Picasso's War, page 54
BACK TO NOTE REFERENCE 11
According to the wishes of the Quinn Estate, the Quinn letters were deposited at the Manuscripts Division of the New York Public Library, where they were available for inspection only. They were finally rediscovered in 1960, when a rogue scholar, using a Quinn-like technique, memorized a large group of them and secretly published them. McCandlish Phillips, “Purloined Letters? Intrigue in the Library: Printer Defies a Ban to Publish Papers of John Quinn,” New York Times, January 17, 1960.
BACK TO NOTE REFERENCE 12
Quinn to W. B. Yeats, February 25, 1915.
BACK TO NOTE REFERENCE 13
Alexandre Rosenberg to Douglas Cooper, February 21, 1959, in Paul Rosenberg and Company, 71.
BACK TO NOTE REFERENCE 14
Margaret Scolari Barr, “Picasso: A Reminiscence,” lecture, 1973, 12, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.
BACK TO NOTE REFERENCE 15
Roché to Picasso, March 1946, Harry Ransom Center.
BACK TO NOTE REFERENCE 16
Text Permissions
Grateful acknowledgement is made to the following for use of unpublished and other material:
Albright-Knox Art Gallery Digital Assets and Archives, Buffalo, New York, for documents related to A. Conger Goodyear’s trusteeship at the Albright Art Gallery.
Victoria Barr for the letters of Margaret Scolari Barr to Alfred H. Barr, Jr., and other documents from the Margaret Scolari Barr Papers at the Museum of Modern Art Archives, New York; and numerous excerpts from “ ‘Our Campaigns’: Alfred H. Barr, Jr., and the Museum of Modern Art: A Biographical Chronicle of the Years 1930–1944,” New Criterion, Special Issue (Summer 1987).
Editions Cahiers d’Art, Paris, for letters from Christian Zervos to Alfred H. Barr, Jr., Museum of Modern Art Archives, Museum of Modern Art, New York; and excerpts from Christian Zervos, “Histoire d’un tableau de Picasso,” Cahiers d’Art, XII, 4–5 (1937). Letters and excerpts © Christian Zervos, Editions Cahiers d’Art, Paris.
The Getty Research Institute in Los Angeles, California, for letters from Paul Rosenberg to Edward Fowles in the Duveen Brothers Records.
The Harvard Art Museums Archives, Harvard University, Cambridge, Massachusetts, for letters from Alfred H. Barr, Jr., and A. Conger Goodyear to Paul J. Sachs, and the memoirs of Paul J. Sachs, in the Paul J. Sachs Papers.
Estate of Pierre Matisse for an excerpt from an autograph letter from Henri Matisse to Pierre Matisse, October 11, 1940, Morgan Library & Museum, New York, Gift of The Pierre Matisse Foundation, 1997. Henri Matisse © 2022 Succession H. Matisse / Artists Rights Society (ARS), New York; © 2022 Estate of Pierre Matisse / Artists Rights Society (ARS), New York.
The Morgan Library and Museum, Department of Literary and Historical Manuscripts, for letters from the Pierre Matisse Gallery Archives and the Rosenberg Collection of artist letters.
Musée national Picasso, Paris, for letters from Paul Rosenberg to Picasso in the Picasso Archives.
The Museum of Modern Art Archives, The Museum of Modern Art, New York, for letters and documents from the Alfred H. Barr, Jr. Papers and other museum records.
The New York Public Library, Astor, Lenox, and Tilden Foundations, for the correspondence and papers of John Quinn and the letters and diaries of Jeanne Robert Foster.
The Picasso Administration, Paris, for letters and documents in the Picasso Archives, Musée national Picasso, Paris, Don Succession Picasso, 1992; and letters between Picasso and Henri-Pierre Roché, The Carlton Lake Collection of French Manuscripts, Harry Ransom Center, The University of Texas at Austin.
The Harry Ransom Center, The University of Texas at Austin, for the letters and diaries of Henri-Pierre Roché in the Carlton Lake Collection of French Manuscripts.
