{"id":741,"date":"2023-03-03T03:32:49","date_gmt":"2023-03-03T03:32:49","guid":{"rendered":"https:\/\/tirinha.com\/daniel-henry-kahnweiler-o-negociante-de-arte-que-nao-entendia-picasso-mas-viu-nele-uma-oportunidade\/"},"modified":"2023-03-03T03:32:49","modified_gmt":"2023-03-03T03:32:49","slug":"%d0%b4%d1%8d%d0%bd%d0%b8%d0%b5%d0%bb-%d0%b3%d0%b5%d0%bd%d1%80%d0%b8-%d0%ba%d0%b0%d0%bd%d0%b2%d0%b0%d0%b9%d0%bb%d0%b5%d1%80-%d0%b0%d1%80%d1%82-%d0%b4%d0%b8%d0%bb%d0%b5%d1%80-%d0%ba%d0%be%d1%82%d0%be","status":"publish","type":"post","link":"https:\/\/tirinha.com\/ru\/741\/daniel-henry-kahnweiler-o-negociante-de-arte-que-nao-entendia-picasso-mas-viu-nele-uma-oportunidade\/","title":{"rendered":"\u0414\u0430\u043d\u0438\u044d\u043b\u044c-\u0413\u0435\u043d\u0440\u0438 \u041a\u0430\u043d\u0432\u0435\u0439\u043b\u0435\u0440, \u0430\u0440\u0442-\u0434\u0438\u043b\u0435\u0440, \u043a\u043e\u0442\u043e\u0440\u044b\u0439 \u043d\u0435 \u043f\u043e\u043d\u0438\u043c\u0430\u043b \u041f\u0438\u043a\u0430\u0441\u0441\u043e, \u043d\u043e \u0432\u0438\u0434\u0435\u043b \u0432 \u043d\u0435\u043c \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u0438"},"content":{"rendered":"<p> [ad_1]<br \/>\n<\/p>\n<div id=\"article-body-content\" data-action=\"toggle\" data-status=\"on\">\n<p class=\"paragraph\" id=\"paragraph_1\">Grandes exposi\u00e7\u00f5es foram dedicadas ao revendedor e isso n\u00e3o \u00e9 uma descoberta.  Fundamentalmente &#8211; embora atenda \u00e0s vicissitudes da biografia de <strong>Daniel-Henry Kahnweiler<\/strong> e seus livros de artista \u2013 \u00e9 uma viagem visual pelos artistas pr\u00f3ximos ao marchand.  Este passeio se limita a expor as cole\u00e7\u00f5es do Centre Georges Pompidou desde que sua enteada e genro \u2013tamb\u00e9m eles pr\u00f3prios galeristas\u2013, Louise e Michel Leiris, doaram sua cole\u00e7\u00e3o ao museu parisiense.<\/p>\n<p class=\"paragraph\" id=\"paragraph_2\">Um passeio visual, dissemos, que n\u00e3o atende ao porqu\u00ea, ao &#8220;como funciona&#8221;, e esse \u00e9 o tema que deveria ter sido desenvolvido.  Reza a lenda que o marchand Kahnweiler tinha um olfacto muito agu\u00e7ado e que, dotado de uma sensibilidade apurada, sabia encontrar talentos&#8230; Pois bem, <strong>Estamos convencidos de que ele n\u00e3o tinha olfato art\u00edstico nem crit\u00e9rio<\/strong>.<\/p>\n<p class=\"paragraph\" id=\"paragraph_3\">Se ele tinha ou n\u00e3o bom gosto ou n\u00e3o entendia de arte, n\u00e3o importa, nem significa menosprez\u00e1-la.  Mas suas apostas n\u00e3o respondiam a crit\u00e9rios art\u00edsticos, mas, digamos, a <strong>uma estrat\u00e9gia de neg\u00f3cios<\/strong>.  Basta olhar para as suas declara\u00e7\u00f5es e notas escritas para perceber que a sua forma de trabalhar servia a outros motivos.<\/p>\n<div class=\"article-media \" itemscope=\"\" itemtype=\"http:\/\/schema.org\/ImageObject\">\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"George Bracque: 'O Golfo de Lecques', 1907. Centro Pompidou.  Paris\" data-imgm=\"true\" height=\"180\" loading=\"lazy\" sizes=\"auto, (max-width: 479px) 100vw, (max-width: 1023px) 80vw, 40vw\" src=\"https:\/\/s1.eestatic.com\/2023\/01\/06\/actualidad\/731687008_229979258_1024x576.jpg\" srcset=\"https:\/\/s1.eestatic.com\/2023\/01\/06\/actualidad\/731687008_229979261_320x180.jpg 320w, https:\/\/s1.eestatic.com\/2023\/01\/06\/actualidad\/731687008_229979260_640x360.jpg 640w, https:\/\/s1.eestatic.com\/2023\/01\/06\/actualidad\/731687008_229979259_864x486.jpg 864w, https:\/\/s1.eestatic.com\/2023\/01\/06\/actualidad\/731687008_229979258_1024x576.jpg 1024w, https:\/\/s1.eestatic.com\/2023\/01\/06\/actualidad\/731687008_229979257_1706x960.jpg 1706w\" width=\"320\"\/><\/p>\n<div class=\"article-media__caption\">\n<p>\n                    <span class=\"article-media__caption-description\"><\/p>\n<p>                                    George Bracque: &#8216;O Golfo de Lecques&#8217;, 1907. Centro Pompidou.  