Notes

Unless otherwise indicated in the notes:

Letters by John Quinn, and letters from Henri-Pierre Roché to John Quinn, are in the John Quinn Papers, Manuscripts, and Archives Division, The New York Public Library.

The diaries of Jeanne Robert Foster and the letters of Foster to Quinn are in the Foster-Murphy Collection, Manuscripts and Archives Division, The New York Public Library.

Letters from Paul Rosenberg to Picasso are in the Picasso Archives, Musée national Picasso, Paris.

The diaries of Henri-Pierre Roché are in the Carlton Lake Collection of French Manuscripts, Harry Ransom Center, The University of Texas at Austin.

Translations of Paul Rosenberg’s letters to Picasso, Henri-Pierre Roché’s diary entries, and other French texts are by the author.

ABBREVIATIONS OF ARCHIVES WHERE ORIGINAL DOCUMENTS ARE LOCATED:

Archives Matisse: Archives Matisse, Issy-les-Moulineaux, France.

Getty Research Institute: Getty Research Institute, Los Angeles, California.

Harvard Art Museums Archives: Harvard Art Museums Archives, Harvard University, Cambridge, Massachusetts.

Harry Ransom Center: Harry Ransom Center, The University of Texas at Austin, Texas.

MoMA Archives: Museum of Modern Art Archives, Museum of Modern Art, New York.

Morgan Library: Department of Literary and Historical Manuscripts, The Morgan Library and Museum, New York.

PROLOGUE

1. Quinn to Roché, March 14, 1924.

2. Joseph Brummer knew Rousseau in Paris and had his portrait painted by him shortly before Rousseau’s death.

3. Quinn to Gwen John, March 13, 1924.

4. Walter Pach reported Havemeyer’s comments in Pach to Quinn, December 26, 1923, in Reid, Man from New York, 608.

5. Jeanne Robert Foster, interview by Richard Londraville, in Londraville, Too Long a Sacrifice, 213.

6. Quinn to John, March 13, 1924.

1. NOT IN AMERICA

1. Quinn to James Huneker, May 30, 1911.

2. Arthur Hoeber, “Art and Artists,” Globe and Commercial Advertiser, April 21, 1911, in Marilyn McCully, ed., A Picasso Anthology: Documents, Criticism, Reminiscences (Princeton, N.J.: Princeton University Press, 1997), 79–80.

3. Edward Steichen to Alfred Stieglitz, undated, 1911, in Charles Brock, “Pablo Picasso, 1911: An Intellectual Cocktail,” in Greenough, Modern Art in America, 118.

4. Quinn to Gwen John, January 5, 1911.

5. Bullen, Post-Impressionists in England, 100.

6. George Russell to Quinn, December 7, 1910, in Reid, Man from New York, 95.

7. Quinn to George Russell, February 7, 1911.

8. Quinn to Augustus John, February 3, 1911.

9. Quinn to Augustus John, February 3, 1911.

10. One of Quinn’s few known encounters with French modern art before 1911 was a pair of Manets he saw in Dublin in 1902. Reid, Man from New York, 29. In spring 1911, Quinn also writes that he has seen works by Cézanne and “one or two” Van Goghs. Quinn to George Russell, March 5, 1911.

11. May Morris to Quinn, April 5, 1911, in Londraville, On Poetry, Painting, and Politics, 82.

12. Quinn to Townsend Walsh, December 9, 1910.

13. Quinn’s early biography is recounted in Reid, Man from New York, 4–6.

14. Francis Hackett to Quinn, August 16, 1907, in Reid, Man from New York, 49.

15. Brock, “Pablo Picasso,” 121.

16. Quinn to Huneker, May 30, 1911.

17. Lisa Mintz Messinger, ed., Stieglitz and His Artists: Matisse to O’Keeffe (New York: Metropolitan Museum of Art, 2011), 50.

18. Alfred Stieglitz to Edward Alden Jewell, December 19, 1939, in Greenough, Modern Art in America, 499n50.

2. THE HALF-LIFE OF A PAINTING

1. John Sloan to Quinn, August 16, 1910, in Reid, Man from New York, 88.

2. John Butler Yeats to Quinn, October 23, 1902, in Reid, Man from New York, 11.

3. Quinn to T. W. Rolleston, March 8, 1912, in Reid, Man from New York, 118.

4. Mike Wallace, Greater Gotham: A History of New York City from 1898 to 1919 (New York: Oxford University Press, 2017), 344.

5. Ezra Pound to Quinn, March 9, 1915, in Timothy Materer, ed., The Selected Letters of Ezra Pound to John Quinn, 1915–1924 (Durham and London: Duke University Press, 1991), 20. American collectors had been buying Impressionist paintings since the late nineteenth century, but as late as 1907, Roger Fry’s purchase of a Renoir caused controversy at the Metropolitan Museum and for the most part the post-Impressionists were shunned.

6. Henry James, The American Scene (New York and London: Harper and Brothers Publishers, 1907), 186.

7. Quinn to Augustus John, February 10, 1913; Quinn to Judge Learned Hand, July 29, 1913.

8. Quinn to Townsend Walsh, September 3, 1909, in Reid, Man from New York, 74.

9. Quinn to Judge Learned Hand, July 29, 1913.

10. Quinn to John Butler Yeats, March 22, 1911.

3. PARIS, EAST

1. By 1914, both painters had begun signing the front of their canvases again. William Rubin, Picasso and Braque: Pioneering Cubism (New York: Museum of Modern Art, 1989), 19.

2. Marius de Zayas to Alfred Stieglitz, July 10, 1911, in de Zayas, How, When, and Why Modern Art Came to New York, 164–65.

3. Penrose, Picasso: His Life and Work, 146; Richardson, Life of Picasso: Painter of Modern Life, 228.

4. Richardson, Life of Picasso: Early Years, 400.

5. O’Brian, Picasso, 66. Alfred H. Barr, Jr., described Leo Stein’s limited influence with devastating precision: “For the two brief years between 1905 and 1907 he was possibly the most discerning connoisseur and collector of 20th-century painting in the world.” Barr, Matisse: His Art and His Public, 57.

6. Richardson, Life of Picasso: Painter of Modern Life, 35.

7. Kahnweiler, My Galleries and Painters, 24.

8. Kahnweiler, My Galleries and Painters, 27.

9. Daniel-Henry Kahnweiler, 1969 interview by Pierre Cabanne, in Georges Bernier and Pierre Cabanne, D.-H. Kahnweiler: Marchand et critique (Paris: Nouvelles Éditions Séguier, 1996), 34.

10. Kahnweiler learned of the painting from the German connoisseur Wilhelm Uhde in May 1907. His visit to rue Ravignan took place some weeks after July 1. Monod-Fontaine, Daniel-Henry Kahnweiler, 97.

11. Kahnweiler, My Galleries and Painters, 38.

12. Richardson, Life of Picasso: Painter of Modern Life, 34.

13. Kahnweiler, My Galleries and Painters, 38.

14. Richardson, Life of Picasso: Painter of Modern Life, 34.

15. Kahnweiler, “Der Kubismus,” 1916, in Rubin et al., “Les Demoiselles d’Avignon,” 234.

16. Richardson, Life of Picasso: Early Years, 352–54.

17. Olivier, Picasso and His Friends, 96.

18. Kahnweiler, My Galleries and Painters, 36.

19. Kahnweiler, My Galleries and Painters, 29.

20. Semenova, The Collector, 202.

21. Kean, French Painters, Russian Collectors, 205.

22. Richardson, Life of Picasso: Painter of Modern Life, 317.

23. Richardson, Life of Picasso: Painter of Modern Life, 299; FitzGerald, Making Modernism, 41.

24. Richardson, Life of Picasso: Painter of Modern Life, 324.

25. Olivier, Picasso and His Friends, 151. A rare exception was Hamilton Easter Field, a wealthy expatriate Brooklynite who commissioned Picasso to make a series of large-scale Cubist paintings for his library in Brooklyn Heights. But Field quickly cooled on the whole idea, and Picasso, who worked on the project on and off for more than two years, never received any payment for his efforts and eventually destroyed one of the giant canvases he had made for it. Rubin, “Appendix: The Library of Hamilton Easter Field,” in Picasso and Braque, 63–69.

4. FRENCH LESSONS

1. Holroyd, Augustus John, 344.

2. Holroyd, Augustus John, 378.

3. Reid, Man from New York, 105.

4. Holroyd, Augustus John, 378.

5. Reid, Man from New York, 106–08.

6. Holroyd, Augustus John, 379–80.

7. Quinn to John Sloan, undated [November 1912]; Quinn to Augustus John, December 7, 1912.

8. Quinn to Augustus John, December 7, 1912.

9. Though it has been largely forgotten today, the original aim of the Armory Show was to exhibit new American, not European, avant-garde art. Meyer Schapiro, “Rebellion in Art,” in Daniel Aaron, ed., America in Crisis: Fourteen Crucial Episodes in American History (New York: Alfred A. Knopf, 1952), 203–04.

10. Martin Birnbaum to Quinn, July 1912, in Zilczer, “Noble Buyer,” 26. Davies obtained the catalog from Birnbaum after Birnbaum’s return to New York. Perlman, Lives, Loves, and Art of Arthur B. Davies, 212. Kuhn recalled Davies’s comment in Walt Kuhn, The Story of the Armory Show (New York: W. Kuhn, 1938), 8.

11. Reid, Man from New York, 133.

12. Quinn to Jack Yeats, December 21, 1912.

13. Walt Kuhn to Walter Pach, December 12, 1912, in Brown, Armory Show, 78; Quinn to John, December 7, 1912.

14. Quinn to William Marchant, December 9, 1912; John Quinn, “Modern Art from a Layman’s Point of View,” Arts and Decoration, vol. 3, no. 5 (March 1913), 155–58.

15. Quinn to John, December 7, 1912.

5. A GLIMPSE OF THE LADY

1. Brown, Armory Show, 157.

2. Quinn, introductory speech, February 17, 1913, in Brown, Armory Show, 43–44. For the warning about Quinn’s reputation with women, see Londraville, Dear Yeats, Dear Pound, 136.

3. Foster’s review of the Armory Show is Jeanne Robert Foster, “Art Revolutionists on Exhibition in America,” American Review of Reviews, April 1913; the “hard-boiled egg” quote is in Brown, Armory Show, 139.

4. Jeanne Robert Foster, interview by B. L. Reid, in Reid, Man from New York, 148.

5. The details of Foster’s biography are in Londraville, Dear Yeats, Dear Pound, 18, 23–25.

6. Foster, “Character Sketch of Charles Copeland,” unpublished typescript [1906]; Charles Copeland to Foster, February 9, 1906, in Londraville, Dear Yeats, Dear Pound, 32–33.

7. John Butler Yeats to Foster, February 26, 1921, and John Butler Yeats to W. B. Yeats, May 10, 1914, in Londraville, Dear Yeats, Dear Pound, 66–67, 73.

8. Brown, Armory Show, 145.

9. Brown, Armory Show, 235. The heroic account of the show was first written by the participants themselves, including Walt Kuhn in his 1938 memoir, The Story of the Armory Show.

10. Quinn to Joseph Conrad, March 30, 1913. Quinn’s burlesque toast at the Armory is recorded in Walter Pach, Queer Thing, Painting (New York: Harper and Brothers, 1938), 203.

11. Avis Berman, “ ‘Creating a New Epoch’: American Collectors and Dealers and the Armory Show,” in Kushner and Orcutt, The Armory Show at 100, 417, 422.

12. “Cubists of All Sorts,” New York Times, March 16, 1913.

13. Quinn to Walter Pach, April 2, 1913.

14. Flam, Matisse and Picasso, 37.

15. Quinn to Jacob Epstein, April 28, 1913.

16. Meyer Schapiro, “Rebellion in Art,” in Daniel Aaron, ed., America in Crisis: Fourteen Crucial Episodes in American History (New York: Alfred A. Knopf, 1952), 204.

17. Frederick James Gregg, “The World’s New Art Centre,” Vanity Fair, January 1915.

18. One outsider who did buy significantly from the show was Arthur Jerome Eddy, a Chicago lawyer and collector, who was the second-largest private buyer (after Quinn) and acquired works by Picabia, Duchamp, and Derain. Brown, Armory Show, 122–24.

