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BY WENDALL HAZEN
Considerable has been said of the lack of sub-
stance and strength of modern art.
It cannot be truly said of Picasso’s mural,
“Guernica,” that it lacks these qualities. When
the masterpiece part only, brought to Harvard its
biggest crowd of the season, the officials of the Fogg Museum at Harvard University
the other day.

The art of the modernists, from Cezanne down
through the surrealists, has brought many problems
to the men who hang their pictures. Dr.
Paul J. Sachs, associate director of the Fogg, as to
the masterpiece part only, brought to Harvard its
biggest crowd of the season, the officials of the Fogg Museum at Harvard University
the other day.

It was a problem of hanging. Not the artist, I
hasten to assure you, although that has been various-
ly suggested. The picture is 25 by 11 feet in dimensions, was
hung. It was the picture that caused the difficulty.
In the weird, small hours of the morning, the
casual observer, who had not the other a crate of
seeming Brobdingnagian proportions, were turned
over to the hanging committee. Which last is a po-
lite term for the director, the assistant director, the
Harvard house carpenter and his assistants.

HUNK OF WEIRD DISTORTIONS
What Picasso’s hunk of weird distortions, vari-
ations on the human form no longer divine, actually
weighs, with the rare defily removed, have being the
freight agent’s next term for the weight. Probably in
the neighborhood of 800 pounds of canvas and paint, and
craftily fabricated wooden batters which form its
frame.

Three huge step-ladders and three sets of block
and tackle were pressed into service by the carpen-
ter who, fortunately for the artist, has a professional career as a
rigger.

Under the glaring beams of a battery of klieg
lights, the picture was hung in the balcony, the work went on.
To hang the thing was an impossibility. Such a
weight of canvas and wood, so nothing of its
possible intellectual content, was hung in the temple. So
taking advantage of local conditions, the picture
was hoisted up, some eight feet in air, and stood
on a platform, so that the visitors to the Fogg
which are spaced around the interior walls of the
exhibition room.

In front, to mask it, was draped a cloth-covered
frame, which, catching in the stone walls of the
room itself.

Proudly, the professor pointed out, the picture
was hung. “It is,” he said, “the first time that the picture
has been hung in this way. In the New York
Museum of Modern Art, from whence it came on
loan, and where it has been previously exhibited, it
was hung low. The Fogg is the first museum to hang it at this height. The artist himself did not
have to retain any reliable stability after a few minutes’ exposure to the picture.

Here and there, as your glance wanders back and
forth, like the electric eye of a television scanner,
you catch the welcome sight of a familiar object ...
almost. A hand, holding a light, and comforting to the
sense of fitness of things, until you discover that
the arm attached to the outstretched hand is dis-
articulated, and the head, which should be at the
neck, is at the body. Zeus, whose totality of form dis-
appears at the neck.

EYES COCKNEYED
Heads, cut into the usual cubist patterns, house
the right eye in the proper anatomical location,
the other is as likely to be in the neck, as anywhere
else.

The canvas, states Benjamin Howard, Jr., asso-
ciate professor of fine arts at Harvard, is good Picasso.
“Picasso attempts here,” he expands, “to re-
capture the lost world of the past, the halcyon days of
mythological fantasies, memories, etc., stored
in our minds and in our dreams.

These are his imaginings of a new anatomy cal-
culated to express the structure of human beauty,
to suggest the mental and physical disintegration
and terror of people dying under the bombs.

The picture, which has been seen by thousands of Greeks
but we, too, have a hard time. It is an abstraction.

Picasso, who practically never introduces any philo-
sophical explanation of his art, never explains the
symbolism of the picture, which is, however, not
difficult to understand. It is a picture of the Spanish
civil war, and the bombing of the town of Guernica.

In the center of the picture is a horse, and the
horse is a symbol of the people. The bull is the sym-
bol of the fascist. The woman, with the dead child
in her arms, is the symbol of the mother of the
people. The light, which is the symbol of the hope of
the people, is the light of the future.

The picture is a symbol of the Spanish civil war, and
the bombing of the town of Guernica. It is a picture of
the war, and the war is the symbol of the war.

