Archives Scrapbooks

The image is a collage of various newspaper and magazine clippings, primarily focused on art criticism and commentary. Here's a detailed summary of the visible content:

1. Main Articles:

   • By Alfred Frankenstein (Critic, San Francisco Chronicle):

     • Discusses the influence of international and interracial exchanges on art.
     • Mentions how the Hudson River painters were influenced by contemporaries in England and predecessors in France.
     • Highlights Thomas Benton, who studied in France, and other American painters influenced by European art.
     • Criticizes Thomas Craven for not clearly stating whether he argues against European or Parisian influence.
     • Suggests that if Craven likes any modern art, he should refrain from calling others fakers or fools.

   • By H.W. Janson (Professor, Washington University, St. Louis):

     • Comments on Thomas Craven's role as a one-man committee on Pan-American activities in the arts.
     • Discusses Craven's support for Grant Wood, describing Wood's work as a "native and unique achievement."
     • Notes that Wood's style is "un-American" by Craven's standards but argues that Wood's art is genuinely creative.
     • Mentions Wood's visit to Munich in 1929 and his contact with the "Neue Sachlichkeit" painters, which influenced his style.

2. Additional Clippings:

   • A small clipping mentions a record from Columbia.
   • Another clipping refers to Miss Mildred L. Manning and her connection to Donald A. Rundlett and Mrs. Charles Lesing.
   • A piece from the Boston News clip mentions a street.
   • A Harvard University Press clipping discusses a book publication.
   • A small clipping from July 25, 1948, likely related to an event or publication.

3. Visual Elements:

   • There are illustrations of two men, likely the authors or subjects of the articles.
   • The layout is chaotic, with clippings overlapping and pasted onto a brown background.

The collage appears to be a collection of critical reviews and commentaries on art, particularly focusing on the influence of European art on American artists and the debate surrounding the authenticity and value of American art.

The image shows a collage of newspaper clippings, likely from the mid-20th century, focusing on art criticism and discussions about artists and their influences.

1. Top Left Clipping:

   • The headline reads "Inrebuttable continued."
   • The article by Alfred Frankenstein from the San Francisco Chronicle discusses the influence of international and intercultural exchanges on the Hudson River painters and how these influences have shaped their art. It highlights how artists like Thomas Benton were influenced by European and French contemporaries.

2. Center Left Clipping:

   • This clipping is from the Boston News Clip, dated May 25, 1948.
   • It mentions a publication by Jacob Rosenbeg, "Rembrandt," which is a catalog of prints at the Rosengarten Museum.

3. Center Right Clipping:

   • An article by H.W. Janson, Professor at Washington University, St. Louis.
   • Janson discusses Thomas Craven's work and his stance on the influence of European art. He argues that Craven upholds the work of Grant Wood as a "native and unique achievement." Janson suggests that Craven’s style is rooted in American identity, contrasting it with European influences, particularly noting Wood's visit to Munich and the "Neue Sachlichkeit" (New Objectivity) movement.

4. Bottom Right Clipping:

   • This clipping is part of a larger document, possibly a record or correspondence from Columbia University, dated June 1948.
   • It mentions a letter or discussion about an art exhibition and the involvement of various individuals, including Donald A. Rundlett, Mrs. Charles Rundlett, and others.

The collage illustrates an in-depth discussion about art, the impact of international influences, and the unique American artistic identity in the mid-20th century. It reflects critical perspectives on how artists like Grant Wood and Thomas Craven were perceived and their contributions to modern American art.

The image shows a collage of various newspaper and magazine clippings, along with some handwritten notes and printed text, all mounted on what appears to be a scrapbook page. The clippings are from different sources and discuss topics related to art, artists, and critics. Here is a detailed description of the contents:

1. Top Left Clip (News Clip):

   • The headline is not fully visible, but it mentions 'Courage as a...' and continues to discuss the work of an artist named 'Cezanne' and his influence on modern art. The text is an analysis or review, likely from an art criticism column.

2. Middle Left Clip (News Clip):

   • Headline: "INREBUTTAL"
   • Author: Alfred Frankenstein, Critic, San Francisco Chronicle
   • The text discusses how art and artists gain recognition over time, with a focus on the influence of European artists on American art. It mentions specific artists like Thomas Benton and El Greco, highlighting the long-term value of their work.

