Picasso's War, page 58
Picasso, Paulo, 135–36, 302, 303
Picasso: Fifty Years of His Art (Barr), 385, 386
Playboy of the Western World, The (Synge), 22, 49
Plunkett, Sir Horace, 109
Pogany, Margit, 46
Pointillism, 45
Pollock, Jackson, 361, 440n32
Portrait of the Artist as a Young Man, A (Joyce), 110
post-Impressionism, 12, 24, 32, 38, 41, 45, 67, 89, 403n5; American acceptance of, 337; American museums and, 186, 420n3; American view of, as “degenerate,” 289, 403n5; Bernheim brothers and, 237; critical response to, 12; Metropolitan Museum show (1921), 144–47, 151; protests against, 146–47; universities ignoring, 186
Potter, Edna, 204
Pound, Ezra, 6, 14, 22, 104, 107, 110, 112, 133, 144, 162, 171, 188
Poussin, Nicolas, 151
Prado, Madrid, 308, 313–14, 317, 434n15
Pratt Institute, 203
Prendergast, Maurice, 87, 88, 117
Princeton University, 150–51, 185–86, 196, 201
Prinzhorn, Hans, 289; Artistry of the Mentally Ill, 289
Proust, Marcel, 72, 120; The Guermantes Way, 72, 408n8
Puck magazine, 93
Purisme, 114
Puvis de Chavannes, Pierre, 13
Q
Quinn, John, 3, 299, 382–83; ambitions for modern art, 56, 119; anti-Semitism and, 169, 170–71; apartment, Central Park West, 4, 8, 93–94, 108–9, 117, 135, 162, 194; appearance, 16; Armory Show and, 40–44, 46, 50–51, 53–55, 87, 91, 406n10, 409n24; Art Center’s The Memorial Exhibition of Representative Works Selected from the John Quinn Collection, 186–87, 339; art collection, 4, 5, 7, 8, 24, 37–38, 41, 42, 45, 87–88, 93–94, 96, 99, 107, 111, 114, 117, 136, 159–60, 161, 173, 180, 182, 186–90, 333, 382, 409n24, 417n14; art collection, posthumous sale, 187–89, 192–94, 203, 331, 420–21n20, 421n23; art collection used in Sculptor’s Gallery “Contemporary French Art” exhibition, 161–62, 189; art background, 13–14, 94–95, 402n10; artists most prized, 55, 56, 325; art theory of, 24, 54, 95; aversion to “dead art,” 23–24; bequests, estate of, and executors, 190–92, 208, 420n11; Bliss and, 203; books and periodicals read by, 15; Brancusi and, 88, 133–34, 159, 162, 176, 179; cancer and fragile health, 8, 110–11, 119, 162, 164, 177, 179, 180–81; Carroll Galleries and Harriet Bryant, 91–93, 95, 96, 411n31; censorship fight by, 22; character and temperament, 14, 16, 57, 164, 167, 168; correspondence, archived, 382, 442n12; cultural activism, 109–11; as a cultural disruptor, 12; Davies’s attempt to save the collection, 189–90, 203, 204; death of, 182; defense of modern art, 146, 148–49; dinner for Rosenberg, 163–72; dinner to celebrate The Sleeping Gypsy (1924), 3–6; earnings, 94; economic downturn and paintings unbought, 143, 152; education, 16, 48; Eliot and, 15; family and background, 15–16, 27–28, 169, 170, 203, 420n11; Foster and, 4, 44–45, 54–55, 107–8, 112–13, 119, 130–42, 162, 164–65, 177, 179, 180–82; habits and routines, 15; indigenous sculptures and, 159; Irish writers, poets and, 14–17, 49, 109; Kuhn, Davies, and, 40; Lady Gregory and, 49; law practice, 12, 39, 41, 66, 