Picasso's War, page 56
Giacometti, Alberto, 299; Head-Landscape, 299
Gibson, Charles Dana, 47
Gilot, Françoise, 386
Gish, Lillian, 342
Gleizes, Albert, 88, 89
Goldwater, Robert, 361
Goncharova, Natalia, 200, 297, 300
Gonne, Maud, 103
Goodwin, Philip, 323
Goodyear, A. Conger, 205, 242, 248; Albright Art Gallery, Picasso’s La Toilette, and, 205–6, 328, 422–23n9; first MoMA show and, 213; MoMA donors recruited, 214; MoMA funding problem, 238–39; MoMA Matisse show and, 243; MoMA Picasso show and, 235, 241, 246, 261; as MoMA president, 206, 207, 348; MoMA Surrealism show and, 313; MoMA Van Gogh show and, 290, 292; Picasso’s Demoiselles acquisition and, 328; Rosenberg and, 340
Gorky, Arshile, 361
Gouel, Eva, 78–80, 98, 106, 123, 128, 349, 409n14; Picasso’s deathbed sketch of, 106, 412n28
Grafton Galleries, London, Manet and the Post-Impressionists exhibition, 12, 24
Graham, John, 361
Grant, Madison, 148
Great Depression, 238, 249, 250, 258, 272; Van Gogh’s appeal and, 294
Greene, Belle da Costa, 93
Gregg, Frederick James, 4, 53, 86, 87, 166, 167, 168, 177, 188, 192–93; essay on Picasso, 89, 91
Gregory, Lady, 14–15, 17, 49, 96, 113; Cathleen ni Houlihan, 17
Gris, Juan, 68, 82, 97, 160, 187, 234, 297, 325; Kahnweiler and, 101, 138; Man in a Café, 88; Quinn buying art of, 88; work in Washington Square Gallery, 86
Gropius, Walter, 200, 263, 357
Guermantes Way, The (Proust), 72, 408n8
Guernica (Picasso), 9, 314–20, 321, 337; American press coverage, 353–54; arrival in New York, 341–42; fate of, 381; MoMA Picasso show and, 353, 358, 359, 365, 379; in Paris Expo, 314–15, 317–19, 435n31; photographs in Ce soir and, 435n19; Spanish Refugee Relief Campaign tour and, 341–42, 353
Guggenheim, Mrs. Simon, 330–31, 381
H
Haag, Hedwig, 264
Hackett, Francis, 17
Halou, Alfred Jean, 70
Halvorsen, Walther, 142, 143, 152
Hand, Learned, 14, 24, 63
Harper’s Bazaar, article on New York City in 1939, 357
Harriman, E. H., 65
Harrison, Benjamin, 16
Hart, Liddell, 245
Hartley, Marsden, 186
Harvard Society for Contemporary Art, 215, 251; Derain, Picasso, and Matisse show (1929), 215–16, 224
Harvard University, 185, 186, 197, 201, 375, 385; Fogg Museum, 198
Havemeyer, Louisine, 7
Hearst, William Randolph, 47
Heckel, Erich, 289
Heil, Walter, 374
Hekking, William M., 206, 422–23n9
Helft, Jacques and Yvon, 367–71
Hemingway, Ernest, 336, 437n6
Herre, Richard, 263
Hervé, François, 231–32
Hessel, Franz, 116, 132, 136, 152, 162
Hessel, Helen (“Luk”), 132, 136, 140, 152, 162, 194
Heym, Georg, 288
Hindenburg, Paul von, 264
Hitchcock, Henry-Russell, 218, 220, 221, 222, 251, 252, 280
Hitler, Adolf, 264, 294–95, 307, 335–36
Holmes, C. J., 285–86
Hôtel Drouot, Paris: auction of modern and avant-garde art (1914), 67–68, 69; auction of Quinn Collection, 188, 193–94, 331, 421n23; liquidation of Kahnweiler’s paintings, 193
Hull, Cordell, 290
Huneker, James, 57, 91, 107, 109, 148
Hyde, Douglas, 15
I
Impressionism, 13, 38, 39, 403n5
Independent, The, Gregg on the loss of Quinn’s paintings, 192–93
International Style, 267, 277; MoMA building and, 323, 335, 357
