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.
"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.
Some interesting postmortem thoughts and seldom heard facts concerning the life and times of Impressionist painter Edgar Degas (1834 – 1917); of particular interest was the enormous amount of money fetched at auction for the assorted content of his studio during a time of national crises in France.
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."
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.
A one page article regarding Swiss-born painter Paul Thevenaz (1891 - 1921) and his thoughts on the relationship between dance and modern painting. The article is accompanied by four of his portraits; the sitters were Jean Cocteau, Igor Stravinsky, the Comtesse E. De Beaumont and Comtesse Mathieu De Noailles.The profile was written by the novelist Marie Louise Van Saanen.
Read a 1937 article about another gay artist: Paul Cadmus.