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Gris grew increasingly frustrated, not only with
Rosenberg's stipulations but also accusing him of somewhat more questionable practices. In November 1918 Gris wrote to Rosenberg: “I am not the one who can say whether my pictures are good or bad but what I can say without fear of contradiction is that they are definitely by me. However, the bizarre phenomenon exists that the GEM pays as much or even more for fake Picassos, fake Braques and fake Gris as for genuine Gris.You understand my dear friend that this isn't calculated to encourage me in the purity of my work, and although I am not a money-grubber I cannot say I enjoy seeing myself become the Cinderella or the ragamuffin of the GEM.”
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Tarn. Two further auctions of works from Léonce
Rosenberg's personal collection took place, following the one in Amsterdam in 1921, this time in 1932 at the Hôtel Drouot in Paris, scene of the infamous Kahnweiler/Uhde auctions 10 years earlier. In 1936 Rosenberg was forced to write to de Chirico, then in America, wondering whether the artist could help in selling there the panels he had painted for the rue de Longchamps apartment, even if at a price less than Rosenberg had originally paid de Chirico.
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800 letters and cards to
Rosenberg from various artists and copies of more than 600 sent by him, the correspondence forms a kind of diary of his dealings through some of the most tumultuous years in the history of modern art. They are enabling art historians to reassess their view of some of the artists and of Rosenberg, and to start to explore some subjects in greater detail, such as the pressures exerted on artists and dealers by the economic situation between the two world wars.
209:, one of the leading Parisian auction houses. They included more than 1,200 works by Braque, Gris, Léger, and Picasso. Bidding was lacklustre, mainly because many of the potential buyers had little money and because the market became saturated through the rapid sale of so many paintings. Although Léonce Rosenberg was able to expand his own stock to some extent at knockdown prices, Kahnweiler managed to pick up most of the works by Gris and Braque that were up for auction.
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paintings, in order to maintain freshness and a greater control over prices. As his frequent correspondence with his artists reveals, Rosenberg liked to cast himself more in a role akin to that of an art patron of old than a conventional dealer. He saw himself as commissioning rather than simply buying and selling works. He suggested - some would say dictated - subject matter and themes, and at times even stipulated dimensions.
275:, "this was an astonishingly complete demonstration that Cubism had not only continued between 1914 and 1917, having survived the war, but was still developing in 1918 and 1919 in its 'new collective form' marked by 'intellectual rigor'. In the face of such a display of vigour, it really was difficult to maintain convincingly that Cubism was even close to extinction".
66:(21 rue de la Boétie, Paris), Léonce Rosenberg attended the Lycée Rollin in Paris followed by commercial training in Antwerp and London as well as travels to Berlin, Vienna and New York. Léonce Rosenberg took the opportunity to visit galleries and museums to broaden his artistic knowledge and appreciation, and to develop contacts in the art world.
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December 1918, with Jean
Metzinger, Fernand Léger, Georges Braque, Juan Gris, Gino Severini and Picasso following during the course of 1919. There were also exhibitions outside Paris, including of the L’Effort Moderne Cubists in Geneva in 1920 and the first one-man show of Picasso's work in the United Kingdom, in 1921.
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In return for promising artists some financial security, Rosenberg demanded certain levels of productivity. Along with the precise requirements for what he wanted in the paintings, it soon started to strain his relationship with at least some of his artists. Rivera was by 1918 already in open revolt.
