In the world of art, few stories are as captivating and complex as that of Marianne Rosenberg, a dealer with a rich family history in the art trade. Her journey is a testament to the enduring power of art, family, and the pursuit of justice. As she navigates the intricate web of art history, Marianne is not just uncovering the past but also shaping the future of her family's legacy.
Marianne's family history is a tapestry woven with threads of artistic genius and historical upheaval. Her great-grandfather, Alexandre Rosenberg, was a pivotal figure in the late 19th-century art scene in Paris, acquiring works by Cézanne and Van Gogh at a time when the Impressionist movement was still finding its footing. This early exposure to art shaped Marianne's understanding of the world, as she jokes, "Art was for breakfast, lunch, and dinner."
The family's influence continued with her grandfather, Paul Rosenberg, who became a cornerstone of the 20th-century art market. He cultivated relationships with artists like Matisse, Léger, and Picasso, shaping their markets and institutional legacies. However, the shadow of war loomed over Paul's trajectory when the family was forced to flee Nazi-occupied France in 1940, leading to the loss of valuable artworks and archival materials.
Despite these setbacks, Paul re-established his gallery in New York and later joined by his son Alexandre P. Rosenberg in 1946. Alexandre, Marianne's father, built his own connections with artists, including Giacomo Manzù, known for his bronze sculptures and reliefs. The relationship between Manzù and Alexandre was a close one, built on trust and mutual regard, as revealed by the archival letters on display in the exhibition.
Marianne's own journey into the art world was not a straightforward one. After a career in international aviation finance law, she was drawn back to her family's legacy in 2015, founding her gallery, Rosenberg & Co. This decision was not just a return to her roots but also a way to revive the memory and influence of her father, Alexandre.
The exhibition "Giacomo Manzù: The Artist and his Dealer" is a testament to this revival. It explores the decades-long relationship between Manzù and Alexandre, showcasing sculptures, works on paper, and archival letters. The show is not just a celebration of Manzù's art but also a reflection on the intangible legacy of Alexandre, who played a pivotal role in shaping Manzù's career.
One of the key works in the exhibition is "Standing Cardinal (1972)," a depiction of cardinals conveyed with authority and introspection. Another favorite is "Cestino (1984)," a gilt bronze basket of fruit. However, it is the archival material that gives the exhibition its particular resonance, revealing a relationship built on trust and mutual regard.
Marianne's pursuit of justice for her family's lost artworks is a testament to her commitment to preserving the legacy of her ancestors. She estimates that more than 50 works are still missing, and the family has been successful in the restitution of a painting by Camille Pissarro. This pursuit is not just about recovering lost artworks but also about restoring the memory and influence of her grandfather and father.
As Marianne rebuilds the family's material legacy, she is also reflecting on the intangible. The exhibition is a way to revive the memory and influence of her father, Alexandre. It is a testament to the enduring power of art and the importance of preserving the past for future generations. In my opinion, Marianne's story is a reminder that the art world is not just about the works of art but also about the people and relationships that shape it. It is a story of resilience, passion, and the enduring power of family.
