DOCSLIB.ORG

Living Well Is the Best Revenge Calvin Tomkins

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Living Well Is the Best Revenge Calvin Tomkins Tomkins In France in the 1920s, Gerald and Sara In France in the 1920s, Gerald and Murphy lived an extraordinary life. First Sara Murphy lived an extraordinary in Paris and then in Antibes, on the Med- life. First in Paris and then in Antibes, iterranean not far from Cannes, these two on the Mediterranean not far from American expatriates played host to some Cannes, these two American expatriates Calvin Tomkins is a longtime staff writer for The New Yorker. of the most memorable creative spirits of the played host to some of the most memo- He has also written more than a dozen books, including the best- era, including Pablo Picasso, Cole Porter, rable creative spirits of the era, includ- Fernand Léger, Ernest Hemingway, and seller Living Well Is the Best Revenge, Merchants and Masterpieces: ing Pablo Picasso, Cole Porter, Fernand Scott and Zelda Fitzgerald. Gerald Murphy The Story of the Metropolitan Museum of Art, and the widely Léger, Ernest Hemingway, and Scott was himself a painter, and although he acclaimed Off the Wall: Robert Rauschenberg and the Art World and Zelda Fitzgerald. Gerald Murphy practiced for only eight years, and left few of Our Time. Tomkins was awarded the first Clark Prize for was himself a painter, and although he canvases behind, his work holds its own in Best Revenge Is the Living Well practiced for only eight years, and left distinguished writing on the arts in 2007. He lives in New York the collection of The Museum of Modern few canvases behind, his work holds its City with his wife, Dodie Kazanjian. Art. Living Well Is the Best Revenge is Calvin own in the collection of The Museum Tomkins’s now-classic account of the Mur- of Modern Art. Living Well Is the phys’ lives. First published in 1971, and now Best Revenge is Calvin Tomkins’s now- proudly republished by the Museum, the classic account of the Murphys’ lives. book is illustrated with nearly seventy pho- First published in 1971, and now proudly tographs from the Murphy family album Living Well republished by the Museum, the book and features a special section on Gerald is illustrated with nearly seventy photo- Murphy’s paintings. Living Well Is the Best graphs from the Murphy family album Is the Revenge is as charming and fascinating as and features a special section on Gerald Gerald and Sara themselves. Murphy’s paintings. Living Well Is the Best Revenge Best Revenge is as charming and fasci- nating as Gerald and Sara themselves. Calvin Tomkins Back flap: Gerald Murphy,Cocktail (detail), 1927, 1 7 oil on canvas, 29 /16 x 29 /8" (73.8 x 75.8 cm). See p. 144 Published by The Museum of Modern Art 11 West 53 Street New York, New York 10019-5401 The Museum of Modern Art website (www.moma.org) can be consulted for information about the Museum. Printed in Malaysia Living Well Is the Best Revenge Living Well Is the Best Revenge Calvin Tomkins THE MUSEUM OF MODERN ART NEW YORK Produced by the Department of Publications, The Museum of Modern Art, New York Designed by Amanda Washburn Production by Hannah Kim with Matthew Pimm Printed and bound by CS Graphics Sdn Bhd, Melaka, Malaysia. This book is typeset in Horley Old Style. Published by The Museum of Modern Art, 11 W. 53 Street, New York, New York 10019 CONTENTS Living Well Is the Best Revenge was first published by Viking Press in 1971. (Parts of it had been published earlier, in somewhat different form, in The New Yorker.) Foreword 7 It was republished by the Modern Library in 1998, with a new Foreword, included in this new edition published by The Museum of Modern Art. TWO FAMILIES 11 The author wishes to thank Archibald MacLeish for permission to use an excerpt PARIS 29 from “American Letter, for Gerald Murphy,” and Frances Scott Fitzgerald Smith for permission to use a letter to Sara Murphy by F. Scott Fitzgerald. An Album 45 © 1962, 1971, 1998, 2013 by Calvin Tomkins ANTIBES 91 Unless otherwise noted, all art and photography is © Estate of Honoria Murphy Donnelly/Licensed by VAGA, New York, NY HOME 115 Copyright credits for certain illustrations are cited on p. 151. All rights reserved. Fifteen Paintings 125 Library of Congress Control Number: 2013949360 ISBN: 978-0-87070-897-8 Distributed in the United States and Canada by ARTBOOK | D.A.P., New York 155 Sixth Avenue, 2nd floor, New York, NY 10013 www.artbook.com Distributed outside the United States and Canada by Thames & Hudson Ltd 181A High Holborn, London WC1V 7QX www.thamesandhudson.com 3 5 Cover: Gerald Murphy. Wasp and Pear (detail). 