Knowledge (XXG)

Daniel-Henry Kahnweiler

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246: 335:. He also spent his time visiting the city's museums and art galleries. Besides the museums in Paris, he took trips around the European continent to see what was being shown in museums and art galleries outside France. He gave his first interview on Cubism in 1912, and it was actual historical events that led to his career as a historian. There is a view that Kahnweiler's sensibility was such that his gallery, and the way he styled and developed it, was as much a Cubist gallery as were the paintings by Picasso and the other Cubist painters. The gallery had a clear aesthetic position, uncompromising integrity, financial stability and creative development. During the years 1907-1914 his gallery was a central cradle for Cubism, not only to display the works, but where one also met the artists. 163: 383: 192:
and immediately wanted to buy it along with all of Picasso's works. Picasso wrote of Kahnweiler, "What would have become of us if Kahnweiler hadn't had a business sense?" Kahnweiler's appreciation of Picasso's talents was especially gratifying to the artist, since he was largely unknown and destitute
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was published with contributions by the world's leading philosophers, art historians, and artists, all of whom emphasized the vital importance of his unique contribution to art history – an importance still not yet fully appreciated, probably due to the fact that he has been viewed mostly as an art
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In 1907, when there were only half a dozen viable galleries in Paris, he made contracts with artists to buy all of their work in order to free them from financial worries and permit them to concentrate on their creative work. He met with them daily to discuss their work, photographed each work they
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and several other artists of the same generation. To use his own word, Kahnweiler wanted to "defend" great artists, but only those who had no dealers and of whose talents he was convinced. Rather than exhibiting appealing works by established artists from the past and present, Kahnweiler championed
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in Germany and Paris gave way to an interest in art collecting while Kahnweiler was still in his twenties. He opened his first small art gallery (4 by 4 meters) in Paris in 1907 at 28 rue Vignon, at age 23. There was a family precedent for such an enterprise, since his uncle, who ran a famous stock
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were either never translated into English or badly translated. The omission of key elements of a proper understanding of Cubism and focus on small and sensational elements of his complex relationship with Picasso has led to a flawed understanding of the ideas he put forward in these writings.
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Although the financial support for artists was an important contribution to art history, he was also a significant figure for his work as an art historian and eyewitness to the emergence of Cubism during the period 1907–1914. When working in Paris, his spare time was devoted to reading and
295:(beautiful books), in which a contemporary artist would illustrate a work of a contemporary writer. He expanded his presentations by bringing together artists, writers and poets to produce their works as a joint project in more than 40 books. Picasso, for example, illustrated the works of 33: 346:. Kahnweiler forbade his 'gallery Cubists' from exhibiting at these major Salons, and by so doing, actually removed them from public view. From the viewpoint of the general public, Cubism came to be more associated with the 'Salon Cubists', such as 429:. Writing becoming a passion he continued over his lifetime, and he authored hundreds of books and major articles. The second period of enforced writing came during a period of internal exile caused by the events of World War II. As a Jew, the 402:
under French law. Many German nationals living in France had their possessions sequestered by the French state, and as a result, Kahnweiler's collection was confiscated in 1914 and sold by the government in a series of auctions at the
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produced (he felt it imperative to have a record), held exhibitions of their work and promoted their work internationally. Since he considered himself friends with many of them, he co-owned little sailing boats with his artists.
280:, Kahnweiler was one of the influential art connoisseurs of the 20th century. As a businessman, Kahnweiler pioneered many new methods of working with artists and art dealing; these are now established practices in the industry. 449:
Kahnweiler was very prolific as an author, but never produced a full autobiography. There was, however, a series of interviews first aired on French television, then published and translated as a book under the title
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Although revered by artists for his business and aesthetic sense and respected by art dealers and art historians, the true impact of his life and work has yet to be recognized, despite a 1988 biography by
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In his gallery, Kahnweiler supported many of the great artists of his time who found themselves without adequate recognition and little or no interest among collectors. Initial purchases included works by
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The outbreak of World War I in 1914 not only ruptured the Cubist experiments in art, but also forced Kahnweiler to live in exile in Switzerland; due to his German citizenship, he was considered an
696: 414:'s "Buffalo Bill," which Kahnweiler acquired from Picasso in 1912 and was auctioned at HĂ´tel Drouot in the "Fourth Sale of Sequestered Art," May 7-8, 1923, and bought in auction at 2264: 245: 2138: 2161: 186:
art movement through his activities as an art dealer and spokesman for artists. He was among the first people to recognize the importance and beauty of Picasso's
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Malcolm Gee, Dealers, Critics and Collectors of Modern Painting; Aspects of the Parisian Art Market Between 1910 and 1930, Courtauld PhD Dissertation 1977, p. 25
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Kahnweiler's entrepreneurial abilities were so acute that by the 1950s his art gallery was among the top 100 French companies in terms of export figures.
