French war artist Charles Huard (1875 – 1965) produced theses seven illustrations of French Poilus as they once stood guard in the frozen misery of the Soisson trenches during the first winter of the war.
Huard’s experiences as a war artist can be read in his memoir: My Home In The Field Of Honor (1916)
In the immediate aftermath of the First World War there were many eye witnesses to the slaughter who refused to remember it as a Noble Struggle. The chubby and comfortable fellows who ran the British Government couldn’t have known that the society portraitist William Orpen was one of these witnesses – but they soon found out when they commissioned him to make a pretty painting depicting all the pomp that was taking place at Versailles…
The attached VANITY FAIR art review by Christian Brinton (1870 – 1942) covered the first public exhibition of the British War Artists to be shown on American shores (1919):
A direct product of war and war conditions, it reflects not only the varied aspects and incidents of the great struggle, but but also the actual state of British artistic taste at the present moment…England has been the first to enlist the services of the artist, and the readiest to grant him the measure of official standing so manifestly his due.
Launched jointly by the British Ministry of Information and the Worcester Art Museum, the exhibit was comprised of almost 250 paintings. This review discusses the art of Paul Nash, Muirhead Bone, Sir John Lavery, James McBey,Sir William Orpen, Augustus John, C.R.W. Nevinson, John Everett, Frank Brangwyn and Eric Kennington.
Just as the American poet Walt Whitman once remarked concerning the American Civil War – that the real war will never make it into books, so goes the thinking of the ink-stained wretch who penned the attached column regarding the efforts of the Official War Artists during W.W. I – who attempted to render accurately the horrors of war. Such genuine indecency could never allow itself to be duplicated into a two or three dimensional format.
An illustrated article about the American sculptor Jo Davidson (1883 – 1952) and his creation, FRANCE AROUSED. The Davidson piece, a colossal depiction of France as an outraged warrior queen, was intended for the French village of Senlis to serve as a memorial to that remarkable day in September, 1914, when the German drive on Paris was stopped and driven back. It was at Senlis where the earlier successes of the German Army were reversed.
To those in America and Europe who believed in the new doctrine of political equality, it was the most thrilling day in her history.
When France in wrath
Her giant – limbs
upreared,
And with that oath,
Which smote air,
Earth and sea
Stamped her strong
foot and said she
Would be free.
The statue, which is twenty feet high, was made in the sculptor’s studio in McDougal Alley (NYC), where it was photographed for the pages of VANITY FAIR.
In 1919, Jo Davidson would endeavor to create a number of busts depicting the various entente statesmen who participated in the Peace Treaty.
Various musings concerning the influences that war has had on art through the centuries are discussed in this article, with particular attention paid to the historical belief that wars are won by those nations that host the more vibrant and original arts communities.
A book review covering a collection of drawings by one of the Official War Artists, Muirhead Bone (1873 – 1953). The book was titled, and it is not surprising to read that it was published by Country Life. The reviewer was not at all impressed with the artist’s renderings of, what was at that time, the most dangerous place on planet earth:
In these drawings Mr. Muirhead Bone has resolutely refused to become a journalist. He has not allowed the novelty of his subject-matter to affect his treatment. There he differs from Mr. Nevinson. Mr. Nevinson in his pictures of the war is not a journalist but at least an illustrator.
Nonetheless, Sir Douglas Haig wrote a supportive introduction to the book. Wilfred Owen (1893-1918) found his drawings to be highly inaccurate at best.
Three hundred and fifty French artists, among whom are painters, sculptors, engravers, and architects, have paid the extreme price of their devotion to country and are counted with the dead.
Aren’t you tired of Hollywood’s socio-political rantings?
•Nuclear power…………….They’re against it (The China Syndrome).
•Antisemitism……………….They’re against it (Gentleman’s Agreement).
•Alcoholism………………….They’re against it (Lost Weekend).
•Racial segregation………..They’re against it, but in 1915 they were for it (Birth of a Nation).
One glance at this 1939 article and you’ll be able to blame it all on the poet Archibald McLeish (1892 – 1982) who clearly advocated for political posturing in American movies.
No doubt, McLeish must have been very happy when Warner Brothers released Confessions of a Nazi Spy in April of 1939; it was the first Hollywood film to take a swipe at the Nazi war machine.
