Archive for the ‘Art’ Category

Rochefort Tells How Americans Buy Art Fakes

From September 24, 1911


ROCHEFORT TELLS HOW AMERICANS BUY ART FAKES: We Are the Preferred Victims of the Dealers in “Old Master,” He Says — Why, of “Rembrandts” Alone There Are 2,500 in the United States. (PDF)

When I worked for Christie’s Auction House, I was always fascinated when something came through that turned out to be a forgery. I was a photographer for the company, so I worked with a lot of experts in each department, and I tried to learn a bit about how they were able to tell a forgery from the real deal. I never gained a sophisticated enough eye to recognize a forgery, but it was all still interesting to me.

If the subject of art forgery at all interests you, I recommend the movie Who the #$&% is Jackson Pollock? (It was streaming on Netflix, but appears not to be anymore.)

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Written by David

September 23rd, 2011 at 10:00 am

Posted in Art,Entertainment

Baltimore Gets Flag That Inspired Key’s Great Song

From September 10, 1911


BALTIMORE GETS FLAG THAT INSPIRED KEY’S GREAT SONG: Fort McHenry’s Emblem That Prompted “The Star-Spangled Banner” to Be Presented by a Descendant of Major Armistead, Who Held the Fort Against England. (PDF)

In 1912, the flag was giften to the Smithsonian Institute. A lengthy conservation process was recently completed, and the flag is there on display today for all who want to see it. Admission is free.

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Written by David

September 9th, 2011 at 10:00 am

Posted in Art,Technology

Famous Works Of Art That Have Been Stolen

From August 27, 1911


FAMOUS WORKS OF ART THAT HAVE BEEN STOLEN: Disappearance of the “Mona Lisa” from the Louvre Climax of Long Series of Thefts. Priceless Picture Mystified and Inspired Lovers of Art Sine da Vinci Painted It. (PDF)

On August 21, 1911, the Mona Lisa was stolen from the Louvre.

Whoever it was who stole Leonardo da Vinci’s “Gioconda” or “Mona Lisa” from the Louvre is sure of a place in history when his name comes out. He is sure of an extraordinary place, too. It is not possible to locate the General who fought the greatest battle since the world was made, or the statesman who framed the greatest law, or the author who wrote the greatest book; but it will always be possible henceforth to locate the thief who committed the greatest theft.

Okay, then. Do you know his name?

I won’t give you the answer here. Instead, read this article from the Financial Times published earlier this month that tells the whole story of the Mona Lisa’s theft and recovery.

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Written by David

August 22nd, 2011 at 10:00 am

Posted in Art,True Crime

“In Two Hundred Years There Will Be No Poets Nor Authors”

From July 23, 1911


“IN TWO HUNDRED YEARS THERE WILL BE NO POETS OR AUTHORS”: Thus Predicts Victor Auburtin, and the Cause, He Claims, Is Democracy and Utilitarianism. (PDF)

It’s only been one hundred years since this prediction was made, so it’s premature to say it hasn’t come true, but so far I think Victor Auburtin is a bit off.

“I believe that art is dying, and fo this belief I shall speak in the present work. Art is dying of democracy and utilitarianism. It is dying because the soil it needs has been built over — the soil of simplicity and superstition. I believe firmly that in 200 years we shall have no more artists and no more poets. On the other hand, we shall surely have machines, duly patented, by which may be turned out sixty plaster copies of the Apollo di Belvedere in a single minute.”

These are the opening words of a highly characteristic work just published by one of that galaxy of young Germans whose names have become known throughout the civilied world through their association with the Simplicissimus — the humorous weekly which by many is regarded as the most effective enemy so far encountered by the upholders of German bureaucracy, militarism, “junkerdom,” and reaction.

The entire run of the German satirical magazine Simplicissimus can be found at

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Written by David

July 19th, 2011 at 11:30 am

Posted in Art,Humor

New National Hymn To Be Sung Here On The Fourth

From July 2, 1911


NEW NATIONAL HYMN TO BE SUNG HERE ON THE FOURTH: Arthur Farwell, Director of Music in the Parks and Recreation Piers, Has Written and Composed “A Hymn to Liberty.” Chorus of United German Singing Societies Will Sing It at City Hall and People’s Choral Union at the CCNY. (PDF)

For the Fourth of July, Arthur Farwell wrote a new national hymn. He had such high aspirations for it. Instead of being all America-centric, it would celebrate all nations:

“It is a world-hymn rather than a patriotic hymn in the old-fashioned sense.

