About This Artwork

Pablo Picasso
Spanish, worked in France, 1881–1973

Daniel-Henry Kahnweiler, autumn 1910

Oil on canvas
39 9/16 x 28 9/16 in. (100.4 x 72.4 cm)

Gift of Mrs. Gilbert W. Chapman in memory of Charles B. Goodspeed, 1948.561

© 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

The subject of this portrait is Daniel-Henry Kahnweiler (1884–1979), 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’ revolutionary experiment with Cubism and purchased the majority of their paintings between 1908 and 1915. He also wrote an important book, The Rise of Cubism, in 1920, which offered a theoretical framework for the movement. 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’s 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 flickering passages of brown, gray, black, and white emerges a rather traditional portrait pose of a seated man, his hands clasped in his lap.

Exhibition, Publication and Ownership Histories

Exhibition History

Philadelphia, Pennsylvania Museum of Art, The Earl Horter Collection, February 17–March 13, 1934, no cat.; traveled to Chicago, Arts Club, April 3–26, 1934, cat. 53.

Chicago, Arts Club, Loan Exhibition of Modern Paintings and Drawings from Private Collections in Chicago, November 4–25, 1938, cat. 101.

New York, Museum of Modern Art, Picasso: Forty Years of His Art, November 15, 1939–Jan. 17, 1940, p. 75, cat. 96 (ill.); traveled to Chicago, Art Institute, February 1–March 3, 1940; and Boston, Museum of Fine Arts, April 26–May 25, 1940.

New York, Museum of Modern Art, 20th Century Portraits, December 9, 1942–January 24, 1943, p. 141; traveled to Baltimore Museum of Art, February 12–March 7, 1943; and Worcester Art Museum, March 24–April 18, 1943.

Chicago, Art Institute, Gallery of Art Interpretation: Presenting the Art Institute's Picassos, September–December 1955, no cat.

London, National Portrait Gallery, Picasso Portraits, Oct. 6, 2016–Feb. 5, 2017, cat. 83; Barcelona, Museu Picasso, Mar. 16–June 25, 2017.

New York, Sidney Janis Gallery, Cubism 1910–1912, January 3–February 4, 1956, cat. 28 (ill.).

New York, Museum of Modern Art, Picasso: 75th Anniversary Exhibition, May 22–September 8, 1957, p. 39 (ill.); traveled to Chicago, Art Institute, October 29–December 8, 1957.

Philadelphia Museum of Art, Picasso, January 8–February 23, 1958, cat. 54 (ill.).

New York, Saidenberg Gallery, Picasso: An American Tribute--Cubism, April 25–May 12, 1962, cat. 2 (ill.).

Paris, Petit Palais, Hommage a Pablo Picasso, November 1966–February 1967, cat. 71 (ill.).

Chicago, Art Institute, Picasso in Chicago, February 3–March 31, 1968, pp. 22 and 113, cat. 16 (ill.).

Los Angeles County Museum of Art, The Cubist Epoch, December 15, 1970–February 21, 1971, pp. 50–51, pl. 32, cat. 234; traveled to New York, Metropolitan Museum of Art, April 7–June 7, 1971.

New York, Museum of Modern Art, Pablo Picasso; A Retrospective, May 22–September 16, 1980, p. 142 (ill.).

Paris, Centre Georges Pompidou, Homage a Daniel-Henry Kahnweiler, November 22, 1984–January 28, 1985, p. 19 (ill.).

New York, Museum of Modern Art, Picasso and Braque: Pioneering Cubism, 1989, p. 181 (ill.).

Basel, Kunstmuseum, Picasso und Braque: Die Geburt des Kubismus, February 25–June 4, 1990, p. 12, cat. 80.

New York, Museum of Modern Art, Picasso and Portraiture: Representation and Transformation, April 28–September 17, 1996, p. 285 (ill.); traveled to Paris, Grand Palais, October 15, 1996–January 20, 1997.

Philadelphia Museum of Art, Mad for Modernism: Earl Horter and His Collection, March 7–May 16, 1999, p. 95, pl. 18.

New York, Solomon R. Guggenheim Museum of Art, Boccioni’s Materia: A Futurist Masterpiece and the Avant-garde in Milan and Paris, February 6–May 9, 2004, pp. 7 and 98, cat. 11 (ill.).

Paris, Centre national d'art et de culture Georges Pompidou, Le Futurisme et Paris, October 15, 2008–January 26, 2009.

London, National Portrait Gallery, Picasso Portraits, October 16, 2016–February 5, 2017; traveled to Museu Picasso, March 16–June 25, 2017.

Publication History

de Zayas, Marius, “Pablo Picasso,” América: Revista mensual illustrada (May 1911), p. 365 (ill.).

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Barnes, Albert C., “Cubism: Requiescat in Pace,” Arts and Decoration 6:3 (January 1916), p. 123 (ill.).

