Word: ernstli
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...biggest cover-your-ass thing you could imagine," says Wang. "People would send these things just so they could say, 'But I copied you on that.'" Now companies such as SmithKline Beecham are tightening the spigot by encouraging employees to limit the number of CCs they send. At Ernst & Young, systemwide messages (to everyone) are verboten...
...tiny number of devotees and friends in the U.S., some did get through, settling for the most part in Manhattan and Los Angeles. Among them, from Paris, were Fernand Leger, Marc Chagall, Piet Mondrian, Jacques Lipchitz and the core group of Surrealists who went to New York City: Max Ernst, Andre Breton, Yves Tanguy, Andre Masson and Roberto Matta. From Germany, Kokoschka, Kurt Schwitters and the Dada collagist John Heartfield reached London, while Max Beckmann, Josef Albers and George Grosz made it to America...
...Visas, stamps and bureaucratic routines took on a disproportionate significance, as they always do for the marginal. After the U.S. entered the war in 1941, the foreignness of some artists counted against them even more: the Hungarian photographer Andre Kertesz fell under suspicion of being a spy, and Max Ernst was briefly declared an enemy alien. It wasn't easy to keep a group together in exile: the Surrealists found this in New York City, which had none of the informal meetingplaces they were used to in Paris...
Other artists, however, were already a little past their prime. Ernst's paintings in America, with their ambiguous figures emerging like dream images from runny, blotted, metamorphic landscapes, hardly compare with his work in the 1920s. And though Chagall's Yellow Crucifixion, 1943, swarms with images of contemporary loss and persecution--the burning shtetl, the fleeing refugees, the sinking torpedoed ship--its formal softness indicates the turn his work would take after the war toward pious ethno-kitsch...
...exiles most deeply affected by American culture were not painters at all but writers, musicians and directors, from Bertolt Brecht to Arnold Schoenberg, Ernst Lubitsch and Thomas Mann, who gravitated to Los Angeles, worked fitfully but sometimes successfully for the movies and for a while between the Anschluss and the McCarthy years made that palmy city into an extension of the Berlin, the Vienna they had lost. "It is wonderful here on the Pacific, and life is a thousand times better here than in New York," wrote the great director Max Reinhardt to his son. "But I grew...