Modern Art – Page 3 – Old Magazine Articles

Henri Matisse Viewing in New York
(Vanity Fair, 1915)

This article will give you a good look at how the seeds were sewn as early as 1915 to ensure the rise of New York City as one of the great art centers of the world. For the first time since the 1913 Armory Show, New York was again to host an important exhibition of the European modernists. Much of the article concerns Henri Matisse (1869 – 1954) and is illustrated with a portrait of the artist by the photographer Edward Steichen.

Things were changing – not long after New York was proclaimed as the commercial capital of the art world, America was recognized as the preeminent world power, click here to read about it…

Moses Soyer on David Bruliuk
(New Masses, 1944)

The First N.Y. Exhibit of Paris Art Made During the Occupation
(Art Digest, 1946)

Recent paintings from Paris have been brought to New York by Pierre Matisse (1900 – 1989) and are now on view at his 57th Street Gallery [at the Fuller Building]. Represented are the Pierre Bonnard, Jean Dubuffet, Andre Marchand, Henri Matisse, Pablo Picasso, Georges Rouault.

Tristann Tzara on Dada
(Vanity Fair, 1922)

An essay by one of the founders of Dada, Tristan Tzara (Sami Rosenstock a.k.a. Samuel Rosenstock; 1896 – 1963), who eloquently explains the origins of the movement:

Dadaism is a characteristic symptom of the disordered modern world…

The Art of Thomas Hart Benton
(Vanity Fair, 1922)

When this profile of the thirty-tree year-old Thomas Hart Benton (1889 – 1975) was published, the painter was not as yet recognized as the eccentric that history remembers him to have been. The anonymous journalist took an enormous interest in understanding Benton’s education and the source of his inspiration.

Click hereto read a 1936 art review regarding the paintings of Grant Wood.

Paul Cezanne Gets His American Viewing
(Vanity Fair, 1915)

This is a VANITY FAIR art review that was reverently torn from the brittle, yellowing pages of a 1915 issue of VANITY FAIR covering the first Paul Cezanne (1839 – 1906) exhibit on American shores.

Explaining Abstract Art
(Pageant Magazine, 1950)

WHY DO THEY DISTORT THINGS? CAN’T THEY DRAW? WHY DO THEY
PAINT SQUARES AND CUBES?

In an effort to help answer these and many other similar questions that are overheard in the modern art museums around the world, authors Mary Rathbun and Bartlett Hayes put their noodles together and dreamed up the book (that is available at Amazon) Layman’s Guide to Modern Art, and we have posted some of the more helpful portions here, as well as 17 assorted illustrations to help illustrate their explanations.

The authors point out that abstract images are not simply confined to museums and galleries but surround us every day and we willingly recognize their meanings without hesitation:

Lines picturing the force and direction of motion are a familiar device in cartoons… The cartoonist frequently draws a head in several positions to represent motion. Everybody understands it. The painter multiplies the features in the same way… Everybody abstracts. The snapshot you take with your [camera] is an abstraction – it leaves out color, depth, motion and presents only black-and-white shapes. Yet its simple enough to recognize this arrangement of shapes as your baby or your mother-in-law or whatever…

Explaining Abstract Art
(Pageant Magazine, 1950)

WHY DO THEY DISTORT THINGS? CAN’T THEY DRAW? WHY DO THEY
PAINT SQUARES AND CUBES?

The authors point out that abstract images are not simply confined to museums and galleries but surround us every day and we willingly recognize their meanings without hesitation:

Explaining Abstract Art
(Pageant Magazine, 1950)

WHY DO THEY DISTORT THINGS? CAN’T THEY DRAW? WHY DO THEY
PAINT SQUARES AND CUBES?

The authors point out that abstract images are not simply confined to museums and galleries but surround us every day and we willingly recognize their meanings without hesitation:

Artist Paul Cadmus
(Art Digest, 1937)

A late Thirties art review of Paul Cadmus (1906 – 1999), one of the finest and most scandalous artists of the W.P.A.:

Paul Cadmus was thrust into national prominence at the age of 26 when his canvas, ‘The Fleets In’, painted for PWAP in 1933, stirred up a storm of protest. Since then controversies have dogged his art but with them has come recognition…Like the contemporary writers Thomas Wolfe and Aldous Huxley the reaction of Cadmus against present day ‘civilization’ is one of repulsion tinged with hatred. This note of protest seems to be the battle cry of the younger generation of artists and writers. Mrs Overdressed Middle class to be viewed by the public…

Picasso Painted Me
(’48 Magazine, 1948)

Artist and poet Jaime Sabartés (1881 – 1968) had been among the oldest and closest friends of Pablo Picasso since the two of them were 19-year-old artists in Barcelona. Throughout the course of their 40-year friendship Picasso had painted and drawn his pal on numerous occasions – Sabartés’ comments about those six portraits and his memories of those isolated moments appear on the attached pages. He recalled a day when Picasso energetically encouraged him to write down his thoughts, which in time lead to this article, that appeared in his 1948 book, PICASSO: an Intimate Portrait:

I decided, therefore, to take these portraits as texts, to try to imbue with warmth Picasso’s pictures of me, to make them live anew, to enrich them with fragments from the life of their creator and shreds of my own.

A Picasso poem is included among the reminiscence (translator unknown).

A forgotten article from 1913 that degraded Picasso and other assorted Modernists can be read here.

Paris Dada and Jazz
(Vanity Fair Magazine, 1922)

VANITY FAIR’s Edmund Wilson (1895 – 1972), reported his view on Dada as it existed in Paris, the influence of Jazz and the art of Jean Cocteau (1889 – 1963). The article is subtitled:

The Influence of Jazz and Americanization of French Literature and Art

Jacob Epstein: Firebrand of Art
(Vanity Fair, 1915)

Jacob Epstein was brought up in the city of New York, being one of a group of young men from the other side of the Bowery, some of whom have since become well known in the arts.

Attached is a photograph of the American expatriot sculptor Jacob Epstein and three of his pieces. This is a short notice heralding the great splash that the artist was making in the London art world of 1915. Although his work can be found in many of the world’s finest museums, Epstein is best remembered today for his creation of the monumental sculpture that marks the grave of Oscar Wilde.

‘The Philosophy of Auguste Rodin”
(Vanity Fair, 1917)

Just prior to the death of Auguste Rodin (1840 – 1917), the Welsh poet and essayist, Arthur Symons (1865-1945), reviewed a book written by the French writer, Judith Cladel (1873-1958) concerning the artist’s work and creative temperament:

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

‘Some Italian Futurists with a Past”
(Vanity Fair, 1915)

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.

Harsh Words for the Futurists
(Vanity Fair, 1916)

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.

Henri Gaudier-Brzeska
(Literary Digest, 1915)

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Ben Shahn
(’48 Magazine, 1948)

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.