Film History: Alan Ladd

Director Frank Tuttle, “Alan Ladd as Philip Raven”, 1942, “This Gun for Hire”, Cinematography John Seitz, Paramount Pictures

Born at Hot Springs, Arkansas in September of 1913, Alan Walbridge Ladd was an American actor and film producer who found success with portrayals in film noir, war movies and Westerns in the 1940s and early 1950s.

The only child born to freelance accountant Alan Ladd and English-born Ina Raleigh, Alan Walbridge Ladd was four years old at his father’s death of a heart attack. He and his mother moved to Oklahoma City where she married house painter Jim Beavers. The family relocated to California and eventually settled in the San Fernando Valley where Beavers was given a position at the silent film studio FBO Pictures (Film Booking Offices of America).

Ladd enrolled at North Hollywood High School where, despite his small stature, he became a swimming and diving champion in his teen years. In his senior year, he also participated in the high-school’s theatrical productions, one of which included his role as the comic Ko-Ko in “The Mikado”. After graduating in February of 1934, Ladd worked in various jobs including gas station attendant, lifeguard and hot dog vendor. His first employment in the film industry was a two-year position as a grip at the Warner Brothers studios.

After appearing in several stage productions for the Ben Bard Theater in Hollywood, Alan Ladd appeared in an uncredited role in director David Butler’s 1936 musical football-comedy “Pigskin Parade”. Although able to get short-term work at MGM and RKO, he was signed later that year by radio station KFWB as its sole radio actor, a position he held for three years. Ladd’s work as multiple characters was noticed by actress and talent agent Sue Carol who began to promote him for films and radio. Ladd’s first role through Carol was a credited role in director Frank Lloyd’s 1939 historical drama “Rulers of the Sea” with Douglas Fairbanks Jr. and Margaret Lockwood.

Over the next few years, Ladd had several small roles in films, among these were the 1940 “Green Hornet” serial, the 1941 comedy horror “The Black Cat”, and an uncredited role as a newspaper reporter in “Citizen Kane”. He gained some recognition for his featured role as a Royal Air Force pilot in the 1942 RKO Radio Pictures war film “Joan of Paris”, a critical success that featured the U.S. screen debuts of Paul Henried and Michèle Morgan. Ladd was given a contract with Paramount Pictures and, after a successful audition, the role of Raven, a paid killer with a conscience in director Frank Tuttle’s 1942 crime film “This Gun for Hire”. Although he had only received fourth billing, Ladd was made a star due to critical praise and fan reaction.

Paramount recognized that Alan Ladd was a potential star and immediately signed him for the adaptation of detective-novel writer Dashiell Hammett’s “The Glass Key” released in October of 1942. This was Ladd’s second pairing with Veronica Lake, who had co-starred with him in “This Gun for Hire”. He followed “The Glass Key” with the 1942 all-star musical “Star Spangled Rhythm” and two films released in 1943, “Lucky Jordan” with Helen Walker and “China” with Loretta Young.

Although classified as unfit for military service due to stomach issues, Ladd enlisted in January of 1943, briefly serving in the U.S. Army Air Forces’ First Motion Picture Unit. He attained the rank of corporal but was given a honorable medical discharge at the end of October due to a stomach disorder complicated by influenza. When Ladd returned to Paramount, he was given the 1944 drama film “And Now Tomorrow”, a melodrama that co-starred Loretta Young. He next acted in the leading role for John Farrow’s historical adventure film “Two Years before the Mast”, which became one of the most popular films in the United States after its belated release in 1946.

In 1945, Paramount Pictures bought American-British detective fiction writer Raymond Chandler’s first original film screenplay “The Blue Dahlia” as a vehicle for Alan Ladd, Veronica Lake and William Bendix. Shot quickly by director George Marshall, the film ranked among the most popular films at the British box office in 1946. Chandler was nominated for the Academy Award for Best Original Screenplay; Ladd was noted for his role as a tough guy in what became known as the film noir genre.

Ladd appeared in several films of mixed critical and commercial reception in 1949 and 1950. These include the 1949 “The Great Gatsby”, “Chicago Deadline”, “Appointment with Danger”, and two Westerns, the 1950 “Branded” and the 1951 “Red Mountain”. These dynamic action-packed roles were followed by Ladd’s most memorable performance as the drifter Shane, an honest character troubled by conflicting emotions. The role of Shane became the highpoint of Ladd’s film career. Directed by George Steven, the 1953 Western “Shane” won an Academy Award for its Technicolor cinematography and became a critical as well as commercial success for Paramount Pictures.

Alan Ladd entered independent film making in 1954 through the founding of Jaguar Productions, a Hollywood production company that released films through Warner Brothers. His first film, the 1954 Western “Drum Beat” was successful and was followed by the 1955 “Hell on Frisco Bay” with Edward G. Robinson, and the 1957 Western “The Big Land” in which he acted opposite Virginia Mayo. In the following year, Ladd acted with his eleven-year old son David and co-star Olivia de Havilland in the 1958 Technicolor Western “The Proud Rebel”, a Michael Curtiz film produced by Samuel Goldwyn Jr.

Ladd continued his acting with films for United Artist, Warner Brothers and 20th Century Fox Studios. He also starred in directors Ferdinando Baldi and Terence Young’s 1961 “Duel of Champions”, an epic Roman adventure film shot in Italy. In 1963, Ladd accepted his last film role, the former gunslinger turned actor Nevada Smith, for director Edward Dmytryk’s drama “The Carpetbaggers”. This film adaptation of Harold Robbins’s novel was released to financial success in April of 1964, three months after Ladd’s death.

Alan Ladd was recuperating after knee injuries at his Palm Springs house in January of 1964. He had been suffering badly from insomnia and found solace in sedatives and an increasing dependence on alcohol. The butler saw Ladd on his bed in the morning of the twenty-ninth of January; upon his return in the afternoon, the butler found Ladd dead on the bed. The death was officially ruled accidental. Alan Ladd died at the age of fifty due to cerebral edema caused by acute overdose of alcohol and a mixture of tranquilizers. Ladd was interred at the Forest Lawn Memorial Park in Glendale California.

Notes: The CMG Worldwide website has a page on Alan Ladd which includes a biography and a complete filmography: http://www.cmgww.com/stars/ladd/

The Hollywood’s Golden Age website has an extensive biography on Alan Ladd at: http://www.hollywoodsgoldenage.com/actors/alan_ladd.html

Writer, critic and performer Trav S.D. has an excellent 2020 article on his WordPress site “Travalanche” entitled “The Short Life of Alan Ladd” at: https://travsd.wordpress.com/2020/09/03/the-short-life-of-alan-ladd/

An extensive article entitled “The Dynamic Duos Blogathon: Alan Ladd and Veronica Lake” can be found on the “ShadowsandSatin” WordPress site: https://shadowsandsatin.wordpress.com/2013/07/12/the-dynamic-duos-blogathon-alan-ladd-and-veronica-lake/

Top Insert Image: Photographer Unknown, “Alan Ladd as Philip Raven”, 1942, “This Gun for Hire”, Publicity Photo, Paramount Pictures

Second Insert Image: Film Poster, “Captain Carey, U.S.A>”, 1950, Director Mitchell Leisen, Cinematography John F. Seitz, Paramount Pictures

Third Insert Image: Photographer Unknown, “Alan Ladd”, Paramount Publicity Photo, Gelatin Silver Print

Fourth Insert Image: Film Poster, “the Blue Dahlia”, 1946, Director George Marshall, Cinematography Lionel Lindon, Paramount Pictures, 76 x 102 cm, Private Collection

Fifth Insert Image: Eugene R Richee, “Alan Ladd”, 1941, Gelatin Silver Print, Private Collection

Bottom Insert Image: Film Poster, “Calcutta”, 1947, Director John Farrow, Cinematography John F. Seitz, Paramount Pictures

Frank Brangwyn

The Artwork of Sir Frank William Brangwyn

Born at Bruges in May of 1867, Sir Frank William Brangwyn was a Welsh artist, painter, illustrator, watercolorist, printmaker and designer. A prolific artist, he created more than twelve-thousand works including ceramics, stained glass panels and windows, glass tableware, furniture, and both interior and exterior architectural designs.

