ABSTRACT
This chapter traces the different parties who converged or, as Zervos' letter makes plain, collided in the realisation of these shows: the artists, Parisian dealers, the international collectors, the museum curators, and the art critics. Between 1926, when the review first appeared, and 1933, Picasso, Braque, Gris and Leger appeared more frequently than any other artist, and Zervos reproduced hundreds of images of their paintings. The stature that Picasso, Braque, Gris and Leger enjoyed from 1925 onwards, and that precipitated their shows in Zurich and Basel, fuelled and was fuelled by the evermore-lucrative prices their works attracted internationally. Braque and Leger, who had set aside selections of their work, were, as Wartmann admitted, 'at first very displeased,' but he reassured the Kunstgesellschaft that 'it was subsequently possible to pacify them and win them over for later special exhibitions.'