3. Bottom Left Clip (News Clip):

   • Headline: "Harvard University Press has scheduled for October publication 'Rembrandt,' by Jakob Rosenberg, curator of prints at the Fogg Museum. It will be issued in two volumes, one of text and 320 illustrations and a second volume with 320 additional illustrations."
   • The clip is an announcement of an upcoming publication about Rembrandt.

4. Top Right Clip (News Clip):

   • This clip is partially obscured. It appears to be a continuation of an article, possibly discussing modern American art and the influence of European styles.

5. Middle Right Clip (News Clip):

   • By H. W. Janson, Professor, Washington University, St. Louis
   • The clip discusses Thomas Craven's critique of American art. It mentions that Craven's views, which favor a 'native' style, overlook the European influences that are integral to American art. Grant Wood is used as an example, highlighting his exposure to European styles during a visit to Munich in 1929.

6. Bottom Right (Handwritten Notes and Printed Text):

   • There are some handwritten notes, possibly a list of names and titles. The printed text mentions 'The New York Times' and an article about the Fogg Museum, possibly related to the Harvard University Press announcement.

The overall theme of the page revolves around art criticism, the influence of European art on American artists, and the recognition of artistic work over time. The clippings are from respected publications, indicating the page is likely part of an art enthusiast's or scholar's collection.

The image displays a collection of newspaper clippings related to art criticism and responses to a specific critique.

1. Top Left (In Rebuttal - Continued):

   • Author: Alfred Frankenstein, Critic for the San Francisco Chronicle.
   • Content: Frankenstein argues that great art and the reputations of artists often transcend the personal biases of individual critics like Thomas Craven. He uses the example of the Hudson River painters, who were initially influenced by their European contemporaries and predecessors. He suggests that Craven's critique might stem from a narrow viewpoint, ignoring the broader international context and inherent value of craftsmanship, organization, and personality in art.

2. Middle Left (Boston News Clip):

   • Illustration: A caricature of a critic, presumably Alfred Frankenstein.
   • Content: This section reiterates Frankenstein's argument that the significance of artists like Thomas Benton and El Greco was due to international influences. Frankenstein challenges Craven’s view by stating that the criteria for valuable art emerge from a combination of craftsmanship, organization, and personality, not just local circumstances.

3. Top Right (Rebuttal):

   • Content: This portion continues Frankenstein’s rebuttal, emphasizing that Craven's limited perspective prevents him from recognizing broader artistic influences. Frankenstein argues that Craven's views are narrow and dismissive of anything outside his personal preferences, calling him either a faker or a fool.

4. Middle Right (Professor's Response):

   • Author: H. W. Janson, Professor at Washington University, St. Louis.
   • Illustration: A caricature of H. W. Janson.
   • Content: Janson comments on Craven’s role in an anti-American art committee, pointing out the irony that Craven himself admires native and unique artworks like those of Grant Wood. Janson notes that Wood's style was influenced by European movements such as "Neue Sachlichkeit," which Craven might dismiss. He concludes that Craven’s standards are inconsistent and that American civilization is deeply rooted in European traditions.

5. Bottom (Miscellaneous):

   • Date and Publication: Clippings from the Harvard University Press and other publications dated May 25, 1948, and June 28, 1948.
   • Advertisements: Various small ads and announcements, including one for a wedding (Miss Mildred I. Manning to David A. Fundelson) and a record (Columbia Records).

Overall, the image depicts a lively debate within the art community, with multiple critics and academics responding to Thomas Craven's views on American art and its influences.

The image shows a collage of newspaper clippings, likely from the mid-20th century, specifically focusing on articles related to art and criticism.

1. Main Article (Center):

   • The central clipping is an article titled "INREBUTTAL cont'd" by Alfred Frankenstein, a critic from the San Francisco Chronicle.
   • The article discusses the influence of international and intercultural exchanges on art, particularly the Hudson River painters and their European influences.
   • It mentions Thomas Benton and his ties to El Greco, and the "typically American" painters like Currier and Ives, who were trained in England.
   • Frankenstein argues that European influence is inevitable in modern art and that American art has been significantly shaped by this exchange.

