Picasso's War, page 57
Modern Art (Craven), 282
Modern Gallery, N.Y., 88
modern literature, 6–7, 12; censorship of, 21, 22. See also Eliot, T. S.; Joyce, James; Pound, Ezra; specific writers
Modern Painting (Mather), 224
Mondrian, Piet, 299, 373
Monet, Claude, 38, 74
Montross Gallery, N.Y., 85; Matisse at, 107; Pach and, 92; Quinn buys from, 87; Quinn promotes, 87; Van Gogh show (1920), 285
Morey, Charles Rufus, 196–97, 421n6
Morgan, J. P., 22, 58, 62, 93, 276
Morris, George L. K., 360
Morris, May, 14, 113
Morris, William, 14, 113
Moscow: avant-garde art, pre-Russian Revolution, 200; Barr, Meyerhold, Eisenstein, and, 200; French modernism and, 31, 32; Matisse in, 32; Museum of Modern Western Painting No. 1, 200; Shchukin’s modern art collection and, 32
Mumford, Lewis, 287, 292, 298
Munch, Edvard, 54
Munich, Germany, 66, 67, 68, 80, 81, 105, 132, 336, 341; “Degenerate Art Exhibition,” 268; Kahnweiler’s first Picasso show in, 33
Murphy, Gerald and Sara, 234
Museum of Modern Art (MoMA), N.Y., ix, x; acquires Matisse’s Blue Window, 345–46; acquires Picasso’s Demoiselles, 326–29, 337, 365; acquires Picasso’s Girl before a Mirror, 330–31, 337, 365; acquires Rousseau’s The Sleeping Gypsy, 331–33, 342; acquires Van Gogh’s Starry Night, 383; acquisition fund, 345; admission charged, 292; Advisory Committee, 287, 328; Barr fired as director, 385; Barr hired as director, 201, 208–19 (see also Barr, Alfred H., Jr.); Barr on the fundamental purpose, 270; Barr’s accomplishments, failures, 249–50; Barr’s health and leave of absence, 248–53; Barr’s vision for a permanent collection, 270–71, 323; benefactor, Mrs. Simon Guggenheim, 330–31, 381; Bliss Collection, 250, 274, 324, 326, 329; borrowed art and, 209, 213, 214, 215, 216, 221, 256, 286, 290, 324, 336, 337, 349; budget for first year, 214; building a national audience for modern art, 284; building, design of (1939), 323, 335, 357; criticisms of, 287; display of art, Barr’s approach to, 212, 227–28; formal mission, 207–8, 423n15; founding, x, 202–10, 215; funding problems (1931–32), 238–39, 246–49; gallery design, “white-cube,” 212; Goodyear as president, 206, 348; Great Depression and, 249, 250; impact on American art and culture, 379–80; move to Rockefeller mansion, 249; opening of, and crowds, 211, 221; original donors, 214; original location, 211–13, 215; permanent collection, 209, 221, 250, 273–74, 323–33, 381, 383; permanent home, West 53rd Street, 323, 335, 342; Picasso as definitive for, ix–x, 330; Picasso invited for 1939 show opening, 355; Picasso show attempted (1930s), 223–25, 234–35, 239, 245–47, 248, 261, 297; Picassos sent to Mexico City by, 380–81; Picasso’s works in permanent collection, 250, 381; Quinn and the founding ideas, 64, 107, 203, 208, 209; raising an endowment, 250; Rockefeller, Nelson, as president, 348; Rockefellers fundraising for, 335; stock market crash and, 214; 216; trustees, ix, 210, 215, 216, 246–47, 248–49, 285, 313, 322, 323–24, 328, 329, 333; worth of art in, ix
—exhibitions: Bauhaus 1919–1928 (1939), 336; Corot, Daumier (1930), 222, 228, 249; Cubism and Abstract Art (1936), 296–306, 322, 433n3; Fantastic Art, Dada, Surrealism (1936–37) 298, 300, 312–13; first show (1929), 211–14, 215, 288; Henri Matisse (1931), 242–44, 260, 426n10; Matisse Picasso (2003), 383; Indian Art of the United States (1941), 438n21; Painting in Paris (1930), 216; Picasso: Forty Years of His Art (1939), 338–63, 379, 381; Picasso: Forty Years of His Art (1939), touring exhibition, 364–65, 373, 376, 377, 379–80; Picasso: 75th Anniversary (1957), 386; Quintanilla: An Exhibition of Drawings of the War in Spain (1938), 336, 437n6; Useful Household Objects under $5.00 (1938), 335; Vincent van Gogh (1935–36), 284–95, 296, 298, 365, 379