19. Quinn to George Russell, March 2, 1913.

20. Brown, Armory Show, 183.

21. Foster, “Art Revolutionists on Exhibition in America.”

6. CUBISM IN CONGRESS

1. Quinn to Maud Gonne, April 12, 1914.

2. Quinn to James Huneker, February 4, 1913.

3. Quinn to Augustus John, January 19, 1913; “Mr. Morgan’s Art Objects,” New York Times, March 14, 1903; Robert May, “Culture Wars: The U.S. Art Lobby and Congressional Tariff Legislation During the Gilded Age and Progressive Era,” Journal of the Gilded Age and Progressive Era, vol. 9, no. 1 (January 2010), 77.

4. Quinn to Arthur Brisbane, June 30, 1913.

5. Whelan, Alfred Stieglitz, 289.

6. Quinn to John Kewstub, February 1911.

7. Quinn to John, January 19, 1913.

8. Chairman Oscar Underwood, tariff hearings, January 29, 1913, in John Quinn, “Memorandum in Regard to the Art Provisions of the Pending Tariff Bill,” submitted to the Senate Finance Committee, June 1913.

9. May, “Culture Wars,” 84; Quinn to Brisbane, June 30, 1913; Quinn, “Memorandum,” 13.

10. Quinn to Senator James O’Gorman, June 27, 1913.

11. Quinn to President Woodrow Wilson, September 13, 1913.

12. Quinn to May Morris, December 16, 1913, in Londraville, On Poetry, Painting, and Politics, 140; Quinn to John Johnson, October 2, 1913.

13. Quinn, “Memorandum,” 19.

14. Quinn to Judge Learned Hand, July 1913.

15. Quinn to John Cotton Dana, January 26, 1914.

16. Alice Thursby to Quinn, quoted in Quinn to Walter Pach, February 17, 1914.

17. Quinn to Mary Harriman Rumsey, December 22, 1913.

18. Joseph Conrad to Quinn, August 17, 1913, in Reid, Man from New York, 167.

19. Quinn to Alice Thursby, February 17, 1914.

7. THE CHESS PLAYER AND THE SHOWMAN

1. Seymour de Ricci, “La ‘Peau de l’Ours,’ ” Gil Blas, March 3, 1914.

2. Joachim Gasquet, “La bataille autour de la ‘Peau de l’Ours,’ ” Paris-Midi, March 3, 1914.

3. Daniel-Henry Kahnweiler, 1955 interview by Georges Bernier, in Bernier and Cabanne, D.-H. Kahnweiler, 23; Kahnweiler, My Galleries and Painters, 45.

4. Kahnweiler sold Picasso’s Young Acrobat on a Ball (1905) to Ivan Morosov in October 1913. To the Armory, Kahnweiler sent Woman with a Mustard Pot (1910) for $675; Head of a Man (1912) for $486; and the early Blue period masterpiece Madame Soler (1903) for $1,350. Brown, Armory Show, 301–02.

5. Louis Vauxcelles, “Les Arts: Exposition Toulouse-Lautrec,” Gil Blas, January 25, 1914.

6. André Gybal,“Toulouse-Lautrec,” Les Hommes du jour, February 21, 1914.

7. Rosenberg, “Autobiographical Notes,” in Paul Rosenberg and Company, 131.

8. Ephrussi’s friendship with Proust is discussed in Edmund de Waal, The Hare with Amber Eyes: A Family’s Century of Art and Loss (New York: Farrar, Straus and Giroux, 2010), 75–76.

9. In his memoir, Rosenberg recalls that his father bought Bedroom (1889) when they attended Émile Bernard’s 1892 Van Gogh exhibition, but since that work was not shown there, it seems more likely that he acquired it from Ambroise Vollard’s 1895 exhibition, where it did appear. The work is now in the collection of the Art Institute of Chicago. Rosenberg, “Autobiographical Notes,” 128–30.

10. Julie Manet recorded Renoir’s comments during her visit to his studio two days after the January 13, 1898, publication of “J’accuse!…,” which had created a national uproar. Renoir was still complaining about Zola when she saw him again the following week. Julie Manet, diary, January 15 and January 20, 1898, in Jane Roberts, ed. and trans., Growing Up with the Impressionists: The Diary of Julie Manet (London: Sotheby’s Publications, 1987), 124–26.

11. Rosenberg made a brief written account of his final meeting with Renoir, two weeks before the artist’s death, and of Renoir’s funeral. Rosenberg, “My Two Visits to Renoir’s Home,” in Paul Rosenberg and Company, 137–40.

12. Rosenberg, “Autobiographical Notes,” 134.

13. Kahnweiler, My Galleries and Painters, 32.

14. A typescript draft of Rosenberg’s manifesto has survived. Rosenberg, “Letter Draft,” undated [early 1914], in Paul Rosenberg and Company, 22–23. For Kahnweiler’s comment about Rosenberg, see Hook, Rogues’ Gallery, 159.

8. END OF AN IDYLL

1. Foster, diary, August 5–6, 1914, in Londraville, Dear Yeats, Dear Pound, 55.

2. Foster, diary, August 15, 1914, in Londraville, Dear Yeats, Dear Pound, 55–56.

3. Richardson, Life of Picasso: Painter of Modern Life, 341.

4. Danchev, Braque, 116.

5. Kahnweiler, My Galleries and Painters, 41.

6. Picasso to Kahnweiler, June 12, 1912, in William Rubin, Picasso and Braque: Pioneering Cubism (New York: Museum of Modern Art, 1989), 394–95.

7. Stein, Autobiography of Alice B. Toklas, 136.

8. Stein to Mabel Dodge Luhan, December 1912, in Richardson, Life of Picasso: Painter of Modern Life, 271.

9. Eva Gouel to Stein, November 10, 1914, in Madeline, Correspondence: Picasso and Stein, 169.

10. Eva Gouel to Stein, June 23, 1914, and Gouel and Picasso to Stein, June 25, 1914, in Madeline, Correspondence: Picasso and Stein, 145–47.

11. Braque to Kahnweiler, July 15, 1914, in Rubin, Picasso and Braque, 429.

12. Picasso to Kahnweiler, July 21, 1914, in Daix, Picasso: Life and Art, 138.

13. Braque to Kahnweiler, August 1, 1914, in Rubin, Picasso and Braque, 430.

14. “We went up to Paris before the call up…just for a few hours to put my affairs in order,” Picasso wrote to Stein on August 8, 1914. According to John Richardson, Picasso and Eva made the trip on July 30 or 31, in which case he would have learned of the imminent mobilization before Braque. Richardson, Life of Picasso: Painter of Modern Life, 344.

15. O’Brian, Picasso, 207.

16. Picasso and Eva Gouel to Stein, October 6, 1914, in Madeline, Correspondence: Picasso and Stein, 162.

17. Picasso to Stein, September 11, 1914, in Madeline, Correspondence: Picasso and Stein, 159.

18. Assouline, Artful Life, 114–15.

19. Richardson, Life of Picasso: Painter of Modern Life, 346.

20. Assouline, Artful Life, 114.

21. Daniel-Henry Kahnweiler, 1961–62 interview by Paule Chavasse, “Le cubisme et son temps—la guerre,” one of six broadcasts for France III, INA (Institut national de l’audiovisuel) archives, www.ina.fr.

22. Kahnweiler, My Galleries and Painters, 35.

23. Richardson, Life of Picasso: Painter of Modern Life, 344.

24. Along with Arthur Davies, who bought the Picasso watercolor, John Quinn was one of the very few buyers of a Kahnweiler work at the Armory Show, acquiring Derain’s 1912 Window at Vers for $486. Notably, none of the six Picasso and Braque oil paintings Kahnweiler sent found buyers. Brown, Armory Show, 250, 262, 301–02.

25. Assouline, Artful Life, 117.

26. Richardson, Life of Picasso: Painter of Modern Life, 346.

27. Kahnweiler, My Galleries and Painters, 50.

9. THE GRAND ILLUSION

1. Henry McBride, “Cubistic Water Colors and Drawings Attract Many Visitors to Carroll Galleries,” New York Sun, December 14, 1914.

2. Frederick James Gregg, “The World’s New Art Centre,” Vanity Fair, January 1915.

3. Henry McBride, “Arthur B. Davies and Cubism,” New York Sun, November 2, 1913.

4. Quinn to Walter Pach, August 30, 1915.

5. Vérane Tasseau, “Daniel-Henry Kahnweiler’s International Partnerships,” in Force, Pioneers of the Global Art Market, 81.

6. Judith K. Zilczer, “Robert J. Coady, Forgotten Spokesman for Avant-Garde Culture in America,” American Art Review, vol. 2, no. 6 (November–December 1975), 81.

7. Reid, Man from New York, 207.

8. De Zayas, How, When, and Why Modern Art Came to New York, 93–94.

9. Stieglitz also claimed that declines in the stock market were hurting sales. Pepe Karmel, “Pablo Picasso and Georges Braque, 1914–1915,” in Greenough, Modern Art in America, 193.

10. Third Exhibition of Contemporary French Art (New York: Carroll Galleries, 1915), 10.

11. Henry McBride, “What Is Happening in the World of Art,” New York Sun, March 14, 1915.

12. Frederick James Gregg, “A Note on Pablo Picasso,” in Third Exhibition of Contemporary French Art, 14.

13. McBride, “Cubistic Water Colors.”

14. Quinn to James Huneker, April 3, 1915.

15. Reid, Man from New York, 207.

16. Quinn to C. K. Butler, September 3, 1914.

17. Quinn to Harriet Bryant, October 6, 1914.

18. Quinn to Walt Kuhn, November 17, 1914.

19. First Exhibition of Works by Contemporary French Artists (New York: Carroll Galleries, 1914), 2.

20. See Quinn to Harriet Bryant, February 19, 1915; Quinn to John Butler Yeats, February 20, 1915; and Quinn to Walt Kuhn, August 30, 1915.

21. Quinn to Walter Pach, August 24, 1915, in Reid, Man from New York, 208.

22. Quinn bought Picasso’s Nudes in a Forest (Study for “Three Women”) (1908) from Stieglitz in July 1908. Judith Zilczer, “Alfred Stieglitz and John Quinn: Allies in the American Avant-Garde,” American Art Journal, vol. 17, no. 3 (Summer 1985), 21.

23. Quinn to Ambroise Vollard, August 11, 1915.

24. Quinn to Roché, March 24, 1923.

25. Quinn to Mrs. James Byrne, March 26, 1915.

26. Quinn to Jacob Epstein, July 31, 1915, in Reid, Man from New York, 209.

27. Quinn to Vollard, August 11, 1915.

28. Quinn to Gordon Craig, August 10, 1915.

29. Quinn to Lady Gregory, April 27, 1915.

30. Reid, Man from New York, 214.

31. Unsigned introduction to Third Exhibition of Contemporary French Art, 13. Quinn was closely involved with the catalog and likely supervised this text.

10. CUBISTS AT WAR

1. Juan Gris to Kahnweiler, August 1, 1914, in Richardson, Life of Picasso: Painter of Modern Life, 344.

2. Richardson, Life of Picasso: Painter of Modern Life, 235–46.

3. Richardson, Life of Picasso: Painter of Modern Life, 277.

4. Eva Gouel to Stein, October 6, 1914, and Picasso to Stein, October 19, 1914, in Madeline, Correspondence: Picasso and Stein, 162–64.

5. Claire Maingon, Le Musée invisible: Le Louvre et la grande guerre (1914–1921) (Paris: Musée du Louvre Éditions, 2016), 48, 62–63.

6. Assouline, Artful Life, 117.

7. Daniela L. Caglioti, “Property Rights in Time of War: Sequestration and Liquidation of Enemy Aliens’ Assets in Western Europe During the First World War,” Journal of Modern European History, vol. 12, no. 4 (2014), 525.

8. Quinn had advised the U.S. Senate on the Trading with the Enemy Act, which was signed into law in October 1917. Reid, Man from New York, 322. By the end of the war, the United States had seized more than $470 million in property belonging to Germany and its allies. “The Disposal of Alien Property,” in Editorial Research Reports, vol. 3 (Washington, D.C.: CQ Press, 1925), 540.

9. Kahnweiler, My Galleries and Painters, 50.

10. Vérane Tasseau, “Les Ventes de séquestre du marchand Daniel-Henry Kahnweiler (1921–1923),” Archives juives, vol. 50, no. 1 (2017), 27.

11. Olivier, Picasso and His Friends, 119.

12. Picasso to Guillaume Apollinaire, December 22 and 31, 1914, in Caizergues and Seckel, Picasso/Apollinaire, 122–25.

13. Picasso to Apollinaire, April 24, 1915, in Caizergues and Seckel, Picasso/Apollinaire, 133. On Doucet, see Madeline, Correspondence: Picasso and Stein, 169n3.

