DOCSLIB.ORG

John Quinn, Art Advocate

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Quinn, Art Advocate John Quinn, Art Advocate Introduction Today I’m going to talk briefly about John Quinn (fig. 1), a New York lawyer who, in his spare time and with income derived from a highly-successful law practice, became “the twentieth century’s most important patron of living literature and art.”1 Nicknamed “The Noble Buyer” for his solicitude for artists as much as for the depth of his pocketbook, Quinn would amass an unsurpassed collection of nineteenth- and twentieth-century American and European art. At its zenith, the collection con- tained more than 2,500 works of art, including works by Con- stantin Brancusi, Paul Cézanne, André Derain, Marcel Du- champ, Raymond Duchamp-Villon, Henri Gaudier-Brzeska, Paul Gaugin, Juan Gris, Henri Matisse, Pablo Picasso, Georges Rouault, Henri Rousseau, Georges Seurat, and Vincent van Gogh.2 More than a collector, Quinn represented artists and art associa- tions in all types of legal matters. The most far-reaching of these en- gagements was Quinn’s successful fight for repeal of a tariff on im- 1 ALINE B. SAARINEN, THE PROUD POSSESSORS: THE LIVES, TIMES AND TASTES OF SOME ADVENTUROUS AMERICAN ART COLLECTORS 206 (1958) [hereinafter PROUD POSSESSORS]. 2 Avis Berman, “Creating a New Epoch”: American Collectors and Dealers and the Armory Show [hereinafter American Collectors], in THE ARMORY SHOW AT 100: MODERNISM AND REVOLUTION 413, 415 (Marilyn Satin Kushner & Kimberly Orcutt eds., 2013) [hereinafter KUSHNER & ORCUTT, ARMORY SHOW] (footnote omitted). ported contemporary art3 – an accomplishment that resulted in him being elected an Honorary Fellow for Life by the Metropolitan Mu- seum of Art.4 This work, like much Quinn did for the arts, was un- dertaken pro bono.5 Quinn was also instrumental in organizing two groundbreaking art exhibitions: the May 1921 Metropolitan Museum of Art exhibition of “Impressionist and Post-Impressionist Paintings” (that museum’s first exhibition of modern art),6 and the landmark 1913 “International Exhibition of Modern Art”7 – otherwise known as the Armory Show. The Armory Show was the most important American art exhibition ever mounted, and exerts an influence on American art that lasts to this day – an influence in which the city of Milwaukee played a sur- prisingly pivotal role. 3 See generally B.L. REID, THE MAN FROM NEW YORK: JOHN QUINN AND HIS FRIENDS 157-160 (1968) [hereinafter MAN FROM NEW YORK]. 4 Accessions and Notes, 10 METROPOLITAN MUSEUM ART BULL. 56, 57 (1915) (Quinn elected “[i]n recognition of his services to Art through his efforts in advancing the recently enacted Tariff Bill”). 5 Art Society Muddle, AM. ART NEWS, June 13, 1914, at 1, 1 (“Mr. Quinn took no fee, and gave his own time and that of his office, to the cause, which he had at heart as a collector of modern art. His campaign, conduct- ed single-handed, was completely successful, although a similar one, when prosecuted years before by the combined art bodies of the country, was a complete failure.”). 6 Judith Zilczer, John Quinn and Modern Art Collectors in America, 1913-1924, 15 AM. ART J. 57, 65 (1982) [hereinafter Quinn and Collectors]; see generally MAN FROM NEW YORK at 498-99; see also Hamilton Easter Field, The Metro- politan French Show, THE ARTS, May 1921, at 2 (reproducing seven works Quinn lent to the exhibition – a Derain, a Gauguin, a Picasso, and four by Odilon Redon). 7 American Collectors at 414-15; see generally MAN FROM NEW YORK at 142- 52; JUDITH ZILCZER, “THE NOBLE BUYER:” JOHN QUINN, PATRON OF THE AVANT-GARDE 25-27 (1978) [hereinafter AVANT-GARDE]. - 2 - Quinn died in 1924 at the early age of fifty-five (fig. 2).8 Fittingly, his death resulted in a final, perhaps permanent, impact on American art and artists. Quinn directed in his will that his artwork be liquidat- ed, and fellow patrons of the arts considered the resulting dispersal of the Quinn collection a tragedy. Unease over the breakup of Quinn’s collection prompted founding of the Museum of Modern Art,9 and lead to formation of many of America’s public modern art collec- tions10 – collections often counting as part of their most treasured holdings works bearing the label “ex-Quinn Collection.”11 A Practicing Attorney Quinn grew up in Fostoria, Ohio, the son of a well-to-do baker.12 He graduated from high school in 1887, and spent a year at the Uni- versity of Michigan.13 When Charles Foster (former Governor of Ohio and close friend of the Quinn family) was appointed Secretary of the Treasury, Quinn left Ann Arbor to serve as Foster’s private secretary.14 Quinn studied law at night, graduating in 1893 from Georgetown University.15 He then studied international law at Harvard, obtaining a second law degree in 1895.16 Quinn passed the New York bar in 8 Obituary, ART NEWS, Aug. 16, 1924, at 4. 