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Der Querschnitt 9 (1925), p. 784 (ill.).

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Les Créateurs du Cubisme, exh. cat. (Paris: Beaux-Arts et de La Gazette des Beaux-Arts, 1935), n. p..

Bulliet, C. J., The Significant Moderns and Their Pictures (New York: Covici Friede, 1936), pl. 109.

Chicago, Arts Club, Loan Exhibition of Modern Paintings and Drawings from Private Collections in Chicago, exh. cat. (Chicago: Arts Club, 1938), cat. 101.

Stein, Gertrude, Anciens et Modernes Picasso (Paris: Librairie Floury, 1938; reprinted, London: B. T. Batsford, 1938 and 1948), pl. 73 (ill.).

Barr, Jr., Alfred H., Picasso: Forty Years of His Art, exh. cat. (New York: Museum of Modern Art, 1939), p. 75, cat. 96 (ill.).

Mackenzie, Helen F., Understanding Picasso: A Study of His Styles and Development (Chicago: University of Chicago Press, 1940), pl. VII.

Wilenski, R. H., Modern French Painters (New York: Reynal and Hitchcock, 1940), p. 224.
Christian Zervos, Pablo Picasso II (Paris: Cahiers d’Art, 1942), p. 113, no. 227 (ill).

Wheeler, Monroe, 20th Century Portraits, exh. cat. (New York: Museum of Modern Art, 1942), p. 141.

Apollinaire, Guillaume, The Cubist Painters: Aesthetic Meditations 1913, trans by Lionel Abel (New York: Wittenborn, Schultz, 1944; reprinted in 1949), p. 41.

Bonfante, Egidion, and Juti Ravenna, Arte Cubista (Venice: Ateneo, 1945), pl. XIV, p. 59.

Barr, Jr., Alfred H., Picasso: Fifty Years of His Art (New York: Museum of Modern Art, 1946), p. 71 (ill.).

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Merli, Joan, Picasso (Buenos Aires: Editorial Poseidon, 1948), n.p., fig. 196.

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Lassaigne, Jacques, Picasso (Paris: Éditions Aimery Somogy, 1949), pl. 43.

Fels, Florent, L’art vivant, de 1900 à nos jours (Geneva: Pierre Cailler, 1950), p. 230 (ill.).

Kahnweiler, Daniel-Henry, Les années héroiques du Cubisme (Paris: Braun, 1950), fig. 17.

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Fosca, François, Bilan du Cubisme (Paris: La Bibliothèque des Arts, 1956), p. 27.

Sidney Janis Gallery, Cubism 1910–1912 (New York: Sidney Janis Gallery, 1956), cat. 28 (ill.).

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Barr, Jr., Alfred H., Picasso: 75th Anniversary Exhibition, exh. cat. (New York: Museum of Modern Art, 1957), p. 39 (ill.).

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Harrison, Charles, Francis Frascina, and Gill Perry, Primitivisim, Cubism, Abstraction: The Early Twentieth Century (New Haven: Yale University Press, 1993), pp. 135, 139, pl. 117.

Geelhaar, Christian, Picasso: Wegbereiter und Förderer seines Aufstiegs 1899–1939 (Zurich: Palladion, 1993), pp. 27–29, fig. 17.

Picasso: Vollard Suite (Madrid: Turespaña, 1993), p. 63.

Harris, Neil, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893–1993 (Chicago: The Art Institute of Chicago, 1993), p. 51, pl. 28.

Karmel, Pepe, Picasso’s Laboratory: The Role of His Drawings in the Development of Cubism, 1910–14, Ph.D. dissertation (New York, New York University, 1993), pp. 3–4, 20, 50. 63, 95, 96, 109, 381, and 382–383, fig. 55.

Picasso & Braque: Kubisme 1907-1914, exh. cat. (Copenhagen: Statens museum for kunst, 1993), p. 30.

Wood, James N., Treasures of 19th-and 20th-Century Painting: The Art Institute of Chicago (New York: Abbeville Press, 1993), p. 201 (ill.).

Mühlberger, Richard, What Makes a Picasso a Picasso? (New York: Metropolitan Museum of Art, 1994), pp. 24-26 (ill.).

Setford, David F., Pablo Picasso, A Vision, exh. cat. (West Palm Beach, Fl.: Norton Gallery of Art, 1994), p. 14, fig. 6.

Butler, Christopher, Early Modernism: Literature, Music, and Painting in Europe, 1900–1916 (Oxford: Clarendon Press, 1994), pp. 63–64, fig. 18.

Prather, Marla, Willem De Kooning: Paintings, exh. cat. (Washington, DC: The National Gallery of Art, 1994), p. 21, fig. 7.

Daix, Pierre, L’Atelier du Cubisme: Picasso au Bateu-Lavoir (Paris: Flammarion, 1994), p. 209, fig. 96.

