Tag Archives: Artist

How Men And Women Think Differently As Seen In A 100-Year-Old Illustration

100+ Years Later-  What is the “Difference”?

A while ago, browsing through old news sources for verification of a story, I came across an illustration from Harper’s Weekly from the early 1900s.

If there is an artist’s signature, unfortunately I could not find it.

Harper's Weekly man and Woman illustration How each sex think's differently.The Illustration taking the entire page is titled “The Difference.” It might be construed by some people today as politically incorrect, totally sexist or completely accurate. Continue reading

Madison Square In 1887

A Winter Scene Of Madison Square 1887

etching Madison Square 1887 artist Frank M Gregory

This charming etching by Frank M. Gregory (1848-1927) comes from a limited edition book Representative Etchings By Artists of To-day In America by Ripley Hitchcock, 1887, Fredrick A Stokes. The book included ten original etchings from noted artists of the day including Frederick S. Church, Robert F. Blum and Stephen Parrish.

We are looking north up Fifth Avenue. The busy street scene with horse drawn carriages, delivery wagons and pedestrians features a Broadway Squad policeman escorting a young girl across the street.

On the left is the Fifth Avenue Hotel and beyond that is Broadway. The obelisk in the center is the General William Worth Monument. Directly behind the monument on 25th Street, where Fifth Avenue and Broadway diverge is the building that housed The New York Club, an exclusive men’s club, in 1887. The building was originally built in 1865 as a hotel named Worth House.  In 1888 a fire displaced the New York Club. The structure that now occupies that site, was built in 1918 and is the New York flagship store of Porcelanosa.

Madison Square Park is barely visible on the right.

Further up Fifth Avenue on the corner of 26th Street is the Brunswick Hotel. Diagonally opposite the Brunswick is the famous Delmonico’s restaurant.

The steeple in the distance on Fifth Avenue and 29th Street is the Marble Collegiate Church.

New York City 1899-1917 As Painted By Paul Cornoyer

The Fabulous New York City Paintings Of Paul Cornoyer

The Flatiron Building as seen from behind the General Worth monument – Paul Cornoyer

Paul Cornoyer

We’ve covered Paul Cornoyer (1864-1923) previously and want to showcase some more of his splendid work. He is not a name well known outside of the fine art world, but his New York City paintings are extraordinary and deserve wider appreciation.

Washington Square and the arch after snow – Paul Cornoyer

Paul Cornoyer was born and raised in St. Louis, Missouri where he studied at the School of Fine Arts in 1881 working in a Barbizon style of painting. In 1889, Cornoyer went to Paris for further training, and returned to St. Louis in 1894. He came to New York City in 1899 where he established a studio. He remained in New York until 1917 painting various scenes about Manhattan.

Central Park The Boat Pond – Paul Cornoyer

Paul Cornoyer’s impressionistic and tonal paintings of New York City at the turn-of-the-century have a genuine charm to them. Cornoyer’s paintings capture a feeling which is difficult to describe. Cornoyer’s work is very different from any of the other Impressionist or Ashcan artists painting New York City at the same time, such as Childe Hassam or John Sloan. Cornoyer’s work is a little bit softer as are his subjects. There is melancholy present in many of his paintings. But Cornoyer also conveys the palpable exuberance of a new century. A city growing, expansively and vertically yet still clinging to its 19th century humanity.

Late Afternoon Washington Square – Paul Cornoyer

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New York in the 1920’s & 30’s as Seen by Luigi Kasimir – Part 2

Six More Views of New York City From The 1920s & 30s by Artist Luigi Kasimir

New York City skyline as seen from Central Park. Etching by Luigi Kasimir

Seven years ago we featured the art work of Luigi Kasimir.

In the first half of the 20th century Kasimir was admired by peers and critics in the art world. His name has been forgotten in the 21st century by most people, except New York art aficionados.

Luigi Kasimir was born in 1881 in the Austrian-Hungarian Empire and later came to New York where he repeatedly captured the architectural sights of the city. Kasimir is best known for his detailed etchings, many of which were done in color, which apparently was not the norm for early 20th century etchings.  The New York Times distinguished Kasimir from other etchers of the time at a contemporary exhibition in 1926 by referring to him as a “colorist.” These aquatints have a vibrancy that makes the New York of the 1920’s and 1930’s come alive.  Kasimir was prolific and produced hundreds of works until his death in 1962.

We thought it was worth taking another look at Kasimir’s delightful scenes of New York. So here are six additional etchings of Luigi Kasimir’s New York City.

(click on any etching to enlarge.)