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His relationship with
Picasso was less formal. Although for a time he bought and sold paintings by Picasso, no contract was ever signed. And although Picasso was among those who had initially encouraged Léonce Rosenberg to step into the breach left by Kahnweiler, Picasso himself decided after the war
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The same was true of many of the collectors and dealers. Galleries closed. Daniel-Henry
Kahnweiler, who until the war was the primary dealer for many of the Cubists, was left stranded in Switzerland during the war. As a German citizen he couldn't return to France, and his collection was seized by the
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Léonce
Rosenberg has a continuing importance for art historians in another way, however - through his letters. Rosenberg corresponded frequently - during certain periods, daily - with his artists. And against the odds this correspondence, along with business papers, gallery inventory records and the
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Having taken up the baton that
Kahnweiler had been forced to drop, Léonce Rosenberg became for a time the preeminent dealer and promoter of the Cubists. But ultimately it was Léonce's brother Paul, the more careful of the two, who proved to be the more commercially successful. And having anticipated
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His optimism about the market in the face of the gathering financial storm was misplaced, however. L’Effort
Moderne went bankrupt in 1931, with much of the stock auctioned off in London. By 1933 Rosenberg was forced to move to a smaller apartment, at 20 rue Spontini, and again in 1934 to 3 Square du
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In the meantime Léonce's brother Paul - the more risk-averse and financially solid of the two - continued to pick up some of the artists for whom Léonce had worked hard to establish a solid reputation and market demand. Picasso had signed with Paul as early as 1918. Braque followed in 1922, Léger in
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In a postscript to a letter to de
Chirico in December 1926, he wrote: “Léger, Valmier, Metzinger, etc. before painting submit drawings or watercolours to me, because they are aware that their canvases are not destined for themselves but for third parties; it is important that subjects and formats be
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The photographs in the Pompidou Centre archive comprise mostly reproductions of works handled by L’Effort Moderne, including ones by Braque, Csaky, de Chirico, Gris, Herbin, Léger, Metzinger, Picasso and Valmier, along with views of hangings and events at the gallery. Further photographs attributed
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While World War I had provided the opportunity and impetus for the establishment of Galerie L’Effort Moderne, World War II brought about its end. As a Jewish-owned business, the gallery was forced to close in 1941 as a result of the Nazi occupation of France. Rosenberg went into hiding. Some of his
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There was an ongoing tussle with de Chirico over the painter's habit of selling paintings directly from his studio and, in Rosenberg's view, undermining the “methodical, reasonable and honest progression of your prices” that he claimed to be striving towards. Rosenberg was also not afraid to reject
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In the early years he demanded from his Cubists conceptual purity and a limited range of subjects suited to the rigours of Cubism. By 1925 he was encouraging Giorgio de Chirico, who had just joined L’Effort Moderne, away from his earlier metaphysical themes and towards the neoclassical style he was
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Léonce Rosenberg was innovative, and occasionally somewhat unscrupulous, in his business practices. Rather than taking paintings from artists on a sale or return basis like most dealers, he insisted on buying the works outright. What he sold, he first owned. He also preferred to acquire only recent
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Léonce Rosenberg's role in all this angered many in the Cubist circle. It alienated some of the very artists who had contracted to Rosenberg during the war but who still felt some loyalty to their original dealer. It didn't help that the auctions also weakened the prices they could command. Braque,
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Even before the war, growing anti-German sentiment and the role of German dealers in the rise of Cubism attracted hostility and led to Cubism being characterised as a German movement, even though most of the artists were French or Spanish. The outbreak of war also drove many of the artists who made
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It is, however, the letters in the Léonce Rosenberg collection at the Pompidou Centre, which only relatively recently - in the 1990s and 2000s - found their way into a public archive and so became more accessible to historians, that are proving to be an important new resource. Comprising more than
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Correspondence in the late 1920s with de Chrico, who had by then become one of the mainstays of the L’Effort Moderne, is equally instructive. Rosenberg's financial problems surfaced in a letter in January 1927: “Having examined the situation of my accounts with my bookkeeper...I ask that you take
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Its inaugural exhibition, from March 1 to 22, 1918 was dedicated to the work of Auguste Herbin. And in the months following the 11 November 1918 Armistice, Rosenberg mounted a rapid succession of high-profile exhibitions showcasing the artists he had signed up. It was the turn of Henri Laurens in
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Léonce Rosenberg was for more than 20 years one of the leading dealers in the Parisian art world. The list of artists he represented, even if for some it was only for a short period, is alone testament to his importance. But it is the risk he took in supporting the Cubists during and immediately
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Rosenberg had set out to present Cubism after the war as a “collective synthesis” rather than merely a group of disparate though visually similar artists assembled by a dealer. They had a clear theoretical framework. Juan Gris was the intellectual driver, Rosenberg the publicist, simplifying and
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It was by no means a straightforward handing over of the baton, however. There was still the matter of Kahnweiler's pre-war stock that had been seized by the French government as a “prise de guerre”. Léonce Rosenberg managed in 1921 to secure a role as “expert” in helping to supervise the public
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Léonce Rosenberg's wartime support, when no one else would take the risk, was a lifeline for many of the avant garde artists, who would have been left without a livelihood following the forced absence from France of Kahnweiler, their previous commercial outlet. Léonce Rosenberg was later able to
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The two brothers parted company commercially in 1910, with Paul continuing from new premises at 21 Rue de la Boétie while Léonce opened his own business, called Haute Epoque, at 19 Rue de la Baume, dealing in a range of objects from French antiques to archaeological pieces to Persian miniatures.
