Archives Scrapbooks

The image appears to be a scanned page from a document or book, featuring a mix of text and annotated sections. The text discusses art, specifically the work and influence of Picasso, and includes a critique from a critic named Thomas Craven. The document also contains several annotations and stamps, including references to "Press Clipping Service" from Boston, Massachusetts, dated October 26, 1941, and November 2 and 9, 1941. The annotations seem to highlight specific parts of the text, possibly for research or reference purposes. The paper looks aged, suggesting it is from a historical document.

This image is a page from a scrapbook or collection of press clippings, likely focused on art and cultural events. The page is beige or light brown, showing signs of age and wear, with some edges slightly torn. It contains several newspaper clippings arranged in a collage-like manner.

The main text on the left side of the page discusses Picasso's art and its reception, noting how it became a cult phenomenon and was defended by art lovers. It mentions Picasso's influence on other artists and his ability to reduce human figures to geometrical designs, exemplified by his painting "Guernica." The text includes a critical opinion from Thomas Craven, who offers a harsh yet balanced evaluation of Picasso's work.

On the right side of the page, there are multiple press clippings from the "Press Clipping Service" located at 2 Park Square, Boston, Mass. These clippings are from the "Post" and "Herald" newspapers and are dated from October 26, 1941, to November 9, 1941. They provide information about special exhibits at the Fogg Museum of Art, Harvard University, in Cambridge. The exhibits include various types of art such as oil sketches and drawings by Rubens and Van Dyck, Rajput Art of the 16th to 18th centuries, modern Japanese woodblock prints, French drawings of the 19th and 20th centuries, X-ray shadowgraphs, and contemporary graphic art in America.

The clippings also mention a lecture by Professor Sumner McK. Crosby of Yale University on "The First Carolingian Church – Fulrad's Building at St. Denis," scheduled for Thursday at 4:30 p.m.

Overall, the page provides a snapshot of the art world in the early 1940s, focusing on Picasso's influence and the cultural events at the Fogg Museum of Art.

This image displays a single, aged, and slightly stained page, likely from a scrapbook or archival collection, covered with five newspaper clippings from 1941, all pertaining to Pablo Picasso and art exhibitions.

The page is divided into two main columns. The left column contains a single, large, vertically-oriented clipping with a detailed critical essay on Picasso, while the right column contains four smaller, horizontally-oriented clippings, all from the “Press Clipping Service” in Boston, Mass., and dated October and November 1941.

Left Column: Critical Essay on Picasso

This major article, titled “BECAME A CULT” and subtitled “SOUND CRITICS’ OPINION”, presents a scathing review of Picasso’s work and influence, attributed to Thomas Craven, a “soundest and surest of art critics.”

Key points from the essay:

• It credits Picasso’s commercial success and rise to fame to Max Jacobs, who sold his “crude and seemingly unbalanced abstractions.”
• It alleges that the influential art critic Gertrude Stein “pounced upon it with greedy appreciation,” leading to his acclaim in Paris and eventual fame in America.
• Picasso’s work is described as a “cult,” and his “genius” is attributed to “geometrical ability to contort and distort.”
• The critic strongly condemns Picasso’s style, claiming he “makes a revelation of ‘realism’” by shuffling and reassembling parts of a subject.
• The article quotes Craven directly, calling Picasso’s work “rude and illiterate,” comparing him unfavorably to a “greenhorn,” and stating that Picasso “outclasses any bomb ever devised to date.”
• It criticizes Picasso’s experiments as “serious enough” but ultimately “legitimate and beneficial” only if considered as “studies,” not finished art.
• The essay concludes with a quote from Craven calling Picasso’s fame an “enigma” to “normal mortals” and noting that Harvard faces a problem due to Picasso’s “considerable proportions in modern art.”

Right Column: Press Clippings from the Fogg Museum

These four clippings are all announcements from the Fogg Museum of Art, Harvard University, about exhibitions. They are nearly identical, with slight variations in wording and date.

• Common elements:

  • Venue: Fogg Museum, Harvard University, Cambridge.
  • Dates: Open weekdays, except Mondays, 9 a.m. to 5 p.m.
  • Special Exhibitions: The clippings consistently list “Special exhibitions... [that] include all drawings by Rubens and Dürck; Harpoot Art of the 18th century; modern Japanese woodblock prints; French drawings of the 18th and 19th centuries; X-ray shadowgraphs; X-Ray Radiographies.”

• Individual Clippings:

  1. Dated OCT 16 1941: Mentions Dr. T. C. C. M. G. of Yale University speaking on “The First Colombian Church ‘Pulna’s Sudden’ at St. Denis.”
  2. Dated NOV 2 1941: This clipping features a bold headline: “Special Exhibits 193” followed by “Now at Fogg Museum”. It lists:
     • “French Paintings of the 18th Century”
     • “Contemporary Graphic Art in America”
     • “Rajput Art of the 18th Century”
     • “Modern Japanese Woodblock Prints”
     • “French Drawings of the 18th and 19th centuries”
     • “X-ray shadowgraphs: contemporary graphic art in America, through November.”
  3. Dated NOV 2 1941 (Identical to #2): Appears to be a duplicate of the previous clipping, also featuring the “Special Exhibits 193” headline.
  4. Dated NOV 9 1941: This final clipping has an identical headline and content to the Nov 2 clips, listing the same exhibitions running “through November.”

