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portrait of ambroise vollard analysis

    portrait of ambroise vollard analysis

    Never married, Vollard came to view his artists community as his family amongst whom made an imposing presence: "exceptionally tall and heavily built [with] darkish skin and heavy-lidded eyes", writes Dumas, Vollard spoke with a "slight lisp, in a voice surprisingly light and high-pitched for a man of his bulk", while his "unhurried and ponderous" movements belied his astute business savvy. First World War. Vollard seems to have had difficulty selling the "large picture," as Gauguin called it. Ochres are often used for the planes or facets, black for He opened his art gallery in auspicious times: the 1890s witnessed Portrait of Ambroise Vollard (1910), Pushkin State Museum of Fine On any given evening, one could dine with some of the most important people in Parisian society with often unexpected occurrences. Materials and technics: Oil on canvas. Cubist Paintings. In September 1893 Vollard moved into a small shop at 37 rue Laffitte, putting him in the vicinity of many of Paris's key galleries. Picasso continued to employ multiple-viewpoint is simple enough. Renoir, Gauguin and Henri Matisse. The man at the top of the table, holding aloft a bottle of wine, is the evening's host: Ambroise Vollard. In Portrait of Ambroise Vollard, Vollard's downcast eyes, apparently closed, the massive explosion of his bald head, multiplying itself up the painting like an egg being broken open, his bulbous nose and the dark triangle Distinguishing features: His downcast eyes, apparently closed, the massive explosion of his bald head, multiplying itself up the painting like an egg being broken open, his bulbous nose and the dark triangle of his beard are the first things the eye latches on to. see: Abstract Art Movements. Analysis of Young Italian Woman Leaning on her Elbow by Cezanne Young Italian Woman is typical of Cezanne's late style of figure painting , possessing the profoundly meditative silence and stillness of such great contemporary works as Portrait of Ambroise Vollard (1899, Musee du Petit Palais, Paris) and Woman in Blue (1892-6, Hermitage Museum . [2][3], The painting is a portrait of Ambroise Vollard and displays Picasso's analytical approach to Cubism. ", "it was the artist's job to give the impression of reality, of the thing seen. Gauguin, Vincent van Gogh, Picasso, and others, defining his position as a dealer in avant-garde art and shaping the a century after the event. In this flattering portrait, Renoir depicts the shrewd businessman as a thoughtful connoisseur. However, the face has been deconstructed, allowing the viewer to put together the image and view the varying planes simultaneously. Vollard and Renoir would, meanwhile, become lifelong friends. Claude . With no other viable options, Gauguin signed a contract with Vollard who became the artist's principal dealer. Today Homage to Czanne serves as a memorialization of the Nabis group given that by the time Denis's painting was first exhibited, the Nabis had, according to curator Gloria Groom, "ceased to exist as a coherent movement and had found other dealers to represent them". the object at different times of the day. The solo show, a form established in the mid-nineteenth century by Durand-Ruel, was an effective way to build an Time. Of his Czanne exhibitions alone, curator Rebecca A. Rabinow states, "if you think about all the people who passed through Vollard's gallery, all the artists who became influenced by Czanne. Ambroise Vollard was a Paris art dealer, author of a book of memoirs, publisher, authority on and collector of contemporary art. is to say: Yes, analytic Cubism was truly revolutionary, but not really to Van Gogh, but later he observed "I was totally wrong about van Gogh! It is on this art history "orthodoxy" that Picasso's place has been secured in the pantheon of European modernists. Picasso & Matisse | Picasso & Cezanne | Picasso & Marc Chagall | The struggle of what one "should become" is manifest in the figure in the center of the painting who stands arms raised above her head looking upwards as if the answer lies with God. These celebrated gatherings were captured in paintings and sketches by [Pierre] Bonnard". As a result, several scandals and lawsuits followed concerning the distribution and legal ownership of his collection. Vollard had one specially tailored and on his return Renoir asked his friend to sit in it for a portrait. Bonnard depicts a group seated around a table enjoying a splendid feast of food and wine. Still Life with Violin and Pitcher (1910), Kunstmuseum, Basel. With eyes closed like a tranquil, omnipotent god, Vollard is sublime. She adds that Amour amounted to an "illustrated poem, insofar as each print is accompanied by evocative captions taken from the private notes of the artist, written from June 1891 through 1893". One of several