PRODUCT OF ART UPHEAVAL
Born of the, by comparison, feeble adventures
in form of Matisse, Friesz, Marque, Van
Dongen, Dufy and Vlaminck, who advocated lyrical
deformations of nature and created a new style of
art, which they called “Fauves,” or wild beasts. Pic-
asso later on his experiments and went on to better
things.

It was a time of upheaval in art. After the Fauves
came, with bewildering speed and effect, Futurism,
Orphism, Expressionism, Vorticism, Purism, and a
host of like “isms,” each with its own particular twist
in purpose and design. Novelty in treatment and
form, and the constant search for new ways and the
doors of the conservatives’ exhibitions were stormed, with ultimate success, by the im-
pulses of the “wild men” of the new school, and
within our own modern time, by the surrealists.

It became unfeasible not to be able to turn out
a canvas that could be deciphered as to meaning
by the initiated. The public, however, was not
himself serving in that helpful capacity.

The names of Van Gogh, Gauguin, Matisse, be-
came household words. Picasso, probably the cleverest man in the
history of art, had his time and picked his
style, and has been in the vanguard of the new
changes, both in the world about him and in art, with
growing fame and added wealth. His canvases have been sold for
thousands of dollars. Picasso is a rich man, and a
famous one. His art, however, is not for the
fainthearted.

Just where chicanery begins and art ends is a
difficult to decide, especially in such a case as that
of Picasso. He has, at times, been accused of being
an art, whose inventions and contortions have not been
so successful in acceptance, say that he is nothing
but a charlatan, a fool with paint who somehow con-
veys a definite, though not always pleasant, meaning.

HIS STRANGE PORTRAITS
They cite interesting examples, drawn from his
art.

There was the time he painted a lodging with
the head of a bull. The bull’s head, the uneducated
eye, held nothing but a group of carefully painted
patches, which he exhibited as a portrait of his
father.

The coming of Picasso, together with the
happy circumstance, for him, it is not for the lovers
of classicism in art, that he had friends with what
is called “influence,” has meant that the modernists
in art.

Which has brought his general acceptance to the
point where he can command an entire exhibition hall in a Harvard
museum, for the display of what, as my photographer

The image depicts a page from a newspaper or magazine article titled "By Wendall Hazen." The article discusses the challenges and historical context surrounding the creation and display of Paul Cézanne's masterpiece "The Hanging" (also referred to as "The Large Bathers"), which is currently in the Fogg Museum at Harvard University.

Key points from the article include:

1. Substance and Strength of Modern Art: Hazen notes the lack of substance and strength in modern art, particularly Picasso's works, and the difficulties in displaying them.

2. The Hanging of "The Large Bathers": The article describes the difficulties encountered in hanging Picasso's painting, which weighs approximately 900 pounds. The canvas is large, measuring 11 feet in height and 25 feet in width. It was initially hung upside down, which caused issues with the painting's placement and the structural integrity of the exhibition space.

3. Hunk of Weird Distortions: The article humorously discusses the "weird distortions" of Picasso’s painting, noting that it was draped and later removed from the exhibition due to its size and unusual hanging method.

4. Artist's Indignation: The text mentions Picasso's reaction to the hanging difficulties, calling it a "classicist" king of modernists, and his indignation at the lack of understanding and acceptance of his work.

5. Product of Art Uphroval: It references the "art upheaval" and the avant-garde movements, including Futurism, Expressionism, and other artistic movements that have led to the current state of modern art.

6. Strange Portraits: The article briefly touches on Picasso's portraits, highlighting his unique style and how they were perceived and accepted within the art world.

The piece overall emphasizes the complexities and controversies surrounding modern art, particularly the challenges faced by artists like Picasso in creating and displaying their works.

The document discusses the challenges and controversies surrounding Pablo Picasso's mural, "Guernica," which was initially intended to be part of the modern art collection at the Fogg Museum at Harvard University. The mural, weighing 25 tons, was too heavy for the intended space and was eventually hung in the Harvard Carpenter Center instead. The text also explores Picasso's artistic process and the evolution of modern art, noting that Picasso's work often defied traditional artistic rules and conventions. It mentions Picasso's use of cubism and his experiments with new forms and techniques, which were initially met with resistance but later gained acceptance. The document highlights Picasso's influence on modern art and his ability to innovate despite initial skepticism. It also touches on the broader context of modern art, including the works of artists like Van Gogh and Matisse, and the challenges faced by modern art in gaining public recognition.

