Berger, John, 314

  Bergson, Henri, 109

  Bernard, Émile, 408n9

  Bernheim, Jos, 237. See also Galerie Bernheim-Jeune

  Bernheim de Villers, Gaston, 237. See also Galerie Bernheim-Jeune

  Bignou, Étienne, 237, 239, 241, 242, 245, 247, 272; MoMA Matisse exhibition and, 243; Picasso retrospective at Georges Petit gallery (1932), 253, 255–56, 261. See also Georges Petit Corporation

  Bing, Henri, 332

  Bingham, Mrs. Harry Payne, 150

  Birnbaum, Martin, 41, 405n10

  Blind Man, The (Dada magazine), 117

  Bliss, Lizzie P. (“Lillie”), 144, 148–49, 168, 189, 203, 204–5, 215, 242; Armory Show buys, 53; Cézannes collected, 144, 150, 203, 230; Collection, left to MoMA, 250, 274, 324, 326, 329; MoMA’s founding and, 65, 202–3, 205–10; Picassos collected, 215

  Bonnard, Germaine (“Mno”), 132, 140, 194

  Bonnard, Pierre, 54

  Boston Museum of Fine Arts, 22, 379

  Bourgeois, Louise, x, 361

  Bourgeois Gallery, N.Y., 85

  Brancusi, Constantin, 56, 88, 181, 386; Armory Show and, 54, 55; the Barrs’ dinner with (1939), 346; Bird in Space, 324; Golden Bird, 162, 186, 189; Mlle Pogany, 7, 46, 108; Quinn and, 88, 133–34, 155, 159, 161, 162, 165, 180, 186–87; Quinn’s evaluation, 160; Roché, The Sleeping Gypsy, and, 176, 179

  Braque, Georges, 25, 68, 70, 74, 82, 146, 234, 325; Armory Show and, 54; Barr and, 300; circle of, 88; confrontation with Léonce Rosenberg, 139; in early MoMA show, 216; Guitar, 300; Houses at l’Estaque, 77; Kahnweiler and, 70, 74, 79, 97, 138; Picasso and, 77–78, 102–3, 122, 403n1, 414n6; on Picasso’s Les Demoiselles d’Avignon, 30; Picasso’s nickname for, 27; post–WWI and, 114; in Provence, 77–78, 79, 106; Quinn buying art of, 88, 114, 117, 136, 159, 180, 186; Quinn’s evaluation of, 160; Quinn visits (1921), 133; Roché and, 115; Rosenberg and, 227, 341, 364, 440n9; Ruse of the Medusa woodcuts, 140; Stieglitz showing, 89, 410n9; townhouse and studio, 300; wife, Marcelle, 78, 103, 106; work in New York galleries, 85, 88; WWI combat and, 79–80, 101–3, 115, 133, 409n14; WWII and, 366

  Brassaï, 356, 362, 433n2

  Brenner, Michael, 83–84, 86, 88, 100. See also Washington Square Gallery

  Breuer, Marcel, 277, 296

  Brummer, Joseph, 4, 161

  Bryant, Harriet, 86, 89, 90, 95, 96, 107, 411n31; Quinn and, 91–92, 93, 411n31. See also Carroll Galleries

  Buñuel, Luis, 317, 318

  Burroughs, Bryson, 19, 54, 144, 151

  C

  Cahiers d’Art, 308, 311, 351; defense of Guernica, 319, 435n31, 435n32

  Calder, Alexander, 296–97, 304, 317

  Callery, Mary, 337–39, 350, 354, 356, 363

  Carnegie Institute, Pittsburgh, 256, 427n16

  Carroll Galleries, N.Y., 86, 93, 95, Cubism show, 86, 89–91, 107, 411n31; decor, 90, 92–93; Prendergast show, 88; Quinn and, 88, 91–93, 95, 137; Quinn’s bulk purchase of Picassos, 88–91, 93, 107

