Word: artful
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...mining town of Douglas, Ariz., just above the Mexican border, Emanuel Farber was born on Feb. 20, 1917, youngest of a store owner's three sons. "I had two brothers who were fiendishly good at almost everything they approached," he recalled in the Art in America interview, "and they were fiendishly competitive." Both of his elder siblings became psychiatrists; one, Leslie, was a distinguished author. "And I had a father who was equally competitive." Farber, Sr., originally from Vilna, Lithuania, had studied to be a rabbi, and schmoozing must have been in the syllabus. "I picked up the congenial element...
...Republic. "When Ferguson went off to the Coast Guard at the beginning of the war and was destroyed by a Nazi bomb, I immediately wrote a letter to the editor saying that I could do the job very well." He recommended himself for the film job over art criticism because, "doing movies, I would be in print every week. Doing painting I would be in once a month. I was getting $40 or $50 an article and that wouldn't be sufficient for getting us through life." He was at the time married to the first of his three wives...
...Abstract Expressionist world and in magazine criticism. (Can't say whether he also hobnobbed with the top carpenters.) Like an assiduous upward-achiever, he was trying to get noticed; he didn't succeed enough to suit him. Even in his late collages, Manny was craving the attention of the art-critical establishment. A scrap on his painting Batiquitos reads: "Heaven to be noticed by Roberta Smith or [Adam] Gopnik...
...tier girlie mag thought of Manny's column. He certainly wasn't trying to ingratiate himself with them; his prose was as gnarly as ever. Sample lead sentence: "What is interesting about the Cultural Exposition [Explosion?] is that while the public has become cognizant of the geniuses in each art form, the works themselves have been losing their identity as painting, TV comedy, or film." Maybe the Cavalier clientele really read it for the articles...
...really like is to be considered one of the 100 best American artists." This was just around the time he was segueing from large abstract paintings to his overview collages. I've seen Manny's paintings, but only as reproduced in a catalogue. And I'm no art historian. So I called upon the expertise of Richard Lacayo, Time's art critic and, not incidentally, a serious film connoisseur. Richard e-mails me that Manny "frequently did these bird's-eye views (I call them table tops) in which the whole canvas is filled with figures, houses, objects, photographs...