portraits of himself, Vollard's toreador portrait was not offered for sale, however, and took pride of place rather on a wall in his mansion. INDEX - A-Z of ART MOVEMENTS. And despite Gauguin's profound misgivings, Vollard's dealership proved critical in supporting the artist during the latter years of his life. He championed Paul Czanne, Van Gogh, is free to walk around a piece of sculpture for successive views. The many and varied portraits of Vollard featured in the exhibition underscore his close relationships to artists and his brilliance as a self-promoter. It was so well received when it debuted in 1926 that a French edition was published a year later. After the war the center of the Paris art world shifted to the area near the Champs-lyses, and Vollard chose He initially struggled to earn a living, reselling artworks he had bought from the stalls that lined the banks of the Seine. Subject: Ambroise Vollard (1867-1939) was one of the great art dealers of the 20th century. Sometimes the customers left his gallery with a very expensive . Papier . In September 1893, Vollard rented a small shop at 37 rue Laffitte in the heart of the Paris art world. When Picasso later returned to a figuration informed by cubist richness and surrealist eroticism, they collaborated on one of Picasso's greatest achievements: his lubricious, mytho-erotic Vollard Suite, 100 engraved plates completed in 1937, culminating in emotional portraits of Vollard, who was to die two years later in a car crash. In this portrait, Vollard is depicted wearing a brown suit. Vollard abandoned the study of law to work as a clerk for an art dealer. 2023 The Art Story Foundation. According to curator Ann Dumas, once he had become an established artist, "Picasso would later complain that the dealer [when he was first starting out] had bought the contents of his studio for a derisory sum, although, as the artist's friend Jacques Prvert was quick to remind him, the prices offered were not notably low at the time for work by an unknown name". Portrait of Ambroise Vollard. Rosenberg (1879-1947), so that by 1911 commentators were talking of Estimate: 350,000 - 550,000 USD. Analytical Cubism The art historian Robert Jensen highlighted the historical significance of Vollard and Czanne's partnership when he observed that Czanne "was the first important French artist to forge his reputation within the context of a commercial gallery rather than through public art exhibitions". Modern Evening Auction / Lot 111. Otherwise, stories of Vollard's private life are scarce and anecdotal with even his autobiography focusing almost exclusively on associations with his colleagues and peers (there is nothing at all relating to any romantic relationships Vollard may have pursued). And yet some of these disagreements were no doubt due as much to his artists' personalities and expectations as to those of Vollard as their dealer. April 20, 2012. visual-arts-cork.com. HOW (92 x 65 cm.) Dumas notes that the opening of the gallery was well timed since it coincided with "the decline of the unwieldy state-sponsored Salon system, which was centered around large, annual exhibitions that were highly publicized" only to be overtaken by "the rise of the commercial dealer". The very magic of the name predisposed me to admire everything". the teacup because we see it from two angles at once, which is impossible object. A regular attendee of Vollard's notorious rue Laffitte cellar parties, the street photographer, Brassa, recalled, "for thirty years, his famous cellar - a white vaulted room without a single picture on the walls - had been the center of Parisian artistic life. There can be little doubt that Vollard made a significant impact on early twentieth century art. and Picasso's The Accordionist (1911, Guggenheim Museum, New York). Indeed, Vollard had a significant impact on creating Renoir's legend, not only by promoting his art through sales in his gallery, but by encouraging him to enter the field of wax sculpture (after arthritis had forced the artist to move from the capital to the sunnier climes of southern France in 1908) and by memorializing his career through his 1919 monograph La Vie et l'oeuvre de Pierre-August Renoir. He championed Czanne, Van Gogh, Renoir, Gauguin and Rousseau. Oil on canvas - Collection of Muse d'Orsay, Paris. This lithograph, one of thirteen in Maurice Denis's Amour series, features a woman in the front left foreground looking down as she reaches out for a pink flower with her right hand. Girl with a Mandolin (Fanny Tellier) (1910) Museum of Modern Art, So was analytical Cubism In their revolution between 1908 and the first world war, Picasso and Georges Braque, as if to provide the viewer with some sort of anchor, stuck to traditional genres - the still-life and the portrait. From his first show at Vollard's gallery on the rue Laffitte in 1901, through his creation, in the 1930s, of the set of one hundred etchings known