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.
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.
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.
A one page article regarding Swiss-born painter Paul Thevenaz
Read a 1937 article about another gay artist: Paul Cadmus.
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.
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.
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.
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.
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.
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.
