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National Gallery of Art 10/10/91 [OA 8330] [1]
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26
21
6
7
THE WHITE HOUSE
WASHINGTON
October 4, 1991
MEMORANDUM FOR THE PRESIDENT
THROUGH:
DAVID DEMAREST
TONY SNOW TS
FROM:
JOSEPH P. DUGGAN
QPD
SUBJECT:
ANDREW MELLON DINNER
I. SUMMARY
On Thursday, October 10, at 8:00 p.m., you will attend
a white tie dinner in memory of Andrew Mellon at the
National Gallery of Art. The audience will consist of about
350 dignitaries, including Queen Sonja of Norway; patrons of
the arts; and members of the Diplomatic Corps, Congress, the
Supreme Court, and Cabinet.
Paul Mellon is 83 and his health is fragile. Many of
the guests are Mellon family and friends.
II. DISCUSSION
You attended a similar dinner two years ago. Your
brief remarks will be before dinner.
The remarks (5 minutes, on cards) pay tribute to the
contributions of the Mellon family and others in selflessly
creating the National Gallery of Art.
(Duggan/Simon)
October 4, 1991
Draft Two
Mellon
PRESIDENTIAL REMARKS: ANDREW MELLON DINNER
NATIONAL GALLERY OF ART
THURSDAY, OCTOBER 10, 1991
8:00 PM
Your Majesty Queen Sonja [of Norway], Vice President and
Mrs. Quayle, Members of the Diplomatic Corps, Trustees of the
National Gallery, Justices of the Supreme Court, Members of the
Cabinet, distinguished guests:
It is a great honor to be with you tonight, to celebrate the
legacy of Andrew Mellon and others who have built and supported
America's National Gallery of Art.
In a fitting way, two important anniversary celebrations
merge into one: We mark the fiftieth anniversary of the opening
of the Gallery and its stately West Building. And in just two
days we begin a year-long observance leading to the five
hundredth anniversary of Columbus's voyage of discovery.
Every visit to this Gallery is an act of discovery. Every
time someone contemplates one of its masterpieces, a new world
appears -- a world alive with the boundless creativity of the
free human spirit.
Like the voyagers who spanned the oceans, fine art reveals
emotions, insights and experiences that reflect the unity of
human experience and aspiration. Fine art flows from mysterious
creative forces; to produce great art is to give birth to a kind
2
of truth. That is why Dante called art "as it were, the
grandchild of God. " //
In the United States we trace our roots to every nation on
earth. And nations from all corners of the globe have helped the
National Gallery assemble the unprecedented exhibition of
masterpieces that opens this week: "Circa 1492: Art in the Age
of Exploration." We thank them all for their cooperation and
help. III
We also gather to express our gratitude -- our nation's
gratitude -- to Andrew Mellon. An immigrant's son, Andrew Mellon
devoted energy, passion and patience to improve himself and the
country he loved. He was a complete man. His life and his
legacy prove that the most truly successful Americans dream the
most generous dreams. //
Andrew Mellon gave us a daughter and son in his own mold and
image. Ailsa [ALE-sa] Mellon Bruce and Paul Mellon inherited
their father's appreciation for fine art and his generous spirit.
As Andrew Mellon gave us this magnificent building of John
Russell Pope's design, so Paul and his late sister gave the
nation I. M. Pei's pathbreaking East Building. // Like their
father, Ailsa and Paul poured great talent and resources into
assembling collections of art for the National Gallery.
Paul, as long as people live in this capital city, they will
draw pleasure and inspiration from the Mellon family's gifts. III
Every year, some seven million visitors open their eyes to
the National Gallery's masterpieces. Some study and practice art
3
through the Gallery's formal educational programs. But the
Gallery beckons more than professionals and experts. It invites
all the millions who tour its halls to become apprentices to the
masters.
