He gave chic new definition, boosted the New York art scene, and went to such brazen lengths as to deliver artwork unrequested to the Museum of Modern Art and simply send a bill. He was known to have commandeered a gondola with his pals to transport art in time to compete in the Venice Biennale. He even vowed he would break down a gallery door rather than cut an artwork in half. Few dealers were ever so devoted to their artists as Leo Castelli.
Castelli is perhaps best known for helping make artists such as Roy Lichtenstein and Jasper Johns the legendary names they are today. But few realize the extent to which one New York Jewish institution helped spur his own career.
“The Jewish Museum played an unexpected role in Castelli’s success,” said Annie Cohen-Solal, author of “Leo and His Circle: The Life of Leo Castelli” at a recent panel in New York (Solal will also be speaking on Castelli at upcoming lectures in Maryland, Los Angeles, Minneapolis and Chicago). There, in 1957, Castelli first glimpsed Jasper Johns’s green wax painting of a target and had an epiphany. “I can’t think of anything else,” Castelli told his first wife Ileana at the time.