Picasso's War by Hugh Eakin Summary

Picasso's War explores how Pablo Picasso’s art gained prominence in the U.S. amid World War II, tracing the efforts of collector John Quinn and MoMA director Alfred Barr to introduce modern art to America. The book details the 1939 MoMA exhibition that shifted American tastes, saved artworks from Nazi destruction, and cemented Picasso’s legacy.

Art historians, fans of 20th-century cultural history, and readers interested in WWII’s impact on art will find this book compelling. It appeals to those curious about museum politics, avant-garde movements, and the interplay between art and global conflict.

Yes. Praised as “admirable and enjoyable” (The New Yorker) and “rollicking and fascinating” (Foreign Policy), Eakin’s narrative blends meticulous research with gripping storytelling, offering insights into Picasso’s rise and America’s transformation into a cultural hub.

Quinn, an Irish American lawyer, amassed the largest private Picasso collection in the early 20th century. Though his dream of a museum failed, his acquisitions became foundational for Alfred Barr’s MoMA exhibitions, shaping America’s acceptance of modern art.

The exhibition, delayed by the Great Depression and political tensions, finally debuted in 1939. It showcased Picasso’s works rescued from Nazi-occupied Europe, revolutionizing American perceptions of modern art and establishing MoMA as a cultural authority.

Eakin reveals how Hitler’s campaign against “degenerate art” forced Picasso’s dealer, Paul Rosenberg, to smuggle paintings out of Europe. This perilous effort preserved masterpieces and allowed their display in the U.S., linking art survival to wartime resistance.

While praised for its narrative, The New Yorker notes the book sidelines Bauhaus/Dada influences and avoids analyzing why American tastes shifted. It focuses more on collectors than Picasso’s artistic evolution.

Unlike biographies centered on Picasso’s personal life, Eakin’s work emphasizes institutional battles and transatlantic diplomacy. It complements books like Guernica by Gijs van Hensbergen, which delves into Picasso’s political art.

The book underscores art’s vulnerability during crises and the role of cultural advocacy—themes resonant in debates about preserving art in conflicts like Ukraine. It also examines how museums shape artistic legacies.

Eakin highlights Barr’s belief that modern art could “redefine democracy” through creativity. The book also revisits Picasso’s defiance: “Painting is not done to decorate apartments; it is an instrument of war”.

Barr, MoMA’s first director, emerges as a visionary who leveraged Quinn’s collection and wartime chaos to build America’s modern art canon. His strategies, including blockbuster exhibitions, set precedents for museums worldwide.

Paul Rosenberg, Picasso’s Jewish dealer, is pivotal for smuggling art from Nazi Europe. Eakin also highlights art patron Katherine Dreier, who championed modernism despite public skepticism.

Yes. The book examines Picasso’s transition from apolitical artist to creator of Guernica, reflecting his outrage over fascism. Eakin ties this shift to the broader mobilization of art during wartime.

Early 20th-century U.S. critics dismissed Picasso as “degenerate” or incomprehensible. Eakin traces how MoMA’s campaigns and WWII’s moral urgency reframed him as a symbol of creative freedom.