“I have strictly avoided all the paraphernalia of phraseology of the old sort of narrow and egotistic patriotic hymn, and doubt very much if there will ever be another successful hymn of that kind written.

“The cry to-day is world federation, and the ‘Hymn to Liberty’ is addressed to the nations of the world, especially in its first and third stanzas, in behalf of the idea of liberty for the race, as springing to birth in a new sense with the creating fo the American nation.”

I can’t find a recording of it anywhere. Are any of you musically-minded readers willing to record it?

Update 1: Reader SamECircle made a midi version you can listen to here. Awesome.

Update 2: Reader Daniel Dockery has made his own arrangement which you can hear on his website.


Written by David

July 1st, 2011 at 11:45 am

Posted in Art,Music

What Is The Most Beautiful Spot In New York?

From June 18, 1911


WHAT IS THE MOST BEAUTIFUL SPOT IN NEW YORK? Well Known Artists Express Their Preferences and Show an Astonishing Lack of Unanimity, No Two Selecting the Same Place — But They Upset the Popular Opinion That Skyscrapers Are Ugly. (PDF)

What’s the most beautiful spot in New York City? Answers in this article from a variety of artists include The Ramble in Central Park, Madison Square Park, Broad Street in the financial district, and the Brooklyn Bridge.

What do you think is the city’s most beautiful spot?

One comment

Written by David

June 15th, 2011 at 10:15 am

Paintings Bought For A Song, Sold For Fortunes

From June 18, 1911


PAINTINGS BOUGHT FOR A SONG, SOLD FOR FORTUNES: Raeburn Latest to Make High Record — $125,000 Paid for What Cost But Little a Few Years Ago — Prices of Rembrandts, Hals, Corots, Troyons and Others Take Sudden Leaps. (PDF)

Henry Clay Frick’s art collection is one of the most celebrated collections of old master paintings in the world. It’s permanently on view today in the 5th Avenue mansion where Frick lived towards the end of his life. So it’s really fascinating to read this article about art sales where Frick is mentioned buying some of his paintings.

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Written by David

June 13th, 2011 at 9:15 am

Posted in Art

Centenary Of Maker Of First Portrait Photograph

From April 30, 1911


CENTENARY OF MAKER OF FIRST PORTRAIT PHOTOGRAPH: New York University Will Honor the Memory of Prof John William Draper, Who Took the First Human Likeness When Daguerre Failed to Do It. (PDF)

I’m a photographer professionally, so articles like this are especially interesting to me. This one celebrates the 100th birthday of John William Draper, credited with taking the first portrait photo, an image of his sister Dorothy.

Back then, photos required long exposures, so the subjects needed to sit extremely still. Draper experimented with putting white powder on people’s faces to lighten them up a bit for the picture. And he also realized that if a person sits still for a 30 second exposure, they can feel free to blink during that time without worrying about ruining the image. But any other movement must be considered and eliminated:

“The hands should never rest upon the chest, for the motion of respiration disturbs them so much as to make them have a thick, clumsy appearance, destroying also the representation of the veins on the back, which, if they are held motionless, are copied with surprising beauty.”

Here’s some more of Draper’s advice for a portrait sitting:

“It has already been stated that pictorial advantages attend an arrangement in which the light is thrown upon the face at a small angle. This also allows us to get rid entirely of the shadow on the background or to compose it more gracefully in the picture. For this it is well that the chair should be brought forward from the background from three to six feet.

“Those who undertake daguerreotype portraiture will, of course, arrange the background of their pictures according to their own tastes. When one that is quite uniform is desired, a blanket or a cloth of drab color, properly suspended, will be found to answer very well.”

While Draper took the first formal portrait, Louis Daguerre actually took the first photo of a person. He captured a photo looking out over a street in Paris. It was a long exposure, so people moving through the frame were not captured. But one person stood still long enough to register in the image while he was getting his shoe shined. But the figure is tiny and silhouetted, so it could hardly be called a portrait.

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Written by David

April 29th, 2011 at 11:00 am

East Side Messenger Boy Wins Fame As A Sculptor

From December 25, 1910


EAST SIDE MESSENGER BOY WINS FAME AS A SCULPTOR: Undismayed by Poverty Joseph Davidson Fitted Himself for a Notable Career in Art – Unusual Successes Here and Abroad. (PDF)

This is the story of Jo Davidson, who was 26 at the time of this article but had already climbed out of poverty to become a successful sculptor. Davidson went on to win several prestigious honors, had various exhibits and retrospectives, and ultimately became the subject of this Wikipedia entry were you can learn more about him and see some of his work.