9 PROUD POSSESSORS at 364-366. 10 American Collectors at 425. 11 PROUD POSSESSORS at 237. 12 MAN FROM NEW YORK at 4; AVANT-GARDE at 15. 13 MAN FROM NEW YORK at 5; AVANT-GARDE at 15. 14 MAN FROM NEW YORK at 5-6; AVANT-GARDE at 15; Richard Camp- bell, Memorial of John Quinn, in ASSOCIATION OF THE BAR OF THE CITY OF NEW YORK, YEAR BOOK 513 (1925), reprinted in 72 BULL. N.Y. PUB. LIBR. 584, 584 (1968) [hereinafter Quinn Memorial]. 15 AVANT-GARDE at 15; MAN FROM NEW YORK at 6. 16 AVANT-GARDE at 15; MAN FROM NEW YORK at 6. - 3 - 1896, and joined the firm of General Benjamin F. Tracy.17 Tracy’s firm “enjoyed a lucrative practice,” and it clients “included many of the prominent figures of that time in finance and industry.”18 In 1900, Quinn moved to the firm of Alexander & Colby, coming on as a junior partner.19 While at Alexander & Colby, Quinn took on a matter that made his career – the battle for control of the Equitable Life Assurance Society (at the time one of the three largest insurance companies in the world, with a valuation of $400 million).20 Fought in 1905, this battle had its roots in 1899, when the company’s founder died, leav- ing his controlling stake in the company (502 of the company’s 1,000 shares) to his 23-year old son, James Hazen Hyde, but placing the shares in trust until James turned thirty in 1907.21 On January 31, 1905, James held a Versailles-themed costume party (fig. 3).22 This private event became a matter of public scandal when other Equita- ble shareholders circulated untrue rumors James that had paid for the party with $200,000 of company money.23 The rumors had a tre- mendous impact on the insurance industry: The squabble which had begun quietly ended in a noisy scandal of earthquake proportions, shaking open the devious passages of manipulative high finance. Public demand for investigation of the Equitable’s affairs, which was bound to involve scrutiny of insurance company financing generally and thereby draw in the 17 MAN FROM NEW YORK at 6; AVANT-GARDE at 15. 18 Quinn Memorial at 584. 19 Id.; MAN FROM NEW YORK at 7. 20 See generally MAN FROM NEW YORK at 33-35. 21 Id. at 33. 22 PATRICIA BEARD, AFTER THE BALL: GILDED AGE SECRETS, BOARD- ROOM BETRAYALS, AND THE PARTY THAT IGNITED THE GREAT WALL STREET SCANDAL OF 1905 169-178 (2003) [hereinafter AFTER THE BALL]. 23 Id. at 4. - 4 - country’s greatest money men and the largest investment trusts and syndicates, forced Governor Higgins of New York to ap- point a legislative investigating committee, the Armstrong Committee. The Committee’s examining lawyer, Charles Evans Hughes, by his incisive, scrupulous, and implacable conduct of fifty-seven public hearings in the four months at the end of 1905, established his own reputation, ruined a good many other reputations that needed ruining, and prepared the way for a thorough reformation of insurance practice by legislative action in the first months of the following year.24 The rumors also resulted in James eventually selling his 502 shares (for only $2.5 million) to Thomas Fortune Ryan, “one of the more private Gilded Age tycoons,” who made much of his money through “developing urban transit systems” and would die “with nearly dou- ble the fortune of J.P. Morgan.”25 Quinn was Ryan’s counsel in the fight for control of the Equitable,26 and “Quinn’s performance during the legal battle for control of the Equitable Life Assurance Society in 1905 established his reputation as a brilliant financial lawyer.”27 Alexander & Colby dissolved in 1906, and Quinn opened his own firm at 31 Nassau Street.28 He was sole counsel for the National Bank of Commerce (then the country’s second-largest bank), “whose adviser he remained until his death.”29 He eventually became tax counsel to the New York Stock Exchange.30 Quinn was known as 24 MAN FROM NEW YORK at 34-35. 25 MAN FROM NEW YORK at 34; AFTER THE BALL at 96, 259; see generally id. at 261-63. 26 MAN FROM NEW YORK at 34. 27 AVANT-GARDE at 15 (footnote omitted). 28 PROUD POSSESSORS at 209; MAN FROM NEW YORK at 45. 29 Quinn Memorial at 584; AVANT-GARDE at 15; PROUD POSSESSORS at 210. 30 MAN FROM NEW YORK at 156. - 5 - “cool-headed, astute and respected by the respectable in corporation and financial law,”31 and his practice grew accordingly: In the years intervening between 1906 and the time of his death, he built up a great practice and his advice and counsel were sought by many of the leaders in finance and industry.
