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

© 2014 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 1907and 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.

— Entry, The Essential Guide, 2013, p.251.

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.

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.

Publication History

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

Stein, Gertrude, “Pablo Picasso,” Camera Work (August 1912), n.p. (ill.).

de Zayas, Marius, and Paul B. Haviland, A Study of the Modern Evolution of Plastic Expression (New York: Gallery 291, 1913) (ill.).

Apollinaire, Guillaume, Les peintres Cubistes (1913).

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

Annuaire des Ventes III (October 1920–July 1921), p. 127.

L’Amour de l’Art 2 (1921), p. 228.

Kunstchronik und Kunstmarkt vol. 32, pt. 2, no. 44 (July 29, 1921), p. 814.

Raynal, Maurice, Picasso (Munich, Delphin-Verg, 1921; reprinted, Paris: Crès, 1922), p. 38 (ill.).

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

Tériade, E., “Nos Enquêtes: Entretien avec Henry Kahnweiler,” Supplément á la Revue Cahiers d’Art 2 (1927), p. 1 (ill.).

Mahaut, Henri, Picasso (Paris: Les Éditions G. Crés, 1930), pl. 17.

“Exposition d’oeuvres de Picasso aux Galeries Georges Petit,” Cahiers d’Art 7:3–5 (1932), pp. 110–111 (ill.).

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.).

Cassou, Jean, Picasso (Paris: Les Éditions Braun, 1947), pl. 22.

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

Judkins, Winthrop, “Toward a Reinterpretation of Cubism,” The Art Bulletin, 30:4 (December 1948), p. 277.

Kahnweiler, Daniel-Henry, The Rise of Cubism, trans. by Henry Aronson (New York: Wittenborn, Schultz, 1949), (ill.).

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.

Gieure, Maurice, Initation à l’oeuvre de Picasso (Paris: Éditions des Deux Mondes, 1951), pl. 25.

Gray, Christopher, Cubist Aesthetic Theories (Baltimore, Md.: The Johns Hopkins Press, 1953), pp. 93 and 97.

Boeck, Wilhelm, and Jaime Sabartes, Pablo Picasso (New York: Abrams, 1955), pp. 241 (ill.), and 490, no. 107.

Elgar, Frank, and Robert Maillard, Picasso (Paris: Fernand Hazan, 1955), p. 63 (ill).

Picasso: Fifty-Five Years of His Graphic Work (New York: Harry N. Abrams, 1955), p. XXI.

Aznar, José Camón, Picasso, y el Cubismo (Madrid: Espasa-Calpe, 1956), p. 424b (ill.).

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.).

A Brief Guide to the Collections (Chicago: Art Institute of Chicago, 1956), p. 35 (ill.).

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

Penrose, Roland, Portrait of Picasso (New York: Museum of Modern Art, 1957), p. 39, fig. 86.
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Penrose, Roland, Picasso: His Life and Work (London: Victor Gollancz, 1958), p. 155, pl. VI, no. 9.
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Haftmann, Werner, Painting in the Twentieth Century (New York: Frederick A. Praeger, 1960), pp. 120 and 535 (ill.).

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Zagoroff, Radka, “Space in Abstract Expressionism,” The Journal of Aesthetics and Criticism 23:2 (Winter 1964), p. 243, fig. 1.

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Pour Daniel-Henry Kahnweiler (Paris: Gerd Hatje Stuttgart, 1965), p. 19 (ill.).

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Gosling, Nigel, “Kahnweiler in Interview,” Art and Artists VI:4 (July 1971), p. 46 (ill.).

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Penrose, Roland, “Picasso’s Portrait of Kahnweiler,” The Burlington Magazine 116:852 (March 1974), pp. 124–133, figs. 1 and 10.

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---, The Collection of the Late Elizabeth Fuller Chapman (New York: Phillips, March 3, 1981).

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---, “Book Reviews, Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures,” Art Journal 46:1 (Spring 1987), p. 75.

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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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