Picasso's War
“[Eakin] has mastered this material. . . . The book soars.”—The New York Times Book Review (Editors’ Choice)
ONE OF THE BEST BOOKS OF THE YEAR: Vanity Fair, The New York Times Book Review, The New Yorker
In January 1939, Pablo Picasso was renowned in Europe but disdained by many in the United States. One year later, Americans across the country were clamoring to see his art. How did the controversial leader of the Paris avant-garde break through to the heart of American culture?
The answer begins a generation earlier, when a renegade Irish American lawyer named John Quinn set out to build the greatest collection of Picassos in existence. His dream of a museum to house them died with him, until it was rediscovered by Alfred H. Barr, Jr., a cultural visionary who, at the age of twenty-seven, became the director of New York’s new Museum of Modern Art.
Barr and Quinn’s shared goal would be thwarted in the years to come—by popular hostility, by the Depression, by Parisian intrigues, and by Picasso himself. It would take Hitler’s campaign against Jews and modern art, and Barr’s fraught alliance with Paul Rosenberg, Picasso’s persecuted dealer, to get Picasso’s most important paintings out of Europe. Mounted in the shadow of war, the groundbreaking exhibition Picasso: Forty Years of His Art would launch Picasso in America, define MoMA as we know it, and shift the focus of the art world from Paris to New York.
Picasso’s War is the never-before-told story about how a single exhibition, a decade in the making, irrevocably changed American taste, and in doing so saved dozens of the twentieth century’s most enduring artworks from the Nazis. Through a deft combination of new scholarship and vivid storytelling, Hugh Eakin shows how two men and their obsession with Picasso changed the art world forever.
- In Stock Out of Stock
- Crown
- 9780451498489
- July 12, 2022
- Stock Photo
- 480
- L 24.2cm x W 16.3cm x H 3.7cm
Book Condition Notes
New: A brand-new, unused, unread copy in perfect condition.
Like New: A copy that looks unread and in perfect condition. Dust jacket is intact, with no nicks or tears. The spine has no signs of creasing. Pages are clean and are do not have any notes or folds of any kind. May have a remainder mark. (usually black or red in colour and is usually a dot or line on the bottom of the book on the page edges).
Very Good: A copy that has been read but is in great condition. May have slight cosmetic defects such as marks, wears, cuts, bends and crushes on the cover, pages, spine and dust jacket if applicable. Pages and dust cover (if applicable) are intact and do not have any notes or highlighting. The spine remains undamaged. May have a remainder mark (usually black or red in colour and is usually a dot or line on the bottom of the book on the page edges).
Good: A copy that has been read but in clean condition. The spine, cover, pages and dust jacket (if applicable) may show signs of wear such as marks, wears, cuts, bends and crushes. Pages and dust cover (if applicable) are intact and do not have any notes or highlighting. May have a remainder mark (usually black or red in colour and is usually a dot or line on the bottom of the book on the page edges).
Acceptable: All pages are intact; the cover is intact. The spine, cover, pages and dust jacket (if applicable) may show signs of considerable wear such as marks, wears, cuts, bends and crushes. Pages can include limited notes in pen or in highlighter, but the notes do not obscure the text. May have a remainder mark (usually black or red in colour and is usually a dot or line on the bottom of the book on the page edges).