John Quinn, 1921.
The International Exhibition of Modern Art, known as the Armory Show, at the 69th Regiment Armory, New York, February–March 1913. (Private collection / Bridgeman Images.)
Picasso and Fernande Olivier with their dogs Féo and Frika, Montmartre, Paris, c. 1906. (Gelatin silver print, 13 x 9.2 cm. Musée national Picasso, Paris.)
Picasso, Ma Jolie (Woman with a Guitar), Paris, 1911–12. (Oil on canvas, 100 x 64.5 cm. Acquired in 1945 through the Lillie P. Bliss Bequest, The Museum of Modern Art, New York.)
Picasso, photograph of Daniel-Henry Kahnweiler in Picasso’s studio with Standing Female Nude (left) and other works, 11 Boulevard de Clichy, Paris, autumn 1910. (Glass negative, 12 x 9 cm. Musée national Picasso, Paris.)
Constantin Brancusi, photograph of Henri-Pierre Roché in Brancusi’s studio, 8 Impasse Ronsin, Paris, c. 1925. (Harry Ransom Center, The University of Texas at Austin.)
Paul Rosenberg with Henri Matisse’s 1937 painting Yellow Odalisque, c. 1941. (Courtesy of the Rosenberg family.)
Henri-Pierre Roché, photograph of Jeanne Robert Foster in Venice, October 1923. (Harry Ransom Center, The University of Texas at Austin.)
Henri-Pierre Roché, photograph of Picasso, Jeanne Robert Foster, Olga Picasso, and John Quinn, Fontainebleau, July 9, 1921. (Harry Ransom Center, The University of Texas at Austin.)
Picasso, Three Musicians, Fontainebleau, summer 1921. (Oil on canvas, 200.7 x 222.9 cm. Acquired in 1949 through the Mrs. Simon Guggenheim Fund, The Museum of Modern Art, New York.)
Picasso with Paul and Marguerite Rosenberg and their children, Alexandre and Micheline, with Alexandre’s dog Diola and Picasso’s dog Noisette, Boisgeloup, 1931. (Archives Olga Ruiz-Picasso, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid.)
Philip Johnson and Alfred H. Barr, Jr., on Lake Maggiore, spring 1933. (The Museum of Modern Art, New York.)
Peter A. Juley, photograph of Margaret Scolari Barr seated at a table by American designer Donald Deskey in the Barr apartment, 2 Beekman Place, c. 1934. (Gelatin silver print, 22.9 x 16.5 cm. The Museum of Modern Art, New York.)
Alfred H. Barr, Jr.’s Torpedo diagram of an ideal museum collection of modern art in his “Report on the Permanent Collection,” known as the “Torpedo Report,” 1933. (The Museum of Modern Art, New York.)
Olga Picasso, Villa Belle Rose, Juan-les-Pins, summer 1925. (Archives Olga Ruiz-Picasso, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid.)
Marie-Thérèse Walter, Juan-les-Pins, July 27, 1932. (12.7 x 8.9 cm. Private collection.)
Picasso, photograph of Dora Maar in profile, Boisgeloup, March 1936. (Gelatin silver print, 24.1 x 18.3 cm. Musée national Picasso, Paris.)
Picasso, Girl before a Mirror, Boisgeloup, March 14, 1932. (Oil on canvas, 162.3 x 130.2 cm. Acquired in 1938 through the gift of Mrs. Simon Guggenheim, The Museum of Modern Art, New York.)
Picasso’s Les Demoiselles d’Avignon, 1907, at the Museum of Modern Art in 1939. Acquired the same year through the Lillie P. Bliss Bequest. Left to right: John Hay Whitney, Mrs. W. T. Emmett, Jr., A. Conger Goodyear, Nelson A. Rockefeller, Mrs. John S. Sheppard, Edsel Ford, and Elizabeth Bliss Parkinson. (The Museum of Modern Art, New York.)
Andreas Feininger, aerial view of the new Museum of Modern Art, 1939. (Architects Philip Goodwin and Edward D. Stone. The Museum of Modern Art, New York. © Estate of Andreas Feininger.)
Henri Rousseau, The Sleeping Gypsy, 1897. (Oil on canvas, 129 x 200 cm. Acquired in 1939 through the gift of Mrs. Simon Guggenheim, The Museum of Modern Art, New York.)