14. Danchev, Braque, 125.

15. Picasso to Roché, May 24[?], 1915, in Danchev, Braque, 127.

16. Quinn to Alice Thursby, November 11, 1914.

17. Maud Gonne to Quinn, January 7 and April 22, 1915, in Londraville, Too Long a Sacrifice, 146–49; Gonne to Quinn, May 4, 1915, in Reid, Man from New York, 217.

18. Quinn to Gonne, June 8, 1915, in Londraville, Too Long a Sacrifice, 149.

19. Henri Gaudier-Brzeska to Ezra Pound, June 3, 1915, in Pound, Memoir of Gaudier-Brzeska, 63–64.

20. According to Gertrude Stein, Picasso said, “C’est nous qui a fait ça.” Stein, Autobiography of Alice B. Toklas, 110.

21. Jean Paulhan, Braque le patron (Paris: Gallimard, 1986), 134, quoted in Caizergues and Seckel, Picasso/Apollinaire, 128n4.

22. Picasso to Apollinaire, February 7, 1915, in Caizergues and Seckel, Picasso/Apollinaire, 128–29.

23. André Dunoyer de Segonzac to Quinn, March 21, 1918.

24. Quinn to Segonzac, January 17, 1916.

25. Franz Marc to Maria Marc, February 6, 1916, in Briefe aus dem Feld 1914–1916 (Berlin: Rembrandt-Verlag, 1959), 141–42.

26. Klee’s efforts later inspired an absurdist short story by Donald Barthelme in which one of his camouflaged warplanes mysteriously vanishes from a transport train. Klee resolves the problem by “repainting” the shipping manifest. Donald Barthelme, “Engineer-Private Paul Klee Misplaces an Aircraft Between Milbertshofen and Cambrai, March 1916,” New Yorker, April 3, 1971.

27. Picasso to Apollinaire, February 7, 1915, in Caizergues and Seckel, Picasso/Apollinaire, 128–29.

28. Richardson has likened the drawing to Mantegna’s Dead Christ. Richardson, Life of Picasso: Painter of Modern Life, 375.

29. Picasso to Stein, January 8, 1916, in Madeline, Correspondence: Picasso and Stein, 180.

30. O’Brian, Picasso, 215.

31. Jacques Doucet to Roché, undated [1916], in Richardson, Life of Picasso: Painter of Modern Life, 399.

32. Quinn to James Huneker, April 6, 1916.

11. A NEW BEGINNING

1. Foster to William M. Murphy, March 27, 1968, in Londraville, Dear Yeats, Dear Pound, 136.

2. Quinn to John Butler Yeats, November 23, 1918.

3. Londraville, Dear Yeats, Dear Pound, 137.

4. The book had been prepared for the Irish Convention, an assembly convened in Dublin in 1917–18 in an ultimately unsuccessful attempt to reach a constitutional settlement for Ireland. Reid, Man from New York, 330, 358–59.

5. Ezra Pound to Quinn, February 19, 1918.

6. Alfred Knopf to Quinn, August 17, 1917, in Reid, Man from New York, 279.

7. Standish O’Grady to Quinn, October 10, 1917, in Reid, Man from New York, 271.

8. Quinn to T. W. Rolleston, September 15, 1918.

9. Quinn to Joseph Conrad, February 18, 1918, in Reid, Man from New York, 335.

10. Quinn to John Butler Yeats, March 5, 1917.

11. Londraville, Dear Yeats, Dear Pound, 74.

12. Foster to Quinn, February 16, 1920.

13. Foster to Quinn, August 16, 1921.

14. Foster to Quinn, October 4, 1920.

15. Quinn to Foster, undated, and Foster to Quinn, undated [summer 1921?], in Londraville, Dear Yeats, Dear Pound, 140–42.

16. Quinn to James Huneker, April 6, 1916.

17. Quinn to André Dunoyer de Segonzac, April 29, 1919.

18. Quinn to Oscar Underwood, August 6, 1914.

19. In a retrospective account, written thirty-five years later, Roché suggests that the lunch took place the day after his first meeting with Quinn in the spring of 1917. Roché, “Hommage à John Quinn,” 965–66. But Roché’s diaries and Quinn’s letters make clear that it occurred in September 1919. Roché, diary, September 7, 1919.

20. With Roché as an intermediary, Picasso sold Doucet a small still life and a Cubist Harlequin for 4,000 francs. Roché, diary, August 4, 1916.

21. Stein, Autobiography of Alice B. Toklas, 54.

22. Roché, diary, September 13, 1919.

23. Stein, “Roché by Gertrude Stein,” March 1911, in Lake and Ashton, Henri-Pierre Roché, 28.

24. Henri-Pierre Roché, Deux Semaines a la Conciergerie pendant la bataille de la Marne (Paris: Attinger Frères, 1916), 64.

25. Roché, “Hommage à John Quinn,” 966.

26. Quinn to Roché, September 17, 1919.

27. Roché to Quinn, September 18, 1919.

28. Jeanne Robert Foster, interview by Richard Londraville, in Londraville, Too Long a Sacrifice, 296n1.

29. Quinn to Roché, September 17, 1919.

12. DO I KNOW THIS MAN?

1. Céleste Albaret, Monsieur Proust, trans. Barbara Bray (New York: New York Review Books Classics, 2003), 77.

2. Richardson, Life of Picasso: Triumphant Years, 297.

3. “Lettres & Arts,” Le Cri de Paris, July 23, 1916, in Rubin et al., “Les Demoiselles d’Avignon,” 168.

4. Georges Martin, “Dans l’Air de Paris,” L’Intransigeant, October 29, 1919.

5. Richardson, Life of Picasso: Painter of Modern Life, 379.

6. Gertrude Stein records Braque saying, with dry irony, “Je dois connaître ce monsieur” [I ought to know this gentleman]. Stein, Autobiography of Alice B. Toklas, 238.

7. See, for example, Daix, Picasso: Life and Art, 161.

8. Rosenberg to Picasso, undated [summer 1918].

9. Irène Lagut, unpublished 1973 interview, in Richardson, Life of Picasso: Painter of Modern Life, 402.

10. O’Brian, Picasso, 215.

11. Richardson, Life of Picasso: Triumphant Years, 173.

12. Picasso to Apollinaire, August 16, 1918, in Caizergues and Seckel, Picasso/Apollinaire, 176.

13. Rosenberg to Picasso, September 27, 1918.

14. The story was recalled years later by Matisse’s daughter, Marguerite Duthuit. Matisse and Shchukin had had an awkward meeting in Nice in 1919, but Shchukin told him he was no longer in a position to buy and soon after broke off contact. Semenova, The Collector, 234–35.

15. Elaine Rosenberg, interview with the author, September 2016.

16. Rosenberg to Picasso, April 7, 1919.

17. Picasso’s comment to Léonce Rosenberg is recorded in Léonce Rosenberg to Picasso, December 2, 1918, in FitzGerald, Making Modernism, 3.

18. Thomas Chaineux, “Olga Picasso: Between France and Russia,” in Philippot et al., Olga Picasso, 105–09.

19. By 1920, the number of art museums in the United States had more than doubled in fifteen years, to ninety-two. Tomkins, Merchants and Masterpieces, 192.

20. Rosenberg to Picasso, July 13, August 12, and August 27, 1920.

21. Richardson, Life of Picasso: Triumphant Years, 166–67.

22. Roché to Rosenberg, September 28, 1920, Morgan Library.

13. IN PICASSO’S GARDEN

1. Roché to Quinn, June 6, 1921.

2. Roché, diary, July 5, 1921, in Roché, Carnets, 275.

3. Roché to Quinn, December 2, 1920.

4. Roché, diary, November 13, 1920, in Roché, Carnets, 104.

5. Roché, diary, July 5, 1921, in Roché, Carnets, 275.

6. Foster to Quinn, October 4, 1920.

7. Foster, diary, July 10, 1921.

8. Roché, diary, July 7, 1921, in Roché, Carnets, 276.

9. Quinn to Lady Gregory, May 11, 1922.

10. Foster, diary, July 29, 1921; Roché, diary, July 29, 1921, in Roché, Carnets, 295.

11. Foster, diary, July 9, 1921.

12. Foster, diary, July 9, 1921. Olga Picasso took part in the first American tour of the Ballets Russes, which stopped in seventeen U.S. cities between January and April 1916. Thomas Chaineux, email to author, February 10, 2022.

13. Two Nudes, in particular, provided an uncanny complement to a much earlier Two Nudes that Quinn had bought from Vollard during the war. In the earlier picture, the figures are sculpted, yet seem to be merging with the picture plane; in the later one, the figures are compressed into a visual space that seems unable to contain them. Together, the paintings bookend Picasso’s crucial journey into, and then out of and beyond, Cubism.

14. Roché to Quinn, February 11, 1922.

15. Roché to Quinn, January 8, 1922; Quinn to Roché, January 27, 1922.

16. Matisse, The Artist and His Model (1919) currently in a private collection.

17. Roché to Quinn, October 20, 1920.

18. Quinn recalled the conversation in Quinn to Rosenberg, May 25, 1922.

19. Kahnweiler to Picasso, February 10, 1920, in Richardson, Life of Picasso: Painter of Modern Life, 358.

20. Vérane Tasseau, “Les Ventes de séquestre du marchand Daniel-Henry Kahnweiler (1921–1923),” Archives juives, vol. 50, no. 1 (2017), 32.

21. Assouline, Artful Life, 174.

22. Assouline, Artful Life, 168–69.

23. Roché to Quinn, December 25, 1920.

24. Roché, diary, July 22, 1921, in Roché, Carnets, 290.

25. Quinn to Kahnweiler, November 29, 1921.

26. Roché, diary, July 7, 1921, in Roché, Carnets, 276–77.

27. Roché, diary, August 12, 1921, in Roché, Carnets, 305.

28. Foster, diary, July 10, 1921.

29. Roché, diary, August 15, 1921, in Roché, Carnets, 307.

30. Quinn to Maud Gonne, August 29, 1921.

31. Roché, diary, August 15, 1921, in Roché, Carnets, 307.

32. Quinn to Gwen John, August 29, 1921.

14. KU KLUX CRITICISM

1. The case was Stoehr v. Wallace 255 U.S. 239 (1921), in which Quinn defended the constitutionality of the government sale of seized enemy assets. Quinn complained that despite his Supreme Court victory, the government reduced his fee by $19,000. Quinn to Walther Halvorsen, November 17, 1921.

2. Quinn to Margaret Anderson, October 19, 1921.

3. Quinn to Bryson Burroughs, March 24, 1921, in Gary Tinterow, “Picasso in the Metropolitan Museum of Art,” in Tinterow and Stein, Picasso in the Metropolitan Museum of Art, 5–6.

4. Quinn to Ezra Pound, May 7, 1921.

5. “1,500 See French Pictures: Work of Impressionist Painters a Surprise to Many Visitors,” New York Times, May 3, 1921; Augusta Owen Patterson, “Arts and Decoration,” Town and Country, June 1921, 30–32; “The Metropolitan French Show,” The Arts, April–May 1921, 2.

6. Forbes Watson, “Institutional Versus Individual Collectors: A Polite Plea for the Abolition of the Committee Rule,” Arts and Decoration, February 1921, 340.

7. “A Protest Against the Present Exhibition of Degenerate ‘Modernistic’ Works in the Metropolitan Museum of Art,” undated pamphlet [September 1921].

8. Quinn to John Butler Yeats, September 9, 1921, in Reid, Man from New York, 507.

9. “Pennell Enters Into Art War Here; Etcher Calls Post-Impressionist Exhibit at the Museum Dangerous,” New York Times, September 8, 1921; “Pennell Criticizes Post Impressionist Works as Rubbish,” New York Herald, September 8, 1921.

10. Johannes Hendrikus Burgers, “Max Nordau, Madison Grant, and Radicalized Theories of Ideology,” Journal of the History of Ideas, vol. 72, no. 1 (January 2011), 119–40.

11. Nordau, Degeneration, viii.

12. Brown, Armory Show, 164.

13. James Huneker, “The Case of Dr. Nordau,” The Forum, November 1915, 571–87.

14. Burgers, “Max Nordau,” 125.

15. Quinn to Yeats, September 9, 1921, in Reid, Man from New York, 507.

16. “Artists Rise in Aid of Post-Impressionists: John Quinn Calls Anonymous Attack on Museum Exhibit Ku Klux Criticism,” New York Times, September 7, 1921.