The image is a page from a document discussing the art of Pablo Picasso, written by Wendall Hazen. The text focuses on Picasso's modernist approach and the challenges he faced with his large-scale works, particularly his mural "Guernica," which was commissioned for the Spanish Pavilion at the Paris Exposition of 1937.

Key points include:

1. Picasso's Artistic Process and Challenges:

   • Picasso's mural, "Guernica," was initially intended to be a large-scale work of 900 pounds of modernist art.
   • The mural was hung at the Fogg Museum at Harvard University, where it posed challenges due to its size and weight.
   • The hanging difficulties were resolved by creating a special crate, but the piece was ultimately removed due to the weight and structural concerns.

2. Picasso's Weird Distortions:

   • The text discusses Picasso's use of distortions in his human figures, which were often exaggerated for artistic effect.
   • Examples include the three-step ladders and sets of block and tackle used to hang the mural, and the unusual placement of figures in the artwork.

3. Picasso's Indignation:

   • Hazen mentions Picasso's frustration with the handling of his work, particularly his mural at the Museum of Modern Art in New York.
   • Picasso expressed his displeasure with the way his works were hung, emphasizing the importance of the artist's vision in the presentation of the art.

4. Picasso's Artistic Legacy:

   • Hazen notes Picasso's significant impact on modern art and his ability to captivate audiences with his unique style.
   • The text highlights Picasso's fascination with cubism and his innovative techniques in painting, which often involved unconventional methods like painting on the floor.

5. Picasso's Portraits:

   • The document includes a brief mention of Picasso's portraits, specifically a portrait of a mistress, which was painted quickly and exhibited as a portrait of his father, showcasing Picasso's ability to manipulate perception and create intriguing artworks.

6. Picasso's Influence on Modern Art:

   • The text concludes by discussing the broader influence of Picasso and modern art, mentioning artists like Van Gogh, Gauguin, and Matisse, and the unique styles and themes they introduced, such as expressionism and futurism.

The document is a detailed exploration of Picasso's methods, frustrations, and contributions to modern art, providing insight into his complex artistic process and enduring influence.

The image contains an article titled "BY WENDALL HAZEN" discussing the artwork of Pablo Picasso, specifically his piece "Guerrica," and other aspects of his style and influence.

Summary:

1. Introduction to Picasso and "Guerrica":

   • The author begins by mentioning the lack of substance and strength in contemporary art, using Picasso's "Guerrica" as a notable exception.
   • "Guerrica" was created in response to the bombing of the town of Guernica and is displayed at the Museum of Modern Art at Harvard University.

2. Modern Art Issues:

   • Modern art, particularly since Cézanne, has faced challenges with realism and representation.
   • Picasso’s work, including "Guerrica," was initially met with skepticism but eventually gained respect.

3. Hunk of Weird Distortions:

   • Picasso’s style often involves significant distortions and abstract representations of the human form.
   • The author describes various unusual elements in Picasso's work, such as misplaced body parts and objects that defy logic.

4. Expressive Artist’s Indignation:

   • Picasso’s work is driven by a deep emotional response to his subjects, reflecting his political and social views.
   • The artist’s ability to evoke strong reactions through his work is noted, even if some pieces are not immediately understandable.

5. Eyes Cockeyed:

   • Picasso’s unconventional depiction of human features, especially eyes, is discussed. The eyes in his paintings often do not follow traditional artistic rules, adding to the uniqueness of his style.

6. Product of Art Upheaval:

   • Picasso’s contributions to art came during a time of significant upheaval and experimentation in the art world.
   • His work is seen as both a reaction to and a catalyst for the evolving norms and expectations of modern art.

7. His Strange Portraits:

   • The article highlights Picasso's unusual approach to portraiture, where he often distorts features to evoke certain feelings or ideas.
   • This approach sometimes results in unsettling or surreal depictions, challenging viewers to look beyond traditional aesthetics.

Overall, the article provides a detailed critique of Picasso's artistic methods, emphasizing his unique contributions and the often provocative nature of his work.

The image contains a newspaper article written by Wendall Hazen, discussing the art and exhibitions of a modern artist named Picasso. Here is a detailed summary of the content:

Title and Author:

• The article is written by Wendall Hazen.

