42
PARTISAN REVIEW
This is what I did: at the college I scheduled an exhibition
called
"L'Ecole
de
Paris Aujourd'hui.
"I borrowed paintings for the ex–
hibition from some of the galleries in New York, anyone of which
would suit my purpose just fine . In the late 1950s, in New York
City, it was amazingly easy to arrange such a show. None of these
dealers knew me; the college was out of town, new, barely known .
As far as I know they took me at my word. I could have walked off
with all that treasure .
It
was a lovely show. And there, cheek by jowl
with the stars of Paris, was my Russian. I had an announcement of
the exhibition printed, listing all the artists .
When the show ended I drove to the city to return the paint–
ings . My first stop, as it happened, was the Alexander Iolas Gallery.
Mr. Iolas was expecting me . I handed him his paintings; I think one
was a Mathieu and one a Dubuffet. He asked about the exhibition. I
said it had been a beautiful show and would he like a copy of the an–
nouncement for his fIles? Yes , he would.
"Ah," he says , reeling off the list of artists , "Matisse, Picasso,
Mir6, Leger, Dubuffet, de Stael. . . . " He stops short and looks at
me. "Who is this Demikov?"
"Ah," I say, "of course you don't know him. He's unknown in
America." I tell Mr. Iolas Demikov's story: how he had been seduced
by abstract art, his return to the U.S.S.R., Stalin's tantrum, and the
barrel ending up in Brooklyn , and, "At this moment, Mr. Iolas , a
great artist is hiding in a cellar in Brooklyn . You must look at his
work.
"Well," he says, "I'm sympathetic. I'd like to help. Could you
bring some paintings?"
I tell him I have four Demikovs from the exhibition in my
Microbus. "I'm on my way to Brooklyn to return them. 111 bring
them in ."
"Bring them in."
I bring the paintings in and lean them against a wall.
He looks closely at each painting. He looks and looks. I'm
standing behind him. Why is he taking so long? What does he see?
What is he thinking? I'm prepared for a "no." I'm telling myself: this
is just the first stop . There are still other galleries . . . sure. And if
they all tum me down? Then what? Then 111 get the masked Rus–
sian and
Time
and
Life.
. . .
Jesus I'm getting old standing here .
Finally he stands, straightens up, turns around, looks me in the
eye, and says: "You're right. He's a genius . We must have a show."
