Vanity Fair Hall of Fame – Page 6 – Old Magazine Articles

Wet vs. Dry
(Vanity Fair, 1918)

If you are looking for a serious report concerning the political battles fought in Congress regarding Prohibition (1919 – 1933), you can keep looking. The attached essay is a humorous parody of that dispute between the Drys and Wets as it existed just months before the ‘Noble Experiment’ began in earnest. By November of 1918, the American newspaper readers had simply overdosed on the redundant writings of assorted war correspondents – and so, with a bit of whimsy, the VANITY FAIR writer George S. Chappell sat down to write about the political war between these two groups using the same journalistic affectations everyone was so heartily sick of. You will also find a mock military map depicting the faux topography in dispute.

A Profile of Guillaume Apollinaire
(Vanity Fair, 1922)

An appreciative essay celebrating the work of Guillaume Apollinaire (born Wilhelm Apollinaris de Kostrowitzky: 1880 – 1918) by the high-brow art critic Paul Rosenfed (1890 – 1946).

For Apollinaire possessed the perfect adjustibility of the born poet. He would have found himself much at home in any environment into which he would have been born, whether it would have been one of pampas and herds and lonely hamlets, or one of concrete, newspapers, war and steel.

Geraldine Farrar on Acting in the Silent Movies
(Vanity Fair, 1921)

In the attached article, Metropolitan Opera diva Geraldine Farrar (1882 – 1967) relays her experiences as a film actress in The Hell Cat (1918) and The Turn of the Wheel (1918), and boldly declares that there is a big difference between acting in an opera and acting for the screen (who knew?).

There are a hundred intimate expressions of the eyes, the mouth, the hands, that can only be transmitted through the camera, and the strong and sometimes merciless light of the projection machine. And this is what the motion picture actress must clearly and everlastingly keep in mind: she is acting for an audience which is near enough to detect any insincerity of feeling or any sham in make-up.

Click here to read about physical perfection during the Golden Age of Hollywood.

Constantine Brancusi
(Vanity Fair, 1916)

An appreciative five paragraph essay saluting the Modernist sculptor Constantine Brancusi (1876 – 1957), accompanied by one black and white image of the artist’s work, The Doves. Much of the review concerns the poor relationship Brancusi had with Auguste Rodin (1840 – 1917) who
had been his teacher in earlier days.

Joseph Conrad as Interviewed by Hugh Walpole
(Vanity Fair, 1919)

Hugh Walpole (1884-1941) interviewed his much admired friend, Joseph Conrad (1884-1941) for the pages of a fashionable American magazine and came away this very intimate and warm column:

There is a mystery first of the man himself– the mystery that the son of a Polish nobleman should run away to sea, learn English from old files of the ‘Standard’ newspapers when he was thirty, toss about the world as an English seaman, finally share with Thomas Hardy the title of the greatest living English novelist— what kind of man can this be?

Greewich Village
(Vanity Fair, 1918)

A whimsical article about the topography of New York’s Greenwich Village and the migratory habits of all it’s assorted bohemians, vagrants, spinsters and vegetarians during the Prohibition era.

Click here to read some high praise for Greenwich Village from a French film star.

George Bernard Shaw and Literary Recycling
(Vanity Fair, 1921)

Irish author, critic and dramatist, St. John Greer Ervine (1883 – 1971), believed that some of the dramatic characters populating the plays of George Bernard Shaw (1856 – 1950) were reoccurring characters who could be counted upon to appear again and again. He had a fine time illustrating this point and thinks nothing of stooping to compare Shaw with Shakespeare:

Shakespeare primarily was interested in people. Mr. Shaw primarily is interested in doctrine…

Thirty-five years later St. John Ervine would be awarded the James Tait Black Memorial Prize for his biography of George Bernard Shaw.

Click here to read various witty remarks by George Bernard Shaw.

Arthur B. Davies
(Vanity Fair, 1919)

An Arthur B. Davies (1862 – 1928) review written by VANITY FAIR art critic Frederick James Gregg following the opening of an exhibition highlighting the the private collection of N.E. Montross. The critic wrote:

Since the death of Albert Pinkham Ryder (1847 – 1917), Mr. Davies has been recognized, by persons abroad who are familiar with art in America, as the leading living painter on this side of the Atlantic.

Francis Picabia
(Vanity Fair, 1915)

In 1915, the year before Dada was created, one of the movement’s followers, Francis Picabia (1879 – 1953), was spotted in New York City by the editors of VANITY FAIR who quickly put him through the works.

