{"data":{"id":111060,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/111060","is_boosted":true,"title":"Daniel-Henry Kahnweiler","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAF5aT2NdUGdlXXRuXmFiYXd1b3p1aHt1aHx2aHh1boB6a4d+aomAbYSAcoSAc4KAdYyKfoiIgpqTgbGuoQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURoIIcwWJIw1QkzBMREOA0QggAOw==","width":14268,"height":19873,"alt_text":"A abstract painting in which numerous planes of brown and gray, along with highlights of black and white, compose the figure of a man. The most recognizable features are a pair of clasped hands and the wave of his dark hair."},"main_reference_number":"1948.561","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1910,"date_end":1910,"date_display":"autumn 1910","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Pablo Picasso\nSpanish, active France, 1881\u20131973","place_of_origin":"Spain","description":"<p>The subject of this portrait is Daniel-Henry Kahnweiler (1884\u20131979), a German-born art dealer, writer, and publisher. Kahnweiler opened an art gallery in Paris in 1907 and in 1908 began representing Pablo Picasso, whom he introduced to Georges Braque. Kahnweiler was a great champion of the artists\u2019 revolutionary experiment with Cubism and purchased the majority of their paintings between 1908 and 1915. He also wrote an important book, <em>The Rise of Cubism<\/em>, in 1920, which offered a theoretical framework for the movement.<\/p>\n<p>Kahnweiler sat as many as thirty times for this portrait. No longer seeking to create the illusion of true appearances, Picasso broke down and recombined the forms he saw. He described Kahnweiler with a network of shimmering, semitransparent surfaces that merge with the atmosphere around him. Forms are fractured into various planes and faceted shapes and presented from several points of view. Despite the portrait\u2019s highly abstract character, however, Picasso added attributes to direct the eye and focus the mind: a wave of hair, the knot of a tie, a watch chain. Out of the \ufb02ickering passages of brown, gray, black, and white emerges a rather traditional portrait pose of a seated man, his hands clasped in his lap.<\/p>\n","short_description":null,"dimensions":"100.4 \u00d7 72.4 cm (39 9\/16 \u00d7 28 9\/16 in.)","dimensions_detail":[{"depth":null,"width":72,"height":100,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Gift of Mrs. Gilbert W. Chapman in memory of Charles B. Goodspeed","catalogue_display":null,"publication_history":"Marius de Zayas, \u201cPablo Picasso,\u201d Am\u00e9rica: Revista mensual illustrada (May 1911), p. 365 (ill.).\n\nGertrude Stein, \u201cPablo Picasso,\u201d Camera Work (August 1912), n.p. (ill.).\n\nMarius de Zayas and Paul B. Haviland, A Study of the Modern Evolution of Plastic Expression (New York: Gallery 291, 1913) (ill.).\n\nGuillaume Apollinaire, Les peintres Cubistes (1913).\n\nAlbert C. Barnes, \u201cCubism: Requiescat in Pace,\u201d Arts and Decoration 6:3 (January 1916), p. 123 (ill.).\n\nAnnuaire des Ventes III (October 1920\u2013July 1921), p. 127.\n\nL\u2019Amour de l\u2019Art 2 (1921), p. 228.\n\nKunstchronik und Kunstmarkt vol. 32, pt. 2, no. 44 (July 29, 1921), p. 814.\n\nMaurice Raynal, Picasso (Munich, Delphin-Verg, 1921; reprinted, Paris: Cr\u00e8s, 1922), p. 38 (ill.).\n\nDer Querschnitt 9 (1925), p. 784 (ill.).\n\nE. T\u00e9riade, \u201cNos Enqu\u00eates: Entretien avec Henry Kahnweiler,\u201d Suppl\u00e9ment \u00e1 la Revue Cahiers d\u2019Art 2 (1927), p. 1 (ill.).\n\nHenri Mahaut, Picasso (Paris: Les \u00c9ditions G. Cr\u00e9s, 1930), pl. 17.\n\n\u201cExposition d\u2019oeuvres de Picasso aux Galeries Georges Petit,\u201d Cahiers d\u2019Art 7:3\u20135 (1932), pp. 110\u2013111 (ill.).\n\nLes Cr\u00e9ateurs du Cubisme, exh. cat. (Paris: Beaux-Arts et de La Gazette des Beaux-Arts, 1935), n. p..\n\nC. J. Bulliet, The Significant Moderns and Their Pictures (New York: Covici Friede, 1936), pl. 109.\n\nChicago, Arts Club, Loan Exhibition of Modern Paintings and Drawings from Private Collections in Chicago, exh. cat. (Chicago: Arts Club, 1938), cat. 101.\n\nGertrude Stein, Anciens et Modernes Picasso (Paris: Librairie Floury, 1938; reprinted, London: B. T. Batsford, 1938 and 1948), pl. 73 (ill.).\n\nAlfred H. Barr, Jr., Picasso: Forty Years of His Art, exh. cat. (New York: Museum of Modern Art, 1939), p. 75, cat. 96 (ill.).\n\nHelen F. Mackenzie, Understanding Picasso: A Study of His Styles and Development (Chicago: University of Chicago Press, 1940), pl. VII.\n\nR. H. Wilenski, Modern French Painters (New York: Reynal and Hitchcock, 1940), p. 224.\n\nChristian Zervos, Pablo Picasso II (Paris: Cahiers d\u2019Art, 1942), p. 113, no. 227 (ill).\n\nMonroe Wheeler, 20th Century Portraits, exh. cat. (New York: Museum of Modern Art, 1942), p. 141.\n\nGuillaume Apollinaire, The Cubist Painters: Aesthetic Meditations 1913, trans. Lionel Abel (New York: Wittenborn, Schultz, 1944; reprinted in 1949), p. 41.\n\nEgidion Bonfante, and Juti Ravenna, Arte Cubista (Venice: Ateneo, 1945), pl. XIV, p. 59.\n\nAlfred H. Barr, Jr., Picasso: Fifty Years of His Art (New York: Museum of Modern Art, 1946), p. 71 (ill.).\n\nJean Cassou, Picasso (Paris: Les \u00c9ditions Braun, 1947), pl. 22.\n\nJoan Merli, Picasso (Buenos Aires: Editorial Poseidon, 1948), n.p., fig. 196.