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that had started building in France from 1926, eventually to spread globally in 1929, Rosenberg felt confident enough to commission a series of decorative panels for the apartment from artists including Giorgio de Chirico, Fernand Léger, Francis Picabia, Alberto Savinio, Gino Severini, Jean
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In stepped Léonce Rosenberg. He had begun to collect avant garde, especially Cubist, art before the war, but he now stepped up this activity with the encouragement of André Level, Pablo Picasso and Juan Gris, who were all instrumental in persuading him to fill the hole left by Kahnweiler.
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L’Effort Moderne was not just a dealer's gallery. It was also an umbrella for a wide range of related activities aimed at raising the profile of its artists. There were regular literary and musical events designed to draw in the Parisian cultural elite. The first of these, a reading by
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L’Effort Moderne continued as a hub for modern art in Paris through the 1930s, but it was never again as important, either commercially or as a catalyst in the history of painting, as it was for the second wave of Cubism in the years immediately after the Great War.
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This campaign had to do more than simply market a commercial product. There were those who actively sought to have Cubism - or at least the L’Effort Moderne brand of it - wiped from the artistic map. A concerted assault was mounted by hostile critics including
319:. By 1927, when it ceased publication, it had run to 40 issues. It was a platform not only for Rosenberg's own views and the promotion of his artists but also a forum for critical debate and the theories underpinning the artists’ work. Contributors included
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In purchasing his artists’ work outright, however, he also assumed greater financial risk. Strapped for funds, he was forced to auction off his collection several times in order to stay in business. The first of these sales took place in Amsterdam in 1921.
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Most notably, L’Effort Moderne was also a publishing house, Éditions de L’Effort Moderne. This published a series of books featuring not only the gallery's artists, including Braque, Gris, and Léger, but also closely associated avant-garde poets such as
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instead to sign up with Léonce's brother Paul, who had begun to take an increasing interest in modern artists for whom there was already an established demand. It was the start of an increasingly intense commercial rivalry between the two brothers.
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up the avant garde circle to leave Paris. Some were called up to fight. Some left for the south of France while others, especially those with German connections or who were not French citizens, dispersed to Spain, Portugal and even America.
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In mounting the first post-war Cubist exhibitions at L’Effort Moderne, Léonce Rosenberg managed to re-establish Cubism as a force within avant garde art, in the face of claims to the contrary by hostile critics. According to art historian
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coming to represent. He requested more “antique subjects”, “Gladiators...Horses with ruins”. From the letters it appears this was driven as much by nakedly commercial as any aesthetic considerations. It was what the market wanted.
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In 1928 there were solo exhibitions for de Chirico, Jean Metzinger, and Georges Valmier. The exhibitions became more erratic after that, although Francis Picabia had two significant shows at L’Effort Moderne in 1930 and 1932.
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after the Great War, when nobody else could or would, that sealed his global significance for the history of 20th century art. "Without him" noted Max Jacob, "a number of painters would be drivers or factory workers".
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There is evidence of at least one rigged sale in 1928 in order to revive de Chirico's prices - incited by de Chirico himself, it has to be said - following an earlier disastrous auction at the Hôtel Drouot.
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Although several of the leading Cubists defected from Léonce Rosenberg in the 1920s, some of them to his brother Paul, Léonce continued to represent a variety of modern artists including Giorgio de Chirico,
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Even while serving in 1916 and 1917 as an auxiliary army volunteer based in Meudon and English interpreter on the Somme front, he continued during his periods of leave to buy paintings by Picasso,
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and prepared for the coming World War II by shipping much of his stock abroad, Paul Rosenberg was by 1940 ready to set up business afresh in New York, where Rosenberg & Co. still trades.
