Modern Art – Page 4 – Old Magazine Articles

Max Beckman Since the War
(Art Digest, 1946)

Max Beckmann (1884 – 1950), having fled to Holland from his native Germany in order to escape Hitler, arrived in New York shortly after the end of the war and wasted no time in securing an aggressive dealer eager to arrange liasons between him and the the post-war dollar.

The first exhibition of Max Beckman’s work since 1941 is currently being held at the Bucholz Gallery in New York. Director Kurt Valentin has assembled for this event important examples of Beckman’s brush dating from 1939 to the present…Among the many drawings particularly remembered are a satirical ‘Radio Singer’ and a tongue-in-cheek ‘Anglers’, along with ‘Head Waiters’.

He Posed for Auguste Rodin
(People Today Magazine, 1955)

Sixty years before this article was published, Libero Nardonne, who posed for the Rodin’s celebrated sculpture, The Kiss (1885), enjoyed a life as one of the most popular artist’s model in all of Paris – at a time when the greatest artist’s in the world were residences of that famous burg. Jump forward to 1955 and you would find him a broke and broken man who lived on the streets – nonetheless, he showed the American photographers through the art museums to point out all the masterpieces he had played a part in creating.

Stuart Davis: Thirty Years of Evolution
(Art Digest, 1945)

A review of the Stuart Davis (1892 – 1964) retrospective that opened at New York’s Museum of Modern Art in the fall of 1945. The artist referred to his influences:

In my own case I have enjoyed the dynamic American scene for many years, and all my pictures (including the ones I painted in Paris) are referential to it. They all have their originating impulse in the impact of [the]contemporary American environment.

Claude Monet at the Age of Eighty
(Vanity Fair, 1920)

The editors of VANITY FAIR saluted the eighty year-old painter Claude Monet, praising him as

the only remaining member of a little group of painters – Degas, Manet, Renoir and several others – known as the Master Impressionists.

Russian Modernism After the Revolution
(Vanity Fair, 1919)

Art alone survives the earthquake shocks of revolution, and Russian art has been doubly secure because of it’s deep-rooted imagination and it’s passionate sincerity.

That was the word from Oliver M. Sayler writing from Moscow as it starved during the Summer of 1919. Sayler, known primarily for his writings on Russian theater from this period, wrote enthusiastically about the Russian Suprematist Casimir Malyevitch, Futurist David Burliuk and The Jack of Diamonds Group; believing deeply in the Russian Revolution, he wrote not a word about how the Soviets mistreated the modern artists of Russia.

About Paul Meltsner
(Coronet Magazine, 1936)

To listen to Paul Meltsner one would think that it was fun to be a painter. Looking at his pictures one is compelled to conclude that life is a grim business of industrial strife, with factories shut down or picketed…

A wise-cracker and a wit at the cafe table, Mr. Meltsner is a proletarian artist when he works, and he works hard, he says. Which is what a proletarian artist should do… He exhibits frequently. He sells lithographs when he isn’t selling paintings and is represented in a number of museum collections.

Click here to read a Paul Meltsner review from ART DIGEST.

The Industrial Visions of Paul R. Meltsner
(Art Digest, 1936)

The artist Paul R. Meltsner (1905 – 1966) was one of many WPA artists given to depicting sweaty, mal-nourished proletarians laboring in the fore-ground of smoke-plagued, industrial cityscapes and his work can be found today in the vaults of every major American museum. This is a 1936 art review covering his one-man show at the Midtown Galleries in New York:

Meltsner builds his pictures everyday scenes of industrial life, dedicating them to labor and the machine…He gets broad vitality in his forms and force in his compositions, relieving at the same time the usual drabness of such scenes by a tonic of color.

Another 1936 article about Paul Meltsner can be read here.

Madame X by John Singer Sargent
(Vanity Fair, 1916)

In order to mark the New York arrival of Portrait of Madame X by John Singer Sargent (1856 – 1924), VANITY FAIR’s editors chose to run this anecdote concerning the 1884 creation of the work as well as a reproduction of one of the pencil studies for the profile head of the sitter, Madame Gauterau.

