 Cover of the first edition, November 1934 | |
| Editor | |
|---|---|
| Categories | art and artists |
| Frequency | in theory, monthly |
| Publisher |
|
| Founded | 1934 |
| First issue | November 1934 |
| Final issue Number | December 1937 25 (volume 3, number 8) |
| Country | United States |
| Based in | New York |
| Language | English |
Art Front was an art magazine co-founded by the Artists' Committee of Action and the Artists Union in New York. Twenty-five issues appeared between November 1934 and December 1937. [1] [2] [3]
In early 1934 a group called the Artists' Committee of Action formed to protest Nelson Rockefeller's destruction of Diego Rivera's mural Man at the Crossroads ; Hugo Gellert, Stuart Davis, Zoltan Hecht and Lionel S. Reiss were among the leaders. In the autumn of 1934 Herman Baron, director of the American Contemporary Art gallery, was asked to join them; he offered to publish a bulletin for the group, like those he had previously issued through his gallery. Gellert suggested to the Artists Union that they should collaborate on the project. The name Art Front was suggested by Herbert Kruckman. [3]
The first issue appeared in November 1934. Baron was managing editor, with an editorial committee of sixteen, eight from each of the partner groups. Apart from Gellert, Davis and Hecht, those from the Artists' Committee of Action were Hilda Abel, Harold Baumbach, Abraham Harriton, Rosa Pringle and Jennings Tofel, while those from the Artists Union were Boris Gorelick, Katherine Gridley, Ethel Olenikov, Robert Jonas, Kruckman, Michael Loew, C. Mactarian and Max Spivak. [2]
Kenneth Mackenzie Clark, Baron Clark was an English art historian, museum director, and broadcaster. After running two important art galleries in the 1930s and 1940s, he came to wider public notice on television, presenting a succession of programmes on the arts during the 1950s and 1960s, culminating in the Civilisation series in 1969.
Willem de Kooning was a Dutch-American abstract expressionist artist. He was born in Rotterdam and moved to the United States in 1926, becoming an American citizen in 1962. In 1943, he married painter Elaine Fried.
Stuart Brisley is a British artist.
In art, a sacra conversazione, meaning "holy conversation", is a genre developed in Italian Renaissance painting, with a depiction of the Virgin and Child amidst a group of saints in a relatively informal grouping, as opposed to the more rigid and hierarchical compositions of earlier periods. Donor portraits may also be included, generally kneeling, often their patron saint is presenting them to the Virgin, and angels are frequently in attendance.
Group X was a short-lived British artistic movement in the years after the First World War, which held an exhibition in 1920 and planned others that never happened.
Pietro Consagra was an Italian sculptor. In 1947 he was among the founding members of the Forma 1 group of artists, who advocated both Marxism and structured abstraction.
Arnold Abraham Goodman, Baron Goodman, CH was a British lawyer and political advisor.
The John Reed Clubs (1929–1935), often referred to as John Reed Club (JRC), were an American federation of local organizations targeted towards Marxist writers, artists, and intellectuals, named after the American journalist and activist John Reed. Established in the fall of 1929, the John Reed Clubs were a mass organization of the Communist Party USA which sought to expand its influence among radical and liberal intellectuals. The organization was terminated in 1935.
Hugo Gellert was a Hungarian-American illustrator and muralist. A committed radical and member of the Communist Party of America, Gellert created much work for political activism in the 1920s and 1930s. It was distinctive in style, considered by some art critics as among the best political work of the first half of the 20th century.
Charles Isaac Ginner was a British painter of landscape and urban subjects. Born in the south of France at Cannes, of British parents, in 1910 he settled in London, where he was an associate of Spencer Gore and Harold Gilman and a key member of the Camden Town Group.
Marion Margaret Violet Manners, Duchess of Rutland was a British artist and noblewoman. A granddaughter of the 24th Earl of Crawford, she married Henry Manners in 1882. She was styled the Marchioness of Granby from 1888 to 1906, when Manners succeeded as Duke of Rutland. She had five children, including the 9th Duke of Rutland and the socialite Lady Diana Cooper.
Unit One was a British grouping of Modernist artists founded by Paul Nash. The group included painters, sculptors and architects, and was active from 1933 to 1935. It held one exhibition, which began at the Mayor Gallery in Cork Street, London, and then went on an extended tour, closing in Belfast in 1935. The artists planned the group at meetings held at the Mayor Gallery; Paul Nash announced its creation in a letter to The Times on 12 June 1933. A book by Herbert Read, Unit One: the modern movement in English painting, sculpture, and architecture, was published at the time of the exhibition. Despite its brief period of activity, the group is regarded as influential in establishing the pre-eminence of London as a centre of modernist and abstract art and architecture in the mid-1930s.
The Master of the Legend of the Magdalen was an Early Netherlandish painter, active from about 1483 to around 1527. He has not been identified; his name of convenience is derived from a large, now-dispersed altarpiece with scenes from the life of Mary Magdalene, which has been dated to between 1515 and 1520 based on the costumes of the donor portraits. However other works attributed to him are extremely difficult to date with any accuracy. Many paintings have been linked with the triptych, which is thought to have been finished late in the artist's career. Other major works include his two Magdalen panels in London.
The American Artists' Congress (AAC) was an organization founded in February 1936 as part of the popular front of the Communist Party USA as a vehicle for uniting graphic artists in projects helping to combat the spread of fascism. During World War II the organization was merged into the Artists' Council for Victory, which effectively spelled the end of the organization.
Ida Kar was a photographer active mainly in London after 1945. She took many black-and-white portraits of artists and writers. Her solo show of photographs at the Whitechapel Gallery in 1960 was the first of its kind to be held in a major public gallery in London. Kar thus made a significant contribution to the recognition of photography as a form of fine art.
Richard Scheibe was a German artist primarily remembered as a sculptor. He trained as a painter, and taught himself to sculpt beginning in 1906. From 1925-1933 he taught at the Städelsches Kunstinstitut in Frankfurt am Main. He was dismissed from teaching when the Nazis seized power but was reinstated in 1934. He received various recognitions during the Third Reich, including the Goethe-Medaille für Kunst und Wissenschaft and placement on the Gottbegnadeten list. After World War II he continued to sculpt, including a figurative piece for the Memorial to the German Resistance. His work was also part of the sculpture event in the art competition at the 1928 Summer Olympics.
Anthony Imre Alexander Gross was a British printmaker, painter, war artist and film director of Hungarian-Jewish, Italian, and Anglo-Irish descent.
Pat Douthwaite was a Scottish artist. She has been notably compared to Amedeo Modigliani and Chaïm Soutine, the peintres maudits of early twentieth-century Paris.
The McKinley Birthplace Memorial gold dollar was a commemorative coin struck by the United States Bureau of the Mint in 1916 and 1917, depicting the 25th President of the United States, William McKinley. The coin's obverse was designed by Charles E. Barber, Chief Engraver of the Mint, and the reverse by his assistant, George T. Morgan. As McKinley had appeared on a version of the 1903-dated Louisiana Purchase Exposition dollar, the 1916 release made him the first person to appear on two issues of U.S. coins.
The Artists Union or Artists' Union was a short-lived union of artists in New York in the years of the Great Depression. It was influential in the establishment of both the Public Works of Art Project in December 1933 and the Federal Art Project of the Works Progress Administration in August 1935. It functioned as the principal meeting-place for artists in the city in the 1930s, and thus had far-ranging effects on the social history of the arts in America.
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