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Albert Gleizes, 1930-31, oil on canvas, 115 x 90 cm. Commissioned and created to decorate the room of Jacqueline Rosenberg. Musée National d'Art Moderne - Centre Georges Pompidou
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Drawings, Gouaches, watercolors, ? – 29 November 1919: Blanchard, Braque, Csaky, Gris, Hayden, Herbier, Lagut, Laurens, Léger, Lipchitz, Metzinger, Picasso, Severini
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Documents relating to Galerie L’Effort Moderne, including letters and postcards from Léonce Rosenberg to Picasso, Agence photographique de la Réunion des Musées Nationaux
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The fallout from the auctions of the Kahnweiler/Uhde collections at the Hôtel Drouot was by no means the only reason for some of Léonce Rosenberg's artists to leave him.
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After returning to Paris he worked with his brother Paul in the family business. In 1906 Léonce and his brother took over the running of the family gallery, then on
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Jean Metzinger, 1929, Untitled, guache and ink on paper, 22 x 15 cm. From Léonce Rosenberg’s guest book, Musée National d'Art Moderne - Centre Georges Pompidou
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In early 1918 Léonce Rosenberg renamed his gallery the Galerie de L'Effort Moderne and recast his business to focus on avant garde art, especially Cubism.
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boast: “During the entire duration of the war and even while mobilized, I subsidized, by continuous purchases, the entire Cubist movement.”
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On this last calculation he was sorely mistaken. Around 3,000 items were sold over a series of four auctions from 1921 to 1923 at the
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note of the fact that payment for any paintings I may buy may not be made until the end of each month, not during the month itself.”
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Kahnweiler himself later stated that Léonce Rosenberg had taken on “the task that I could no longer fulfill: the defense of Cubism.”
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1548:"Press pack for Gino Severini - Futurist and Neo-Classicist, 27 April – 25 July 2011, Musée national de l'Orangerie, Paris"
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and Georges Braque. Fernand Léger followed later, in 1918. Léonce Rosenberg also established commercial relationships with
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in Paris. In addition to letters and papers, there are publication manuscripts, periodicals and photographic archives.
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In 1928 Léonce Rosenberg moved his personal collection to his apartment at 75 rue de Longchamps in Paris. Despite the
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46:– 31 July 1947 in Neuilly-sur-Seine) was an art collector, writer, publisher, and one of the most influential French
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966:"Léonce Rosenberg Papers: Correspondence Relating to Cubism in The Museum of Modern Art Archives Rosenberg"
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of the 20th century. His greatest impact was as a supporter and promoter of the cubists, especially during
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and which had been in existence since 1872. It specialised in 19th- and early 20th-century art, including
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Gris and Lipchitz were among those who left Rosenberg in the fallout from the Hôtel Drouot auctions.
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1040:"Centre Pompidou/MNAM-CCI/Bibliothèque Kandinsky, Fonds Léonce Rosenberg - Galerie L'Effort Moderne"
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Pages from Léonce Rosenberg’s guest book, Musée National d'Art Moderne - Centre Georges Pompidou
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L’Effort Moderne never reopened, and Léonce Rosenberg died in July 1947 at Neuilly-sur-Seine.
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auction of Kahnweiler's collection and that of another prominent German collector and dealer,
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Leonard A. Lauder Research Center for Modern Art, Metropolitan Museum of Art, New York
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Leonard A. Lauder Research Center for Modern Art, Metropolitan Museum of Art, New York
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Leonard A. Lauder Research Center for Modern Art, Metropolitan Museum of Art, New York
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Cubism and its enemies : modern movements and reaction in French art, 1916-1928
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and Fernand Léger. By 1927, however, Léger had also moved across to Paul Rosenberg.
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French government. It left Kahnweiler's roster of artists without their livelihood.
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among others. The poet Pierre Reverdy and the critic and propagandist for Cubism,
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The son of an antique dealer Alexandre Rosenberg and brother of the gallery owner
1364:"Leonce Rosenberg: Cubist Art Collector, Dealer in Abstract Paintings: Biography"
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World War I proved to be the defining opportunity of Léonce Rosenberg's career.
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Bohemian Paris : Picasso, Modigliani, Matisse, and the birth of modern art
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experimentation of which Paris was the centre, and he began acquiring works by
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1346:"Kahnweiler, Daniel-Henry: Index of Historic Collectors and Dealers of Cubism"
1284:"Galerie L'Effort Moderne: Index of Historic Collectors and Dealers of Cubism"
1065:"Rosenberg, Léonce (1877–1947) in A Dictionary of Modern and Contemporary Art"
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as early as 1919 but for financial reasons was forced to delay it until 1924.
