York and London: Harper and Brothers, 1941), 5.
BACK TO NOTE REFERENCE 12
Rosenberg to Henri Matisse, April 4, 1940, Archives Matisse.
BACK TO NOTE REFERENCE 13
Henri Matisse to Pierre Matisse, October 11, 1940, Pierre Matisse Gallery Archives (MA 5020), Morgan Library.
BACK TO NOTE REFERENCE 14
Jorge Helft, interview by Zachary Donnenfield, Bordeaux, France, 2016, Sousa Mendes Foundation, Greenlawn, New York, vimeo.com/189047352.
BACK TO NOTE REFERENCE 15
Helft, interview by Donnenfield.
BACK TO NOTE REFERENCE 16
Sousa Mendes’s earlier career is recounted in Fralon, A Good Man in Evil Times, 12–39.
BACK TO NOTE REFERENCE 17
Aristides de Sousa Mendes to his brother-in-law, Silvério, June 13, 1940, Sousa Mendes Foundation, Greenlawn, New York.
BACK TO NOTE REFERENCE 18
Helft, interview by Donnenfield.
BACK TO NOTE REFERENCE 19
Margot Rosenberg would spend the rest of the war consumed by her separation from her son. Elaine Rosenberg, interview with the author, September 2016.
BACK TO NOTE REFERENCE 20
Helft, interview by Donnenfield.
BACK TO NOTE REFERENCE 21
Portuguese agents were sent to the French border on June 22, the same day the Rosenbergs crossed into Portugal. Fralon, A Good Man in Evil Times, 88–89.
BACK TO NOTE REFERENCE 22
Lynn H. Nicholas, The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War (New York: Alfred A. Knopf, 1994), 125.
BACK TO NOTE REFERENCE 23
Nicholas, Rape of Europa, 159–64.
BACK TO NOTE REFERENCE 24
Rosenberg to Edward Fowles, July 25, 1940, correspondence: Paul Rosenberg, 1923–1948, Duveen Brothers Records, Getty Research Institute.
BACK TO NOTE REFERENCE 25
Sinclair, My Grandfather’s Gallery, 54.
BACK TO NOTE REFERENCE 26
Margaret Scolari Barr, “Our Campaigns,” 60.
BACK TO NOTE REFERENCE 27
The original cables from museum directors to the U.S. consulate in Lisbon have not been located. The Paul Rosenberg Archives contain French translations of them, which the author has rendered in English.
BACK TO NOTE REFERENCE 28
Rosenberg to Fowles, August 3, 1940, Getty Research Institute.
BACK TO NOTE REFERENCE 29
Feliciano, Lost Museum, 112–13.
BACK TO NOTE REFERENCE 30
Henry McIlhenny to Henrietta Callaway, August 19, 1940, MoMA Exhibition Records (91.7), MoMA Archives.
BACK TO NOTE REFERENCE 31
EPILOGUE
Elizabeth McCausland, interview by Frank Kleinholz for the weekly radio program Art in New York, February 7, 1945, wnyc.org/story/elizabeth-mccausland.
BACK TO NOTE REFERENCE 1
“Picasso Exhibit in Chicago Great Fun,” Nebraska State Journal, February 25, 1940.
BACK TO NOTE REFERENCE 2
A. J. Philpott, “Picasso Paintings at Museum Seen as Art Sensation; Spanish-French Work Puzzles Onlookers, Shows a Queer Genius,” Boston Globe, April 28, 1940.
BACK TO NOTE REFERENCE 3
“Visitors Stage Sit-Down,” Press Democrat, Santa Rosa, California, August 8, 1940.
BACK TO NOTE REFERENCE 4
Museum of Modern Art Bulletin, September 1940.
BACK TO NOTE REFERENCE 5
Bulletin of the Minneapolis Institute of Arts, November 23, 1940, and January 18, January 25, and February 1, 1941.
BACK TO NOTE REFERENCE 6
Thomas C. Linn, “Picasso Exhibit Returns to City: Modern Museum to Show It Again After 250,000 in 9 Cities Viewed It,” New York Times, July 13, 1941; “Picasso: Forty Years of His Art: Itinerary,” MoMA Department of Circulating Exhibitions Records (II.1.91.10.3), MoMA Archives.
BACK TO NOTE REFERENCE 7
Earl Rowland to Elodie Courter, January 29, 1941, MoMA Exhibition Records (91.4), MoMA Archives.
BACK TO NOTE REFERENCE 8
Susana Gamboa to Luis de Zulueta, Jr., November 25, 1944, MoMA Exhibition Records (258.J.3), MoMA Archives.
BACK TO NOTE REFERENCE 9
Marquis, Missionary for the Modern, 309.
BACK TO NOTE REFERENCE 10
“Picasso: Special Double Issue,” Life, December 27, 1968.