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Kahnweiler collection: Catalogue des tableaux, aquarelles, gouaches et dessins. Part II, HĂ´tel Drouot, Paris, November 17-18, 1921
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of the 20th century. He became prominent as an art gallery owner in Paris beginning in 1907 and was among the first champions of
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As part of his activities in promoting the work of emerging artists, Kahnweiler sponsored the first exhibition of the work of
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Concurrently, the primary means for avant-garde painters and sculptors to show their works to a wider audience remained the
1979: 902: 162: 1498: 1447: 1191: 1086: 238:, although a great artist, was considered too old to be represented, and his work was already represented by the dealer 188: 2309: 2234: 2219: 2079: 1579: 1350: 1294: 1238: 997: 719: 299:. As a publisher of art with literary works, he had no equal, and was the first to sponsor publications by Max Jacob, 277: 145:
prepared him for his life as an art connoisseur and pragmatic businessman. Early employment in the family business of
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Dealers, critics, and collectors of modern painting: aspects of the Parisian art market between 1910 and 1930
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and was trained to study finance and philosophy. His upbringing and education at a German
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forced him to flee Paris. He remained in France, in hiding. "Under the clouds from the
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During the years of exile (until 1920), Kahnweiler studied and wrote works such as the
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burgeoning artists who had come from all over the globe to live and work in
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Kahnweiler is considered to have been one of the greatest supporters of the
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to a prosperous Jewish family. His family had previously moved from
315:, and many others. In doing so, he launched many literary careers. 381: 244: 161: 704: 430: 708: 1375:
Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)
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at the time when many of his most famous works were created.
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DANIEL-HENRY KAHNWEILER –. (21 September 2017). PATRONS.
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He encouraged the practice of publishing 727: 713: 705: 20: 1456:Bust of a Seated Woman (Jacqueline Roque) 592: 590: 588: 492:A Life of Picasso: The Prodigy, 1881–1906 16:German-born art collector and art dealer 543: 437:," as he put it in his seminal work on 2148:from the National Gallery of Victoria 478:. He died in 1979 in Paris, aged 94. 7: 1564:Minotaur Kneeling over Sleeping Girl 553: 551: 549: 547: 1144:Portrait of Daniel-Henry Kahnweiler 951:Portrait of Angel Fernández de Soto 418:for $ 12,412,500 on Nov. 17, 2022. 