Marius De Zayas

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MARIUS DE ZAYAS (Veracruz, México, 13 de marzo de 1880 – 10 de enero de 1961, Connecticut, Estados Unidos) Fue un importante artista mexicano, caricaturista, escritor, editor y galerista de primera línea. Nació en el seno de una familia veracruzana de impresores y editores. Su padre, Rafael de Zayas Enríquez, fue un político liberal, un hombre de letras y toda una figura pública en el México de finales del siglo XIX y principios del XX, de quien tomó la pasión por el arte, la filosofía y el diarismo. La vida profesional de Marius de Zayas dio propiamente inicio en octubre de 1906 al integrarse como caricaturista en un moderno periódico mexicano, El Diario, trabajo que abandonó al salir del país e instalarse en la ciudad de Nueva York junto con su familia por su oposición al presidente Porfirio Díaz. Marius de Zayas se incorporó en la primavera de 1907 al periódico de Alfred Pulitzer,The World, en donde destacó como caricaturista del mundo teatral. Entre 1909 y 1911 trabajó con su padre en la edición de una revista en español, América, publicada en Nueva York. Asimismo exhibió en el hoy legendario espacio de The Little Galleries of the Photo-Secession, transformándose en una pieza clave tanto en su programación como en la vida de su revista, Camera Work. Tras el estallido de la Guerra Mundial abrió su propia galería, The Modern Gallery, y fundó y editó una fabulosa revista de vanguardia que llevó el nombre de 291 ⎯ en alusión y homenaje a The Little Galleries y su propietario, Alfred Stieglitz. En 291, Marius de Zayas se probó además como poeta. Entre octubre de 1915 y abril de 1918, Modern Gallery exhibió obras de Braque, Cézanne, Brancusi, Derain, Picasso y Rivera, entre muchos otros, además de estatuillas y máscaras africanas y objetos arqueológicos prehispánicos. Poco después, en sociedad con Walter C. Arensberg, abrió una nueva galería, De Zayas Gallery, en la cual continuó el proyecto de la anterior entre octubre de 1919 y abril de 1921. En la década de 1920, Marius de Zayas fue el curador de la primera exposición itinerante de la que se tenga noticia, "Exposición Trinacional", la cual entre mayo de 1925 y febrero de 1926 viajó de París a Londres y a Nueva York, mostrando dibujos, pinturas y esculturas de artistas franceses, ingleses y estadounidenses. A partir de julio de 1926 se sumaron obras y artistas alemanes, suizos, belgas, españoles y mexicanos con lo que pasó a ser multinacional, y se montó en Berlín, Berna, Londres, París, Nueva York, Madrid, Munich y Bruselas hasta marzo de 1928. Este mismo año completó el manuscrito de un estudio titulado Un nuevo punto de vista sobre la evolución del arte moderno. A finales de la década de 1930, Marius de Zayas contrajo matrimonio con Virginia Harrison, perteneciente a una familia del sur de Estados Unidos, con quien ya había tenido dos hijos y vivía en el castillo de Rivoiranche, ubicado en la comuna de Saint-Paul-lès-Monestier, en Grenoble. Ahí estudió las raíces de la música y tradiciones populares de España y repensó el desarrollo del arte moderno. Al cabo de la segunda Guerra Mundial, Marius de Zayas viajó de regreso a Estados Unidos y se instaló junto con su familia en Stamford, Connecticut, donde redactó sus memorias profesionales, Cómo, cuándo y por qué el arte moderno llegó a Nueva York. .