Paris<br \/>\n                            <\/span><\/p>\n<\/div><\/div>\n<p class=\"paragraph\" id=\"paragraph_4\">Kahnweiler (1884-1979), vindo de uma fam\u00edlia de pequenos financistas judeus, sempre teve preocupa\u00e7\u00f5es culturais.  Era <strong>um amante da m\u00fasica apaixonado<\/strong> e at\u00e9 tinha uma pequena cole\u00e7\u00e3o de gravuras e trabalhos de pequeno formato, mas ele mesmo explica que \u201cn\u00e3o fazia ideia do of\u00edcio da pintura\u201d.  No entanto, ele tinha uma concep\u00e7\u00e3o b\u00e1sica da atividade comercial: tinha que trabalhar com artistas de sua gera\u00e7\u00e3o, se &#8220;comprava os grandes pintores quando eram jovens, tinha que ganhar dinheiro&#8221;.<\/p>\n<p class=\"paragraph\" id=\"paragraph_5\">Adquirir o trabalho de jovens artistas significa comprar a bom pre\u00e7o para que um dia cheguem a um pre\u00e7o alto.  Kahnweiler poderia estar interessado em Gauguin ou C\u00e9zanne, por exemplo, mas seu pre\u00e7o j\u00e1 era alto demais, inacess\u00edvel para ele e, al\u00e9m disso, explicou, nunca teria condi\u00e7\u00f5es de atend\u00ea-los.  Outro aspecto complementar: a exclusividade ou cria\u00e7\u00e3o de um <em>estoque<\/em> que foi uma das bases do mercado de arte do s\u00e9culo XX.  Isto \u00e9, <strong>um contrato entre artista e negociante<\/strong> \u2013\u00c9 geralmente um sal\u00e1rio combinado\u2013 a partir do qual o marchand monopoliza toda a produ\u00e7\u00e3o do artista.<\/p>\n<div class=\"article-media  article-media--left \" itemscope=\"\" itemtype=\"http:\/\/schema.org\/ImageObject\">\n<p><img fetchpriority=\"high\" decoding=\"async\" alt=\"Fernand L\u00e9ger: 'A Roda Vermelha', 1920. Centro Pompidou.  Paris\" height=\"2042\" src=\"https:\/\/s1.eestatic.com\/2023\/01\/06\/actualidad\/731687009_229979343_1706x2042.jpg\" width=\"1706\" data-lazy-status=\"processed\" data-lazy-info=\"remove loading item 1\"\/><\/p>\n<div class=\"article-media__caption\">\n<p>\n                    <span class=\"article-media__caption-description\"><\/p>\n<p>                                    Fernand L\u00e9ger: &#8216;A Roda Vermelha&#8217;, 1920. Centro Pompidou.  Paris<br \/>\n                            <\/span><\/p>\n<\/div><\/div>\n<p class=\"paragraph\" id=\"paragraph_6\">Em outras palavras, cria-se uma situa\u00e7\u00e3o de monop\u00f3lio que permitir\u00e1 o controle de pre\u00e7os no futuro.  Ele <em>estoque<\/em> \u00c9 um investimento para o futuro, pois o concession\u00e1rio controla a oferta e incentiva a procura.<\/p>\n<p class=\"paragraph\" id=\"paragraph_7\">De fato, goste ou n\u00e3o deste sistema, <strong>a figura do marchand aparece como fundamental para a cria\u00e7\u00e3o da arte do s\u00e9culo XX<\/strong>.  Ele viabiliza o trabalho de pesquisa do artista ao lhe proporcionar condi\u00e7\u00f5es econ\u00f4micas.  E tamb\u00e9m realiza um trabalho de media\u00e7\u00e3o entre artista e p\u00fablico.  Isso \u00e9 o que se chama promo\u00e7\u00e3o: valorizar, prestigiar algo que a priori n\u00e3o tem valor est\u00e9tico nem econ\u00f4mico e que \u00e9 rejeitado pelo grande p\u00fablico.<\/p>\n<p class=\"paragraph\" id=\"paragraph_8\"><em>[Los 50 a\u00f1os de la muerte de Picasso: as\u00ed se preparan Espa\u00f1a y Francia para conmemorarlo en 2023]<\/em><\/p>\n<p class=\"paragraph\" id=\"paragraph_9\">Pouco depois de abrir sua loja, Kahnweiler visitou o ateli\u00ea de Picasso, do qual ouvira falar, e teve a oportunidade de ver <em>As Damas de Avignon<\/em> (1907).  \u00c9 evidente que ele n\u00e3o conseguia entender aquela obra, nem tinha as orienta\u00e7\u00f5es de leitura necess\u00e1rias, que vieram depois.  Mas <strong>Picasso era a oportunidade que procurava<\/strong>.  