Etiquette in the Movies
(Vanity Fair, 1915)

No doubt, this is one of the funniest pieces you are likely to find on the topic of acting and costuming in silent movies. It was written by Frederick Lewis Allen (1890 – 1954) and Frank Tuttle (1892-1963); both men approached the movies with the low expectations that were probably all too typical of theater lovers at that time. Frederick Lewis Allen is best remembered today as one of the better chroniclers of the Twenties and author of Only Yesterday (1931) while Frank Tuttle would find himself, in a few short years, directing movies in Hollywood. Tuttle was one of the few Directors who successfully made the jump from silent films to sound and continued working; at this writing, he was an Assistant Editor at Vanity Fair.

Three Brilliant Young Writers
(Vanity Fair, 1921)

The VANITY FAIR reviews of Stephen Vincent Benet’s (1898 – 1943) book The Beginning of Wisdom, F. Scott Fitzgerald’s (1896 – 1940) The Beautiful and Damned
and John Dos Passos’ (1896 – 1970) Three Soldiers:

The years following the war in America have been remarkable for the rise in popular and critical estimation of a small group of novelists who represent a revolt against the stillness and complacency of commercialized literature.

Art Sacandal: Aubrey Beardsley Forged
(Vanity Fair, 1919)

London’s post-World War I art world was rocked by a scandal involving a number forged drawings which were misleadingly signed with the name Aubrey Beardsley (1872 – 1898). This piece captures that moment.

Marcel Duchamp Returns to New York City
(Vanity Fair, 1915)

Exempted from serving with the French military in World War I, the artist Marcel Duchamp returned to New York City where he triumphed during the Armory Show of 1913 – together he and his two brothers, Raymond Duchamp-Villon and Jacques Villon, all showed their groundbreaking art. Marcel was the toast of New York and his modern painting, Nude Descending a Staircase was regarded as a masterwork.

In the attached VANITY FAIR article, Duchamp let’s it be known that he crossed the submarine-infested waters of the Atlantic to see American art.

New Portrait Busts by Jo Davidson
(Vanity Fair, 1916)

This single column reported on the 1916 busts that were created by the American sculptor Jo Davidson (1883 – 1952), during his tour of war-torn Europe.
By the end of the Twentieth Century, much of his work would be in the collections of many of the finest art museums, such as the National Gallery of Art, Washington, the Fine Arts Museum of San Francisco, the U.S. Senate Art Collection and the National Statuary Hall, both in Washington.

The Critics of the Russian Ballet
(Vanity Fair, 1916)

Man of letters and all-around swell-guy Frank Moore Colby (1865 – 1925) had a good time reading the flowery writing of the Ballet Connoisseurs who write for the New York papers…

Albert, King of the Belgians
(Vanity Fair, 1914)

A VANITY FAIR article by Ard Choille that recalls the low key visit that Belgium’s Albert I (1875 – 1934) made to the U.S. in 1898 while in the company of his young bride, Elizabeth (1876 – 1965), formerly the Duchess of Bavaria. Published at a time when the Great War was in it’s fourth month, the journalist was mindful of the valiant roll Albert was maintaining as the Commander-in-Chief of the struggling Belgian Army in the face of the German onslaught.

Click here to read about the W.W. I efforts of Prince Edward, the future Duke of Windsor.

Meet Ann Fish: Conde Nast Illustrator
(Vanity Fair, 1919)

Some ninety-three years ago, Fish was the name scribbled on those unique cartoon illustrations that could be found throughout VOGUE (both American and British) and VANITY FAIR. The editor of American VOGUE between the years 1914 and 1952, Edna Woolman Chase (1877 – 1957) called this English cartoonist brilliant and began running her drawings from her earliest days in that office; her full name was Ann Fish and this article will tell you all we know about her.

This most cosmopolitan of living black-and-white satirists has never stirred from England in all her days. She has never especially extended herself as a spectator of the London life which she so amusingly depicts. She has never gazed on Fifth Avenue.

Reminiscences of August Rodin
(Vanity Fair, 1918)

Not long after the death of Auguste Rodin (1840 – 1917) Paris-based artist Stephen Haweis (1878 – 1969) remembered his friendship with the French sculptor:

He loved flattery, as all human beings do, and would listen attentively to rhapsodies from almost anybody, though they do say that a pretty lady got more attention from him than a half-starved journalist.

Rodin proclaimed himself the culminator of one era of sculpture, the inspirer, and nearly the author of another. He was the father of various schools which are lumped under the title of Modern Art.