The literati have all agreed: there is no doubt that if Shakespeare were alive today he would live in Beverly Hills, California. He would dwell in a 1930s split-level Persion-conversion, probably on Palm or Roxbury. As a well-compensated screenwriter he would churn-out the standard plots that were expected of him: fish-out-of-water dramadies, romcoms, and (under assorted pen names) a few reality shows; and like the poet whose work is attached, he would write about matters unique to Southern California -valet parking, Cobb Salads -and in this case the Hollywood agent.
This poem was written by Sydney King Russell (1898 – 1976), who, like Shakespeare, knew that if you’re going to write a poem about Hollywood agents, you’ll need to crack open the ol’ rhyming dictionary to see what rhymes with ten percent.
Published in a 1930 Hollywood fan magazine, this is the story of the earliest plastic surgeons and the rise of cosmetic surgery in Hollywood:
Telling the actual names of all the stars who have been to the plastic surgeons is an impossible task. They won’t admit it, except in a few isolated instances…It is only lately that a few of them are beginning, not only to to admit that they’ve had their faces bettered, but to even go so far as to publicly announce it.
Shortly before this article went to press, that particular member of the Hollywood film crew called the director of photography (DP) was treated a wee-bit better than other crew members were likely to be treated (but not that much better). Granted, the director and producer knew his name and his body of work – but his screen credit was still mixed among all the other names of the crew (if listed at all) – and this article points out that much of that changed in the Thirties.
An exceptional article about Fiorello LaGuardia (1882 – 1947), who is remembered to have been one of the great mayors of New York City (1934 – 1945). Written by a fellow who knew him well, you get a sense of his energy, humor and strong sense of civic duty:
At exactly midnight on January 1, 1934, Fiorello H. LaGuardia took the oath of office as Mayor of New York City. At exactly one minute after midnight, he ordered the arrest of the most notorious gangster in town: Lucky Luciano. This jet-propelled momentum never let up during the next 12 years.
The article is composed of a series of anecdotes that clearly illustrate his humanity, making you feel somewhat at a loss for never having known him yourself.
Even today, LaGuardia’s memory is so revered that New Yorkers conveniently forget that he was a Republican.
Click here to read about the NYC air-raid wardens of W. W. II…
This article reported on a phenomenon that is common in our own day as well as the era of the Great Depression. It exists in any locale that fosters a lousy environment for business – for when the entrepreneurial classes loose their daring for investing in commercial ventures and when bankers refuse to loan money for fear that they will never be paid back, it leads to the creation of what is called dormant capital – money that should be working, but isn’t.
There is now piled up in banks some $46,000,000,000. As opposed to $39,000,000,000 at the low point of 1933, and the idle capital is on the increase. World trade has virtually broken down.
As one editorial makes clear, FDR had a tough time freeing up private capital for investments, click here to read it.
Men’s attire was more sensitive to depression than women’s, for even the most elemental sense of chivalry recognized the superior importance of fashion for wife and daughter.
More articles on 1930s fashion can be read here…
In order for FDR’s Federal Government to layout their planned economy they had to be able to forecast the future trends in unemployment, and with that in mind it was deemed suitable that a committee be convened to study the matter. The board of brainiacs called themselves the National Resources Committee and their study was boundless and all encompassing. This article summarizes the findings of one of the organization subcommittees; their 450,000-word report was titled Technological Trends and National Policy, Including the Social Implications of of New Inventions. The head of this subcommittee was the famed sociology professor William F. Ogburn, and as the title implied, the report studied the blessing and the curse that is the nature of technological innovation.
Technologies change, power changes, tastes change, but if anything has remained a constant in the West coast film colony it has been the fickle romantic tastes of all the various performers, directors and producers who toil in the vineyards of Hollywood. An old salt once remarked that if a Hollywood marriage lasts longer than milk it can be judged a success; with this old saw in mind, a wise anthropologist sat down, put pen to paper and seriously attempted to understand mating habits of Hollywood, California.
Click here to read a 1938 memoir by a Los Angeles prostitute.
“What has been generally overlooked in the present generous aid of the destitute is that country people have largely escaped notice.”
– these are the opening lines of the attached article that reported on the hunger that was spreading throughout portions of Central Arkansas during the early winter of 1931. In the town of England, as many as 300 farmers, whose crops had died in the drought, assembled as a mob and declared that they would have [food] – even “if they had to take it from the shelves themselves.”