Wall Street, April 1936 Continue reading

New York In The Late 1940s As Seen By The Saturday Evening Post’s Cover Artists

Five Classic New York City Saturday Evening Post
Magazine Covers

A magazine with great cover art? The New Yorker fits the bill with every issue having an illustration adorning the covers since beginning publication in 1925.

Over the course of the 20th century photography eventually replaced magazine cover art. But if there was a magazine that could give The New Yorker a challenge in the cover art department, it would be The Saturday Evening Post.

If The New Yorker was the quintessential representative for sophisticates, then The Saturday Evening Post represented the rest of America. The covers of The Saturday Evening Post mirrored America, the same way The New Yorker echoed New York.

Arguably no New Yorker cover artist past or present is widely known to most Americans. The Post fostered the career of a legendary artist, Norman Rockwell. From the late teens until the 1960s Rockwell drew an astounding 321 covers for the magazine. Rockwell’s name and work is still recognized by millions of people nearly 40 years after his death.

But what of the hundreds of other talented artists who illustrated magazine covers? There were only a few artists who worked for both the New Yorker and The Saturday Evening Post. Each magazine wanted exclusivity considering the illustration style was at times somewhat similar.

Every now and then, the Post would feature a New York City scene on its cover.

Here are five examples from the 1940s.

John Falter (1910-1982) drew over 120 covers for the Saturday Evening Post. The April 30, 1949 cover shows Central Park and the skyline of the upper east side. The original cover Falter submitted had a lightning bolt and a rainbow simultaneously, which concerned the Post’s editors. They consulted the weather bureau asking if it was possible to have both lightning and a rainbow appear at the same time? The weather bureau replied they had never seen the phenomenon but where weather was concerned “anything could happen.”

The Post’s Art Department decided to remove the lightning and the illustration appeared as seen here.

Constantin Alajalov (1900-1987) was one of those few artists who worked concurrently for The New Yorker and The Saturday Evening Post. The February 12, 1949 cover has  a young lady in a travel office dreaming of getting away from the cold as she’s surrounded with posters advertising sunny locales. Note there is something never seen in New York City anymore: clotheslines connected from building to building. Alajalov originally drew snowflakes falling in the courtyard, but then decided to remove them when he thought: would anyone be drying clothes in a snowstorm? Probably not. So either remove the clotheslines or the snowflakes. Alajalov chose to remove the snowflakes. Continue reading

New York In 1911 As Drawn By Vernon Howe Bailey

6 Drawings Of New York Unseen For Over 100 Years By Vernon Howe Bailey

Times Square The Great White Way (1911)

Obscure publications can yield hidden gems. These drawings by famed artist Vernon Howe Bailey appeared in the Illuminating Engineer in 1911 and as far as can be determined have not been reproduced since then.

Vernon Howe Bailey (1874-1953) was a prodigious illustrator whose work appeared primarily in  newspapers and magazines.

He eventually made his way to the New York Sun newspaper in the 1920s where he captured New York’s architecture and streets  with exquisite on-the-spot illustrations.

Eventually a good deal of Bailey’s New York City work was compiled in a book called Magical City. These illustrations were not included in that book. So for the first time in over 100 years here are Vernon Howe Bailey’s renderings of New York City in 1911.

Looking North on the Speedway to the Famous High Bridge (1911)

As these illustrations were intended for a magazine promoting electric lighting, you will notice that electric light fixtures appear rather prominently in each illustration.

The Harlem Speedway, where wealthy New Yorker’s used to take out their horse drawn carriages for a spirited run, was eventually incorporated into the highway that became the Harlem River Drive. Continue reading

UFO In A 15th Century Painting?

A Flying Saucer Or Just A Radiant Cloud?

The Madonna with Saint GiovanninoThe Madonna with Saint Giovannino by Domenico Ghirlandaio 1449 – 1494, is on display in the Sala d’Ercole in Palazzo Vecchio, Florence, Italy.

The Madonna with Saint Giovannino ufoThere is nothing unusual about the painting until you look over the shoulder of the Madonna and in the right hand corner there is this object:

Now many people who have looked closely at this painting see nothing but a cloud. But there are others who claim that this is an object that is intended to represent some sort of flying object. At first glance it does appear to have some of the characteristics of a flying saucer.

The Madonna with Saint Giovannino ufo 2 Continue reading

At Death’s Door: Beautiful Mausoleum Doors & Gates At Brooklyn’s Green-Wood Cemetery

An Artistic Treasure – Brooklyn’s Green-Wood Cemetery Mausoleum Doors And Gates

Frederick Kampfe mausoleum door Green-Wood Cemetery, Brooklyn

Frederick Kampfe mausoleum door Green-Wood Cemetery, Brooklyn

Ambrose Bierce in his Devil’s Dictionary defined a mausoleum as “the final and funniest folly of the rich.”