as the Vollard Suite, Picasso had great but wary respect for the canny dealer and even, as one sees in this portrait, some affection. Color lithograph - Collection of The Art Institute of Chicago. He made his one and only visit to the United States in late October of 1936 where he gave a lecture at a New York City gallery in conjunction with a Czanne show, as well as a talk at the Barnes Foundation in early November, most likely to further the relationship with Albert Barnes who had been a patron at Vollard's Paris shop. these other planes. were not satisfied with this monochrome effect, and introduced more colour Groom records that the host bought the painting from Bonnard, and the fact that it "remained in Vollard's collection throughout his life suggests the personal meaning [it] held for him". Portrait of Dora Maar, Ambroise Vollard (1867-1939) - the pioneer dealer, patron, and publisher who played a key role in promoting and shaping the careers of many of the leading artists during the late 19th and early 20th centuries. Through his gallery, Vollard was also responsible for promoting the artists associated with the relatively unknown Fauvist and Nabis movements. All articles in this series. notably Robert Delaunay art which rejected single point perspective and sought to show the Metzinger's teacup demonstrates in an elementary being downplayed, so as not to distract the viewer, and archetypal analytical Extensive group shows were not Vollard's standard practice; he promoted artists principally through one-man exhibitions. Superceded By Synthetic Cubism critics and dealers who were most impressed. Inventory number: PPP2100. Now that time has done its work it is easy to see, on putting the French paintings beside those done in England, that a painter 'who has something to say' is always himself, no matter in what country he is working". This painting, Fruit Bowl, Glass and Apples [1879-80] had belonged to Paul Gauguin, who is also evoked among the tutelary examples to whom Denis is paying homage. Edgar Degas, and he began dealing the works of both artists. It was only following Degas's death in 1917, however, that Vollard became aware of The Coiffure, purchasing it for 19,000 francs in a posthumous auction of Degas's works. Despite this, Vollard did not consider the exhibition to be a success and he did not buy the remaining artwork. Speaking of this painting in particular, the curator Gloria Groom notes that "Bonnard gave the guests at Vollard's table only vague physiognomies, inviting numerous possibilities for identification. Odilon Redon is also given pride of place: he is shown in the foreground on the far left and most of the figures are looking at him. Like any larger-than-life figure, the myth of Ambroise Vollard does not always match the historical facts. art. It would prove to be one of Vollard's most regrettable professional misjudgements: "I was totally wrong about van Gogh! Picasso's portrait offers a realistic resemblance of Vollard's appearance, in particular, his heavy eyelids, wide nose and compressed mouth. The first comprehensive exhibition devoted to Ambroise Vollard (1866-1939) - the pioneer dealer, patron, and publisher who played a key role in promoting and shaping the careers of many of the leading artists during the late 19th and early 20th centuries - will open at The Metropolitan Museum of Art on September 14. Portrait of Ambroise Vollard displays an important period in the evolution of Picasso's artwork, known as Analytic Cubism. April 22, 2010, By Andrew Russeth / Homage to Czanne is a visualization of the process of viewing a painting. likened to that of a photographer who takes a large number of photographs or covered up, yields a profile. This period also witnessed the rise of the commercial dealer. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. The only other object in the room, a trapezoid near his head, might stand for a second book, its covers shut tight. Still Life with Herrings/Fish (1909-11), MoMA, NY. For a list of schools and styles, Unlike Gauguin, however, Czanne was happy to enter into a contract with Vollard (he would in fact handle about two-thirds of Czanne's entire output over the course of his career) to whom he attributed his success. 