One of four children born to ecclesiastical architect William Curtis Brangwyn and Eleanor Griffiths, Frank Brangwyn received his primary education at Westminster City School. However, he often played truant, spending time at his father’s workshop and sketching at the South Kensington Museum. Brangwyn later took an apprenticeship with progressive architect and designer Arthur Heygate Mackmurdo, a major influence in the Arts and Craft Movement. With a recommendation from Mackmurdo, he was able to enter the workshops of designer William Morris, one of the most significant cultural figures in Victorian England.

After one of his paintings sold at the 1884 Summer Exhibition of the Royal Academy, Brangwyn joined the Royal Navy Volunteer Reserve and began painting seascapes. Securing a berth on a freighter to Istanbul, he spent 1890 and most of 1891 at sea, visiting Spain, Morocco, South Africa and Zanzibar. Brangwyn created many paintings during these voyages. His 1890 “Funeral at Sea”, a work done with a largely gray palette, was awarded a medal at the 1891 Paris Salon. Brangwyn, while traveling with Scottish orientalist painter Arthur Melville, became particularly influenced by the bright light and colors of the southern countries. He altered his palette towards lighter colors and produced many paintings and drawings in Spain, Morocco, Egypt and Turkey.

In 1895, German-French art dealer Samuel Siegfried Bing commissioned Frank Brangwyn to decorate the exterior of his Parisian art gallery, the Galerie L’Art Nouveau. Pleased with the work, Bing encouraged him to broaden the scope of his art. Brangwyn began creating tapestry and carpet designs, murals, posters and stained-glass designs for Louis Comfort Tiffany. In 1896, he created a series of illustrations for a six-volume reprint of British orientalist Edward William Lane’s translation of “One Thousand and One Nights”. After collaborating with Japanese artist Urushibara Mokuchu on a 1917 series of woodblock prints, Brangwyn met a fellow collector of Asian art, industrial magnate Kojiro Matsukata, who later became his patron.

Although not an official war artist during the First World War, Brangwyn produced more than eighty poster designs during the conflict. The majority of these designs were donated to charities including the Red Cross, the Royal National Institute for the Blind, and the L’Orphelinat des Armées, a charity that supported French orphanages. Brangwyn also produced six lithographs for the Ministry of Information’s 1917 “Britain’s Efforts and Ideals” portfolio to raise money for the war effort. As the chairman of the English Committee for Diksmuide, a Belgian city torn apart by the war, he donated a series of woodcuts to aid in its reconstruction.

Frank Brangwyn became widely known for his mural work and received numerous commissions from both England and the United States. Originally commissioned to paint the altar recess of Saint Aidan’s Church in Leeds, he decided to work in glass mosaic due to the pollution in the air. This work, completed in 1916, covers the entire altar recess with scenes from the life of St. Aidan. Included among Brangwyn’s other mural commissions were the Great Hall of the Worshipful Company of Skinners for the Royal Exchange in London, the Missouri State Capitol Building, the Manitoba Legislative Building in Winnipeg, and a mural created specifically for exhibition at the 1915 San Francisco Panama-Pacific International Exposition. Brangwyn, in collaboration with muralists Diego Rivera and Josep Maria Sert, decorated the concourse of the RCA Building in New York City.

The most notable of Brangwyn’s mural commissions, due to both its size and its history, was the one requested by Edward Cecil Guinness, First Earl of Iveagh, in 1926. Brangwyn was to paint a pair of large canvases for the Royal Gallery of the House of Lords at Westminster. These canvases were to honor those peers and their family members who died in the First World War. Finished after the death of Edward Guinness, the life-size battle scenes were found by the House of Lords to be too grim and, thus, they refused the work. In 1928, the Lords offered a second commission, a series of sixteen large works which became known as the British Empire Panels. This series, completed in 1933, was viewed by the Lords who, considering them too colorful and lively for the proposed location, again refused the work.The sixteen canvas murals were later purchased in the following year by the Swansea City Council who installed them in the city’s Brangwyn Hall.

Frank Brangwyn became increasingly pessimistic after the House of Lords twice refused his work. During the 1930s, he began to dispose of his possessions, donating many of his and other artworks to museums in Britain and Europe, including the British Museum and the William Morris Gallery. In 1936, Brangwyn presented over four hundred works to the Arents House Museum in Bruges, Belgium. The two 1926 life-size battle scenes were included with the group of gifts he donated to the National Museum Wales between 1929 and 1935.

In 1944, Brangwyn, now recovered from his depression, secured Pre-Raphaelite illustrator Frederic Shields’s designs for architect Herbert Horne’s Chapel of the Ascension in London. This was an important achievement as the chapel was completely destroyed in 1940 during the bombing of London. One of Brangwyn’s last works was a 1950 series of illustrations for his friend Herbet Julyan’s book “Sixty Years of Yachts” published by London’s Hutchinson & Company. Frank William Brangwyn lived in his final years as a recluse in East Sussex until his death in June of 1956. His body was interred at St. Mary’s Catholic Cemetery, Kensal Green.

Among Sir Frank William Brangwyn’s many awards and honors were the 1902 Chevalier of the Legion of Honor; the Gold Medal of Venice and the Grand Prix of Milan, both in 1906; the 1911 Chevalier of the Order of the Crown of Italy; the 1919 Commander and Cross of the Order of Leopold I of Belgium; and the 1932 Albert Medal of the Royal Society of Arts. Brangwyn was awarded the title of Knight Bachelor, Great Britain in 1941.

Notes: The definitive Frank Brangwyn website is located at: https://frankbrangwyn.org

Sir Frank William Brangwyn was elected a full Royal Academician of the Royal Society of British Artists in 1910. The Royal Academy of Arts has a biography and a collection of his works at its website: https://www.royalacademy.org.uk/art-artists/name/frank-brangwyn-ra

An extensive biographical article on Frank Brangwyn can be found at the Chris Beetles Gallery website: https://www.chrisbeetles.com/artists/brangwyn-sir-frank-ra-hrsa-rsw-rws-prba-re-hrms-roi-1867-1956.html

A lecture on Frank Brangwyn’s British Empire Panels, written by University of Bristol’s Art History lecturer Dr. Sehra Jumabhoy, can be found at the Glynn Vivian Art Gallery site: https://www.glynnvivian.co.uk/brangwyns-british-empire-panels/

Top Insert Image: Photographer Unknown, “Frank Brangwyn”, circa 1900, Vintage Print

Second Insert Image: Frank Brangwyn, “Study of Artichokes”, Date Unknown, Gouache and Pencil on Paper, 121 x 81 cm, Private Collection

Third Insert Image: Frank Brangwyn, “The Tarpit”, Date Unknown, Intaglio Etching on Paper, 65.4 x 73.3 cm, Museum Wales

Fourth Insert Image: Frank Brangwyn, “Bricklayers, Study for Rebuilding Belgium”, 1915, Black and Red Chalk on Buff Paper, 69 x 47 cm, Private Collection

Bottom Insert Image: Frank Brangwyn, “Makeing Sailors, The Gun”, circa 1917, “The Great War, Britain’s Efforts and Ideals” Series, Lithograph on Paper, 47.1 x 37.1 cm, Tate Gallery, London

Talon Abraxas

The Artwork of Talon Abraxas

Born in South London, England in 1980, Talon Abraxas is a symbolist artist, writer and occultist whose work consists of both traditional and digital images. Symbolism in painting was a fantastic, often mystic, style that emerged as a reaction to the naturalism of realist and impressionist trends. Symbolist painters believed that art should reflect an emotion or idea rather than represent the natural world in an objective, quasi-scientific manner. This style of painting emphasized the world of dreams and the religious traditions of human transformation; it placed the appearance of literature, music and the arts over their functions.

A self-taught artist, Talon Abraxas regards an artist as a spontaneously developed initiate (Greek: μύστης) whose work conveys spirituality and religious mysteries to the world. The inspiration for his work is drawn from past mystic artists and writers, including English artist and occultist Austin Osman Spare, Belgian symbolist painter and author Jean Delville, Dutch painter Hieronymus Bosch, and Polish surrealist painter and sculptor Zdislaw Beksiński.