Ireland: Abbey Players, 49; independence struggle, 109, 413n4; Irish Renaissance, 113; Lane as art dealer, 96; literary culture, 21; literary movement and independence, 17; 1916 Easter Rising, 17; Quinn and a new constitution, 109, 413n4
Iribe, Paul, 70
Italy: Barr in Rome, 260, 262; Fascism and modern art in, 267; Kahnweiler in, WWI, 81, 99; Picasso in, 124; WWI, 81
J
James, Henry, 23, 48
James, William, 16
Jaspers, Karl, 289
John, Augustus, 36–39, 117
Johnson, Philip, 196, 218, 221, 222, 245, 249, 251, 252, 275, 277, 296; Nazism and, 269–70
Joyce, James, 14, 166, 198; A Portrait of the Artist as a Young Man, 110; Quinn and, 160–61; Ulysses, 133, 160–61
Jules et Jim (Roché), 132, 387
Jung, Carl, 261; attack on Picasso, 261–62
K
Kafka, Franz, 259
Kahn, Otto, 170
Kahnweiler, Daniel-Henry, 28–35, 161; Armory Show and, 41, 83, 409n24; art collected by, 28–29, 30, 33, 82–84; artists of (the Kahnweiler Establishment), 68, 74–75, 78, 97, 138, 227; art market, Great Depression, 272; Braque and, 70, 74, 79; contract with Coady and Brenner, 83, 88; disdain for Paris exhibitions, 70; family and background, 28, 71, 81; Galerie Simon, 137–38, 140; gallery, rue Vignon, 28, 68–69, 70, 73, 80, 81, 90, 174; German and Russian buyers, 31–35, 68, 69, 199, 263; Hôtel Drouot auction (1914) and, 67–68; interest in modern art awakened, 28; marries Lucie Godon, 28, 71, 80–81; Picasso and, 28, 29–35, 68–69, 74, 78, 97, 102, 122, 123, 138–40, 174, 263, 303, 309–10, 384, 404n10; Picasso shows in Germany (1913), 33; Picasso’s Les Demoiselles d’Avignon and, 29–30, 404n10; post–WWI comeback, 137–40; Quinn and, 136, 140, 142, 161, 170; Rosenberg, Léonce, and, 138–39; Rosenberg, Paul, and, 69, 71, 74, 126; Rousseau’s Sleeping Gypsy and, 174–80, 332; socializes with artists, 68–69; warns about Fascism, 298; WWI, 80–84, 97, 99–102, 126; WWI, seizure and liquidation of Paris gallery and artworks, 99–102, 107, 138–39, 158, 356; WWII, 363, 371–72, 384
Kahnweiler, Lucie Godon, 28, 80–81
Kandinsky, Wassily, 160, 196, 296
Kann, Alphonse, 159, 170, 350, 352
Kaufmann, Edgar, 381
Keller, Georges Frédéric, 237
Kennerley, Mitchell, 166, 167, 168, 169
Khokhlova, Olga. See Picasso, Olga.
Kiesler, Frederick, 297
Kirchner, Ernst Ludwig, 289
Kirstein, Lincoln, 215–16, 224, 251, 423n6
Klee, Paul, 105, 160, 266, 345, 412n26
Kleinholz, Frank, 378–79
Knopf, Alfred, 14, 110, 170
Kokoschka, Oskar, 160
Kramář, Vincenc, 341
Krasner, Lee, 361, 440n32
Kröller-Müller, Helene, 286–87, 290–92, 344
Kröller-Müller Museum, 294, 431n14
Kuhn, Walt, 40, 41, 56, 87, 117, 405n10; Armory Show and, 40–42, 43, 51, 53, 92, 406n9
Kunsthaus Zürich, 258, 260–62
L
Lane, Hugh, 96
Lang, Fritz, 275
Larionov, Mikhail, 300
Larrea, Juan, 314, 318
Laurencin, Marie, 88, 107, 133, 160, 227
Laurens, Henri, 341
Lawson, Ernest, 13
Le Corbusier, 221, 263, 277, 318
Léger, Fernand, 68, 80, 114, 235, 300, 325, 344, 363, 376, 386, 425n21; Armory Show and, 54; Kahnweiler and, 101, 138; Le Grand Déjeuner, 301; Reber and, 234, 425n21; Rosenberg and, 227
Lérondelle, R., 354
Les Demoiselles d’Avignon (Picasso), 29–30, 33, 52, 97, 121–22, 224, 241, 260, 349, 358, 379, 404n10, 432n27, 435–6n2; Barr’s view on, 322; critics’ response, 327; Doucet and, 327; MoMA acquires, 326–29, 337, 365; sale in the U.S., 321–22
Levy, Julien, 276