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in London and are being digitised as part of the Courtauld Connects project.
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works by his artists if he felt they did not meet the standards he expected.
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Jean Metzinger, invitation card for the exhibition at Léonce Rosenberg's
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1114:"Rosenberg, Léonce: Index of Historic Collectors and Dealers of Cubism"
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like, are now held in various public archives, including those of the
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Léonce Rosenberg, however, soon began increasingly to be drawn to the
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1527:"Giorgio de Chirico and Léonce Rosenberg: Art in Times of Crisis"
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1593:"MoMA.org | Paul Rosenberg and Company: From France to America"
1536:. 2010 N° 9/10 – via Fondazione Giorgio e Isa de Chirico.
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and beyond, rather than something foreign, or worse, German.
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exhibition at the Galerie de L'Effort Moderne, January 1921
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to Léonce Rosenberg are held in the Conway Library at the
1487:"Georges Valmier & The Bulletin de l'Effort Moderne"
762:, oil on canvas, 92.4 x 65.1 cm, private collection
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in New York and especially the Kandinsky Library at the
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Bohémien Jouant de L'Accordéon (The Accordion Player)
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886:, 1920, relief, limestone, polychrome, 80 cm,
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1573:Center for Italian Modern Art
1491:Artsy.net: Rosenberg & Co
447:
421:He had planned to launch the
167:, Auguste Herbin, Juan Gris,
116:World War I and its aftermath
57:
935:, Museo del Novecento, Milan
911:Musée National d'Art Moderne
423:Bulletin de L’Effort Moderne
317:Bulletin de l’Effort Moderne
238:Bulletin de L'Effort Moderne
29:Musée National d'Art Moderne
25:Portrait de Léonce Rosenberg
7:
1664:
1443:Léonce., Rosenberg (1920).
823:Jacques and Berthe Lipchitz
798:Composition II (Still Life)
279:amplifying the message. In
217:Galerie de L'Effort Moderne
133:Galerie de L'Effort Moderne
10:
1762:
865:Moulin à café et bouteille
846:Philadelphia Museum of Art
507:Courtauld Institute of Art
1316:. New York: Grove Press.
1183:– via Researchgate.
916:Classique-Baroque-Moderne
803:Classique-Baroque-Moderne
591:, 12 March – 2 April 1920
479:
1726:19th-century French Jews
1368:www.visual-arts-cork.com
739:
265:Le Carnet de la Semaine
98:Daniel-Henry Kahnweiler
33:Centre Georges Pompidou
732:, 9 – 31 December 1930
730:Trente ans de Peinture
641:, 1 – 25 December 1920
635:, 2 – 25 November 1920
595:Les Maîtres du Cubisme
576:, 4 – 24 December 1919
543:, 5 – 28 February 1919
531:, 5 – 31 December 1918
398:
386:
375:
244:
229:
136:
42:(12 September 1879 in
36:
1731:Jewish art collectors
1721:French art historians
1716:French art collectors
1173:. nº 30-31: 427–433.
931:Gino Severini, 1919,
888:Kröller-Müller Museum
713:: 3 – 25 January 1923
537:, 6 – 31 January 1919
392:
381:
370:
235:
224:
130:
19:
1449:. L'Effort Moderne.
1446:Cubisme et tradition
1310:Franck, Dan (2001).
941:Notes and references
517:Selected exhibitions
495:Museum of Modern Art
281:Cubisme et tradition
1135:"Rosenberg, Léonce"
964:Rosenberg, Léonce.