  Cathleen ni Houlihan (Yeats and Gregory), 17

  Céret, France, 25, 35, 98

  Ce soir, 315, 318, 435n19

  Cézanne, Paul, 4, 12, 13, 22, 23, 38, 41, 42, 74, 117, 123, 146; Armory Show and, 45; Barr and, 151, 428n8; Bliss and, 203, 230; Metropolitan Museum purchase, 54; Metropolitan Museum show (1921), 144; as modernist progenitor, 160, 194, 304; MoMA and, 212, 213, 288; Mont Sainte-Victoire, 136; in Quinn’s collection, 136, 165, 180, 186, 187; work in New York galleries, 85

  Chabaud, Auguste, 93

  Chagall, Marc, 373, 377

  Chaineux, Thomas, 128

  Chanel, Coco, 70, 125

  Cheney, Sheldon, 161, 187

  Chicago: Armory Show in, 51–53, 147; the Matisse riot and, 57, 149, 244; Rosenberg’s Picasso show (1923), 163, 167, 171–72. See also Art Institute of Chicago

  Chipp, Herschel B., 319

  Chrysler, Walter, Jr., 326

  Churchill, Winston, 14

  Ciolkowska, Muriel, 166–67

  Clark, Stephen, 273–74, 325, 328, 385

  Cleveland, Grover, 14

  Coady, Robert J., 83, 86, 88, 159. See also Washington Square Gallery

  Coates, Dorothy, 190

  Cocteau, Jean, 124, 173, 331

  Complete Works of Picasso (Zervos), 254

  Comstock, Anthony, 21, 66

  Conrad, Joseph, 6, 14, 39, 41, 66, 111, 164, 418n2; A Personal Record, 112

  Constructivism, 304

  Contemporary Art Society, London, 92

  Conversations with Goethe (Eckermann), 16

  Cooper, Douglas, 365–66

  Copeland, Charles Townsend, 48

  Corot, Jean-Baptiste-Camille, 123, 222, 228, 249

  Cortissoz, Royal, 44, 51

  Craven, Thomas, 282

  Cubism, 5, 18, 31, 54, 55, 122, 214, 223; American critics, 51; analytical, 5, 25, 89, 104, 358; Armory Show and, 41, 44, 45, 46; Barr defines, 297, 304, 432n1; camouflage in WWI and, 104–5, 412n26; Carroll Galleries show, 86, 89–91, 107, 411n31; Duchamp’s Chess Players and, 88; Duchamp’s Nude Descending a Staircase and, 44; France’s confiscation of work in WWI, 99–102, 107; Germany and, 33; hermetic, 358; Kahnweiler and, 69; lack of sales, 149–50; loss of popularity, 126; MoMA Cubism and Abstract Art exhibition, 296–306, 433n3; Picasso, Braque, and, 25, 35, 68, 403n1; Picasso defines, 297, 432n1; Picasso retrospective, Zurich and (1932), 260–62; Picasso’s Les Demoiselles d’Avignon and, 321–22, 327–28; Picasso’s Ma Jolie and, 78; Picasso Stuttgart show and, 263; Picasso’s Two Nudes and, 415n13; Quinn collecting, 88, 93; Quinn’s evaluation, 160; Reber and, 234, 235; theory of, 25; synthetic, 135, 358; Vauxcelles’s naming of, 70. See also Braque, Georges; Picasso, Pablo

  Cukor, George, 353

  Curie, Marie, 24

  Curry, John, 294

  Curtin, Thomas, 190

  D

  Dada, 157, 298, 304

  Daix, Pierre, 123, 434n15, 435n19

  Dale, Chester, 237–38, 241, 242, 244, 246, 247, 358

  Dale, Maud, 237–38, 242

  Dalí, Salvador, 312, 342

  Daumier, Honoré, 222, 249, 273, 278

  Davies, Arthur B., 4, 40, 41, 56, 162, 168, 188, 203, 204; Armory Show and, 40–42, 43, 51, 53, 92, 405n10; Armory Show art purchased by, 53, 54, 89, 409n24; art collection liquidated, 204; attempt to save Quinn’s collection, 189–90, 203; buying modern art, 88, 150; “Contemporary French Art” exhibition and, 161–62; influences on, 86; MoMA’s origins and, 203; Quinn and, 87, 189–90