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Written by David

December 24th, 2010 at 9:45 am

Posted in Art

What New York Artists Pay For A Good Model

From December 11, 1910


WHAT NEW YORK ARTISTS PAY FOR A GOOD MODEL: Rules That Obtain Among Those Who Gain a Livelihood by Posing in Schools and Studios. (PDF)

The answer: 50 cents an hour. Sure, that sounds like a lot of money to just sit still. But consider:

Have you ever tried to sit in one position for twenty-five minutes? Have you ever tried to hold your hand out before you for that length of time? If you have not, then do so at once. When you have had fiteen minutes of it think whether you would care to make a living as a model at 50 cents an hour. Twenty-five-minute periods are the standard ones in the art schools and studios, and the rest of five minutes follows. This lasts for eight hours a day. Being a model, therefore, is no easy task.

If you want to see someone hold still long enough to be sketched, there are some great places in the city where you can attend a sketching event with live models. The Society of Illustrators hosts regular Sketch Nights in their Upper East Side clubhouse with a full bar and live jazz. For a more alternative experience, try Dr. Sketchy’s Anti-Art School, which holds events in several cities worldwide.

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Written by David

December 10th, 2010 at 9:30 am

Posted in Art,Life

The Gibson Girl Analyzed By Her Originator

From November 20, 1910


THE GIBSON GIRL ANALYZED BY HER ORIGINATOR: Artist Whose Delineation of the Young American Woman Made Him Famous Tells How the Type Came Into Existence and What Her Mission Is. (PDF)

Charles Dana Gibson was an illustrator whose depiction of women came to represent the archetype of a beautiful American woman at the turn of the last century. She was dubbed the Gibson Girl. A Google Image Search for the term will show you several examples.

In this article, the artist reluctantly answers questions about the Gibson Girl at the insistence of the reporter, and explains that to him, the “Gibson Girl” does not really exist. Rather, there are just beautiful girls who exist as a product of evolution and the melting pot of races in America:

“Will you make a head for me?” I asked. “A Gibson Girl’s head, please!”

He tried it, but in a moment stopped work on it.

“I give up,” said he. “I never could work that way. I always am astounded, and perhaps a little envious, when I see chaps, at a dinner, for example, scratching pretty heads off on menu cards while they are talking. I can’t do it. I must work carefully and slowly and from models.”

“Then the stories of the models,” I said eagerly, “the models for the Gibson girl, are–”

He sighed wearily. “Please don’t,” he said. “The ‘Gibson Girl’ does not exist. She has been as the grains of sand in number. I imagine that folks must recognize ‘United States’ in her, and that it’s that which makes them think she’s all, or nearly all, the same. She isn’t really.”

His mind turned to [another topic, which he began to speak about for a bit.]

We dropped this line of conversation for a moment and went back to talking of the “Gibson Girl.” This was not because he wished it; it was because I forced it. A passing bell-hop saw him looking bored and glanced at me resentfully. Gibson is the sort of chap who quickly makes all creatures, even bell-hops, fall in worship.

“If there really is no ‘Gibson Girl,'” (the thing was in my head and bothered me) “how did the name originate?”

“The first time the name was used was in a story which The Century gave me to illustrate. It dealt with a certain type of girl, and in the manuscript, when it came to me, this type was called, I think, the ‘Goodrich Girl.’ I noticed that the word was written over an erasure in the manuscript wherever it occurred, but that did not impress me. Later, when — that ‘Gibson’ took the place of ‘Goodrich’ on the printed page — I saw what had been really done, I blushed. I have been blushing ever since. Let’s drop the ‘Gibson Girl.’ I don’t want to feel uncomfortable tonight.

“I haven’t really created a distinctive type,” he went on, more comfortably, having recovered from his embarrassment, “the nation made the type. What Zangwill calls the ‘Melting Pot of Races’ has resulted in a certain character; why should it not also have turned out a certain type of face? If I have done anything it has been to put on paper some fair examples of that type with very great, with minute, care. There isn’t any ‘Gibson Girl,’ but there are many thousands of American girls, and for that let us all thank God.

