Word: kootz
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...coup of the season on Manhattan's arty 57th Street was the first postwar show of new Picassos (TIME, Feb. 10). A small art dealer, Sam Kootz, had pulled it off. How had he done it? Crowed Kootz: he had softened up the hard-to-get master by showing him photographs of paintings by six young U.S. abstractionists in Kootz's stable...
...turnabout, Kootz proudly arranged to show his U.S. abstractionists in Paris' swank Maeght gallery. This week the Paris show closed in a hurt hush. The critics had not been kind. Said the influential Arts: "Is this exhibition ... to show us that abstract painting is no longer a secret in the U.S.? This art form cannot surprise or shock us, for we are familiar with it, but it must have quality, which is certainly lacking. . . ." Added Les Lettres Françaises: "One could imagine that these painters had not even studied the original canvases but had contented themselves with examining...
...Lines formed out to the sidewalk waiting to get in. The little fifth-floor gallery, which usually regarded 100 people a day as a crowd, was filled with so many hundreds every day that the building superintendent worried about undue strain on the floor. Silver-haired Art Dealer Sam Kootz was delighted; he had scooped Manhattan's arty 57th Street with the first one-man show of new Picassos since before...
From a flying trip to Paris, Kootz had brought back nine oils. Priced at $3,500 to $20,000, seven were sold in the show's first week. The New York Times's good, grey art critic, Edward Alden Jewell, dazedly noted the waving checkbooks and concluded that Picasso was "the supreme hero of the hour. I don't know about the bobby-soxers, but were Picasso suddenly, himself, to appear in New York, he would be pursued with all the ardor to which Frank Sinatra has long been accustomed...
...show, entitled "The Big Top," opened last week. Dealer Samuel M. Kootz borrowed Picasso's pinwheel-shaped Acrobat from Manhattan's Museum of Modern Art for the occasion, invited six young U.S. abstractionists (Calder, Motherwell, et al.) to paint circus pictures to go with Léger's. The catalogue cover hopefully urged gallerygoers to see clowns, tumblers, bareback riders, and other intrepid performers. Some of their jigsaw abstractions looked as if they had played with kaleidoscopes instead of seeing a circus. Léger's Acrobats with White Horse and slant-eyed, four-ringed Chinese...