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CUBISM · WORK

Portrait of Daniel-Henry Kahnweiler

Pablo Picasso · 1910

A real man — Picasso’s own dealer — dissolved into a shimmer of brown-and-gray facets you have to decode.

The canvas
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Pablo Picasso, Portrait of Daniel-Henry Kahnweiler, 1910. Oil on canvas. 3 ft 3½ in × 2 ft 4½ in.
Art Institute of Chicago. Acquired 1948
Look closer
Find these on the canvas above
  1. The wave of hair
    Start at the top: that patch of fine diagonal hatching is Kahnweiler’s neatly combed, wavy hair — one of the few passages Picasso leaves almost describable, a foothold before the rest dissolves.
  2. His eyes, looking out
    Below the hair, two dark almond eyes and the ridge of a nose surface out of the facets. Find the face looking back and the whole gray scaffold suddenly reads as a seated man.
  3. The clasped hands
    At the very bottom, a cluster of pale interlocking blocks resolves into his hands, folded in his lap. Picasso pins the figure down with hair and hands — top and bottom — and lets everything between them break apart.
  4. A still-life corner
    Down in the lower left (to the sitter’s right) sit the faceted shards of a small still life — a bottle, and probably a glass beside it. The everyday tabletop motif Picasso and Braque were faceting over and over in these years, tucked into the corner of a portrait.
The story · 5 chapters
~18 min total
1
The man
The dealer who bankrolled Cubism
A young German walks into a Paris backwater, signs the painters nobody else will touch, and becomes the quiet engine behind Cubism.
2
The style
Cubism, three years on
By 1910 Picasso and Braque are roped together, faceting the whole visible world into a shimmer of brown and gray.
3
How to look
Finding the man in the facets
The wave of hair, two almond eyes, the clasped hands — the footholds that turn a gray scaffold back into a seated man.
4
The edge of legible
Sitting for a near-abstraction
Many sittings push the portrait to the brink of unreadability — and then, deliberately, it stops just short.
5
Afterlife
Seized, scattered, saved
War turns Kahnweiler into an enemy alien; his whole collection is confiscated and auctioned, and the portrait drifts toward Chicago.
1910
Painted
3′3½″ × 2′4½″
Dimensions
Art Institute
Now at
Provenance
Every hand it passed through
1910
Daniel-Henry Kahnweiler
Paris
Acquired straight from Picasso — the dealer owned his own portrait.
1914
Sequestered by the French state
Paris
A German citizen caught abroad when war broke out, Kahnweiler could not return; his stock was seized as enemy property.
1921
Isaac Grünewald
Hôtel Drouot, Paris
Lot 84 in the first forced sequestration auction — bought by the Swedish painter Isaac Grünewald.
c. 1929
Earl Horter
Philadelphia
The American artist and collector Earl Horter.
1934
Mrs. Gilbert W. Chapman
Chicago
Bought by the Chicago collector then known as Mrs. Charles Goodspeed.
1948
Art Institute of ChicagoMuseum
Chicago
Her gift, in memory of Charles B. Goodspeed — now a landmark of the museum’s Cubism.