For generations to come, this Gallery will open windows into
the minds and souls of Leonardo and Picasso, Whistler and Renoir,
Turner and Durer and hundreds more. The Gallery's great works of
art make yesterday's dreams alive and palpable, and they stir the
creative energies of a thousand tomorrows. //
In a world of imagination, these solid stone halls float and
sail to distant ports and times. // This great gift of the
Mellons and other generous Americans transports us to the
timeless beauty of the past. // It inspires us to search for
undiscovered treasures in ourselves -- and in our future. III
Thank you all. May God bless this institution and the United
States of America. III
#
#
#
DRAFT
VISIT OF THE PRESIDENT AND MRS. BUSH
TO
NATIONAL GALLERY OF ART
THURSDAY, OCTOBER 10, 1991
7:35 PM
Depart South Lawn
7:40 pm
Arrive East Building, National Gallery of Art
7:45 pm
Begin tour of 1492 Exhibit
8:10 pm
Conclude Tour, Proceed to Motorcade (or tunnel
walkway)
8:15 pm
Arrive West Building
8:20 pm
Begin participation in Receiving Line
8:50 pm
Conclude participation in Receiving Line and
proceed to Holding
8:55 pm The Vice President and Mrs. Quayle
Announced onto Stage with Honors
8:57 pm
Depart Holding and proceed to Off-Stage
Announcement Area
9:00 pm
Announced onto Stage with Honors
9:01 pm Colors are Presented.
9:02 pm National Anthem
9:04 pm Colors are Retired.
9:05
Dr.
Franklin Murphy
??:?? pm
Other Speakers and Introduction of The President
9
10:10 pm
THE PRESIDENT remarks
Dinner served
10:15 pm
Depart Stage and proceed to Holding Room
10:17 pm
Arrive Holding Room
10:19 pm
Depart Holding Room and proceed to Motorcade
10:20 pm
Depart National Gallery of Art
10:25 pm
Arrive South Lawn
REMARKS: ANDREW MELLON DINNER
NATIONAL GALLERY OF ART
THURSDAY, APRIL 27, 1989
9:45 P.M.
members of the Diplomate Corps
Justices of the Suprese Can
TRUSTEES OF THE NATIONAL GALLERY, / MEMBERS OF THE
CABINET, MEMBERS OF THE CONGRESS, DISTINGUISHED GUESTS.
THANK YOU FOR THAT INTRODUCTION, AND FOR YOUR
GENEROUS WELCOME. AND I WANT TO SAY WHAT A PRIVILEGE
IT IS TO JOIN YOU THIS EVENING.
)
- 2 -
((IN PARTICULAR, LET ME SAY A WORD ABOUT THIS
DISTINGUISHED AUDIENCE. I HAVEN'T SEEN so MANY PEOPLE
so WELL DRESSED SINCE I WENT TO A COME-AS-YOU-ARE PARTY
IN KENNEBUNKPORT.))
WE GATHER, YOU AND I, IN AMERICA'S CATHEDRAL OF THE
ARTS. AND WE MEET TO SALUTE AN AMERICAN ART COLLECTOR,
PHILANTHROPIST, FINANCIER, AND PUBLIC SERVANT.
IN THAT CONNECTION, I WANT TO SAY A SPECIAL THANKS
TO PAUL MELLON.
- 3 -
HIS GENEROSITY HAS HELPED CREATE THIS PRICELESS
GALLERY. AND AS A LONGTIME WASHINGTONIAN, HE, AS MUCH
AS ANYONE, WILL RECALL HARRY TRUMAN'S FAMOUS QUOTE:
"IF YOU WANT A FRIEND IN WASHINGTON, GET A DOG."
WELL, THIS GALLERY ALREADY HAS A WONDERFUL FRIEND:
THE FAMILY OF PAUL AND ANDREW MELLON. AND, TODAY, THAT
FAMILY IS MAKING NEW FRIENDS FOR ART ACROSS THE UNITED
STATES OF AMERICA.
- 4 -
WE SEE THOSE FRIENDS WITHIN THESE HALLS. IN THE
EYES OF A LITTLE GIRL, ENTRANCED BY THE MAGIC OF DEGAS'
((DAY-GAHZ)) FOUR DANCERS. OR THE SMILE OF THE ELDERLY
WOMAN WHO FINDS SOLACE IN COLE'S VOYAGE OF LIFE. OR
THE TWO ART STUDENTS WHO DEBATE, NOT ALWAYS QUIETLY,
JACKSON POLLOCK'S ((POL-uck)) LAVENDER MIST. To THEM
-- TO US -- THESE WORKS SPAN THE GENERATIONS. FOR ART
IS TIMELESS; IT ENHANCES THE GENTLER IMPULSES OF
MANKIND.