The Talon Abraxas Facebook site contains many images of Talon Abraxas’s work as well as other contemporary artists: https://www.facebook.com/p/Talon-Abraxas-100050477380184/

Notes: Archons are the supernatural builders of the physical universe, each one related to one of the seven classical planets visible to the naked eye: the Sun, Moon, Venus, Jupiter, Mercury, Mars, and Saturn, ordered according to their brightness. Abraxas is the term for the “Great Archon” in Gnostic Christianity. The word is found in such Gnostic texts as the “Holy Book of the Great Invisible Spirit” and the “Apocalypse of Adam”. Saint Epiphanius of Salamis, the Eastern Orthodox Catholic Bishop of Salamis, Cyprus at the end of the fourth-century, designated Abraxas (Biblical Greek: ἀβραξάς) to be “the power above all, and First Principle” and “the cause and first archetype” of all things.

Archon (Greek: ἄρχων) is the Greek word that means “ruler”. It is the masculine present participle of the verb stem αρχ-, meaning “to rule, to be first”. Throughout Greek history, the term Archon referred to the chief magistrates of various Greek cities. In the Byzantine empire, the term was used to denote a powerful noble or magnate, both domestic and foreign. Today, in Orthodox Christianity, archon is a honorific title given to someone who has served and promoted the Orthodox Church faith and tradition, a sworn duty of the archon. As it is a significant religious position, the faith and dedication of a candidate for the role are reviewed extensively during consideration.

Top Insert Image: Talon Abraxas, “Phoibos (Phoebus) Apollon”, Date Unknown, Digital Art

Bottom Insert Image: Talon Abraxas, “New Jerusalem”, Date Unknown, Digital Art

Illustrations for Edmund Weiss’s “Bilderatlas der Sternenwelt “

Illustrations for Edmund Weiss’s “Bilderatlas der Sternenwelt (Stellar Atlas)“, 1888-1892, Verlag von J.F. Schreiber, Stuttgart

Born at Freiwaldau, now Jeseník, a town in the Olomouc Region of the Czech Republic in August of 1837, Edmund Weiss was a professor and astronomer who became the director of the Vienna Observatory in 1878, a post he held until his retirement in 1910.

Born to hydrotherapy pioneer Josef Weiss and his wife, Edmund Weiss was the twin brother of noted botanist Adolf Gustav Weiss, Professor of Botany at Prague. Edmund Weiss spent his early years in Richmond, England where his father was the director of the hydrotherapy center at Stansteadbury in Hertfordshire. After his fathers death in 1847, Josef Weiss returned to his native land where he studied at the Gymnasium in Troppau, now Opava, from 1847 to 1855. He continued his education at the Vienna University with studies in mathematics, astronomy and physics.

On the completion of his studies, Weiss was appointed an assistant at the Vienna Observatory in 1858. While employed at the observatory, he continued his studies and was awarded in 1860 the degree of Doctor of Philosophy. As an assistant, Weiss was a diligent and skilled observer; he was noted for his accuracy in the measurement of a meridian arc during the period of 1864 to 1867. Although offered positions by astronomer Otto Wilhelm von Struve at the Pulkovo Observatory in Petrograd and chemist Adolf von Baeyer at Berlin’s Geodetic Institute, Weiss remained in Vienna where he received the title of honorary professor in 1869 and, in 1875, a full professorship.

In 1872, Edmund Weiss visited England and North America in order to study the leading observatories and new developments in optical works. The knowledge he gained was utilized at the building of a new observatory in the Vienna district of Währing as well as the purchase of its new instruments, among which were the 1882 twenty-seven inch equatorial by Dublin’s Grubb Telescope Company and an eleven three-quarter inch equatorial by Alvan Clark & Sons of Cambridgeport, Massachusetts. The construction of the Währing observatory was overseen by its director Karl Ludwig Littrow who died before the observatory’s completion. Weiss was appointed its new Director in 1878 and retained that post until 1910 when he retired with the title Emeritus Director.

The detailed observations at the Währing Observatory were related to the planets, comets, occultations (the concealment of celestial bodies by another), variable stars and meteors. From these studies, Weiss published a large number of papers among which were those that examined the connection between comets and meteors, the meteor swarm of Halley’s Comet, the magnitude of minor planets, the nebulae in the Pleiades, and a method of obtaining True Anomaly and the radius vector of great orbital eccentricity. He published a new edition of astronomer Joseph Johann von Littrow’s popular “Die Wunder des Himmels (The Wonders of Heaven)” and, in 1890, a revised edition of Wilhelm Albrecht Oeltzen’s 1857 astronomical catalogue “Argelander’s Southern Zones”. Weiss also published a pictorial atlas of astronomy in German, the 1888-1892 “Bilderatlas der Sternenwelt (Stellar Atlas)”.

Edmund Weiss made multiple journeys to observe astronomical phenomena, particularly eclipses. He observed the 1861 eclipse in Greece, that achieved just total before sunset; the 1867 annular (ring) eclipse from Dalmatia, Croatia; the 1868 total eclipse from Eden, Ireland; the total eclipse of 1870 from Tunis, Tunisia; and the 1874 Transit of Venus, the first of two transits in the nineteenth- century, from Jassy, Romania. These eclipse expeditions led to Weiss’s interest in solar physics and his membership with the International Union for Solar Research.

Weiss developed a high reputation in Vienna as a lecturer on astronomy. He was elected a Fellow of the Vienna Academy in 1878 and an Associate of the Society in 1883. Awarded the Bessemer Gold Medal in 1883, Edmund Weiss died at the age of seventy-nine in June of 1917 after a long and painful illness. He was survived by his wife Adelaide Fenzl and seven children. The “Weiss” lunar crater along the southern edge of the Mare Nubium was named after him.

Notes: It should be noted that Edmund Weiss is not the illustrator for the “Bilderatlas der Sternenwelt”. If anyone locates the name of the artist, please make a note in the comment section.

An annular eclipse occurs when the Moon passes directly between the Earth and the Sun but does not completely cover the Sun’s disk, leaving the outer edge visible as a bright ring around the Moon.

Top Insert Image: Photographer Unknown, “Professor and Astronomer Edmund Weiss”, 1872, Vintage Photo

Second Insert Image: Edmund Weiss, Title Illustration, “Bilderatlas der Sternenwelt”, 1888-1892, Verlag von J.F. Schreiber, Stuttgart

Bottom Insert Image: Edmund Weiss, “Uppenines at Sunrise”, Illustration for “Bilderatlas der Sternenwelt”, 1888-1892, Verlag von J.F. Schreiber, Stuttgart

Gilbert Lewis

The Portraits of Gilbert Lewis

Born at Hampton, Virginia in September of 1945, Gilbert Braddy Lewis was an American artist and art therapist. Over a span of five decades, he created portraits of friends and acquaintances, a collection of work that included an intimate series that represented the gay male experience in Philadelphia’s LBGTQ community.

Gilbert Lewis began his art training at the early age of seven and pursued the arts throughout his teenage years. After relocating to Philadelphia at the age of eighteen, he began studying at the Pennsylvania Academy of Fine Arts under such noted painters as Walter Stuempfig, Franklin Watkins, Hobson Pittman, and printmaker and muralist Morris Blackburn. Lewis was committed to his training and became particularly focused on the careful observation and life drawing taught in the curriculum of Thomas Eakins. After completing his certificate program in 1967, Lewis was awarded the eminent Cresson Traveling Scholarship, a two-year scholarship which enabled him to travel to Italy and study the Sienese and Florentine Renaissance artists.

Upon his return to the United States, Lewis enrolled at the Philadelphia College of Art, now the University of the Arts, where he earned his Bachelor of Fine Arts in 1974. Lewis received his Masters Creative Arts Therapy degree at Philadelphia’s Hahnemann University in 1978. He obtained a position as art therapist at the Manchester House Nursing Center in Medea, Pennsylvania where he worked from the late 1970s to the early 1990s. The animated qualities in Lewis’s portraits of the seniors with whom he worked is evidence of the warm relationships he established with the residents.

Fascinated by youth and aging, Gilbert Lewis’s work focused on the beginning and the end of adulthood. While working at Manchester House during the day, he was creating gouache, watercolor, charcoal and graphite portraits of young men in the city at night. These portraits express Lewis’s attentiveness to convey the wide eyed awkwardness of those young men who sought both guidance and trust in their artistic relationship with him. Each sitter was encouraged to dress and pose themselves in a way that they would feel most comfortable. Frequent conversations were normal between artist and sitter; many of his models would bring their own music choices to the studio.

