Ideal's

The thesis focuses on the Picasso’s art-market between1900and1914. Under thegrand context in the period, including society, art and market, it teases the process ofPicasso’s early art-market in which it mounts a temporary tiptop. It contains mainlyPicasso’s art-market in France and America. Dealers and collectors such as AmbroiseVollard, D. H. Kahnweiler, The Steins and La Peau de l’Ours are in France, AlfredStiglitz,“291” Gallery and the Armory Show are in America. On this basis, the paperanalyzes the Picasso’s dual identities as an artist and a similar businessman and artdealers’ dual identities as connoisseurs and traders interwoven complexity whichaffects his market status. In the end, it concludes that it is a kind of static view toconsider Picasso’s prestige to be built by the art-market mainly as it ignores thego-aheadism lies between the artist and dealers. By researching the dynamic gamebetween Picasso and the various market factors, we find that Picasso’s early marketsuccess is certainly the result of many factors, but more importantly, for Picasso andhis agents alike, it is the basis of good faith to art and common desire for commercialsuccess. It can be said that this ideal was a distinctive feature of the modern art marketat that time, and when the art market is increasingly oriented by investments, suchfeatures as a whole is no longer obvious.