Load more

Recommended publications
  • Modern Movement: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections
    AT MODERN MOVEMENT: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections and ARTHUR B. DaVIES Paintings from the Randolph College Collection 1 2COVER: Arthur B. Davies, 1862-1928, Nixie, 1893, oil on canvas, 6 x 4 in. Gift of Mrs. Robert W. Macbeth, 1950 MODERN MOVEMENT: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections January 18–April 14, 2013 Curated by Martha Kjeseth-Johnson and Mac Cosgrove-Davies Arthur B. Davies, ca. 1908. Gertrude Käsebier, photographer. AT 3 Introduction Martha Kjeseth-Johnson, Director Maier Museum of Art at Randolph College Arthur B. Davies (1862-1928) was an artist and primary curator of the groundbreaking Armory Show of 1913, credited with bringing modern art to American audiences. The Maier Museum of Art at Randolph College (formerly Randolph-Macon Woman’s College) is home to sixty-one works by Davies, many of which have never been exhibited. Malcolm Cosgrove-Davies, great-grandson of Arthur B. Davies and owner of over 300 Davies pieces, has contributed a selection of works from his collection which will also be on view to the public for the first time.Modern Movement: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections focuses on figurative works, many depicting dancers in various poses. We are pleased to present this exhibition on the centennial anniversary year of what was officially billed asThe International Exhibition of Modern Art but commonly referred to as the Armory Show due to its location at New York’s 69th Regiment Armory on Lexington Avenue in Manhattan.
    [Show full text]
  • Checklist of Anniversary Acquisitions
    Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1.
    [Show full text]
  • Four Mysterious Citizens of the United States That Served on The
    Four Mysterious Citizens of the United States that Served On the International Olympic Com-mittee During the Period 1900-1917 Four Mysterious Citizens of the United States that Served On the International Olympic Com-mittee During the Period 1900-1917, Harvard University, William Milligan Sloane, Paris, Theodore Stanton, United States, America, American Olympic Committee, Olympic Games, Rutgers University, Pierre de Coubertin, International Olympic Committee, Karl Lennartz, Mr. Hyde, IOC member, Evert Jansen Wendell, Theodore Roosevelt, IOC members, Allison Vincent Armour, Olympic Research, Elizabeth Cady Stanton, Baron Pierre de Coubertin, New York, Messieurs Stanton, Caspar Whitney, Cornell University, William Howard Taft, Evert Jansen, John Updike, North American, The International Olympic Committee One Hundred Years, See Wolf Lyberg, French Foreign Legion, See Barbara Tuchman, Barrett Wendell, father Jacob, Allison V. Armour, George Armour, President Coubertin, American University Union, American Red Cross, Coubertin, Phillips Brooks, A. V. Armour, New York City, Harvard, See Roosevelt, Swedish Olympic Organizing Committee, E. J. Wendell, List of IOC members, Doctor Sloane, John A. Lucas, the United States, Professor W. M. Sloane, Pennsylvania State University, Modern Olympic Games, Henry Brewster Stanton, James Hazen Hyde, Theodore Weld Stanton, Evert Jansen Wendell John A. Lucas, Professor Emeritus William M. Sloane, Theodore Roosevelt Papers, New York Herald, Professor Sloane, James Haren Hyde, Stanton, Keith Jones, RUDL, Allison
    [Show full text]
  • Voices from the Field
    Voices from the Field Voices from the Field Prohibition, war bonds, the formation of social security—the National Association of Insurance and Financial Advisors has seen it all. In August 1989, the National Association of Life Underwriters—later to be renamed NAIFA— published Voices from the Field, a seminal work chronicling the history of the insurance industry and the association. This book was the result of four years of research and writing by former Advisor Today senior editor George Norris. Voices from the Field is an engaging look at the lives and events that shaped our dynamic industry. The book remains a lasting tribute to everyone who has worked to make NAIFA what it is today, but particularly to