- 5 -
IN AN ABIDING SENSE, ANDREW MELLON EMBODIED THOSE
IMPULSES. YES, HE DID WELL -- OUR SECOND-LONGEST-
SERVING SECRETARY OF THE TREASURY; A MAN OF ENORMOUS
WEALTH AND POWER. BUT, MORE IMPORTANTLY, LET US
REMEMBER: HE ALSO DID GOOD.
YES, SHY AND SOFT-VOICED, ANDREW MELLON WAS MODEST,
UNASSUMING. BUT FEW MEN HAVE CONTRIBUTED MORE TO
AMERICA'S CULTURAL QUALITY OF LIFE.
- 6 -
To THIS CAPTAIN OF INDUSTRY, PHILANTHROPY SPOKE OF
JUSTICE, INVOLVEMENT, AND LOVE OF COUNTRY. FOR HE
BELIEVED CHARITY TO BE AMONG THE HIGHEST PLANES OF
PATRIOTISM. ABOVE ALL, ANDREW MELLON KNEW THAT WE ARE
A NATION, AND A FAMILY. AND FIFTY-TWO YEARS AGO, HE
DONATED HIS COLLECTION, AND BUILT THIS BUILDING, FOR
US, AS MEMBERS OF THAT FAMILY.
- 7 -
TODAY, MORE THAN EVER, THIS COLLECTION REMAINS
AMERICA'S FAMILY HEIRLOOM. AND IT SHOWS TOO THAT IN
JUDGING ART, BELIEVE ME, EVERYONE'S AN EXPERT.
W.W. WOOLLCOTT RHYMED, FOR INSTANCE: "IN PART I
PULL NO HIGHBROW STUFF; I KNOW WHAT I LIKE, AND THAT'S
ENOUGH."
LESS LYRIC, BUT MORE ACERBIC, WAS MARK TWAIN.
- 8 -
ONE HUNDRED AND TEN YEARS AGO, HE OBSERVED, "IF THE OLD
MASTERS HAD LABELED THEIR FRUIT, ONE WOULDN'T BE so
LIKELY TO MISTAKE PEARS FOR TURNIPS."
AND, FINALLY, LET ME RECALL HOW A KINDERGARTEN
TEACHER ONCE CONDUCTED A PSYCHOLOGICAL TEST. How? BY
SETTING HER STUDENTS TO WORK CARVING SOAP.
"WHAT ARE YOU WORKING ON?" SHE ASKED ONE STUDENT.
"A PANDA," THE CHILD REPLIED. A SECOND GIRL RESPONDED,
"DOG."
- 9 -
WELL, FINALLY, THE TEACHER CAME TO A LAD WHOSE WORK
DEFIED DESCRIPTION. "WHAT'S THIS?" SHE ASKED. "SOAP
FLAKES," SAID HE.
SEE WHAT I MEAN? WHEN IT COMES TO ART, LIKE
POLITICS, THERE'S NO MISTAKING OUR OPINIONS. WELL,
WHEN IT COMES TO THE MELLON COLLECTION, THERE'S NO
MISTAKING AMERICA'S OPINION.
ANDREW MELLON NEVER LIVED TO SEE THE DEDICATION OF
THIS BUILDING. BUT HIS SPIRIT LIVES TODAY.
- 10 -
IT REAFFIRMS AMERICA'S DECENCY AND KINDNESS. AND IT
CELEBRATES WHAT FRANKLIN ROOSEVELT, DEDICATING THIS
GALLERY, TERMED "THE RELATION BETWEEN THE WHOLE PEOPLE
OF THIS COUNTRY, AND THE OLD INHERITED TRADITION OF THE
ARTS."
MY FRIENDS, TO ENHANCE OUR COUNTRY AND ENNOBLE THAT
TRADITION -- THIS IS OUR CONTINUING MISSION AS
AMERICANS.
- 11 -
So LET US MEET IT, AND THEREBY HONOR ANDREW MELLON.