17. Roché to Quinn, November 22, 1921.

18. Quinn to Roché, December 29, 1921.

19. Quinn to Léonce Rosenberg, November 29, 1921.

20. Quinn to Roché, February 19, 1922.

21. Quinn to Roché, July 28, 1922.

22. Quinn to Léonce Rosenberg, November 29, 1921.

15. DANGEROUS LIAISONS

1. Roché, diary, November 10, 1921, in Carnets, 426.

2. Roché, diary, November 26, 1921, in Carnets, 448.

3. Roché to Quinn, January 27, 1922.

4. Roché, diary, November 30, 1921, in Carnets, 451.

5. Roché to Quinn, January 8, 1922.

6. Rosenberg to Picasso, January 21, 1921.

7. Rosenberg to Picasso, July 9, 1921.

8. Roché to Quinn, February 11, 1922.

9. Quinn to Roché, December 8, 1920.

10. Rosenberg to Picasso, July 9, 1921.

11. Quinn to Rosenberg, May 25, 1922.

12. Michael C. FitzGerald points out “how unusual Quinn’s purchases were at this time when the pool of buyers was still very shallow.” FitzGerald, Making Modernism, 114.

13. Roché to Quinn, January 8, 1922.

14. Picasso described Quinn’s purist approach to collecting at the time of Quinn’s death. Saarinen, Proud Possessors, 234.

15. Roché to Quinn, January 28, 1922 (addendum February 1).

16. Roché to Quinn, January 8, 1922.

17. Quinn to Roché, January 27, 1922.

18. Roché to Quinn, February 10, 1922.

19. Roché to Quinn, February 10, 1922.

20. Man Ray, Self Portrait (Boston: Bulfinch Press, 1998), 177.

21. Roché, diary, February 16, 1922.

22. Roché to Quinn, February 17, 1922.

23. Roché to Quinn (cable), March 7, 1922.

24. Quinn to Roché, February 19, 1922.

25. Quinn to Roché (cable), March 7, 1922.

26. Quinn to Roché, March 5, 1922.

27. Roché to Quinn, March 29, 1922.

28. Roché, diary, May 20, 1922.

29. Roché to Quinn, May 18 and June 19, 1922.

30. Reid, Man from New York, 541.

31. Quinn to George Russell, July 30, 1922.

32. Quinn to Lady Gregory, July 17, 1922, in Reid, Man from New York, 542.

33. James Joyce to Quinn (cable), February 3, 1922, in Reid, Man from New York, 529.

34. Roché to Quinn, June 19, 1922.

35. Roché to Quinn, July 10, 1922.

36. Roché to Quinn, July 2, 1922.

37. Sheldon Cheney, “An Adventurer Among Art Collectors,” New York Times, January 3, 1926.

38. Roché to Quinn, June 11, 1922.

39. Quinn to Roché, July 11, 1922.

16. DINNER AT QUINN’S

1. Rosenberg to Picasso, November 16, 1923.

2. Ford Madox Ford, It Was the Nightingale (Philadelphia and London: J. B. Lippincott, 1933), 311. Conrad had come to the United States as the guest of the publisher F. N. Doubleday, who apparently prevented him from seeing Quinn. Reid, Man from New York, 566–70.

3. Roché, “Hommage à John Quinn,” 967; Roché to Quinn, November 8, 1923.

4. Rosenberg to Quinn, November 20, 1923.

5. Quinn to Rosenberg, January 26 and March 2, 1922.

6. Rosenberg to Picasso, November 21 and 26, 1923.

7. Quinn to Roché, December 6, 1923, Harry Ransom Center.

8. Rosenberg to Picasso, November 26, 1923.

9. Quinn to Roché, December 6, 1923, Harry Ransom Center.

10. Quinn to Roché, June 1, 1922; Quinn to Ezra Pound, October 21, 1920, in Reid, Man from New York, 437.

11. Clive Bell to Mary Hutchinson, December 4, 1922, Mary Hutchinson Papers, Harry Ransom Center.

12. Rosenberg to Picasso, December 20, 1923.

13. Rosenberg to Picasso, December 11, 1923.

17. THE LAST BATTLE

1. Roché to Jos Hessel and Alphonse Bellier, October 11, 1926, Harry Ransom Center.

2. Kahnweiler to Quinn (receipt), October 31, 1923; Quinn to Kahnweiler, November 12, 1923.

3. Picasso told Marius de Zayas that he was very much disappointed with Rosenberg’s American venture and would have sold his “clowns” for 40,000 to 50,000 francs instead of the 75,000 or 80,000 francs the dealer insisted on. Quinn to Roché, March 14, 1924.

4. Roché to Quinn, March 28, 1924.

5. Roché, “Hommage à John Quinn,” 969.

6. Roché to Hessel and Bellier, October 11, 1926.

7. Roché to Quinn, February 1, 1924.

8. Roché to Quinn (cable), February 5, 1924.

9. Roché to Quinn (cable), February 6, 1924; Roché, diary, February 7, 1924.

10. Roché, diary, February 6, 1924; Roché to Quinn, February 11, 1924; Roché to Quinn (cable), February 7, 1924.

11. Reid, Man from New York, 624.

12. Quinn to Roché (cable and separate “confidential” cable), February 8, 1924.

13. Roché, diary, February 7, 1924.

14. Roché to Quinn, February 11, 1924.

15. Roché to Quinn, April 6, 1923.

16. Roché to Quinn (cable), February 15, 1924.

17. Foster to Aline Saarinen, January 1, 1958, quoted in Londraville, Dear Yeats, Dear Pound, 144–45.

18. Roché to Quinn, March 31, 1924 (addendum April 4).

19. Kahnweiler to Quinn, February 21, 1924.

20. Quinn to Walter Pach, April 21, 1924.

21. Quinn to Roché, March 14, 1924.

22. Quinn to Roché, June 25, 1924.

23. Foster to Quinn, August 16, 1921.

18. THE MAN VANISHES

1. Paul J. Sachs to Charles Rufus Morey, June 12, 1925, in Kantor, Intellectual Origins of the Museum of Modern Art, 83.

2. Kantor, Intellectual Origins of the Museum of Modern Art, 89.

3. The few exceptions were well outside of New York and Boston. The Detroit Institute of Arts acquired a Van Gogh and other modern works in the twenties, and the Worcester Art Museum in Massachusetts presented shows of twentieth-century modern art in 1921 and 1924.

4. Barr to Paul J. Sachs, July 5, 1955, Harvard Art Museums Archives.

5. Barr to Ben L. Reid, July 24, 1968, Alfred H. Barr Papers (I.A.580), MoMA Archives.

6. Murdock Pemberton, “Critique Art,” New Yorker, January 16, 1926; Sheldon Cheney, “An Adventurer Among Art Collectors: Modern Painting and Sculptures Gathered by John Quinn to Be Shown to the Public,” New York Times, January 3, 1926; Forbes Watson, editorial, and “The John Quinn Collection,” The Arts, vol. 9, no. 1 (January 1926), 3–5.

7. “52 Picasso Paintings Sold,” New York Times, January 10, 1926.

8. Reid, Man from New York, 645.

9. Judith Zilczer, “The Dispersal of the John Quinn Collection,” Archives of American Art Journal, vol. 19, no. 13 (1979), 15–21.

10. Roché to Quinn, June 29, 1922; Quinn to Roché, June 11 and 17, 1922.

11. To Clara, his other surviving sister, who had joined a convent in Ohio years earlier, he left a small bequest of $2,500 as well as a trust fund of $10,000, on the assumption that she would be looked after by Julia. Reid, Man from New York, 639.

12. Saarinen, Proud Possessors, 237.

13. Walter Pach, February 1956 interview by Aline B. Saarinen, in Zilczer, “Dispersal of the John Quinn Collection,” 16.

14. Londraville, Dear Yeats, Dear Pound, 147; “Girl Can’t Collect from Quinn Estate: Surrogate Finds No Proof That Lawyer Made $50,000 Investment for Miss Coates,” New York Times, June 16, 1926.

15. Foster to Thomas Curtin, October 18, 1924, in Zilczer, “Noble Buyer,” 58–61.

16. Reliquet, L’Enchanteur collectionneur, 150.

17. Roché, “Hommage à John Quinn,” 969.

18. Rosenberg to Picasso, September 5, 1924.

19. Roché to Rosenberg, January 10, 1925.

20. Henry McBride argued that Quinn had become an American Cousin Pons, Balzac’s misunderstood aesthete, in the novel of that name, whose extraordinary art collection falls prey to swirling intrigues. The Dial, March 1926.

21. Frederick James Gregg, “Europe Raids the John Quinn Collection,” The Independent, February 27, 1926.

22. Jean Cocteau, introduction to Catalogue des tableaux modernes provenant de la collection John Quinn (Paris: Hôtel Drouot, October 1926); Janet Flanner, Paris Was Yesterday: 1925–1939 (New York: Viking Press, 1972), 10.

23. Confusion about exchange rates has distorted historical understanding of the Quinn estate sales. Judith Zilczer has written that the Hôtel Drouot sale of thirty-six paintings and thirty-six watercolors yielded “approximately $308,000 for the Quinn Estate,” with The Sleeping Gypsy selling for “520,000 francs or about $102,900.” In fact, according to U.S. Federal Reserve exchange rates for October 1926, The Sleeping Gypsy sold for about $15,300 and the total auction yielded $48,510. Combined with the $91,570 achieved for the 819 works sold in New York and private sales of perhaps as much as $200,000 for the Picassos, Seurats, and other works, total proceeds would have amounted to about $350,000 for more than twenty-five hundred artworks—well below Zilczer’s estimate of $600,000 and a significant loss on Quinn’s original investment. Even in Paris, the Quinn estate probably lost money overall on his original investment. Zilczer, “Dispersal of the John Quinn Collection,” 17.

24. Zilczer, “Dispersal of the John Quinn Collection,” 20.

19. THE VERY MODERN MR. BARR

1. Barr to Annie Elizabeth Wilson Barr, March 18, 1924, in Roob, “Alfred H. Barr, Jr.,” 5; “Lectures on Modern Art,” Poughkeepsie Star, November 3, 1923, in Kantor, Intellectual Origins of the Museum of Modern Art, 32.

2. Kantor, Intellectual Origins of the Museum of Modern Art, 8.

3. Macdonald, “Action on West Fifty-third Street—II,” New Yorker, December 19, 1953.

4. Interview with Philip Johnson, December 18, 1990, Oral History Program, MoMA Archives, 2.

5. Roob, “Alfred H. Barr, Jr.,” 2.

6. Erwin Panofsky compared Morey to Kepler after the publication of his book Sources in Medieval Style. Lee Sorensen, “Charles Rufus Morey,” in The Dictionary of Art Historians,arthistorians.info/moreyc.

7. Application for a fellowship at Harvard, undated, in Kantor, Intellectual Origins of the Museum of Modern Art, 33.

8. Roob, “Alfred H. Barr, Jr.,” 5; Barr to Paul J. Sachs, August 3, 1925, in Kantor, Intellectual Origins of the Museum of Modern Art, 89.

9. “Boston Is Modern Art Pauper,” Harvard Crimson, October 30, 1926, in Barr, Defining Modern Art, 52–53.

10. Macdonald, “Action on West Fifty-third Street,” 81.

11. Roob, “Alfred H. Barr, Jr.,” 11.

12. Barr to Sachs, May 1, 1927, Paul J. Sachs Papers (HC 3), folder 109, Harvard Art Museums Archives.

13. Barr, “An American Museum of Modern Art,” Vanity Fair, November 1929.

14. Kantor, Intellectual Origins of the Museum of Modern Art, 172.

15. In 1928, the museum in Shchukin’s former palace was closed and his paintings were combined with the former Morosov collection in the former Morosov townhouse, but many were put in storage for insufficient space. The combined collection was entirely closed at the start of World War II. Semenova, The Collector, 242–45.