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The Influence of Gertrude Stein on Marsden Hartley’S Approach to the Object Portrait Genre Christal Hensley
One Portrait of One Woman: The Influence of Gertrude Stein on Marsden Hartley’s Approach to the Object Portrait Genre Christal Hensley Marsden Hartley’s 1916 painting One Portrait of One Woman Hartley’s circle that assembled abstract and/or symbolic forms is an object portrait of the American abstractionist poet and in works called “portraits.”4 writer Gertrude Stein (Figure 1). Object portraits are based on Although several monographs address Stein’s impact on an object or a collage of objects, which through their associa- Hartley’s object portraits, none explores the formal aspects of tion evoke the image of the subject in the title. In this portrait, this relationship.5 This paper first argues that Hartley’s initial the centrally located cup is set upon an abstraction of a checker- approach to the object portrait genre developed independently board table, placed before a half-mandorla of alternating bands of that of other artists in his circle. Secondly, this discussion of yellow and white, and positioned behind the French word posits that Hartley’s debt to Stein was not limited to her liter- moi. Rising from the half-mandorla is a red, white and blue ary word portraits of Picasso and Matisse but extended to her pattern that Gail Scott reads as an abstraction of the Ameri- collection of “portraits” of objects entitled Tender Buttons: can and French flags.1 On the right and left sides of the can- Objects, Food, Rooms, published in book form in 1914. And vas are fragments of candles and four unidentified forms that finally, this paper concludes that Hartley’s One Portrait of echo the shape of the half-mandorla.
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Marius De Zayas
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz American, 1864 - 1946 Marius de Zayas 1915 platinum print image: 24.5 x 19.4 cm (9 5/8 x 7 5/8 in.) sheet: 25.2 x 20.1 cm (9 15/16 x 7 15/16 in.) Alfred Stieglitz Collection 1949.3.346 Stieglitz Estate Number 84C Key Set Number 411 KEY SET ENTRY Remarks This photograph was probably taken at the Modern Gallery, established by de Zayas in 1915 as a commercial offshoot of 291. From left to right are: Mask, Bete People (location unknown); Mask, We or Bete People, Ivory Coast, 19th/early 20th century (private collection); Marius de Zayas, Katharine N. Rhoades, c. 1915, charcoal on paper (The Metropolitan Museum of Art, New York); Pablo Picasso, The Frugal Repast, 1904, etching (The Art Institute of Chicago); and an unidentified work. Lifetime Exhibitions A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime: Marius de Zayas 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set 1921, New York (no. 30, as Marius de Zayas, 1914) 1944, Philadelphia (no. 177, as Marius de Zayas, 1915) INSCRIPTION by Alfred Stieglitz, on mount, upper left verso, in graphite: Exhibition 1921 / Marius De Zayas 1915 / by Stieglitz by Georgia O'Keeffe, on mount, lower left verso, in graphite: 84 C by later hand, on mount, center right, in graphite: 7-1944-352; lower right verso: 7-1944-352 PROVENANCE Georgia O'Keeffe; gift to NGA, 1949.
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En El Marco De La Exposición Marius De Zayas
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Marius De Zayas, Cómo, Cuándo Y Por Qué El Arte Moderno Llegó a Nueva York, 2005, México, DGE | El Equilibrista-UNAM, Col
©ITAM Derechos Reservados. La reproducción total o parcial de este artículo se podrá hacer si el ITAM otorga la autorización previamente por escrito. RESEÑAS Marius De Zayas, Cómo, cuándo y por qué el arte moderno llegó a Nueva York, 2005, México, DGE | El Equilibrista-UNAM, col. Pértiga. Estudio introductorio, traducción y apéndices de Antonio Saborit, 360 p. Entrar en cualquier tienda de autoservicio, detenerse en un puesto de periódicos, curiosear en la sección de arte de alguna librería, recibir como regalo un calendario o un mouse-pad y encontrarse ante la reproducción de una obra de Cézanne, de Modigliani, de Rivera no extraña a nadie, no asom- bra en absoluto, se ha convertido en algo casi normal. No siempre fue así; sorprende leer comentarios como el que hiciera el crítico Arthur Hoeber para el New York Globe sobre las obras de Matisse: “todo esto parece decadente, enfermo, irreal ciertamente, como una pesadilla espantosa, y resulta hasta cierto punto deprimente”; o, con motivo de la exposición del mismísimo Rodin, dibujos, que algunos tacharon de inmoral: “estos garabatos –pues 167 no son más que eso– a decir verdad son meras sugerencias o impresiones”. Pensar que hacia 1910 la hoy cosmopolita Babilonia de Hierro que es Nueva York fuera considerada por los propios neoyorquinos una ciudad “provincia- na como sin duda lo es en asuntos de arte”, por fuerza arranca una sonrisa incluso al más despistado; sic transit gloria mundi, solía decirse. Ejemplos como los anteriores abundan en esta obra de Marius de Zayas (Veracruz, 1880-Stamford, 1961), pero no son su mérito mayor.
