Nicholas Fox Weber's Blog, page 25

Armory Show – 1913

Then, in 1913, the gates to modern European painting and

sculpture had been further open to Americans with the

“International Exhibition of Modern Art” held at the

Sixty-ninth Regiment Armory in New York.

Patron Saints and Alfred Stieglitz

Arthur Dove, Square on the Pond

Arthur Dove, Square on the Pond, 1942

Dove Poem

Alfred Stiegliz

New York Series (Nighttime)

Alfred Stieglitz, b.1864-1946

19 x 23.7 cm

Photogravure

Charles Demuth

In 1905, Alfred Stieglitz had opened the first of his

several New York galleries where he showed John

Marin, Charles Demuth, Georgia O’Keefe, Arthur

Dove, Marsden Hartley, and other contemporary

painters. Their work represented an unprecedented

antihistorical way of looking at things.

West Cork Literary Festival

Nicholas Fox Weber has written biographies of courageous

and extravagant art patrons (Patron Saints,

The Clarks of Cooperstown), an architect of unequalled

imagination (Le Corbusier: A Life), a twentieth century-master

famous for his eroticism and self-mythologizing (Balthus), and

some of the most brilliant modern artists of the twentieth century

(The Bauhaus Group). He will discuss the consuming search

to get to know the inner lives of some of the greatest

creative geniuses of the last century.

Nicholas Fox Weber, who is American but has been at home in West Cork for over forty years, will also talk

specifically about the importance of this part of the world to his writing on subjects ranging from a

Swiss Nobleman to the architect who designed a new city for India.

Maritime Hotel, Monday July 8, 2:30 PM

Photo credit: Marion Ettlinger

Alfred Stieglitz

 

In 1905, Alfred Stieglitz had opened the first of his

several New York galleries where he showed John

Marin, Charles Demuth, Georgia O’Keefe, Arthur

Dove, Marsden Hartley, and other contemporary

painters.  Their work represented an

unprecedented antihistorical way of looking at things.

–Patron Saints

Brancusi’s Golden Bird

…to those who could grasp it, this monumental and confrontational

form was extremely gentle. The piece has a dazzling elegance.

It represents the ultimate reductionism, a clear statement about

how much can be said by so little.

Brancusi, Golden Bird, Photographed by Brancusi

Exhibited in The Harvard Society’s exhibition of work by

living American artists from February 19 to March 15, 1929

PATRON SAINTS FIVE REBELS WHO OPENED AMERICA

TO A NEW ART 1928 –1943

 

 

Williamsburg Bridge

 

In his frontal glamourless depiction of tenement housing,

Williamsburg Bridge, Hopper encapsulated some of the

objectives of these (realist) painters, as well as of the

students who put them on view: to gloss over nothing,

to reveal what was unique to one culture rather than

imitative of another, to dwell on the shadows as well

as the sunlight.

– On The Harvard Society’s exhibition of work by living

American artists ran from February 19 to March 15, 1929

 

- PATRON SAINTS FIVE REBELS WHO OPENED AMERICA TO A NEW ART 1928 –1943