Lewis painted models every night from Monday to Friday. His models, often tall and slender, were usually portrayed directly looking at the viewer with a slightly awkward vulnerability. Using a soft color palette, Lewis would sometimes paint his figures against solidly-colored backgrounds. Not overly concerned with realism, Lewis was drawn towards the ethnographic approach to the detail and the sense of longing found in American frontier painter George Catlin’s depictions of the indigenous peoples on the Great Plains of the 1830s.

Gilbert Lewis taught at the Pennsylvania Academy of Fine Art’s certificate and continuing education programs. He also supported himself throughout his entire career by working at Philadelphia’s art supply stores, including Blick Art Materials, South Street Art Supply, and Pearl Art and Craft Supply. Gilbert Lewis died at the age of seventy-eight on the seventh of December in 2023 at the Belvedere nursing home in Chester, Pennsylvania, from complications caused by Alzheimer’s disease.

Gilbert Lewis’s first solo exhibition was at the Pennsylvania Academy of Fine Art’s Peale House Gallery in 1981. He had numerous solo exhibitions in Philadelphia, among which were the Rosenfeld and Noel Butcher galleries. His largest exhibition, “Becoming Men: Portrait Paintings by Gilbert Lewis”, was presented in 2004 at the Leslie-Lohman Museum of Art in New York. Lewis’s work can be found in the permanent collections at Philadelphia’s Woodmere Art Museum, the Philadelphia Museum of Art, the Leslie-Lohman Museum of Art, and the Montclair Art Museum in New Jersey.

“One of my motivations in painting has been to celebrate the beginning of adulthood for the young and the final period of life for the old,” Gilbert observes. “What struck me is that both young men and the old are ignored by society. Despite our ostensible focus on youth, young men are in a sort of nether world, no longer teenagers and yet not full adults. They’re in transition with no established identify and no real place in society.” —Gilbert Lewis

Notes: The Leslie-Lohman Museum of Art has a short article written by Christian Bain entitled “Becoming Men: Portrait Paintings by Gilbert Lewis” in which Lewis discusses his work process and motivations for painting: https://leslielohman.org/exhibitions/becoming-men-portrait-paintings-by-gilbert-lewis

The WilliamWay LBGT Community Center in Philadelphia has a collection of paintings by Gilbert Lewis on its site located at: https://www.waygay.org/gilbert-lewis-1

Anthony Rullo was a portrait model who posed at least sixty times for Gilbert Lewis between 1986 and 1996. Rullo’s memories of Lewis and his mentorship are contained in a Visual Arts article by Peter Crimmins for Philadelphia’s WHYY newsletter: https://whyy.org/articles/gilbert-lewis-remembered-as-artist-mentor-to-phillys-gay-80s/

Second Insert Image: Gilbert Lewis, “Nude- Composition in Red and Green”, January 1985, Gouache on Board, 111.8 x 76.2 cm, Private Collection

Third Insert Image: Gilbert Lewis, “Seated Man with Shell”, circa 2020, Pastel on Paper, Private Collection

Bottom Insert Image: Gilbert Lewis, Untitled (Young Man Standing with Legs Spread), 1987, Gouache on Paper, 76.2 x 55.9 cm, Private Collection

Yayoi Kusama

Yayoi Kusama, Untitled, circa 1970, Oil and Mixed Media on Canvas, 60 x 50.4 cm, Private Collection

Born at Matsumato, Nagano in March of 1929, Yayoi Kusama (草間彌生) is a Japanese contemporary artist whose work is based in conceptual art expressed primarily through sculpture and installations. She is actively engaged in painting, performance art, video art, fashion, and writing both poetry and fiction.

Kusama received training for a year at the Kyoto City University of Arts in the traditional Japanese painting style known as nihonga ( 日本画 ), an art form that typically uses mineral pigments and occasionally ink with other organic pigments on paper or silk. She was active in the New York City avant-garde scene throughout the 1960s, organizing “happenings” and experimenting with her series of “Mirror/Infinity” installations.

In 1969, Yayoi Kusama founded Kusama Enterprises, a commercial outlet selling clothing, bags, and even cars. These products feature her singular aesthetic, characterized by her liberal use of polka dots and dense, repeating patterns to create a sense of infinity. In 1973, Kusama returned to Japan. Two years later, seeking treatment for her obsessive-compulsive neurosis, she entered a facility where she lives and works to this day.

Kusama continues to produce paintings and sculpture, and, in the 1980s, added poetry and fiction to her range of creative pursuits. She exhibited at the Japanese pavilion of the 1993 Venice Biennale. Kusama’s dazzling mirrored pavilion room was filled with small pumpkin sculptures. Eventually, she produced a huge, yellow pumpkin sculpture with an optical pattern of black spots, for her a representation of an alter-ego or self-portrait.

In 2017, a fifty-year retrospective of Kusama’s work opened at the Hirshhorn Museum in Washington, DC. That same year the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her work have been held at New York City’s Museum of Modern Art in 1998, the Whitney Museum in 2012, and London’s Tate Modern in 2012.

“The machinery of the sky that confounds us on earth with endless transformations of clouds in the light of dawn does not compare to the extraordinary tenacity of human beings, the way of human life, the presentiment of approaching death, the existence of love, the brilliant coruscations of light and the dark scars of our lives, to say nothing of the incomprehensible form of the cosmos and the overwhelming mysteries of space, time, distance.”

—Yayoi Kusama, Infinity Net: The Autobiography of Yayoi Kusama

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Johnny Francis Wolf

The Artwork of Johnny Francis Wolf

Born at the Woodhaven neighborhood of Queens, New York in May of 1958, Johnny Francis Wolf is a digital artist, actor, musician, poet and writer.

Wolf began his acting career with studies under actress Suzanne Esper at the Esper Studio, a New York City drama school that is dedicated to the acting technique of American actor and teacher Sanford Meisner. The Meisner technique is designed to create believable behavior by utilizing three basic components: independent activity, repetition exercise, and emotional preparation to stay connected with scenic partners. Wolf also studied acting at the Weist-Barron School, the nation’s oldest school for on-camera acting, and, later, with actor and drama teacher Lloyd Williamson at New York City’s Actors Movement Studio.

After appearing in many student and Indie short films on the east coast of the United States, Johnny Francis Wolf appeared in the co-starring role of Gabe Snow in screenwriter and director Jamie Nash’s 2007 indie horror-comedy “Two Front Teeth”. After the film’s production, Wolf relocated to Los Angeles to continue his pursuit of an acting career. Trained early in graphic design, he worked briefly as a textile designer for the Kidswear clothing company before deciding to focus on his abilities as writer and artist.

As a writer, Wolf has written several volumes of narrative stories in both poetry and prose. An imaginative and creative storyteller, his work covers a wide range of emotion as his tales examine passengers on a subway, a young gay couple, a child fascinated by an unknown face, and other countless human interactions that occur during daily life. Wolf’s writings, issued through Wild Ink Publishing, include the 2023 two-volume series entitled “Men Unlike Others”, “Unapologetic” published in 2013, the 2024 poetry collection “Uncommon”, and his most recent work, the 2025 “Unbreakable”.

As an artist, Johnny Francis Wolf is a digital artist whose images combine photography with Photoshop, Illustrator and AI graphics.. Although the majority of his work is figurative, he also creates still lifes and multi-layered images that are abstractions and variations on patterns. Wolf’s digital work utilizes two basic effects, ink washes and watercolors, to create both strong and sensual images. Broad areas of light colors are particularly prominent in his three Erte series, a group of figurative images that closely resemble watercolors; while other series by Wolf are executed in a more dark palette of painted blue and brown shades.