1937, Musee Picasso, Paris; Female Nude and Smoker, 1968, Galerie The relationship between Vollard and Picasso was ambivalent but long lived. However, by the time Vollard began seriously dealing in art, the few dealers showing avant-garde painting - Pre But Portrait of Ambroise Vollard (French: Portrait de Ambroise Vollard) is an oil-on-canvas painting by Pablo Picasso, which he painted in 1910. I thought he had no future at all, and I let his paintings go for practically nothing." Vollard also developed a passion for book publishing. Shortly after the outbreak of World War II, the 73-year-old Vollard was involved in a car crash. Analytical Cubism In Cubism the canvas, as in Picasso's Portrait of Ambroise Vollard (1909-10). Vollard also refused to be held down by the narrow definition of "art dealer"; expanding his influence into publishing and illustration. Man with a Clarinet (1911-12) Museo Thyssen-Bornemisza, Madrid. non-objective art, see: Ambroise Vollard (1867-1939) was one of the great art dealers of the 20th century. In the Vollard soon directed all his energies into this new pursuit, with the books he published designed to include illustrations by the artists he represented. He championed Paul Czanne, Van Gogh, Renoir, Gauguin and Henri Matisse. He died the following day in the hospital from complications resulting from the accident. Vollard was not without his distractors and it is known that he was given to sudden mood swings and bouts of morose silence. Portrait of Ambroise Vollard with his cat by Pierre Bonnard A familiar face Picasso joked that Vollard had his portrait painted more than any beautiful woman. All rights reserved. He had the shrewd idea of acquiring from widow of Theoretically we know more about Estimate: 20,000,000 - 30,000,000 USD. But what head? Portrait of Wilhelm Uhde (1910) Joseph Pulitzer Collection, St Raised in the French colony of Runion, an island in the Indian Ocean, he endured a strict childhood. of his beard are the first things the eye latches on to. The painting is a representation of the influential art dealer Ambroise Vollard, who played an important role in Picasso's early career as an artist. He was physically imposing but also known to be patient and gentle, qualities captured endearingly by Bonnard in A nor a good full face by usual representational standards is beside the For centuries painters had been satisfied to represent an This brief video clip provides a look at the Metropolitan Museum of Art's exhibition Czanne to Picasso: Ambroise Vollard Patron of the Avant-Garde which was on view from September 14, 2006 through January 7, 2007. Vollard gave Picasso his first show (with Francisco Iturrino) in Paris in 1901; the Spaniard still aged just nineteen. Turned down for an apprenticeship by the dealer Georges Petit because he knew no foreign languages, Vollard worked briefly under Alphonse Dumas, who specialized in It was a conceptual ARTWORKS As a regular guest of the gatherings, Bonnard, evidently Vollard's favorite Nabis member, and the only one of the group whose paintings he collected, was hardly a neutral observer of the scene. for itself. Cubism was an all-out assault on habits not only of painting but of seeing. Jardin devant le Mas Debray. Cubist paintings are virtually monochromatic, painted in muted browns These published works, combined with the poet Paul Valry's 1938 treatise on the artist, secured Degas's international reputation and gave the public an insight into the life of a most private artist. And if one is aware of the underlying motivations for the series, one is left to imagine the contemplative woman depicted in the print is probably thinking about the man she loves (Denis). crossing and merging transparent planes are a more complicated application sensuousness (Girl with a Mandolin (1910) private collection). The Muse d'Orsay described the picture's setting as follows: "Maurice Denis has assembled a group of friends, artists and critics, in the shop of the art dealer Ambroise Vollard, to celebrate Paul Czanne, who is represented by the still life on the easel. style becomes the plane or facet - a small plate-shaped area, bounded The outbreak of the first world war forced Vollard (like other dealers) to close his gallery and to retreat to the commune of Varaville in Normandy (northwest France). are then cut up and rearranged almost at random on a flat surface, so in order to reveal other planes behind them; they cross and merge with Soon after, the artist was supplying Vollard with pastels and drawings in exchange for pieces by Czanne, Gauguin and Manet. of Art) is a fourth-dimensional complication of forms which began, no ", "Any audacity is regarded with suspicion, whether it be in literature, music or painting. of 21 to continue his studies, he had few contacts and no credentials for the art world he was entering. plates that overlap and intersect at various angles. as revolutionary at the time, but not by the public: it was other artists, the Fourth Dimension in Painting. Art Evaluation: How to Appreciate Art. Vincent van Gogh. or Orphic Cubism. Yet he genuinely loved art and was personally involved with the artists he represented, displaying courage and persistence on the behalf of many of the greatest artists In 1890 Vollard took the bold decision to go out on his own, opening a small shop in one of the two rooms he had rented as his lodgings. His courage and determination brought the works of a host of younger painters including Maurice Denis, Pierre Bonnard, Flix Vallotton, douard Vuillard and Edvard Munch, to the attention of the international public, along with older masters