1929. Oil on canvas, 36 /4" x 38 /8" The Museum of Modern Art, New York. Gift of Archibald MacLeish. See p. 148. Printed in Malaysia FOREWORD by Calvin Tomkins In writing, as in other pursuits, it helps to be lucky. Meeting Gerald and Sara Murphy was an enormous piece of luck for me, both professionally and personally, and I have my two young daughters to thank for it. We had recently moved out from New York City to Snedens Landing, on the west bank of the Hudson River twelve miles north of the George Washington Bridge. One spring afternoon, Anne and Susan, who were then five and three years old, wandered off across the neighboring property and found Gerald pruning his rose garden; when my wife and I caught up with them, conversation had flourished, and Sara, appearing from the house, was taking orders for ginger ale. The Murphys were in their sixties then, but the warmth and liveliness of their atten- tion—amused, focused, festive—seemed almost miraculous to me at the time, and still does. I remember thinking how delightful it would be to know these people. 8 Living Well Is the Best Revenge TWO FAMILIES 9 The Murphys didn’t talk about the past in those days, recorder to their living room and let it run for an hour or more, and it was some time before I realized that they were the people while Gerald and Sara talked in a sort of musical counterpoint, Scott Fitzgerald had used as models for Dick and Nicole Diver in Gerald’s tenor leading but never occluding Sara’s alto, accom- Tender Is the Night. That book had had an extraordinary effect on panied by the sostenuto snoring of their two pugs, Edward and me a few years earlier, when I happened on it in a rented house Wookie, who slept through it all on the white sofa. When the in Santa Fe, New Mexico; it had enthralled and upset me more Murphys went to East Hampton for the summer, Gerald wrote to than any book I had ever read, and I was still haunted by the me. “I feel that there is something to be written,” he said in one memory of Dr. Diver’s “virtuosity with people” and his gradual letter. “I know that you can do it.... (Our life was fresh, new, and self-destruction. (“Wanting above all to be brave and kind, he invented, I feel.)” That long-ago life in Paris and on the French had wanted, even more than that, to be loved.”) The Murphys’ Riviera had been a joint creation, as he often said, with their own story was very different from the romance that Fitzgerald marriage as its centerpiece—a marriage that he described to me had constructed, but as I came to know them better I felt that as “a strange alchemy [which] had nothing to do with a happy there was a powerful resonance between the book and their lives, marriage per se.” In spite of Gerald’s encouragement, I wasn’t at and I couldn’t help asking questions about the years that Gerald all sure I could write about them. Their story sometimes seemed and Sara had spent in France, in the nineteen twenties. Somewhat too private, and too sad. Sara never mentioned the deaths of their reluctantly at first, but less and less so over time, they consented two sons, and Gerald could only allude to them glancingly. to reopen this long-closed chapter in their lives. Gerald was a nat- The profile appeared inThe New Yorker issue of July 28, ural storyteller, with the Irish gift for phrase and cadence. I kept 1962. Both Gerald and Sara seemed pleased by it (or maybe just trying to tell him he should put his recollections down in a written relieved to have it over and done with) and our friendship endured. memoir, but he scoffed at the notion—he had too much respect When the book came out in 1974, with additional material and for the craft of writing, he said, to attempt something which could photographs, Gerald had been dead for ten years, and Sara, who only be second-rate. died in 1975, was no longer aware of the world around her. For When I proposed to write their story myself, in the form of this new edition I have made a few minor corrections to the text, a profile inThe New Yorker, Sara was very dubious, but they both and revised the last chapter to take account of new information sensed that it might be a real opportunity for me—I had recently that has come to light since 1974 about Gerald Murphy’s career moved from Newsweek to The New Yorker, and the Murphys, as a significant modern artist. The largely posthumous recognition who by now were like surrogate parents, had developed a personal of his paintings is one of many elements that make Gerald and interest in my career.
