Word: artists
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Dates: during 1930-1939
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...Business in 1937 was good, but the slump cut it down considerably. An artist's wholesaler is his dealer; his market is the public museum, the private collector and, since WPA came, the Government. In the U. S. last year there were 415 deal ers in the fine arts. In New York City at year's end there were more by about 50% than...
Most U. S. artists are the opposite of prolific, and only a few can live comfortably on their sales without some form of continuing support such as WPA has provided. Contrary to popular belief, in most cases it is not the dealer but the artist who pays for the gallery show by which public and critical attention is attracted to his work. Usual cost: anywhere from $150 for a modest show to $500 for a big one with a cocktail party preview. About the lowest price on a first-rate U. S. painting last year was $100. The highest price...
...time-honored gripe of U. S. artists is that big museums do not buy enough works by living artists. This is true, but it is not true without qualifications which irate artists usually omit. Last year the favorite butt of these attacks, the Metropolitan Museum of Art, bought no less than 28 paintings by contemporary U. S. artists, including Waldo Peirce, William Gropper, George Biddle. In general, museums have not only loosened up in this respect, but have begun to spend less money on the acquisition of sacred masterpieces and more on a job just as essential to the artist...
Back in Chicago at 16 he studied cartooning in night courses at the Academy of Fine Arts. Walt drifted to Kansas after the War. He sketched cows and plows for farm journals, then set up for himself as a commercial artist. In 1920 he was working for a film slide company, and his ani mated cartoon career was launched with a series based on Kansas City topicalities. The film cost him 30? a foot, sold to three theatres. The average Mickey Mouse or Silly Symphony costs somewhere between $50 and $75 a foot; Snow White, over $200. Walt...
...interviewer spoke of Snow White as a cartoon, and reported that Mr. Disney retorted: "It's no more a cartoon than a painting by Whistler is a cartoon." The remark, if made, sounds pompous, out of character. The Rembrandt conception fits better-the conception of an artist, single of purpose, utterly unselfconscious, superlatively good at and satisfied in his work, a thoroughgoing professional, just gagging it up and letting the professors tell him what he's done...