Norris, who dedicated 21 years to the association. *** “Historians have, perhaps, been too preoccupied with mortality tables and the founding dates of companies to consider the astonishing influence that selling method, or the lack of it, has had upon the development of life insurance in every age.” —J. Owen Stalson, Marketing Life Insurance: Its History in America This book is dedicated to the hundreds of thousands of unnamed and often unsung, life underwriters who, over the past 100 years, have labored to provide security and financial independence to millions of their fellow Americans. Foreword by Alan Press, 1988-1989 NALU President Preface by Jack E. Bobo, 1989 NALU Executive Vice President Introduction Acknowledgements Chapter 1 Laying the Foundation—A Meeting at the Parker House Leading Figures—Ransom, Carpenter, Blodgett and
    [Show full text]
  • Genres of Financial Capitalism in Gilded Age America
    Reading the Market Peter Knight Published by Johns Hopkins University Press Knight, Peter. Reading the Market: Genres of Financial Capitalism in Gilded Age America. Johns Hopkins University Press, 2016. Project MUSE. doi:10.1353/book.47478. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/47478 [ Access provided at 28 Sep 2021 08:25 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Reading the Market new studies in american intellectual and cultural history Jeffrey Sklansky, Series Editor Reading the Market Genres of Financial Capitalism in Gilded Age America PETER KNIGHT Johns Hopkins University Press Baltimore Open access edition supported by The University of Manchester Library. © 2016, 2021 Johns Hopkins University Press All rights reserved. Published 2021 Printed in the United States of America on acid-free paper Johns Hopkins Paperback edition, 2018 2 4 6 8 9 7 5 3 1 Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu The Library of Congress has cataloged the hardcover edition of this book as folllows: Names: Knight, Peter, 1968– author Title: Reading the market : genres of financial capitalism in gilded age America / Peter Knight. Description: Baltimore : Johns Hopkins University Press, [2016] | Series: New studies in American intellectual and cultural history | Includes bibliographical references and index. Identifiers: LCCN 2015047643 | ISBN 9781421420608 (hardcover : alk. paper) | ISBN 9781421420615 (electronic) | ISBN 1421420600 [hardcover : alk. paper) | ISBN 1421420619 (electronic) Subjects: LCSH: Finance—United States—History—19th century | Finance— United States—History—20th century.
    [Show full text]
  • THE MUSEUM of MODERN ART Momaexh 0655 Masterchecklist
    THE MUSEUM OF MODERN ART 11 WEST 53 STREET. NEW YORK 19. N. Y. TELEPHONE: CIRCLE 5·8900 RECENTACQUISITIOl\'S Exhibition: December2, 1959""':- January 31, 1960 SH/LCKLIST Note: Unless enclosed in Hith notes by AJired H. Barr, Jr. parentheses dates appear on the 'Jorks theasoIvos, The last t,1O fig'1r'3s of the accesGion number L~d~cate the year of acquisiticn. Franco ASSETTO.Italian, born 1911. Lives in Turin. MoMAExh_0655_MasterChecklist £ark e~!. (1958) Oil, partly in 101~relief, on canvas, 35 1/2 x 39 3/8". G. David ThompsonFu.~d. 1.59. Note: Bought from the Pittsburgh International, 1959. lIiA~WA1\I\BA AUSTRALIAN.~1'I1""rwn-contemporaryaboriginal artist from Groote Eylandt. TwoSnakes. (c.1955) Colored clays over charcoal on eucalyptus bark, 22 x ~37arr:--Purchase. 290.~8 Milton AVERY.American, born 1893. Lives in NewYork. Sea Grasses and Blue Sea. 1958. Oil on canvas, 60 1/8 x 72 3/8". Gift of friendsOfthe artI"St-.-649.59 Roger BISSIeRE. French, born 1888. Lives in Faris. Red Bird on Black. 1953. Oil on canvas, 39 3/4 x 19 1/!1". Gift of Mr. and !'Irs. 'lerner E. Josten. UmbertoBOCCIONI.Italian, 1882-1916. Leader of the Italian Futurist artists, 1910-1916. VTorkedin f.lilan, The Laugh. (1911) Oil on canvas, 43 3/8 x 57 1/4". Gift of 111'.and Mrs. Herbert~. Rothschild. 656.59. "Andcan we remain insensitive to the frenzied activities of great capital cities, the newpsychology of night life, to the hectic figttres of the ~t"~12, the .c..~~'2."!:-~.£,the ~~_ and the alcoholic ?"---N3.nifesto of the Futurist Paint-n.s., Ni.lan, 11 February, 19:1('.