16. Alfred H. Barr, Jr., “Is Modern Art Communistic?,” New York Times Magazine, December 14, 1952.

17. Sachs to Barr, January 19, 1929, Paul J. Sachs Papers (HC 3), folder 110, Harvard Art Museums Archives.

20. “HAD HE LIVED ANOTHER DECADE…”

1. Marquis, Missionary for the Modern, 62; Saarinen, Proud Possessors, 364.

2. Kert, Woman in the Family, 273.

3. Valentine Dudensing to Pierre Matisse, November 6, 1928, in Pemberton, Portrait of Murdock Pemberton, 99.

4. Abby Rockefeller to Eustache de Lorey, August 26, 1929, in Kert, Woman in the Family, 262.

5. Perlman, Lives, Loves, and Art of Arthur B. Davies, 360.

6. Perlman, Lives, Loves, and Art of Arthur B. Davies, 372.

7. Lynes, Good Old Modern, 10.

8. Barr, Picasso: Fifty Years of His Art, 45.

9. After meeting with Goodyear, Hekking traveled to New York City to locate La Toilette, which was now at the Wildenstein Gallery following Paul Rosenberg’s purchase. On January 26, Hekking arranged to buy the Picasso for $6,500 through the Fellows for Life Fund, which Goodyear and Hekking had created. Minutes, Special Meeting of the Art Committee, January 23, 1926, and Rosenberg cables to Hekking, January 23 and 26, 1926, William M. Hekking Papers, Albright-Knox Art Gallery Digital Assets and Archives, Buffalo, New York.

10. George F. Goodyear, Goodyear Family History (Buffalo: Goodyear, 1976), 182; interview with Elizabeth Bliss Parkinson Cobb, July 6, 1988, Oral History Program, MoMA Archives, 17.

11. Forbes Watson, editorial, The Arts, vol. 9, no. 1 (January 1926), 3.

12. Kert, Woman in the Family, 277.

13. Kert, Woman in the Family, 277.

14. Lynes, Good Old Modern, 47.

15. The statement is unsigned, but its language and references are unmistakably Barr’s. “Publicity for Organization of Museum” (second release), August 1929, 3–4, Press Release Archives, MoMA Archives.

16. Barr, “An American Museum of Modern Art,” Vanity Fair, November 1929, 136.

17. Barr to Mrs. Thomas F. Conroy, August 8, 1966, Alfred H. Barr Papers (I.A.580), MoMA Archives.

18. Lynes, Good Old Modern, 49.

19. “Publicity for Organization of Museum,” 6.

21. A MUSEUM OF HIS OWN

1. Roob, “Alfred H. Barr, Jr.,” 19.

2. “The New Museum of Modern Art Opens,” New York Times, November 10, 1929.

3. All quotations by Margaret Scolari in this chapter come from Paul Cummings, “Oral History Interview with Margaret Scolari Barr Concerning Alfred H. Barr,” New York, February 22, April 8, and May 14, 1974, Archives of American Art, Washington, D.C.

4. “Modern Art Museum Opens in New York,” Art News, November 9, 1929; Edward Alden Jewell, “The New Museum of Modern Art Opens,” New York Times, November 10, 1929; Lloyd Goodrich, “A Museum of Modern Art,” The Nation, December 4, 1929.

5. “I have no painting by Picasso,” Conger Goodyear wrote to Jere Abbott, April 9, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

6. Kantor, Intellectual Origins of the Museum of Modern Art, 208. Kirstein would later attribute his early Picasso infatuation to Barr’s influence.

7. Jacques Mauny, “Painting in Paris,” The Arts, January 1930, 317.

8. Agnes Mongan to Bernard Berenson, January 2, 1939, in Weber, Patron Saints, 338.

9. Philip Johnson to Margaret Scolari, April 30, 1929, Margaret Scolari Barr Papers (II.34), MoMA Archives.

22. THE PARIS PROJECT

1. On the advice of Barr’s mother, who was concerned about dealing with the French bureaucracy, Scolari and Barr had decided to get a marriage license at City Hall in New York before departing for Europe. Margaret Scolari Barr, “Our Campaigns,” 24.

2. Paul Cummings, “Oral History Interview with Margaret Scolari Barr Concerning Alfred H. Barr,” New York, February 22, April 8, and May 14, 1974. Archives of American Art, Washington, D.C., 9.

3. P. Morton Shand, “The Work of Mr. Robert Mallet-Stevens,” Architects’ Journal, vol. 66 (October 5, 1927), 443; Margaret Scolari Barr, “Our Campaigns,” 25.

4. Murdock Pemberton, “The Art Galleries,” New Yorker, December 13, 1930.

5. Margaret Scolari Barr, “Footnotes to Picasso Lecture,” note 3, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.

6. Margaret Scolari Barr, “Our Campaigns,” 25.

7. Barr, “Critical Catalog: Loan Exhibition of Modern Graphic Art,” Fogg Museum, spring 1925, 201, Alfred H. Barr Papers (IV.B.164), MoMA Archives.

8. Henry McBride, “More Paintings by Picasso,” New York Sun, March 11, 1933.

9. Barr viewed Picasso’s art as driven by a series of “supersessions and conflicts: sculptural, three-dimensional forms versus flat pictorial forms; the monochrome versus maximum intensity and variety of color; overt prettiness versus grotesque ugliness; emotional nullity versus convulsive passion; realism versus abstraction.” Barr, Picasso: Fifty Years of His Art, 11.

10. Margaret Scolari Barr, “Footnotes to Picasso Lecture,” note 3.

11. Mather, Modern Painting, 373.

12. Erwin Panofsky, Meaning in the Visual Arts (Garden City, N.Y.: Doubleday, 1955), 328.

13. Kantor, Intellectual Origins of the Museum of Modern Art, 33.

14. Barr, diary, December 30, 1927, in “Russian Diary 1927–28,” October, vol. 7 (Winter 1978), 17.

23. “WHEN A PICASSO WINS ALL THE RACES…”

1. Tériade, “Une Visite à Picasso,” L’Intransigeant, November 27, 1928.

2. FitzGerald, Making Modernism, 155.

3. “On Expose,” L’Intransigeant, April 29, 1929.

4. Rosenberg to Picasso, September 10, 1929.

5. Louis Vauxcelles, “Une Rétrospective Corot,” Excelsior, May 31, 1930, 1.

6. “Carnet Mondain,” Le Journal, June 15, 1930.

7. Richardson, Life of Picasso: Triumphant Years, 323, 327.

8. Rosenberg to Picasso, July 16, 1927.

9. Harry Kessler, diary, April 10, 1930, in Charles Kessler, trans. and ed., Berlin in Lights: The Diaries of Count Harry Kessler (1918–1937) (New York: Grove Press, 2000), 382.

10. Rosenberg to Picasso, June 30, 1930, and June 1, 1931.

11. Rosenberg to Margot Rosenberg, undated, 1942, in Sinclair, My Grandfather’s Gallery, 150.

12. Sinclair, My Grandfather’s Gallery, 149–50.

13. Rosenberg to Picasso, July[?] 1925 and September 14, 1929.

14. Rosenberg to Picasso, August 5, 1927.

15. “Les Courses,” Le Journal, April 16, 21, and 28, and May 6 and 20, 1929.

16. Rosenberg to Picasso, September 10, 1929.

17. Mauny brought along the adventurous New York collector Albert Gallatin, who had met Picasso a few years earlier and to whom Mauny was an informal art adviser. Barr to Jacques Mauny, July 20, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

18. Brassaï, Picasso and Company, 5; Barr, Picasso: Fifty Years of His Art, 167.

19. Margaret Scolari Barr, “Footnotes to Picasso Lecture,” note 3, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.

20. Barr to Jere Abbott (cable), June 17[?], 1930, and Conger Goodyear to Barr (cable), June 18, 1930, Alfred H. Barr Papers (I.A.3), MoMA Archives.

21. Léger had just completed the first of three murals for Reber on the theme of gastronomy and music. Dorothy Kosinski, “G. F. Reber: Collector of Cubism,” Burlington Magazine, vol. 133, no. 1061 (August 1991), 520, 522.

22. Barr to Jere Abbott (cable), June 23[?], 1930.

24. THE BALANCE OF POWER

1. See Simonetta Fraquelli, “Picasso’s Retrospective at the Galeries Georges Petit, Paris 1932,” in Bezzola, Picasso by Picasso, 87, 93n33.

2. Barr to Abby Rockefeller, September 8, 1930, in Kert, Woman in the Family, 283; Conger Goodyear to Paul J. Sachs, October 2, 1931, Paul J. Sachs Papers (HC 3), folder 1363, Harvard Art Museums Archives.

3. Goodyear to Rockefeller, September 26, 1930, in Kert, Woman in the Family, 301.

4. Barr to Jacques Mauny, April 25, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

5. Tériade, “Une grande exposition Henri-Matisse,” L’Intransigeant, June 22, 1931.

6. Henry McBride to Malcolm MacAdam, June 11, 1930, in McBride, Eye on the Modern Century, 198.

7. Barr to Mauny, July 20, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

8. Kert, Woman in the Family, 303–04.

9. Barr to Rockefeller, June 25, 1931, Alfred H. Barr Papers (I.A.3), MoMA Archives.

10. See, for example, Spurling, Matisse the Master, 330–31, and Russell, Matisse: Father and Son, 81. The confusion may stem from Margaret Scolari Barr’s imprecise recollections in “Our Campaigns,” in which she writes they had traveled to Europe “to prepare the Matisse exhibition.” Margaret Scolari Barr, “Our Campaigns,” 26.

11. Alfred Barr, ed., Henri-Matisse Retrospective Exhibition (New York: Museum of Modern Art, 1931), 19.

12. Henry McBride, “The Museum of Modern Art Gives a Matisse Exhibition with Special Success,” New York Sun, November 7, 1931; Pierre Matisse to Henri Matisse, November 12, 1931, in Spurling, Matisse the Master, 330.

13. Barr to G. F. Reber, July 1, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives; Margaret Scolari Barr, notes for “Our Campaigns,” September 1930, Margaret Scolari Barr Papers (III.F.20), MoMA Archives.

14. Barr to Picasso, draft letter in French, December 16, 1939, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

15. Barr to Goodyear, December 19, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

16. Goodyear to Barr, December 22 and 30, 1931, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

17. Barr to Picasso, January 26, 1932, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

18. Mauny to Barr, February 26, 1932, Alfred H. Barr Papers (XI.J.2), MoMA Archives.

25. DEFEAT

1. Paul J. Sachs to Conger Goodyear, June 13, 1932, Paul J. Sachs Papers (HC 3), folder 1364, Harvard Art Museums Archives.

2. Barr to Abby Rockefeller, June 21, 1932, Alfred H. Barr Papers (I.A.3), MoMA Archives.

3. Rockefeller to Goodyear, December 16, 1936, Alfred H. Barr Papers (I.A.17), MoMA Archives.

4. Kert, Woman in the Family, 315, 319–20.

5. Barr to Sachs, February 1932, in Lynes, Good Old Modern, 94.

6. Jere Abbott to his father, April 7, 1927, in Leah Dickerman, “An Introduction to Jere Abbott’s Russian Diary, 1927–1928,” October, vol. 145 (Summer 2013), 116.

7. Henry-Russell Hitchcock to Virgil Thomson, September 27, 1928, in Marquis, Missionary for the Modern, 47–48; interview with Philip Johnson, December 18, 1990, Oral History Program, MoMA Archives, 15.

8. Barr to Margaret Scolari Barr, undated [early July 1930], Margaret Scolari Barr Papers (II.18), MoMA Archives.

9. Barr to Margaret Scolari Barr, undated [July 1933], Margaret Scolari Barr Papers (II.21), MoMA Archives.

10. Margaret Scolari Barr to Barr, July 17–23, 1932, Margaret Scolari Barr Papers (II.21), MoMA Archives.

11. Margaret Scolari Barr to Barr, July 23 and 28, 1932.

12. Margaret Scolari Barr to Barr, July 28, 1932.

13. Richardson, Life of Picasso: Triumphant Years, 467.

14. Margaret Scolari Barr to Barr, July 28, 1932.

15. Margaret Scolari Barr to Barr, July 28 and August 1, 1932, pt II, Margaret Scolari Barr Papers (II.21), MoMA Archives; Henri Matisse to Pierre Matisse, August 10, 1933, quoted in Cowling et al., Matisse Picasso, 376.

16. Margaret Scolari Barr to Barr, August 2, 1932, Margaret Scolari Barr Papers (II.21), MoMA Archives. This was despite the Carnegie Institute having awarded Picasso its international art prize, the Carnegie Prize, in 1930, for an elegant but deeply conservative 1923 portrait of Olga, which, as Jack Flam writes, “gave the impression that modern art had never really happened.” Flam, Matisse and Picasso, 149.