647:, 5 – 31 March 1921
555:, 5 – 30 April 1919
549:, 5 – 31 March 1919
525:, 1 – 22 March 1918
299:and performance by
1711:French art dealers
651:Maîtres du Cubisme
567:, 5 – 25 June 1919
399:
393:Invitation to the
387:
376:
363:Business practices
347:, Jean Metzinger,
325:Giorgio de Chirico
245:
230:
137:
79:Post-Impressionist
37:
903:Theo van Doesburg
819:Amedeo Modigliani
794:Theo van Doesburg
779:Violon et journal
728:Francis Picabia,
561:, 5 – 31 May 1919
323:, Gino Severini,
273:Christopher Green
71:Avenue de l'Opéra
1753:
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1534:Metaphysical Art
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1069:Oxford Reference
1061:
1044:
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977:
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961:
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857:
834:
815:
790:
771:
750:
583:Jacques Lipchitz
454:financial crisis
261:Louis Vauxcelles
157:Jacques Lipchitz
40:Léonce Rosenberg
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1469:"Fernand Léger"
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1171:Boletín de Arte
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742:
683:Amédée Ozenfant
633:Léopold Survage
519:
499:Pompidou Centre
482:
450:
395:Georges Valmier
365:
353:Francis Picabia
349:Léopold Survage
337:Georges Valmier
297:Blaise Cendrars
242:Georges Valmier
219:
181:María Blanchard
118:
60:
12:
11:
5:
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1678:
1673:
1671:Crystal Cubism
1666:
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1662:
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1651:
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1639:
1638:External links
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756:, April 1916,
754:Jean Metzinger
752:
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679:Jean Metzinger
675:Auguste Herbin
667:Georges Braque
659:Albert Gleizes
648:
645:Auguste Herbin
642:
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619:Jean Metzinger
607:Auguste Herbin
599:Georges Braque
592:
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547:Georges Braque
544:
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535:Jean Metzinger
532:
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523:Auguste Herbin
518:
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481:
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449:
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364:
361:
333:Maurice Raynal
329:Albert Gleizes
313:Pierre Reverdy
240:, designed by
226:Auguste Herbin
218:
215:
169:Jean Metzinger
149:Georges Braque
135:, January 1919
117:
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106:Auguste Herbin
64:Paul Rosenberg
59:
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21:Jean Metzinger
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1621:Digital Media
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1555:Musée d'Orsay
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699:Gino Severini
696:
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691:Henri Laurens
688:
687:Pablo Picasso
684:
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672:
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663:Fernand Léger
660:
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655:Piet Mondrian
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627:Gino Severini
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623:Pablo Picasso
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615:Fernand Léger
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611:Henri Laurens
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565:Pablo Picasso
563:
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559:Gino Severini
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541:Fernand Léger
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529:Henri Laurens
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1681:Abstract art
1625:. Retrieved
1623:. 2020-06-30
1620:
1611:
1600:. Retrieved
1597:www.moma.org
1596:
1587:
1576:. Retrieved
1572:
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1473:Comité Léger
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973:. Retrieved
970:www.moma.org
969:
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907:Compositie X
906:
884:Deux figures
883:
880:Joseph Csaky
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719:, 1923, 1924
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695:Joseph Csáky
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639:Joseph Csaky
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574:Henri Hayden
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177:Henri Hayden
165:Diego Rivera
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1741:1947 deaths
1736:1879 births
90:avant garde
81:paintings.
52:World War I
48:art dealers
1705:Categories
1696:Modern art
1627:2021-03-28
1602:2021-03-28
1578:2021-03-28
1373:2021-03-27
1074:2021-03-24
975:2021-03-24
701:. May 1921
448:Later life
301:Erik Satie
58:Early life
1455:920823774
1420:cite book
1247:cite book
1220:Juan Gris
861:Juan Gris
838:Juan Gris
775:Juan Gris
671:Juan Gris
603:Juan Gris
589:Juan Gris
553:Juan Gris
459:Max Ernst
372:Juan Gris
309:Max Jacob
110:Juan Gris
1686:De Stijl
1665:See also
1412:15198219
1332:47971831
1239:26551955
905:, 1918,
863:, 1917,
840:, 1915,
821:, 1916,
796:, 1916,
777:, 1917,
717:De Stijl
23:, 1924,
289:Cézanne
35:, Paris
1691:Purism
1676:Cubism
1453:
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1227:
480:Legacy
444:1927.
94:Cubist
1551:(PDF)
1530:(PDF)
740:Works
285:Plato
44:Paris
1451:OCLC
1430:link
1426:link
1408:OCLC
1398:ISBN
1328:OCLC
1318:ISBN
1257:link
1253:link
1235:OCLC
1225:ISBN
697:and
327:and
259:and
179:and
108:and
77:and
1175:doi
1707::
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