Baldassari, Anne, Picasso: Photographe 1901–1916, exh. cat. (Paris: Editions de la Réunion de musées nationaux, 1994), pp. 115, 118, and 123, fig. 89.

Cope, Karin, “Painting after Gertrude Stein,” Diacritics 24:2/3 (Summer–Autumn 1994), p. 195.

Rey, Alain, and Brigitte Govignon, La Petit encyclopédie de l’art (Paris: Réunion des musées nationaux, 1995), p. 160 (ill.).

Neill, Alex, and Aaron Ridley, The Philosophy of Art: Readings Ancient and Modern (Boston: McGraw Hill, 1995), pp. 416–418, (ill.).

Williamson, Jack, “Embodiments of Human Identity: Detecting and Interpreting Hidden Narratives in Twentieth-Century Design History,” Visible Language 29:1 (Winter 1995), pp. 42–43, fig. 2.

Fitzgerald, Michael C., 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.

Walch, Margaret, and Augustine Hope, Living Colors: The Definitive Guide to Color Palettes Through the Ages (San Francisco, 1995), pp. 86–87 (ill.).

Arnason, H. Harvard, Gendai bijustsu no rekishi: kaiga chokoku kenchiku shashin (Tokyo, 1995).

Mailer, Norman, Portrait of Picasso as a Young Man (New York: Atlantic Monthly Press, 1995), pl. 27.

Forestier, Sylvie, Pablo Picasso, La Guerre et la Paix (Paris: Réunion des musées nationaux, 1995), pp. 72 and 84, fig. 12.

Rubin, William, Picasso and Portraiture: Representation and Transformation, exh. cat. (New York: Museum of Modern Art, 1996), p. 285 (ill.).

de Zayas, Marius, edited by Francis M. Naumann, How, When, and Why Modern Art Came to New York (Cambridge, Mass.: The MIT Press, 1996), p. 219 (ill.).

Richardson, John, A Life of Picasso: Volume II 1907–1917 (New York: Random House, 1996), pp. 150, 172, 173 (ill), 175, and 176.

Wood, James N., and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: Art Institute of Chicago, 1996), p. 20 (ill.).

L’ABCdaire de Picasso (Paris: Flammarion, 1996), p. 15 (ill.).

Palau i Fabre, Josep, Pablo Picasso: Academic and Anti-Academic (1895–1900), exh. cat. (New York: Yoshii Gallery, 1996), p. 144.

Art Institute of Chicago: Pocketguide (Chicago: Art Institute of Chicago, 1997), p. 39, fig. 67.

Pointon, Marcia, “Kahnweiler’s Picasso; Picasso’s Kahnweiler,” in Portraiture: Facing the Subject (ed. Joanna Woodall) (Manchester, England: Manchester University Press, 1997), pp. 189–202, fig. 67.

Baldassari, Anne, Picasso and Photography: The Dark Mirror (New York: Flammarion, 1997), pp. 87, and 92, fig. 107.

Cramer, Charles A., “Duchamp from Syntax to Bride: sa langue dans sa joue,” Word and Image 13:3 (July-September 1997), p. 288, fig. 5.

DuMont’s Künstlerlexikon (Cologne: DuMont, 1997), p. 503.

Leslie, Richard, Surrealism: The Dream of Revolution (New York: Smithmark, 1997), pp. 32–33 (ill.).

Cowling, Elizabeth, “Picasso and the Portrait, Paris,” Burlington Magazine 139:1126 (January 1997), pp. 60–61, fig. 94.

Franck, Dan, Bohèmes (Paris: Calmann-Lèvy, 1998), p. 186.

Tucker, Paul Hayes, Monet in the 20th Century (New Haven: Yale University Press, 1998), p. 64, fig. 47.

Seiyo kaiga 300-sen (Tokyo, 1998), p. 340 (ill.).

After Mountains and Sea: Frankenthaler 1956–1959, exh. cat. (New York: Solomon R. Gugenheim Museum, 1998), p. 41, fig. 42.

Hattendorff, Claudia, Künstlerhommage: Ein Bildtypus im 19. und 20. Jahrhundert (Berlin: Reimer, 1998), pp. 79–80, fig. 19.

Thistlewaite, David, The Art of God and the Religions of Art (England: Solway, 1998), pp. 113 and 130, pl. 21.

Petit Larousse illustré (Paris, 1998).

Schaffner, Ingrid, The Essential Pablo Picasso (New York: Harry N. Abrams, 1998), pp. 65 and 67 (ill.).

Shoemaker, Innis Howe, Mad for Modernism: Earl Horter and His Collection, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1999), p. 95, pl. 18.

Les chemins du cubisme, exh. cat. (Saint-Tropez, France: Musée de Saint-Tropez, 1999), pp. 17 and 181, fig. 9.

