1936

Articles from 1936

Fashion Journalism Goes Legit (Art Digest, 1936)

Keeping abreast with current need, the Traphagan School (New York) offers for the first time a course in fashion journalism, which prepares students for positions on magazines and newspapers in advertising departments and agencies where they will interpret in words what they themselves or some other designer relates. The course is conducted by Marie Stark, formerly associate editor of Vogue…

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M.G.M. Casting Director Billy Grady Tells All (Literary Digest, 1936)

Back in the day, he was responsible for casting 91,000 film actors each year, he was,

Hollywood’s No. 1 casting director, Billy Grady: broad-shouldered, open-faced Irishman, a terror to counterfeits, a down-right softy when he encounters an honest man – or woman.

This article tells much of his life story and provides a blow-by-blow as to what his days were like. One of the more interesting aspects of the article addressed the charities that were designed to aid and comfort those many souls who worked as extras in the movies. Today, extra players (also known as ‘atmosphere) are extended benefits through the Screen Actors Guild – but this was not always the case.

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1913 American Films (”Our Times”, 1936)

As the rosy fingered dawn came upon America in 1913 it found Douglas Fairbanks, the man who would soon be Silent Hollywood’s fair haired boy, wowing the crowds on Broadway. The play, Hawthorne of the U.S.A., starred Fairbanks in the title roll and closed after 72 performances; he was also married to a woman who wasn’t named Pickford – but rather named Anna Beth Sully, who had sired his namesake. Life was good for the actor and he wouldn’t turn his gaze West for another two years. By contrast, his future bride, Mary Pickford (né Gladys Smith, 1892 – 1979) had been prancing before the cameras since 1909 and by the time 1913 rolled around had appeared in well-over 100 short films and earned the nickname Little Mary.

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The Streamlining of Cars (Creative Art Magazine, 1936)

Industrial designer Egmont Arens (1889 – 1966) wrote the attached design review covering the American cars of 1937:

Perhaps it was just one of life’s little ironies that overtook the automobile manufacturers a year ago. In their zeal to provide what they called ‘streamlined’ design, they took the tear-drop for their model, and the results were tearful indeed – to the sales managers. For they all looked alike…

The word ‘Streamlining’ got everybody a little confused, I am afraid, and off the track. Here was a term out of aerodynamics, invented to describe a solid shape that moves easily through fluid mediums, as the wings and fuselage of an airplane. The human eye responded gratefully to the flow of line prescribed by the laws of physics, and thus streamlining became synonymous with modern beauty. Industrial designers sprang up at every hand, and their main business was ‘streamlining’.


Read about the Great Depression and the U.S. auto industry…

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Forgiveness Reigns at the Verdun Reunion (Literary Digest, 1936)

The attached magazine article is for any sentimental sap who has never crossed the water to walk wander pensively upon that ground where the blood once flowed between the years 1914 and 1918. It concerns the July 14, 1936 reunion at Verdun where many of the old combatants of the Great War were:

Called together at historic Fort Douaumont, captured and retaken a score of times during those dark days of 1916, to swear a solemn oath to work for peace, the disillusioned survivors of their father’s folly found Verdun changed, yet unchanged and changeless.


Click here to read another article concerning peace-loving veterans of World War One.

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About Paul Meltsner (Coronet Magazine, 1936)

To listen to Paul Meltsner one would think that it was fun to be a painter. Looking at his pictures one is compelled to conclude that life is a grim business of industrial strife, with factories shut down or picketed…

A wise-cracker and a wit at the cafe table, Mr. Meltsner is a proletarian artist when he works, and he works hard, he says. Which is what a proletarian artist should do… He exhibits frequently. He sells lithographs when he isn’t selling paintings and is represented in a number of museum collections.


Click here to read a Paul Meltsner review from ART DIGEST.

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The Industrial Visions of Paul R. Meltsner (Art Digest, 1936)

The artist Paul R. Meltsner (1905 – 1966) was one of many WPA artists given to depicting sweaty, mal-nourished proletarians laboring in the fore-ground of smoke-plagued, industrial cityscapes and his work can be found today in the vaults of every major American museum. This is a 1936 art review covering his one-man show at the Midtown Galleries in New York:

Meltsner builds his pictures everyday scenes of industrial life, dedicating them to labor and the machine…He gets broad vitality in his forms and force in his compositions, relieving at the same time the usual drabness of such scenes by a tonic of color.


Another 1936 article about Paul Meltsner can be read here.

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Dada at MOMA (Literary Digest, 1936)

An amusing, if blasphemous, art review of the Museum of Modern Art’s 1936 Dada and Surrealism exhibit.
The journalist oddly credited Joan Miro as the author of the Dada movement.

The Marx Brothers of the art world are displayed, in all their unrestrained glory, in an exhibition of Fantastic Art in New York this week.

An exhibition of this type is always easy prey for the practical joker. A similar show in Paris several years ago exhibited a shovel, submitted by a well-known but discontented artist as an example of perfect symmetry.


Click here to read about the contempt that the Nazis had for Modern Art.

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‘Some of My Best Friends Are Jewish” (Literary Digest, 1936)

Jews are like everybody else, only more so.’
So clicked the typewriter of the epigrammatic Dorthy Thompson (1893 – 1961), syndicated columnist and wife of Sinclair Lewis (1885 – 1951)’.

‘Are they?’ queried Robert Gessner (1913 – 1978), twenty-nine-year-old instructor of English at New York University. ‘Then why are they so persecuted?’

‘To answer his own question, the young Michigan-born Jew traveled to Europe, saw Hitler-swayed Jews march from meetings shouting ‘Down with us! Down with Us! Less fantastic were his experiences in Poland, Palestine, the Soviet Union and England…’

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The Advance on the Rhineland and Other Forebodings (Stage Magazine, 1936)

One of the very few literati who recognized what a German military presence in the Rhineland meant was a one legged American veteran of the last war named Laurence Stallings (1894 – 1968). This article appeared to be about the great benefit afforded to us all by hard working photo-journalists who supplied us daily with compelling images of various far-flung events, but it was in all actuality a warning to our grand parents that the world was becoming a more dangerous place.

I think the unforgettable picture of the month will come from shots stolen near a French farmhouse by Strasbourg, when the French were countering Hitler’s move into the Rhineland…Routine were the crustacean stares of the Italian children in gas masks last week, where they practiced first aid against chlorine and mustard barrages…

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