Of course some of the mausoleums at Green-Wood Cemetery in Brooklyn are elaborate and cost as much as a nice house back in the day. But regardless of Bierce’s cynicism, many of the wealthy spent large amounts of money hiring top architects to design and build their final resting places in hopes of producing eternal shrines to themselves. While many names emblazoned on the tombs are now forgotten, their inhabitants ended up with some beautiful and memorable architectural work that because of their location, a cemetery, is not seen by many.

Thorne - Smith mausoleum door Green-Wood Cemetery, Brooklyn

Thorne – Smith mausoleum door Green-Wood Cemetery, Brooklyn

Here we are focusing on the doors and gates to these mausoleums which were done by artisans of the highest caliber. Some are ornate, some are ostentatious, and some are simple yet elegant.

While some of the decorations on the doors are purely artistic in form, others display symbols which have deeper meanings. Because these mausoleums were commissioned works, the symbolism displayed on the doors was usually well thought out by their owners.

In the 19th and early 20th century many people who visited cemeteries understood the subtle meanings of the icons. It is now mostly a lost art, with crosses, Stars of David, and other common symbols dominating newer funeral markers.

Let us pause and gaze at a few examples of mausoleum portals featuring old school craftsmanship at fabulous Green-Wood Cemetery in Brooklyn. (click any ph0to to enlarge)

Peter Moller mausoleum door Green-Wood Cemetery, Brooklyn

Peter Moller mausoleum door Green-Wood Cemetery, Brooklyn

Valentine Mott mausoleum door Green-Wood Cemetery, Brooklyn

Valentine Mott mausoleum door Green-Wood Cemetery, Brooklyn

The large angel in relief is flanked on top by two smaller angels blowing trumpets representing the Call to the Resurrection.

Acea mausoleum door Green-Wood Cemetery, Brooklyn

Acea mausoleum door Green-Wood Cemetery, Brooklyn

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New York Of The Future As Imagined In 1939

1939 Architects Visualize How New York Would Look In 1950

New York of the future in 1950 as imagined in 1939

Over the years there have been many people who have tried to predict what New York City would look like in the future.

The architects who came up with this vision of Manhattan were way off. Considering that this drawing was made in 1939 and was showing what the city would look like only eleven years later, it is wildly inaccurate. That may be attributed in part to World War II which disrupted almost all building plans.  The artist is V. Hagopian.

Here is the partial text that accompanied the release of this drawing in 1939.

Here’s the New York City of 1950, as prepared by the architects for their great Exposition of Architecture and the Allied Arts which opens April 15th and published today for the first time. And its not a stretch of the imagination at that, for almost every detail of the picture, though not so extensive a scale, can be found in New York today, even including upper terraces on which people may walk.

Starting at the bottom: All freight, trucks and subways will proceed underground. Pneumatic tubes will carry first-class mail at high speed as now, but will be extended to airplane landing stations over the Hudson River piers, and mail after passing through the post office, will be shot at great speed through pneumatic mail tubes leading into office buildings. Street at ground levels will accommodate passenger and other lighter type automobiles.

Elevated sidewalks even with the second story level in the buildings and crossing above the streets at intersections will forever remove the streets from our midst.

Graffiti As Vandalism, Not Art

Museum of The City Of New York Graffiti Exhibition Doesn’t Show What The Majority Of Graffiti Is – Unintelligible Scrawls By Vandals

I caught the newest exhibit at The Museum of the City of New York entitled “City as Canvas,” which glorifies the practitioners of graffiti and their “work” during the 1970’s and 1980’s in New York City.

For anyone who thinks that graffiti is something to be celebrated in a retrospective by an exhibition at an important cultural institution, here is some evidence to contradict that viewpoint.

Iouri Podladtchikov, Olympic half-pipe king visits the lower east side with typical graffiti defacing a grand old building. photo - Casey Kelbaugh for the New York Times

Iouri Podladtchikov, Olympic half-pipe king visits the lower east side with typical graffiti defacing a grand old building. photo – Casey Kelbaugh for the New York Times

A typical display of current graffiti “art” as seen in this building covered by spray paint on the lower east side really is a better representation of the so called graffiti artist. It pains me to see old handcrafted stone buildings covered with paint. The beautiful Queensboro Bridge girders and stonework are always being cleaned and re-painted due to these miscreants who attack our public property with their spray cans, markers and etching knives.

Subway graffiti photo taken Feb 8, 1982

Subway graffiti photo taken Feb 8, 1982

The onslaught of graffiti began in earnest in the subway system in the 1970’s where riding a train was a demoralizing prospect. Almost every single car was covered in dripping unintelligible paint and marker scrawls, which obliterated any blank spaces. Continue reading