94, 109, 111, 113, 143, 158, 164, 180, 416n1; list of greatest modern painters, 160; Manet and, 24; the Matisse riot and, 52–53; Metropolitan Museum’s Loan Exhibition of Impressionist and Post-Impressionist Paintings and, 144–50, 170, 189, 197, 203, 266; modern art boom in New York and, 86, 87; modern art in America and, 74, 86; modern art museum, plans for, 7, 64–66, 107, 209; painters of Paris, Montmartre, and, 24; as patron for artists and writers, 6, 17, 20, 87, 95, 106–7, 109–10, 112, 146–47, 160–61, 186; Picasso and, 5, 6, 7, 11–13, 14, 18, 106–7, 134–36, 142, 179, 181, 223; Picasso and his vision of modern art, 38, 106–7, 382; Picasso’s art collected, 18, 88–91, 93, 94, 96, 99, 132, 135, 155–59, 161, 165, 191–92, 232, 234, 415n13, 417n12; post-Impressionism and, 12–13; Roché, as agent for, 114–15, 117–19, 130, 131–37, 152, 162, 173–80, 323, 413n19; Roché, final letter to, 181; Rosenberg and, 136–37, 159, 164, 165, 166–69, 181; Rousseau and, 160; Rousseau’s The Sleeping Gypsy and, 6, 7, 8, 173–80, 181, 188, 189, 190, 331; Seurat’s Circus and, 189, 208; social circle, 14, 24, 46, 48, 63, 181; Sullivan and, 203; tax law on modern art imports changed by, 56–63, 86, 87; Trading with the Enemy Act and, 143, 411n8, 416n1; trips to France, 13, 36–39, 41, 130–42, 164–65; Verdun visit, 141; Vollard and, 38, 41; women and, 14–15, 16, 65, 78, 111, 113; work overload, 109, 164; WWI, 103, 141; WWI, hatred of Germany and, 96, 160; WWI, support of artists, 103–4, 105; Yeats and, 17, 383
Quintanilla, Luis, 336, 437n6
R
Reber, G. F., 247, 255; Château de Béthusy and, 235; collection of, 234, 235, 325; Léger and, 234, 425n21; MoMA Picasso show and, 235, 239–41, 243, 245; Picasso and, 239–40; Picassos owned by, 325, 326
Redon, Odilon, 187
Reid, A. J. McNeill, 237
Reid & Lefevre gallery, London, 237
Rembrandt, 23; The Mill, 19
Renoir, Pierre-Auguste, 38, 72, 73, 74, 123, 171, 408n10, 408n11; anti-Semitism and, 73, 408n10
Review of Reviews. See American Review of Reviews
Rich, Daniel Catton, 337, 340, 347–49, 374
Rindge, Agnes, 211, 213
Ringgold, Faith, x
Ritchie, Andrew C., 360
Rivera, Diego, 86, 324
Roché, Henri-Pierre, 27, 102–3, 114–15, 120, 312, 386–87; Don Juan, 173; friendships with artists, 115, 117; on Foster, 141; Jules et Jim, 132, 387; Kahnweiler and, 140; Picasso and, 115, 132, 134–36, 152–59, 173, 232, 387, 413n20; as Quinn’s agent, 117–19, 130, 131–37, 140–41, 150, 152, 162, 164–65, 173–80, 323, 413n19; Quinn’s collection, plans for, 188, 191–93; Rosenberg and, 130, 137, 159; The Sleeping Gypsy and, 173–80; Stein on, 115, 116; women and, 116, 130, 132, 136, 140–41, 152, 162, 194
Rockefeller, Abby Aldrich, 242, 243, 249, 262, 326; Barr and, 207–8, 248, 249; Barr’s Surrealism show and rift, 313; Bliss bequest and MoMA endowment, 274; Davies and, 204; funding for MoMA and, 323, 326, 238; modern art purchases, 204; MoMA Matisse exhibition and, 243; MoMA’s origins and, 202–3, 205–10; paintings donated to MoMA, 324–25; Seal Harbor estate, 207; taste in art, 215
