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| Galerie 1900-2000 | |
|---|---|
| Name | Galerie 1900-2000 |
| Established | 1988 |
| Location | Paris, New York |
| Type | Commercial art gallery |
| Founder | Parisian dealers |
Galerie 1900-2000 was a commercial art gallery established in Paris in 1988 that specialized in early 20th-century and modernist works, later expanding with exhibition activity in New York and other art centres. The gallery became known for dealing in paintings, prints, and drawings by artists associated with Impressionism, Symbolism, Fauvism, Cubism, and Art Nouveau, while participating in international fairs such as FIAC, Art Basel, and TEFAF. Its programming intersected with major collectors, museums, and auction houses including Musée d'Orsay, Louvre, Metropolitan Museum of Art, Christie's, and Sotheby's.
The gallery opened amid the late 20th-century revival of interest in fin‑de‑siècle and early modern art and engaged with scholarship connected to exhibitions at Galerie nationale du Jeu de Paume, Centre Pompidou, Tate Modern, Museum of Modern Art, and Guggenheim Museum. During the 1990s the gallery participated in market shifts alongside institutions such as Fondation Louis Vuitton, Musée d'Orsay, Royal Academy of Arts, Neue Galerie, and Philadelphia Museum of Art, while publishing catalogues that referenced provenance chains involving Paul Durand-Ruel, Ambroise Vollard, Daniel-Henry Kahnweiler, Bernheim-Jeune, and Galerie Durand-Ruel. Its activity paralleled retrospective scholarship on figures represented in collections at Musée d'Orsay, National Gallery, Art Institute of Chicago, Museum of Fine Arts, Boston, and Neue Galerie New York.
The founding dealers drew on networks linking Parisian and international expertise including ties to Daniel-Henry Kahnweiler, Ambroise Vollard, Paul Durand-Ruel, and contemporary dealers associated with Gagosian Gallery, Pace Gallery, David Zwirner, Thaddaeus Ropac, and Hauser & Wirth. Curators and directors who worked with the gallery maintained relationships with curatorial departments at Musée d'Orsay, Tate Modern, Metropolitan Museum of Art, Victoria and Albert Museum, and Museo Nacional Centro de Arte Reina Sofía, and collaborated with conservators trained at institutions like Institut National du Patrimoine and Getty Conservation Institute. Advisory boards sometimes included scholars affiliated with École du Louvre, Courtauld Institute of Art, Columbia University, and Sorbonne University.
The exhibition program focused on artists from earlier modernism and fin-de-siècle movements, mounting shows that featured names frequently discussed alongside the holdings of Musée d'Orsay, Musée Rodin, Musée de l'Orangerie, Neue Galerie, and Museum of Modern Art. Exhibited artists included works by Henri de Toulouse-Lautrec, Edvard Munch, Gustav Klimt, Pablo Picasso, Georges Braque, Juan Gris, André Derain, Henri Matisse, Paul Cézanne, Vincent van Gogh, Paul Gauguin, Édouard Manet, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, Alphonse Mucha, Amedeo Modigliani, Maurice Denis, Paul Signac, Georges Seurat, Odilon Redon, James Ensor, Fernand Léger, Raoul Dufy, Max Beckmann, Kees van Dongen, Émile Bernard, Henri Rousseau, Joaquín Sorolla, Giovanni Boldini, André Masson, Jean Metzinger, Wassily Kandinsky, Paul Klee, Giorgio de Chirico, Max Ernst, Maurice Utrillo, Chaim Soutine, Lyonel Feininger, Ossip Zadkine, Constantin Brâncuși, Aristide Maillol, Amedeo Modigliani, and František Kupka. The gallery also presented themed exhibitions and loans that intersected with scholarship on Symbolism, Fauvism, Cubism, Art Nouveau, and the Belle Époque.
Through curated exhibitions and sales the gallery contributed to renewed market and curatorial interest in Symbolism, Fauvism, Cubism, and Art Nouveau, influencing museum loans to Musée d'Orsay, Tate Modern, Neue Galerie, Museum of Modern Art, and Guggenheim Museum. Academic engagement around its catalogues referenced scholarship from École du Louvre, Courtauld Institute of Art, Institut National d'Histoire de l'Art, Columbia University, and Harvard University and fed conservation projects with Getty Conservation Institute and restoration campaigns visible at Musée d'Orsay and Louvre. The gallery’s activities affected market valuations observed at Christie's, Sotheby's, Phillips, and international fairs like Art Basel and TEFAF Maastricht.
Originally based in central Paris near historic dealer districts associated with Rue du Faubourg Saint‑Honoré and exhibition venues like Galerie nationale du Jeu de Paume and Palais de Tokyo, the gallery later staged exhibitions in spaces in New York City proximate to Chelsea, Manhattan and fair booths at Art Basel in Basel, Art Basel Miami Beach, and TEFAF Maastricht. Architectural choices referenced Parisian loft conversions similar to projects in Le Marais and showroom typologies found in SoHo, Manhattan, with installations designed in dialogue with museum spatial practices at Centre Pompidou and Tate Modern.
Works handled by the gallery entered private collections and public institutions including Musée d'Orsay, Musée du Louvre, Metropolitan Museum of Art, National Gallery, Tate Modern, Neue Galerie New York, and Museum of Fine Arts, Boston. Notable transactions echoed provenance narratives that involved Paul Durand-Ruel, Ambroise Vollard, Daniel-Henry Kahnweiler, Bernheim-Jeune, and collectors such as John Quinn (collector), Albert C. Barnes, Peggy Guggenheim, Paul Mellon, Samuel Courtauld, Armand Hammer, Eugène Druet, and Jacques Doucet. Sales and loans reported at major auction houses—Christie's, Sotheby's, Phillips—and fairs like Art Basel and TEFAF shaped secondary‑market visibility for artists associated with Fauvism, Cubism, Symbolism, and Art Nouveau.
Critical responses in publications aligned with art criticism outlets and institutional catalogues such as The Burlington Magazine, Artforum, Apollo (magazine), Le Monde, The New York Times, and ArtNews placed the gallery within debates about connoisseurship and market historiography that involved scholars from École du Louvre, Courtauld Institute of Art, Institute of Fine Arts, New York University, and Sorbonne University. The gallery’s legacy is visible in exhibition loans to Musée d'Orsay, Tate Modern, Neue Galerie, and acquisitions by public collections including Metropolitan Museum of Art and National Gallery of Art, and in the continuing reassessment of fin‑de‑siècle and early modern artists across museums and academic programmes.
Category:Art galleries in Paris Category:Art galleries established in 1988