A study of Picasso's status in the art community and his influence on the avant-garde market follows his early year search for a gallery and his monumental rise to fame, noting his popularity among dealers and his commercial strategies.
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Book Description
Editorial Reviews
From Publishers Weekly
Although Pablo Picasso declared in 1918 that dealers were the enemy of artists, this revealing illustrated study documents how Picasso strived to win the support of dealers, critics, collectors and curators who could boost his reputation?and sales. Through his friendships with two impresarios, poet Jean Cocteau and longtime ballet patron Eugenia Errazuriz, Picasso attracted the patronage of aristocratic circles that welcomed his shift from cubism to neoclassical styles. Then, in 1918, he formed an alliance with two prominent dealers in France, Paul Rosenberg and Georges Wildenstein. His intense collaboration with Rosenberg, according to the author, stimulated Picasso's art, exposing him to Post-Impressionists. Drawing on Picasso's correspondence, FitzGerald, associate professor of fine art at Trinity College in Connecticut, carries the story of Picasso's lionization at the 1939-1940 Museum of Modern Art retrospective in Manhattan. He makes a compelling case that entrepreneurship is a defining task of the avant-garde artist.
Copyright 1995 Reed Business Information, Inc.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
The art marketplace has always been the domain of the dealer-private or auction house-and, for good or ill, it has increasingly become the sphere of influence of critics, collectors, and curators. In this engaging, well-written account, the author examines the role of the artist in the confluence of the aesthetic and the commercial during the rise of modernism in the late 19th and early 20th centuries. Drawing upon extensive unpublished correspondence between Picasso and those involved with the marketing of his work, Fitzgerald presents this artist as a model entrepreneur in his collaboration with the major French dealers of his time, Paul Rosenberg and Georges Wildenstein. Fitzgerald's observations and his clearly and intelligently drawn conclusions open new venues for the study of modernism and give us a new and different view of the creators and the purveyors of today's art.
Paula Frosch, Metropolitan Museum of Art Lib., New York
Copyright 1995 Reed Business Information, Inc.
Paula Frosch, Metropolitan Museum of Art Lib., New York
Copyright 1995 Reed Business Information, Inc.
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