\n\nWinthrop Judkins, \u201cToward a Reinterpretation of Cubism,\u201d The Art Bulletin, 30:4 (December 1948), p.  277.\n\nDaniel-Henry Kahnweiler, The Rise of Cubism, trans. by Henry Aronson (New York: Wittenborn, Schultz, 1949), (ill.).\n\nJacques Lassaigne, Picasso (Paris: \u00c9ditions Aimery Somogy, 1949), pl. 43.\n\nFlorent Fels, L\u2019art vivant, de 1900 \u00e0 nos jours (Geneva: Pierre Cailler, 1950), p. 230 (ill.).\n\nDaniel-Henry Kahnweiler, Les ann\u00e9es h\u00e9roiques du Cubisme (Paris: Braun, 1950), fig. 17.\n\nMaurice Gieure, Initation \u00e0 l\u2019oeuvre de Picasso (Paris: \u00c9ditions des Deux Mondes, 1951), pl. 25.\n\nChristopher Gray, Cubist Aesthetic Theories (Baltimore, Md.: The Johns Hopkins Press, 1953), pp. 93 and 97.\n\nWilhelm Boeck and Jaime Sabartes, Pablo Picasso (New York: Abrams, 1955), pp. 241 (ill.), and 490, no. 107.\n\nFrank Elgar and Robert Maillard, Picasso (Paris: Fernand Hazan, 1955), p. 63 (ill).\n\nPicasso: Fifty-Five Years of His Graphic Work (New York: Harry N. Abrams, 1955), p. XXI.\n\nJos\u00e9 Cam\u00f3n Aznar, Picasso, y el Cubismo (Madrid: Espasa-Calpe, 1956), p. 424b (ill.).\n\nFran\u00e7ois Fosca, Bilan du Cubisme (Paris: La Biblioth\u00e8que des Arts, 1956), p. 27.\n\nSidney Janis Gallery, Cubism 1910\u20131912 (New York: Sidney Janis Gallery, 1956), cat. 28 (ill.).\n\nA Brief Guide to the Collections (Chicago: Art Institute of Chicago, 1956), p. 35 (ill.).\n\nAlfred H. Barr, Jr., Picasso: 75th Anniversary Exhibition, exh. cat. (New York: Museum of Modern Art, 1957), p. 39 (ill.).\n\nRoland Penrose, Portrait of Picasso (New York: Museum of Modern Art, 1957), p. 39, fig. 86.\n\n\u201cPicasso: The First Fifty Years,\u201d Vogue CXXIX (June 1957), p. 96 (ill.).\n\nPhiladelphia Museum of Art, Picasso, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1958), cat. 54 (ill.).\n\nRoland Penrose, Picasso: His Life and Work (London: Victor Gollancz, 1958), p. 155, pl. VI, no. 9.\n\nJan Runnqvist, Minotauros (Stockholm: Bonniers, 1959), p. 28\u201329, fig. 24.\n\nGuy Habasque, Cubism, trans by Stuart Gilbert (New York: Skira, 1959), pp. 42\u201344 and 49 (ill.).\n\nJohn Golding, Cubism: A History and an Analysis, 1907\u20131914 (New York: George Wittenborn, 1959; reprinted, Paris: Julliard, 1962), pp. 89\u201390. pl. 10.\n\nWerner Haftmann, Painting in the Twentieth Century (New York: Frederick A. Praeger, 1960), pp. 120 and 535 (ill.).\n\nArt Institute of Chicago, Paintings in The Art Institute of Chicago (Chicago: Art Institute of Chicago, 1961), p. 357.\n\nAlan Robert Solomon, \u201cPablo Picasso: Symbolism in the Synthetic Cubist Still Life, A Study of his Iconography from 1911\u20131927,\u201d Ph.D. dissertation, Harvard University (1961), p. 80.\n\nJohn Richardson, Picasso: An American Tribute\u2014Cubism (New York: Saidenberg Gallery, 1962), cat.  2 (ill.).\n\nRobert Delevoy, L\u00e9ger, trans. by Stuart Gilbert (Geneva; Albert Skira, 1962), p. 9.\n\nRadka Zagoroff, \u201cSpace in Abstract Expressionism,\u201d The Journal of Aesthetics and Criticism 23:2 (Winter 1964), p. 243, fig. 1.\n\nHans L. C. Jaff\u00e9, Pablo Picasso (New York: Harry N. Abrams, 1964; reprinted, Paris, 1967), pp. 88\u201389 (ill.).\n\nPierre Daix, Picasso (Paris: \u00c9ditions Aimery Somogy, 1964), pp. 74, 90, and 91 (ill.).\n\nJohn Berger, The Success and Failure of Picasso (Baltimore: Penguin Books, 1965), p. 58, fig. 31.\n\nAlberto Martini, Picasso, Part I (I maestri del colore, 56) (Milan: Fratelli Fabbri, 1965), pl. VIII. \n\nPour Daniel-Henry Kahnweiler (Paris: Gerd Hatje Stuttgart, 1965), p. 19 (ill.).\n\nPetit Palais, Hommage a Pablo Picasso, exh. cat. (Paris: Petit Palais, 1966), cat. 71 (ill.).\n\nPicasso: Graphik, exh. cat. (Dresden: Kupferstich-Kabinettes der Staatlichen Kunstsammlungen, 1966), p. 28.\n\nEdward F. Fry, \u201cCubism 1907\u20131908: An Early Eyewitness Account,\u201d The Art Bulletin XLVIII:1 (March 1966), pp. 72 and 73, fig. 6.\n\n---, Cubism (London: Thames and Hudson, 1966), pp. 21\u201323, fig. 28, pl. III.\n\nA. James Speyer, \u201cTwentieth-Century European Paintings and Sculpture,\u201d Apollo 84:55 (September 1966), p. 222.\n\nNigel Gosling, \u201cA stroll through Picasso\u2019s life,\u201d The Observer (November 20, 1966), p. 25.\n\nLael Wertenbaker, The World of Picasso (New York: Time-Life Books, 1967), pp. 60 and 90\u201391 (ill.).\n\nRoland Penrose, The Eye of Picasso (New York: The New American Library, 1967), pl. 9.\n\nG. di San Lazzaro, \u201cL\u2019hommage \u00e0 Picasso,\u201d XXe si\u00e8cle 28 (June 1967), p. 102 (ill.).\n\nAndr\u00e9 Fermigier, Picasso (Paris: Hachette, 1967), pp. 50\u201351, and 99 (ill.).\n\n---, \u201cPicasso in Paris,\u201d Burlington Magazine 109:769 (April 1967), p. 247.\n\nArt Institute of Chicago, Picasso in Chicago, exh. cat. (Chicago: Art Institute of Chicago, 1968), p. 22, cat. 16 (ill.).\n\nH. H. Arnason, History of Modern Art: Paintings, Sculpture, Architecture (New York: Harry N. Abrams, 1968), p. 127, fig. 210.\n\nEdwin Mullins, The Art of Georges Braque (New York: Harry N. Abrams, 1968), pp. 62 and 209, pl. 41.\n\n\u201cPicasso,\u201d L\u2019art du monde 17 (Japan, 1968), pl. 18.\n\nAndr\u00e9 Fermigier, Picasso (Le Livre de Poche) (Paris: Libraire G\u00e9n\u00e9rale Fran\u00e7aise, 1969), pp. 87 and 91, fig. 53.