Alexander kahnweiler biography

  • German-born French art dealer and publisher who is best known for his early espousal of Cubism and his long, close association with Pablo Picasso.
  • Born in Mannheim, Daniel-Henry Kahnweiler began his career as a banker in Karlsruhe.
  • Louis S. Kahnweiler (October 14, 1919 – February 26, 2017) was an American real estate investor who co-founded the firm Bennett & Kahnweiler.
  • Summary of Daniel-Henry Kahnweiler

    Kahnweiler is recognized as one of the most important art dealers of the twentieth century. While still in his early twenties, he had spotted the potential in a new generation of artists - the likes of Pablo Picasso, Georges Braque, André Derain, Maurice de Vlaminck and Kees van Dongen - all of whom he represented through his famous Galerie Kahnweiler. Though he also dealt in Fauvist works, he would quickly emerge as the principle dealer in (and intellectual backer of) Cubism. But it was perhaps his long (and at times fractious) association with Picasso that confirmed him his place in the mythology of European modernism. As a German Jew living in Paris in the first half of the century, he was driven out of the French capital during both World Wars. But the exile didn't stop him, as he found the time to write Der Weg zum Kubismus (The Rise of Cubism), a book that gave the world the blueprint for Cubist theory and practice and which remains a

  • alexander kahnweiler biography
  • Is the Cubism that is Czech Also Universal? Czech Art Theory (1921–1958) and Cubism as a Cultural and Transcultural Phenomenon

    Marie Rakušanová

    Marie Rakušanová is an Associate Professor in the Department of Art History at Charles University, Prague. In this wide-ranging yet closely-argued work of comparative historiography, Rakušanová surveys the Czech art-historical discourses that greeted the Czech struktur of Cubism and compares these discourses to the dominant, ‘Western’ theories of Cubism propounded bygd Rosalind Krauss and Yve-Alain Bois. Examining various local theories formulated around Cubism, including the concept of ‘Cubo-Expressionism’, a biographical model of interpretation and an ‘idiosyncratic’ synthesis of iconology and gestalt theory, Rakušanová questions how far Czech art critics and historians succeeded in defining the specificity of Czech Cubism. She explores the seemingly unbridgeable gulf between these local interpretive methods and the strong semiological sta

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