Word: artists
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Dates: during 1970-1979
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...Lloyd decided to move from Old Masters and Impressionists into the work of contemporaries. "When I saw that prices were going up so fast," he explains, "I said there may come a day when we can't buy important old pictures. We have to sign up living artists." Up until then, the relationship between artist and dealer in London had tended to be a gentlemanly business based on unwritten promises; the word promotion was never heard...
Lloyd offered the artists an efficient sales system along with contracts and guaranteed minimums. Says Artist Victor Pasmore, who joined Marlborough in 1960: "They were the first in London to put the whole contract with artists on a professional basis. They give you a great deal of freedom...
Lloyd's policy has always been to promote established artists, not to rear unknowns. Understandably, other dealers-especially the ones who brought some present Marlborough stars from obscurity-dislike this. Among them, Lloyd's unpopularity is notorious. "It's a bit like stealing a patent," says London Dealer Peter Gimpel, who lost Sculptors Barbara Hepworth, Kenneth Armitage and Lynn Chadwick to Marlborough. When another London dealer discovered that she had lost a prominent artist to Lloyd, she contemplated a lawsuit. Presently her banker called to say that her credit would dry up if the suit reached court...
...centerpiece of the summer's Avignon Festival, L'Exposition Picasso consists of 201 paintings. They date from September 1970 to June 1972, and may be said to form Picasso's last testament as an artist. The show bears signs of haste. The installation is confused, the catalogue scrappy, and its preface, by Rene Char, is a tangle of the glutinous verbiage that some French poets exude like silkworms when in the Spanish presence. Nevertheless, the exhibition will certainly be a tourist success. These are, after all, the last Picassos. They are also the worst. It seems hardly...
There is, for instance, a whole group of bullfighters whose shapes, except for a brusque vitality of placement that was always Picasso's hallmark and never quite left his fist, might almost have been produced by David Stein, Elmyr de Hory, or some other moderately gifted faker. Every artist has the right to his own cliches, but the last Picassos are only startling as cliche...