"We seldom get into trouble when we speak softly. It is only when we raise our voices that the sparks fly and tiny molehills become great mountains of contention."
As
the clouds of another World War deadened Europe, some dealers closed
their galleries and even shipped their paintings to America.
Daniel-Henry
Kahnweiler had become naturalized French, no longer an enemy alien.
His American agent was another German, Curt Valentin, who was
especially strong as a dealer in French art. While Kahnweiler did not
close his gallery, he did ship some paintings to Valentin.
Most
of Daniel-Henry’s artists were too old for mobilization. André
Beaudin, who had fought in the first war, was conscripted for the
second and dug trenches in the northern lines until some wise
official decided that an artist of his age could be better employed
in the camouflage service.
In
the six confused, cataclysmic days of French capitulation (June 1940)
three million people quit Paris.
Kahnweiler, with his wife and the older of
his wife's sisters, Louise Leiris, piled every piece of baggage they
could into the dealer's car and left on the last day.
When
the war broke out he had shipped a truckload of his Galerie Simon
stock to Repaire-l'Abbaye, a small rural house he had rented two
miles from Saint-Léonard de Noblat, 16 miles from Limoges.
This was the trio's destination.
Of
the three million refugees it seemed a million had crowded onto
National Highway 20, the narrow main route to
Limoges. Kahnweiler's car chugged away from his Paris apartment
at 6:00 Wednesday morning. Tangled in the Saragossa sea of panicked
Parisians, they had reached only Croix-de-Berny, just a few miles
from Paris, three hours later.
"We
can't go on like this," Kahnweiler complained desperately to his
wife. He turned to a man standing nearby who seemed to be of the
area. "Do those small roads over there lead into the country?"
"Oh,
not that one,” the man replied. “But the one two hundred
meters back does.”
Kahnweiler
pulled his steering wheel, ran his car over the curb, and turned back
along the sidewalk. Once on the back roads he encountered no cars —
these roads were quieter than in peacetime. But he was repeatedly
stopped by gendarmes, who repeatedly plied him with the same
question.
“Why
aren’t you on the main highway?” But they all knew he was
better off being there.
By
nightfall they were at Saint-Léonard, having traced a path via
Pont de Sully and Bourges. His brother-in-law, Elie Lascaux, and his
wife (the other sister of Kahnweiler's wife) had been settled there
since the war started, though both of them disliked the severely
bucolic existence. Later they moved into Saint-Léonard itself
and were happier.
After
the 1940 Armistice was signed by Hitler in the railway car at
Compiègne, demobilization freed Beaudin, and he and other of
Kahnweiler's friends, including Michel Leiris and a daughter of
Masson, gravitated to Saint-Léonard.
The
family faced grave decisions. Paris was occupied. Kahnweiler might be
considered by the Nazis as a turncoat German. Far worse in their
eyes, he was a Jew. And furthermore, he was a dealer and leader in
the judged-decadent artforms Hitler so violently reviled.
The
Nazi confiscation of degenerate art in Germany in 1937 had taken
four van Goghs, five Légers, seven Braques, nine
Derains, 19 Picassos, 57 Kandinskys, 59 Chagalls, 72 Jawlenskys, 102 Klees, 326
Pecksteins, 378 Feiningers, 381 Barlacks, 417 Kokoschkas, 639
Kirchners, and 1052 Noldes.
Nazi
specialists in artistic questions who were posted to Paris knew all
this, but the first ones, as I have written in previous “Moments
in Art,” tended to be secret defenders of Kahnweiler and his
art. Nonetheless, there was exceeding danger, and the dealer's
friends kept his whereabouts a secret.
For
the moment at least, Kahnweiler appeared to be safe, but
the brutal reality of the locked gallery in Paris and its stock still
faced the family. Admittedly the gallery did not go by Kahnweiler's
name, but this was no help, because his associate Simon was also a
Jew.
After
desperate hours of trying to judge every known factor and weigh as
many unknown contingencies as they could imagine, Louise and Michel
Leiris and Madame Elie Lascaux decided they would return to Paris and
reopen the gallery.
Soon
afterwards, the Nazis posted their anti-Jewish edicts. By then Simon
had escaped to Brittany with friends. The Nazis moved to seize the
gallery and its priceless stock, whereupon Louise Leiris stepped
forward to tell them that she had previously purchased the gallery
and the Nazis could make no claim to it!
Though
she bravely gained the first skirmish, the Nazis received an
anonymous letter composed of letters cut out of newspapers and glued
down: "Madame Leiris is the sister-in-law of Kahnweiler; so the
transfer is a fiction!"
