Word: portraited
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Dates: during 1930-1939
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Critics paused before a well constructed, firmly drawn portrait by the club's treasurer, grey-haired, dapper Stanley Adams Sweet. Treasurer Sweet in private life is president of Sweet-Orr & Co. (overalls), generally recognized as the first company to market a high grade, tailored overall. Treasurer Sweet has no false ideas of his own prowess as a painter, but insists that his membership in the club has been invaluable in showing him the technical problems that great masters have had to overcome...
...Oxford Characters established him as a pencil-portraitist of the first rank, but though he painted nudes, landscapes, Cheapside costers, his lithographer's pencil has always been reserved for the faces of the great and near-great. For a Briton to be the subject of a Rothenstein portrait or a Beerbohm caricature is like membership in the Institut de France to a Frenchman. In 1899 he married Alice Knewstub, a beautiful young lady who played leads opposite Sir Herbert Tree...
...Rothenstein autobiography contains many a Rothenstein portrait, innumerable anecdotes of his famed friends. Immaculate James McNeill Whistler always called him "Parson." Rothenstein's frantic efforts to keep Verlaine sober at Oxford are fully described. Walter Pater was grievously hurt at Parson Will's drawing of him, asked his friends privately "Do I look like a Barbary...
...Tudor library in Manhattan's 63rd Street hangs a portrait of his greatgrandfather, Samuel Seabury. first Anglican Bishop in America. He is married, childless, owns a summer home at East Hampton, L. I. When his inquisitorial duties began, he assembled his assistants ?whom he calls "my young men"?and told them: "We must divorce [this investigation] as far as possible from legalistic machinery. There is more eloquence in the testimony of an illiterate witness telling of oppression suffered from legal processes than in the greatest sermon, editorial or address ever written...
Praiseworthy were Gifford Beal's Men with Lobster Pots; Leon Krolls portrait of a baby; Lizabeth Paxton's Deshabille; Ernest Lawson's Colorado Ranch. Of the show as a whole, New York Times Critic Edward Alden Jewell commented: "It often seems as if these artists had been snowed under in the blizzard of 1888-whose 43rd anniversary has just been marked-and emerging at last from the drifts were to be seen taking up life again just where they left it. Most of the sculpture is too discouraging for words...