Elisabeth R. Clark, Marianne Rosenberg, and Anne Sinclair for letters and records in the Paul Rosenberg Archives, Museum of Modern Art, New York; and for Paul Rosenberg’s letters to Edward Fowles, Getty Research Institute, Los Angeles; to Henri Matisse, Archives Matisse, Issy-les-Moulineaux; to Picasso, Picasso Archives, Musée national Picasso, Paris; to John Quinn, The New York Public Library, Astor, Lenox, and Tilden Foundations; and to Henri-Pierre Roché, Harry Ransom Center, The University of Texas at Austin.
Photo Credits
All works by Pablo Picasso © 2022 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.
Work by Dora Maar © 2022 Artists Rights Society (ARS), New York / ADAGP, Paris.
Work by Constantin Brancusi © Succession Brancusi / All rights reserved (ARS) 2022.
Work by Henri Matisse © 2022 Succession H. Matisse / Artists Rights Society (ARS), New York.
1: GRANGER—Historical Picture Archive.
2: Bridgeman Images.
3: © RMN-Grand Palais / Copy photo: Adrien Didierjean / Art Resource, NY. Photographer unknown / All rights reserved.
4: Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
5: © RMN-Grand Palais / Art Resource, NY.
6: The Carlton Lake Literary File Photography Collection, Harry Ransom Center, The University of Texas at Austin.
7: The Carlton Lake Literary File Photography Collection, Harry Ransom Center, The University of Texas at Austin.
8: © Heirs of Paul Rosenberg. Photographer unknown / All rights reserved.
9: The Carlton Lake Literary File Photography Collection, Harry Ransom Center, The University of Texas at Austin.
10: Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
11: © Archives Olga Ruiz-Picasso, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid. Photographer unknown / All rights reserved.
12: The Margaret Scolari Barr Papers, Scrapbook 1933–1934, MSB and AHB’s sabbatical year 1933: incl. Easter. The Museum of Modern Art Archives, New York. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY. Photographer unknown / All rights reserved.
13: The Margaret Scolari Barr Papers, V.75. The Museum of Modern Art Archives. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
14: The Alfred H. Barr, Jr. Papers, II.C.38, The Museum of Modern Art Archives, New York. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
15: © Archives Olga Ruiz-Picasso, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid. Photographer unknown, All rights reserved.
16: © Archives Maya Widmaier-Ruiz-Picasso. Photographer unknown / All rights reserved.
17: © RMN-Grand Palais / Art Resource, NY.
18: Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
19: A. Conger Goodyear Scrapbooks, 52. The Museum of Modern Art Archives, New York. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY. Photographer unknown / All rights reserved.
20: Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY. © Estate of Andreas Feininger. Andreas Feininger / Premium Archive via Getty Images.
21: Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.
Index
The page numbers in this index refer to the printed version of the book. Each link will take you to the beginning of the corresponding print page. You may need to scroll forward from that location to find the corresponding reference on your e-reader.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A
Aalto, Alvar, 259
Abbott, Jere, 197, 199, 208, 218, 219, 225, 250–52, 280, 347
Abstract Expressionism, 361
Albright Art Gallery, Buffalo, N.Y., 205–6; contemporary art in, 337; Picasso’s La Toilette acquired, 206, 328, 422n9
Alsop, Joseph, 281
American Academy of Arts and Letters, 146
