Marius de Zayas (1880-1961), a Mexican artist and writer whose witty caricatures of New York's theater, dance, and social elite brought him to the attention of Alfred Stieglitz and his circle at "291," was among the most dedicated and effective propagandists of modern art during the early years of this century. How, When, and Why Modern Art Came to New York, originally written in the late 1940s, is a fascinating chronicle assembled from de Zayas's personal archive of photographs and from newspaper reviews of the exhibitions he discusses, beginning with those held at the Stieglitz gallery and including important shows mounted in his own galleries. An appendix added by the editor provides detailed information on the various exhibitions. Additional appendixes contain transcriptions of the de Zayas and Stieglitz correspondence, as well as an account of de Zayas's unique relationship with Picasso, a Spaniard with whom he felt a special kinship and whose work he would be among the first in America to promote and defend.
About the Author
Francis M. Naumann teaches at the Parsons School of Design and has written or numerous arts journals.
What People are Saying About This
This annotated publication of his writings on art and letters to Alfred Stieglitz reveals that the Mexican expatriate, Marius de Zayas, was a key figure in the unfolding of early modernism in the United States.
An invaluable eyewitness account by a participant in the early American avant-garde, this volume fills serious gaps in our knowledge of the period.
An indispensable addition to a modern art library...
"An indispensable addition to a modern art library... "
Reference and Research Book News
The MIT Press
An indispensable addition to a modern art library...Reference and Research Book News
Marius de Zayas will now share with Alfred Stieglitz the honor of having introduced New York to modern art. This book, consisting of a summary history by de Zayas of exhibtions at 291 and the Modern Galler, correspondence between de Zayas and Stieglitz, and a complete listing of Modern Gallery exhibition, all ably edited by Francis M. Naumann, adds substantially to our knowledge of how modern art was exhibited and recieved in New York.