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By Frederick Taylor

ON the morning of August thirteen, 1961, the citizens of East Berlin discovered themselves bring to a halt from relatives, associates, and jobs within the West by means of a tangle of barbed cord that ruthlessly cut up a urban of 4 million in . inside days the barbed-wire entanglement might endure a unprecedented metamorphosis: it turned a majestic 103-mile-long wall guarded via 300 watchtowers. A actual manifestation of the fight among Soviet Communism and American capitalism that stood for almost thirty years, the Berlin Wall was once the high-risk fault line among East and West on which rested the destiny of all humanity.

In this desirable paintings, guaranteed to be the definitive background at the topic, Frederick Taylor weaves jointly reputable historical past, archival fabrics, and private debts to inform the total tale of the Wall's upward push and fall.

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2 29 30 | S O L AR DA N C E In the second half of the nineteenth century, as industry and business flourished and as middle-class wealth grew exponentially, art dealers and private galleries took on an increasingly important role in the dissemination of art, assuming some of the functions of the salon and the academy. 3 Artists who expressed new ideas were scorned by the establishment, and their only chance of making a living was through the agency of an energetic dealer. The best dealers were able to turn exhibitions into social events, drumming up publicity and interest.

Always on the move, Kessler had a Berlin flat in the Köthener Strasse right next to the Potsdamer train station and just a skip from another hub, the Anhalter station. He was in Paris and London regularly. However, his home seat was the smaller city of Weimar, associated with the enlightened humanism of the eighteenth century, with Goethe and Schiller, and he hoped to make it a beacon of modern inspiration. From 1902 to 1906 he assumed directorship of the visual arts in the grand duchy of Saxe-Weimar, launching an imposing series of exhibitions, thirty all told, of Impressionism and Post-Impressionism.

Gauguin agreed to join him, and with high expectations Van Gogh decorated the white interior walls with paintings of luxuriant splendour. In the room meant for his companion, he hung two sunflower paintings. They did stun Gauguin, who commented later on the “sunflowers with purple eyes . . ”24 Vincent himself was excited by his efforts. 25 21 22 | S O L AR DA N C E Theo was actually hoping to become Gauguin’s primary dealer. He and Vincent had been most impressed by Gauguin’s work when he returned from Martinique in November 1887, and Theo had put together a Gauguin showing in his Paris gallery the following January.

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