Content Summary:

1. Introduction:

   • The article discusses the lack of substance and strength in modern art, specifically Picasso's mural.
   • The mural, weighing 600 pounds, is currently at Harvard University's Fogg Museum.

2. Artistic Challenges:

   • The article mentions the difficulties faced during the hanging of Picasso's mural, which required a carpenter and assistants.
   • The mural's size and weight posed significant challenges, including the need for special equipment and personnel.

3. Hunk of Weird Distortions:

   • The article describes Picasso's art as a collection of weird distortions, including various shapes and forms.
   • The mural features elements like wooden battens, canvas, and tarpaper, creating a chaotic and distorted visual.

4. Expresses Artist's Indignation:

   • Picasso's art is seen as a form of protest against political and social issues, such as the Spanish Civil War and the bombing of Guernica.
   • The article mentions Picasso's political views and his refusal to accept a Royalist government in Spain.

5. Eyes Cockeyed:

   • The article critiques Picasso's use of unusual cubist patterns and distorted anatomical features in his art.
   • It discusses the philosophical and psychological interpretations of Picasso's work, comparing it to the art of the Greeks and the Renaissance.

6. Product of Art Uphaval:

   • The article describes Picasso's art as a product of the upheaval in the art world, influenced by artists like Matisse, Braque, and others.
   • It mentions Picasso's experiments with different styles and his influence on modern art.

7. His Strange Portraits:

   • The article discusses Picasso's unique portraits, which often distort and abstract the human form.
   • It mentions specific works, such as a portrait of a lozenge and a canvas with undulating eyes, highlighting Picasso's innovative approach to portraiture.

Overall, the article provides a critical and detailed analysis of Picasso's art, focusing on its complexities, challenges, and the artist's political and social commentary.

This is an image of an old newspaper page with two columns of text. The page header indicates the article title "BY WENDALL HAZEN" which is then followed by the content of the article. The text appears quite small, which is typical for a newspaper layout from the past, where space was optimized for dense information presentation.

The page is filled with commentary and reportage on subjects related to art and specific artists. The text includes references to historical art figures and movements, and it discusses various reactions to art and cultural shifts.

As the printing is dense and small, it may be difficult for some readers to decipher without a physical copy or a zoomed-in digital version. The paper has a yellowish tinge, suggesting it could be quite old and has perhaps aged over time. There are no images, illustrations, or photographs on this particular page, just continuous blocks of text.

Since the resolution is not sufficient to read the finer details of the article texts, specific content cannot be discussed in greater depth. However, judging by the presence of names like "Picasso" and "Cezanne" and terms like "weird distortions" in the visible text, the page seems to cover topics related to modern art and its reception by the public and art community.

This image depicts an old newspaper or magazine page titled "BY WENDALL HAZEN." The article discusses Pablo Picasso's creation and the impact of his mural "Guernica." The author starts by acknowledging criticisms regarding the substance and strength of modern art, particularly focusing on "Guernica."

Key sections are highlighted under sub-headings such as:

1. HUNK OF WEIRD DISTORTIONS: This section elaborates on the physical challenges and bizarre distortions in transporting and displaying the mural at the Fogg Museum of Art at Harvard University. It details the canvas's dimensions and the efforts required to hang it.
2. EXPRESSES ARTISTS INDIGNATION: This part touches on Picasso’s political stance, his indignation towards General Franco's attack on Spain, and the contentious reception of "Guernica."
3. EYES COCKEYED: Discusses the anatomical inaccuracies and peculiarities in Picasso's representation of human figures in the artwork, referencing Benjamin Howland Jr.'s views on this matter.
4. PRODUCT OF ART UPHEAVAL: Reflects on the broader historical and stylistic upheaval in art, mentioning movements like Fauvism and its chaotic yet evolutionary nature.
5. HIS STRANGE PORTRAITS: A segment is devoted to Picasso’s unconventional approaches to portraiture, including specific examples of his artistic experiments.

The overall tone of the article is analytical, with occasional humorous or critical remarks about Picasso’s modernist approach and the artistic upheaval he represented. The text is printed on yellowed paper, giving it an aged appearance. Small graphical elements like torn edges suggest it's an excerpt or a preserved piece of a larger publication.

