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PAUL CADMUS, an AMERICAN SATIRIST % Gary Deb Sweeney A

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PAUL CADMUS, an AMERICAN SATIRIST % Gary Deb Sweeney A Paul Cadmus, an American satirist Item Type text; Thesis-Reproduction (electronic) Authors Sweeney, Gary Deb, 1950- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 14:43:29 Link to Item http://hdl.handle.net/10150/348268 PAUL CADMUS, AN AMERICAN SATIRIST % Gary Deb Sweeney A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 1 2 7*t / STATEMENT BY AUTHOR This thesis has been submitted in partial fulfill­ ment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowl­ edgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the inter­ ests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: SHELDON REICH Date Professor of Art History ACKNOWLEDGMENTS 1 would like to take this opportunity to thank several people and institutions who have helped me during the writing of this thesis. First from The University of Arizona I would like to thank Drs„ Sheldon Reich and Don Garfield of the Department of Art History for their helpful suggestions. Linza Jester from the staff of the slide library alsti provided me with the quality photographic copy work which was necessary for the illustrations. While researching the artist in New York, I received help and cooperation from many people, whose aid I now gratefully acknowledge. First my thanks go to Mrs. Mary Gruskin, Director.of the Midtown Galleries who provided invaluable assistance as liaison between myself and Mr. Ca,dirtus> as well as allowing me access to her artist *s file and stored canvases„ I also owe thanks to the helpful and efficient staffs of the Whitney Museum of American Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, the Art Institute of Chicago, and especially that of the New York Public Library. All these people were very cooperative and made my task much easier. I reserve my greatest debt of gratitude to Paul Cadmus, the subject of this thesis. He patiently provided me with the responses and facts which comprise the core of the thesis. I can only thank you, Mr, Cadmus, and hope that the fruits of my labor are as pleasing to you as they are to me. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS , vi ABSTRACT viii THE ARTIST’S BACKGROUND 1 THE PAINTINGS . 12 CONCLUSION F 65 APPENDIX A, ' ARTIST CREDO , , 73 APPENDIX B, CHRONOLOGY , 76 SELECTED BIBLIOGRAPHY 78 y LIST OF ILLUSTRATIONS Figure Page 1 e 1 I f a » fl e 6- « e m o e o o o ■<. e o e • e e e 3 2, Summers Ending by Jared French 5 3, -Majorcan Fishermen 8 4, Shore Leave .................. 10 5, Y.M,C,A. Locker Room 11 6, The FleetIn! (engraving\ 16 7„ Greenwich Village Cafeteria 19 8. Male Nude (Drawing) 21 9. Coney Island 23 10, Bearing the Cross (Detail}, by Bosch 25 11. Venus and Adonis 27 12# M a m Stx eet 30 13, Mac (Ballet Costumel s , 35 14# Arabesque .....o ***.,#,.# . « « 36 15, - Sailors and Floosies ,' , • , , . e e , , . ... , , 38 r-v ~ ’----------- — -- --- ----- - --- --------- 16, Seeing the New Year In 8 , 39 17, The Herrin Massacre 42 18, The End of the World (Detail1 by Signorelli , , 43 19, Fantasia on a Theme by Dr, S 49 20, Pla^ground 51 21, ,SiO L-h a, a , «« ,, «, e a , a « 53 yi vii LIST OF ILLOSTFSTTONS--Continued Figure Page 22. E n y y ........................ , . 54 23. The Bath 56 24. Bar Italia ................... 59 25. Subway Symphony (Drawing) ........... 63 ABSTRACT Art in America, since the beginning of the twentieth century, has established a tradition of artistic protest. The Depression era was especially productive in art that reflected the artists dissatisfaction with their society. One of the artists to emerge from these troubled times is the subject of this thesis. Paul Cadmus established his reputation on the unfirm ground of the cause celebrS. To his credit, the artist has demonstrated a gifted talent in the fields of portraiture, still life, and graphics. How­ ever, his fame was established through a number of paintings of a highly controversial nature through which the artist exhibited a biting satire as social comment. This thesis is concerned primarily with a discussion of these paintings, but his other work will be brought into the discussion as it relates to his painting. This thesis was written with