Elkins, James, Pictures of the Body: Pain and Metamorphosis (Stanford, Cal.: Stanford University Press, 1999), pp. 209–211, fig. 81.

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Centre Georges Pompidou, Les années cubistes: Collections du Centre Georges Pompidou (Paris: Centre Georges Pompidou, 1999), p. 108.

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Cox, Neil, Cubism (London: Phaidon, 2000), pp. 238 and 258, fig. 138.

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Green, Christopher, Art in France 1900–1940 (New Haven, Conn.: Yale University Press, 2000), p. 96, fig. 106.

Picasso: Figur und Porträt, exh. cat. (Vienna: Kunstforum, 2000), p. 230.

Lien, Sigrid, “Not the proper way, but many proper ways to think about pictures,” Kunst og Kultur 84:2 (2001), pp. 105, 108, 111–116, and 119, fig. III.1.

Loving Picasso: The Private Journal of Fernande Olivier, trans. by Christine Baker and Michael Raeburn (New York: Harry N. Abrams, 2001), p. 261.

Miller, Arthur I., Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc (New York: Basic Books, 2001), pp. 160 and 162, fig. 5.28.

Düchting, Hajo, Pablo Picasso (Munich: Deutscher Taschenbuch, 2001), p. 63, fig. 26.

Cabanne, Pierre, Cubism (Paris: Pierre Terrail, 2001), p. 45.

Kinsey, L. Christine, and Teresa E. Moore, Symmetry, Shape, and Space: An Introduction to Mathematics Through Geometry (New York: Key College, 2002), pp. 204 and 206 (ill.).

Cowling, Elizabeth, Picasso: Style and Meaning (London: Phaidon, 2002), pp. 218–221, 227, 282, and 401, no. 189 (ill.).

Modigliani: The Melancholy Angel, exh. cat. (Paris: Musée du Luxembourg, 2002), p. 39 (ill.).

Karmel, Pepe, Picasso and the Invention of Cubism (New Haven, Conn.: Yale University Press, 2003), pp. 16–17, 77, 80–81, 83, and 86, fig. 8.

The Portable Picasso (New York: Universe, 2003), p. 125 (ill.).

Mallen, Enrique, The Visual Grammar of Pablo Picasso (New York: Peter Lang, 2003), pp. 182, 187, 191, 196, 205, and 312, fig. 136.

Baldassari, Anne, Picasso: Papiers Journaux, exh. cat. (Paris: Musée Picasso, 2003), p. 232.

Portús, Javier, The Spanish Portrait: From El Greco to Picasso, exh. cat. (Madrid: Museo Nacional del Prado, 2004), pp. 304 and 305, fig. 131.

La epoca de Picasso: donaciones a los museos americanos (Santander: Fundación Marcelino Botín, 2004), pp. 43 and 247.

Rossi, Laura Mattioli, and Vivien Greene, Boccioni’s 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.).

Cottington, David, Cubism and Its Histories (Manchester, England: Manchester University Press, 2004), pp. 51–52, fig. 2.19.

Picasso and Greece, exh. cat. (Andros, Greece: Basil & Elise Goulandris Foundation, 2004), p. 190.

Klein, Mason (ed.), Modigliani: Beyond the Myth, exh. cat. (New York: The Jewish Museum, 2004), p. 83, fig. 9.

Chiappini, Rudy, Modigliani (Rome: Skira, 2006), pp. 48–49, fig. 9.

Rabinow, Rebecca A. (ed.), Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, exh. cat. (Chicago: The Art Institute of Chicago, 2006), pp. 111–112.

Fitzgerald, Michael 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.

Mallen, Enrique, The On-Line Picasso Project (http://csdll.cs.tamu.edu), no. 10.01 (ill).

Tom Gunning, “Cinema and the New Spirit in Art within a Culture of Movement,” Picasso, Braque and Early Film in Cubism, Exh. cat. (Pacewildenstein, 2007), p. 57, ill. 64, p. 96.

Elizabeth 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.).

Ownership History

Daniel-Henry Kahnweiler (1884–1979), Paris. Sold, Hôtel Drouot, Paris, June 13–14 1921, 1st Kahnweiler sequestration sale, lot. 84, as Portrait, to Isaac Grünewald (1889–1946), Stockholm and Paris [letter from Daniel-Henry Kahnweiler of September 30, 1975 in curatorial file]; Isaac Grünewald, to at least 1925 [Der Querschnitt 1925]. Earl Horter (1880-1940), Philadelphia, by 1929/1930 [Philadelphia 1999]; sold to Mrs. Charles Goodspeed (née Elizabeth Fuller, later Mrs. Gilbert W. Chapman; 1893–1980), Chicago, 1934 [letter from Mrs. Gilbert W. Chapman of October 27, 1975 in curatorial file and Chicago 1937]; given to the Art Institute, 1948.

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