Load more

Recommended publications
  • THE NEW YORKER 'S CALVIN TOMKINS in CONVERSATION with MENIL DIRECTOR JOSEF HELFENSTEIN – OCTOBER 17 Special Program in a Se
    THE NEW YORKER’S CALVIN TOMKINS IN CONVERSATION WITH MENIL DIRECTOR JOSEF HELFENSTEIN – OCTOBER 17 Special program in a series celebrating the museum’s 25th anniversary HOUSTON, TX, September 27, 2012 — As the veteran art writer for The New Yorker, Calvin Tomkins is one of the pioneers of the magazine’s famed profiles — long-form journalism at its best. Prominent among his subjects over the years have been many of the artists, architects and curators who were involved in creating the Menil Collection — including Dominique de Menil, whom Tomkins profiled in 1998, a few months after her death, in a glowing article titled “The Benefactor”, and the museum’s founding director Walter Hopps. As part of this fall’s 25th anniversary celebrations, Calvin Tomkins will make an exceptional visit to Houston on October 17 to engage in a public conversation with Menil Director Josef Helfenstein. The event, which is free of charge, starts at 7:00 pm in the museum foyer. Seating is limited. The conversation, titled Making a Museum, promises to shed light on Tomkins’s vivid and highly personal view of John and Dominique de Menil, as well as events in the art world since the Menil’s opening in 1987. The audience will also have the opportunity to ask questions of Mr. Tomkins and Mr. Helfenstein. Over the years, Tomkins has given his readers a behind-the-scenes chronicle of the cultural life of their times, as seen through the personalities and achievements of people including Philip Johnson, John Cage, Merce Cunningham, Pontus Hultén, Renzo Piano, and Robert Rauschenberg − all of whom have been associated with the Menil Collection.
    [Show full text]
  • Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit.
    [Show full text]
  • April 07Cal.Pmd
    April ’07 EXHIBITS In the Main Gallery 4 WEDNESDAY 11 WEDNESDAY 17 TUESDAY 24 TUESDAY JUDITH HUTTNER: Inner Sanctum, water- A BIRTHDAY TRIBUTE TO BETTE DAVIS: A BIRTHDAY TRIBUTE TO BETTE COOKING WITH GRANNY OR GRAMPY: SHAKESPEARE, PART I: Aspects of Love. colors, through April 26. Sponsored by the William Wyler’s Jezebel (1938-103 min.). A DAVIS: What Ever Happened to Baby Jane Register beginning April 17 for a workshop This literary dash through several of the Art Advisory Council. Southern belle (Bette, winning her second (1962-133 min.). Aging, demented child on Saturday, May 12 at 11 a.m. You don’t Bard’s plays will explore the many splen- In the Photography Gallery Oscar) goes too far to make her fiancé star Baby Jane Hudson (Davis) torments have to be a grandparent to attend this fun, dors, as well as the many frustrations, in- (Henry Fonda) jealous. Clements Ripley, her sister Blanche (Joan Crawford), a hands-on “cooking” workshop with the spe- herent in male/female relationships. Join MARK BERGHASH: I’s Closed I’s Open: Abem Finkel and John Huston scripted, from former movie actress crippled in an auto ac- cial child or children in your life. Chef Frank Shakespeare scholar John Broza, retired The Inner Self, through April 30. Look for the play by Owen Davis, Sr. Max Steiner cident. Lukas Heller scripted this suspense Miale will show how to make classic no-bake Schreiber English Department Chairman, a slide talk with Mark Berghash on Mon- composed the score. 12 noon. classic, from Henry Farrell’s novel, for pro- snacks such as Rice Krispie Treats, s’mores for an enthusiastic and authoritative explo- day, April 16 at 7:30 p.m.