    [Show full text]
  • Pierre DUMONT (JALLOT) Painting 20Th Seated Woman Oil Signed
    anticSwiss 26/09/2021 02:53:37 http://www.anticswiss.com Pierre DUMONT (JALLOT) Painting 20th Seated Woman Oil signed FOR SALE ANTIQUE DEALER Period: 20° secolo - 1900 Violon d'Ingres Saint Ouen Style: Arte Moderna +33 06 20 61 75 97 330620617597 Height:46cm Width:65cm Price:2800€ DETAILED DESCRIPTION: Pierre DUMONT, pseudonym JALLOT, (1884/1936) Young woman sitting in a seaside landscape. Oil on canvas signed lower left. 46 x 65 cm DUMONT Pierre, Born March 29, 1884 in Paris / Died April 9, 1936 in Paris. Painter of landscapes, urban landscapes, seascapes, still lifes, flowers. Expressionist. Pierre DUMONT is one of the most original and most unknown painters of the Rouen school. Having come to Paris at a very young age, Pierre DUMONT lived there poorly in the La Ruche district, then returned to Rouen around 1905, he painted very colorful landscapes, in an oily and thick paste spread out on the canvas as if he was sculpting his vision. To contain his "Fauve" temperament, Pierre DUMONT entered the Rouennaise Academy of Joseph Delattre, then founded with friends artists and writers the group of XXX which became in 1909 the Norman Society of modern painting. His first paintings were marked by the influences of Van Gogh and Cézanne. From around 1910 Pierre DUMONT began to paint Rouen cathedral, from 1914 to 1919 he mainly painted the streets of Montmartre, Notre Dame cathedral, the bridges of Paris and the banks of the Seine. From 1911 to 1916, Pierre DUMONT lived at the Bateau-Lavoir where he became friends with Picasso who kept a workshop there.
    [Show full text]
  • Les Années 1920 - 1930 E Ane 1920 -1930 Années Les Vendredi 19Juin2020 Les Années 1920 - 1930
    LES ANNÉES 1920 - 1930 LES ANNÉES 1920 VENDREDI 19JUIN2020 VENDREDI - 1930 LES ANNÉES 1920 - 1930 CATALOGUE N°32 Les années folles débutent en 1920, au sortir d’une guerre épouvantable qui sera - par réaction - à l’origine du mouvement Dada et du Surréalisme, représentés dans cette vente par Louis Aragon, René Char, André Breton et son héroïne Nadja au destin romanesque et tragique. Un ensemble important est consacré à Marcel Proust, et un second à Franz Kafka, dont l’enfance fût bercée par le charme discret de la bourgeoisie. Ils n'auront pas le temps de découvrir l’immense mouvement culturel, artistique et social des années 20-30, cette envie de rattraper le temps perdu. Jean Giraudoux avec Bella, Siegfried et le Limousin confirmera cette légèreté salutaire, rythmée par le Jazz et l’Art déco illustré ici par François-Louis Schmied. Le début des années 30 s’annoncera plus sombre, comme pour justifier la boutade de Jules Renard : « Quand tout va très bien, ne vous inquiétez pas, ça ne dure pas ». Claude Oterelo 1 INFORMATIONS ET SERVICES POUR CETTE VENTE 32 SAS CLAUDE AGUTTES CONSULTATIONS DES LOTS À PARTIR DU MARDI 2 JUIN 2020 CLAUDE AGUTTES LES ANNÉES 1920 - 1930 À NEUILLY-SUR-SEINE Président – Commissaire-priseur VENDREDI 19 JUIN 2020, 14H30 PAULINE CHÉREL Tél.: +33 (0)1 47 45 00 92 NEUILLY-SUR-SEINE RESPONSABLE DE LA VENTE [email protected] (uniquement sur rendez-vous) SOPHIE PERRINE Commissaire-priseur habilité [email protected] Tél. : +33 (0)1 41 92 06 44 FACTURATION ACHETEURS Attention : Les exigences sanitaires liées au Covid-19 limitent le nombre de personnes Tél.