AND LET US HELP ART ENRICH AMERICA -- so THAT AMERICA
CAN ENRICH THE WORLD.
THANK YOU FOR INVITING ME, AND FOR THIS WONDERFUL
EVENING. GOD BLESS YOU, AND GOD BLESS AMERICA.
# # #
(Duggan/Simon)
October 2, 1991
Draft Two
Mellon
PRESIDENTIAL REMARKS: ANDREW MELLON DINNER
NATIONAL GALLERY OF ART
THURSDAY, OCTOBER 10, 1991
8:00 PM
Your Majesty Queen Sonja [of Norway], Vice President and
Mrs. Quayle, Members of the Diplomatic Corps, Trustees of the
National Gallery, Justices of the Supreme Court, Members of the
Cabinet, distinguished guests:
It is a great honor to be with you tonight, to celebrate the
legacy of Andrew Mellon and others who have built and supported
America's National Gallery of Art.
by Dedicated FOR
In a fitting way, two important anniversary celebrations
merge into one: We mark the fiftieth anniversary of the opening
3-17-41
of the Gallery and its stately West Building. And in just two
Colembra
Dary
days we begin a year-long observance leading to the five
Oct.12 hundredth anniversary of Columbus's voyage of discovery.
Every visit to this Gallery is an act of discovery. Every
time someone contemplates one of its masterpieces, a new world
appears -- a world alive with the boundless creativity of the
free human spirit.
Like the voyagers who spanned the oceans and brought nation
together with nation, fine art reveals emotions, insights and
experiences that reflect the unity of human experience and
aspiration. Fine art flows from mysterious creative forces; to
2
produce great art is to give birth to a kind of truth. That is
why Dante called art "as it were, the grandchild of God."
In the United States we trace our roots to every nation on
earth. And nations from all corners of the globe have helped the
National Gallery assemble the unprecedented exhibition of
see
press
masterpieces that opens this week: "Circa 1492: Art in the Age
kit
fun
of Exploration." We thank them all for their cooperation and
NGA
help.
We also gather to express our gratitude -- our nation's
Dict. of
am. Bio. gratitude -- to Andrew Mellon. An immigrant's son, Andrew Mellon
see
devoted his energy, passion and patience to improve himself and
file
the country he loved. He was a complete man. His life and his
legacy prove that the most truly successful Americans dream the
most generous dreams.
Andrew Mellon gave us a daughter and son in his own mold and
[ALE-Sa]
image. Ailsa Mellon Bruce and Paul Mellon inherited
their father's appreciation for fine art and his generous spirit.
Dictrof.
As Andrew Mellon gave us this magnificent building of John
Am. Bio
Russell Pope's design, so Paul and his late sister gave the
nation I. M. Pei's pathbreaking East Building. Like their
"An Inestimble
Gift"
father, Ailsa and Paul poured great talent and resources into
p.7
. d
assembling collections of art for the National Gallery.
Paul, as long as people live in this capital city, they will
draw pleasure and inspiration from the Mellon family's gifts. III
5-8 million
Every year, some seven million visitors open their eyes to
NGA
the National Gallery's masterpieces. Some study and practice art
842-6353
3
through the Gallery's formal educational programs. But the
Gallery beckons more than professionals and experts. It invites
all the millions who tour its halls to become apprentices to the
masters.
For generations to come, this Gallery will open windows into
the minds and souls of Leonardo and Picasso, Whistler and Renoir,
Turner and Durer and hundreds more. The Gallery's great works of
art make yesterday's dreams alive and palpable, and they stir the
creative energies of a thousand tomorrows.
In a world of imagination, these solid stone halls float and
sail to distant ports and times. This great gift of the Mellons
like the Santa Maria,
and other generous Americans transports us to the timeless beauty
takes us on a voyase of discovery - to find a new
of the past. It inspires us to search for undiscovered treasures world-
and what is new
1 in ourselves and in our future Thank you all. May God
bless this institution and the United States of America.
#
#
#
(Duggan/Simon)
October 1, 1991
Draft One
Mellon
PRESIDENTIAL REMARKS: ANDREW MELLON DINNER
NATIONAL GALLERY OF ART
THURSDAY, OCTOBER 10, 1991
XXXX PM
Queen Sonja
Your Majesty [the Queen of Norway], Vice President and Mrs.