Notes: Johnny Francis Wolf’s art can be found on his website: https://johnny-francis-wolf.pixels.com

Johnny Francis Wolf’s published works can be found at the Wild Ink Publishing website, which also has the 2006 “Two Front Teeth” film in its entirety: https://wild-ink-publishing.com/johnny-francis-wolf/

An interview between Danish epic-fantasy series author Rune S. Nielsen and Johnny Francis Wolf can be found at Rune S. Nielsen’s website: https://runesnielsen.com/author/author-interviews/2023/11/1/author-interview-johnny-francis-wolf

Top Insert Image; Photographer Unknown, “Johnny Francis Wolf”, Gelatin Silver Print

Second Insert Image: Johnny Francis Wolf, “Italy 1 Marco”, Digital Art, Giclée Print, 52.1 x 91.4 cm

Bottom Insert Image: Johnny Francis Wolf, “Erté Mirror 5”, Digital Art, Giclée Print, 52.1 x 91.4 cm

Theda Bara: Film History Series

Orval Hixon, “Theda Bara”, 1921, Publicity Photo

Born at Cincinnati, Ohio in July of 1885, Theda Bara, née Theodosia Burr Goodman, was an American silent film and stage actress who, known for her femme fatale roles, became one of the more popular actresses of the silent era. One of the early stars of the newly founded Fox Studios, Bara became its biggest star and one of cinema’s early sex symbols.

One of three children born to prosperous Jewish tailor Bernard Goodman and Swiss-born Pauline Louise Françoise de Coppett, Theda Bara moved with her family in 1890 to Avondale, a suburb of Cincinnati with a large Jewish community. Upon graduating high school, Bare dyed her blonde hair black and began to pursue her teenage dream of a career in theater. After two years at the University of Cincinnati, she started acting in local theater productions in 1905.

Bara relocated to New York City and made her Broadway debut in playwright Ferenc Molnár’s 1908 “The Devil”, acting under the name Theodosia de Coppett. The play opened in August of 1908 at the Garden Theatre and finished its run at the New Victory Theatre in June of 1909. Beginning in 1911, Bara became part of a theatrical touring company for three years. She sought work at various casting offices after her return to New York City in 1914 and was chosen for a role in director Frank Powell’s 1914 silent film “The Stain” for Pathé Exchange. Acting under the name Theodosia Goodman, Bara played the role of a gangster’s female companion.

Having become known for her ability to take direction, Theda Bara was given her first lead role as the predatory woman (“vampire”) in Powell’s next film, the 1915 “A Fool There Was”, for the newly formed Fox Studios. This role was a major breakthrough for Bara as she was nearing thirty-years old, at a time when lead roles were always given to younger women. To increase the allure of star and movie, Fox Studios gave its lead actress the name Theda Bara (an anagram for Arab Death) for the film’s press releases. She was described as the Egyptian daughter of an artist and Arabian princess, and was endowed with mystical powers.

Bara, now contracted with Fox Studios, was living with her parents in New York City and traveling to Fort Lee, New Jersey where Fox Studios’s film industry was based. Her second film role with the studio was the character Celia Friedlander in director Herbert Brenon’s 1915 silent film “Kreutzer Sonata” based on a play of the same name written by Jacob Gordon. Bara, now a rising star, made six more films in 1915, the last of which was the lead role in director Raoul Walsh’s “Carmen”. The next year was even busier; theater audiences attended eight new Theda Bara films, all of which made substantial profit for Fox Studios.

In 1917, Theda Bara traveled with Fox Studios to California where, finding the climate more hospitable for filmmaking, it had built new West Coast production facilities in Hollywood. She starred in director J. Gordon Edwards’s 1917 silent historical drama “Cleopatra”. With its huge sets, over two thousand horses and fifteen thousand extras, the film, although costly to produce, became a mega-hit for Bara and the studio. Soon after, Bara appeared in the lead role of Lisza Tapenka for Edwards’s 1917 silent drama “The Rose of Blood”. In 1918, Bara received the opportunity to be both screenwriter and lead actor for director Edwards’s silent romance film “The Soul of Buddha”.

Bara appeared in seven films in 1919, the last of which was the role of social-climbing stenographer Olga Dolan in Edmund Lawrence’s silent drama “Lure of Ambition”. At the end of 1919, Bara’s contract with Fox Studios terminated and her film career faded from the phenomenon it had once been. Seeking a return to the theater, she appeared on Broadway as Ruth Gordon in George V. Hobart and John Willard’s 1920 four-act play “The Blue Flame” at the Shubert Theatre. Reviewers criticized the play and its plot as well as Bara’s acting. Her recognition as a film star, however, drew large crowds and the play was a commercial success, breaking attendance records at some venues during its forty-eight show run..

In 1921, Theda Bara married British-born film director Charles Brabin and retired from acting. She made a brief comeback in what would be her last film, directors Stan Laurel and Richard Wallace’s 1926 short silent comedy “Madame Mystery” for the Hal Roach Studio. After finishing the film, Bara, now forty-one, permanently retired from film acting. Although she continued though the 1930s to try stage acting, there was little success. In 1936, Bara did a radio broadcast version of the “The Thin Man”, alongside William Powell and Myrna Loy for the Lux Radio Theatre.

After a lengthy stay at California Lutheran Hospital, Theda Bara died of abdominal cancer in April of 1955 at the age of sixty-nine at Los Angeles, California. Her body was cremated and inurned, under the name Theda Bara Brabin, in the Great Mausoleum at the Forest Lawn Memorial Park Cemetery, Glendale, California.

Notes: A 1937 fire at the Fox Studio nitrate-film storage vaults in New Jersey destroyed most of the studio’s silent films produced before 1932. Theda Bara made forty-three silent films between 1914 and 1926. Of these, complete prints of only six still exist. Two films are partially lost and thirty-five are completely lost. Those nitrate films that were housed in Bara’s own personal archive were discovered in 1940 to have disintegrated when she took some reels out to show a friend.

The Golden Globes website has a short article written by actress Meher Tatna entitled “Forgotten Hollywood: Theda Bara, Queen of the Vamps” at: https://goldenglobes.com/articles/gotten-hollywood-theda-bara-queen-vamps/

The Readex Report has an excellent article by Vanda Krefft, Biography Fellow at the City University of New York, on William Fox, the founder of Twentieth Century Fox, that discusses Theda Bara’s early relationship with Fox Studios: https://www.readex.com/readex-report/issues/volume-5-issue-1/searching-forgotten-movie-mogul-william-fox-founder-twentieth

Once Upon A Screen, a classic film and tv blog, has an article on William Fox which discusses Theda Bara’s time with Fox Studios: https://aurorasginjoint.com/2015/06/26/the-mightiest-of-all-william-fox-sets-up-shop-in-fort-lee-a-hundred-years-ago/

Top Insert Image: Photographer Unknown, “Theda Bara as Carmen”, 1915, “Carmen”, Written and Directed by Raoul Walsh, Cinematography Georges Benoit and George Schneiderman, Fox Studio

Second Insert Image: Photographer Unkown, “Theda Bara as Salome”, 1918, Film Publicity Photo, Director J. Gordon Edwards, Cinematography John W. Boyle, Fox Film Corporation

Third Insert Image: Underwood & Underwood Studios, “Theda Bara”, 1918, “The She-Devil”, Publicity Photo, Director J. Gordon Edwards, Cinematography John W. Boyle and Harry Gerstad, Fox Film Corporation

Bottom Insert Image: Jack Freulich, “Theda Bara as Rosa”, 1915, “Sin”, Director Herbert Brenon, Cinematography Phil Rosen, Fox Film Corporation

Francis Campbell Boileau Cadell

The Paintings of Francis Cadell

Born at Edinburgh in April of 1885, Francis Campbell Boileau Cadell was a Scottish painter and watercolorist known for his portraits, central Edinburgh house interiors, and landscapes painted at Iona, Scotland’s west-coastal island. He was one of four Scottish Colourists, painters whose Post-Impressionist work had a formative influence on contemporary Scottish art and culture.

The son of wealthy surgeon Dr. Francis Cadell and Mary Hamilton Boileau, Francis Campbell Boileau Cadell was raised on Edinburgh’s prestigious Moray Estate and privately tutored at the Edinburgh Academy. At the age of sixteen, he studied at the Académie Julian in Paris where he became acquainted with the city’s early-Fauvist painters, most notably Henri Matisse. Between 1902 and 1905, Cadell alternated his residency between Paris and Edinburgh as he undertook a professional career.

In 1907, Cadell studied at Munich’s Akademie der Bildender Künste, one of the oldest art academies in Germany, before returning to Scotland in 1908. Between the deaths of his mother and his terminally ill father, he had his first solo exhibition at Edinburgh’s Doig, Wilson and Wheatley’s Gallery in 1908 where he sold thirty paintings. With an inheritance from his father’s death, Cadell secured a studio on George Street in central Edinburgh in 1909. It was at this time that he met painter Samual John Peploe, who became his life-long friend and a fellow Scottish Colourist.