17. Rosenberg to Picasso, July 22 and 25, 1932.

18. Anne Sinclair states that the letter was written in 1942 and not intended to be opened until after Rosenberg’s death. It is uncertain that Margot Rosenberg ever knew about it. Sinclair, My Grandfather’s Gallery, 149–51.

19. Elaine Rosenberg, interview with the author, March 2016.

20. Rosenberg, typed notes describing Wildenstein partnership, Paul Rosenberg Archives (B.29.13), Museum of Modern Art.

21. Margaret Scolari Barr to Barr, August 3, 1932, Margaret Scolari Barr Papers (II.21), MoMA Archives.

26. “MAKE ART…GERMAN AGAIN”

1. Picasso: 11. September Bis 30. October 1932 (Zurich: Kunsthaus Zürich, 1932), with Barr’s pencil annotations, Alfred H. Barr Papers (XI.B.39), MoMA Archives.

2. Barr to Conger Goodyear, November 25, 1932, Alfred H. Barr Papers (I.A.5), MoMA Archives.

3. Christian Geelhaar, “Picasso: The First Zurich Exhibition,” in Bezzola, Picasso by Picasso, 38.

4. C. G. Jung, “Picasso,” Neue Zürcher Zeitung, November 13, 1932, in Gerhard Adler and R.F.C. Hull, eds. and trans., The Collected Works of C. G. Jung, vol. 15, Spirit in Man, Art, and Literature (Princeton, N.J.: Princeton University Press, 1966), 136–41.

5. Geelhaar, “Picasso: The First Zurich Exhibition,” 38.

6. Interview with Helen Franc, April 16, 1991, Oral History Program, MoMA Archives, 30; Paul Cummings, “Oral History Interview with Margaret Scolari Barr Concerning Alfred H. Barr,” New York, February 22, April 8, and May 14, 1974. Archives of American Art, Washington, D.C., 17.

7. Writing from St. Anton am Alberg on February 4, Barr informed Abby Rockefeller that he would “probably go to a specialist in Stuttgart or Vienna.” In her retrospective account in “Our Campaigns,” Margaret Scolari Barr writes that they arrived in Stuttgart before Hitler was named chancellor, but Barr’s contemporaneous letters make clear they were in Austria until early February. Barr to Rockefeller, February 4, 1933, Alfred H. Barr Papers (I.A.8), MoMA Archives.

8. The woman’s father had lived in Marseille and known Cézanne’s friend Fortuné Marion, who wrote him an important series of letters about Cézanne. Frau Haag gave these to Barr, who would publish them in 1937. John Elderfield, “Alfred Barr’s Insomnia—and the Awakening of Cézanne’s Interest in Geology,” Princeton Art Museum, spring 2020, 9–11.

9. Barr, “Art in the Third Reich—Preview, 1933,” in Barr, Defining Modern Art, 172.

10. Margaret Scolari Barr, notes for “Our Campaigns,” 1933, Margaret Scolari Barr Papers (III.F.21), MoMA Archives.

11. “Hitler Proclaims War on Democracy at Huge Nazi Rally,” New York Times, February 11, 1933.

12. Barr, “Art in the Third Reich,” 163.

13. Barr, “Art in the Third Reich,” 167.

14. Barr, “Art in the Third Reich,” 168.

15. Barr, “Art in the Third Reich,” 169.

16. Margaret Scolari Barr, notes for “Our Campaigns,” 1933.

17. After coming under intense pressure from local Nazi officials, the Dessau Bauhaus closed in August 1932; Schlemmer finished Bauhaus Stairway the following month. The Bauhaus briefly moved to Berlin under Mies van der Rohe, but was shut down in August 1933. John-Paul Stonard, “Oskar Schlemmer’s ‘Bauhaustreppe,’ 1932: Part I,” Burlington Magazine, vol. 151, no. 1276 (July 2009), 456.

18. Christian Mengenthaler, National Socialist minister of education for the state of Württemberg, quoted in Barr, “Art in the Third Reich,” 166.

19. Barr, “Art in the Third Reich,” 168.

20. Cummings, “Oral History Interview with Margaret Scolari Barr,” 17.

21. During their stay, the Barrs frequented the Hotel Monte Verità, a former hilltop sanatorium that had been converted into a modernist luxury hotel, with Gauguins, Matisses, and Picassos in the dining room. Barr to Rockefeller, June 3, 1933, Alfred H. Barr Papers (I.A.8), MoMA Archives.

22. Margaret Scolari Barr, “Our Campaigns,” 32.

23. Barr, undated memo, “Stuttgart,” Alfred H. Barr Papers (IV.B.113), MoMA Archives.

24. Philip Johnson to Margaret Scolari Barr, July 1, 1933, in John-Paul Stonard, “Oskar Schlemmer’s ‘Bauhaustreppe,’ 1932: Part II,” Burlington Magazine, vol. 152, no. 1290 (September 2010), 595–602.

25. Interview with Philip Johnson, December 18, 1990, Oral History Program, MoMA Archives, 32.

26. Margaret Scolari Barr, “Our Campaigns,” 32.

27. Barr, “Report on the Permanent Collection,” 3rd draft, summer 1933, Alfred H. Barr Papers (II.C.17), MoMA Archives.

27. CONNECTICUT CHIC

1. Étienne Bignou to Charles Henschel, January 8, 1932, in Christel Force, “Étienne Bignou: The Gallery as Antechamber of the Museum,” in Pioneers of the Global Art Market, 208.

2. Kahnweiler to Maurice de Vlaminck, March 8, 1934, in Monod-Fontaine, Daniel-Henry Kahnweiler, 148.

3. Madeleine Chapsal, “Entretien avec Pierre Loeb,” L’Express, April 9, 1964, in Assouline, An Artful Life, 230.

4. FitzGerald, Making Modernism, 188.

5. Barr to Abby Rockefeller, November 6, 1933, Alfred H. Barr Papers (I.A.8), MoMA Archives.

6. Rosenberg to Picasso, December 16, 1933.

7. Philip Johnson, interview by Eugene R. Gaddis, November 30, 1982, in Gaddis, Magician of the Modern, 59.

8. Julien Levy, Memoir of an Art Gallery (Boston: MFA Publications, 2003), 137.

9. Stein to A. Everett Austin, undated, November 1933, in Gaddis, Magician of the Modern, 226.

10. Rosenberg to Austin, December 23, 1923, in Gaddis, Magician of the Modern, 228. Rosenberg’s visit was covered by The Hartford Times, December 22, 1933. FitzGerald, Making Modernism, 221.

11. Rosenberg to Picasso, December 16, 1933.

12. Rosenberg to Austin (cable), January 22, 1934, in FitzGerald, Making Modernism, 223; Rosenberg to Austin (cable), undated [January 23?] 1934, in James Thrall Soby to Sidney Janis, June 19, 1967, Collectors Records (37), MoMA Archives.

13. James Thrall Soby, “My Life in the Art World,” unpublished ms., ch. 9, 6–7, James Thrall Soby Papers (VIII.A.1), MoMA Archives.

14. Barr to Austin, January 18, 1933, Alfred H. Barr Papers (I.A.7), MoMA Archives.

15. Gaddis, Magician of the Modern, 245; Lucius Beebe, “Smart Art and Miss Stein Overwhelm Hartford,” New York Herald Tribune, February 11, 1934; Joseph W. Alsop, Jr., “Gertrude Stein Opera Amazes First Audience: Picked Auditors Laugh at First, but Last Curtain Brings Wild Applause,” New York Herald Tribune, February 8, 1934.

16. Weber, Patron Saints, 234.

17. Soby, “My Life in the Art World,” ch. 4, 14.

18. Gaddis, Magician of the Modern, 242.

19. Weber, Patron Saints, 237; Craven, Modern Art, 365.

20. Henry McBride, “Modern Masterpieces Shown,” New York Sun, March 17, 1934.

21. Soby to Janis, June 19, 1967.

28. “RISKING MY LIFE FOR MY WORK”

1. Lynes, Good Old Modern, 132. Among the few exceptions were the Detroit Institute of Arts, which had acquired Van Gogh’s 1887 Self-Portrait in 1922, and the Art Institute of Chicago, which had, via the collector Frederick Clay Bartlett, acquired The Bedroom from Paul Rosenberg in 1926.

2. Douglas Cooper, undated notes, 1938, Douglas Cooper Papers (I.7), Getty Research Institute.

3. “Pennell Enters Into Art War Here: Etcher Calls Post-Impressionist Exhibit at the Museum Dangerous,” New York Times, September 8, 1921; C. J. Holmes, Notes on the Post-Impressionist Painters: Grafton Galleries 1910–1911 (London: Philip Lee Warner, 1910), in Bullen, Post-Impressionists in England, 186.

4. Albin Krebs, “Irving Stone, Author of ‘Lust for Life,’ Dies at 86,” New York Times, August 28, 1989.

5. Irving Stone, Lust for Life, 50th anniv. ed. (New York: Plume, 1984), 70.

6. Richard Pearson, “Irving Stone, Bestselling Author, Dies,” Washington Post, August 28, 1989.

7. Barr to Helene Kröller-Müller, November 1, 1927, in Eva Rovers, De eeuwigheid verzameld: Helene Kröller-Müller (1868–1939) (Amsterdam: Prometheus-Bert Bakker, 2014), 373.

8. Lynes, Good Old Modern, 132.

9. Lewis Mumford, “Tips for Travellers—The Modern Museum,” New Yorker, June 9, 1934, in Mumford, Mumford on Modern Art, 125–28.

10. Barr, foreword to The Museum of Modern Art First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh (New York: Museum of Modern Art, 1929), 16. See also Kantor, Intellectual Origins of the Museum of Modern Art, 216.

11. Eksteins, Solar Dance, 57, 109. Valentiner was working as a consultant for the Detroit Institute of Arts at the time he arranged the purchase of the Van Gogh Self-Portrait. He became director two years later.

12. Karl Jaspers, Strindberg und Van Gogh: Versuch einer pathographischen Analyse (Berlin: P. Stringer, 1926), in John M. MacGregor, The Discovery of the Art of the Insane (Princeton, N.J.: Princeton University Press, 1989), 222.

13. Hans Prinzhorn, Artistry of the Mentally Ill: A Contribution to the Psychology and Psychopathology of Configuration, trans. Eric von Brockdorff (New York: Springer Verlag, 1972), 267.

14. Barr to Conger Goodyear, June 14, 1935, MoMA Exhibition Records (44.3), MoMA Archives. According to the 1935 agreement, the Dutch government turned the Kröller-Müller lands into a new national park and set up a private foundation to run the Kröller-Müller Museum, which opened in 1938.

15. Goodyear to Hon. Cordell Hull, May 14, 1935, and Barr to Grenville T. Emmet, July 8, 1935, in MoMA Exhibition Records (44.4), MoMA Archives. The secret payment is recorded in Rovers, De eeuwigheid verzameld: Helene Kröller-Müller (1868–1939), 426.

16. Margaret Scolari Barr, “Our Campaigns,” 40.

17. Barr, What Is Modern Painting?, 20; Kantor, Intellectual Origins of the Museum of Modern Art, 216.

18. Alfred H. Barr, Jr., ed., Vincent Van Gogh: With an Introduction and Notes Selected from the Letters of the Artist (New York: Museum of Modern Art, 1935), 20.

19. Staedel Museum director George Swarzenski to Barr, August 17, 1935, MoMA Exhibition Records (44.3), MoMA Archives. In 1938, Swarzenski fled Germany for the United States.

20. “$1,000,000 Paintings by Van Gogh Here: Collection Lent to Museum of Modern Art to Be Put on View Next Month,” New York Times, October 14, 1935.

21. Barr to Ing. V. W. van Gogh, November 21, 1935, MoMA Exhibition Records (44.4), MoMA Archives.

22. “Van Gogh Attendance,” New York Times, December 11, 1935; Lewis Mumford, “The Art Galleries,” New Yorker, November 16, 1935.

23. “Van Gogh Art Arrives: Guarded Like Mint; Exhibit Opens Tuesday,” San Francisco Chronicle, April 26, 1936; Steve Spence, “Van Gogh in Alabama, 1936,” Representations, vol. 75, no. 1 (Summer 2001), 35–36; Lynes, Good Old Modern, 135.

24. “U.S. Scene,” Time, December 24, 1934, 24.

25. Adolf Hitler, “Address on Art and Politics,” September 11, 1935, in Norman H. Baynes, ed. and trans., The Speeches of Adolf Hitler: April 1922–August 1939, vol. 1 (New York: Howard Fertig, 1969), 569–92.

