Isamu Noguchi (Creative Art, 1933)
A profile of the twenty-eight year old artist Isamu Noguchi (1904 – 1988).
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Modern Art
Find old Modern Art articles here. Find information on Modern Painting, artists, 1920s modernists, newspaper articles about modernism and more.
Modigliani: Appreciated at Last (Art Digest, 1936)
In his lifetime Amedeo Modigliani‘s (1884 – 1920) was only honored one time with his own solo showing in an art gallery; many of his paintings were given away in exchange for meals in restaurants and he died the death of a pauper in some unglamorous corner of Paris. In the years that followed the art world began to learn about Modigliani bit by bit through art reviews like the one attached herein. Written sixteen years after his death, this is a review of a Modigliani exhibit at the avant-garde gallery of Mrs. Cornelius J. Sullivan in New York City:
C.J. Bulliet (1883 – 1952) in ‘Apples and Madonnas’ declared that Modigliani’s nudes may be ranked ultimately with the great ones of all time – with Giorgione’s ‘Sleeping Venus’, Titian’s ‘Venus Awake’, Goya’s ‘Maja’ (nude and even more impudently clothed), with Manet’s sensational wanton in the Louvre.’
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The Florida Water Colors of John Singer Sargent (Vanity Fair, 1917)
A few words on the water colors that John Singer Sargent (1856 – 1925) made in 1917 which pictured the Villa Viscaya in Miami, Florida. The paintings were later purchased by the Worcester Museum in Worcester, Massachusetts.
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Augustus John on the British Homefront (Vanity Fair, 1916)
A war-time interview with the Welsh painter Augustus John (1878 – 1961).
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Saul Steinberg (Gentry Magazine, 1955)
The art of living in the wrong century – this is Saul Steinberg’s (1914 – 1999) own designation for the predicament he has been illustrating for over a decade. In his latest collection, The Passport
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Saul Steinberg (Gentry Magazine, 1955)
The art of living in the wrong century – this is Saul Steinberg’s (1914 – 1999) own designation for the predicament he has been illustrating for over a decade. In his latest collection, The Passport
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Rockwell Kent: Artists of Democracy (Rob Wagner’s Script Magazine, 1942)
The U.S. had only been actively engaged in World War II for five months when the American artist Rockwell Kent (1882 – 1971) felt the impulse to write about the unique roll an artist must play when a democracy goes to war:
The art of a democracy must be, like democracy itself, of and by and for the people. It must and will reflect the public mood and public interest…Awareness of America, of its infinitely varied beauties and of its sometimes sordid ugliness; awareness of the life of America, of its fulfillments and its failures; awareness, if you like, of God, the landscape architect supreme – and political failure: of the promise of America and of its problems, art has been, or has aimed to be, a revelation. It is for the right to solve these problems our way that we are now at war.
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Resourceful Robert Motherwell (Quick Magazine, 1951)
The ink-stained editors at QUICK MAGAZINE rarely ever concerned themselves with the Bohemian-happenings of the New York art world, but when the abstract expressionist painter Robert Motherwell (1915 – 1991) strayed from the standard-issue art supply tools and used a reflective fabric called Scotchlite in the creation of a 12 foot, three-paneled mural – the editors thought it was news.
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Robert Henri (Vanity Fair, 1916)
A VANITY FAIR MAGAZINE profile of the American painter Robert Henri (1865 – 1929):
Robert Henri does not sympathize with the artists who throw their work in the face of the public with a ‘There, take it or leave it.’ Indeed, he has an almost hieratic belief in the power of the fine arts, not merely to delight, but to improve, to uplift and to educate the masses.
Click here to read further about the 1913 Armory show.
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Robert Henri (Vanity Fair, 1916)
A VANITY FAIR MAGAZINE profile of the American painter Robert Henri (1865 – 1929):
Robert Henri does not sympathize with the artists who throw their work in the face of the public with a ‘There, take it or leave it.’ Indeed, he has an almost hieratic belief in the power of the fine arts, not merely to delight, but to improve, to uplift and to educate the masses.
Click here to read further about the 1913 Armory show.
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