Find old Modern Art articles here. Find information on Modern Painting, artists, 1920s modernists, newspaper articles about modernism and more.
Just prior to the death of Auguste Rodin (1840 – 1917), the Welsh poet and essayist, Arthur Symons
AUGUSTE RODIN PRIS SUR LA VIE at once a document and a living thing. The main interest lies in the exactitude with which it records the actual words of Rodin, much as he must have spoken them y
‘The Philosophy of Auguste Rodin” (Vanity Fair, 1917) Read More »
VANITY FAIR critic James Huneker(1860 – 1921) had a few words regarding the Italian Futurist painters. Huneker stated that he had been following their progress since he first attended a 1912 Futurist exhibit, and in the subsequent years had gained a familiarity with their 1910 manifesto, which he summed up for this articleVanity Fair critic James Huneker(1860 – 1921) had a few words regarding the Italian Futurist painters. Huneker stated that he had been following their progress since he first attended a 1912 Futurist exhibit, and in the subsequent years had gained a familiarity with their 1910 manifesto, which he summed up for this article.
‘Some Italian Futurists with a Past” (Vanity Fair, 1915) Read More »
Writing for one of the earliest issues of VANITY FAIR, playwright and culture critic Mary Cass Canfield slammed some nails into the Futurist coffin a wee bit prematurely in this critical essay titled The Passing of the Futurists.
Harsh Words for the Futurists (Vanity Fair, 1916) Read More »
KEY WORDS: Vorticist Sculptor Henri Gaudier-Brzeska,avant-garde artist Henri Gaudier-Brzeska,writings of French avant-garde artist Henri Gaudier-Brzeska,Henri Gaudier-Brzeska contributor to BLAST MAGAZINE,
Henri Gaudier-Brzeska (Literary Digest, 1915) Read More »
A magazine article about the artist Ben Shahn (1898 – 1969) and his particular approach to making art:
A fundamental of Ben Shahn’s philosophy insists that there should be a minimum of separation between the private and the public work of art. He believes that the painter should speak with the same voice in the room and in the street. He is pleased by the criticism that his posters sometimes look like fragments of murals…
This review was penned by James Thrall Soby (1906 – 1979), art historian and critic who wrote two monographs on the artist.
Ben Shahn (’48 Magazine, 1948) Read More »
Max Beckmann (1884 – 1950), having fled to Holland from his native Germany in order to escape Hitler, arrived in New York shortly after the end of the war and wasted no time in securing an aggressive dealer eager to arrange liasons between him and the the post-war dollar.
The first exhibition of Max Beckman’s work since 1941 is currently being held at the Bucholz Gallery in New York. Director Kurt Valentin has assembled for this event important examples of Beckman’s brush dating from 1939 to the present…Among the many drawings particularly remembered are a satirical ‘Radio Singer’ and a tongue-in-cheek ‘Anglers’, along with ‘Head Waiters’.
Max Beckman Since the War (Art Digest, 1946) Read More »
Sixty years before this article was published, Libero Nardonne, who posed for the Rodin’s celebrated sculpture, The Kiss (1885), enjoyed a life as one of the most popular artist’s model in all of Paris – at a time when the greatest artist’s in the world were residences of that famous burg. Jump forward to 1955 and you would find him a broke and broken man who lived on the streets – nonetheless, he showed the American photographers through the art museums to point out all the masterpieces he had played a part in creating.
He Posed for Auguste Rodin (People Today Magazine, 1955) Read More »
A review of the Stuart Davis (1892 – 1964) retrospective that opened at New York’s Museum of Modern Art in the fall of 1945. The artist referred to his influences:
In my own case I have enjoyed the dynamic American scene for many years, and all my pictures (including the ones I painted in Paris) are referential to it. They all have their originating impulse in the impact of [the]contemporary American environment.
Stuart Davis: Thirty Years of Evolution (Art Digest, 1945) Read More »
The editors of VANITY FAIR saluted the eighty year-old painter Claude Monet, praising him as
the only remaining member of a little group of painters – Degas, Manet, Renoir and several others – known as the Master Impressionists.
Claude Monet at the Age of Eighty (Vanity Fair, 1920) Read More »
Art alone survives the earthquake shocks of revolution, and Russian art has been doubly secure because of it’s deep-rooted imagination and it’s passionate sincerity.
That was the word from Oliver M. Sayler writing from Moscow as it starved during the Summer of 1919. Sayler, known primarily for his writings on Russian theater from this period, wrote enthusiastically about the Russian Suprematist Casimir Malyevitch, Futurist David Burliuk and The Jack of Diamonds Group; believing deeply in the Russian Revolution, he wrote not a word about how the Soviets mistreated the modern artists of Russia.
Russian Modernism After the Revolution (Vanity Fair, 1919) Read More »