“They are beyond question the loveliest of all their sex. Evolution has selected the best things for preservation as the man and woman have climbed up from the monkey. In the body, as it always is in battle, it has been the fittest which has survived. Men are stronger, braver than the savages from which they sprang. Why should they not be handsomer? Why should women not be beautiful increasingly? Why should it not be the fittest in the form and features, as well as in the mind and muscle, which survives? And where should that fittest be in evidence most strikingly? In the United States, of course, where natural selection has been going on, as elsewhere, and where, much more than elsewhere, that has been a great variety to choose from. The eventual American woman will be even more beautiful than the woman of to-day. Her claims to that distinction will result from a fine combination of the best points of all those many races which have helped to make our population.

Later in the article, Gibson laments that there is no good place to exhibit illustration in New York:

“Americans are doing really big things with brush and pencil. Yes; let the eagle scream! I think they lead the world as illustrators. But–”

Indignation crept into the face of the big artist.

“Well, what is the ‘but’?”

“There is an exhibition of the really good work of American illustrators now traveling about the country. It is in Pittsburg now, and later on will be shown in most of the important cities, all the way to San Francisco. Everybody ought to go to see it; but — I was disgusted when I found that there is not a place in New York City provided for such things. The work is of a character superior to any I have ever seen exhibited in any country; but New York stands a chance of losing opportunity to look at it. Such things make me very weary. I’m trying, now, to find a place where the pictures may be shown, when they get back from San Francisco…”

Charles Dana Gibson did help set up a place in New York for illustrators to show their work, at the Society of Illustrators. He was a founding member and one of the first Presidents of the organization. Their earliest meetings were attended by Howard Pyle, Maxfield Parish, N.C. Wyeth, Charles Dana Gibson, Frederic Remington, James Montgomery Flagg, Howard Chandler Christy and guests such as Mark Twain and Andrew Carnegie.

The Society still exists and they occupy the same old carriage house they’ve been in since 1939. A sort of clubhouse for illustrators, the Society holds sketching events upstairs where they have a full bar and dining area. And they have a gallery downstairs that rotates exhibits featuring prominent and emerging illustrators.

And the Society of Illustrators has a special prominence in my life, as I got married there a few years ago, surrounded by great artwork by the artists named above and others. I suppose in a way my wife is my Gibson Girl.

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Written by David

November 19th, 2010 at 10:15 am

Posted in Art

The Birth Of The Halo

From November 6, 1910



I always was under the impression that halos in paintings are meant to represent light, like rays emanating from a person’s head, giving a visual cue that the character depicted is holy, heavenly, or otherwise divine. But an unnamed but assuredly “well known” American painter puts forth a more interesting theory in this article.

“The first subjects to feel the Renaissance were architecture and sculpture, and this several generations before the days of Cimabue and Giotto, the earliest of painters. Of these subjects architecture came first, as is still evidenced in the magnificent ruins of cathedrals scattered over Europe. I say cathedrals, because everything was saturated with the religious spirit in those days, and the architect expressed his genius in his conceptions of the house of God.

“Later came the sculptor. He gave expression to his art in the images of the saints and other holy characters. The commonest form of expression was life-sized images of the saints, which were set in solemn row about the outside of the churches and cathedrals immediately under the eaves of the building.

“Now, the earliest sculptors soon saw that in a very short time the heads and faces of these figures were soiled and disfigured by action of the driving elements in time of storms; even the hot sun contributed its share in cracking the skulls and faces of the sacred images. Accordingly, to protect them they placed upon their heads a flat wooden disk that extended out far enough to act as umbrella or sunshade, as either was necessary.

“Now, it was several generations before any painters of note arose. These, of the Cimabue-Giotto type, were ignorant, even for that day of ignorance. Of course, following the spirit of the age, they must needs make their subjects holy ones, and the statues standing so invitingly to their hands offered themselves as their first models.

“Thinking, in their wealth of ignorance mentioned, that the wooden disk had something to do with the saintly character of their models, these peasants faithfully copied it into their paintings. In nearly all of the paintings of Comabue and many of those of Giotto, especially his earlier ones, the flat disk is represented, merely as such without any attempt at idealization. Later, however, the painters emphasized the rim and painted the body of the disk a color that barely distinguished it from the surrounding hues.”

So halos are really just misunderstood umbrellas. Somebody needs to add that to Wikipedia.

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Written by David

November 5th, 2010 at 9:15 am

Posted in Art,Religion

Odd Things That Happen In Hunting For Autographs

From October 23, 1910


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