254:Portrait of Daniel-Henry Kahnweiler 172:Portrait of Daniel-Henry Kahnweiler 14: 2305:20th-century French male writers 1367:Girl with a Red Beret and Pompom 386:Pencil drawing of Kahnweiler by 31: 2300:German male non-fiction writers 2295:French male non-fiction writers 2064:Picasso: Magic, Sex & Death 1491:Bust of a Woman (Marie-ThĂ©rèse) 1046:Young Girl with a Flower Basket 640:, Yale University Press, 2004, 121:Kahnweiler was born in 1884 in 1741:Picasso and the Ballets Russes 1054:Famille d'acrobates avec singe 1: 1704: 1689: 1228: 987: 452:Mes galleries et mes peintres 37:Daniel-Henry Kahnweiler, 1956 2275:Businesspeople from Mannheim 1982:(Juan-les-Pins, Summer 1924) 1136:Portrait of Ambroise Vollard 624:), 1 Audio Stop 439, Podcast 392:MusĂ©e National d'Art Moderne 378:World War I and World War II 2245:20th-century art collectors 2139:Picasso referendum of Basel 1580:The Dream and Lie of Franco 1351:Woman in Hat and Fur Collar 1295:Nude, Green Leaves and Bust 998:Acrobat and Young Harlequin 567:. 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803: 801: 798: 796: 793: 791: 788: 786: 783: 782: 780: 776: 769: 766: 763: 760: 757: 754: 751: 748: 747: 745: 741: 737: 736:Pablo Picasso 730: 725: 723: 718: 716: 711: 710: 707: 701: 699: 695: 693: 690: 689: 685: 678: 673: 670: 667: 662: 659: 653: 650: 647: 643: 639: 638: 631: 628: 625: 623: 619: 615: 608: 606: 602: 599: 593: 591: 589: 585: 580: 574: 570: 566: 565: 560: 554: 552: 550: 548: 544: 537: 532: 529:Malcolm Gee, 528: 526: 522: 518: 514: 510: 507: 505: 501: 497: 493: 489: 486: 485: 481: 479: 477: 471: 468: 464: 463:art historian 459: 458: 453: 444: 442: 440: 436: 432: 428: 424: 419: 417: 413: 412:Pablo Picasso 408: 406: 401: 393: 389: 384: 377: 375: 373: 369: 365: 361: 357: 356:Fernand LĂ©ger 353: 349: 345: 341: 336: 334: 330: 321: 319: 316: 314: 313:Pablo Picasso 310: 306: 302: 298: 294: 290: 285: 281: 279: 275: 271: 267: 266:Paul Cassirer 263: 255: 251: 247: 243: 242:in any case. 241: 237: 233: 229: 224: 220: 216: 212: 211:Fernand LĂ©ger 208: 204: 200: 194: 191: 190: 185: 178: 174: 173: 168: 167:Pablo Picasso 164: 157: 155: 153: 148: 144: 140: 136: 132: 128: 124: 116: 114: 112: 108: 104: 103:Pablo Picasso 100: 96: 87: 85:Occupation(s) 83: 79:Paris, France 71: 67: 62: 58: 45: 41: 34: 29: 22: 19: 2280:Stockbrokers 2190: 2182: 2167: 2152: 2145: 2130: 2122: 2078: 2070: 2062: 2054: 2046: 2038: 2030: 2022: 1892:(first wife) 1775: 1766: 1759: 1752: 1745: 1698: 1683: 1648: 1640: 1621: 1613: 1605: 1586: 1578: 1570: 1562: 1554: 1535: 1521: 1513: 1505: 1497: 1489: 1470: 1462: 1454: 1446: 1438: 1430: 1421: 1413: 1405: 1397: 1391:Woman's Head 1389: 1381: 1373: 1365: 1357: 1349: 1341: 1333: 1325: 1317: 1309: 1301: 1293: 1285: 1277: 1269: 1261: 1253: 1245: 1237: 1222: 1214: 1206: 1198: 1190: 1182: 1174: 1168:La Coiffeuse 1166: 1158: 1150: 1142: 1134: 1126: 1118: 1110: 1102: 1094: 1076: 1068: 1060: 1052: 1044: 1036: 1028: 1020: 1012: 1004: 996: 981: 973: 965: 957: 949: 941: 933: 925: 917: 909: 901: 893: 885: 877: 869: 861: 853: 845: 697: 672: 661: 652: 636: 630: 621: 617: 613: 563: 530: 512: 491: 472: 455: 451: 448: 435:gas chambers 426: 422: 420: 409: 405:HĂ´tel Drouot 397: 337: 325: 317: 305:AndrĂ© Masson 293:Beaux Livres 292: 286: 282: 259: 253: 236:Paul CĂ©zanne 228:Montparnasse 207:AndrĂ© Masson 203:AndrĂ© Derain 195: 187: 181: 170: 131:Rockenhausen 120: 94: 93: 74:(1979-01-11) 53:25 June 1884 18: 2290:1979 deaths 2285:1884 births 2195:(1993 play) 2135:(2006 book) 2103:Carl Nesjar 1813:(Barcelona) 1693: 1941 1645:(1945-1946) 1634:Lithographs 1615:Don Quixote 1559:(1930–1937) 1507:Bull's Head 1440:Las Meninas 1410:(1944–1945) 1232: 1921 991: 1905 970:(1904-1905) 895:Yo, Picasso 887:La Gommeuse 770:(1910–1919) 764:(1907–1909) 