Paul Thevenaz: Rhythmatist Painter (Vanity Fair, 1916)
A one page article regarding Swiss-born painter Paul Thevenaz
Read a 1937 article about another gay artist: Paul Cadmus.
Recent Articles
The Four Social Zones of Fifth Avenue (Vanity Fair Magazine, 1922)
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.
William Orpen and the Portrait of Mrs. Oscar Lewisohn (Vanity Fair, 1915)
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.
Civilization: An Anti-War Film (The Atlanta Georgian, 1917)
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.
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.
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.
Resourceful Robert Motherwell (Quick Magazine, 1951)
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.
Rockwell Kent: Artists of Democracy (Rob Wagner’s Script Magazine, 1942)
The U.S. had only been actively engaged in World War II for five months when the American artist Rockwell Kent (1882 – 1971) felt the impulse to write about the unique roll an artist must play when a democracy goes to war:
The art of a democracy must be, like democracy itself, of and by and for the people. It must and will reflect the public mood and public interest…Awareness of America, of its infinitely varied beauties and of its sometimes sordid ugliness; awareness of the life of America, of its fulfillments and its failures; awareness, if you like, of God, the landscape architect supreme – and political failure: of the promise of America and of its problems, art has been, or has aimed to be, a revelation. It is for the right to solve these problems our way that we are now at war.
The Princess Colonels of 1914 (Vanity Fair, 1914)
Attached is a page from VANITY FAIR MAGAZINE depicting the ten European princesses from 1914, having benefited from full hair and make-up, posing bemedaled and amused in full military dress before the society magazine cameras.
The Royals pictured on this page were all granted the ceremonial rank of ‘Colonel’ in the household cavalry units within their respective principalities, as well as a few of the cavalry regiments outside their domains.
Several of the Royal and Imperial women in Europe, who are possessed of military rank, have lost their colonelcies in foreign regiments by the World War. Thus, the Czarina and the Russian Grand Duchess, as well as Queen Mary of England, have been deprived of their commands in the Kaiser’s army.
Architect Rudolf Schindler (Direction Magazine, 1945)
Esther McCoy (1904 – 1989) was one of the few voices in Forties journalism to champion modern architecture in the city Los Angeles. Sadly, the common thinking among too many critics and editors at the time held that Gomorrah-Sur-la-Mer could only to be relied upon for innovations like Cobb Salad and valet parking – but McCoy recognized that the city’s dramatic quality of light and odd lunar landscape combined to create fertile ground for modern architecture. Unlike other like-minded critics and historians who discovered the city in later decades, such as Reyner Banham, McCoy came to know the Viena-trained architect Rudolph Schindler, who is the subject of this 1945 article.