Rockefeller, John D., Jr., 204, 242–43, 249, 323
Rockefeller, Nelson, 335, 348, 355
Rodchenko, Aleksandr, 32, 200
Rodin, Auguste, 56, 70
Roosevelt, Eleanor, 292, 343, 438n21
Roosevelt, Franklin Delano, 271, 278, 334, 343; Public Works of Art Project, 283, 322
Roosevelt, Theodore, 14, 46, 49, 92, 228
Rosenbach, A.S.W., 166
Rosenberg, Alexandre, 364, 365, 370, 384–85, 441n20
Rosenberg, Léonce, 71, 99, 123, 126, 127, 150, 272; involvement in Kahnweiler liquidation auctions, 138–39
Rosenberg, Margot, 125, 127, 154, 344–45, 364, 365, 370, 383, 441n20; Picasso’s portrait, 125, 230; Wildenstein and, 231, 257–58, 427n18
Rosenberg, Paul, 69–75, 226–28, 383–84; American years, 383–84; anti-Semitism and, 72–73; artists represented by, 227; art market, Great Depression, 273; Barr and, 225, 339–40, 343–47, 350, 351, 355, 374–75; Barr’s Cubist exhibition and, 300–301; bringing Picasso’s work to America, 128–30, 137, 154–55, 163–66, 171–72, 192, 226–27, 279–83, 382; Corot retrospective, 228; family and background, 71–72, 73, 408n9; Georges Petit Corporation and, 241, 256; Guernica in show by (1938), 341; Harvard Society show and, 215; health of, 231; horses and racing, 227, 231–32, 257, 258; importance of, French culture and, 228; Kahnweiler compared to, 71, 74, 126; large-scale shows of, 125; Louvre Daumier exhibition (1934) and New York trip, 273–74, 278; manifesto on showing avant-garde art, 73–74, 408n14; marital troubles, 257–58, 302, 427n18; marriage of, 71; MoMA–Art Institute of Chicago Picasso: Forty Years of His Art (1939) and, 337–40, 343–47, 355, 364–65; MoMA Picasso show attempted (1931) and, 235; Nazi seizure of paintings and property, 375–76, 384; in New York (1923), 163–64, 227; Paris gallery, 69, 70, 71, 73–74, 90, 122, 125, 136; Paris success, 227, 300; Picasso and, 122, 123, 125–30, 136, 139, 153–56, 163, 164, 171–72, 174, 199, 227, 230, 234, 256–57, 273, 301, 339, 365; Picasso inventory, 278; Picasso’s Girl before a Mirror and, 330; Picasso’s Harlequin with Violin (Si tu veux) and, 383–84, 385; Picasso show (1920s), innovative hanging of pictures, 227–28; Picasso show (1932), 253, 255, 256, 261, 273; Picasso show (1935), 309; Picasso show of post-Guernica works, 337–38; Picasso shows, control of, 338, 340; Picasso’s Portrait de Madame Rosenberg et sa fille, 125, 230; Picassos sold to Chester and Maud Dale, 238; Picasso’s Three Musicians and, 325–26, 349, 353, 359, 364, 381; post–WWI art boom, 122–23; Quinn and, 136–37, 142, 159, 162, 164–69, 181; Quinn’s Picassos, acquisition of, 191–92, 206, 422–23n9; Renoir and, 73, 171, 408n11; restorative clinics and, 259; Roché and, 130, 137; Sachs and, 199; social circle, 125; Toulouse-Lautrec show, 69, 70, 73; trade in Monets and Renoirs, 73, 74; visits to United States (1933–34), 273–74, 276–83, Wadsworth Atheneum Picasso show and, 277–83; “war” contracts with Matisse and Braque, 364, 440n9; Wildenstein and, 125, 130, 257, 258, 371; WWI and, 99; WWII and escape to America, 344, 347, 350, 364, 365–75, 383, 441n22, 441n28