Mussolini, Benito, 307, 315
N
NAACP anti-lynching exhibit, 310, 434n6
Nation, The, on first MoMA show, 213
National Academy of Design, 40
National Arts Club, 49
Nationalgalerie, Berlin, 222, 269, 288
National Gallery of Art, Washington, D.C., 56
National Gallery of British Art (Tate Gallery), London, 77
Negrín, Juan, 342
Neighbors of Yesterday (Foster), 112
Nelson-Atkins Museum, Kansas City, 274
Neumann, J. B., 196, 218
New York City: anti-Semitism in, 170; Armory Show, 40–42, 43–46, 87; art galleries in, 85–86, 87 (see also specific galleries); Beekman Place, 296; conservatism of, 16; Delmonico’s restaurant, 86; ethnic rivalries and intolerance in, 21; foreign artists emigrating to, 86, 87; Healy’s restaurant, 50; impact of Quinn and repeal of modern art tax, 86; Jewish immigration, 170, 171; modern art in (1914), 85; Picasso’s first U.S. show in (1911), 11–13, 14, 18, 23, 24, 25–26; Picasso show, Wildenstein Gallery (1923), 163–64, 165–66, 227; Quinn’s ambition to make the art center of the world, 63; Quinn’s collection and modern art exhibits in, 161–62; Quinn’s patronage of galleries and painters, 109–10; Rosenberg in (1923), 163–64; 69th Regiment Armory, 42; Stieglitz’s 291 gallery, 11–12, 13, 18, 23, 24, 86; World’s Fair (1939), 343; world’s greatest Picasso collection in, 34; as “the world’s new art center,” 87
New Yorker magazine, 187, 221, 287, 292
New York Evening Post, 93
New York Herald Tribune, 312
New York Sun, 4, 93, 188, 244; on grand opening of MoMA building, 342; McBride as art critic for, 85, 89
New York Times, 93; art critic, 327; Barr announces MoMA Picasso show, 337, 338; Coates sues Quinn’s estate, 190; editorial about Armory show art, 51; on first MoMA show, 213; on Hitler’s war on democracy, 265; on Metropolitan Museum show (1921), 145, 146; MoMA Picasso show review, 360, 380; Quinn on “Ku Klux art criticism,” 149; Quinn memorial exhibition review, 187; WWII and, 357
New York University (NYU), 201, 211
Nolde, Emil, 345
Nordau, Max, 147–48, 285
“Notes of a Painter” (Matisse), 244
O
O’Gorman, James, 61
Olivier, Fernande, 29, 35, 78, 98, 101, 115, 128
Oppenheim, Meret, 312
Osborn, William Church, 150
Oud, J.J.P., 263
P
Pach, Walter, 65, 92, 93, 188
Panofsky, Erwin, 225, 421n6
Paris, 193–94; Action Française riots, 279, 280; African artworks exhibited, 33; anti-Semitism in, 72–73; art dealers, 28–35, 142 (see also specific dealers); art dealers’ consortium, exhibitions and, 236–37; artistic revolt and, 15; art market, Great Depression, 272; art scene (1930), 226; avant-garde in, 18; Bal Tabarin cabaret, 37; banking dynasties of, 72; Barr wedding, 220, 424n1; Bastille Day (1939), 346; Café de Flore, 307, 308, 311, 314, 338, 347, 363; Café Rotonde, 106; demimonde, Toulouse-Lautrec and, 70; first Van Gogh show, 72; Foottit’s Bar, 133; Hôtel Drouot auction house, 66, 188, 193, 331; Impressionism and, 13; Jewish art trade, 272; “Kahnweiler Establishment” in, 68; La Boétie apartment of Picasso, 120–21, 122, 127, 152, 172, 173, 233, 362; La Boétie galleries, 226, 228, 230, 232, 279, 362, 371; Left Bank, 133, 307; Luxembourg Museum, 64, 209; Mallet-Stevens’s architecture, 220–21; Montmartre and the bateau-lavoir, 29, 115, 133, 121, 153; Montparnasse, 106, 166, 299; Nazi confiscation of Jewish property and arrests, 371, 375–76; Nazi occupation, 352, 366–67; Picasso’s circle, 77–79, 85; Picasso’s first post–WWI exhibition, 121–22; Quinn and, 24, 36–38, 41, 160–61; Right Bank, 120; Roché as Quinn’s agent in, 114–15, 120; of Rosenberg’s youth, 72; the Steins in, 22l; WWI, 80, 92, 98–99; WWI, seizure of Kahnweiler’s gallery and paintings, 100–102; WWII, 298, 350, 363, 365–66