    [Show full text]
  • Comptroller EL Williams Will Retire Next Summer Two More Names
    Vol. XXI, No. 23 [PEICE TWELVE CENTS] March 6, 1919 Comptroller E. L. Williams Will Retire Next Summer Two More Names Added to Cor- nell's Roll of Honor Basketball Team Defeats Prince- ton, City College, and Rochester American, French, and British Dec- orations for Cornellians ITHACA, NEW YOEK CORNELL ALUMNI NEΛYS Executor Trustee Lang's Chartered 1822 Published for the Associate Alumni of Palace Garage Cornell University by the Cornell Alumni THE FARMERS' LOAN News Publishing Company, Incorporated. is situated in the center of Ithaca Published weekly during the college year AND TRUST COMPANY and monthly during the summer; forty issues 117-119 East Green Street annually. Issue No. 1 is published the last Nos. 16-22 William Street Thursday of September. Weekly publication (numbered consecutively) continues through Branch: 475 Fifth Ave. Commencement Week. The number of at 41st Street It is absolutely fireproof. monthly issues and of double numbers will Open day and night. Com- depend somewhat on the University calendar, New York which is likely to be irregular for the period modious and fully equipped. of the war. Issue No. 40 is published in LONDON PARIS A full stock of tires and August and is followed by an index of the entire volume, which'will be mailed on re- tubes and everything in the quest. Letters of Credit line of sundries. Subscript^on price $3.60 a year, payable ίn ad- vance. Foreign postage 40 cents a year extra. Foreign Exchange Domestic rates apply to addresses in the Amer- ican Expeditionary Forces. Single copies twelve Cable Transfers cents each.
    [Show full text]
  • 08 Tate Modern in the Studio
    1 Antony Gormley (b. 1950), Untitled (for Francis), 1985 (Room 1), lead, plaster, polyester resin and fibreglass 1900 × 1170 × 290cm Giovanni Bellini, St Francis in Ecstasy, 1479-85 • Finding Meaning. In this room we have two apparently contrasting works. Over there an abstract work by Eva Hesse and here a human figure by Antony Gormley. They represent contrasting approaches that are explored in the following rooms. Gormley is best known for The Angel of the North (see Visual Aids) an enormous sculpture on a hill near Newcastle. • Construction. This work is called Untitled (for Francis) and was made in 1985. Like many of his other works it was made directly from his own body. He was wrapped in clingfilm by his wife, who is also an artist, and then covered in two layers of plaster. When it had dried the cast was cut from his body, reassembled and then covered in fibreglass and resin. Twenty-four sheets of lead were then hammered over the figure and soldered together. If you look closely you will see that the figure has been pierced in the breast, hands and feet by small holes cut in the lead. • St. Francis. The attitude of the eyeless figure, standing with head tilted back, feet apart and arms extended to display the palms of its hands, resembles that of a Christian saint receiving the stigmata. Stigmata are the five marks left on Christ’s 2 body by the Crucifixion although one of the wounds here is in the breast, rather than, as tradition dictates, in the side.