\n\nPicasso (Tokyo: Holp Shuppan, 1970), n.p. (ill.).\n\nDouglas Cooper, The Cubist Epoch, exh. cat. (Los Angeles: Los Angeles County Museum of Art, 1970), pp. 50\u201351, pl. 32, cat. 234.\n\nJohn Maxon, The Art Institute of Chicago (New York: Harry N. Abrams, 1970; reprinted, London: Thames and Hudson, 1977), p. 110 (ill.).\n\nHoward Greenfeld, Pablo Picasso: An Introduction (Chicago: Follett Publishing Company, 1971), pp. 36\u201337 (ill.).\n\nJean Leymarie, Picasso: M\u00e9tamorphoses et unit\u00e9 (Geneva: \u00c9ditions d\u2019Art Albert Skira, 1971; reprinted, New York: The Viking Press, 1972), p. 36, 37, and 221 (ill.).\n\nRoland Penrose, Portrait of Picasso (New York: Museum of Modern Art, 1971), pp. 36, 37, and 221 (ill.).\n\nSandra Grung, Supplement to Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1971), p. 86.\n\nDaniel-Henry Kahnweiler, \u201cQuelques entretiens avec Picasso,\u201d in Hommage \u00e0 Pablo Picasso (Paris: XXe Siecle, 1971), p. 16 (ill.). \n\nMahonri Sharp Young, \u201cThe Cubist Epoch,\u201d Apollo XCIII: 107 (January 1971), p. 20, fig. 2.\n\nRosalind Krauss, \u201cThe Cubist Epoch,\u201d Artforum IX:6 (February 1971), p. 36 (ill.).\n\nHilton Kramer, \u201cThe Cubist epoch,\u201d Art in America 59:2 (March\u2013April 1971), pp. 52\u201353, and 55 (ill.).\n\nCharles Rosenberg, \u201cCubist Object Treatment: A Perceptual Analysis,\u201d Artforum IX:8 (April 1971), pp. 31, 33, and 36, fig. 1.\n\nNigel Gosling, \u201cKahnweiler in Interview,\u201d Art and Artists VI:4 (July 1971), p. 46 (ill.).\n\nDaniel-Henry Kahnweiler and Francis Cr\u00e9mieux, My Galleries and Painters, trans. by Helen Weaver (New York: The Viking Press, 1971), n.p. (ill.).\n\nJeanine Warnod, Washboat Days, trans. by Carol Green (New York: Orion Press, 1972), pp. 201\u2013202, and 205 (ill.).\n\nFranco Russoli and Fiorella Minervino, L\u2019opera completa di Picasso cubista (Milan: Rizzoli, 1972), p. 105, no. 357, pl. XXI.\n\nJean-Luc Daval, Journal de l\u2019art moderne 1884\u20131914 (Geneva: Skira, 1973), p. 232 and 233 (ill.).\n\nToshio Nishimura, Picasso (Tokyo: Japan Art Center, 1973), p. 119, pl. 38. \n\nFranz Mosele, Die kubistische Bildsprache von Georges Braque, Pablo Picasso und Juan Gris unter besonderer Ber\u00fccksichtigung der Entwicklung der Farbe (Zurich: Juris Druck, 1973), pp. 160\u2013161, 163, 180, and 283, no. P.148.\n\nRoland Penrose, \u201cPicasso\u2019s Portrait of Kahnweiler,\u201d The Burlington Magazine 116:852 (March 1974), pp. 124\u2013133, figs. 1 and 10.\n\nDomenico Porzio and Marco Valsecchi, Understanding Picasso (New York: Newsweek Books, 1974), pp. 38 and 39 (ill.). \n\nYusuke Nakahara, Picasso and Matisse, Grand Collection of World Art 23 (Tokyo: Kodansha, 1974), pl. 8.\n\nPicasso (New York: Felicie, 1974), n.p. (ill.).\n\nEunice Lipton, \u201cPicasso Criticism, 1901\u20131939: The Making of an Artist-Hero,\u201d Ph.D. dissertation, New York University, New York, 1975, p. 86.\n\nPierre Cabanne, Le si\u00e8cle de Picasso: vol. 1 1881\u20131937 (Paris: Deno\u00ebl, 1975; reprinted, 1992) (ill.).  \n\nTimothy Hilton, Picasso (London: Thames and Hudson, 1975), pp. 100, 107, 108, and 112 fig. 74.\n\nPierre Daix, \u201cLe Retour de Picasso au Portrait (1914\u20131921). Une Probl\u00e9matique de G\u00e9n\u00e9ralisation du Cubisme,\u201d in Le Retour \u00e0 l\u2019ordre dans les arts plastiques et l\u2019architecture, 1919\u20131925 (Saint-\u00c9tienne: Centre interdisciplinaire d'\u00e9tudes et de recherche sur l'expression contemporaine, 1975), p. 90.\n\nPatrick O\u2019Brian, Pablo Ruiz Picasso (New York: G. P. Putnam\u2019s Sons, 1976), p. 178\u2013179.\n\nF. A. Baumann, Pablo Picasso: Leben und Werk (Stuttgart: Gerd Hatje, 1976), pp. 62\u201363, fig. 108.\n\nMark Roskill, \u201cOn the Recognition and Identification of Objects in Paintings,\u201d Critical Inquiry 3:4 (Summer 1977), pp. 687\u2013688 and 695\u2013696, fig. 3.\n\nWilliam Innes Homer, Alfred Stieglitz and the American Avant-Garde (Boston: New York Graphic Society, 1977), pp. 75 and 76, fig. 36.\n\nStephen Scobie, Earthquakes and Explorations: Language and Painting from Cubism to Concrete Poetry (Toronto: University of Toronto Press, 1977), pp. 67 and 187.\n\n10X Picasso, exh. cat. (D\u00fcsseldorf: Kunstsammlung Nordhein-Westfalen, 1977), p. 18 (ill.).\n\nFlavio Caroli, Primitivismo e Cubismo (Milan: Fratelli Fabbri, 1977), pp. 74 and 78, fig. 1.\n\nArt Institute of Chicago: 100 Masterpieces (Chicago: Art Institute of Chicago, 1978), pp. 132 and 133, no. 83 (ill.).\n\nMaria Luisa Rizzatti, Picasso (Italy: Arnoldo Mondadori, 1978), p. 55, fig. 3.\n\nCentre Georges Pompidou, Paris-Berlin, 1900-1933, exh. cat. (Paris: Centre Georges Pompidou, 1978), p. 47 (ill.).\n\nFernand L\u00e9ger; Das fig\u00fcrliche Werk, exh. cat. (K\u00f6ln; Kunsthalle K\u00f6ln, 1978), p. 11.\n\nPierre Daix and Joan Rosselet, Le Cubisme de Picasso: Catalogue raisonn\u00e9 de l'oeuvre peint 1907-1916 (Neuch\u00e2tel: Ides et Calendes, 1979), pp. 79, 82, 84, and 259\u2013260, no. 368 (ill.).\n\nDavid A. Lauer, Design Basics (New York: Holt, Rinehart Lauer, David A., Design Basics (New York: Holt, Rinehart and Winston, 1979), pp. 194\u2013195, fig. c.\n\nA. James Speyer and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 63, no. 3D2.