2. Side Articles:

   • Left Clipping (Boston News Clip):

     • This clipping is from the Boston News Clip and features a picture of Thomas Craven, a critic or artist.
     • The article is titled "120 Tremont Street" and discusses the importance of modern art and the influence of European styles.

   • Right Clipping (Washington University):

     • This clipping is from Washington University, St. Louis, and is written by H.W. Janson.
     • It discusses Thomas Craven's role in upholding Grant Wood’s work as a "native and unique achievement."
     • It mentions Grant Wood's visit to Munich in 1929 and his exposure to the "Neue Sachlichkeit" painters, who were influenced by Hitler’s regime.
     • The article suggests that Wood’s style was a result of his visit and exposure to European art.

3. Other Clippings:

   • Top Left:
     • A smaller clipping with a date "MAY 25, 1948" mentioning a Harvard University Press publication.
     • It mentions a book by Jacob Rosenberg, curator of prints at the Fogg Museum.
   • Bottom Left:
     • A clipping from "Columbia University Press" with a date of June '48, likely related to a publication or event.
   • Bottom Right:
     • Another small clipping mentioning a book by Mildred I. Manning, titled "Record Columbia SC".

The collage reflects a broader discussion on the impact of European influences on American art and the critical perspectives of art historians and critics during that time. The articles suggest a debate over the authenticity and roots of American art in relation to European traditions.

The image is a collage of several newspaper clippings and articles from the mid-20th century, specifically around 1948, based on the dates visible in the clippings. Here is a detailed summary:

1. Top Left Corner:

   • There is a clipping from the "Boston News Clip" dated May 25, 1948. The text is not entirely legible, but it appears to be discussing an art-related topic.

2. Central Section:

   • A significant portion of the clipping is from the San Francisco Chronicle, written by Alfred Frankenstein, titled "Inrebuttable."
   • The article discusses the influence of international and intercontinental exchanges on art, mentioning Hudson River painters and their European influences.
   • It includes a photograph of an individual, likely a notable art figure, and discusses the value of art, noting that local factors contribute to the interest in art but do not necessarily determine its long-term value.
   • The article also touches on Thomas Benton and El Greco, as well as the work of Grant Wood and Thomas Craven.

3. Right Side:

   • Another clipping by H. W. Janson, a professor at Washington University in St. Louis, discusses Grant Wood’s art.
   • It mentions Wood's unique style and his visit to Munich, where he encountered the "Neue Sachlichkeit" (New Objectivity) painters, which influenced his work.
   • The article notes that Wood's native style was a result of his prolonged visit and exposure to European art.

4. Bottom Right:

   • A small section from "Record Columbia C" with a note about a Harvard University Press publication titled "Rembrandt" by Jakob Rosenberg, dated June 1948.

5. Bottom Left:

   • Another piece of clipping from the Boston News Clip dated May 25, 1948, with a mention of a Harvard University Press publication, "Rembrandt," scheduled for October.

6. Other Miscellaneous Clippings:

   • Several other smaller fragments are visible, including a note about "Harvard University Press," mentions of "The New Yorker," and other miscellaneous text fragments.

The overall theme of the clippings revolves around art, cultural influences, and the impact of international art movements on American artists. The articles discuss the significance of local and international influences on the development and valuation of art.

The image displays a collage made up of several pieces of newspaper clippings and other papers with various texts, arranged in a layered fashion. The cut-out newspaper clippings contain articles related to art critiques and discussions. One clip features an article titled "IN REBUTTAL" authored by Alfred Frankenstein, from the San Francisco Chronicle. Another clipping contains an article by H. W. Janson, Professor at Washington University, St. Louis, referring to an art critique.

The texts mention topics related to art such as the influence of European and Parisian art, discussions on American art, and the work of Grant Wood. There are also references to historical painting styles, authenticity in art, and criticisms of Thomas Craven's viewpoints. Some clippings are partly obscured by others, which suggests the image is intended to focus on the visible texts. The overall composition gives the impression of an art critique collage, indicating a thematic focus on the discussion and analysis of art.

The image shows a vintage newspaper clipping attached to a brown background with other small papers and clippings around it. The main clipping is titled "IN REBUTTAL cont'd" and includes two articles side by side.