    [Show full text]
  • Father Riggs of Yale by Stephen Schmalhofer
    Dispatch March 24, 2021 05:11 pm Father Riggs of Yale by Stephen Schmalhofer We open in Venice. On an Italian holiday in 1926, early on in his Broadway career, Richard Rodgers bumped into Noël Coward. Together they strolled the Lido before ducking into a friend’s beach cabana, where Coward introduced Rodgers for the first time to “a slight, delicate-featured man with soft saucer eyes.” Cole Porter grinned up at the visitors and insisted that both men join him for dinner that evening at a little place he was renting. Porter sent one of his gondoliers to pick up Rodgers. At his destination, liveried footmen helped him out of the boat. He gazed in wonder up the grand staircase of Porter’s “little place,” the three-story Ca’ Rezzonico, where Robert Browning died and John Singer Sargent once kept a studio. This was not the only dramatic understatement from Porter that day. In the music room after dinner, their host urged Rodgers and Coward to play some of their songs. Afterwards Porter took his turn. “As soon as he touched the keyboard to play ‘a few of my little things,’ I became aware that here was not merely a talented dilettante, but a genuinely gifted theatre composer and lyricist,” recalled Rodgers in his autobiography, Musical Stages. “Songs like ‘Let’s Do It,’ ‘Let’s Misbehave,’ and ‘Two Babes in the Wood,’ which I heard that night for the first time, fairly cried out to be heard from the stage.” Rodgers wondered aloud what Porter was doing wasting his talent and time in a life of Venetian indolence.
    [Show full text]
  • Metadata Dictionary and Usage Guide (Version 5) — Published January 2019
    Metadata Dictionary and Usage Guide (Version 5) — Published January 2019 This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Page 2 Abstract The purpose of this dictionary and best practices guide is to assist organizations participating in the New York Heritage Digital Collections project as they create metadata for their digital items. It strives to ensure consistency and quality control across the collections which, in turn, will result in a better experience for users. Quality metadata make it more likely that end users will find digital items, especially when the data is repurposed with other online digital collections. Moreover, consistent metadata expedites the process of getting your materials into the Digital Public Library of America (DPLA) through our ​ ​ partners at the Empire State Digital Network. Use this dictionary to determine definitions, ​ ​ how and where to enter metadata, and to better understand what types of terms should be used. Metadata Dictionary and Best Practices Guide, v.5 Page 3 Table of Contents Version 5: Change Report 6 General Guidelines and Instructions 10 Controlled Vocabularies 10 Using Controlled Vocabularies 11 Multiple Controlled Vocabularies 11 Creating Controlled Vocabularies 11 Controlled Vocabulary Source Lists 12 Additional CONTENTdm-Based Controlled Vocabularies 13 Metadata Field Element Chart 14 Metadata Details by Field 15 1. Title 15 2. Description 16 3. Creator 18 4. Subject 20 5. Location 21 6. Contributors 22 7. Publisher of Original 24 8. Date of Original 25 9. Hidden Date 26 10. Physical Format 28 11. Physical Description 29 12. Local Location 31 13. Relation 32 14.