\n\nWilliam Rubin, Pablo Picasso; A Retrospective, exh. cat. (New York: Museum of Modern Art, 1980), p. 142 (ill.).\n\nMary Matthews Gedo, Picasso: Art as Autobiography (Chicago: University of Chicago Press, 1980), pp. 86\u201388 and 90 (ill.).\n\nSarah McFadden and Jeffrey Deitch, \u201cThe Midas Brush,\u201d Art in America 68:10 (December 1980), p. 145 (ill.).\n\nChrista Lichtenstern, Picasso \u201cT\u00eate de Femme:\u201d Zwischen Klassik und Surrealismus, exh. cat. (Frankurt am Main, Germany: St\u00e4delsches Kunstinstitut und St\u00e4dtische Galerie, 1980), p. 74.\n\nMarilyn McCully, A Picasso Anthology: Documents, Criticism, Reminiscences (London: Thames and Hudson, 1981), pp. 72\u201373 (ill.).\n\nAnn H. Murray, \u201cHenri Le Fauconnier\u2019s \u2018Das Kunstwerk\u2019: An Early Statement of Cubist Aesthetic Theory and Its Understanding in Germany,\u201d Arts Magazine 56:4 (December 1981), pp. 125\u2013126, fig. 2.\n\nPalau i Fabre, Josep, Picasso (Barcelona: Ediciones Pol\u00edgrafa, 1981), pl. 97.\n\nPablo Picasso: Ausgew\u00e4hlte Graphik, 1904\u20131968, exh. cat. (Hannover, Germany: Kunstmuseum Hannover mit Sammlung Sprengel, 1981), p. 23.\n\nRobert Storr, \u201cFor Sale: The Elizabeth Goodspeed Chapman Collection,\u201d The Connoisseur 206:82 (February 1981), pp. 133 and 134 (ill.).\n\n---, The Collection of the Late Elizabeth Fuller Chapman (New York: Phillips, March 3, 1981). \n\nPierre Alibert, Albert Gleizes: naissance et avenir du cubisme (Paris: Aubin-Visconti, 1982), p. 56.\n\nLawrence Cunningham and John Reich, Culture and Values: A Survey of the Western Humanities I (New York: Holt, Rinehart and Winsteon, 1982), p. 385, fig. 254.\n\nEdward F. Fry, \u201cBraque, le cubisme et la tradition fran\u00e7aise,\u201d Georges Braque: les papiers coll\u00e9s, exh. cat. (Paris: Centre Georges Pompidou, Mus\u00e9e national d\u2019art moderne, 1982), p. 16.\n\nPierre Daix, \u201cBraque and Picasso at the Time of the Papiers Colles,\u201d Braque: The Papiers Coll\u00e9s, exh. cat. (Washington D. C.: The National Gallery of Art, 1982), p. 29. \n\nAdam Gopnik, \u201cHigh and Low: Caricature, Primitivism, and the Cubist Epoch,\u201d Art Journal 43:4 (Winter 1983), pp. 375\u2013376, fig. 9.\n\nFrancis Frascina, Cubism: Picasso and Braque (Great Britain: The Open University, 1983), pp. 59 and 82, pl. 47.\n\nDouglas Cooper and Gary Tinterow, The Essential Cubism: Braque, Picasso and their Friends, 1907\u20131920, exh. cat. (London: The Tate Gallery, 1983), p. 21 (ill.).\n\nPantheon XLI:III (July\u2013September 1983), p. 276.\n\nPeter de Francia, Fernand L\u00e9ger (New Haven, Conn.: Yale University Press, 1983), pp. 7 and 8, fig. 1.7. \n\nCentre Georges Pompidou, Homage a Daniel-Henry Kahnweiler, exh. cat. (Paris: Centre Georges Pompidou, 1984), p. 19 (ill.).\n\nDonation Louise et Michel Leiris: Collection Kahnweiler-Leiris (Paris: Centre Georges Pompidou, Mus\u00e9e national d\u2019art moderne, 1984), p. 165.\n\nWilliam Rubin, \u201cPicasso,\u201d in \u201cPrimitivism\u201d in 20th Century Art: Affinity of the Tribal and the Modern, volume I (New York: Museum of Modern Art, 1984), p. 310 (ill.).\n\nDelaunay und Deutschland, exh. cat. (Cologne, Germany: Dumont Buchverlag, 1985), p. 29.\n\nMark Roskill, The Interpretation of Cubism (Philadelphia: The Art Alliance Press, 1985), p. 232 (ill.).\n\nMichael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures (New Haven, Conn.: Yale University Press, 1985), pp. 8, 41\u201373, pl. 1, and fig. 30.\n\nNicholas Penny, \u201cPatterns of Intention,\u201d (book review) London Review of Books VII:20 (November 21, 1985), p. 22.\n\nPierre Daix, \u201cThe Interpretation of Cubism,\u201d (book review) Burlington Magazine 127:993 (December 1985), p. 909.\n\nAndrew Harrison, \u201cBridges in Time,\u201d (book review) The Times Literary Supplement (December 6, 1985), p. 1384.\n\nDuane Preble and Sarah Preble, Artforms: An Introduction to the Visual Arts (New York: Harper & Row, 1985), p. 356, fig. 404.\n\nDaniel-Henry Kahnweiler (Homenaje al marchand, editor, y escritor), exh. cat. (Madrid: Galer\u00eda Theo, 1986), n.p. (ill.).\n\nArthur C. Danto, \u201cPatterns of Intention: On the Historical Explanation of Pictures,\u201d (book review) The Burlington Magazine 128:999 (June 1986), p. 442.\n\nMargaret Iverson, \u201cPatterns of Intention: On the Historical Explanation of Pictures,\u201d (book review) The Oxford Art Journal 9:2 (1986), p. 71.\n\nSvetlana Alpers, \u201cThe Historian and the Critic,\u201d (book review) The New Republic (July 14 & 21, 1986), p. 35.\n\nMary Sirridge, \u201cPatterns of Intention: On the Historical Explanation of Pictures,\u201d (book review) The Journal of Aesthetics and Art Criticism 45:1 (Autumn 1986), p. 94.\n\nDavid Carrier, \u201cArtist\u2019s Intentions and Art Historian\u2019s Interpretation of the Artwork,\u201d Leonardo 19:4 (1986), pp. 338\u2013341, fig. 2.\n\n---, \u201cBook Reviews, Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures,\u201d Art Journal 46:1 (Spring 1987), p. 75.\n\nSalim Kemal and Ivan Gaskell, \u201cBook Reviews, Patterns of Intention: On the Historical Explanation of Pictures,\u201d The British Journal of Aesthetics 27:2 (Spring 1987), pp. 189\u2013190.\n\nYve-Alain Bois, \u201cKahnweiler\u2019s Lesson,\u201d Representations 18 (Spring 1987), pp. 46\u201347, fig. 9.