With financing from old schoolfriend and now patron Patrick Ford, Francis Cadell undertook a painting excursion to Venice in 1910. This inspiring experience gave him more confidence in his use of bright colors and loosened his approach to painting. The work from this trip, however, sold poorly which resulted in the undermining of Cadell’s trust in gallery dealers. From 1911 to 1927, he sold his work only privately, with Glasgow art dealer Alexander Reid purchasing many of his works. After the declaration of war in 1914, Cadell passed his medical tests and joined the 9th Battalion of The Royal Scots in 1915 with whom he served on the French frontlines. Wounded twice, Cadell was discharged in 1919 and was awarded the General Service and Victory medals.

After his discharge from military service, Cadell spent much of his adult life in Scotland, painting in Edinburgh during the spring and autumn, on Iona during the summer, and usually resting indoors during the winter. He closely collaborated with his friend Samuel Peploe, often painting together on Iona, and developed an interest in the Art Deco movement. Cadell began to paint still lifes and figure studies, tightly-cropped compositions usually presented at an angle, and increasingly brilliantly colored interior scenes.

From the early to mid-1920s, Francis Cadell restrained the use of perspective and shadow in his still lifes. These post-war images were characterized by their vivid, acidic colors and strict composition. Using flat areas of color and disregarding shadows, Cadell stylized the forms to such an extent that it could be seen as a two-dimensional pattern within a strictly limited framework. He later developed a style in which black remained the dominant color and was increasingly used to outline features.

Cadell served from 1923 to 1936 as a Council member of the influential Edinburgh architecture, conservation and planning organization, the Cockburn Association also known as the Edinburgh Civic Trust. He died from cancer at the age of fifty-four in December of 1937 and was interred with his family in Dean Cemetery, a historically important Victorian cemetery west of Edinburgh’s city center. Cadell’s paintings and watercolors are housed in many private collections and are on public display in the collection of the National Galleries of Scotland.

Notes: ART UK has a 2020 article by modern art curator and auction house specialist Alice Strang, entitled “The Making of a Scottish Colourist: Francis Campbell Boileau Cadell”, on its site: https://artuk.org/discover/stories/the-making-of-a-scottish-colourist-francis-campbell-boileau-cadell

The Francis Campbell Boileau Cadell Organization has a biography and a large collection of the artist’s works on its site: https://francis-campbell-boileau-cadell.org

Top Insert Image: Francis Campbell Boileau Cadell, “Self Portrait”, Date Unknown, Black Chalk on Paper, 56 x 38.5 cm, Scottish National Gallery of Modern Art

Second Insert Image: Francis Campbell Boileau Cadell, “Self Portrait”, circa 1914, Oil on Canvas, 113.1 x 86.8 cm, National Galleries of Scotland

Bottom Insert Image: Francis Campbell Boileau Cadell, “Life Study”, Date Unknown, Conte on Paper, 34.3 x 29.2 cm, Private Collection

Nicolas Monjo

The Paintings of Nicolas Monjo

Born at the Nouvelle-Aquitaine department of Lot-et-Garonne in 1975, Nicolas Monjo is a French self-taught contemporary painter. The central element of his work is the tenuous condition of humanity in a world that is both complex and often oppressive. To illustrate this fragility, Monjo presents the human figure enclosed, often crushed with others, inside the restrictive edges of the canvas.

Nicolas Monjo began painting at the age of twenty and, through study and technique, has developed his own unique style. His images are inspired by the complexities and sometimes tumultuous nature of human relationships, the struggles to overcome circumstances, and the power dynamics of a surrounding society.

Monjo’s vivid imagery features a tensive contrast between its harsh subject matter and the artistry of each painting’s composition. In an extremely personal way, he presents the fragility of the human condition that is often crushed by the harsh and cold world where the law of the strong prevails. Monjo’s figures are enclosed, both figuratively and literally, within the framework of the canvases they inhabit, a reminder of their inability to extricate themselves from their gloomy daily life.

Nicolas Monjo uses both acrylic and oil paints on his canvases with a preference for the colors gray and blue. Mixtures of oil and acrylic paint on the tablet are used for more marked relief effects. This soft, dark color palette creates a unique atmosphere for his evolving collection of characters. Mixed among these characters are recurring tropes such as rabbit ears, fish, dogs, gaping mouths and sunglasses. Other elements, almost always present in Monjo’s compositions, are the symbol of the heart, guitar, plates, forks and an abandoned glass on the floor. These are all objects that represent Monjo’s personal life.

Nicolas Monjo currently lives and works near the prefecture of Angouleme in the southwestern French department of Charente. His artwork is represented online by Bouillon d’Art at: https://www.bouillondart.com/en/93-monjo-nicolas

Monjo’s work can also be found at the online gallery Artsper located at: https://www.artsper.com/us/contemporary-artists/france/25687/nicolas-monjo

Top Insert Image: Photographer Unknown, “Nicolas Monjo”, Color Print, Artsper Gallery

Bottom Insert Image: Nicolas Monjo, “Le Conte à Rebours”, Oil and Acrylic on Canvas, 130 x 97 cm, Private Collection

Christopher Cox: “A Key West Companion”

Photographers Unknown, A Key West Companion

I had met Doris on an earlier trip. She approached me in the supermarket and told me to put back the papayas I’d piled into the shopping basket. “Come over and pick them off the ground outside my fence. I’ll be glad to get rid of them. Take some sapodillas too.” Now she appeared behind the wrought-iron fence with a mild hello, released a tabby cat from her arms, and led me down a narrow brick path into the cool dark garden where hundreds of parakeets and canaries fluttered in several mesh-covered gazebos, each chirping in a different key.

Doris is a wiry woman with white hair who must be in her mid-eighties. She was wearing a turquoise artist’s smock with both the sleeves torn off at the shoulders. Her eyes were a similar blue. “I’ve been here I don’t know how long,” she said. “I came from South Carolina after World War II. I was a WAVE.” Since then she has been involved in various jobs and projects around the island, mostly in connection with the tourist trade. At present she’s creating a Key West historical museum in her back yard.

In the center of the garden Doris had built an Indian chickee, a hut made of thatch and berm (local mud) and encircled by a jagged stick fence. “The abode of the southeast Indians,” she announced. “I’m building a miniature in one of my bungalows, with little Indians and itty bitty pigs turning on spits. It’s for my Indian exhibit.”

There are several bungalows around the garden, each of which will house an exhibit based on a different period of Key West history. But the Indian comes first. Doris pointed to the “historically accurate” piles of coral rock that were arranged near the Indian chickee, then to a huge gooseberry tree that shaded the entire garden. “I grew this tree from two seeds I brought back from Katherine Mansfield’s house in the South of France.” she said. “Mouton, Mentone—I don’t remember the name. Don’t ask me any questions; it’s so long ago. All I know is that it’s never produced gooses or berries.” She laughed at her own joke and then stopped for a moment to perk up the purple orchids, vermilion and staghorn fern that grew on the dark trunk of the tree.

Christopher Cox, The Indians in Doris’s Garden, A Seaport Town, A Key West Companion, 1983, St. Martin’s Press, New York

Born at Gadsden, Alabama in August of 1949, Christopher Cox, birth name Howard Raymond Cox Jr., was an author, editor, director and producer. Along with his position as senior editor of Ballantine Books, he is known for his collaboration within The Violet Quill, a group of seven gay male writers whose work established gay writing as a literary movement.

One of four children born to prominent banker Howard Cox and Dorothy Trusler, Christopher Cox received his elementary education at the local Emma Sanson High School. In 1966 at the age of sixteen, Cox was given a summer job in Washington D.C. as a page for Alabama Senator John Sparkman. After his high school graduation, he returned the following summer season to work for Alabama Representatives George Andrews and Armistead Selden. Cox attended the University of Alabama for two years befor moving to New York for a possible career in the theater.

In the fall of 1969, Cox studied acting at director Herbert Berghof and actress Uta Hagen’s HB Studio in New York City. His first role was as understudy for the Mute in a production of “The Fantasticks”. Using Christopher Cox as his professional name, he performed, directed and wrote both plays and lyrics. Cox was the director of the New Play Series and the Writers Workshop at the Joseph Jefferson Theatre Company for which he produced a dozen works between 1974 and 1976. Cox performed during the 1970s in both Off-Broadway and Broadway productions, including Shakespeare’s “Two Gentlemen of Verona”. During the 1980s, he changed his focus to writing, editing and photography.