Quayle, Members of the Diplomatic Corps, Trustees of the National
Gallery, Justices of the Supreme Court, Members of the Cabinet,
distinguished guests:
It is a great honor to be with you tonight, to celebrate the
legacy of Andrew Mellon and others who have given us the
buildings and collections of America's National Gallery of Art.
In a fitting way, two important anniversary celebrations
merge into one: We mark the fiftieth anniversary of the opening
of the Gallery and its stately West Building. And in just two
days we begin a year-long observance leading to the five
hundredth anniversary of Columbus's voyage of discovery.
Every visit to this Gallery is an act of discovery. Every
time someone contemplates one of its masterpieces, he opens his
eyes upon a new world -- a world alive with the boundless
creativity of the free human spirit.
Like the voyagers who spanned the oceans and brought nation
together with nation, fine art reveals the unity of human
experience and aspiration. Great art and its makers reflect
brilliantly upon one another. Fine art flows from such
2
mysterious creative forces that it really is a kind of human
progeny. That is why Dante called art "as it were, the
grandchild of God. "
In the United States we trace our roots to every nation on
the earth. We are grateful, therefore, that governments and art
institutions from every corner of the globe have generously
cooperated with the National Gallery to make possible the
unprecedented exhibition of masterpieces that opens this week:
"Circa 1492: Art in the Age of Exploration."
Our nation's gratitude to Andrew Mellon is undying. An
immigrant's son, Andrew Mellon devoted the energy and patience of
a long life in constant search of improving himself and the
country he loved. He was a complete man. His life and his
legacy prove that the most successful pragmatists are those who
dream the most generous dreams.
Andrew Mellon gave us a daughter and son in his own rare
mold and image. Ailsa Mellon Bruce and Paul Mellon inherited
both their father's appreciation for fine art and his generous
spirit. As Andrew Mellon gave us this magnificent building of
John Russell Pope's design, so Paul and his late sister gave the
nation I. M. Pei's ingenious East Building. Like their father,
Ailsa and Paul poured great talent and resources into assembling
collections of art for the National Gallery.
Paul, as long as people live in this capital city, they will
draw pleasure and inspiration from the Mellon family's gifts of
art.
3
Every year now, some seven million visitors open their eyes
to the National Gallery's masterpieces. Some of these study and
practice art through the Gallery's formal educational programs.
But the Gallery beckons not just art professionals. It invites
all the millions who tour its halls to become apprentices to the
masters.
For generations to come, this Gallery will open windows into
the minds and souls of Leonardo and Picasso, Whistler and Renoir,
Turner and Durer and hundreds more. The Gallery's great works of
art make yesterday's dreams alive and palpable, and they stir the
creative energies of a thousand tomorrows.
In a world of imagination, these solid stone halls could
float and sail the seas. And so they do. This great gift of the
Mellons and other generous Americans is a marble sailing vessel,
Like the Santa Maria of old,
and
S
moving us to find timeless beauty from the past, propelling us to
on a voyage of discovery - to find a new world, and what is new
search for undiscovered talent and possibility in ourselves, and
in our future
#
#
#
like the Santa Maria,
taking des Date
on
a vorgage of discovery
to find a new world
and what is new in ourselves.