Description of the Image:

The image shows a page from a book or publication titled "BY WENDALL HAZEN", which appears to be a detailed essay or article discussing the work of the artist Pablo Picasso, particularly focusing on his painting "Guernica." The page is formatted in a classic, serif typeface, reminiscent of early 20th-century printing styles. The text is divided into two columns, with the left column labeled "HUNK OF WEIRD DISTORTIONS" and the right column labeled "EXPRESSES ARTIST'S INDIGNATION" and "EYES COCKEYED."

Left Column: "HUNK OF WEIRD DISTORTIONS"

• Content Overview: This section critiques the reception and interpretation of Picasso's "Guernica" at the time of its exhibition at the Harvard Museum of Modern Art. It highlights the challenges faced by the artwork, including its unconventional style and the difficulties in hanging it due to its size and weight.
• Key Points:
  • Size and Weight: The painting is described as weighing 900 pounds and being 25 feet by 11 feet in dimensions, making it a monumental piece.
  • Hanging Challenges: The painting was difficult to hang due to its size and weight. It was initially placed on the floor, and later hung from the ceiling using a system of ladders and braces.
  • Public Reaction: The painting was met with confusion and criticism. Some viewed it as a "hunk of weird distortions" rather than a meaningful artwork. The author notes that the painting was not well-received by the public or critics at the time.
  • Symbolism and Interpretation: The text discusses the symbolic elements of the painting, such as the dismembered figures and the use of black, white, and gray, which were intended to convey the horrors of war but were misunderstood by many viewers.

Right Column: "EXPRESSES ARTIST'S INDIGNATION" and "EYES COCKEYED"

• Content Overview: This section delves into Picasso's artistic philosophy and the evolution of modern art, particularly focusing on the Cubist movement and its impact on art. It also discusses Picasso's personal experiences and the challenges he faced as an artist.
• Key Points:
  • Picasso's Role in Modern Art: The text emphasizes Picasso's influence as a pioneer of modern art, noting his role in developing Cubism and other avant-garde movements. It highlights his innovative techniques and the way he challenged traditional notions of representation.
  • Guernica as a Political Statement: The section discusses "Guernica" as a political statement, created in response to the bombing of the Basque town of Guernica during the Spanish Civil War. It underscores the painting's role in expressing Picasso's indignation and condemnation of war.
  • Artistic Techniques: The text touches on Picasso's use of distortion, fragmentation, and abstraction, which were seen as radical at the time. It also references his earlier works and his evolution as an artist.
  • Critical Reception: The author critiques the conservative art establishment of the time, noting how Picasso's work was often dismissed or misunderstood. The text also discusses the challenges Picasso faced in gaining recognition and acceptance for his innovative style.

Visual and Layout Details:

• Typography: The text is printed in a serif font, likely Times New Roman or a similar typeface, which gives it a formal and scholarly appearance.
• Columnar Format: The two-column layout is typical of academic or literary publications, allowing for efficient use of space and readability.
• Headings: The headings ("HUNK OF WEIRD DISTORTIONS," "EXPRESSES ARTIST'S INDIGNATION," and "EYES COCKEYED") are bold and stand out, guiding the reader through the thematic sections.
• Page Number: The page is numbered 78 at the top right corner, indicating it is part of a larger work.

Contextual Clues:

• The text references Harvard University, the Museum of Modern Art, and the Spanish Civil War, situating the discussion within a historical and cultural context.
• The tone is analytical and critical, reflecting the challenges faced by modernist artists in gaining acceptance and understanding during the early to mid-20th century.

Overall, the image depicts a scholarly analysis of Picasso's "Guernica" and his broader contributions to modern art, highlighting the tensions between innovation and tradition, as well as the political and social implications of his work.

The image appears to be a page from an old magazine or newspaper article. The text is written in a formal style and discusses Pablo Picasso's mural "Guernica" that was recently deposited at the Fogg Museum at Harvard University. The article highlights the difficulties faced in hanging the massive mural, which measures nearly 25 by 11 feet. It also mentions Picasso's use of unconventional materials and techniques in creating the artwork, such as block and tackle, wooden battens, and a battery of kleig lights. The article further explores Picasso's artistic style, his experimentation with different art movements, and his ability to captivate and challenge audiences with his work.