Paris Expo, 314, 318, 319; Picasso’s commission for, 314–15; Spanish Pavilion and Guernica, 314–15, 317–19, 435n31
Passing of the Great Race, The (Grant), 148
Pemberton, Murdock, 187, 221
Pennell, Joseph, 146, 147, 148, 149
Penrose, Roland, 309, 352, 434n15
Personal Record, A (Conrad), 112
Petain, Marshall, 368
Philadelphia Museum of Art, 374, 376, 381
Phillips, Duncan, 51, 94, 188
Picabia, Francis, 57, 86, 89, 97, 117; La Danse à la source, 46
Picasso, Maya, 308, 314, 347, 356, 433n2
Picasso, Olga (Khokhlova), 122, 124, 125, 127–28, 129, 134–35, 146, 153, 159, 228–29, 415n12; Picasso’s divorce crisis and, 301–3
Picasso, Pablo, 13, 22, 71, 74, 151, 194; African tribal sculpture and, 33; American art and culture and, 26–27, 234, 359–61, 381–82; American market and reception of work, 35, 89, 107, 128–30, 163–64, 171–72, 174, 203, 216, 223, 353–54, 359–60, 377, 404n25, 410n9, 419n3; American patrons, 27, 35; in Antibes, 129, 252, 347, 352, 355; apartment and studio rue La Boétie, 120–21, 122, 127, 152, 172, 173, 228–29, 233, 301, 362–63, 366; Armory Show and, 54, 55, 69, 89; on Augustus John, 36; in Avignon (1914), 77–80, 96, 97; Barr and, 232–34, 298–303, 386; Barr’s phases of and ranking of importance, 224; Barr’s Surrealism show, refusal to lend art to, 311–12; Barr’s view of work of, 222–23, 424n9; Braque and, 27, 30, 77–78, 102–3, 122, 403n1; buyers for, early, 31–32, 35, 88–91, 404–5n25; Carnegie prize, 427n16; at Château de Boisgeloup, Gisors, 227, 229–30, 255; circle of artists, 25, 27, 77–80, 85, 88, 97, 122, 123, 307, 309, 414n6; circle of rich friends, 125; critics of, 151, 224; Cubism defined by, 297, 432n1; dark depressive period, 106, 123; disdain for exhibitions, 26, 30; divorce crisis, 301–3; dogs, 98, 122, 356; Doucet buys art, 115; early poverty, 27; early ridicule of, 12, 18; first great museum show, Zurich, 258; first post–WWI exhibition, 121; in Fontainebleau (1921), 134–36, 153, 156; Foster writing about, 55; Georges Petit retrospective (1932), 241–42, 246, 252, 253–56, 260–62, 273; German sales, 34; Harvard Society show, 215, 216, 224; Hôtel Drouot auction and, 67–68; in Juan-les-Pins, 129, 309; Jung’s opinion of, 261–62; Kahnweiler and, 28–35, 68, 74, 82, 97–98, 122, 123, 138, 139–40, 174, 309–10, 384, 404n10; Kahnweiler’s shows in Germany (1913), 33; Kahnweiler’s possession of paintings and government seizure, 99, 101, 102, 121, 356; largest collection of, 200; disengagement from politics (1936–37), 307–12, 314; McBride’s view of, 223; Metropolitan Museum declines drawings, 18–19; Metropolitan Museum post-Impressionist show and, 144; MoMA acquisitions, 250, 326–31, 337, 365; MoMA–Art Institute of Chicago show, Picasso: Forty Years of His Art (1939–40), 338–65, 373, 376, 377, 379–80, 381; MoMA attempts show (1931), 223–25, 234–35, 239–40, 245–47; MoMA Cubism and Abstract Art show and (1936), 305; MoMA Matisse Picasso show (2003), 383; MoMA Painting in Paris show (1930), 216; in Montmartre, the bateau-lavoir, 29, 121, 153; in the Moscow Museum of Modern Western Painting No. 1, 200; in Mougins, 309; parakeet of, 120, 127; politics, lack of engagement in before Guernica, 309–10, 311, 314, 434n15; post–WWI and, 114, 121–25; post–WWII and, 386; Prado museum and, 308, 317, 434n15; Quinn’s evaluation of, 160; Quinn’s Picasso collection, 