City/State: WDC
Event: Andrew Mellon Dinner
Date: WIT: 10-7
EVENT: 10-10
OFFICE OF PRESIDENTIAL ADVANCE
CONTACT SHEET
Name
Office
Phone Number
Presidential Advance Office
202/456-7565
Presidential Advance Fax Number
202/456-2820
Steve Broad beint, lead Advance Presidential Adereuce 566-5847
Peg Hayelry Asst, Director, Presidential Advance 456-7750 456-7565
Bob Simpon
WH Spachwriting
Ssoft Bill Pen
Marine Bard
433-5714
Amos J DARS
PROZOZION Suc, NGD
842 6172
DAVID Schott
11
"
842 6894
BOBBY CARR WH PRESS ADVANCE
456-7565
Maura mechan WN Press Advence
456-7565
Russell CANCillA Military Aide
395-1747
ChANdlER VAN ORMAN OUP - LEAd
586-6781
Helen M. Teale
OVP
586 - 6781
JAH ChAmbERS
NGA security Chief
842 4884
Genera Higginson NGA SPECIAL EVENTS
842-6046
FRANCISCO S. VALCEZ
WHCA LEAD
(202) 757-5358
Wallace NiBlack
WHCA
(202) 757-5517
Nichole CAstle
WHCA A/V LEAD
(202) 757-5107
Bob MADEL
USSS/TSD
(202)355-4004
MICHAEL PORTER
USSS/PPD
202/395-4011
Ringal T. Doty
USSS/WFO
202-435-5100
CORNELIUS F. Tate
USSS/WFO
202-435-5100
Sgt D. AllisoN
Protection See NGA
202-842-6112
50 CREATIVE INTUITION IN ART AND POETRY
THREE
the obscure laws by virtue of which they have produced, and
to derive from such a scrutiny a set of precepts whose divine
aim is infallibility in poetic production. It would be a prod-
igy for a critic to turn poet and it is impossible for a poet
not to contain a critic within himself." 15 These views are,
I think, simply true as regards the poet. As regards the critic,
they must be qualified, as we shall have an opportunity to
see in a further chapter.
To conclude, let us observe that if it is true that art is a
THE PRECONSCIOUS LIFE
creative virtue of the intellect, which tends to engender in
beauty, and that it catches hold, in the created world, of the
OF THE INTELLECT
secret workings of nature in order to produce its own work
-a new creature-the consequence is that art continues in
its own way the labor of divine creation. It is therefore true
to say with Dante that our human art is, as it were, the
grandchild of God-
Art Bitten by Poetry Longs to Be Freed from Reason
Si che vostr' arte a Dio quasi è nipote.
1. I have insisted, in the preceding chapter, that art is
rooted in the intellect. Art is a virtue of the practical intel-
lect; art is, and especially the fine arts are, to a considerable
degree more intellectual than prudence: art is the very virtue
of working reason. Now we are faced with a paradox, a fact
which seems diametrically opposed to this contention:
namely, the fact that modern art-I mean in its finest
achievements, as well as in its deepest trends-modern art
longs to be freed from reason (logical reason).
It is, of course, easy, too easy, to relate this fact to a much
more general phenomenon, conspicuous enough indeed:
what the French philosopher Blanc-de-Saint-Bonnet called
the progressive weakening of reason in modern times. Then
one would say, with some people inspired by a bitter zeal,
that modern art suffers from the same general weakening of
reason, or (and this would be perhaps a little more relevant)
that modern art, being surrounded on all sides, and threat-
ened, by modern reason-a so-called reason as afraid of look-
ing at things as it is busy digging in all the detail around
them, and as fond of illusory explanations as it is insistent in
its claim to recognize only statements of fact, the reason of
51
100
CREATIVE
INTUITION
IN ART
AND POETRY
by Facques Maritain
THE A. W. MELLON LECTURES
IN THE FINE ARTS
Meridian Books
THE WORLD PUBLISHING COMPANY
Cleveland and New York
Dictronary of Omerican
Biography Supp. 2
Mellon
Mellon
years in prison. His remaining years were
lished a private banking house, T. Mellon &
passed there in concocting schemes to obtain at
Sons.
least temporary freedom, usually by promising
From the Pittsburgh public schools Andrew
to solve crimes that baffled the F.B.I. He died
went to the Western University of Pennsyl-
at the Medical Center for Federal Prisoners in
vania. He studied four years with the class of
Springfield, Mo., following a gall bladder opera-
1872, but left three months before graduating to
tion, and was buried in Concord. His wife and
start a lumber and building business in nearby
their only child, William, survived. If he was
Mansfield. He was reserved, self-sufficient, and
not quite what J. Edgar Hoover designated
strongly self-controlled, with a keen analytical
him, "the greatest faker of all time," as a head-
mind and a gift for quiet leadership. Thomas
line personality he epitomized for many the
Mellon was engaged primarily in real estate
more sordid aspects of the Harding eΓa, to say
operations, but he extended credit to Andrew
nothing of the sinister potentialities of a con-
Carnegie [q.v.] and in 1871 had loaned Henry
fidential investigator.
