Articles from Vanity Fair Magazine
In order to mark the New York arrival of Portrait of Madame X by John Singer Sargent (1856 – 1924), VANITY FAIR’s editors chose to run this anecdote concerning the 1884 creation of the work as well as a reproduction of one of the pencil studies for the profile head of the sitter, Madame Gauterau.
Paying no mind to the continuing unpleasantness that was taking place somewhere around the Somme (ie. W.W. I), the taste-makers of Paris soldiered-on and created garments for mid-summer that were original and feminine and bore the mark of Paris’ characteristic opulence.
Legendary fashion designer Christian Dior had a good deal of trouble with people who would illegally copy his designs; click here to read about that part of fashion history.
This article,Photography’s Notable Part in the War was written by an active participant in the aerial reconnaissance arm of the Royal Flying Corps, Captain Henry A. Wildon. He reported that both sides in the conflict recognized early on that intelligence gathering by way of camera and aircraft was a real possibility:
Our first airplanes in France were not supplied with photographic equipment. It was not until the beginning of 1915 that the importance of of photography became apparent, and was made possible by improvements in the type and general stability of the airplane.
This is a fun read covering the all too short reign of the dandy
An article about Beau Brummell can be read HERE
When Fifth Avenue’s Montross Gallery launched an exhibit featuring over one hundred creations by the American painter John Marin (1870 – 1953) in the winter of 1922, art voyager and all-around well-respected critic Paul Rosenfeld (1890 – 1946) was present, and very shortly put pen to paper in order to heap many bon-mots upon the man and his work:
He applies his wash with the directness of impulse that is supposed to be discoverable only in the work of small children. One racks one’s brain for memory of a water-color painter who reveals in every stroke of his brush a more uninhibited urge outward.
The attached article is yet another among the several tongue and cheek essays that the French composer Eric Satie (Alfred Éric Leslie Satie 1866 – 1925) contributed for the amusement of the fun-loving readers of VANITY FAIR MAGAZINE. Published just three years prior to his death, it is beautifully illustrated, and stands as one solid page of pure silliness in which Satie considered the place of art in the animal kingdom, and concludes that of all the arts, architecture and music are the only two creative endeavors that the creatures of the field ever seem able to embrace:
I know of no literary work written by an animal – and that is very sad.
If you are looking for a serious report concerning the political battles fought in Congress regarding Prohibition (1919 – 1933), you can keep looking. The attached essay is a humorous parody of that dispute between the Drys and Wets as it existed just months before the ‘Noble Experiment’ began in earnest. By November of 1918, the American newspaper readers had simply overdosed on the redundant writings of assorted war correspondents – and so, with a bit of whimsy, the VANITY FAIR writer George S. Chappell sat down to write about the political war between these two groups using the same journalistic affectations everyone was so heartily sick of. You will also find a mock military map depicting the faux topography in dispute.
Motor camping is in it’s infancy, observed the shrewd and sure-footed motoring journalist George W. Sutton in this 1921 VANITY FAIR report regarding the evolution of campers. To further illuminate his readers, he provided black and white plans illustrating the interior of two campers mounted on the back of Ford chassis (during the 1920s, Ford Model Ts were by far the most common make of automobile). Although there were a handful of camper-shell manufacturers at the time, the two featured here were custom made.
British poet and literary critic Arthur Symons (1865 – 1945) remembered the time French poet Paul Verlaine (1844 – 1896) was his house guest.
The 1921 book review of Paul Verlaine can be read here…
An appreciative essay celebrating the work of Guillaume Apollinaire (born Wilhelm Apollinaris de Kostrowitzky: 1880 – 1918) by the high-brow art critic Paul Rosenfed (1890 – 1946).
For Apollinaire possessed the perfect adjustibility of the born poet. He would have found himself much at home in any environment into which he would have been born, whether it would have been one of pampas and herds and lonely hamlets, or one of concrete, newspapers, war and steel.
In the attached article, Metropolitan Opera diva Geraldine Farrar (1882 – 1967) relays her experiences as a film actress in The Hell Cat (1918) and The Turn of the Wheel (1918), and boldly declares that there is a big difference between acting in an opera and acting for the screen (who knew?).
There are a hundred intimate expressions of the eyes, the mouth, the hands, that can only be transmitted through the camera, and the strong and sometimes merciless light of the projection machine. And this is what the motion picture actress must clearly and everlastingly keep in mind: she is acting for an audience which is near enough to detect any insincerity of feeling or any sham in make-up.
Click here to read about physical perfection during the Golden Age of Hollywood.
An appreciative five paragraph essay saluting the Modernist sculptor Constantine Brancusi (1876 – 1957), accompanied by one black and white image of the artist’s work, The Doves. Much of the review concerns the poor relationship Brancusi had with Auguste Rodin (1840 – 1917) who
had been his teacher in earlier days.
Hugh Walpole (1884-1941) interviewed his much admired friend, Joseph Conrad (1884-1941) for the pages of a fashionable American magazine and came away this very intimate and warm column:
There is a mystery first of the man himself– the mystery that the son of a Polish nobleman should run away to sea, learn English from old files of the ‘Standard’ newspapers when he was thirty, toss about the world as an English seaman, finally share with Thomas Hardy the title of the greatest living English novelist— what kind of man can this be?
The unknown author of this article believed deeply that the Paris fashions of 1913 were very much in keeping with the grand traditions established and maintained by that city since the eighteenth century. This critic was very impressed with the recent work of Paul Poiret
A whimsical article about the topography of New York’s Greenwich Village and the migratory habits of all it’s assorted bohemians, vagrants, spinsters and vegetarians during the Prohibition era.
Click here to read some high praise for Greenwich Village from a French film star.
These images, as well as the headline, were from a paid avertisement for a fashionable fifth avenue shop that had originally appeared in a chic Conde Nast magazine.
By 1921 the city of Los Angeles began to seriously grow, and the expansion was not simply due to the arrival of performers and extras and all manner of craftsmen that are required to launch a film production – but the city was also bringing in the sorts necessary to support a wealthy urban environment. Every thriving city needs a support system, and Hollywood imported tailors, milliners, chefs, architects and various other tastemakers who in turn attracted realtors, contractors, merchants and restauranteurs.
Written under the pen name P. Brooke-Haven, this very funny essay was in fact written by Vanity Fair’s drama critic, P.G. Wodehouse, who attempted to understand the criminal nature of artists.