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Language in Visual Art
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Georges Braque Gertrude Stein
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In August 1912, American Photographer Alfred Stieglitz Published Gertrude Stein‘S Word Portraits of Pablo Picasso and Henri Matisse in a Special Issue of Camera Work
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Cult of Personality: Gertrude Stein and the Development of the Object Portrait in American Visual Art Christal Hensley Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE THE CULT OF PERSONALITY: GERTRUDE STEIN AND THE DEVELOPMENT OF THE OBJECT PORTRAIT IN AMERICAN VISUAL ART BY CHRISTAL HENSLEY A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2011 The members of the committee approve the dissertation of Christal Hensley defended on June 20, 2011. _________________________ Karen A. Bearor Professor Directing Dissertation _________________________ John J. Fenstermaker University Representative _________________________ Adam D. Jolles Committee Member _________________________ Roald Nasgaard Committee Member Approved: ________________________________________________________ Adam D. Jolles, Chair, Department of Art History _________________________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii In memory of Dr. Lyle Blackwell, Dr. Ivan Pav, and Scott Carter Dedicated to My mother, Betty Cowden Carter, and my son, Devin Nathaniel Kelley Thank you for the sacrifices that you have made for me. iii ACKNOWLEDGMENTS I would like to thank the faculty and staff of The Florida State University Department of Art History for their support and encouragement. I would also like to thank the Department of Art History for providing me with the opportunity to teach as an Arthur Appleton Fellow.
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This Is a Portrait If I Say So: Identity in American Art, 1912 to Today
This Is a Portrait If I Say So: Identity in American Art, 1912 to Today Exhibition Checklist Gertrude Stein (1874–1946) Marsden Hartley Pablo Picasso, 1909 One Portrait of One Woman, 1916 Published in Camera Work, special number (August 1912) Oil on composition board Sheet: 11 3/4 x 8 1/4 in. (29.8 x 21 cm) 30 × 25 in. (76.2 × 63.5 cm) Private collection The Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis, bequest of Hudson D. Walker Marius de Zayas (1880–1961) from the Ione and Hudson D. Walker Collection Agnes Meyer, ca. 1912–13 Charcoal over graphite on yellow paper Georgia O’Keeffe (1887–1986) 24 7/16 × 18 3/4 in. (62.1 × 47.7 cm) Green-Grey Abstraction, 1931 National Portrait Gallery, Smithsonian Institution, As published in Georgia O’Keeffe (New York: Viking Washington, D.C., gift of Anne Meyer Press, 1976) Photomechanical reproduction Marius de Zayas Sheet: 10 1/2 × 14 in. (26.7 × 35.6 cm) Agnes Elizabeth Ernst Meyer, 1914 Photogravure, after charcoal drawing Charles Sheeler (1883–1965) Published in Camera Work, no. 46 (April 1914; issued Baroness Elsa’s “Portrait of Duchamp,” ca. 1920 October) Gelatin silver print Sheet: 12 x 8 1/2 in. (30.5 x 21.6 cm) 10 × 8 in. (25.4 × 20.3 cm) National Portrait Gallery, Smithsonian Institution, Bluff Collection, Houston Washington, D.C. Charles Sheeler Marius de Zayas Baroness Elsa’s “Portrait of Duchamp,” ca. 1920 Alfred Stieglitz, 1914 Ink on paper Photogravure, after charcoal drawing Published in The Little Review (Winter 1922) Published in Camera Work, no.
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