5, 6, 7, 11–13, 18, 56, 88, 89–91, 93, 94, 106–7, 114, 117, 132, 134–36, 142, 155–59, 161, 165, 179, 180, 181, 186, 187, 191–92, 223, 227, 417n12, 417n14; Reber and, 234, 235; as rising star in Europe, 35; Roché and, 115, 132, 134–36, 152–54, 155–59, 173, 387, 413n20; Rosenberg and, 122, 123, 125–30, 136, 139, 153–55, 156, 163, 164, 171–72, 174, 192, 199, 227, 230, 256–57, 309, 339, 365, 383; Rosenberg’s New York and Chicago exhibitions (1923), 163–72; Rousseau and, 6, 173–74; sales, 25–26, 68, 69, 74, 153–54, 155–56, 165, 167, 169, 172, 174, 203, 227, 417n12, 419n3; sculptures of, 355; sensual world in the art of, 253; Spanish Civil War and, 314–20, 341–42; Stein, Gertrude, and, 27, 35, 78–79, 80, 98, 104, 122, 414n6; Stein, Gertrude and Leo, as collectors of, 27–28, 115, 404n5; studios of, 121, 229, 233, 301, 303, 384; success, breaking with the past, and transformation, 121, 122–25; on Time magazine cover, 337, 338; 291 Gallery exhibition, first U.S. show (1911), 11–13, 18, 23, 24, 25–26, 89; Vollard as supporter of, 38; Wadsworth Atheneum show (1934), 277–83; wife, Olga (Khokhlova), 122, 124, 125, 127–28, 129, 134, 228–29, 301–3; work in New York galleries, 88, 89; world’s greatest collection of, 34; WWI and, 79–80, 97–98, 102–3, 123, 355–56, 409n14; WWII and, 347, 356, 362–64, 366, 377, 378–79, 386; the year without painting, 301–3, 305–6, 309
—lovers: Dora Maar, 308–9, 314, 316, 338, 347, 355, 362, 366, 386, 433n2; Eva Gouel, 78–79, 98, 106, 123, 128, 349, 409n14, 412n28; Fernande Olivier, 29, 35, 78, 98, 115, 128; Françoise Gilot, 386; Marie-Thérèse Walter, 229–30, 253, 255, 301, 303, 308, 309, 314, 347, 356
—works: ballet sets, Diaghilev, 124, 224; Bathers, 125, 215; Birdcage and Playing Cards, 354; Blue period, 94, 123, 135, 144, 158, 224, 261, 358; Crucifixion, 233–34; Cubist period, 5, 18, 25, 31, 33, 35, 68, 94, 106, 156, 224, 235, 263, 349, 358, 403n1, 404–5n25, 415n13; deathbed sketch of Eva Gouel, 106, 412n28; drawings of Nessus, 129–30; The Dream and Lie of Franco, 353; Family of Saltimbanques, 68, 358; Girl before a Mirror, 256, 261, 262, 280, 282, 330–31, 337, 360, 365, 379; Girl with a Hoop, 135; Girl with Dark Hair, 381; Guernica, 9, 314–20, 321, 337, 341–42, 353, 358, 359, 365, 381, 435n19; Harlequin (1915), 350, 352; Harlequin paintings, 127, 159, 174, 419n3; Harlequin with Violin (Si tu veux), 5, 135, 383–84, 385; Head, 352; Head of a Woman (bronze), x; La Coiffure, 380; La Toilette, 205–6, 328, 358, 422n9; Les Demoiselles d’Avignon, 29–30, 33, 52, 97, 121–22, 224, 241, 260, 321–22, 326–29, 337, 349, 358, 379, 404n10, 432n27, 436n10; Ma Jolie, 78, 349, 381; maternity-themed paintings, 135, 153; Minotauromachie, 303; Minotaur period, 358; monumental style, 135; Moulin de la Galette, 349, 358; neoclassical style, 126, 223; Old Guitarist, 5, 358; Painter and Model, 273; Pierrot, 125; Pitcher and Bowl of Fruit, 376, 381; Portrait de Madame Rosenberg et sa fille, 125, 230; Portrait of Gertrude Stein, 27, 260, 350, 352, 358–59; Portrait of Madame Wildenstein, 125; pre-Cubist paintings, 27; romantisme tourmenté in, 228; Rose period, 68, 94, 123, 135, 358; Seated Woman, 280; series inspired by Marie-Thérèse Walter, 255; Sleep, 255; Standing Female Nude, 12, 18; Still Life with Fish, 235; The Studio, 324, 326; Surrealist period, 224; Three Dancers, 348–49, 358; Three Musicians, 135, 156, 158–59, 261, 325, 328, 349, 353, 359, 364, 381; Three Women at the Spring, 135, 156; Toulouse-Lautrec phase, 349; Two Nudes, 135, 153, 358, 415n13; Woman in White, 215; Woman Plaiting Her Hair, 144, 151