such as Paul Czanne and Paul . Throughout the 1890s and early 1900s, Vollard exhibited and sold works by Paul Czanne, History, Characteristics of Abstract Analytic As we have seen, analytical Cubism involved Young Woman (1909) Hermitage Museum. ", "For painting is not stationary, it cannot escape the urge to renewal, the incessant evolution that manifests itself in every form of art. nor Braque exhibited their analytic Cubist works in public before the In this style, the relatively solid masses He wears a serious expression and the portrait is rendered through the loose, strong brushwork that are so characteristic of Czanne's style. Advice for teachers and art students. Portrait of Daniel-Henry Kahnweiler), pictures became less and to pioneer a new form of painting which became known as Orphism As a portrait it is flattering, not least in its implication that Vollard is one of a tiny elite who understand cubism (that huge brain of his must have helped). The rue Laffitte gallery would double as a social hub where the Parisian "in crowd" gathered to enjoy fine dining. Portrait du clbre marchand d'art. Man with a Guitar (1911), MoMA, NY. letters, thus perhaps inadvertently signalling the shape of extraneous distortion known as perspective. Paul Czanne. What beard? He is credited with providing exposure and emotional support to numerous then-unknown artists, including Paul Czanne, Aristide Maillol, Pierre-Auguste Renoir, Louis Valtat, Pablo Picasso, Andr . She adds that the 1895 exhibition would be a crucial turning point in the dealer's career since it enabled him to "become Czanne's sole dealer and thus gain a monopoly on his output; this, together with the fact that Vollard had begun to attract sophisticated French and international customers, laid the foundation for his subsequent success". Rosengart, Lucerne), while Braque devoted much of his life to still The Pont-Neuf (1911) private collection. He was killed in July 1939, at the age of 73, on his way to Paris when his chauffer-driven car skidded off the road. For his part, Picasso stated, "the most beautiful woman who ever lived never had her portrait painted, drawn, or engraved any oftener than Vollard - by Czanne, Renoir, Rouault, Bonnard, Forain, almost everybody in fact. The very magic of the name pre-disposed me to admire everything. Vollard is represented examining the statuette of a kneeling female nude by the contemporary sculptor Aristide Maillol. As the respected author of monographs on Czanne, Degas and Renoir, and by raising the bar of the print album to create what would become the deluxe Livres d'Artiste book, he played no small part in expanding the international reputations of some of early modernism's greatest pioneers. Picasso's Portrait of Ambroise Vollard (1909-10) ushered in a new style of Cubism - known as Analytical or Analytic Cubism. from the decorative traditions of earlier avant garde painters, such as life painting, in a variety of styles. While most of the portrait is rendered in shades of brown, including his suit jacket, the viewer's eye is drawn to the dealer's facial features and his pronounced bald head which is painted in a vibrant gold. Still Life with a Violin (1911) Musee National d'Art Moderne. At your place one does at least meet with the unforeseen". arrangements of overlapping panes, in order to enhance the "reality" Once settled at 37 rue Laffitte, Vollard sought to consolidate his reputation as a dealer of avant-garde art with an exhibition of about twenty artworks by the likes of Paul Gauguin, Vincent van Gogh and mile Schuffenecker. from which they originated is lost rather than totally revealed. Analytic Cubism was certainly hailed NPR.org / Much of the art was left to extended family and close friends, although a significant number of works apparently were sold, dispersed, or disappeared during the war. Where Are We Going? stage of the Cubism movement. Thmes / Sujets / Lieux reprsents : Portrait, Homme, Tte Personne / Personnage reprsent: Vollard, Ambroise Mode d'acquisition: Don manuel Nom du donateur, testateur, vendeur: Valds-Forain, Florence Date d'acquisition: 2010 . stopped studying law and embarked on a career as an art dealer. The mystery of cubist portraiture, its depiction of the self as intangible, indescribable, revives in modern art the seriousness of Rembrandt. see Modern Art Movements. After the war, Vollard was able to reinvent himself. (1909-10) ushered in a new style of Cubism - Suddenly all the Thus a scene or object depicted on a canvas is always viewed exclusively The forms in Jean Metzinger's Tea Time (1911, On a more good-humoured note, Vollard told the tale of how Renoir had asked him to pick up a toreador costume whilst on a business trip to Spain. Original Title: Portrait de Ambroise Vollard Date: 1910 Style: Analytical Cubism Period: Cubist Period Genre: portrait Media: oil, canvas Location: Pushkin Museum, Moscow, Russia Dimensions: 92 x 65 cm Order Oil Painting reproduction Tags: male-portraits famous-people Ambroise Vollard Pablo Picasso Famous works Child with dove 1901 By Susan Stamberg / and development of a complication known as simultaneity brings Cubism Ambroise Vollard (1867-1939) was one of the great art dealers of the 20th century. In addition to his love for painting, Vollard was one of the few dealers of his day to take the graphic arts seriously. 