26. Paul Westheim, who was Jewish, fled Germany in 1933 and made his comments in 1938. Huber, “ ‘The Nordic Painter Only Paints with Uncut Ears,’ ” 197.

27. In fact, Saint-Rémy is a short drive from Avignon, but Picasso’s Avignon was the Carrer d’Avinyó in Barcelona—the street whose brothel was an inspiration for the Demoiselles d’Avignon—which was considerably farther away.

28. Margaret Scolari Barr, “Our Campaigns,” 39.

29. THE YEAR WITHOUT PAINTING

1. In a 1923 interview with Marius de Zayas, Picasso said, “Cubism is not either a seed or a foetus, but an art dealing primarily with forms.” Barr, Picasso: Forty Years of His Art, 12.

2. In 1927, in one of the first popular histories of modern art, Barr’s mentor Frank Jewett Mather wrote that Cubism “is effectively dead,” adding that “Futurism, again a discarded aberration, is only interesting for its incidental philosophical and historical implications.” Mather, Modern Painting, 367.

3. In the catalog, Barr wrote that the exhibition had evolved from “a series of lectures based on material collected in Europe in 1927–28 and given in Spring 1929.” Alfred H. Barr, Jr., Cubism and Abstract Art (New York: Museum of Modern Art, 1936), 9.

4. Daix, Picasso: Life and Art, 229.

5. Mumford, “The Art Galleries,” New Yorker, November 16, 1935, in Mumford, Mumford on Modern Art, 125.

6. The details of their summer in Paris come from Margaret Scolari Barr, “Our Campaigns,” 42–43.

7. Barr, Cubism and Abstract Art, 16.

8. Margaret Scolari Barr, “Picasso: A Reminiscence,” unpublished ms., 1975, 5, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.

9. Margaret Scolari Barr, “Our Campaigns,” 42.

10. Margaret Scolari Barr, “Our Campaigns,” 42; Rosenberg to Picasso, January 1936, in FitzGerald, Making Modernism, 235.

11. Kahnweiler to Stein, August 7, 1935, in Madeline, Correspondence: Picasso and Stein, 350.

12. Barr, Cubism and Abstract Art, 11.

13. Barr, Cubism and Abstract Art, 19.

14. Conger Goodyear to Abby Rockefeller, March 12, 1936, Alfred H. Barr Papers (I.A.17), MoMA Archives.

15. Barr to Margaret Scolari Barr, undated, 1946, Margaret Scolari Barr Papers (II.16), MoMA Archives.

30. SPANISH FURY

1. Margaret Scolari Barr to Barr, September 25, 1936, Alfred H. Barr Papers (I.B.3), MoMA Archives.

2. In his 1964 memoir, Brassaï claimed that Picasso met Dora Maar at the café shortly after he had first seen her, “at almost exactly the same time” as Maya’s birth. But in her 1988 interview with Juan Marín, Maar refuted that they met at that time, explaining that they were first introduced by Éluard at a film screening in January 1936. Brassaï, Picasso and Company, 42; Juan Marín, “Conversando con Dora Maar,” Goya, no. 311 (March–April 2006), 117.

3. Sabartés, Picasso: An Intimate Portrait, 128.

4. Baldassari, Picasso: Life with Dora Maar, 194.

5. Penrose, Picasso: His Life and Work, 291.

6. Among the other sponsors of the NAACP exhibition, titled “An Art Commentary on Lynching,” were Sherwood Anderson, Pearl Buck, Dorothy Parker, Carl Van Vechten, and George Gershwin. Marlene Park, “Lynching and Antilynching: Art and Politics in the 1930s,” Prospects, vol. 18 (1993), 328. Barr’s trip to the Jim Crow South is recorded in Margaret Scolari Barr, “Our Campaigns,” 49.

7. Meyer Schapiro, “Nature of Abstract Art,” Marxist Quarterly (January–March 1937), 77.

8. Barr, What Is Modern Painting?, 47.

9. Margaret Scolari Barr, “Picasso: A Reminiscence,” lecture, 1973, 8, Margaret Scolari Barr Papers (III.A.19), MoMA Archives. The episode is recounted in less detail in Margaret Scolari Barr, “Our Campaigns,” 48.

10. Margaret Scolari Barr to Barr, September 25, 1936.

11. Anne Umland and Adrian Sudhalter, eds., Dada in the Collection of the Museum of Modern Art (New York: Museum of Modern Art, 2008), 17.

12. Katherine Dreier to Barr, February 27, 1937, MoMA Exhibition Records (55.2), MoMA Archives.

13. Conger Goodyear to Abby Rockefeller, December 15, 1936, and Rockefeller to Goodyear, December 16, 1936, Alfred H. Barr Papers (I.A.17), MoMA Archives.

14. Paul Éluard, “November 1936,” L’Humanité, December 17, 1936, quoted in Daix, Picasso: Life and Art, 246.

15. Pierre Daix, for example, writes that in 1936 Picasso “did not engage directly in political action…but in his work one can see he was moving toward intervention in the war.” Daix, Picasso: Life and Art, 247. John Richardson has recently offered a more tempered view, noting that the extent of Picasso’s involvement with the Prado is “unclear.” Richardson, Life of Picasso: Minotaur Years, 115. In fact, there is little evidence that Picasso did much of anything to support the frantic evacuation of the Prado, despite repeated invitations to Spain, and the intense efforts of several of his friends, including Zervos, José Bergamín, and Roland Penrose.

16. Christian Zervos to Picasso, November 26, 1936, in Baldassari, Picasso: Life with Dora Maar, 195; Christian Zervos, “Histoire d’un tableau de Picasso,” Cahiers d’Art, vol. 12, no. 4–5 (1937), 105, in Oppler, Picasso’s “Guernica,” 207.

17. Berger, Success and Failure of Picasso, 147.

18. Van Hensbergen, “Guernica,” 32–33.

19. Chipp, Picasso’s “Guernica,” 39. Picasso himself told Pierre Daix that the pictures in Ce soir on April 30 impelled him to make the initial drawings the next day. Daix, Picasso: Life and Art, 250.

20. Marín, “Conversando con Dora Maar,” 117; Man Ray, Self Portrait (Boston: Bulfinch Press, 1998), 179; José Bergamín, “Le Mystère tremble: Picasso furioso,” Cahiers d’Art, vol. 12, no. 4–5 (1937), 135.

21. Maar recounted her conversation with Picasso to John Richardson in 1992. Richardson, “A Different Guernica,” New York Review of Books, May 12, 2016.

22. Picasso’s statement was made in May 1937 while he was working on Guernica. Barr, Picasso: Fifty Years of His Art, 202, 264.

23. Zervos, “Histoire d’un tableau,” in Oppler, Picasso’s “Guernica,” 207.

24. Barr, Picasso: Fifty Years of His Art, 264.

25. Josep Lluís Sert, “The Architect Remembers,” statement from “Symposium on Guernica,” typescript, 1947, in Oppler, Picasso’s “Guernica,” 200.

26. Chipp, Picasso’s “Guernica,” 152.

27. Van Hensbergen, “Guernica,” 72, 76.

28. Juan Larrea, Pablo Picasso (New York: Curt Valentin, 1947), 72.

29. Richardson, “A Different Guernica.”

30. Janice Loeb to Barr, September 8, 1937, Alfred H. Barr Papers (XI.B.11), MoMA Archives.

31. Cahiers d’Art, vol. 12, no. 4–5 (1937); Chipp, Picasso’s “Guernica,” 152. Ellen C. Oppler refers to the “historic summer issue devoted to Guernica,” in Oppler, Picasso’s “Guernica,” 206. Anne Baldassari dates the release to the opening of the Spanish Pavilion on July 12, in Baldassari, Picasso: Life with Dora Maar, 310.

32. The first sales of the “Guernica” issue appear to have taken place in mid-October 1937. “Caisse octobre 1937,” in Livre de caisse (June 1937–December 1938), Fonds Cahiers d’Art (CA 71), Bibliothèque Kandinsky, Paris. The fall publication date is also supported by information provided to the author by Pierre de Fontbrune and Christian Derouet.

33. Chipp, Picasso’s “Guernica,” 152.

34. Jean-Paul Sartre, “What Is Writing?,” in “What Is Literature” and Other Essays (Cambridge, Mass.: Harvard University Press, 1988), 28.

31. “SUCH A PAINTING COULD NEVER AGAIN BE HAD”

1. César M. de Hauke to Robert Levy, September 24, 1937, in Rubin et al., “Les Demoiselles d’Avignon,” 195.

2. Writing at the end of the war, Barr stated that “the painting seems to have been publicly exhibited for the first time in 1937.” Barr, Picasso: Fifty Years of His Art, 258. The painting’s brief exhibition at a group show in Paris during World War I was rediscovered in the late twentieth century. Rubin et al., “Les Demoiselles d’Avignon,” 164.

3. Kert, Woman in the Family, 376.

4. Kirk Varnedoe, “The Evolving Torpedo: Changing Ideas of the Collection of Painting and Sculpture of the Museum of Modern Art,” in John Elderfield et al., The Museum of Modern Art at Mid-Century: Continuity and Change, Studies in Modern Art 5 (New York: Museum of Modern Art, 1995), 14–15.

5. Barr to Cornelius Sullivan, May 7, 1930, in Varnedoe, “Evolving Torpedo,” 63n5; Marquis, Missionary for the Modern, 163; Margaret Scolari Barr, “Our Campaigns,” 47.

6. Margaret Scolari Barr, “Our Campaigns,” 42; Alfred H. Barr, Jr., “Chronicle of the Collection,” in Painting and Sculpture in the Museum of Modern Art, 1929–1967 (New York: Museum of Modern Art, 1977), 625.

7. James Ede to Barr, undated [1934], in Kosinski, “G. F. Reber: Collector of Cubism,” 527.

8. Barr to Stephen Clark, July 13, 1934, and Barr to Abby Rockefeller, July 13, 1934, Alfred H. Barr Papers (I.A.11), MoMA Archives.

9. Barr, “Chronicle of the Collection,” 625; Margaret Scolari Barr, “Our Campaigns,” 47; Barr to Albert Gallatin, September 9, 1936, in FitzGerald, Making Modernism, 230–31.

10. Barr, “Chronicle of the Collection,” 625; Rubin et al., “Les Demoiselles d’Avignon,” 178, 198; Edward Alden Jewell, “An Overwhelming Week: A Full Half Hundred Shows, from Picasso to Academism, Inundate the Galleries,” New York Times, November 7, 1937. Doucet promised Picasso that he would bequeath the painting to the Louvre when he died, but he did not.

11. “Museum of Modern Art, New York, and Art Institute of Chicago Will Cooperate in Showing Largest Exhibition of Works by Picasso Ever Held in This Country,” January 20, 1939, Press Release Archives, MoMA Archives.

12. Rubin et al., “Les Demoiselles d’Avignon,” 198.

13. See “Chronology,” in Rubin et al., “Les Demoiselles d’Avignon,” 194–99.

14. Margaret Scolari Barr, “Footnotes to Picasso Lecture,” note 5, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.

15. Jean Cocteau, preface to Catalogue des tableaux modernes provenant de la Collection John Quinn (Paris: Hôtel Drouot, 1926), 3.

16. Margaret Scolari Barr, “Our Campaigns,” 52; Barr to Paul J. Sachs, September 9, 1955, Paul J. Sachs Papers (HC 3), folder 78, Harvard Art Museums Archives.

17. Barr, letter and transcript dated May 3, 1955, to Paul J. Sachs, July 5, 1955, Paul J. Sachs Papers (HC 3), folder 78. Harvard Art Museums Archives.

32. THE LAST OF PARIS

1. “United States Planes New European Factor,” New York Times, January 29, 1939; “Conference Secret,” New York Times, February 1, 1939; “Fight for Details on Foreign Policy Looms in Congress,” New York Times, February 5, 1939.

2. Lynes, Good Old Modern, 195.

3. Interview with Monroe Wheeler, July 21, 1987, Oral History Program, MoMA Archives, 64.

4. Lynes, Good Old Modern, 202.

5. Lynes, Good Old Modern, 197.

6. Ernest Hemingway, “A year ago today…,” in Ernest Hemingway and Alfred H. Barr, Quintanilla: An Exhibition of Drawings of the War in Spain (New York: Museum of Modern Art, March 1938). Hemingway had been trying to interest Barr in Quintanilla for several years. Hemingway to Barr, September 1, 1934, Alfred H. Barr Papers (6.B.17), MoMA Archives.