  Davis, Bette, 353

  Davis, Stuart, 361

  de Chirico, Giorgio, 296

  Decisive Wars of History (Hart), 245

  Degas, Edgar, 73, 171, 250, 329

  de Gaulle, Charles, 370

  Degeneration (Nordau), 147

  de Kooning, Willem, 361

  Delaunay, Robert, 181

  Delectorskaya, Lydia, 366

  DeMille, Cecil B., 70

  Derain, André, 29, 30, 67, 68, 69, 70, 82, 146, 161, 250; The Bagpiper, 189, 215; Harvard Society show and, 215; Kahnweiler and, 101, 138, 139; in Metropolitan Museum show (1921), 144; post–WWI and, 114; in Provence, 77–78, 79, 106; Quinn at his studio, 133; Quinn buying art, 88, 114, 117, 136, 155, 159, 180, 186, 187, 409n24; Quinn’s evaluation, 160; Roché and, 115; wife, Alice, 78, 106, 133; Window at Vers, 409n24; work in New York, 85, 88; WWI and, 79–80, 96, 101, 102

  Deskey, Donald, 296

  De Stijl movement, 199

  Detroit Institute of Arts, 288, 420n3, 430n1

  De Young Museum, San Francisco, 374

  de Zayas, Marius, 26, 88, 419n3, 432n1

  Diaghilev, Serge, 124, 134, 224, 229

  Dial magazine, 162, 186, 192

  Dix, Otto, 266, 345

  Döcker, Richard, 267

  Don Juan (Roché), 173

  Doucet, Jacques, 115, 177, 178, 181, 322, 327, 413n20, 436n10

  Dreier, Katherine, 313

  Dreyfus, Albert, 170

  Dreyfus, Alfred, 73

  Dublin: Foster visits (1913), 49; Quinn and writers, poets of, 14–17, 22, 49, 109

  Duchamp, Marcel, 57, 86, 117, 157, 297; Chess Players, 88; Nude Descending a Staircase, 7, 44, 46, 50; Quinn at the studio of, 133; Quinn buying works of, 180; Quinn’s aid to, 87; Why Not Sneeze Rose Sélavy?, 312

  Duchamp-Villon, Raymond, 93, 114, 186

  Dudensing, Valentine, 203, 330

  Dufy, Raoul, 88, 93, 133, 117, 136, 159, 160, 186

  Durand-Ruel Gallery, N.Y., 24, 282

  Duthuit, Marguerite (Matisse), 242, 414n14

  Duveen, Joseph, 58, 59, 180, 276

  E

  Eddy, Arthur Jerome, 406n18

  Eight, The, 17–18

  Eisenstein, Sergei, 200, 201

  Eliot, T. S., 7, 14, 171, 259; “The Love Song of J. Alfred Prufrock,” 110; Quinn and, 15, 110, 112; The Waste Land, 15, 259

  Éluard, Paul, 309, 314, 317, 433n2

  Emery, Florence Farr, 14

  Ephrussi, Charles, 72, 408n8

  Epstein, Jacob, 52–53, 95, 170

  Ernst, Max, 373, 377, 386

  Errázuriz, Eugenia, 124–25, 350

  Expressionism, 289, 304, 345

  F

  Faure, Élie, 228

  Fauvism, 4, 29, 45, 68, 70, 88, 171, 244, 304

  Fénéon, Félix, 133, 136, 159

  Field, Hamilton Easter, 404–5n25

  Fisher, Harrison, 47

  Fleischmann, Marcel, 349

  Fontainebleau, France, 134–36, 153, 156

  Ford, Ford Madox, 164

  Foster, Charles, 16

  Foster, Jeanne Robert, 7–8, 15, 43–49, 107, 158, 164, 194; Armory Show and, 43, 44, 45–46; Armory Show essay, 54–55, 107; on Brancusi, 134; in Britain, start of WWI, 74–75; Derain portrait, 136; as editor, Transatlantic Review, 4; family and background, 46–47; Kahnweiler meets (1921), 140; as literary patron, 112; marriage of, 4, 47, 112, 113; Neighbors of Yesterday, 112; on Olga Picasso, 134; palm reading by, 140; Quinn and, 4, 44–46, 54–55, 107–8, 112–13, 119, 162, 164–65, 177, 179, 180–82; Quinn’s bequest and, 190; Quinn’s estate and, 190–91; Roché writing about, 141; social conscience, 48; trips to France with Quinn, 132–33, 164–65; writing/literary career, 47–48, 76–77, 112; Yeats family and, 48–49, 108