    [Show full text]
  • V, A, Offers Jobs to Vets
    81 NEW EXAMS SET STATE RECORD V, A, OFFERS liEAPER, JOBS TO VETS Americans Largest Weekly for Public Emnloype'^ See Page 9 Vol. 7—No. 49 Tuesday, August 20, 1946 Price Five Cents MORE Tests Rushed StateAssn. FBI Accepting Nominates To Put State on Olficers Applicants for Committee Suggests Pre-War Basis That the Incumbents 9 Other Jobs Special to The LEADER Special to The LEADER ALBANY, Aug-. 20—A series of 81 open-competitive Be Held—Executive WASHINGTON, Aug. 20—The Federal Bureau of examinations offering opportunities to enter the service Council Candidates Investigation will start a new class in a few months for of the State or its counties and villages was opened today. Special Agent training, for which candidates may apply 'Applications for most of the positions will be accepted Also Are Homed now. The G-man job pays $4,149.60. In NYC application until August 31. The large number of tests set a State forms may be obtained in Room 234, Federal Building, Special to The LEADER ''^record. ALBANY, Aug. 20—The Nomi- Foley Square, Manhattan. Blanks may be obtained also Both written and unwritten ex- Officials Confer nating Committee of the Associa- at the FBI offices in Albany and Buffalo. aminations are on the list, and tion of State Civil Service Em- Also, the FBI announced the the positions offered range from To Prevent Big Drop ployees has finished its delibera- following nine examinations: ' clerical jobs to highly-paid tech- tions as to candidates for the 5.000 Jobs Soon Document Identification Spe- nical and medical positions.
    [Show full text]
  • TO a 44-HOUR WEEK Aviation Career Directory Overtime Halved Opportunities to Hagertys for 31 P.C
    U M ANALYSIS OF U. S. PAY LAW I See Page 10 T QAAHJL S^CAAJ-ICJT NYC Sanitation, Police LEADER And Firelists to Last 2 Years America9s Largest Weekly for Public Employees See Page 3 Vol. 6—No. 44 Tuesday, July 10, 1945 Price Five Cents TRUMAN CUTS 826,000 TO A 44-HOUR WEEK Aviation Career Directory Overtime Halved Opportunities To HagertyS For 31 P.C. of All Special to The LEADER ALBANY, June 10—A ca- reer man in the New York U. S. Employees Top Job List City Civil Service, Philip E. Hagerty, personnel expert By HAL MILLER Special to The LEADER Thousands of jobs in private industry and civil service with years of experience, has been appointed to the WASHINGTON, July 10—Another pay raise battle are waiting to be filled in the metropolitan area. Many is coming if and when the U. S. Government moves to opportunities are available for unskilled workers, and important State post of Di- rector of Salary Standard- cut working time to 40 hours a week. there are plentiful opportunities for persons who want to This was indicated following the cutback this week learn a trade while being paid for their work. An espe- ization at $6,700 a year. The appointment came to him from 48 to 44 hours a week, affecting about 126,000 Gov- cially attractive opportunity for a career in aviation, with unsolicited. He was recommended ernment white-collar employees in Washington and 700,- preliminary training right in NYC, and you get paid while to the State Commission, which 000 of the 2,879,000 throughout the country, or 826,000 a trainee.
    [Show full text]
  • Twentieth Century Fox: 1935-1965
    The Museum of Modern Art For Immediate Release June 1990 Twentieth Century Fox: 1935-1965 July 1 - September 11, 1990 This summer, The Museum of Modern Art pays tribute to Twentieth Century Fox with a retrospective of over ninety films made between 1935 and 1965. Opening on July 1, 1990, TWENTIETH CENTURY FOX: 1935-1965 traces three key decades in the history of the studio, celebrating the talents of the artists on both sides of the cameras who shaped this period. The exhibition continues through September 11. Formed in 1915, the Fox Film Corporation merged in 1935 with the much younger Twentieth Century to launch a major new studio. Under the supervision of Darryl F. Zanuck, Twentieth Century Fox developed a new house style, emphasizing epic biographies such as John Ford's The Prisoner of Shark Island (1936) and Allan Dwan's Suez (1938) and snappy urban pictures such as Sidney Lanfield's Hake Up and Live (1937) and Roy Del Ruth's Thanks a Million (1935). The studio also featured such fresh screen personalities as Tyrone Power, Alice Faye, and Shirley Temple. From this time on, the studio masterfully anticipated and shaped the tastes of the movie-going public. During World War II, Twentieth Century Fox made its mark with a series of exuberant Technicolor musicals featuring such actresses as Betty Grable and Carmen Miranda. After the war, the studio shifted focus and began to highlight other genres including films noirs such as Edmund Goulding's Nightmare Alley (1947) and Otto Preminger's Where the Sidewalk Ends (1950), wry satirical films such as Joseph L.
