NYU’s Grey Art Museum Shines Spotlight on Forgotten Pioneer of Modern Art: Berthe Weill

New York, NY — This fall, the Grey Art Museum at New York University brings long-overdue recognition to one of modern art’s most overlooked champions. “Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde”, running from October 1, 2024 to March 1, 2025, will celebrate the groundbreaking contributions of Berthe Weill, the first art dealer to devote her gallery entirely to emerging artists.

Showcasing over 110 pieces from renowned artists such as Pablo Picasso, Henri Matisse, Amedeo Modigliani, Fernand Léger, and Raoul Dufy, this exhibition narrates the extraordinary journey of a woman who played a pivotal role in the careers of some of the most significant figures in 20th-century art—overcoming challenges like sexism, anti-Semitism, and financial struggles.

An Overlooked Pioneer in Art History

Weill (pronounced “vay”) was the first art dealer to purchase Picasso’s creations, hosted Modigliani’s only solo exhibition during his lifetime, and provided solo showcases for artists including Diego Rivera, Suzanne Valadon, and Marc Chagall. However, unlike her male peers Ambroise Vollard and Daniel-Henry Kahnweiler, Weill has been largely overlooked in the annals of art history.

“Berthe Weill was a fearless advocate for contemporary artists, operating a gallery in Paris from 1901 to 1941—through wars, upheavals, and immense personal challenges,” said Lynn Gumpert, Director of the Grey Art Museum and co-curator of the exhibition. “This show aims to restore her rightful place in the story of modernism.”

From Modest Beginnings to Parisian Icon

Born into a modest Alsatian Jewish family in 1865, Weill spent two decades learning the art trade before opening her own gallery in Paris. Her business card boldly read “Place aux Jeunes” (“Make Way for the Young”), signaling her commitment to unknown and experimental talent. She often bucked tradition—refusing contracts, operating on slim margins, and supporting female and Jewish artists in an exclusionary art world.

Among her remarkable achievements is the organization of Modigliani’s sole solo exhibition, which was infamously closed by the police on its opening night due to its “indecent” nudes. In spite of these obstacles, she successfully operated her gallery across four different locations for 40 years, unwaveringly supporting what was considered avant-garde at the time.

A Global Collaboration

In collaboration with the Montreal Museum of Fine Arts and Paris’s Musée de l’Orangerie, the exhibition features works by Émilie Charmy, Alice Halicka, and André Derain. Archival materials—letters, exhibition catalogs, and photographs—illustrate Weill’s profound personal and professional connections with artists and collectors.

Guests will also gain a richer understanding of the period through Weill’s own narrative. Her memoir, Pan! dans l’oeil! (translated in 2022 as Pow! Right in the Eye!), stands as one of the earliest autobiographies penned by an art dealer.

Touring and Publication

Following its New York debut, the exhibition will travel to:

• Montreal Museum of Fine Arts (May 10–September 7, 2025)
• Musée de l’Orangerie, Paris (October 8, 2025–January 25, 2026)

A beautifully illustrated companion volume, Berthe Weill: Art Dealer of the Parisian Avant-Garde, released by Flammarion, features essays from prominent scholars discussing Weill’s impact, the issue of antisemitism in 19th-century France, and depictions of the dealer herself.

This marks the second significant exhibition at the Grey’s newly updated location at 18 Cooper Square, which provides 40% additional space and improved access to NYU’s extensive art collection. The museum is set to commemorate its 50th anniversary in 2025.

Museum Hours & Admission:

Open Tuesday–Saturday (Wed open late until 8 PM)

• Closed Sunday, Monday, and major holidays
• Suggested donation: $5 (Free for NYU students, faculty, and staff)
• For more information and visitor details, visit: greyartmuseum.nyu.edu