Rediscovering Berthe Weill: The Art Dealer Who Shaped Modern Art
For decades, the dominant names in the art market — Vollard, Durand-Ruel, Kahnweiler — have defined the narrative around the development of modern art in Paris. Yet behind these giants stood an extraordinary woman who dared to make space for an entire generation of emerging artists: Berthe Weill. The exhibition “Berthe Weill: Art Dealer of the Parisian Avant-garde”, on view at the Montreal Museum of Fine Artsfrom May 10th to September 7th, 2025, finally gives this pivotal figure the recognition she deserves, celebrating her role at the forefront of early 20th-century artistic innovation.
LEFT: Pablo Picasso (1881-1973), Le Moulin de la Galette, 1900. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, gift from Justin K. Thannhauser, 1978. © Picasso Estate / CARCC Ottawa 2025; RIGHT: Pablo Picasso (1881-1973), The Hetaera, 1901. Pinacoteca Agnelli, Turin. © Picasso Estate / CARCC Ottawa 2025
A Path of Courage and Vision
Born in Paris in 1865, Berthe Weill faced numerous social and professional barriers at a time when women were rarely seen as key players in the art market. Coming from modest origins and driven by an entrepreneurial spirit, Weill transformed her small antique shop in Montmartre into the iconic Galerie B. Weill in 1901. It was there that she boldly exhibited then-unknown artists — the "les Jeunes" — including Pablo Picasso, Henri Matisse, Amedeo Modigliani, Marc Chagall, and Suzanne Valadon.
Weill’s passion wasn’t limited to male talent: she was also one of the first art dealers to consistently champion women artists, fighting against the structural sexism that rendered them invisible. For forty years, from 1901 to 1941, Weill remained steadfast, enduring financial crises, gender discrimination, and antisemitism.
LEFT: André Derain (1880-1954), Landscape by the Sea: The Côte d’Azur near Agay, 1905. National Gallery of Canada, Ottawa, purchased in 1952. Photo NGC; RIGHT: Émilie Charmy (1878-1974), Still Life with Pomegranates, about 1904. MMFA, gift of Indivision Bouche. © Émilie Charmy, ADAGP, Paris / CARCC Ottawa 2025. Photo MMFA, Jean-François Brière
A Sharp and Revolutionary Eye
The exhibition in Montreal showcases around 100 works by artists promoted by Weill, alongside rare archival materials — invitations, catalogues, and photographs — that help reconstruct the vibrant atmosphere of her gallery. Unlike her male counterparts, Weill rejected exclusive contracts and took pride in betting on young, emerging talents, taking financial and artistic risks in the name of innovation.
LEFT: Suzanne Valadon (1865-1938), Portrait of Mme Zamaron, 1922. The Museum of Modern Art, New York, gift from Mr. and Mrs. Maxime L. Hermanos, 1964. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY; RIGHT: Émilie Charmy (1878-1974), Portrait of Berthe Weill, 1910-1914. MMFA, purchase, Horsley and Annie Townsend Bequest. © Émilie Charmy, ADAGP, Paris / CARCC Ottawa 2025. Photo MMFA, Julie Ciot
Weill did not hesitate to exhibit works considered bold or scandalous. A striking example was the iconic solo exhibition of Modigliani in 1917 — the only one held during the artist’s lifetime — which caused a scandal due to its frank portrayal of the female body. This episode illustrates Weill’s radical courage: for her, art was not about accommodation, but about direct confrontation with social norms.
A space for women
While many art dealers ignored or downplayed women’s artistic production, Weill made the visibility of women artists a personal mission. She fought for names like Suzanne Valadon, Émilie Charmy, and Hermine David to be recognized — even when that meant confronting critics and collectors.
 LEFT: Raoul Dufy (1877-1953), Thirty Years, or La Vie en Rose, 1931. Musée d’art moderne de Paris, gift from Mathilde Amos, 1955. CC0 Paris Musées / Musée d’art moderne de Paris; RIGHT: Marc Chagall (1887-1985), Bella in Mourillon, 1926. Private collection. © Archives Marc et Ida Chagall / ADAGP, Paris / CARCC, Ottawa 2025
At the time, her boldness was seen as a challenge to the established order. Today, however, we recognize that it was precisely this stance that helped broaden the horizons of art history, paving the way for future generations of women artists.
The challenges of the end
Weill’s journey was not without hardship. During the Nazi occupation of Paris, she was forced to close her gallery and, as a Jewish woman, lived under constant threat. In a critical financial situation, she was rescued in 1946 by a benefit auction organized by artists she had supported early in their careers — including Chagall, Dufy, and Picasso. The proceeds allowed Weill to live with dignity until her death in 1951.
LEFT: Cover of the catalogue for the Modigliani exhibition at the Galerie B. Weill, 1917. Bibliothèque historique de la Ville de Paris, Guillaume Apollinaire Collection; RIGHT: Suzanne Valadon (1865-1938), Nude with a Striped Blanket, or Gilberte in the Nude Seated on a Bed, 1922. CC0 Paris Musées / Musée d’art moderne de Paris
A legacy finally celebrated
The exhibition in Montreal — organized in partnership with the Grey Art Museum in New York and the Musée de l’Orangerie in Paris — not only recovers the memory of a central figure but also invites us to rethink how we tell the story of art history. By highlighting Berthe Weill’s courage, visionary eye, and unwavering dedication, the project helps fill a crucial gap in the recognition of women’s contributions to modern culture.
Berthe Weill was not just an art dealer. She was a quiet revolutionary who, armed with sensitivity and courage, transformed the artistic landscape of Paris and redefined the pathways of Modernism. Her legacy, once overlooked, now receives the recognition it deserves — a gesture of historical reparation and a source of inspiration for all who believe in the transformative power of art.
 LEFT: Invitation card to a group exhibition at the Galerie B. Weill, 1929. Collection of Marianne Le Morvan. Photo © Musée d’Orsay / Allison Bellido Espichan; RIGHT: Unknown photographer, Berthe Weill playing pétanque [probably in Sanary-sur-Mer,] 1924. Collection of Marianne Le Morvan, gift of Hervé Bourdon
LOT-ART SERVICES FOR COLLECTORS
NEW! Best Deals: Bid on highly liquid lots with an estimate below the historical sale price. Make smart investment decisions powered by Market Analytics. Discover Best Deals >>
Market Analytics: Lot-Art big data analytics assess the liquidity, actual value, investment risk and profitability of fine art (contemporary art, modern art, old masters) and luxury collectibles (timepieces), enabling informed investment decisions within a strategy of portfolio diversification. Discover Market Analytics >>
Lot-Art Memberships: Receive Personalized Alerts on your favourite artists and collectibles at auction worldwide to never miss a bid! Subscribe now >>
Lot-Art.com is the world's largest search engine & aggregator of art and collectibles, linking to 3800+ auction houses! Find best deals from your favorite artists and brands among 1 million lots for sale every day in our upcoming section >>
LOT-ART | The Art Investment Platform
Lot-Art.com is the largest search engine & aggregator for auctions of art and collectibles linking to 3800+ auction houses! Find best deals from your favorite artists and brands among 1 million lots for sale every day in our upcoming section.
LOT-ART | The Art Investment Platform
contact@lot-art.com
|
|
|
|
|---|
Don't want these emails anymore? |
|
|
|---|
|