Not
to be intimidated, but not knowing if she would ever walk the
once-happy streets of Paris again, Madame Leiris entered the
Bureau of Jewish Questions, demanded to see the highest official she
could reach, and declared icily, "It is true that I am the
sister-in-law of Kahnweiler, but on the other hand I am what you call
Aryan, and I have worked in this gallery since 1920 — that is,
for 21 years. Who would buy this gallery if it weren't me?"
It
was tough talk the Germans could understand. The transfer to her was
certified, and the gallery ever after has been known as the Galerie
Louise Leiris.
Elie Lascaux (Kahnweiler’s brother-in-law), View of Noblat
For
three years Daniel-Henry Kahnweiler lived in Saint-Léonard-de-
Noblat, and in spite of everthing, "These three yearswere
three years of happiness for me and my wife." In a nostalgic
echo of that other period of supreme happiness in the 1920's, here
he wrote his monumental book on Juan Gris.
But
the gas chambers were ever in the background, and if he didn't know
about them specifically, he did know the Nazis were rounding up
Jews. Every day Kahnweiler's danger increased.
One
of his intellectual friends, Raymond Queneau, had a Jewish wife,
whom he hid at Saint-Léonard. So Queneau came to the village
whenever he could. During one visit he persuaded the Kahnweilers
that they should have false identity papers to use in emergency, and
on a Sunday afternoon, while they made ridiculous jokes about what
they were doing, Queneau filled out papers and forged appropriate
signatures and seals.
"What
name do you want on these documents?" the counterfeiter asked.
"Henri-Georges
Kersaint." A surname beginning with K was necessary because all
the dealer's shirts carried the single monogram.
The
fake papers were hidden inside a hand buffer used to polish shoes.
In
February, 1942, Michel and Louise Leiris made their way down from
Paris with a warning for their brother-in-law. "All our friends
say that you are going to be arrested one day or another. You must
leave. We have found you a hideout in Lot-et-Garonne with friends.
You must go there."
Kahnweiler
started to pack, but halted. "No, I will not leave. We are
happy here. Come what may." He unpacked.
But
later, in 1943, someone sent the Gestapo another anonymous letter.
The
Leirises happened to be on the farm when the Gestapo swooped down in
a daytime raid with a warrant to search for arms. The informant was
the daughter of a neighboring farmer, towards whom the Kahnweilers
had been especially friendly. She had become the mistress of the
Gestapo chief in Limoges.
The
raiders searched everywhere, even to the bottom of the well, but of
course the Resistance was not so stupid as to have hidden arms with
a Jew.
One
of the rummaging Germans picked up the shoe buffer.
“What
is this thing?" he asked.
Mrs.
Kahnweiler answered unhesitatingly, "It's for cleaning shoes."
And
she mimed a vigorous brushing action. The soldier cast it aside.
Had
he found the papers the household would have gone off to a
concentration camp or worse with no more questions asked.
The
Gestapo left — only to come back at four in the morning.
"You
lied," they spat. They pillaged the house — what little
silver there was, the jewels of Madame Kahnweiler and Madame Leiris,
but no paintings, for these were of no interest to them. Previously
Kahnweiler had moved the best of his paintings into the home of a
nearby unimportant farming squire.
Kahnweiler
and his wife left when darkness fell again. They slept in Limoges
with a niece of Lascaux, who kept them that night, and at four in
the morning they headed for the little hamlet of Lagupie, resting
for several hours with friends in Agen and arriving the next day at
their destination, which was between Marmande and Le Réole,
up the Garonne river a safe distance from Bordeaux, where a gentile
family named Petit, whom the Lascaux had met in 1940, took them in.
They
stayed for a year. In this part of France the maquis was virulent,
and on one occasion a German contingent encircled the hamlet and
burned a house, but no one was shot.
Kahnweiler's
artists were having their own problems. Picasso's studio had been
sacked, and to his anger the Germans had taken all his bed linen but
none of his paintings. He had also been attacked savagely in the
press by Vlaminck, but the motivation was largely esthetic rather
than political, and Vlaminck had spared Kahnweiler the invective.
André
Masson and his Jewish wife escaped France; six weeks later they
arrived in Martinique and eventually went to America. From there
they were able to write letters to Kahnweiler until the United
States entered the war.
Masson's
presence had much to do with unleashing the American
Abstract-Expressionist movement, and Jackson Pollock himself
acknowledged Masson's influence.
Kermadec
took refuge in his wife's house in Cotentin and kept in touch.
Poet
Max Jacob, who became one of Kahnweiler's closest friends, was
nearly 35 when, in 1909 or 1910, he came back to his room fromthe cinema. He had had a vision of Christ which converted him to
Christianity. When he got around to being baptized during the war in
1917, Picasso was his godfather and he took the name of Cyprien.