Ross, Cary, 218, 220, 251
Ross, Harold, 187
Rouault, Georges, 93, 160, 186, 187, 216
Rousseau, Henri, 125, 159; Armory Show and, 55; Charmeuse de Serpents, 177, 178; Quinn and, 160, 165, 173–74, 180; The Sleeping Gypsy, 3, 5–8, 173–80, 186, 188, 189, 331–33
Roy, Pierre, The Electrification of the Countryside, 275
Rumsey, Charles Cary, 65
Rumsey, Mary Harriman, 65–66
Ruse of the Medusa (Satie), 140
Russell, George, 12, 13, 15, 54, 109
Russia: Bolshevik Revolution, 128; Industrial Revolution, 31; modern artists of, 32, 200; modern art museums in, 200; the “new art” and, 66; as pre–WWI consumer of French modernism, 32–35, 67; Red rule terrorism, 143; Shchukin collection, 31–32, 225, 278, 422n15; silencing of modern art, 298, 300, 305, 310, 422n15; Soviet Realism, 34, 200–1; Stalinism and art, 34, 200, 267; WWI and, 80–81
Ryan, Thomas Fortune, 37, 38, 41
S
Sabartés, Jaime, 309, 362, 363
Sachs, Paul J., 198–99, 213, 221, 248, 251, 310, 374; Austin as protégé, 275; Barr, MoMA, and, 207, 209–10; Barr as protégé, 199, 201, 207; Rich as protégé, 337; Rosenberg and, 199
St. Louis City Art Museum, 374, 379
Salazar, António, 368, 371
San Francisco Museum of Art, 353, 373
San Joaquin Pioneer Historical Museum, Calif., 380
Santayana, George, 16, 48
Sargent, John Singer, 12
Sartre, Jean-Paul, 319–20
Satie, Erik, 133, 165, 181; Ruse of the Medusa, 140
Schamberg, Morton, 87
Schapiro, Meyer, 53, 310–11
Schiaparelli, Elsa, 350, 354
Schlemmer, Oskar, 265–67, 297; Bauhaus Stairway, 265, 267–68, 269, 429n17
Schwitters, Kurt, 295, 297, 304
Sculptors’ Gallery, N.Y., “Contemporary French Art,” 161–62, 189
Segonzac, André Dunoyer de, 93, 105, 113, 133, 136, 160
Seligmann, Germain, 329, 371; Seligmann & Co. Gallery, N.Y., 322, 326–29
Sert, Josep Lluís, 317, 318
Seurat, Georges, 4, 55, 136, 159, 180, 250; Circus, 168, 189, 208; as modernist progenitor, 160, 194, 304; MoMA and, 212, 288; Parade, 323–24; in Quinn’s collection, 186
Shannon, Charles, 13
Shaw, Albert, 48
Shchukin, Sergei, 31–32, 35, 69, 126, 225, 414n14; art collection, 31, 32, 34, 200, 225, 278, 422n15; Moscow’s Museum of Modern Western Painting No. 1, 200
Sheeler, Charles, 186
Signac, Paul, 168, 189
Sleeping Gypsy, The (Rousseau), 3, 5–6, 7, 8, 173–80, 181, 186, 188, 189; Hôtel Drouot auction of, 421n23; MoMA’s acquisition of, 331–33, 342
Sloan, John, 14, 20, 39
Smith College Museum, Mass., 217–18, 219, 251
Soby, James Thrall, 280, 282, 283
Society for the Suppression of Vice, 66
Sousa Mendes, Aristides de, 368–70, 371
Spanish Civil War, 307–8, 309, 313, 342; Barr and, 336; bombing of Guernica, 315, 318; Condor Legion, 342; MoMA Quintanilla war drawings exhibition, 336, 437n6; Picasso’s Guernica and, 314–20, 341–42; Picasso’s support for the Republican cause, 317, 341–42; the Prado, Madrid, and 308, 313–14, 317, 434n15
