1942

Articles from 1942

American Makeup Goes to War
(Click Magazine, 1942)

An interesting look at the beauty products used by American women during the Second World War and how that war effected the cosmetic industry. Students of history will be reminded that when a nation commits itself to a state of total war, all available elements within a government’s grasp will be picked over by that country’s military; even makeup.

If you’re following a routine of ‘beauty as usual’ with qualms of conscience, believing that cosmetics and toiletries use materials essential to the war machine, know for certain that if Uncle Sam needed your lipstick for bombs and bullets, he’d have gotten it first.

The U.S. cosmetics industry was effected in many ways, read the article and find out.


Click here to read an article about a popular 1940s hairstyle.


CLICK HERE to read about the beautiful Blonde Battalions who spied for the Nazis…

Joseph Cummings Chase: Soldiers All
(Rob Wagner’s Script, 1942)

Joseph Cummings Chase (1878 – 1965) was an American painter who’s name is not likely to be associated with World War I artists but, like Sir William Orpen, he had a comfortable place within fashionable circles and he, too, was commissioned to paint portraits of the anointed within his nations military establishment. This article appeared in 1942 and primarily concerns the W.W. I portrait that Chase painted of Brigadier General Douglas MacArthur during the closing days of the war:

Joseph Cummings Chase is without doubt one of the world’s greatest portrait painters, and as luck would have it, he was in Paris when World War I began, at which time the Government commissioned him to paint the Distinguished Service Cross men, both enlisted men and officers, wherever he could catch up with them; some in dugouts, some in trenches, and some behind the lines.


Click here to see a few trench war images by German Expressionist Otto Dix.

Click here to read a 1942 article by Rockwell Kent on the proper roll of American artists during wartime.

The Career of Lilian Gish
(Rob Wagner’s Script Magazine, 1942)

Attached is a decidedly pro Lilian Gish (1893 – 1993) article concerning the silent film actresses‘ meteoric rise under the direction of D.W. Griffith, her mediocrity when paired with other directors and her much appreciated march on Broadway.

Lilian Gish is the damozel of Arthurian legend, tendered in terms of the Pre-Raphaelite Brotherhood. Her heroines perpetually hover in filtered half-lights, linger in attitudes of romantical despair. They forever drift farther from reality than the dream, and no matter how humble their actual origins, the actress invariably weaves them of the dusk-blues, the dawn-golds of medieval tapestries.

Click here if you would like to read an article in which Lillian Gish recalls her part in Birth of a Nation.

Click here to read articles about Marilyn Monroe.

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The Career of Lilian Gish
(Rob Wagner’s Script Magazine, 1942)

Attached is a decidedly pro Lilian Gish (1893 – 1993) article concerning the silent film actresses‘ meteoric rise under the direction of D.W. Griffith, her mediocrity when paired with other directors and her much appreciated march on Broadway.

Lilian Gish is the damozel of Arthurian legend, tendered in terms of the Pre-Raphaelite Brotherhood. Her heroines perpetually hover in filtered half-lights, linger in attitudes of romantical despair. They forever drift farther from reality than the dream, and no matter how humble their actual origins, the actress invariably weaves them of the dusk-blues, the dawn-golds of medieval tapestries.

Click here if you would like to read an article in which Lillian Gish recalls her part in Birth of a Nation.

Click here to read articles about Marilyn Monroe.

Rockwell Kent: Artists of Democracy
(Rob Wagner’s Script Magazine, 1942)

The U.S. had only been actively engaged in World War II for five months when the American artist Rockwell Kent (1882 – 1971) felt the impulse to write about the unique roll an artist must play when a democracy goes to war:

The art of a democracy must be, like democracy itself, of and by and for the people. It must and will reflect the public mood and public interest…Awareness of America, of its infinitely varied beauties and of its sometimes sordid ugliness; awareness of the life of America, of its fulfillments and its failures; awareness, if you like, of God, the landscape architect supreme – and political failure: of the promise of America and of its problems, art has been, or has aimed to be, a revelation. It is for the right to solve these problems our way that we are now at war.

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