Possivelmente, outros fatores contribu\u00edram, como a personalidade avassaladora do espanhol.  Embora se ele estivesse interessado nisso, \u00e9 porque era algo incompreens\u00edvel e estranho.<\/p>\n<div class=\"article-media  article-media--left \" itemscope=\"\" itemtype=\"http:\/\/schema.org\/ImageObject\">\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"Juan Gris: 'O livro', 1911. Centro Pompidou.  Paris\" height=\"2048\" loading=\"lazy\" width=\"1706\" data-lazy-status=\"processed\" id=\"d41d421d80\" src=\"https:\/\/www.elespanol.com\/el-cultural\/arte\/20230107\/daniel-henry-kahnweiler-marchante-no-entendio-picasso-oportunidad\/[\" https:=\"\" data-lazy-info=\"changed src\"\/><\/p>\n<div class=\"article-media__caption\">\n<p>\n                    <span class=\"article-media__caption-description\"><\/p>\n<p>                                    Juan Gris: &#8216;O livro&#8217;, 1911. Centro Pompidou.  Paris<br \/>\n                            <\/span><\/p>\n<\/div><\/div>\n<p class=\"paragraph\" id=\"paragraph_10\">Um problema a ser resolvido, algo que ainda estava por ser feito, mas que com o passar do tempo \u2013 a promo\u00e7\u00e3o \u2013 poderia se transformar em um valor est\u00e9tico e econ\u00f4mico.  Picasso foi um dos primeiros, eles seguiram <strong>bra\u00e7adeira<\/strong>, <strong>leitor<\/strong>, <strong>Cinza<\/strong> e depois <strong>Klee<\/strong> qualquer <strong>pedreiro<\/strong>grandes nomes da hist\u00f3ria da arte.<\/p>\n<p class=\"paragraph\" id=\"paragraph_11\">E, no entanto, o percurso visual que a exposi\u00e7\u00e3o nos oferece \u00e9 interessante porque oferece uma vis\u00e3o panor\u00e2mica do concession\u00e1rio: uma imagem mais amb\u00edgua.  Depois dos tempos her\u00f3icos e dos pioneiros do cubismo, Kahnweiler apresenta alguns artistas que hoje nos sentimos distantes de uma sensibilidade contempor\u00e2nea: <strong>Elie Lascaux<\/strong> e <strong>suzanne roger<\/strong> ou pintores que n\u00e3o alcan\u00e7aram uma grande proje\u00e7\u00e3o como <strong>Eug\u00e8ne de Kermadec<\/strong>, <strong>Andr\u00e9 Beaudin<\/strong>, <strong>Gaston-Louis Roux<\/strong>.  Porque?  A arte jovem, a arte nova, estava em outro lugar, n\u00e3o era mais a de sua gera\u00e7\u00e3o. <\/p>\n<p><span class=\"follow-topics-title__icon\"\/>Siga os t\u00f3picos que lhe interessam<\/p>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>[ad_1] Grandes exposi\u00e7\u00f5es foram dedicadas ao revendedor e isso n\u00e3o \u00e9 uma descoberta. Fundamentalmente &#8211; embora atenda \u00e0s vicissitudes da &hellip; <\/p>\n","protected":false},"author":1,"featured_media":742,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/s1.eestatic.com\/2023\/01\/06\/el-cultural\/arte\/731687004_229986723_600x315.jpg","fifu_image_alt":"","footnotes":""},"categories":[34],"tags":[],"class_list":["post-741","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","latest_post"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Daniel-Henry Kahnweiler, o negociante de arte que n\u00e3o entendia Picasso, mas viu nele uma oportunidade - Tirinha.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tirinha.com\/ru\/741\/\u0434\u044d\u043d\u0438\u0435\u043b-\u0433\u0435\u043d\u0440\u0438-\u043a\u0430\u043d\u0432\u0430\u0439\u043b\u0435\u0440-\u0430\u0440\u0442-\u0434\u0438\u043b\u0435\u0440-\u043a\u043e\u0442\u043e\/\" \/>\n<meta property=\"og:locale\" content=\"ru_RU\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Daniel-Henry Kahnweiler, o negociante de arte que n\u00e3o entendia Picasso, mas viu nele uma oportunidade - Tirinha.com\" \/>\n<meta property=\"og:description\" content=\"[ad_1] Grandes exposi\u00e7\u00f5es foram dedicadas ao revendedor e isso n\u00e3o \u00e9 uma descoberta. 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