American art, 63; Armory Show and, 42, 49–51, 405n9; Ashcan School, 14; collection of Abby Rockefeller, 324–25; Cubist influence, 297; Federal Art Project and realism, 322; the Matisse riot and, 52; modernists, 85; MoMA’s Picasso exhibition, impact of, 361; MoMA’s Van Gogh exhibition, impact of, 293–94; Quinn’s opinion, 42; Quinn’s support of new artists, 107, 117; regionalist style, 294
American Artists’ Congress, 317
American culture, 163, 189–90; acquisition of European art and, 22–23; Armory Show and, 40–42, 49–51, 74, 405n9; art market, 23, 40, 58, 59, 63; art market for Picassos, 35, 89, 107, 128–30, 163–64, 171–72, 174, 203, 223, 353–54, 359–60, 377, 404n25, 410n9, 419n3; censorship in, 21–22; conservatism of, 21, 42; Depression-era, mainstream taste, 282; elite’s preferences in art, 15, 22, 23, 95; modern art, resistance, unease around, x, 4, 7, 23, 34, 49, 52, 74, 85, 107, 203; modern art and shifting taste, 8, 86–87, 289, 336; modern art as anti-American or deviant, 145–49, 298, 312–13, 353–54; modern drama, literature and, 22, 189, 208, 285–86; museums as “stale repositories,” 199; Picasso’s impact on, 359–61, 378–79, 381–82; post–WWI obsession with art, 128; progressive social movements, 64, 310, 434n6; prominent New York women and, 64–65; provincialism of, 39; Puritan morality, 21; tariff reform’s effect on importing modern art, 56–63
American Museum of Natural History eugenics congress, 148
American Review of Reviews, 44, 48, 76, 194; Foster’s Armory Show essay, 54–55, 107
Anderson, Margaret, 110, 143
Apollinaire, Guillaume, 102, 106, 114, 125, 350, 352
Aragon, Louis, 315, 318
Archipenko, Alexander, 200
Arensberg, Louise, 117
Arensberg, Walter, 150
Armory Show, 40–46, 50, 53, 83, 133, 203, 208, 214, 406n9; acquiring works for, 41–42; American artists in, 42, 405n9; art sold from, 53, 69, 87, 89, 406n18, 409n24; critics, 44, 51; Duchamp’s Nude Descending a Staircase and, 44, 46, 50; European artists in, 44; Foster essay on, 54–55, 107; Gregg review of, 53; impact on American art and culture, 49–51; Matisse’s Blue Nude and, 189; MoMA’s origins and, 209; prominent New York women and, 64; Quinn’s collection and, 41, 42; Quinn’s promotion of, 42, 43–44, 50–51, 87, 91, 406n10; Quinn’s response to viewing, 54; Quinn’s view of, 50; reaction, Chicago and Boston, 51–53, 147
Armstrong, Louis, 234
Arp, Hans, 296
Art Center, N.Y., The Memorial Exhibition of Representative Works Selected from the John Quinn Collection, 186–87, 192, 194
Art in New York (radio show), 378
Art Institute of Chicago, 63, 163, 171, 374, 408n9, 430n1; Armory Show and, 51–52; the Matisse riot, 52; as MoMA co-sponsor for Picasso show (1939), 337, 340, 348–49, 379; Picasso acquisitions, 381
Artistry of the Mentally Ill (Prinzhorn), 289
Art News: on first MoMA show, 213; essay on Picasso’s Demoiselles, 328
Arts Club of Chicago, 163, 353
Arts magazine, 187, 216, 233
Ashton, Frederick, 277
Association of American Painters and Sculptors, 40–42, 53, 59, 62
Austin, Arthur Everett, Jr. (“Chick”): compared to Barr, 275–76; Picasso exhibition by, 277–83; Stein-Thomson opera (Four Saints in Three Acts) and, 277, 278, 280, 281, 282; as Wadsworth Atheneum head, 275–83
Autobiography of Alice B. Toklas, The (Stein), 27, 277
B
Balfour, Arthur, 109
Balla, Giacomo, Dog on a Leash, 324
Ballets Russes, 124–25, 127, 228, 415n12
Barnes, Albert C., 51, 94, 150
