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Migration of Images: Private Collections of Modernism and Avant-Garde and the Search for Cubism in Eastern Europe

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Chapter Summary

Among the key figures of collecting and merchandising Cubism, especially Picasso and Braque, was Czech art historian Vincenc Kramář. The works of Picasso from 1911–1912 are the very core of his collection. The collections of Sergei Ivanovich Shchukin (1854–1934) and Ivan Abramovich Morozov (1871–1925) were equally important to Russian artists as well as to artists who studied in and visited Moscow from time to time. The Shchukin collection was an important support of young Russian artists (Larionov, Goncharova, Kandinsky). The Russian collectors were interested in far more artists than Kramář, who, in the case of Cubism, was much more focused on the short Picasso and Braque period 1911–1913. The Russian galleries of Shchukin and Morozov also had an impact on many Baltic and Polish artists (Strzemiński), who saw these collections. The Shchukin and Morozov collections thus had the same significance to the local modernist milieu as the Kramář collection had for Czech Cubism (Emil Filla, Bohumil Kubišta, Otto Gutfreund) or Gösta Stenman’s first examples of Picasso, Braque and Derain shown in his art gallery in Helsinki in 1914, which played an important role for Finnish artists, especially for Ilmari Aalto.

10.1163/9789401210379_010
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