By S. N. Behrman
'When you pay excessive for the important, you're getting it cheap.' Joseph Duveen
Joseph Duveen was once the world's most renowned paintings broker. His consumers have been among the main favourite and notorious american citizens of the twentieth century and integrated Mellon, Frick, Hearst and Morgan. when you weren't a shopper, likelihood is you have been a no one. recognized for his allure, smart salesmanship, relentless pursuit of the suitable objet d'art and his skill to command eye-watering costs – Duveen was once as targeted as considered one of his useful outdated Masters.
In this unheard of biography S. N. Behrman tells the tale of Duveen's upward thrust to status, from delftware peddler to promoting the best eu work to the best American millionaires. Duveen used to be a talented salesman, engaging his well-heeled and business-savvy consumers with visions of cultivation via acquisition of high-culture. He even laid the principles for the nice American museums of artwork, together with the nationwide Gallery and the Frick assortment, by way of persuading his consumers to bequeath their purchases to the nation.
Everyone sought after a Duveen, simply because a Duveen used to be a lot more than a portray or a vase; it used to be an opportunity at immortality.
'Astonishing . . . It's a masterful, deeply stress-free work.' – David Remnick, New Yorker
'A witty and hypnotically readable biography.' – Clifton Fadiman
'Incredibly entertaining.' – Edmund Wilson
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Additional info for Duveen: The Story of the Most Spectacular Art Dealer of All Time
The artist stepped (or danced) into the place of the object and rescued origin, originality, and authenticity in the very unrepeatable and unapproachable nature of his precise and human gesture – his solo act. At mid-century in America the artist’s gesture indicated the seeming non-exchangeable entity of the artist’s “self ” and the supposed uniqueness of the artist’s persona. To this day, the language of “liberation” – both of the canvas and of the self – so often accompanies the story of Pollock’s “revolutionary” act.
Alan Bass (Chicago: University of Chicago Press, 1982), p. 321. ACA02 19 22/3/04, 11:00 AM Part I Solo Solo Solo Performing Art’s Histories ACC01 21 22/3/04, 11:01 AM 21 1 Solo Solo Solo 23 Solo Solo Solo Rebecca Schneider Figure 1 Peter Moore, Becky Arnold Learning Trio A from Yvonne Rainer, photograph from lecture at Lincoln Center library. © Estate of Peter Moore/VAGA, NY, NY Cut By the word “cut” I mean to reference a prominent tactic in what James Snead has called a black cultural insistence on repetition.
He wanted to interrogate color and line (making an unintentional riff on W. E. B. DuBois’ prediction of 1903 that the central problem of the twentieth century would be the color line). Klein was an artist painting (though he refused to call it painting) in Paris just after the art metropolis had crossed the Atlantic. Making his bid from Paris for “art world domination,” he sought formal global recognition for International Kleinian Blue. Savvy about the life/art line as well as the fact that “domination” was the game, he wrote letters to presidents and heads of state as part of his bid, but it was too late.