Description: CREATIVE ART: October 1932 A Magazine of Fine and Applied Art Charles J. Connick | Charles Sheeler | Old New England Gravestones | Cedric Gibbons | Manuel Komroff | Théodore Chassériau | Léger, Dreyer, and Montage | Thurman Rotan!, etc. Henry McBride [Editor]: CREATIVE ART [A Magazine of Fine and Applied Art]. New York: Albert and Charles Boni, Inc., Volume 11, Number 2: October 1932. Original edition. Printed wrappers. [82] pp. All color inserts present. Illustrated articles and period advertisments.Wrappers lightly worn and soiled, but a nearly fine copy. 8.25 x 11.5 vintage magazines with 82 pages of editorial content plus vintage advertisements. “Creative Art” meaning architecture, painting, drawing, furniture design, interior decoration and the decorative arts! Given the cast of characters -- 1932 stands as a fertile year for the twentieth century arts and for art deco in particular. Creative Art became an American Magazine in 1932—after a clean split from "The Studio" of London—able to puruse and promote a vision of domestic art in all of its many manifestations, from painting to photo-murals. Contents include: Color Plate: Design for the Western Rose Window, Cathedral of Saint John the Divine, New York by Charles J. Connick. The Great Western Rose Window, Cathedral of Saint John the Divine by Charles J. Connick. Charles Sheeler by Ernest Brace. Nine pages with black and white images. Old New England Gravestones II by John Howard Benson. Nine pages with black and white images. Cedric Gibbons by Ralph Flint. Four pages with black and white images. A Writer on Vacation: sketches by Manuel Komroff. The Apotheoisis by Théodore Chassériau by Bryson Burroughs. Ten pages with black and white images. Léger, Dreyer, and Montage by Kirk Bond. Six pages with black and white images from Sergei Eisenstein and Carl Dreyer. Around the Galleries by Melvin Geer Shelley. Work by Berenice Abbott, etc. The Art Market: work by George Grosz, Barney Seale, Stuart DAvis, Thurman Rotan! Departments include Calendar of Exhibitions, Current Events in the Art World, Review of Books and The Art Market Includes vintage advertisements “Any picture worth hanging, is of this world - under our noses often ~ which amazes us, into which we can walk upon real grass . . . Charles Sheeler gives us such a world, of elements we can believe in, things for our associations long familiar or which we have always thought familiar . . . “ “Sheeler had especially not to be afraid to use the photographic camera in making up a picture. It could perform a function unduplicatable by other means. Sheeler took it that by its powers his subject should be intensified, carved out, illuminated - for anyone (I don't know that he said this to himself) whose eyes might be blurred by the general fog that he might, if he cared to, see again. “It is ourselves we seek to see upon the canvas, as no one ever saw us., before we lost our courage and our love So that to a Chinaman Sheeler at his best should be a heartfelt recognition, as Sheeler, looking at some ancient Chinese painted screen, would hope fervently to see himself again. A picture at its best is pure exchange, men flow in and out of it, it doesn’t matter how. I think Sheeler at his best is that, a way of painting powerfully articulate." Charles Sheeler was born in Philadelphia, July 16, 1883, of American parents of Irish and Walsh descent. At the age of 17 he began study at the School of Industrial Art, Philadelphia, but three years later he decided to change the direction of his art studies. He enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia as a student under William M. Chase where he remained for three years. In 1904 he took a trip to London and several cities In Holland with Chase and other members of his class. The next summer he took a similar art tour to Spain, again under the leadership of Chase. In 1906 he was graduated from the Pennsylvania Academy as an unusually promising young artist in the brilliant, flashing surface style made famous by Chase. But Sheeler’s eyes were opened to other methods of painting when he went abroad with a friend in 1909. For the first time he became really aware of the works of Picasso, Braque, Cezanne and Seurat. He abandoned the methods he learned under Chase and for several years became chiefly concerned with abstract painting. At the same time he took up photography to earn his living and reserved his weekends for painting. In 1913 he had six paintings in the big Armory show in New York. He continued very successfully with his work in photography and was included in many exhibitions, both of painting and photography. In 1920 he collaborated with Paul Strand on a motion picture which they called Mannahatta. In 1929 he again reversed his technique of painting and began painting with meticulous realism,with which he combined underlying abstract forms. He has continued and perfected this style to the present day. Please visit my Ebay store for an excellent and ever-changing selection of rare and out-of-print design books and periodicals covering all aspects of 20th-century visual culture. I offer shipping discounts for multiple purchases. Please contact me for details. Payment due within 3 days of purchase.
Price: 35 USD
Location: Shreveport, Louisiana
End Time: 2024-09-05T20:05:20.000Z
Shipping Cost: 6 USD
Product Images
Item Specifics
All returns accepted: ReturnsNotAccepted