    [Show full text]
  • Picture F?Tj Cjlou,Ellci J~^Cu'sons Hollywood /Mrs
    PART 2. PAGE 7 Sunday. December 27. 1912 DETROIT SUNDAY TIMES /7V7OYr CHERRY ericcin picture f?tj cJlou,ellci j~^cu'sons Hollywood /Mrs. Miniver7 Players To Welcome Dominate Starting 11; 43 in Stride Alternates Also Picked MB dß' By LOUELLA O. PARSON’S By BILL WICkKRSIIAM Hr' Motion Picture Editor International Nrw» Service »pr< lai |4> TUK IIKTROIT TLMKH HOLLYWOOD, !>c. 26 jPWBTV' HOLLYWOOD, Dec. 26. r PIME was when practically morning! 1 every filmtown notable Let * hope you will be on speaking terms with Year * Eve turned out on New motion to make swank whoopee and. at me after I print my annual All-American ihe magical moment of midnight, picture team for 1942. This annual feature, in- to raise the glasses in toasts GOOD 12 years ago, is offend after serious augurated to personal good fortune consideration. If you don’t agree with me, write and let mu throughout the coming year. nothing than a good argument. year, however, rev- know. I love better This their Garson, captains my team eling will not be so swank. Their irai Congratulations to Greer who toasts will be drunk to victory. for 1942. 1 name her for her never-to-be-forgotten perform- And that one burst of spirit will ance in "Mrs. Miniver," and place her on my team as center. l*e about it. Not because of the to her credit which will 12 o’clock cocktail curfew, but Greer also has "Random Harvest" because, ere the echo of their ¦** v win her additional fame. subsided, they’ll team in half a dozen shouting has d MR James Cagney, who hasn't made the ’%! i+ making grim resolution" to JWT i k 'iti-uW' years, gets the oovdtd quarterback spot.
    [Show full text]
  • Five Men and a Bride the Birth of Art “Post-Modern”
    Five Men and a Bride The Birth of Art “Post-Modern” Kay Larson I erhaps all the arts are “dances” of interconnection, but the word seems especially apt when applied to the world-altering exchange between the five Partists in Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp. The Philadelphia Museum of Art organized this unusually beautiful and memorable exhibition, which opened in Cage’s centenary year (October 30, 2012–January 21, 2013); the next stop is the Barbican Art Gallery, London. The joy of watching these five creative geniuses trading insights is reward enough in itself, but in addition, this elegant grouping of carefully curated work, afloat with great conversation, has a momentous subtext, packed with questions (and some answers) as to who originated the world of the arts “post-Modern.” I think it was John Cage, for reasons I will explore here. But first a pause for clarification. I mean the term“post-Modern” to be strictly chronological. It signifies“after the Modern,” that is, after the visual art (and the discourse around it) that arose in a Western cultural context circa 1850–1950. After 1950 “Modern” began to lose its power position, a diminishment fully in effect by the mid-1960s. Since then, the term “postmodern” has been enveloped in philosophical, textual, structuralist, and other intellectual and interpretive strategies. When I refer to the “postmodern” I mean to invoke all the baggage that goes along with it. The “post- Modern” phrase is useful in a different way. It describes a factual watershed between past and present: between European and American art pre-1950, and a post-1950s internationalism that includes performance art, Fluxus, Pop Art, installation art, and a host of exotic forms unimaginable in the 1940s.