'Mona Lisa with a Teaspoon', are broken into large facets or planes. He wears a serious expression and the portrait is rendered through the loose, strong brushwork that are so characteristic of Czanne's style. For an early one-man show in his new gallery, Vollard assembled the largest group of According to Dumas, "he rapidly became the leading contemporary art dealer of his generation and a principal player in the history of modern art [helping launch] the careers of Paul Czanne, Pablo Picasso, and the Fauves [not to mention] the Nabis, Odilon Redon, Henri Matisse, and many others". Vollard held two successful Nabis exhibitions in 1897 and 1898 but he was keen to push the three men to experiment in other mediums such as painted ceramics, sculpture, book illustration and color lithography. Despite the negligible returns, Vollard did help keep van Gogh's work in the public eye and can therefore take some small credit for securing his building reputation as a Post-Impressionist master. of the painting, growing more diffuse toward the edges, as in Picasso's For works of art by other Cubists, see Vollard followed this in 1910 with a comprehensive exhibition of the Spaniard's pre-Cubist works. It was revolutionary because it stimulated painters to rethink art, analytical Cubism was the most intellectual and uncompromising The curator Gary Tinterow added that Vollard could be a thoroughly obstinate man who "would never sell anybody what they wanted: he would never show people what they wanted. case of the teacup the process is simple. As an author himself, his monographs on Czanne, Degas and Renoir are to this day highly regarded as primary sources by historians. New York. Had Vollard not tracked him down in the south of France, would cubism even exist?". According to Miller, "Vollard tried to place works by Degas with museums outside France when he could [and it] appears to have been Vollard who made the sale [of this painting] to the Nasjonalgalleriets Venner, a group founded in 1917 and dedicated to acquiring major works for the Oslo museum". Several artists painted portraits of Vollard, but Czanne's is probably the first and is the only one known to have been commissioned by the dealer. Nude (1909) Hermitage Museum, St Petersburg. Of the process of writing his first book, Vollard enthused, "in the joy of seeing myself in print, I hung about the machines all day". But my cubist portrait of him is the best one of all. The facial features, such as the eyebrows, nose, mouth and beard are conveyed using short, broken lines. Claude Monet. Estimate: 200,000 - 300,000 USD. French Author, Dealer, Publisher, and Collector. The Factories of Rio-Tinto in Estaque (1910) Musee National d'Art This is the famous "fourth dimension' new techniques, although his partner was able to use them more creatively. The two men fought over the future direction of Gauguin's career but this conflict stimulated the artist to explore new areas of experimentation. painters in Paris, and promoted by art dealers like Daniel-Henry Vollard is more real than his surroundings, which have disintegrated At the left a teacup and saucer are divided down their GEOMETRIC dishonest, because it failed to represent the "truth". Philadelphia Museum of Art. Some artists, like Henri Matisse, complained that the dealer exploited them, equating Table in a Cafe (Bottle of Pernod) (1912) Hermitage Museum. Lot 111 . Czanne's portrait features Vollard dressed in a brown suit and bow tie, seated with one leg crossed over the other and his hands resting in his lap. Typically, forms are compact and dense in the middle Though he described the portrait as "notable", Vollard was rather unmoved and sold it to a Russian collector in 1913. Petit Palais. works of Analytical Cubism by Picasso and Braque. Seven years after it was created, the art critic J.F. "[7], A year after the outbreak of World War I, when the art market had ground to a halt in 1915, Picasso made a pencil portrait of Vollard in August of the same year, this time in the style of Ingres. All Rights Reserved, Czanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, Imprisoned Art: Destiny of an Art Collection, The Art of the Dealer: 'From Czanne to Picasso', Top dealer's lost paintings finally to be sold, Vollard Heirs Sue Serbia, Seeking 400 Paintings Allegedly Appropriated During WWII, New Exhibition of French art dealer Vollard's collection, Munch's First Colour Print Stars in Ground-Breaking Vollard Portfolio.

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