Fidelma Cadmus Kirstein David Zwirner

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David Zwirner New York London Hong Kong Fidelma Cadmus Kirstein Artist Biography Fidelma Cadmus (1906–1991) was born in New York to artist parents struggling at the edge of poverty. As a teenager, she left home and lived with her two aunts in Greenwich Village. Like her older brother, the artist Paul Cadmus, she studied at the Art Students League, where she won a number of prizes, while earning a living designing wallpaper at the Traphagen Studio in the late twenties. Socially, she found herself immersed in the artistic milieu of her brother, who, having returned from Europe in 1931, was gaining notoriety for his paintings in New York. She would occasionally work from the studio Paul shared with his lover, the artist Jared French, on St. Luke’s Place. In the collaborative atmosphere of the social circle she occupied, she posed for many of her fellow artists, including her brother, French, the painter Pavel Tchelitchew, and the photographer George Platt Lynes. She was also the subject of a number of photographs her brother; French; and French’s new wife, Margaret Hoening, began taking on their summer vacations to Fire Island, Nantucket, and Provincetown—the photos were collectively taken under the moniker PaJaMa, after their first names. At a party thrown by Lynes in 1939, Cadmus met Lincoln Kirstein, a cultural impresario, who had founded the School of American Ballet (later renamed the New York City Ballet) with choreographer George Balanchine in 1934. He and Cadmus married in April of 1941, though he would continue pursuing male lovers. At several points, some of them lived with the two of them, such as the dancer Pete Martinez and the artist Alexander Jensen Yow. Kirstein, who had suffered from depression in her youth, continued to struggle with breakdowns throughout her life and, though she continued to work on her enigmatic paintings and drawings after their wedding, eventually the pace and volatility of her husband’s personal and professional life overtook her work. They remained married until her death, in 1991..

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Aspects of Suburban Life- Main Street, 1937, Paul Cadmus, Loan, G360 Dunlap, Sept
Aspects of Suburban Life: Main Street, 1937, Paul Cadmus, Curtis Galleries Loan, G360 Questions Questions 1. What’s going on in this painting? ! 2. What could be some reasons for titling this “Suburban Life”? ! 3. What could be a reason for the expression on the face of the woman dressed in black? ! 4. In 1936 Cadmus was commissioned by TRAP (later WPA) to design 4 murals for the post office (or library) in affluent Port Washington (some considered the model for Fitzgerald’s town in The Great Gatsby). His paintings, however, were rejected as inappropriate. Considering the hardships and sacrifices of the Depression, why might this have been objectionable? ! Main Points 1. The 2 girls, along with their friend, dominate the canvas and the street scene. Two carry tennis racquets. The girl closest to us resists the pull of her dachshund on a long red leash. They draw the leers or stares of disapproval from many on the street except, perhaps, the policeman who seems to halt traffic just for them to cross. 2. Small town buildings such as the Woolworth’s, the drugstore, the one with a false-front, the theater, the church spire, all proclaim Main Street, USA. Cars, not streetcars, are the preferred means of transportation as small towns become commuter communities. 3. The tennis trio seems careless and self-satisfied; their goal is to enjoy the country club life in the depths of the Depression. The commuter community is displacing/shoving aside the town’s longstanding residents. 4. The lounging “local yokels” watching the passing scene, the auto repair in progress, the contrast between the idle, complacent nouveau riche and the rest of the town, the chaotic scene -- all cast a less than ideal view of the town.
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CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr.
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Jared French David Zwirner
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Paul Cadmus David Zwirner
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Vermont Waterfall No.1 Coloured Chalks on Blue-Green Paper
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American Realists and Magic Realists Edited by Dorothy C
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Bridget Bate Tichenor
Bridget Bate Tichenor The Magic Realist Painter By Zachary Jay Selig Manuscript TXu 1-321-112 Copyright November 6, 2000 PA Pau 3-071 551 Copyright November 6, 2006 Writers Guild: Literary #1161026, Screen #1161021, TV #1161024, & Stage #1161026 – 2006 Zachary Jay Selig 1355 N. Laurel Avenue, #5 West Hollywood, California 90046 Tel. 310 717 3202 E-mail [email protected] 1 Bridget Bate Tichenor The Magic Realist Painter By Zachary Jay Selig TX and PA Copyrights October 12, 2006 Writers Guild: Literary 1161026, Screen 1161021, TV 1161024, & Stage 1161026 Bridget Pamela Awkright Bate Tichenor - Born: November 22, 1919 – Paris, France Died October 12, 1990 – Mexico City, Mexico Bridget’s Grandmother: Rosa Baring b. London – d. Paris 1927 – Great granddaughter of Sir Francis Baring 1740 – 1810, Barings Bank – London. Barings Bank was among the oldest merchant banking companies in England, having been founded in 1762 as the 'John and Francis Baring Company' by Sir Francis Baring. In 1806 his son Alexander Baring joined the firm and they renamed it Baring Brothers & Co., merging it with the London offices of Hope & Co., where Alexander worked with Henry Hope Bridget’s Mother: Vera Bate – Sarah Gertrude Awkright Bate Lombardi – British – London Born in London in 1885, she served as a nurse in France during WWI. She met her first husband in Paris, an American officer named Fred Bate, married him in 1919 and divorced him in 1927, to remarry in 1929 an Italian officer, who was one of the best horsemen of his day, Prince Alberto Lombardi. Although illegitimate, her connection with the English Royal family was established from childhood, which explained the close tie between Vera and Queen Mary, the Prince of Wales and the Duke of Westminster, as a direct blood descendent of George I, Louis Hanover, King of Great Britain 1660 – 1727.
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The Censored Paintings of Paul Cadmus, 1934-1940
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French, Jared (1905-1988) by Joyce M
French, Jared (1905-1988) by Joyce M. Youmans Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Dissatisfied with merely describing the material world, American painter Jared French devised a pictorial language to explore human unconsciousness and its relation to sexuality. Most of his works consist of strange, statue-like, somnambulant figures with eerily blank facial expressions positioned in austere landscapes and plazas. Rendered in a technique so precise that they seem more real than real, French's paintings capture and maintain the viewer's interest and imagination. At Amherst College in 1926, French met artist Paul Cadmus, who was briefly his lover and who became a life-long friend. After leaving Amherst, French took a job on Wall Street and then toured Europe with Cadmus between 1931 and 1933. During the 1930s and 1940s, French was a member of the Cadmus circle that included such gay literary and artistic figures as George Platt Lynes, Lincoln Kirstein, George Tooker, Glenway Wescott, and Monroe Wheeler. In 1937, French married artist Margaret Hoening, his and Cadmus's mutual friend. Cadmus did not seem upset with the marriage and the three were soon collaborating as members of the PAJAMA photographic group (the name of which was comprised of the first two letters of each of their given names). The photographs taken by French, Hoening, and Cadmus are particularly important for documenting the gay and artistic community coalescing at Fire Island in the period from 1937 to 1945. The Fire Island pictures influenced French's painting during the 1940s and 1950s.
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