Lewis, Wyndham, 196
Lichtenstein, Roy, 361
Life magazine, Picasso issue, 381–82
Lindbergh, Anne, 342
L’Intransigeant, 120, 127, 227, 228, 240
Lipchitz, Jacques, 300, 373, 386
Little Review, 110, 143, 162
Lloyd George, David, 109
Loeb, Pierre, 308, 351–52
London, 22, 127, 272, 277; Barr and, 199, 222; Kahnweiler and, 31; Foster and, 76–77; Gaudier-Brzeska and, 104; Georges Petit Corporation and, 236–37; Manet and the Post-Impressionists show, 12–13, 24, 32; modern art market, 128; Quinn, friends, and writers in, 12, 13, 14, 17, 32, 36, 37, 92, 112; Rosenberg and, 73; WWI, 74–77, 92; WWII, 352, 370
Louvre, Paris, 64; Daumier exhibition (1934), 273, 278; first loan to an American museum, 221, 222; Quinn leaves Seurat’s Circus to, 189, 208; WWI and, 98
“Love Song of J. Alfred Prufrock, The” (Eliot), 110
Loy, Mina, 162
Luce, Henry, 337
Lust for Life (Stone), 286, 289, 293
Luxembourg Museum, Paris, 64, 209
M
Maar, Dora, 308–9, 314, 338, 347, 355, 362, 366, 386, 433n2; Guernica and, 316, 317
MacDonald, Duncan, 237
Macke, August, 345
Magic Mountain (Mann), 259
Malevich, Kazimir, 32, 200, 297
Mallet-Stevens, Robert, 221
“Man and the Echo, The” (Yeats), 17
Manet, Édouard, 12, 24, 123; A Bundle of Asparagus, 72; London exhibition, 12, 24, 32; Quinn acquires a painting, 24
Manet, Julie, 73, 408n10
Mann, Thomas, 259
Manolo (sculptor), 68, 101
Man Ray, 157, 161, 178, 179, 181, 312, 316
Marc, Franz, 105
Marin, John, 107, 117, 186
Marion, Fortuné, 428n8
Martin, Georges, 120; Picasso interview, 120–22, 127
Masson, André, 299, 344, 373
Mather, Frank Jewett, Jr., 151, 432–33n2; Modern Painting, 224
Matisse, Henri, 4–5, 6, 13, 22, 39, 70, 85, 146, 151, 194, 250, 362; American sales, 107, 223; Armory Show, 51, 52, 55; Blue Nude, 52, 189, 241, 244; Blue Window, 345–46; Braque, Cubism, and, 77; Braque punches Rosenberg and, 139; Chicago’s Matisse riot, 52–53, 57, 244; critics of, 151; dealer for, 68; divorce crisis, 365; in early MoMA show, 216; Fauvism and, 244; Galerie Bernheim-Jeune and, 99; Georges Petit retrospective, 236–37, 240, 241, 244; Harvard Society show, 215; largest collection of, 200; in Metropolitan Museum post-Impressionist show, 144; MoMA’s Henri Matisse show, 242–44, 260, 426n10; MoMA’s Matisse Picasso show, 383; Moroccans, 244; in Moscow’s Museum of Modern Western Painting No. 1, 200; “Notes of a Painter,” 244; Picasso rivalry, 241, 255; in Quinn’s collection, 117, 132, 133, 136, 143, 152, 165, 180, 186, 187; Quinn’s evaluation, 160; Quinn visits, 133; Rosenberg and, 341, 364, 440n9; Shchukin and, 32, 126, 414n14; winters in Nice, 133; work in New York galleries, 85; WWII and, 366
Matisse, Pierre, 242, 244, 255, 346, 362, 366
Matsukata, Kojiro, 161
Mauny, Jacques, 216, 233, 234, 247, 425n17
Maurer, Alfred, 186
McBride, Henry, 85–86, 88, 89, 90, 188, 223, 242, 244, 282, 342; on the fate of the Quinn Collection, 192, 420–21n20
McCausland, Elizabeth, 378, 379
McIlhenny, Henry, 374, 376, 381
Mellon, Paul, 242
Metropolis (film), 275