\n\nPierre Daix, Picasso Cr\u00e9ateur: La vie intime et l\u2019oeuvre (Paris: \u00c9ditions du Seuil, 1987), p. 111.\n\nThe Arcimboldo Effect: Transformations of the Face from the 16th to the 20th Century, exh. cat. (New York: Abbeville Press, 1987), pp. 242\u2013243 (ill.).\n\nJames N. Wood and Katherine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago: Art Institute of Chicago, 1988), p. 115 (ill.).\n\nUlrich Weisner, Picassos Klassizismus: Werke von 1914\u20131934, exh. cat. (Bielefeld, Germany: Kunsthalle Bielefeld, 1988), p. 138\u2013139, fig. 9.\n\nDani\u00e8le Boone, Picasso (Paris: Hazan, 1988), pp. 70\u201371 (ill.).\n\nPierre Assouline, L\u2019Homme de l\u2019art: D.-H. Kahnweiler (1884\u20131979) (Paris: Balland, 1988), n.p. (ill.).\n\nRobert Jensen, \u201cThe Avant-Garde and the Trade in Art,\u201d Art Journal 47:4 (Winter 1988), p. 363.\n\nWilliam Rubin, Picasso and Braque: Pioneering Cubism, exh. cat. (New York: Museum of Modern Art, 1989), p. 181 (ill.).\n\nMyrna Soto, \u201cGuernica y el Cubismo,\u201d Guernica 50 a\u00f1os: Una ciudad, un cuadro (Mexico: Universidad Nacional Aut\u00f3noma de M\u00e9xico, 1989), fig. 1.\n\nAuckland City Art Gallery, Pablo Picasso: The Artist Before Nature, exh. cat. (Auckland, New Zealand: Auckland City Art Gallery, 1989), pp. 35 and 43 (ill.).\n\nPalau i Fabre, Josep, Picasso: Cubism (1907\u20131917) (Barcelona: Ediciones Pol\u00edgrafa, 1990), pp. 198 and 199, no. 552 (ill.).\n\nPatrick-Gilles Persin, Daniel-Henry Kahnweiler: L\u2019Aventure d\u2019un Grand Marchand (Paris: Solange Thierry, 1990), n.p. (ill.).\n\nPierre Daix, Picasso (Paris: St\u00e9 Nouvelle des Editions du Ch\u00eane, 1990), pp. 9, 52 and 53 (ill.). \n\nGiorgio Cortenova, La vita e l\u2019opera Picasso (Milan: Arnoldo Mondadori Editore, 1991), p. 129 (ill.).\n\nHerbert Edward Read, DuMont\u2019s K\u00fcnstler-Lexicon (K\u00f6ln, 1991).\n\nJohn Beardsley, Pablo Picasso (New York: Harry N. Abrams, 1991), p.  47 (ill.).\n\nLaura Mattioli Rossi, Boccioni 1912 Materia, exh. cat. (Milan: Mazzotta, 1991), p. 76 (ill.).\n\nJean Sutherland Boggs, Picasso & Things, exh. cat. (Cleveland: Cleveland Museum of Art, 1992), pp. 86\u201387 (ill.).\n\nCarsten-Peter Warncke, Pablo Picasso 1881\u20131973 I (Cologne: Benedikt Taschen, 1992), p. 188 (ill.).\n\nEdward Lucie Smith, Art and Civilization (Englewood Cliffs, New Jersey: Prentice Hall, 1992), pp. 459 and 461, fig. 26.16.\n\nJeffrey Deitch, Post Human, exh. cat. (New York: DAP, 1992), n.p. (ill.).\n\nPicasso (France: ODA Laser Edition, 1992), pp. 24\u201325, no. 11853 (ill.).\n\nPeter Watson, From Manet to Manhattan: Rise of the Modern Art Market (New York: Random House, 1992), p. 155, fig. 39.\n\nFrederick Hartt, Art: A History of Painting, Sculpture, Architecture, fourth edition (New York: Harry N. Abrams, 1993), pp. 975\u20136, fig. 36\u20135.\n\nCharles Harrison, Francis Frascina, and Gill Perry, Primitivism, Cubism, Abstraction: The Early Twentieth Century (New Haven: Yale University Press, 1993), pp. 135, 139, pl. 117.\n\nChristian Geelhaar, Picasso: Wegbereiter und F\u00f6rderer seines Aufstiegs 1899\u20131939 (Zurich: Palladion, 1993), pp. 27\u201329, fig. 17.\n\nPicasso: Vollard Suite (Madrid: Turespa\u00f1a, 1993), p. 63.\n\nNeil Harris, Chicago\u2019s Dream, a World\u2019s Treasure: The Art Institute of Chicago, 1893\u20131993 (Chicago: The Art Institute of Chicago, 1993), p. 51, pl. 28.\n\nPepe Karmel, Picasso\u2019s Laboratory: The Role of His Drawings in the Development of Cubism, 1910\u201314, Ph.D. dissertation (New York, New York University, 1993), pp. 3\u20134, 20, 50. 63, 95, 96, 109, 381, and 382\u2013383, fig. 55.\n\nPicasso & Braque: Kubisme 1907-1914, exh. cat. (Copenhagen: Statens museum for kunst, 1993), p. 30.\n\nJames N. Wood, Treasures of 19th-and 20th-Century Painting: The Art Institute of Chicago (New York: Abbeville Press, 1993), p. 201 (ill.).\n\nRichard M\u00fchlberger, What Makes a Picasso a Picasso? (New York: Metropolitan Museum of Art, 1994), pp. 24-26 (ill.).\n\nDavid F. Setford, Pablo Picasso, A Vision, exh. cat. (West Palm Beach, Fl.: Norton Gallery of Art, 1994), p. 14, fig. 6.\n\nChristopher Butler, Early Modernism: Literature, Music, and Painting in Europe, 1900\u20131916 (Oxford: Clarendon Press, 1994), pp. 63\u201364, fig. 18.\n\nMarla Prather, Willem De Kooning: Paintings, exh. cat. (Washington, DC: The National Gallery of Art, 1994), p. 21, fig. 7.\n\nPierre Daix, L\u2019Atelier du Cubisme: Picasso au Bateu-Lavoir (Paris: Flammarion, 1994), p. 209, fig. 96.\n\nAnne Baldassari, Picasso: Photographe 1901\u20131916, exh. cat. (Paris: Editions de la R\u00e9union de mus\u00e9es nationaux, 1994), pp. 115, 118, and 123, fig. 89.\n\nKarin Cope, \u201cPainting after Gertrude Stein,\u201d Diacritics 24:2\/3 (Summer\u2013Autumn 1994), p. 195.\n\nAlain Rey, and Brigitte Govignon, La Petit encyclop\u00e9die de l\u2019art (Paris: R\u00e9union des mus\u00e9es nationaux, 1995), p. 160 (ill.).\n\nAlex Neill, and Aaron Ridley, The Philosophy of Art: Readings Ancient and Modern (Boston: McGraw Hill, 1995), pp. 416\u2013418,  (ill.).\n\nJack Williamson, \u201cEmbodiments of Human Identity: Detecting and Interpreting Hidden Narratives in Twentieth-Century Design History,\u201d Visible Language 29:1 (Winter 1995), pp. 42\u201343, fig. 2.