Find old Modern Art articles here. Find information on Modern Painting, artists, 1920s modernists, newspaper articles about modernism and more.
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…
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.
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.
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
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…
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
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…
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
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…
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…
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.
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 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.
