So strong a business ability did Kahnweiler have that by the 1950s his art gallery was in the top 100 companies in France in terms of turnover from export.

In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler ( 1884 – 1979 ).

It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all.

Rather than exhibiting the popular works of the past and present greats, Kahnweiler championed burgeoning artists such as André Derain, Alberto Giacometti, and others, who had come from all over the globe to live and work in Montparnasse at the time.

Kahnweiler wanted as he said to defend artists he believed in, but only those who had no dealers and whom he believed were great artists.

Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler ’ s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini.

The reemergence of Cubism coincided with the appearance from 1917 to 1924 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes.

First promoted by art dealers such as Daniel-Henry Kahnweiler, today works by those artists sell for millions of euros.

It became an unofficial club that included artists ( Henri Matisse, Georges Braque, André Derain, Raoul Dufy, Marie Laurencin, Amedeo Modigliani, Jean-Paul Laurens, Maurice Utrillo, Jacques Lipchitz, María Blanchard, Jean Metzinger and Louis Marcoussis ); writers ( Guillaume Apollinaire, Alfred Jarry, Jean Cocteau, Gustave Coquiot, Cremnitz ( Maurice Chevrier ), Paul Fort, André Warnod, Raymond Radiguet, Gertrude Stein ); actors ( Charles Dullin, Harry Baur, Gaston Modot ); and art dealers ( Ambroise Vollard, Clovis Sagot, Daniel-Henry Kahnweiler and Berthe Weill ).

As a businessman Kahnweiler innovated many new ways of working with artists ; and art dealing ;-now established practice with art dealers.

The outbreak of World War I in 1914 not only ruptured the Cubist experiments in art but resulted in Kahnweiler, of German origin, being considered by the French as an alien ; and being forced to live in exile in Switzerland.

Prior to 1914, Picasso, Braque, Gris and Léger ( to a lesser extent ) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works.

Gris, who before the war had entered a binding contract with Kahnweiler for his output, was left without income.

Kahnweiler was a German art historian, art collector who became one of the premier French art dealers of the 20th century.

Picasso wrote of Kahnweiler What would have become of us if Kahnweiler hadn't had a business sense?

Kahnweiler's Jewish family had moved from Rockenhausen, a small village in the Palatinate ( region ), to Mannheim, Germany, where Kahnweiler was born in 1884.

Picasso wrote of Kahnweiler What would have become of us if Kahnweiler hadn't had a business sense?

" If Kahnweiler considers Cubism as Picasso and Braque ," writes Daniel Robbins, " our only fault is in subjecting other Cubists ' works to the rigors of that limited definition.

The assertion that the Cubist depiction of space, mass and volume supports ( rather than contradicts ) the flatness of the canvas was made by Daniel-Henry Kahnweiler ( as early as 1920 ,) but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg.

* D. H. Kahnweiler on photographs by Vaclav Chochola

Kahnweiler gave the first exhibition of the work of Georges Braque.

* 1884 in art-Birth of Amedeo Modigliani, Daniel-Henry Kahnweiler, Georges Seurat paints Bathers at Asnières

de: Daniel-Henry Kahnweiler

After stopping in Paris, where he met Daniel-Henry Kahnweiler, Michel Leiris and Rene Leibowitz, Adorno delivered a lecture entitled " The Present State of Empirical Social Research in Germany " at a conference on opinion research.

There was a distinct difference between Kahnweiler ’ s Cubists and the Salon Cubists.

Kahnweiler sold only to a small circle of connoisseurs.

Pablo Picasso, Portrait of Daniel-Henry Kahnweiler, 1910, The Art Institute of Chicago.

Daniel-Henry Kahnweiler ( 25 June 1884-11 January 1979 ), was a German-born art historian, art collector, and one of the premier French art dealers of the 20th century.

Kahnweiler is considered the major dealer in, champion of, and spokesman for Cubism.

Along with such men as Alfred Flechtheim, Paul Cassirer, and Daniel Wildenstein, Kahnweiler was one of the influential connoisseurs of the 20th century.

The closest one has to an autobiography of Kahnweiler is the series of interviews Mes galeries et mes peintres first aired on French television then published and translated as a book.

Retracing my steps to the Mosque of Sultan Ahmet, only one with six minarets, I entered the courtyard, with a gallery supported by pointed arches running around it and a fountain in the middle.

The couple settled at the manor of Huntingfield, described as " enchanting, with a legend for every turret ... A splendid gallery ran the length of the house, the Great Hall was built around six massive oaks which supported the roof as they grew ".

This government building is fronted by a line of businesses, which in turn are fronted by a gallery, marked by 46 arches supported by Doric columns, called the “ portales .” This archway is the longest of its kind in Latin America.

The chapel had a gallery around three sides, and the centre of the ceiling was domed and supported by two tuscan columns.

A sub-category of the galleried monocle was the " sprung gallery ", where the gallery was replaced by an incomplete circle of flattened, ridged wire supported by three posts.

He made detailed description of what existed, including the grande courtyard, its main façade with one floor, lateral and posterior façades slightly taller, chapel door, the columns that supported the courtyard's gallery, its Flemish stained-glass windows in the chapel and diverse tiled chimneys.

* in the eastern gallery, a land battle between Khmer and Cham forces, both of which are supported by elephants: the Khmer appear to be winning.

The school and gallery were the fruition of an artistic movement in Camberwell, supported by Edward Burne-Jones, Lord Leighton, Walter Crane and G F Watts.

The museum features a permanent exhibition of chronological and thematic displays, supported by hourly audiovisual presentations which are projected throughout the gallery space.

The McClelland Award is Australia's richest sculpture prize, and is awarded by the gallery biennially ( supported by the gallery's patron and Langwarrin resident, Dame Elisabeth Murdoch ).

In the 1820s, the congregation had removed the slave gallery, because they supported abolition.

Designed by Edward Holl it has a gallery supported on cast iron columns, one of the first uses of cast iron in the dockyard.

Kahn showed that the curved ceiling shells are supported only at their corners by allowing a thin strip of outside light to enter along the tops of the long gallery walls and a thicker arc of light to enter at the end of each gallery.

Beneath each semi-dome is a gallery supported on an arcade.

Corcoran established the gallery, supported with an endowment, " for the perpetual establishment and encouragement of the Fine Arts.

The transparent roof is supported by concrete arches that connect to the sunken gallery.

Each interconnected exhibition gallery is twenty-five feet in diameter, having curved glass walls supported by cylindrical columns sheathed in Illinois Agatan marble and shallow domes that rise from flat bronze rings.

The society has supported the gallery since 1947, acquiring over 300 works of art for the gallery.

A loggia (, ) is an architectural feature that refers to a gallery or corridor at ground level, sometimes higher, on the facade of a building and open to the air on one side, where it is supported by columns or pierced openings in the wall.

The old flat chancel end on the east side was replaced with a large apse, which external gallery with a narrow arcade supported by short columns crowned the semicircular wall with a wide pseudo arcade and tall pillasters on both sides.

The gallery has continually supported emerging and established artists from throughout the UK through their regular residency programs.