In summary, the image presents a curated historical document from 1941 that juxtaposes a vehemently negative critical assessment of Pablo Picasso with official announcements from Harvard’s Fogg Museum promoting contemporary and historical art exhibitions, including an exhibition on “Contemporary Graphic Art in America” which likely featured Picasso’s work. The document provides a snapshot of the heated debates and significant public interest surrounding modern art, and specifically Picasso, in the early 1940s.

The image shows a page with a few pieces of paper attached to it. The paper is old, and the edges are torn. The paper has a few lines of text written on it. The text is written in a typewriter font, and the text is written in a way that seems to be a newspaper article. The text is written in black ink, and the paper has a few stains on it.

The image shows a vintage clipping from a newspaper, dated October 6, 1941, from the Press Clipping Service in Boston, Massachusetts. The clipping discusses the influence and impact of Pablo Picasso's art, particularly his Cubist phase. It mentions Picasso's ability to transform critical writers into admirers and how his work has driven modern art into strange territories. The article highlights Picasso's ability to reduce complex subjects into geometric designs and his philosophical approach to art. It also mentions Picasso's influence on other artists like Stein, Forain, Whistler, Le Fauconnier, Van Gogh, and Gauguin. The clipping includes a small advertisement for the Fogg Art Museum at Harvard University, which is open weekdays except holidays, featuring exhibitions on French art and modern Japanese art.

Description of the Image

The image shows a page from a newspaper or periodical, likely from the mid-20th century, featuring a collection of press clippings or excerpts from various articles. The page is structured into multiple sections, each labeled as a "Press Clipping Service" from "2 Park Square, Boston, Mass." The clippings are dated from October 26, 1941, to November 9, 1941, indicating that the content is historical and pertains to events or discussions from that time.

Main Text Content:

The primary body of text on the left side of the page is an article discussing Pablo Picasso, the renowned Spanish painter, sculptor, and artist. The article delves into Picasso's artistic career, his influence, and his approach to art. Key points from the text include:

1. Picasso's Artistic Style and Influence:

   • The article describes Picasso as a "cult" figure, highlighting his impact on modern art and the art world.
   • It mentions his ability to "reduce a human figure to geometrical design in the language of his art," emphasizing his abstract and modernist approach.
   • The text references Picasso's famous works, such as Guernica, which is noted as being housed in the Fogg Museum at Harvard University.

2. Critical Reception:

   • The article discusses Picasso's reception among critics and collectors, noting that his work was sometimes seen as strange or unsettling.
   • It mentions that Picasso's work was sold to dealers in Paris, indicating his commercial success despite critical debate.

3. Artistic Philosophy:

   • The text explores Picasso's philosophical and aesthetic views, including his belief in the "realism" of his abstract forms.
   • It references his famous statement: "I am always trying to do the impossible."

4. Comparison with Other Artists:

   • The article contrasts Picasso with other modern artists, such as Thomas Craven, who is described as a "soundest and surest art critic of our time."
   • It discusses the differences between Picasso's abstract style and Craven's more traditional approach.

5. Legacy and Impact:

   • The article reflects on Picasso's lasting influence on modern art, noting that his work has become part of an international industry.
   • It mentions that Picasso's pieces are now part of museum collections, such as the Fogg Museum.

Clippings Section:

The right side of the page contains several clippings from different newspapers, each labeled with the date and source. These clippings appear to be summaries or excerpts from articles related to art and culture. Key details include:

1. Fogg Museum Exhibits:

   • One clipping mentions an exhibition at the Fogg Museum, Harvard University, featuring French paintings from the 19th century, including works by artists such as Daubigny, Millet, and Corot.
   • Another clipping highlights a display of Japanese woodblock prints, French drawings, and contemporary American art.

2. Art Exhibitions and Events:

   • The clippings reference various art exhibitions and events, including a show of modern Japanese art and a display of contemporary American art.
   • They also mention specific artists and their works, such as X-ray shadowgraphs and contemporary paintings.

3. Dates and Locations:

   • The clippings are dated from October 26, 1941, to November 9, 1941, and are sourced from newspapers in Boston, Massachusetts.

Visual Layout:

• The page is formatted in a newspaper style, with dense text on the left and smaller, more condensed clippings on the right.
• The clippings are organized chronologically, with each entry clearly labeled with the date and source.
• The overall appearance suggests this is part of an archive or collection of press clippings, possibly for research or historical documentation purposes.

