Word: stieglitz
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Dates: during 1930-1939
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...shirker, Ringmaster's ringmaster wrote his own opening article under the pseudonym of "Guy McHerring.'' An extraordinary piece of prose called Mr. Roosevelt, Mr. Stieglitz and Splendour, it seemed to be intended as political fantasy...
...often done in the past 27 years. Alfred Stieglitz, photographer and art dealer, last week gave over his bleak, hospital-like Manhattan gallery to the paintings of his best friend. A wrinkled, shock-headed little man of 65, John Marin looks like a disheveled version of the late Sir Henry Irving. Because a new book on Artist Marin has just been published,* because critics like Henry McBride, Lewis Mumford and Julius Meier-Graefe have put themselves on record as considering John Marin the greatest water-colorist in the U. S., it was an important exhibit...
Marin's name rhymes with barren. He likes to play down his ancestry (French-Dutch-Scotch-English), play up his U. S. birth and training. Twenty-seven years ago Stieglitz found Marin an art student in Paris, earning a skimpy living by meticulously etching French cathedrals in the Whistler manner. Rebelling at this finicky scratchwork, Marin would rush out to the country, splash gobs of water color around with one of the biggest brushes he could find. Dealer Stieglitz did not think much of the etchings, but grew so excited about the water colors that he practically adopted John...
...protest against exactly that kind of '"emotional" photography 30 years ago-pictures that attempted to look as much like oil paintings as possible with trick lighting, diffused lenses and elaborate retouching-that famed Photographer Alfred Stieglitz started his little magazine Camera Works, and opened his first gallery in Manhattan...
...Lachaise works are as huge as the one which went on exhibit last week. He has done a series of portrait heads of children, a graceful group of dolphins, several carvings of animals. His busts include e. e. cummings, Georgia O'Keeffe, Edward Warburg, Alfred Stieglitz. But whenever possible he likes to translate his own ideas into colossal terms. In halting, gesticulating English he explains that he tries to make the human figure "symbolic of growth everywhere in the world, to relate it to the immensity of the cosmos. Therefore my statue grows, it has to be big. I cannot...