7. Barr, preface to Bauhaus 1919–1928, ed. Herbert Bayer, Walter Gropius, and Ise Gropius (New York: Museum of Modern Art, December 1938).

8. Edward Alden Jewell, “Plan Picasso Show,” New York Times, January 24, 1939.

9. “Art’s Acrobat,” Time, February 13, 1939, 44–46.

10. Mary Callery to Barr, February 17, 1939, MoMA Exhibition Records (91.7), MoMA Archives.

11. “Art’s Acrobat,” 44.

12. Mary Callery to Barr, February 17, 1939, MoMA Exhibition Records (91.2), MoMA Archives; Rosenberg to Barr, February 23, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

13. Barr to Rosenberg, draft letter, March 16, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

14. Daniel Catton Rich to Barr, March 15, 1939, MoMA Exhibition Records (138.2), MoMA Archives.

15. Barr to Rosenberg, March 20, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

16. Rosenberg to Barr, March 28, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

17. Margaret Scolari Barr, “Our Campaigns,” 54.

18. Interview with Stanton L. Catlin, July–September 1989, Oral History Program, MoMA Archives, 24.

19. “Reich Legion of 5,000 Ready to Quit Spain,” New York Times, April 23, 1939.

20. Henry McBride, “Opening of the New Museum of Modern Art,” New York Sun, May 13, 1939.

21. In addition to attending shows like the Van Gogh show, Eleanor Roosevelt would go on to write an introduction to the museum’s 1941 exhibition of Native American art. Frederick H. Douglas and René d’Harnoncourt, Indian Art of the United States (New York: Museum of Modern Art, 1941), 8.

22. Franklin D. Roosevelt, “Address on Museum of Modern Art” [delivered May 10, 1939], New York Herald Tribune, May 11, 1939.

23. Barr to Daniel Catton Rich, July 20, 1939, MoMA Exhibition Records (138.2), MoMA Archives.

24. Rosenberg, in Benoît Remiche, ed., 21 rue La Boétie (Ganshoren, Belgium: IPM Printing SA, 2016), 131.

25. Barr, Matisse: His Art and His Public, 224.

26. Margaret Scolari Barr, notes with party hats inscribed by Brancusi, Alfred H. Barr Papers (VI.B), MoMA Archives. See also Margaret Scolari Barr, “Our Campaigns,” 56–57.

27. In “Our Campaigns,” Margaret Scolari Barr writes that Barr accompanied her to Geneva in “late July/early August.” But Barr’s correspondence indicates that he sailed for New York on July 26, so the Geneva trip must have taken place before then. Barr to Rich, July 20, 1939.

28. Rich to Barr (cable), September 6, 1939, MoMA Exhibition Records (138.2), MoMA Archives.

29. Jere Abbott to Barr, September 1939, Alfred H. Barr Papers (I.A.27), MoMA Archives.

33. “MORE IMPORTANT THAN WAR”

1. Barr to Daniel Catton Rich (cable), September 11, 1939, MoMA Exhibition Records (138.2), MoMA Archives.

2. Rich to Barr, September 12, 1939, MoMA Exhibition Records (138.2), MoMA Archives.

3. Christian Zervos to Barr, September 6, 1939, MoMA Exhibition Records (91.4), MoMA Archives.

4. Barr to Rosenberg, September 12, 1939, MoMA Exhibition Records (91.7), MoMA Archives.

5. Barr to Stein, September 8, 1939, MoMA Exhibition Records (91.4), MoMA Archives.

6. Barr to Justin Thannhauser, September 8, 1939, MoMA Exhibition Records (91.4), MoMA Archives.

7. Pierre Loeb to Barr (cable), September 29, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

8. Jacqueline Apollinaire to Barr, October 5, 1939, MoMA Exhibition Records (91.2), MoMA Archives.

9. Whitney Darrow to Julian Street, Jr., August 10, 1939, MoMA Exhibition Records (91.4), MoMA Archives.

10. Margaret Scolari Barr, “Our Campaigns,” 56.

11. Cowling, Visiting Picasso, 47.

12. Barr, Picasso: Fifty Years of His Art, 70, 88.

13. Van Hensbergen, “Guernica,” 122–24; Alfred Frankenstein, “Out of the Bombing of Guernica Came a Picasso Mural,” San Francisco Chronicle, September 3, 1939.

14. Museum of Modern Art (unidentified sender) to R. Lérondelle (cable), November 4, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

15. “Final Paintings Arrive from Europe in Time for Big Picasso Exhibition at Museum of Modern Art,” November 6, 1939, Press Release Archives, MoMA Archives.

16. Barr to Dora Maar, August 16, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

17. Barr to Rosenberg, September 12, 1939.

18. Mary Callery to Barr, September 20, 1939, MoMA Exhibition Records (91.2), MoMA Archives.

19. Julian Street to Sara Newmayer (memorandum), August 18, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

20. Brassaï, Picasso and Company, 40.

21. Sabartés, Picasso: An Intimate Portrait, 191.

22. Callery to Barr, September 20, 1939.

23. Zervos to Barr, October 26, 1939, MoMA Exhibition Records (91.4), MoMA Archives.

24. Rosenberg to Barr, October 25, 1939, MoMA Exhibition Records (91.7), MoMA Archives.

25. “Nazis Boast Entire Army Fills West Ready for Attack,” New York Times, November 11, 1939.

26. “Almanac de Gotham,” Harper’s Bazaar, November 1939, 51.

27. Andrew C. Ritchie, “The Picasso Retrospective Exhibition in New York,” Burlington Magazine, vol. 76, no. 444 (March 1940), 101; George L. K. Morris, “Picasso: 4000 Years of His Art,” Partisan Review, vol. 7, no. 1 (January–February 1940), 50–53; “The Picasso Show,” New York Times, November 18, 1939.

28. “The Usefulness of Picasso,” New York Herald Tribune, November 26, 1939.

29. FitzGerald, Picasso and American Art, 169, 182.

30. John Graham to Duncan Phillips, undated [1931], in FitzGerald, Picasso and American Art, 123.

31. Robert Goldwater, “Picasso: Forty Years of His Art,” Art in America, vol. 28, no. 1 (1940), 43–44.

32. B. H. Friedman, “An Interview with Lee Krasner Pollock,” in Friedman, Jackson Pollock: Black and White (New York: Marlborough-Gerson Gallery, 1969). Michael FitzGerald has persuasively identified the thrown book as Barr’s Picasso: Forty Years of His Art. FitzGerald, Picasso and American Art, 196.

34. ESCAPE

1. Sabartés, Picasso: An Intimate Portrait, 196.

2. Barr to Picasso, Rosenberg, and Mary Callery (cables), November 15, 1939, MoMA Exhibition Records (91.3), MoMA Archives.

3. Henri Matisse to Pierre Matisse, December 17, 1939, in Cowling et al., Matisse Picasso, 381.

4. Callery to Barr, November 19, 1939, MoMA Exhibition Records (91.2), MoMA Archives.

5. Sabartés, Picasso: An Intimate Portrait, 196.

6. Callery, “The Last Time I Saw Picasso,” Art News, March 1–14, 1942.

7. Monod-Fontaine, Daniel-Henry Kahnweiler 151–52.

8. Fernand Léger to Rosenberg, December 14, 1939, Literary and Historical Manuscripts (MA3500.270), Morgan Library; Sabartés, Picasso: An Intimate Portrait, 196.

9. The renewable contracts entered into effect on October 1 for Braque and October 30 for Matisse. Braque to Rosenberg, November 17, 1939, Rosenberg Collection of artist letters (MA 3500.27), Morgan Library; contract between Henri Matisse and Paul Rosenberg dated October 30, 1939, Archives Matisse.

10. Rosenberg to Barr, December 16, 1939, quoted in Barr to Rosenberg, December 26, 1940, MoMA Exhibition Records (91.7), MoMA Archives.

11. Rosenberg to Picasso, February 1, 1940.

12. C. Denis Freeman and Douglas Cooper, The Road to Bordeaux (New York and London: Harper and Brothers, 1941), 5.

13. Rosenberg to Henri Matisse, April 4, 1940, Archives Matisse.

14. Henri Matisse to Pierre Matisse, October 11, 1940, Pierre Matisse Gallery Archives (MA 5020), Morgan Library.

15. Jorge Helft, interview by Zachary Donnenfield, Bordeaux, France, 2016, Sousa Mendes Foundation, Greenlawn, New York, vimeo.com/189047352.

16. Helft, interview by Donnenfield.

17. Sousa Mendes’s earlier career is recounted in Fralon, A Good Man in Evil Times, 12–39.

18. Aristides de Sousa Mendes to his brother-in-law, Silvério, June 13, 1940, Sousa Mendes Foundation, Greenlawn, New York.

19. Helft, interview by Donnenfield.

20. Margot Rosenberg would spend the rest of the war consumed by her separation from her son. Elaine Rosenberg, interview with the author, September 2016.

21. Helft, interview by Donnenfield.

22. Portuguese agents were sent to the French border on June 22, the same day the Rosenbergs crossed into Portugal. Fralon, A Good Man in Evil Times, 88–89.

23. Lynn H. Nicholas, The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War (New York: Alfred A. Knopf, 1994), 125.

24. Nicholas, Rape of Europa, 159–64.

25. Rosenberg to Edward Fowles, July 25, 1940, correspondence: Paul Rosenberg, 1923–1948, Duveen Brothers Records, Getty Research Institute.

26. Sinclair, My Grandfather’s Gallery, 54.

27. Margaret Scolari Barr, “Our Campaigns,” 60.

28. The original cables from museum directors to the U.S. consulate in Lisbon have not been located. The Paul Rosenberg Archives contain French translations of them, which the author has rendered in English.

29. Rosenberg to Fowles, August 3, 1940, Getty Research Institute.

30. Feliciano, Lost Museum, 112–13.

31. Henry McIlhenny to Henrietta Callaway, August 19, 1940, MoMA Exhibition Records (91.7), MoMA Archives.

EPILOGUE

1. Elizabeth McCausland, interview by Frank Kleinholz for the weekly radio program Art in New York, February 7, 1945, wnyc.org/story/elizabeth-mccausland.

2. “Picasso Exhibit in Chicago Great Fun,” Nebraska State Journal, February 25, 1940.

3. A. J. Philpott, “Picasso Paintings at Museum Seen as Art Sensation; Spanish-French Work Puzzles Onlookers, Shows a Queer Genius,” Boston Globe, April 28, 1940.

4. “Visitors Stage Sit-Down,” Press Democrat, Santa Rosa, California, August 8, 1940.

5. Museum of Modern Art Bulletin, September 1940.

6. Bulletin of the Minneapolis Institute of Arts, November 23, 1940, and January 18, January 25, and February 1, 1941.

7. Thomas C. Linn, “Picasso Exhibit Returns to City: Modern Museum to Show It Again After 250,000 in 9 Cities Viewed It,” New York Times, July 13, 1941; “Picasso: Forty Years of His Art: Itinerary,” MoMA Department of Circulating Exhibitions Records (II.1.91.10.3), MoMA Archives.

8. Earl Rowland to Elodie Courter, January 29, 1941, MoMA Exhibition Records (91.4), MoMA Archives.

9. Susana Gamboa to Luis de Zulueta, Jr., November 25, 1944, MoMA Exhibition Records (258.J.3), MoMA Archives.

10. Marquis, Missionary for the Modern, 309.

11. “Picasso: Special Double Issue,” Life, December 27, 1968.

12. According to the wishes of the Quinn Estate, the Quinn letters were deposited at the Manuscripts Division of the New York Public Library, where they were available for inspection only. They were finally rediscovered in 1960, when a rogue scholar, using a Quinn-like technique, memorized a large group of them and secretly published them. McCandlish Phillips, “Purloined Letters? Intrigue in the Library: Printer Defies a Ban to Publish Papers of John Quinn,” New York Times, January 17, 1960.

13. Quinn to W. B. Yeats, February 25, 1915.

14. Alexandre Rosenberg to Douglas Cooper, February 21, 1959, in Paul Rosenberg and Company, 71.

15. Margaret Scolari Barr, “Picasso: A Reminiscence,” lecture, 1973, 12, Margaret Scolari Barr Papers (III.A.19), MoMA Archives.

16. Roché to Picasso, March 1946, Harry Ransom Center.