Dada at MOMA
(Literary Digest, 1936)

An amusing, if blasphemous, art review of the Museum of Modern Art’s 1936 Dada and Surrealism exhibit.
The journalist oddly credited Joan Miro as the author of the Dada movement.

The Marx Brothers of the art world are displayed, in all their unrestrained glory, in an exhibition of Fantastic Art in New York this week.

An exhibition of this type is always easy prey for the practical joker. A similar show in Paris several years ago exhibited a shovel, submitted by a well-known but discontented artist as an example of perfect symmetry.

Click here to read about the contempt that the Nazis had for Modern Art.

The Water-Colors of John Marin
(VanityFair, 1922)

When Fifth Avenue’s Montross Gallery launched an exhibit featuring over one hundred creations by the American painter John Marin (1870 – 1953) in the winter of 1922, art voyager and all-around well-respected critic Paul Rosenfeld (1890 – 1946) was present, and very shortly put pen to paper in order to heap many bon-mots upon the man and his work:

He applies his wash with the directness of impulse that is supposed to be discoverable only in the work of small children. One racks one’s brain for memory of a water-color painter who reveals in every stroke of his brush a more uninhibited urge outward.

The Art of the Insane Looks Like German Expressionism
(Current Opinion, 1921)

The attached article is about a 1921 exhibition displaying the art of the mentally ill; it was organized under the direction of the psychiatric department of Heidelberg University. The exhibition made quite an impact on a number of modernists at the time and it is said that a few of the pieces from the show were later displayed in the 1938 Degenerate Art exhibit that the Nazis launched in an effort to discredit modernism.

Artist of the Ashcan School: John Sloan
(Touchstone Magazine, 1919)

The editors of TOUCHSTONE MAGAZINE hired one of John Sloan‘s (1871-1951) groupies to interview him for one of their feature articles. It is an informative interview and there are a number of seldom seen sketches reproduced; the opening paragraphs give one a sense of what 1920s Greenwich Village was like at night, although one comes away feeling that the man could do no wrong. John Sloan’s friend, Robert Henri (1865-1929), when given the chance also failed to make any nasty comments about the painter.

Public Murals: the Art of the 1930s
(Literary Digest, 1935)

A quick read on the subject of that uneasy union that existed between art and industry during the 1930s. References are made to the work of muralists Dunbar D. Beck (1902-1986), Arthur Watkins Crisp (1881 – 1974), Kenneth B. Loomis, Charles S. Dean and Charles Louis Goeller (1901 – 1955).

Modigliani in Paris
(Gentry Magazine, 1955)

Modigliani came to Paris from Italy in the propitious year of 1906, start of a decade of art in which every contemporary movement germinated…When he became acquainted with Romanian sculptor Brancusi in 1909, the impact of the meeting gave his work a new direction…

Constantine Brancusi
(Vanity Fair, 1916)

An appreciative five paragraph essay saluting the Modernist sculptor Constantine Brancusi (1876 – 1957), accompanied by one black and white image of the artist’s work, The Doves. Much of the review concerns the poor relationship Brancusi had with Auguste Rodin (1840 – 1917) who
had been his teacher in earlier days.

20th Century Artists Rediscover Woodcut Printing
(Art Digest, 1936)

An art review concerning a 1936 Brooklyn Museum exhibit of woodcut prints by avant-garde German, Russian and French artists. The reviewer details how the medium was rediscovered.

Before Franz Marc (1880 – 1916) was killed in the war he strengthened woodcut design in his departure from pretty and representational decoration toward more rugged abstraction…Almost all of these German, Russian and Frenchmen have concentrated their attention on human life. There is no pretty landscape, no picturesque architectural rendering, no still life, no sporting print. Froma a few prints the actual human form has been abstracted. One of these by Wassily Kandinsky ‘looks like a diagram of the contents of a madman’s waste basket’. The rest of the prints are chiefly tragic, mostly pitiful, occasionally derisive comments on the failure of man as an animal.

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.

Art Sacandal: Aubrey Beardsley Forged
(Vanity Fair, 1919)

London’s post-World War I art world was rocked by a scandal involving a number forged drawings which were misleadingly signed with the name Aubrey Beardsley (1872 – 1898). This piece captures that moment.