Conclusion:

The image depicts a page from a mid-20th-century newspaper or periodical that combines a detailed article on Pablo Picasso with a series of press clippings about art exhibitions and cultural events. The content reflects the artistic and cultural landscape of the early 1940s, with a focus on modern art, museum exhibitions, and the evolving reception of avant-garde artists like Picasso. The clippings provide context for the broader art world at the time, highlighting key exhibitions and artistic trends.

The image depicts a page from a newspaper or magazine, featuring a column of text on the left and four press clipping service stamps on the right. The text is written in black ink and appears to be an article about Picasso's art, discussing his style, influence, and impact on modern art. The article is divided into sections with headings such as "BECAME A CULT" and "SOUND CRITICS' OPINION."

The press clipping service stamps are located on the right side of the page, each featuring a different date and location. The top stamp reads "Press Clipping Service 2 Park Square, Boston, Mass. OCT 26 1941," while the second stamp says "Press Clipping Service 2 Park Square, Boston, Mass. Herald NOV 2 1941." The third stamp reads "Special Exhibits 193 Now at Fogg Museum The Fogg Museum, Harvard University, Cambridge, Mass. Following special exhibits in their 5th annual series: Contemporary Craft Art in America, Recent Art of the Japanese Woodblock Print, Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc., New York, 1941, Japanese Woodblock Prints, Prentice-Hall, Inc

The image is a scanned page of a scrapbook or album, featuring a collection of newspaper clippings and typed text on aged paper. The page is divided into two sections: a large block of typed text on the left and five newspaper clippings on the right.

Typed Text Section:

• The typed text is presented in a single column, spanning the entire height of the page.
• The text appears to be an essay or article discussing the art of Pablo Picasso, with references to his style, influences, and impact on modern art.
• The text is typed on a single sheet of paper, which has been glued or pasted onto the page.

Newspaper Clippings Section:

• The five newspaper clippings are arranged vertically on the right side of the page.
• Each clipping is from the "Press Clipping Service" and features a headline related to art exhibitions or events at the Fogg Museum of Art, Harvard University.
• The clippings are dated between October 26, 1941, and November 9, 1941, suggesting that they were collected over a period of about two weeks.
• The clippings provide information about various art exhibitions, including a special exhibition of contemporary graphic art and a show featuring works by Picasso.

Page Characteristics:

• The page is made of aged paper, with visible signs of wear and tear, such as yellowing, creasing, and tears along the edges.
• The paper has a rough texture, suggesting that it may be a scrapbook or album page.
• The overall appearance of the page suggests that it has been handled and stored for many years, possibly as part of a personal collection or archive.

In summary, the image presents a unique glimpse into the world of art history, featuring a collection of newspaper clippings and typed text that provide insight into the art of Pablo Picasso and the exhibitions at the Fogg Museum of Art during the early 1940s.

The image presents a vintage, yellowed paper with a column of typed text on the left and six newspaper clippings on the right. The paper appears to be aged, with visible signs of wear and tear.

• Typed Text Column:
  • The typed text is in black ink and spans approximately 30 lines.
  • The text discusses the art of Picasso, specifically his cubism style and its impact on modern art.
  • The author critiques Picasso's work, stating that it is "rude and illiterate" but acknowledges his cleverness.
  • The text also mentions other artists, including Steinlen, Forain, and Whistler.
• Newspaper Clippings:
  • There are six newspaper clippings, each with a headline that reads "Press Clipping Service" and a date ranging from October 24, 1941, to November 9, 1941.
  • The clippings appear to be from the Boston Post and Herald newspapers.
  • The clippings discuss various art exhibitions and events, including a special exhibit at the Fogg Museum featuring modern Japanese woodblock prints and a display of Picasso's work.
• Background:
  • The background of the image is a light gray color, which helps to highlight the yellowed paper and black text.

In summary, the image showcases a vintage paper with a typed text column discussing Picasso's art and six newspaper clippings highlighting art exhibitions and events from 1941. The paper's aged appearance adds to its historical significance, providing a glimpse into the art world of the time.

The image is a page of old newspaper clippings, featuring articles about art and culture. The clippings are arranged in a collage style, with some overlapping each other. The text is written in black ink on yellowed paper, giving the impression of age and wear.

Key Features:

• Newspaper Clippings: The page features several newspaper clippings, each with its own unique content and layout.
• Art and Culture: The articles appear to be focused on art and culture, with topics ranging from Picasso's work to museum exhibits.
• Collage Style: The clippings are arranged in a collage style, with some overlapping each other to create a visually interesting composition.
• Yellowed Paper: The paper is yellowed with age, giving the impression of a vintage or antique document.
• Black Ink: The text is written in black ink, which provides good contrast against the yellowed paper.

Overall Impression:

The image presents a fascinating glimpse into the past, showcasing the interests and tastes of a bygone era. The collage style arrangement of the clippings adds a touch of creativity and visual appeal, making the image a compelling and engaging artifact of history.