\n\nMichael C. Fitzgerald, Making Modernism: Picasso and the Creation of the Market for Twentieth-Century Art (New York: Farrar, Straus and Giroux, 1995), pp. 33, 34, 54, and 257, fig. 9.\n\nMargaret Walch and Augustine Hope, Living Colors: The Definitive Guide to Color Palettes Through the Ages (San Francisco, 1995), pp. 86\u201387 (ill.).\n\nH.H. Arnason, Gendai bijustsu no rekishi: kaiga chokoku kenchiku shashin (Tokyo, 1995).\n\nNorman Mailer, Portrait of Picasso as a Young Man (New York: Atlantic Monthly Press, 1995), pl. 27.\n\nSylvie Forestier, Pablo Picasso, La Guerre et la Paix (Paris: R\u00e9union des mus\u00e9es nationaux, 1995), pp. 72 and 84, fig. 12.\n\nWilliam Rubin, Picasso and Portraiture: Representation and Transformation, exh. cat. (New York: Museum of Modern Art, 1996), p. 285 (ill.).\n\nMarius de Zayas, edited by Francis M. Naumann, How, When, and Why Modern Art Came to New York (Cambridge, Mass.: The MIT Press, 1996), p. 219 (ill.).\n\nJohn Richardson, A Life of Picasso: Volume II 1907\u20131917 (New York: Random House, 1996), pp. 150, 172, 173 (ill), 175, and 176.\n\nJames N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: Art Institute of Chicago, 1996), p. 20 (ill.).\n\nL\u2019ABCdaire de Picasso (Paris: Flammarion, 1996), p. 15 (ill.).\n\nPalau i Fabre, Josep, Pablo Picasso: Academic and Anti-Academic (1895\u20131900), exh. cat. (New York: Yoshii Gallery, 1996), p. 144.\n\nArt Institute of Chicago: Pocketguide (Chicago: Art Institute of Chicago, 1997), p. 39, fig. 67.\n\nMarcia Pointon, \u201cKahnweiler\u2019s Picasso; Picasso\u2019s Kahnweiler,\u201d in Portraiture: Facing the Subject (ed. Joanna Woodall) (Manchester, England: Manchester University Press, 1997), pp. 189\u2013202, fig. 67.\n\nAnne Baldassari, Picasso and Photography: The Dark Mirror (New York: Flammarion, 1997), pp. 87, and 92, fig. 107.\n\nCharles A. Cramer, \u201cDuchamp from Syntax to Bride: sa langue dans sa joue,\u201d Word and Image 13:3 (July-September 1997), p. 288, fig. 5.\n\nDuMont\u2019s K\u00fcnstlerlexikon (Cologne: DuMont, 1997), p. 503.\n\nRichard Leslie, Surrealism: The Dream of Revolution (New York: Smithmark, 1997), pp. 32\u201333 (ill.).\n\nElizabeth Cowling, \u201cPicasso and the Portrait, Paris,\u201d Burlington Magazine 139:1126 (January 1997), pp. 60\u201361, fig. 94.\n\nDan Franck, Boh\u00e8mes (Paris: Calmann-L\u00e8vy, 1998), p. 186.\n\nPaul Hayes Tucker, Monet in the 20th Century (New Haven: Yale University Press, 1998), p. 64, fig. 47.\n\nSeiyo kaiga 300-sen (Tokyo, 1998), p. 340 (ill.).\n\nAfter Mountains and Sea: Frankenthaler 1956\u20131959, exh. cat. (New York: Solomon R. Gugenheim Museum, 1998), p. 41, fig. 42.\n\nClaudia Hattendorff, K\u00fcnstlerhommage: Ein Bildtypus im 19. und 20. Jahrhundert (Berlin: Reimer, 1998), pp. 79\u201380, fig. 19.\n\nDavid Thistlewaite, The Art of God and the Religions of Art (England: Solway, 1998), pp. 113 and 130, pl. 21.\n\nPetit Larousse illustr\u00e9 (Paris, 1998).\n\nIngrid Schaffner, The Essential Pablo Picasso (New York: Harry N. Abrams, 1998), pp. 65 and 67 (ill.).\n\nInnis Howe Shoemaker, Mad for Modernism: Earl Horter and His Collection, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1999), p. 95, pl. 18. \n\nLes chemins du cubisme, exh. cat. (Saint-Tropez, France: Mus\u00e9e de Saint-Tropez, 1999), pp. 17 and 181, fig. 9.\n\nJames Elkins, Pictures of the Body: Pain and Metamorphosis (Stanford, Cal.: Stanford University Press, 1999), pp. 209\u2013211, fig. 81.\n\nEllen Williams, Picasso\u2019s Paris: Walking Tours of the Artist\u2019s Life in the City (New York: The Little Bookroom, 1999), p. 52 (ill.).\n\nCentre Georges Pompidou, Les ann\u00e9es cubistes: Collections du Centre Georges Pompidou (Paris: Centre Georges Pompidou, 1999), p. 108.\n\nJames N. Wood, and Debra N. Mancoff, Treasures from The Art Institute of Chicago (New York: Hudson Hills Press, 2000), p. 243 (ill.).\n\nNeil Cox, Cubism (London: Phaidon, 2000), pp. 238 and 258, fig. 138.\n\nMeyer Schapiro, The Unity of Picasso\u2019s Art (New York: George Braziller, 2000), pp. 22\u201323, fig. 31.\n\nChristopher Green, Art in France 1900\u20131940 (New Haven, Conn.: Yale University Press, 2000), p. 96, fig. 106.\n\nPicasso: Figur und Portr\u00e4t, exh. cat. (Vienna: Kunstforum, 2000), p. 230.\n\nSigrid Lien, \u201cNot the proper way, but many proper ways to think about pictures,\u201d Kunst og Kultur 84:2 (2001), pp. 105, 108, 111\u2013116, and 119, fig. III.1.\n\nLoving Picasso: The Private Journal of Fernande Olivier, trans. by Christine Baker and Michael Raeburn (New York: Harry N. Abrams, 2001), p. 261.\n\nArthur I. Miller, Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc (New York: Basic Books, 2001), pp. 160 and 162, fig. 5.28.\n\nHajo D\u00fcchting, Pablo Picasso (Munich: Deutscher Taschenbuch, 2001), p. 63, fig. 26.\n\nPierre Cabanne, Cubism (Paris: Pierre Terrail, 2001), p. 45.\n\nL. Christine Kinsey and Teresa E. Moore, Symmetry, Shape, and Space: An Introduction to Mathematics Through Geometry (New York: Key College, 2002), pp. 204 and 206 (ill.).\n\nElizabeth Cowling, Picasso: Style and Meaning (London: Phaidon, 2002), pp. 218\u2013221, 227, 282, and 401, no. 189 (ill.).