the intent of accom­ plishing a goal that is three-fold. At the outset of this study an examination of the artist's background and an in- depth analysis of the paintings was undertaken. Following this, his art was discussed in terms of placing it in its proper place in the history of art. Finally, and most importantly, this study is written in hopes of bringing : forth the work of an artist who has been heretofore too viii ix. lightly regarded or totally ignored in the archives of American art. THE ARTIST’S BACKGROUND Paul Cadmus was born in New York City in 1904. Exposure to the fine arts came through his parents who were both artists. His mother illustrated for newspapers and magazines under her maiden name, Marie Latasa. His father, Egbert Cadmus, was chiefly a watercolorist. As a child the artist displayed a talent for drawing at the age of three. Cadmus reflects on these early drawings as his "modern" period. As he matured the young Cadmus became increas­ ingly involved with art. At nine he stated, "I am going to be a marine painter and sister is to be a portrait painter." 2- Under his parents' encouragement, Cadmus embarked on an extensive formal education in the fine arts. In 1919, at the age of fourteen, he began a rigorous schedule of study at the National Academy of Design where his parents had met and studied. While at the academy, he was under the guidance of William Auerbach-Levy, a well-known etcher who at one time did caricature work for the New Yorker magazine. For painting and drawing, the major area of Cadmus' studies, he studied under Charles C. Curran, Charles Hawthorne, and Ivan Olinsky. Cadmus remained at the Academy until 1926, 1. Paul Cadmus, taped interview, April 11, 1976. 2. Una E. Johnson, Paul Cadmus/Prints and Drawings, 1922-1967 (New York: Brooklyn Museum Press, 196 8). 1 during which time he was elected to the Society of American Etchers in his nineteenth year. At this same time, the National Academy .had selected a number of etchings.by Cadmus for exhibition in their annual show. To be recognized for his artistic facility at such an early age was a gratifying and encouraging experience for such a young artist. In­ cluded here is a reproduction of his first exhibited drawing from this early period which amply demonstrates his sensi­ tivity for this medium (Fig. 1). Cadmus left the academy in 1926. for a two-semester study at the Art Students Leagpe under the tutelage of Charles Locke and Joseph Pennell. Locke was a well-known lithographer and Pennell a dedicated follower of Whistler with a reputation for craftsmanship. From Pennell, Cadmus felt he could sharpen his own printing ability.'*' Although the artist denies any significant influence from his stay at the Art Students League, 2 it is interesting to speculate on what effect the teachings of Robert Henri and the Ashcan school, which was so closely associated with this institution, might have had on the developing artist. At least one very important friendship was initiated at the League between Cadmus and Jared French, an artist with whom Cadmus was to share a long association. In terms of his 1. Cadmus, taped interview. 2. Ibid. 3 Fig. 1. Old Lady — Pencil, 5-5/8 x 4", 1922. contemporaries, Cadmus states French is the "strongest 1 singular influence on my art."“ Together these artists were to found a tradition of magically rendered painting charac­ terized by an almost photographic detail. French1s work is ) ' of an enigmatic nature dealing with a rather obscure symbol­ ism. He is sometimes close to surrealism in the hallucina- tory appearance of his images. 2 One of French's paintings is included here (Fig. 2) as an example. The painting bears strong resemblance to Cadmus' work. The incisive line and realistic detail are trademarks of both artists' style. In some of Cadmus' later paintings, he adopted a symbolism which suggests a further passage of influence from French. Cadmus-relates that the two artists sometimes had difficulty telling their sketches apart when comparing their portfolios 3 in later years. Following his years in the Art Students League, Cadmus became a layout artist in an advertising agency. These were hard years for the artist emotionally. In his words, "At this time I felt I had just facility and nothing particular to say.
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