758:(1904–1906) 752:(1901–1904) 457:Festschrift 322:Art history 99:art dealers 2214:Categories 2113:Lump (dog) 2072:Modigliani 1965:Residences 1948:(grandson) 1924:(daughter) 1908:(daughter) 1837:(Normandy) 1761:Pulcinella 1642:Le Taureau 1588:347 Series 1483:Sculptures 1464:Jacqueline 1279:La Lecture 646:0300102305 538:References 467:aesthetics 445:At the end 416:Christie's 333:aesthetics 232:Montmartre 158:Art dealer 135:Palatinate 117:Early life 49:1884-06-25 2144:Theft of 2014:Films and 1863:Dora Maar 1805:(Antibes) 1073:(1905–06) 1065:(1905–06) 967:The Actor 922:(1901-02) 839:Paintings 825:1971–1973 820:1961–1970 815:1951–1960 810:1941–1950 805:1931–1940 800:1921–1930 795:1911–1920 790:1901–1910 785:1889–1900 439:Juan Gris 388:Juan Gris 297:Max Jacob 219:Juan Gris 143:Gymnasium 139:Stuttgart 63:, Germany 2032:Guernica 1967:(France) 1956:(father) 1846:Partners 1829:(Malaga) 1821:(Malaga) 1599:Drawings 1548:Etchings 1537:Sylvette 1335:Guernica 1263:Le Repos 1208:Ma Jolie 1200:Arlequin 1192:Ma Jolie 618:Tea Time 561:(1991). 519:, 1991, 515:, Publ. 498:, 1991, 494:, Publ. 390:, 1921, 342:and the 169:, 1910, 123:Mannheim 109:and the 57:Mannheim 2091:Related 1797:(Paris) 1787:Museums 1777:Mercure 1287:Le RĂŞve 762:African 743:Periods 482:Sources 394:, Paris 2080:Genius 2075:(2004) 2067:(2001) 2059:(1996) 2051:(1978) 2043:(1956) 2035:(1950) 2027:(1949) 1882:Family 1747:Parade 1718:Poetry 1661:Murals 1653:(1949) 1626:(1961) 1618:(1955) 1610:(1905) 1591:(1968) 1583:(1937) 1575:(1935) 1567:(1933) 1540:(1970) 1532:(1967) 1518:(1951) 1510:(1942) 1502:(1941) 1494:(1931) 1475:(1962) 1467:(1961) 1459:(1960) 1451:(1958) 1443:(1957) 1435:(1955) 1433:series 1426:(1951) 1418:(1948) 1402:(1941) 1394:(1939) 1386:(1938) 1378:(1937) 1370:(1937) 1362:(1937) 1354:(1937) 1346:(1937) 1338:(1937) 1330:(1935) 1322:(1934) 1314:(1932) 1306:(1932) 1298:(1932) 1290:(1932) 1282:(1932) 1274:(1932) 1266:(1932) 1258:(1929) 1250:(1925) 1242:(1923) 1219:(1921) 1211:(1914) 1203:(1913) 1195:(1912) 1187:(1912) 1179:(1912) 1171:(1911) 1163:(1911) 1155:(1911) 1147:(1910) 1139:(1910) 1131:(1910) 1123:(1910) 1115:(1909) 1107:(1909) 1099:(1908) 1091:(1907) 1081:(1906) 1057:(1905) 1049:(1905) 1041:(1905) 1033:(1905) 1025:(1905) 1017:(1905) 1009:(1905) 1001:(1905) 978:(1904) 962:(1904) 954:(1903) 946:(1903) 943:La Vie 938:(1903) 930:(1903) 914:(1901) 906:(1901) 898:(1901) 890:(1901) 882:(1901) 874:(1901) 866:(1900) 858:(1897) 850:(1889) 768:Cubism 644:  575:  523:  502:  184:Cubist 152:London 111:Cubist 1916:(son) 1677:Plays 431:Nazis 400:alien 127:Baden 61:Baden 1650:Dove 756:Rose 750:Blue 642:ISBN 573:ISBN 521:ISBN 500:ISBN 425:and 370:and 331:and 276:and 230:and 69:Died 43:Born 2216:: 1705:c. 1690:c. 1229:c. 988:c. 604:^ 587:^ 571:. 569:36 546:^ 511:, 490:, 441:. 374:. 366:, 362:, 358:, 354:, 350:, 311:, 307:, 303:, 272:, 268:, 264:, 221:, 217:, 213:, 209:, 205:, 201:, 125:, 105:, 59:, 2175:" 2160:" 1710:) 1703:( 1695:) 1688:( 1234:) 1227:( 993:) 986:( 728:e 721:t 714:v 620:( 581:. 51:) 47:(

Index


Mannheim
Baden
art dealers
Pablo Picasso
Georges Braque
Cubist
Mannheim
Baden
Rockenhausen
Palatinate
Stuttgart
Gymnasium
stock brokerage
London

Pablo Picasso
Portrait of Daniel-Henry Kahnweiler
Art Institute of Chicago
Cubist
Les Demoiselles d'Avignon
Kees van Dongen
André Derain
André Masson
Fernand LĂ©ger
Georges Braque
Juan Gris
Maurice de Vlaminck
Montparnasse
Montmartre

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