\n\nModigliani: The Melancholy Angel, exh. cat. (Paris: Mus\u00e9e du Luxembourg, 2002), p. 39 (ill.).\n\nPepe Karmel, Picasso and the Invention of Cubism (New Haven, Conn.: Yale University Press, 2003), pp. 16\u201317, 77, 80\u201381, 83, and 86, fig. 8.\n\nThe Portable Picasso (New York: Universe, 2003), p. 125 (ill.).\n\nEnrique Mallen, The Visual Grammar of Pablo Picasso (New York: Peter Lang, 2003), pp. 182, 187, 191, 196, 205, and 312, fig. 136.\n\nAnne Baldassari, Picasso: Papiers Journaux, exh. cat. (Paris: Mus\u00e9e Picasso, 2003), p. 232.\n\nJavier Port\u00fas, The Spanish Portrait: From El Greco to Picasso, exh. cat. (Madrid: Museo Nacional del Prado, 2004), pp. 304 and 305, fig. 131.\n\nLa epoca de Picasso: donaciones a los museos americanos (Santander: Fundaci\u00f3n Marcelino Bot\u00edn, 2004), pp. 43 and 247.\n\nLaura Mattioli Rossi and Vivien Greene, Boccioni\u2019s Materia: A Futurist Masterpiece and the Avant-garde in Milan and Paris, exh. cat. (New York, Solomon R. Guggenheim Foundation, 2004), pp. 7 and 98, cat. 11 (ill.).\n\nDavid Cottington, Cubism and Its Histories (Manchester, England: Manchester University Press, 2004), pp. 51\u201352, fig. 2.19.\n\nPicasso and Greece, exh. cat. (Andros, Greece: Basil & Elise Goulandris Foundation, 2004), p. 190.\n\nMason Klein (ed.), Modigliani: Beyond the Myth, exh. cat. (New York: The Jewish Museum, 2004), p. 83, fig. 9.\n\nRudy Chiappini, Modigliani (Rome: Skira, 2006), pp. 48\u201349, fig. 9.\n\nRebecca A. Rabinow (ed.), C\u00e9zanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, exh. cat. (Chicago: The Art Institute of Chicago, 2006), pp. 111\u2013112.\n\nMichael Fitzgerald and Julia May Boddewyn, Picasso and American Art, exh. cat. (New York: Whitney Museum of American Art, 2006), pp. 67, 329, 330, 341, 347, 351, 358, 373, and 375.\n\nEnrique Mallen, The On-Line Picasso Project (http:\/\/csdll.cs.tamu.edu), no. 10.01 (ill).\n\nTom Gunning, \u201cCinema and the New Spirit in Art within a Culture of Movement,\u201d Picasso, Braque and Early Film in Cubism, exh. cat. (Pacewildenstein, 2007), pp. 57 (ill.), 64, 96.  \n\nYve-Alain Bois, \"Pablo Picasso: The Cadaqu\u00e9s Experiment,\" in Leah Dickerman, ed., Inventing Abstraction, 1910-1925: How a Radical Idea Changed Modern Art, exh. cat. (New York: Museum of Modern Art, 2012), 41 (color ill.). \n\nElizabeth Cowling, Picasso Portraits, exh. cat. (National Portrait Gallery\/Museu Picasso, 2016), pp. 70 (detail color ill.); 96, 97, cat. 83 (color ill.); 98; 102; 238, cat. 83 (color ill.).\n\nFae Brauer, \"Dealing with Cubism: Daniel-Henry Kahnweiler's Perilous Internationalism,\" in Lynn Catterson, ed., Dealing Art on Both Sides of the Atlantic, 1860-1940 (Leiden and Boston: Brill, 2017), 114, detail (color ill.), 117, fig. 5.2 (color ill.).\n\nV\u00e9rane Tasseau, \"Les ventes de s\u00e9questre du marchand Daniel-Henry Kahnweiler (1921-1923),\" in Archives juives: Juifs et march\u00e9 de l\u2019art en contexte de guerre (XXe si\u00e8cle) 50, no. 1 (September 2017): 28 (ill.).\n\nBrigitte Leal, \"Pablo Picasso, Portrait de Daniel-Henry Kahnweiler, automne 1910,\" Le Cubisme, exh. cat. (Paris: Centre Pompidou, 2019), p. 57 (ill.).\n\nCraig Dworkin, Radium of the Word: A Poetics of Materiality (Chicago and London: University of Chicago Press, 2020), 59, 60, fig. 2 (ill.), 61, fig. 3 (ill., detail).\n\nBrigitte Leal and Maximilien Theinhardt, eds., Daniel-Henry Kahnweiler: Dealer and Publisher, exh. cat. (Barcelona: Fundaci\u00f3 Museu Picasso de Barcelona, 2022), 18 (color ill.), 256.\n\nChristopher Green, Cubism and Reality: Braque, Picasso, Gris (London: Bloomsbury Visual Arts, 2025), xi, 137, 138, fig. 3.11 (color ill.), as Portrait of D.-H. Kahnweiler.\n\nJames Rondeau, Paintings at the Art Institute of Chicago: Highlights of the Collection (Chicago: The Art Institute of Chicago, 2025), 105 (color ill.).","exhibition_history":"Philadelphia, Pennsylvania Museum of Art, The Earl Horter Collection, Feb. 17\u2013Mar. 13, 1934, no cat.; traveled to Chicago, Arts Club, Apr. 3\u201326, 1934, cat. 53.\n\nChicago, Arts Club, Loan Exhibition of Modern Paintings and Drawings from Private Collections in Chicago, Nov. 4\u201325, 1938, cat. 101. \n\nNew York, Museum of Modern Art, Picasso: Forty Years of His Art, Nov. 15, 1939\u2013Jan. 17, 1940, cat. 96 (ill.);  Chicago, Art Institute, Feb. 1\u2013Mar. 3, 1940; and Boston, Museum of Fine Arts, Apr. 26\u2013May 25, 1940. \n\nNew York, Museum of Modern Art, 20th Century Portraits, Dec. 9, 1942\u2013Jan. 24, 1943, p. 141; Baltimore Museum of Art, Feb. 12\u2013Mar. 7, 1943; Worcester Art Museum, Mar. 24\u2013Apr. 18, 1943.\n\nChicago, Art Institute, Gallery of Art Interpretation: Presenting the Art Institute's Picassos, Sept.\u2013Dec. 1955, no cat.\n\nNew York, Sidney Janis Gallery, Cubism 1910\u20131912, Jan. 3\u2013Feb. 4, 1956, cat. 28 (ill.).\n\nNew York, Museum of Modern Art, Picasso: 75th Anniversary Exhibition, May 22\u2013Sept. 8, 1957, p. 39 (ill.); traveled to Chicago, Art Institute, Oct. 29\u2013Dec. 8, 1957.\n\nPhiladelphia Museum of Art, Picasso, Jan. 8\u2013Feb. 23, 1958, cat. 54 (ill.).\n\nNew York, Saidenberg Gallery, Picasso: An American Tribute\u2014Cubism, Apr. 25\u2013May 12, 1962, cat.  2 (ill.).\n\nParis, Petit Palais, Hommage a Pablo Picasso, Nov. 1966\u2013Feb. 1967, cat. 71 (ill.).