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             Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1900 to First World War > Cubism 
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                        Pablo Picasso - The Interaction Between Collectors and Exhibitions, 1899-1939 (Hardcover)
                    
                        
                            
                            
                            
                            
                                
                                
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                Pablo Picasso - The Interaction Between Collectors and Exhibitions, 1899-1939 (Hardcover)
            
            
                
            
            
            
            
            
            
                
                
                 
             
            
            
                
                    
                        
                        
                    
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                    This book explores the interaction between collectors, dealers and
exhibitions in Pablo Picassos entire career. The former two often
played a determining role in which artworks were included in
expositions as well as their availability and value in the art
market. The term collector/dealer must often be used in combination
since the distinction between both is often unclear; Heinz
Berggruen, for instance, identified himself primarily as a
collector, although he also sold quite a few Picassos through his
Paris gallery. On the whole, however, dealers bought more often
than collectors; and they bought works by artists they were already
involved with. While some dealers were above all professional
gallery owners; most were mainly collectors who sporadically sold
items from their collection. Picassos first known dealer was Pere
Manyach, whom he met as he travelled to Paris in 1900 when he was
only 19 years old. As his representative, Manyach went about
setting up exhibitions of his works at galleries in the French
capital, such as Bethe Weills and Ambroise Vollards. Picassos first
major exhibition took place in 1901 at Vollards. Daniel-Henry
Kahnweiler and Leonce Rosenberg came in after Vollard lost interest
during the Cubist period, as they had a manifest preference for the
new style. Like Vollard, later dealers often preferred the more
conventional Neoclassical phase in Picasso. This was the case with
Leonces brother, Paul Rosenberg. The book is organized
chronologically and discusses the interaction between Picassos
collectors, dealers and exhibitions as they take place. Once
collectors acquired an artwork, their willingness to lend them to
exhibitions or their necessity to submit them to auction had a
direct impact on Picassos prominence in the art world.
                 
                    
                
                
                    
                    
                        
                            
                            
                            
                        
	
	
		
	
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