Metropolitan Museum of Art, N.Y.: acquires a Cézanne, 54, 63; acquires Old Masters, 22, 40, 42; acquires 20th-century paintings, 7–8; declines Picasso’s drawings, 18–19; James’s view of, 23; J. P. Morgan and, 22, 58; Loan Exhibition of Impressionist and Post-Impressionist Paintings (1921), 144–49, 151, 170, 185, 189, 197, 203, 266, 285, 339; modern art rejected by, 15, 39–40, 63, 149–50, 202, 203, 208, 403n5; Quinn’s view of, 39–40; wealth of, 19, 40
Metzinger, Jean, 89, 160
Meyerhold, Vsevolod, 200, 201
Mies van der Rohe, Ludwig, 263, 267, 277, 323, 357, 429n17
Miller, Lee, 312
Minneapolis Institute of Arts, 380
Miró, Joan, 299, 300, 304, 308, 317
modern architecture, 199–200, 201, 221; Avery Memorial annex, Wadsworth Atheneum, 277; the Bauhaus and, 199–200, 201, 259, 265, 268, 296, 304, 357, 429n17; European restorative clinics and, 259; the flat roof and, 267; International Style, 267, 277; Italian Fascism and, 267; Johnson and Hitchcock’s exhibition at MoMA, 221, 222; MoMA building, 323, 335, 357; Nazi crackdown on, 267, 269, 429n17; Spanish Pavilion, Paris Expo, 317; Weissenhof Estate, 263, 267, 269
modern art, 4, 54, 148–49, 197, 266; American acceptance of, 337, 351, 377; American museums and, 186, 420n3, 430n1; anti-Semitism in, 72–73, 171, 408n11; Armory Show, 40–42, 87; Barr on abstract art, 270, 310–11; Barr’s theory and flow chart, 304; Barr’s views vs. Johnson’s, 269–70; as Barr’s war, 271; bringing Picasso and avant-garde art to America, x, 22, 27, 128–30, 137, 144–47, 154–55, 163–66, 171–72, 192, 226–27, 258, 279–83, 382; Chicago’s Matisse riot, 52–53, 57, 244; collectors (see Kahnweiler, Daniel-Henry; Quinn, John; Rosenberg, Paul; Shchukin, Sergei; specific people); critics, 7, 44, 145–49, 298; “degenerate, Bolshevik” view of, 145–49, 189, 208, 262, 266, 285, 289, 298, 312–13, 336, 354; early ridicule, rejection, x, 4, 7, 23, 145, 197, 203; The Eight and, 17–18; founding figures, 212; freedom and democracy vs. totalitarianism, 200, 201, 223, 298, 310, 311, 343, 345–46; Great Depression and, 272–74; impact of, 199; inspiration for, 147; Kahnweiler and introduction of, 28–35; Kunsthaus Zürich Picasso show and, 258–62; market value of the “new art,” 68, 69; military potential of, 105; MoMA Matisse exhibition as landmark, 242–44, 260, 426n10; MoMA Picasso: Forty Years of His Art (1939) as transformative, 338–65, 373, 376, 377, 379–80; MoMA Van Gogh exhibition, as first “blockbuster,” 293; Nazi art purges, 262–71, 294–95, 298, 336, 364, 366; non-Western art as source for, 33; Picasso as a household name, 378–79; post-Impressionism in America, 186, 289, 337, 403n5, 420n3; progressive magazines and critics, 87; Quinn buying, collecting, and promoting, 4, 5, 6–7, 12, 24, 37–38, 41, 42, 45, 87–88, 93–94, 96, 99, 107, 111, 114, 117, 136, 159–60, 173, 180, 186–87, 333, 382, 409n24, 417n14; racialized attack on, 149; reimagining the physical world and, 25, 45, 54; scientific progress and, 25; Shchukin collecting, 31–32, 34, 200, 225, 278, 422n15; social progress and, 7, 22, 24; Stalin, Russia, and silencing of, 298, 300, 305, 310, 422n15; tariffs on importing law changed, impact of, 56–63; 291 gallery exhibition, first U.S. Picasso show (1911), 11–13, 18, 23, 24, 25–26, 89; universities ignoring, 150–51, 197–98; WWII, looting of museums, 34. See also Barr, Alfred H., Jr.; Museum of Modern Art; Picasso, Pablo; Quinn, John