Beginning in the mid-1970s, Christopher Cox was affiliated with the Violet Quill, also known as the Lavender Quill. This group of seven writers are regarded as one of the strongest collective voices of the gay male experience in the post-Stonewall era. Cox, Robert Ferro, Andrew Holleran, Michael Grumley, Felice Picano, Edmund White and George Whitmore met several times between 1975 and 1981 to read aloud and discuss their works in progress. The agenda of the Violet Quill also included working together to promote the recognition, acceptance and publication of gay literature beyond the boundaries of their own community.

As a writer, Cox’s memories of Alabama and its people appeared regularly as central themes in his stories. Significant events in his life, such as the suicide death of his uncle Ray in 1956 and his mother’s death from cancer in 1975, became focal points for his writing. From March of 1975 to 1977, Cox served as secretary to composer Virgil Thompson for whom he arranged and catalogued correspondence and music manuscripts before their transfer to Yale University. This position gave Cox access to Thompson’s circle of people as well as his neighbors in Manhattan’s Chelsea Hotel, which included such notables as Dylan Thomas, Leonard Cohen, Arthur Miller and Robert Mapplethorpe. Cox’s 1978 video piece “Neurotic Moon” is a semi-autobiographic work that describes his role as secretary putting together pieces of a famous composer’s life.

In the 1980s, Christopher Cox worked for publishing firms, most notably E.P. Dutton and Ballantine. He wrote freelance articles and reviews for several papers and magazines, including New York City’s weekly alternative “Soho Weekly News” during its run from 1973 to 1982. Cox published his “A Key West Companion” through St. Martin’s Press in 1983 and, in 1987, his monograph on photographer Dorothea Lange through the fine art photography periodical Aperture.

In the spring of 1986, Cox met his lifetime partner William R. Olander, an art historian, critic, and curator of the New Museum of Contemporary Art in New York.. Christopher Cox died in New York from AIDS-related complications on September 7, 1990 at the age of forty-one. His death was preceded by the death of William Olander, also from AIDS-related complications, on March 18, 1989 at the age of thirty-five.

Notes: After internships at New York City’s Metropolitan Museum of Art and the Toledo Museum of Art, William “Bill”Olander held the position of curator of modern art at the Allen Memorial Museum at Oberlin College from 1979 to 1984. He became the Allen Museum’s acting director for his last two years. The co-founder of the Visual AIDS art project, Olander was known for his work with ACT UP/ NY (AIDS Coalition To Unleash Power, New York).

Both Christopher Cox and William Olander’s writings, personal papers and correspondence files are contained in the Yale Collection of American Literature Beinecke Rare Book and Manuscript Library. The collection overview for this material can be found at: https://archives.library.wcsu.edu/caoSearch/catalog/cty-br_beinecke-coxc#summary

The Aperture Foundation’s “Dorothy Lange: Masters of Photography, No. 5”, which contains Christopher Cox’s essay on Lange and forty-three black and white images by Lange, can be found in its entirety on the (SCRIBD) website at: https://www.scribd.com/document/514781915/Aperture-Masters-of-Photography-Linda-Gordon-Dorothea-Lange-Dorothea-Lange-Aperture-2014

Second insert Image: Christopher Cox, “A Key West Companion”, January 1, 1983, Paperback Edition, St. Martin’s Press, New York City

Third Insert Image: “Dorothea Lange: Masters of Photography, No. 5”, 1987, Essay by Christopher Cox, 43 Black and White Images by Lange, Aperture Foundation, Millerton, New York

Alberto Giacometti

Alberto Giacometti, “The Artist’s Mother”, 1950, Oil on Canvas, 89.9 x 61 cm, Museum of Modern Art, New York City

Born at the city of Borgonovo in October of 1901, Alberto Giacometti was a Swiss draftsman, painter, printmaker and sculptor whose work was particularly influenced by Cubism and Surrealism. Around the age of thirty-five, he left Surrealism to deepen his understanding of figurative compositions. Although known for his figurative sculptures, Giacometti’s figurative paintings were equally as present after 1957.

Dating from the drawings of his youth, Giacometti used his mother Annetta Giacometti, either alone or with other family members, as a model for his numerous works, both paintings and sculpture. Annetta Giacometti, a formidable presence in Giacometti’s life, returned after the war years to the family home in Stampa, Switzerland. This was the place where Alberto would spend the summers and create most of his mother’s portraits beginning from the end of the 1940s. There are at least five portraits of Annetta Giacometti known to have been painted in 1949.

As attested in his writings, Alberto Giacometti gave the most attention when painting a portrait to the the eyes of the model and the volumes of the nose. His 1950 “The Artist’s Mother”, painted in the family home in Stampa, is composed of layers upon layers of linear brushstrokes. Around the edges, the paint is laid on thinly to create a internal frame, a common element that appears in later works. In the center, the figure is painted more heavily in dark and bright lines that bristle with energy.

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“The object of art is not to reproduce reality, but to create a reality of the same intensity.” -Alberto Giacometti

Mario Cattaneo

The Photography of Mario Cattaneo

In the period between the end of the Second World War in 1945 and the economic resurgence of the 1960s, Italy experienced enormous social and political transformations. Italian photographers responded to this post-war era by creating images that examined the realities of everyday life. These images, although seen as neo-realist or humanist in the tenor of social documentary photography, actually contained a wider range of motivations and styles.

Photojournalism thrived with the rapid growth of illustrated weekly magazines. At the same time, amateur photographic organizations sought to promote photography as a form of art. These photographers produced images of urban street life in the industrial cities of northern Italy. Southern Italy also became a primary source for the camera. While the site of the greatest post-war economic problems, southern Italy was a place of national unity, where local customs persevered amid Italy’s rapid modernization.

Born at Milan on the twenty-eighth of January in 1916, Mario Cattaneo was a significant but little-known Italian photographer who found the world of photographic clubs to be a place for his artistry and a framework for discussion and debate. Within those clubs, Cattaneo studied the technical aspects of photography,the works of established international photographers, and the theoretical and aesthetic concepts of the medium. The influences of French photographers Robert Doisneau and Henri Cartier-Bresson can be seen in Cattaneo’s attention to lighting and photo compositions.

Cattaneo’s first photographs, the series of images known as “La Fera del Sinigaglia”, were taken at Milan’s traditional flea market in the commune of Sinigaglia. The images he captured included portraits, articles for sale, and moments of spontaneous human interactions, often between buyers and sellers. Started in 1950, Cattaneo’s “Alleys” series explored the vibrant, and sometimes violent, everyday life found in Naples’s alleyways and also captured the hidden beauty and human stories found among the city’s narrow passages. A collection of these Naples images was later published in 1992 by Electra under the title “Vicoli”.

After his return to Milan, Mario Cattaneo became interested in the leisure and entertainment of Milanese youth during the economic boom of the post-World War II era. His photographs were taken at amusement parks, dance halls, and Sunday excursions at the Idroscalo, a city park with artificial lake that offered boating and swimming events as well as open-air concerts, bars and nightclubs. The images of Cattaneo’s three series “Luna Park”, “Una Domenica all’Idroscalo (A Sunday at the Idroscalo)” and “Giovanni al Juke Box” present the hope and carefree spirit of the young Milanese generation in newly adopted social activities and imported fashions.

Cattaneo continued working in Milan from 1964 to 1977 during which time he created two more series: the 1964-1965 “Caravaggio” and the 1973-1977 “Pop Festival”. Alongside his social and cultural presentations of Italy, Cattaneo produced travel images shot during his explorations of diverse cultures, among which were several trips to India.

In 1991, the Federazione Italiana Associazioni Fotografiche (FIAF), an Italian photography confederation that supported amateur groups, named Mario Cattaneo “Author of the Year” and dedicated a traveling exhibition to his work. He received awards and recognition in Italy and overseas, including first prize in the competition “Racconto e Reportage Fotografico (Storytelling and Photographic Reportage)” held in Fermo. In 1996, “La Fera del Sinigaglia”, with editing by W. Tucci Caselli, was published by the Fondazione E. Monti.