The first article, by Alfred Frankenstein, a critic from the San Francisco Chronicle, discusses the achievements of mankind, focusing on international and interracial exchanges influencing art. The article references the Hudson River painters, their influences, and the debate about Mr. Craven's artistic views.

The second article, by H. W. Janson, a professor at Washington University, St. Louis, addresses criticisms of Thomas Craven's opinions on American art and its roots. Janson challenges Craven's views on "native" and "un-American" art, referencing Grant Wood's style, and mentions historical art connections involving Munich and painters associated with the "Neue Sachlichkeit" movement.

There are two black-and-white photographs of men’s faces censored (blurred or pixelated) within circular frames, one in each article. Additionally, there are some handwritten markings and a paper clip illustration around the photos. The clipping is dated May 25, 1948, as stamped in green ink on the left. The set of clippings is part of some archive or collection, noted as from "Record Columbia C." There are smaller bits of text and typed labels partially visible but mostly obscured or cut off.

A white paper with black text is on top of a brown paper, probably a scrapbook. The white paper has the words "In Rebuttal" written on it. There is a picture of a man with glasses and a mustache on the left side of the paper. The text is about the influence of European art on American art. There are also other pieces of paper with text and numbers on them.

The image shows a collection of clippings and documents arranged on a brown folder or archival material. The clippings appear to be from various newspapers and publications, with visible text and illustrations. Here is a detailed description:

Layout and Content:

1. Top Section:

   • The top part of the image shows a series of clippings, likely from different sources, as indicated by the visible headings and annotations.
   • One of the clippings is labeled "MS CLIP" and includes a date: "LUG. 1948", suggesting it is from August 1948.
   • Another clipping is labeled "BOSTON NEWS CLIP" and is dated "MAY 2 1948", indicating it is from May 2, 1948.
   • There are additional clippings with annotations such as "14F" and "R 4 TIMES", which might refer to page numbers or publication details.

2. Central Article:

   • The central focus is on a printed article titled "IN REBUTTAL", which appears to be a response or critique.
   • The article is attributed to Alfred Frankenstein, identified as a critic for the San Francisco Chronicle.
   • The article discusses the work of Thomas Craven, a critic who has written about modern American art.
   • The text critiques Craven’s views on American art, particularly his stance on the influence of European art movements (e.g., Parisian influence) on American art. The article argues that Craven’s perspective is flawed, as American art has developed independently and is rooted in its own cultural context.
   • The article also references Grant Wood, a prominent American artist, and discusses his work in the context of American identity and artistic authenticity.

3. Illustrations:

   • There are two black-and-white photographs included in the clippings:
     • One photograph on the left shows a man wearing glasses and a suit, likely Alfred Frankenstein, the author of the article.
     • Another photograph on the right shows a man with short hair, possibly Thomas Craven, the subject of the critique.

4. Annotations and Labels:

   • The clippings are annotated with various labels, such as "WS CLIP", "BOSTON NEWS CLIP", and "14F", which suggest they are part of an organized archive or collection.
   • Additional text on the folder or background includes phrases like "Could make a good story" and "a couple of copies", indicating these clippings were selected for their relevance or interest.

5. Additional Text:

   • The background includes fragments of text from other documents or clippings, such as "Cambridge", "through al.", and "the first time", which are partially visible but not fully legible.
   • There are also references to other individuals, such as "Miss Mildred L. Manning" and "Mrs. Chandler", suggesting these clippings may be part of a larger collection related to art criticism, cultural commentary, or historical records.

Overall Context:

The image depicts a curated set of newspaper clippings and articles, likely from the mid-20th century (1940s), focusing on art criticism and debates about American art. The central article critiques Thomas Craven’s views on American art, emphasizing the independence and authenticity of American artistic expression. The inclusion of photographs and annotations suggests these clippings were preserved for their historical or analytical value, possibly as part of an archive or research collection.

Key Elements:

• Date: The clippings are from May and August 1948.
• Author: Alfred Frankenstein, a critic for the San Francisco Chronicle.
• Subject: Critique of Thomas Craven’s views on American art and the influence of European art movements.
• Visuals: Photographs of the author and the subject of the critique.
• Annotations: Labels and markings indicating the clippings are part of an organized collection.

This image provides a glimpse into mid-20th-century art criticism and the debates surrounding American art’s identity and development.