How I Built My Dream Palace by Cheval

January 12, 2010

The Wide World: The Magazine For Everybody, Volume 42, Nov 1918
How I Built My Dream Palace

Postman Cheval,the maître incontesté de l’architecture et de la sculpture médianimiques, describes building his ideal palace in his own words. Particularly interesting is how he describes creating a mental image of the entire construction over several years, with a photographic exactness. Then one faithful morning in 1879 he tripped over a rock and started the project that would take the next 34 years.

Next day, as soon as my duty was over, I took my wheelbarrow to the place, six miles off, where I had seen the stones, and came back with a load of them, which I put in the little garden in front of my house. I did this every day for several months, and eventually had a pretty large pile in my garden. My neighbours began to take notice of this dailytrundling after these stones. At first they thought I was accumulating material to sell to the road surveyor, but I soon disabused their minds of such a notion.

“Then what do you intend to do with them?” they would ask.

“I am going to build a palace,” was my reply.

Whole magazine is great, tons of illustrations of savage animals and people. Max Ernst would have a field day with this.


Art of Pamela Bianco

January 11, 2010

The International studio, Volume 68, July 1919

The Drawings Of Pamela Bianco

Early article about artist Pamela Bianco, then 12 years old.  Four color images and a bunch of line drawings.  Her work has an amazing dream-like quality, indescribable.

This one reminds me of something from  Henry Darger:

Vanity Fair Nov 1922

December 29, 2009

Yvonne George

Vanity Fair

Pretty cool 3 pages:

Page 49
Yvonne George: Late of Chez Fisher; Now of Ours

Yvonne was the beloved of Robert Desnos, who wrote some of his best poems to her. Short article of her working in NYC with a picture.

Page 50
A New Method of Realizing the Artistic Possibilities of Photography

Very early article about Man Ray’s rayographs. So early that he is still called a painter! Four rayographs and a pic of the artist.

Page 51
News of the Seven Arts in Europe

News of the arts in Europe by none other then Tristan Tzara himself. Mentions Arp, Ernst (who was then still in Cologne), two new Dada books in Paris (by Soupault and Eluard), Henri Rousseau retrospective.

Tzara then gives an interesting account of the collapse of Breton’s Congress of Paris, never thought that Peret was ever not in Breton’s camp (text is a little chopped off on the right):

A storm, memorable in the annals of modern art, has lately disturbed our life in Paris. A group of artist’s decision to hold a sort of convention in defense of modern art; unfortunately they at once proved themselves dogmatists of the narrowest kind, with a straightness of view which could not leave us cold. Satie and I organized a meeting of protest which buried the Convention and discredited its members. We issued a little pamphlet Le Coeur a Barbe. Contributors: Satie, Ribemont-Dessaignes, Eluard, Peret, Soupault, Fraenkel and I. The paper on which it was printed was of a vulgar pink: a housewife would not hesitate to wrap a camembert in Le Coeur a Barbe. The cover looked like a rebus, but only a haphazard mixture of pictures from catalogues of 30 years ago.

International Exhibition of Modern Art

December 28, 2009

International Exhibition of Modern Art

The famous armory exibition of 1913.

Art Revolutionists on Exibition in America

The American review of reviews, Volume 47

Very good piece, talks about entire exibit and not just moderns.

Why I Became A Cubist

Everybody’s magazine 43 june 1913

Think this is article that originated “explosion in a shingle factory”, writer is a dick. Interesting that he goes on at length about Gertrude Stein, apparently she was only reference point that Americans at the time had for modernism.

International Exhibition of Modern Art

The American Year Book 1913

The Cube Root of Art

The Independent, Volume 74 jan – jun 1913

This one both gets it and completely misses it in same paragraph:

Much of this new art is not modern in any sense except the chronological. Men were drawing this way five thousand, indeed fifty thousand years ago. We see on some of these canvases the swelled muscles of Babylonian statues, the elongated limbs and misplaced eyes of the Egyptian basreliefs, even the crude animals of the Altamira caverns. Some of these artists have obviously taken lessons from Hindu and Amerind, from Maori and Minoan. It is all right thus to hark back to primitive races and study their work sympathetically. It may well be that mankind has forgotten something in the course of the centuries in which so much has been learned. But that is no reason why we should admire the results of this resurrection of dead art unless it appeals to the modern man by intrinsic merit. These extremists, when their works are not admired, or at least not sold, complain of the times in which they live and lament that they have appeared on earth some centuries too soon. We sympathize with them in this. It is our misfortune no less than theirs. But we cannot help it and we are not willing to admit that the world is now so old that the period of its second childhood in art has arrived.

Later article but funny

Some Remarks Upon Modern Tendencies in Art

The Sewanee review, Volume 28 1920

It has been suggested, in connection with the now famous “Nude Man Descending a Staircase”, by Marcel Duchamp, that if in looking at it one can wink the eyes with sufficient rapidity the figure will assemble its scattered members and proceed to walk down the stairs. I have tried the experiment, but with no great success. I fear that I am unable to wink rapidly enough to meet the cinematic demands of the case, which would be at least fifteen winks to the second.