  Foster, Matlack, 47, 112, 113, 194

  Four Saints in Three Acts (Stein and Thomson), 277, 278, 280, 281, 282

  Fowles, Edward, 372

  France: art press of, 70; avant-garde art of, 45; collapse of the franc, 163, 165; divorce law, 257; Great Depression and, 258, 272; Quinn’s trips to, 13, 36–39, 130–42, 164–65; WWI, 81, 98–99; WWI, artists fighting in, 79–80, 92, 93, 96, 97; WWI, artists fleeing, 97; WWI, casualties, 102; WWI, German destruction of Reims Cathedral, 99, 141; WWI, seizure of Kahnweiler’s gallery and contents, 100–102, 107, 121, 138; WWII, 347, 351, 355, 363, 365–73, 386–87. See also Paris; specific towns

  Franco, Francisco, 307, 308, 309, 310, 313–14, 335, 342, 370, 381; Dalí and, 312; Picasso’s response to, 314, 317, 353. See also Guernica

  Fresnaye, Roger de La, 89, 96, 114, 160, 186, 324

  Frick, Henry Clay, 19

  Fry, Roger, 403n5

  Fry, Varian, 385

  Futurism, 4, 41, 45, 54, 214, 297, 324, 432–33n2

  G

  Gallatin, Albert, 425n17

  Galerie Bernheim-Jeune, Paris, 99, 132, 136, 142, 165, 170, 371

  Garthe, Otto, 263, 264, 267, 268

  Gaudier-Brzeska, Henri, 103–4, 105, 107, 114, 187

  Gauguin, Emil, 161

  Gauguin, Paul, 4, 12, 13, 41, 42, 67, 89, 96, 117, 144; as modernist progenitor, 160, 304; MoMA and, 212, 288; in Quinn’s collection, 180, 186

  Genauer, Emily, 318

  Georges Petit Corporation, 236–37; Dale’s stake in, 238, 241–42; folding of, 272; Matisse dinner for art dealers, 236, 237; Matisse retrospective, 236, 240, 244; as MoMA rival, 245; Picasso retrospective, 241–42, 246, 252–56, 260–62; Rosenberg and, 256

  George V, King of England, 76

  Germany: anti-Semitism in, 264, 268; artists fleeing the Nazis, 272, 295, 305, 336, 357; Barr and the museums of, 199–200; as consumer of French modernism, 31–35, 68, 69, 199, 263; “Degenerate Art Exhibition” and, 268; fall of the Weimar Republic, 263, 265; French aversion to German buying of Cubist art, 33–34; Hitler and buying of Old Masters and “Aryan” realism, 34; Hitler’s rise, 335–36; Hitler’s war against modern art, 294–95, 298, 305, 310, 311, 336, 345, 364, 366, 429n17; Horst Wessel Song, 265; Kahnweiler marketing modern art in, 32–33; Kahnweiler’s first Picasso show, Munich, 33; Kunsthaus Zürich Picasso show (1932) and, 258–62; Nazi period, disappearance of Picassos and Matisses, 34; Nazi closing of Berlin galleries, 272; Nazis and shift in attitudes toward modern art, 262–71; “new art” and, 66, 67; post- Impressionism and, 32; Picasso and Tribal Sculpture show, Berlin, 33; postwar bankruptcy, 128; Sonderbund exhibition, Cologne, 40; Van Gogh’s popularity in, 288–89, 295; WWI, 81, 92; WWI and U.S. seizure of German assets, 411n8; WWII, 336, 340–41, 347, 348, 355, 366–67. See also Stuttgart, Germany

 

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