    [Show full text]
  • Robert Rauschenberg Erased De Kooning Drawing Artwork Record
    SFMOMA Rauschenberg Research Project: Artwork Record Robert Rauschenberg Erased de Kooning Drawing, 1953 Traces of drawing media on paper with label and gilded frame 25 1/4 x 21 3/4 x 1/2 in. (64.14 x 55.25 x 1.27 cm) Collection SFMOMA, purchase through a gift of Phyllis Wattis, 98.298 Cite as: “Robert Rauschenberg, Erased de Kooning Drawing, 1953: Artwork Record,” Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, http://www.sfmoma.org/artwork/98.298. Marks and Inscriptions Recto: On small piece of paper board beneath drawing in blue ink: “ERASED DE KOONING DRAWING ROBERT RAUSCHENBERG 1953” Note: This inscription was executed by Jasper Johns using a template device. Verso (sheet): An untitled drawing by Willem de Kooning Verso (backing board): Upper right, inscription in black: “53.D1”; center, inscribed in black by the artist’s studio assistant Charles Yoder: “DO NOT REMOVE DRAWING FROM FRAME. FRAME IS PART OF DRAWING” Ownership History San Francisco Museum of Modern Art, purchase through a gift of Phyllis Wattis, 1998 Exhibition History Group Drawings, Poindexter Gallery, New York, December 19, 1955–January 4, 1956. Black, White and Grey: Contemporary Painting and Sculpture, Wadsworth Atheneum, Hartford, Connecticut, January 9–February 9, 1964. American Drawings, Solomon R. Guggenheim Museum, New York, September 17–October 27, 1964. Traveled to: University of Michigan, Ann Arbor, November 11–December 13, 1964; Grand Rapids Art Museum, Michigan, January 10–February 7, 1965; University Gallery, Northrop Auditorium, University of Minnesota, Minneapolis (as Contemporary American Drawings), February 24–March 24, 1965; Seattle Art Museum, Washington, April 8–May 2, 1965; Denver Art Museum, Colorado, June 6–July 3, 1965; Dallas Museum of Fine Arts, July 25–August 22, 1965; Columbus Gallery of Fine Arts, Ohio, September 16–October 10, 1965; 1 © San Francisco Museum of Modern Art SFMOMA Rauschenberg Research Project: Artwork Record Krannert Art Museum, University of Illinois, Urbana–Champaign, November 14–December 5, 1965.
    [Show full text]
  • [1MAE]⋙ Marcel Duchamp: the Afternoon Interviews by Calvin Tomkins #K2AR3LHB5EU #Free Read Online
    Marcel Duchamp: The Afternoon Interviews Calvin Tomkins Click here if your download doesn"t start automatically Marcel Duchamp: The Afternoon Interviews Calvin Tomkins Marcel Duchamp: The Afternoon Interviews Calvin Tomkins In 1964, Calvin Tomkins spent a number of afternoons interviewing Marcel Duchamp in his apartment on West 10th Street in New York. Casual yet insightful, Duchamp reveals himself as a man and an artist whose playful principles toward living freed him to make art that was as unpredictable, complex, and surprising as life itself. Those interviews have never been edited and made public, until now. The Afternoon Interviews, which includes an introductory interview with Tomkins reflecting on Duchamp as an artist, guide and friend, reintroduces the reader to key ideas of his artistic world and renews Duchamp as a vital model for a new generation of artists. Calvin Tomkins was born in 1925 in Orange, New Jersey. He joined the New Yorker as a staff writer in 1960. His many profiles include John Cage, Robert Rauschenberg, Merce Cunningham, Leo Castelli, Damien Hirst, Richard Serra, Bruce Nauman, Cindy Sherman and Jasper Johns. Tomkins is the author of 12 books, including The Bride and the Bachelors (1965), Living Well Is the Best Revenge (1971), Lives of the Artists (2008) and Duchamp: A Biography (1996). Download Marcel Duchamp: The Afternoon Interviews ...pdf Read Online Marcel Duchamp: The Afternoon Interviews ...pdf Download and Read Free Online Marcel Duchamp: The Afternoon Interviews Calvin Tomkins From reader reviews: Virginia Warriner: Book is written, printed, or created for everything. You can know everything you want by a guide.
    [Show full text]