\n\nChicago, Art Institute, Picasso in Chicago, February 3\u2013Mar. 31, 1968, cat. 16 (ill.).\n\nLos Angeles County Museum of Art, The Cubist Epoch, Dec. 15, 1970\u2013Feb. 21, 1971, cat. 234; New York, Metropolitan Museum of Art, Apr. 7\u2013June 7, 1971.\n\nNew York, Museum of Modern Art, Pablo Picasso; A Retrospective, May 22\u2013Sept. 16, 1980, p. 142 (ill.).\n\nParis, Centre Georges Pompidou, Homage a Daniel-Henry Kahnweiler, Nov. 22, 1984\u2013Jan. 28, 1985, no cat. no. (ill.).\n\nNew York, Museum of Modern Art, Picasso and Braque: Pioneering Cubism, 1989, no cat. no. (ill.).\n\nBasel, Kunstmuseum, Picasso und Braque: Die Geburt des Kubismus, Feb. 25\u2013June 4, 1990, cat. 80. \n\nNew York, Museum of Modern Art, Picasso and Portraiture: Representation and Transformation, Apr. 28\u2013Sept. 17, 1996, no cat. no. (ill.); Paris, Grand Palais, Oct. 15, 1996\u2013Jan. 20, 1997.  \n\nPhiladelphia Museum of Art, Mad for Modernism: Earl Horter and His Collection, Mar. 7\u2013May 16, 1999, no cat. no. \n\nNew York, Solomon R. Guggenheim Museum of Art, Boccioni\u2019s Materia: A Futurist Masterpiece and the Avant-garde in Milan and Paris, Feb. 6\u2013May 9, 2004, pp. 7 and 98, cat. 11 (ill.).\n\nParis, Centre national d'art et de culture Georges Pompidou, Le Futurisme et Paris, Oct. 15, 2008\u2013Jan.26, 2009.\n\nFort Worth, Kimbell Art Museum,\u00a0The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct.\u00a06, 2013\u2013Feb.\u00a016, 2014, no cat.\u00a0no.\u00a0\n\nLondon, National Portrait Gallery, Picasso Portraits, Oct. 6, 2016\u2013Feb. 5, 2017, cat. 83; Barcelona, Museu Picasso, Mar. 16\u2013June 25, 2017.\n\nParis, Centre national d'art et de culture Georges Pompidou, Le Cubisme, Oct. 17, 2018\u2013Feb. 25, 2019, no cat. no. (ill.); Basel, Kunstmuseum Basel, Mar. 30\u2013Aug. 18, 2019.\n\nChicago, The Art Institute of Chicago, Picasso: Drawing from Life, Nov. 11, 2023\u2013Apr. 8, 2024, no cat.","provenance_text":"Daniel-Henry Kahnweiler (1884\u20131979), Paris, acquired directly from the artist; sold, H\u00f4tel Drouot, Paris, June 13\u201314, 1921, 1st Kahnweiler sequestration sale, lot. 84, as Portrait, to Isaac Gr\u00fcnewald (1889\u20131946), Paris, to at least 1925 [letter from Daniel-Henry Kahnweiler, Sept. 30, 1975, in curatorial object file; Der Querschnitt 1925]. Earl Horter (1880-1940), Philadelphia, by c. 1929\u20131930 [Philadelphia 1999]; sold to Mrs. Charles Goodspeed (n\u00e9e Elizabeth Fuller, later Mrs. Gilbert W. Chapman; 1893\u20131980), Chicago, 1934 [letter from Mrs. Gilbert W. Chapman, Oct. 27, 1975, in curatorial object file]; given to the Art Institute of Chicago, Dec. 14, 1948.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":246,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 2018 Estate of Pablo Picasso \/ Artists Rights Society (ARS), New York","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":18.3066,"color":{"h":45,"l":52,"s":8,"percentage":0.1506544526423639,"population":1491},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 391","gallery_id":25474,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Modern Art","department_id":"PC-11","artist_id":36198,"artist_title":"Pablo Picasso","alt_artist_ids":[],"artist_ids":[36198],"artist_titles":["Pablo Picasso"],"category_ids":["PC-11","PC-831"],"category_titles":["Modern Art","Essentials"],"term_titles":["oil on canvas","oil painting","oil paint (paint)","geometric","Cubism","dance","painting (image making)","canvas","Analytical Cubism","Modern Art Highlights","figures (representations)","brown (color)","black (color)","portraits","Daniel-Henry Kahnweiler","painting","modern and contemporary art","modern life"],"style_id":"TM-7539","style_title":"Cubism","alt_style_ids":["TM-14351"],"style_ids":["TM-7539","TM-14351"],"style_titles":["Cubism","Analytical Cubism"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-14404","TM-9","TM-155"],"classification_ids":["TM-66","TM-14404","TM-9","TM-155"],"classification_titles":["oil on canvas","Modern Art Highlights","painting","modern and contemporary art"],"subject_id":"TM-9124","alt_subject_ids":["TM-14180","TM-12283","TM-11844","TM-11845","TM-8658","TM-14403","TM-13705"],"subject_ids":["TM-9124","TM-14180","TM-12283","TM-11844","TM-11845","TM-8658","TM-14403","TM-13705"],"subject_titles":["geometric","dance","figures (representations)","brown (color)","black (color)","portraits","Daniel-Henry Kahnweiler","modern life"],"material_id":"TM-2451","alt_material_ids":["TM-3124"],"material_ids":["TM-2451","TM-3124"],"material_titles":["oil paint (paint)","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-3891"],"technique_ids":["TM-4273","TM-3891"],"technique_titles":["oil painting","painting (image making)"],"theme_titles":["Essentials"],"image_id":"aebda29e-16b8-4393-6edc-805cdb6ba459","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"Daniel-Henry Kahnweiler","suggest_autocomplete_all":[{"input":["1948.561"],"contexts":{"groupings":["accession"]}},{"input":["Daniel-Henry Kahnweiler"],"weight":67231,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-13T10:50:00-05:00","updated_at":"2026-10-05T23:27:09-05:00","timestamp":"2026-10-15T13:39:54-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. 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