Notes
307 notes 1. “sensation of sensations” 1. Gelett Burgess, “The Wild Men of Paris,” Architectural Record 27 (May 1910): 400–14. 2. See Brown, SAS. See also Catalogue of International Exhibition of Modern Art, at the Armory of the Sixty-Ninth Infantry, February 15 to March 15, 1913 (New York: Association of American Painters and Sculptors, 1913). 3. Frank Anderson Trapp, “The Armory Show: A Review,” Art Journal 23 (Autumn 1963): 2–9. 4. H. P. Roché, “Souvenirs of Marcel Duchamp,” in Lebel, MD, 79. 5. Duchamp quoted in Cabanne, DMD, 23. 6. When I queried Duchamp experts, the names Guillaume Apollinaire, a writer, and Jean Metzinger, a painter, were suggested as likely people to have introduced Picasso and Duchamp. Meanwhile, Picasso expert John Golding has stated: “Duchamp was in fact introduced to Picasso . . . by his friend Maurice Princet,” an amateur mathematician . See John Golding, Cubism: A History and an Analysis, 1907–1944 (London: Faber and Faber, 1959), 164. No biographies of Picasso or Duchamp address the topic. Pierre Cabanne says, “No one ever knew what [Picasso] thought” of other prominent artists, including Duchamp. See Cabanne, Pablo Picasso: His Life and Times (New York: Morrow, 1977), 10. The Picasso-Duchamp encounter, or whether there were others, remains a relative mystery. 7. Duchamp quoted in Cabanne, DMD, 66. 8. Guillaume Apollinaire comment on Duchamp in Theories of Modern Art, ed. Herschel B. Chipp (Berkeley: University of California Press, 1996), 245. The comment comes from a 1912 review, later published in Apollinaire’s book The Cubist Painters (1913). 9. Cabanne, DMD, 25. The two rival branches of Parisian Cubism have also been called “salon Cubism” (Duchamp et al.) and “gallery Cubism” (Picasso). See David Cottington, Cubism and Its Histories (Manchester, UK: Manchester University Press, 2004), 141, 146. 10. Richardson, LP1, 160. 11. Duchamp quoted in Cabanne, DMD, 25. 12. For the debate on defining art in the twentieth century, see Gordon Graham, Philosophy of the Arts: An Introduction to Aesthetics (London: Routledge, 2000). Graham argues that the better approach is to ask “what is the value of art,” since art itself may be impossible to define to everyone’s satisfaction. 13. Don Thompson, The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art (New York: Palgrave/Macmillan, 2008). 14. Charles Baudelaire, The Painter of Modern Life and Other Essays, second ed. (London: Phaidon Press, 1995), 7. 308 || notes 15. Duchamp quoted in Katherine Dreier, “Marcel Duchamp,” Collection of the Société Anonyme: Museum of Modern Art 1920 (New Haven, CT: Yale University Art Gallery, 1950), 148. 2. the spanish gaze 1. See Antonina Vallentin, Picasso (Garden City, NY: Doubleday, 1963), 45. 2. Richardson said Picasso had “done well at school.” See Richardson, LP1, 42. Huffington says Picasso may have had dyslexia, and that his father pulled strings for him to get around normal entrance exams. See Arianna Stassinopoulos Huffington, Picasso: Creator and Destroyer (New York: Simon and Schuster, 1988), 23, 25. 3. Quoted in Daix, PLA, 5. 4. Picasso quoted in Vallentin, Picasso, 5. Richardson said, “Picasso may have despised academicism; he did not despise academic teaching.” See Richardson, LP1, 64. 5. Daix, PLA, xi. 6. Picasso’s father quoted in Anthony Blunt and Phoebe Pool, Picasso: The Formative Years (London: Studio Books, 1962), 6. Picasso’s early traditional paintings, encouraged by his father, were First Communion (1896), Christ Appearing to Blessed Marguerite (1896), Annunciation (1896), Science and Charity (1897), and Last Moments (1900). 7. On the northern influence, see Blunt and Pool, Picasso, 7–21. 8. Mallarmé letter to Henri Cazalis (c. 1864), in Rosemary Lloyd, ed., Selected Letters of Stéphane Mallarmé (Chicago: University of Chicago Press, 1988), 39. 9. Rusiñol quoted in Blunt and Pool, Picasso, 10. 10. Picasso quoted from an 1897 letter in Blunt and Pool, Picasso, 5. 11. Picasso letter quoted in Ashton, POA, 104. 12. Since his student days Picasso had sided with anarchism. See Patricia Dee Leighten, Re-Ordering the Universe: Picasso and Anarchism, 1897–1914 (Princeton: Princeton University Press, 1989). In general, Picasso biographers say he was a nonpolitical moral anarchist. He became a politicized Republican during the Spanish Civil War, and stayed mum during the Nazi occupation of Paris. When he joined the French Communist Party in 1945, his fame mainly helped as propaganda. 13. Rusiñol quoted in Blunt and Pool, Picasso, 7. 14. Barcelona artist Miquel Utrillo quoted in Richardson, LP1, 145. 15. Sabartés quoted in Daix, PLA, 16. 16. Richardson, LP1, 160. 17. Charles Baudelaire, The...
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