    [Show full text]
  • Introduction
    INTRODUCTION Au cours des trente dernières années, l’émergence d’un nouveau discours critique sur le cubisme a refaçonné notre point de vue sur le mouvement et le modernisme en général ; uniquement constitué de sources pri - maires, ce livre est la première anthologie à prendre acte de ce nouveau matériau critique. Afin de minorer l’influence des a priori qui condi - tionnent l’interprétation des éditeurs (même si ces a priori ne peuvent pas être complètement évités, on peut leur résister), ces documents ont été reproduits dans leur intégralité, à l’exception de trois cas 1. Chaque document est suivi d’un commentaire qui replace le texte (et, le cas échéant, l’auteur) dans une perspective historique et qui tient compte de l’historiographie du cubisme. Même si le corpus sur le cubisme est trop vaste pour donner à notre sélection un caractère ency - clopédique, nous nous sommes efforcés de lier ensemble quatre aspects, dans un ordre chronologique, des écrits d’artistes ; un large éventail de types de critiques 2 (manifestes d’artistes, correspondance et préfaces de catalogue) ; rapports gouvernementaux ; articles extraits de la presse populaire, de revues littéraires, de journaux satiriques et de revues spé - cialisées dans les beaux-arts ; des critiques négatives sur le mouvement, comme indicateur du grand débat public autour du cubisme avant la Première Guerre mondiale ; et des écrits abordant des questions sociales, politiques, scientifiques, philosophiques et littéraires en lien avec le cubisme. Nous avons choisi de circonscrire cet ensemble déjà conséquent de documents à des textes produits pendant les premières années du 1. Le document 36 a été abrégé pour des raisons que nous expliquons dans notre com - mentaire à cet article ; les documents 50 et 51 sont des chapitres substantiels, cohérents et non tronqués du texte d’André Salmon, La Jeune Peinture française (Paris : Société des trente, Albert Messein, 1912).
    [Show full text]
  • Eric Pillon Enchères PROCHAINE VENTE DE TABLEAUX VERSAILLES
    VERSAILLES Eric Pillon Enchères PROCHAINE VENTE DE TABLEAUX VERSAILLES HÔTEL DES VENTES DU CHÂTEAU 13, avenue de Saint-Cloud DIMANCHE 15 DÉCEMBRE 2013 En couverture : Édouard VERSCHAEFFELT - Lot n°23 VERSAILLES ÉRIC PILLON ENCHÈRES P.V.E. HÔTEL DES VENTES DU CHÂTEAU 13, avenue de Saint-Cloud - 78000 VERSAILLES Tél. : 01 39 02 40 40 - Fax : 01 39 49 90 01 [email protected] - www.pillon-encheres.com DIMANCHE 27 OCTOBRE 2013 à 14 h 30 TABLEAUX du XIXe, IMPRESSIONNISTES, POST-IMPRESSIONNISTES ET MODERNES VERRERIES - SCULPTURES TAPISSERIES Vente dirigée par Maître Eric Pillon Commissaire-Priseur 13, avenue de Saint-Cloud - 78000 VERSAILLES TÉL. : 01 39 02 40 40 FAX : 01 39 49 90 01 EXPOSITIONS PUBLIQUES : Vendredi 25 octobre de 14 h à 18 h Samedi 26 octobre de 11 h à 13 h et de 14 h à 18 h Dimanche 27 octobre de 10 h à 12 h S.V.V. Ag rément n° 20 02-328 INDEX ALPHABÉTIQUE TABLEAUX AÏZPIRI - 250 - 256 GALEA - 183 ALAUX - 266 GARROS - 219 - 222 ALIX - 133 à 144 GEN-PAUL - 74 - 113 - 115 - 131 - 237 - 238 - 240 - 245 AMBROGIANI - 122 - 124 GÉRARD - 201 - 202 AMEGLIO - 149 GERNEZ - 91 ATTENDU - 5 GISCLARD - 290 GODET - 228 BARTHÉLÈMY - 158 GOERG - 231 - 232 BERTRAM - 67 - 88 - 100 GRAU-SALA - 108 - 116 - 123 BISSIÈRE - 73 GRUBER - 69 BISTAGNE - 10 GUINEGAULT - 57 BLANCHARD - 50 BLONDEL - 1 HENRY - 247 BOLIN - 294 - 295 - 296 HERBO - 157 - 164 BOUCHEIX - 211 HERVÉ - 146 - 169 - 180 - 181 BRAUER - 130 HILAIRE - 259 - 260 BRAYER - 105 - 120 - 155 HUMBLOT - 127 BRIANCHON - 68 - 102 BROËT - 18 BUFFET - 258 JAMES - 208 JEHAN - 293 - 299 CAHEN-MICHEL
    [Show full text]