Barr, Alfred H., Jr., 150–51, 185–87, 195–201, 252, 260, 296–306; on abstract art, 270, 310–11; anti-lynching exhibition and, 310, 434n6; appearance, 234; Beekman Place apartment and design principles, 296–97; Carnegie fellowship, 201; character and temperament, 150, 195, 196, 198, 216–17; compared to Chick Austin, 275–76; in Europe, Wanderjahr (1927–28), 199–201, 225; family and background, 185–86, 195, 196; inspired by the John Quinn memorial exhibition, 185–86, 194, 195, 339; inspired by the Metropolitan’s post-Impressionist show, 150–51; Marga and, 213, 216, 218–19, 220, 252–53, 424n1; modern art education, 150–51, 185–86, 195–99, 201, 225; on modernism, 269–70, 310–11; nervous collapse and recovery in Europe (1932–33), 248–53, 259–71, 428n7; “painting is more important than war,” 351; Picasso as a talisman, 339, 381–82; Picasso: Fifty Years of His Art, 385, 386; Picasso retrospective, Zurich and (1932), 260–62; Prinzhorn’s work and, 289; Quinn’s unfulfilled legacy and, 201, 382; racial/social issues and, 310, 317, 434n6; Sachs and, 199, 201, 207, 221; sexual ambiguity of, 251–53; social circle, 218, 251, 252; Spanish Civil War and, 336; in Stuttgart (1932–33), 263–68, 428n7; teaching at Wellesley, 198, 201, 297; theory of modern art and flow chart, 304; visiting German and Russian museums, 199–200; Wadsworth Atheneum show (1934) and, 281–82; WWII and, 335–36, 341, 345–46, 351–54; writes articles on Nazi threat, 270, 271
—as MoMA director: acquisition of Picasso’s Demoiselles, 326–29, 337; acquisition of Picasso’s Girl before a Mirror, 330–31, 337; acquisition of Rousseau’s The Sleeping Gypsy, 331–33; Bauhaus exhibition, 336; benefactor, Mrs. Simon Guggenheim and, 330–31; campaign to bring avant-garde paintings to the U.S., 337–40; Corot, Daumier exhibition, 222, 228, 249; Cubism and Abstract Art exhibition, 296–306, 307, 322, 433n3; in Europe, acquiring art for attempted Picasso show (1931), 238–43; in Europe, acquiring art for Cubism show (1935), 299–303; in Europe, acquiring Picassos (1939), 343–47, 438n27; in Europe, scouting for exhibitions (1930), 221–22, 226, 227, 228, 232–35; Fantastic Art, Dada, Surrealism exhibition, 298, 300, 307, 312–13; firing of, 385; first MoMA show, 211–13; funding and, 214–15; hallmark of his show making, 222; Henri Matisse exhibition, 242–44; hired as director, 201–2, 207–19; Lucerne auction of confiscated art and, 345–46; MoMA permanent collection-building, 270–71, 323–33; on MoMA’s formal mission, 207–8, 270, 323, 423n15; Picasso: Forty Years of His Art and works rescued from Europe at war (1939), 338–65, 379, 381; Picasso and, 222–25, 232–34, 298–303, 355–56, 386, 424n9; Picasso show attempted (1931), 223–25, 234–35, 245–47, 248, 261; Picasso’s Les Demoiselles d’Avignon and, 322; Quintanilla: An Exhibition of Drawings of the War in Spain and, 336, 437n6; Rockefeller’s rift with, 313; Rosenberg and, 225, 301, 339–40, 343–47, 350, 351, 374–75; struggles with Paris market, 245; “torpedo report,” 269–70, 273, 323, 329; trustee Chester Dale’s insurgency and, 242, 244, 247; Van Gogh exhibition and catalog, 284–95, 324
Barr, Margaret Scolari (“Daisy,” “Marga”), 211, 213, 216–19, 238, 281, 311, 330, 385–86; attends Picasso retrospective in Paris (1932), 253–56, 258; Barr’s recovery trip in Europe and Stuttgart (1932–33), 262–71, 428n7; Beekman Place apartment, 296, 297; in Europe, acquiring art for Surrealism show (1935–36), 299–303, 307, 311–12; in Europe, acquiring Picassos (1939), 343–47, 438n27; in Europe, acquiring The Sleeping Gypsy (1938), 331–33; in Europe, exhibition scouting (1930), 220–21, 228; family and background, 217–18; marriage of, 252–53; MoMA Picasso show (1939) and, 343; Paris wedding, 220, 424n1; Picasso and, 255–56, 307–8, 311–12; pregnancy of, 319; Stein and, 352; Van Gogh exhibition and, 290–91; working with Alfred, 244, 251, 252, 324, 426n10; WWI and, 385–86; WWII and, 341; WWII and helping art world refugees, 373, 385–86
Barthelme, Donald, 412n26
Bauhaus, Dessau, and Bauhaus style, 199–200, 201, 259, 265, 268, 296, 304, 357, 429n17
Beckmann, Max, 330
“Bei Mir Bist Du Schön” (song), 346
Bell, Clive, 171
Benton, Thomas Hart, 294
Bergamín, José, 314, 316, 434n15
