Recent Articles – Page 127 – Old Magazine Articles

Men’s Clothing for the Spring of 1916
(Strauss Theater Magazine, 1916)

Twelvemonth ago, the war had sobered ‘le monde ou l’on s’amuse’ like an icy douche. Europe rang with the clump of tramping feet. Forked lightening seemed to lurk in the sky. In club cars of limited trains and smoke rooms of trans-Atlantic liners heads were put together and the air was as tense as a fiddle string… Fashion tipsters, with long ears and short sight, said that the world would put on black, and style was knocked in the head, and look for the deluge, and so on ‘ad nauseum’.

World War II in the Jungles of Burma
(Yank Magazine, 1944)

Written by correspondent Dave Richardson (1916 – 2005) behind Japanese lines in Northern Burma, this article was characterized as odds and ends from a battered diary of a footsore YANK correspondent after his first 500 miles of marching and Jap-hunting with Merrill’s Marauders.

One of the most highly decorated war correspondents of World War II, Richardson is remembered as the fearless reporter who tramped across 1,000 miles of Asian jungle in order to document the U.S. Army’s four-month campaign against entrenched Japanese forces – armed only with a camera, a typewriter and an M-1 carbine.

President Wilson Exonerates Mexico & Japan
(The Atlanta Georgian, 1917)

When the diplomatic leadership in Washington began to unravel the plot that was revealed behind the Zimmerman telegram, the Wilson administration wisely concluded that the governments of Japan and Mexico were not complicit in the scheme that had been cooked-up by the Germans.

The Pankhursts
(Life Magazine, 1912)

In the digital age, we are able to recognize civil disobedience and call it by name, but this was certainly not the case for this Old Boy writing in 1912; he read about the criminal past-times of Mrs. Pankhurst (Emmeline Pankhurst, 1850 – 1928) and her two daughters (Christobel Pankhurst, 1880 – 1960; Estelle Sylvia Pankhurst, 1882 – 1960), and thought that no good could possibly come of such rabble-rousing.

New York’s Contributions to English
(Holiday, 1949)

New York City’s contributions to the American language go considerably further than the pronunciation of ‘avenyeh’ for avenue or ‘erl’ for lubricant. Peter Stuyvesant’s village has made rich entries into our spoken and written tongue. A handful, culled from Dr. Mitford M. Matthew’s A Dictionary of Americanisms
follows.

Click here to read more articles about American English.

A Census of Skyscrapers
(Literary Digest, 1929)

Egged on by the 1929 completion of the Chrysler building, the curious souls who ran the New York offices of THE LITERARY DIGEST were moved to learn more about skyscrapers, both in New York as well as other parts of the U.S. and We were surprised to learn that as of 1929

50 percent of the buildings in New York from 10 to 20 stories and 60 percent of those over 20 stories are located between 14th and 59th streets.

This article also presents statistical data concerning the number of tall buildings that could be found throughout the 1920s United States.

Advance of the Low-Priced Automobile
(Current Literature, 1912)

In answer to the cry for more affordable cars that can easily be purchased by working families, the French automobile industry of 1912 produced a line of long, narrow, boat-like cars, mounted on four wire wheels, carrying it’s passengers in tandem fashion. The production of these one and two cylinder air-cooled motors was based more upon the production lines of motorcycles rather than cars.

Paul Thevenaz: Rhythmatist Painter
(Vanity Fair, 1916)

A one page article regarding Swiss-born painter Paul Thevenaz (1891 – 1921) and his thoughts on the relationship between dance and modern painting. The article is accompanied by four of his portraits; the sitters were Jean Cocteau, Igor Stravinsky, the Comtesse E. De Beaumont and Comtesse Mathieu De Noailles.The profile was written by the novelist Marie Louise Van Saanen.

Read a 1937 article about another gay artist: Paul Cadmus.

The Four Social Zones of Fifth Avenue
(Vanity Fair Magazine, 1922)

This cartoon was drawn by the artist Reginald Marsh (1898 – 1954), who had a swell time comparing and contrasting the bio-diversity along 1922 Fifth Avenue; from the free-verse poets on Eighth Avenue up to the narrow-nosed society swanks on Sixty-Eighth Street -and everyone else in between.

William Orpen and the Portrait of Mrs. Oscar Lewisohn
(Vanity Fair, 1915)

Here is a petite notice that appeared in a 1915 issue of VANITY FAIR heralding a new portrait by the British painter William Orpen (1878 – 1931), which depicted the likeness of a popular American stage actress Mrs. Oscar Lewisohn (Edna May Pettie 1878 – 1948). The anonymous reviewer compared the portrait styles of Orpen with that of London’s reigning portrait painter, John Singer Sargent:

Sargent had a way of showing his sitters as they didn’t think they looked. On the other hand, Orpen has a trick of making his sitters look like what they would like to be.

Civilization: An Anti-War Film
(The Atlanta Georgian, 1917)

Attached is a brief review of Civilization, the silent anti-war film produced by Thomas Ince in 1917. Sadly, Ince underestimated the power of film as a means of persuasion; World War I raged on for another year and a half following it’s release.

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.

Robert Henri
(Vanity Fair, 1916)

A VANITY FAIR MAGAZINE profile of the American painter Robert Henri (1865 – 1929):

Click here to read further about the 1913 Armory show.

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.

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.

The Princess Colonels of 1914
(Vanity Fair, 1914)

Attached is a page from VANITY FAIR MAGAZINE depicting the ten European princesses from 1914, having benefited from full hair and make-up, posing bemedaled and amused in full military dress before the society magazine cameras.

The Royals pictured on this page were all granted the ceremonial rank of ‘Colonel’ in the household cavalry units within their respective principalities, as well as a few of the cavalry regiments outside their domains.

Several of the Royal and Imperial women in Europe, who are possessed of military rank, have lost their colonelcies in foreign regiments by the World War. Thus, the Czarina and the Russian Grand Duchess, as well as Queen Mary of England, have been deprived of their commands in the Kaiser’s army.

Architect Rudolf Schindler
(Direction Magazine, 1945)

Esther McCoy (1904 – 1989) was one of the few voices in Forties journalism to champion modern architecture in the city Los Angeles. Sadly, the common thinking among too many critics and editors at the time held that Gomorrah-Sur-la-Mer could only to be relied upon for innovations like Cobb Salad and valet parking – but McCoy recognized that the city’s dramatic quality of light and odd lunar landscape combined to create fertile ground for modern architecture. Unlike other like-minded critics and historians who discovered the city in later decades, such as Reyner Banham, McCoy came to know the Viena-trained architect Rudolph Schindler, who is the subject of this 1945 article.