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Ewing Krainin (1912 – 2004) was a popular photographer in his day, and the darling of many a magazine editor. His most revered image was the Life picture of the scantily clad fashion model Chili Williams (1921 – 2003) – an image that is recalled and explained in the opening paragraphs of this article.
“Upon his first arrival in Paris, Picasso met with success. It was ’99… At that time he had a face of ivory, and was as beautiful as a Greek boy; irony, thought and effort have brought slight lines to the waxen countenance of this little Napoleonic man… At that time, Picasso was living the life of the provincial in Paris… He had won fame there by his portraits of actresses in the public eye. Jeanne Bloch, Otero – all the stars of the Exposition. Those paintings are priceless today; the intelligent museums have bought them.”
“When Kaethe Schmidt was born in Koenigsberg in 1867, the twin fairies Pity and Indignation claimed her as their own.” As a result of marriage she became Kaethe Kollwitz, and it was under this name she produced her finest works of art:
“She has been the artist of the common people, in that she has made art out of their weal and their woe and she has been content to receive understanding and approbation from them alone.”
“When most of Manhattan is sound asleep, the free-lance photographer Arthur Fellig (1899 – 1968) – better known as Weegee – begins his wide-awake work of catching the city’s nocturnal drama. Weegee sleeps by day and at midnight sets out to cruse the city in his car, equipped with [a] police radio and bought with the proceeds from crime photos. He earned his nickname through his uncanny Ouija Board ability to know about distant happenings and beat others to the scene.”
Click here to read more about New York City.
Ernest Boyd (1887 – 1946), all-around swell guy and significant literary figure in 1920s New York, took a hard look at German Expressionism and its wide influence on other Teutonic arts in the early Twenties. He paid particular attention to the German critic Hermann Bahr (1863 – 1934), who coined the term, Expressionism, and had much to say about the movement.
Artist Tristan Tzara (1896 – 1963) reported from Berlin for the editors at Vanity Fair on what’s new in German art. With tremendous enthusiasm he explained everything that was going on throughout all the German studios – he did not hold back – every name brand is included: Schwitters, Klee, Kandinsky, Lehmbruck, Gropius and the Bauhaus.
Once upon a time there was a short-lived organization in New York City created to lampoon works of art hailed by the critics as worthy creations. They called themselves The Academy of Misapplied Art and they held their exhibits in the lobby of the Light House for the Blind. Attached herein is the N.Y. Times review of their 1913 exhibit intended to make light of the European Cubists.
Numerous deep thoughts on the subject of Cubism by a prominent art critic of the time, Clive Bell (1881 – 1964):
“But, though in two or three years’ time Cubism may have disappeared, its influence should endure for a generation at least. The service it has rendered art is inestimable. Without it the liberating impulse given by Cezanne had been incomplete. Cezanne freed artistic sensibility from a hampering and outworn convention; Cubism imposed on it an intelligent and reasonable discipline. If a generation of free artists is now turning spontaneously towards the great tradition, it was through Cubism that it came at Ingres and Poussin.”
This is a profile of the American photographer Margaret Bourke-White (1904 – 1971). At the time these pages appeared on the newsstand, the photographer’s stock was truly on the rise as a result of her remarkable documentary images depicting the Great Depression as it played out across the land.
Brilliant photographer Ralph Steiner (1899 – 1986) spent some time examining the photographs of Murray Korman (1902 – 1961) and, to his surprise, came away finding his work to be very interesting:
Murray Korman is the man whose pictures you see outside the musical shows and in girlie magazines… After four hours of looking I was dizzy. I figured that no man could take such pictures for 17 years and get satiated with lusciousness and bored by the sameness of the girls. I figured that all that kept Korman going was the profit motive. But when I went to his studio on Broadway I found I was all wrong.
This article was written by John Hersey (1914 – 1993); it was written as a review of Slightly Out of Focus, the memoir by the most famous of World War II combat photographers, Robert Capa (né Andre Friedmann: 1913 – 1954). A fun and informative read, you will learn how the man came to be a photographer, how he acquired his nom de guerre, his work during the Spanish Civil War and the credibility that quickly followed.
Click here to read what General James Gavin remembered about photographer Robert Capa.
A child could do that has been one of the most common utterances in response to the avant-garde movements of modern art. This short article reflects that view and was written in response to the New York Armory Show, which at that time, was attracting a good deal of attention in the press. The Armory Show is well-remembered today as the first art exhibition to introduce European-style modernism to the people (and artists) of that city. Pablo Picasso (1881 – 1973), as the co-creator of Cubism, is among those lampooned, as is Marcel Duchamp (1887 – 1968) for his painting, A Nude Descending the Staircase.
The art that Hitler has exiled as ‘degenerate’ is finding ready homes in other lands that have not yet been culturally crushed beneath the heel of Europe’s twin tyrannies: Fascism and Communism. Because Hitler has embraced the calendar decoration as the supreme art form, the Museum of Modern Art in New York has been able to acquire five works that formerly were housed in prominent museums.
The article lists the purchased works.
The art that Hitler has exiled as ‘degenerate’ is finding ready homes in other lands that have not yet been culturally crushed beneath the heel of Europe’s twin tyrannies: Fascism and Communism. Because Hitler has embraced the calendar decoration as the supreme art form, the Museum of Modern Art in New York has been able to acquire five works that formerly were housed in prominent museums.
The article lists the purchased works.
The art that Hitler has exiled as ‘degenerate’ is finding ready homes in other lands that have not yet been culturally crushed beneath the heel of Europe’s twin tyrannies: Fascism and Communism. Because Hitler has embraced the calendar decoration as the supreme art form, the Museum of Modern Art in New York has been able to acquire five works that formerly were housed in prominent museums.
The article lists the purchased works.
At the very peak of bourgeois respectability, one of the high priests of art and culture, Gilbert Seldes (1893 – 1970), sat comfortably on his woolsack atop Mount Parnasus and piled the praises high and deep for one of the lowest of the commercial arts. The beneficiary was the cartoonist George Herriman (1880 – 1944), creator of Ignatz Mouse and all other absurd creations that appeared in his syndicated comic strip, Krazy Kat (1913-1944):
His strange unnerving distorted trees, his totally unlivable houses, his magic carpets, his faery foam, are items in a composition which is incredibly with unreality. Through them wanders Krazy, the most tender and the most foolish of creatures, a gentle monster of our new mythology.
A brief art review from 1946 announcing an exhibition of paintings, drawings, photographs, architectural plans and models by the modern architect Le Corbusier (né Charles-Édouard Jeanneret-Gris, 1887 – 1965) at the Mezzanine Gallery in Rockefeller Center.
Along with Ozenfant, Le Corbusier invented Purism. The earliest painting in the collection, and the only one of that period (1920), which is familiar to art audiences as part of the permanent collection of the Museum of Modern Art.