Mario Cataneo died in 2004 on the last of his many journeys to India. Following a donation from his heirs in 2006, the Mario Cattaneo collection has been owned by the Fondazione Museo di Fotografia Contemporanea in the Italian commune of Cinisello Balsamo. The photographic collection comprises over one hundred-ninety thousand film negatives, slides, prints, and contact sheets. This extensive collection attests to Cattaneo’s work between 1950 and 2004 as well as his ability to capture the beauty inherent in humanity, even within the simplest single shot.

Notes: Images of the Mario Cattaneo Collection of the Fondazione Museo di Fotografia Contemporanea can be found online at: https://www.mufocosearch.org/autori/AUF-10090-0000020?pageCurrent=1#paginationTop

The Italian photographic website The Mammoth Reflex has a short article on the work of Mario Cattaneo with several images at: https://www.themammothreflex.com/grandi-fotografi/2020/07/14/mario-cattaneo-mostra-cielo-aperto-cinisello-balsamo/

Top Insert Image: Mario Cattaneo, “Osteria”, 1970, Gelatin Silver Print, Museo di Fotografia Contemporanea

Second Insert Image: Mario Cattaneo, “Giovanni”, Juke box Series, 1960-1962, Gelatin Silver Print, Museo di Fotografia Contemporanea

Third Insert Image: Mario Cattaneo, “Napoli”, 1954, Gelatin Silver Print, Museo di Fotografia Contemporanea

Bottom Insert Image: Mario Cattaneo, “Napoli”, 1954, Gelatin Silver Print, Museo di Fotografia Contemporanea

Gustave Van de Woestijne

The Paintings of Gustave Van de Woestijne

Born at Ghent in August of 1881, Gustave Van de Woestijne was a Belgian expressionist painter whose depictions of humble rural life were shaped by philosophical reflections and avant-garde Western-European trends. While influenced by the Parisian avant-garde, Symbolism and Flemish Expressionism, Van de Woestijne created his own distinctive painterly style.

Gustave Van de Woestijne was the younger brother of writer, poet and art historian Karel Van de Woestijne who, upon the death of their father, oversaw his care. In his youth, Gustave studied at the Ghent Academy for the Fine Arts. Through his brother, he received an intellectual education that, at a young age, opened the door to a world of sculpture, literature and classical music.

In 1900 at the age of nineteen, Van de Woestijne traveled with his brother Karl to the small village of Sint-Martens-Latem on the banks of the River Lys where Karl, who had brought French symbolism to Belgium, founded a colony of loosely affiliated artists from the Ghent Academy. In the company of the First Group of Latem, Van de Woestijne developed artistically and painted biblical and rural life scenes, as well as sensitive portraits of village figures, family members and friends..

Gustave Van de Woestijne, like his brother Karel, organized his life as well as his art around philosophical reflections. He was concerned with existentialist questions that later became magnified with religion. After leaving Sint-Martens-Latem in 1905, he briefly entered the Benedictine Order in Leuven. However after four weeks, Van de Woestijne decided against the monastic life. He was too driven by creative desire to entirely devote his life to the church. Van de Woestijne instead used his painting skills and his palette of subtle earthly colors to portray the Catholic virtues of simplicity, humility and hope.

After leaving Leuven, Van de Woestijne relocated to Etterbeek, a municipality of Brussels and, later, the village of Tiegem in West Flanders. The memories of his stay at the River Lys artist colony still continued to influence both theme and style of his paintings. During the First World War, Van de Woestijne and his family lived in Wales where he spent time in the company of artists Valerius De Saedeleer and George Minna. He painted allegories of the war situation and numerous portraits, including those of his fellow artists. Van de Woestijne also was acquainted with businessman and art collector Jacob de Graaf, who became patron to him and other members of the Latem group.

Gustave Van de Woestijne returned to Belgium in 1913 where he met Brussels art patrons David and Alice van Buuren who purchased their first painting by the artist. Between 1928 and 1931, the couple commissioned seven still lifes from Van de Woestijne for their modernist Brussels house. Eventually, David and Alice van Buuren acquired thirty-two works by the painter, a major part of Van de Woestijne’s oeuvre.

Gustave Van de Woestijne’s 1910 Flemish portrait, “The Farmer”, had displayed the beginning of his movement towards modernism through its refined realism, large areas of color and its symmetrically composed plain background. Various trips to Paris had exposed Van de Woestijne to the artistic avant-garde innovations in the works of Picasso, Modigliani and Rousseau. It was after his return to Belgium that his work became more related to the Modernist movement. Van de Woestijne incorporated those avant-garde developments into his own techniques to create a personal modernist style: a meditative form of symbolism with expressionist and cubist visual elements.

Upon the death of his brother Karel in 1929, Van de Woestijne took over his brother’s position as director of the Academy of Fine Arts in Mechelen and also taught in Antwerp and Brussels. He continued to paint, predominately Christian scenes with a more neutral palette, until his death. Gustave Van de Woestijne died at the age of sixty-five on the twenty-first of April in 1947 at the Belgian city of Uccle. His body is interred in the historic Cemetery of Campo Santo, Sint-Amandsberg, Ghent.

Works by Gustave Van de Woestyne are held in many private collections and public collections that include the Museum of Fine Arts Ghent, Van Buuren Museum & Gardens, and the Museum of Deinze and the Lys Region.

Notes: Conceptual Fine Arts (CFA) has an article by Brussels-based curator and writer Evelyn Simons entitled “The Quotidian Avant-Garde of Gustave Van de Woestyne” on its website: https://www.conceptualfinearts.com/cfa/2020/08/31/gustave-van-de-woestyne/

The Museum of Fine Arts Ghent has a short article on Gustave Van de Woestijne in connection with its 2020-2021 collection exhibition of his work: https://www.mskgent.be/en/exhibitions/gustave-van-de-woestyne

A biography on Karel Van de Woestijne, considered possibly the most important post-symbolist poet to have written in the Dutch language, can be found on the Poetry International website: https://www.poetryinternational.com/en/poets-poems/poets/poet/102-8508_Van-de-Woestijne

Top Insert Image: Gustave Van de Woestijne, “Self Portrait”, 1912, Oil on Canvas, 180 x 48 cm, Private Collection

Second Insert Image: Gustave Van de Woestijne, “Still Life with a White Jug”, 1922, Gouache on Paper, 76.5 x 55.5 cm, Museum of Fine Arts, Ghent, Belgium

Third Insert Image: Gustave Van de Woestijne, “The Liquer Drinkers”, 1922, Oil on Canvas, 109.5 x 99 cm, Museum of Fine Arts, Antwerp, Belgium

Bottom Insert Image: Gustave Van de Woestijne, “Fugue”, 1925, Oil on Canvas, 80.5 x 80 cm, Museum of Fine Arts, Ghent, Belgium

John Singer Sargent, “Study of Seated Man”

John Singer Sargent, “Study of Seated Man”, 1895, Lithograph in Black on Laid Paper, Image 29.4 x 21.8 cm, Metropolitan Museum of Art, New York

In October of 1895 in Paris, Galerie Rapp, located on the Champ de Mars, organized one section of a large exhibition at the Palais des Beaux-Arts that marked the hundredth anniversary of the invention of lithography by Aloys Senefelder. The British printer Frederick Goulding, who had developed an improved transfer paper for lithography, was involved in the show. He encouraged John Singer Sargent and other London artists to participate, even offering to supply them with materials and print their work.

Sargent created six lithographs at this time. Of these, he selected “Study of Seated Man” for the Paris exhibition, which moved in November to the Rembrandt Gallery in London. This print demonstrates Sargent’s progressive engagement with tone. To form the strong highlights falling across the sitter’s shoulders and among the drapery folds, he left portions of the paper in reserve, a technique also seen in his brilliant handling of watercolor.

Lithographs of John Singer Sargent’s “Study of Seated Man” are contained in the collections of New York’s Metropolitan Museum of Art, the National Gallery of Art in Washington DC, the Art Gallery of New South Wales, the McNay Art Museum in San Antonio, Texas, and the Amon Carter Museum of American Art in Fort Worth, Texas.

Insert Image: James E. Purdy, “John Singer Sargent”, 1903, Sepia Matte Print on Card Mount, 14.1 x 9.9 cm, National Portrait Gallery, Washington DC