Modigliani, Max Jacob
The
Jacob-Picasso parties became notorious. Max, whose "eyes were
of an extraordinary tenderness but had in them the same time all the
sadness of Israel," simultaneously droll and spiritual, could
sing verses to La Grand Frisé all night.
Unlike
his painter friends, Jacob never emerged from poverty, and perhaps
he never really tried: he seemed pledged to being poor. He mixed
saliva, tobacco, and a few colors to make a gouache which he used to
paint Paris street scenes and views of the theater. These he sold to
his friends to eke out his existence, and finally he moved to the
country where it was cheaper to live.
Hidden
in Saint-Benoit-sur-Loire, Max was denounced. The Germans took him
to Orleans and then Nancy, where sudden death from pneumonia may
have saved him from worse horrors.
Once
Kahnweiler went into hiding at Lagupie he lost all direct contact
with his circle, except for communication with Louise Leiris, who by
grit and intelligence kept her gallery open, bought a Picasso now
and then as they were painted and when she had the means, and as
best she could supported the gallery's younger artists.
Not
a single painting was ever sold to the Germans.
The
few German soldiers interested enough to visit the gallery were
usually artists themselves. Even if they could have bought something
they could not have shipped such degenerate merchandise back to the
Fatherland.
But
the Nazis did steal art, trainloads full of it. Though they never
managed to loot a single painting from the Louvre, they did pillage
the libraries and art collections of Jewish victims. Much of the
admirable collection of Alphonse Kann, for example, disappeared, and
Paul Rosenberg — whose resources before the German conquest
included an estimated 300 Picassos and 200 Braques — lost
heavily.
Though
Rosenberg's paintings could not be sent into Germany, they were sold
after being stolen ... and vanished.
As
soon as Paris was liberated, American soldiers on leave began to
frequent the gallery on rue Astorg. One American major, who later
became a professor at Yale, returned each week with a few chocolates
and cigarettes for Madame Leiris. Although he had very little money,
almost every week he bought a small something. For the gallery at
this time these purchases were big indeed.
The
Kahnweilers were not able to begin their return to Paris until
October, 1944. Daniel-Henry was then 60. The maquis had blown up so
many bridges and trestles that there was scarcely any rail
transportation.
His
wife was already ill. They went via Limoges to pick up their niece,
Germaine Lascaux, so she could go to school in Paris. They crossed
the Loire on a rowboat, and after a complicated bits-and-pieces
journey, arrived in Paris about three in the morning, only to have
to walk across town to find their fifth floor apartment on Quai des
Grands-Augustins.
Madame
Leiris had been holding it for them for two years.
Then
they began the joyful process of finding old friends and plunging
into the universe of art once again.
France
was plagued with shortages and restrictions, and Picasso, "whose
art is always an art of circumstances," Kahnweiler said,
undertook a string of lithographs because in the workshop of
Mourlot, the printer, where Picasso worked, there was heat.
Picasso
was honored with a whole room in the Salon d'Automne, much to
the scandalization of his enemies. There Kahnweiler encounted Roger
Dutilleul, his first really wealthy collector, and as the two men
embraced, so great were their emotions over finding each other, a
welling up of friendship and memories going back nearly 40
years, that they could hardly contain themselves.
Modigliani, Roger Dutilleul
Such
encounters were common occurrences those years throughout Europe.
Kahnweiler
was well along in years when I met him in his Galerie Leiris. I
asked him if he had successors trained to take over the gallery when
he died.
He
replied that when he died, the gallery would die with him. There
would be no successor ownership.
Lawrence Jeppson is an art consultant, organizer and curator of art exhibitions, writer, editor
and publisher, lecturer, art historian, and appraiser. He is America's leading authority on
modern, handwoven French tapestries. He is expert on the works of William Henry Clapp, Nat
Leeb, Tsing-fang Chen, and several French artists.
He is founding president of the non-profit Mathieu Matégot Foundation for Contemporary
Tapestry, whose purview encompasses all 20th-century tapestry, an interest that traces back to
1948. For many years he represented the Association des Peintres-Cartonniers de Tapisserie and
Arelis in America.
Through the Smithsonian Institution Traveling Exhibition Service, the American Federation of
Arts, the Museum of Modern Art, and his own Art Circuit Services he has been a contributor to
or organizer of more than 200 art exhibitions in the United States, Canada, Japan, and Taiwan.
He owns AcroEditions, which publishes and/or distributes multiple-original art. He was co-founder and artistic director of Collectors' Investment Fund.
He is the director of the Spring Arts Foundation; Utah Cultural Arts Foundation, and the Fine
Arts Legacy Foundation
Lawrence is an early-in-the-month home teacher, whose beat is by elevator. In addition, he has spent the past six years hosting and promoting reunions of the missionaries who served in the French Mission (France, Belgium, and Switzerland) during the decade after WWII.