Clay Frick [q.v.] his first $10,000. Young
[Newspapers, notably N. Y. Tribune, Sept. 23, 1917,
Mellon saw something of these two men and
N. Y. Times, Mar. 23, 1924, N. Y. World, Feb. 8, 1925,
of Republican politicians of the Cameron-Quay
pt. II, N. Y. Herald Tribune, May 6, 1932, and N. Y.
obituaries, Dec. 12, 1938, are the most fruitful source,
machine who visited his father. Later, in 1880,
since Means was seldom out of them for long. Other
he and Frick made a European tour which is
information from J. Edgar Hoover, "The Amazing Mr.
supposed to have kindled his initial taste for
Means," American Mag., Dec. 1936; Alumni Hist. of the
Univ. of N. C. (1924 ed.); Harry M. Daugherty, The
art. Having proved his abilities in the lum-
Inside Story of the Harding Administration (1932);
ber business, the young man in 1874 entered
Don Whitehead, The F.B.I. Story (1956); and Means's
death certificate. Mrs. Margaret B. Price of the N. C.
the family bank. It soon became plain to Judge
State Lib., Raleigh, furnished data on Means's family.
Mellon that Andrew possessed not only the best
For a college classmate's attempt to explain Means, see
business brains of the family but a touch of
Baltimore Evening Sun, Dec. 16, 1938.]
financial genius, and in January 1882 he trans-
Louis M. STARR
ferred ownership of T. Mellon & Sons to his
twenty-seven-year-old son.
Pittsburgh was at this time the center of a
MELLON, ANDREW WILLIAM (Mar.
growing industrial area, and Mellon was quick
24, 1855-Aug. 26, 1937), industrialist, hnaneier,
to grasp the important role a bank could play
49th
of the Treasury Ecollector
was
in supplying capital for its expanding industries.
born in Pittsburgh, Pa., the fourth son and sixth
He at once began applying his special talents:
of eight children of Thomas and Sarah Jane
foresight in gauging the ability of small firms
(Negley) Mellon. His father was of Scotch-
to grow into large ones, acumen in estimating
Irish stock, having been brought by his parents
the qualities of would-be borrowers, and shrewd-
to Pittsburgh from Lower Castletown, County
ness in applying the family rule of constantly
Tyrone, Ireland, in 1818, at the age of five;
reinvesting profits in the businesses which made
his mother was the daughter of Jacob Negley
them. He had a particular genius for assessing
of East Liberty, Pa. The parents were both
the worth of new ideas. Some instances of his
Presbyterians and both cultivated, thoughtful,
support of promising young men in apparently
and industrious. Andrew was reared in a hos-
risky ventures are striking. One small under-
pitable home, full of books and interesting fam-
taking to which he gave crucial assistance,
ily friends; for his father had graduated from
started by the chemist Charles M. Hall [q.v.]
the Western University of Pennsylvania (later
and some associates on the basis of Hall's ep-
the University of Pittsburgh), loved the best
ochal patent of 1889 for the electrolytic manu-
British literature, and, as first a successful law-
facture of aluminum, grew into the Aluminum
yer and later an entrepreneur, associated with
Company of America (Alcoa), with the Mel-
the ablest men in the city. He counted a reading
lons as principal holders. Andrew Mellon
of Franklin's autobiography the turning point in
bought his first stock in January 1890, became
his life and in old age himself wrote a notable
a director a year later, and soon was briefly
autobiographical work. When Andrew was four
treasurer. Shortly afterward he gave similar
his father was elected judge of the common
support to the inventor Edward Goodrich Ache-
pleas court of Allegheny County, a post he held
son [q.v.] in placing the Carborundum Com-
for the next ten years. Leaving the bench in
pany on a sound basis, Mellon becoming Ache-
1869, he turned to finance. In December of that
son's partner in 1896. By 1898 he had stock
year, with the thought of affording a "position
control.
for some of my younger sons," he estab-
Other great undertakings accompanied or fol-
446
Mellon
Mellon
Mellon
lowed these. In the early 1890's Mellon organ-
sonal interest in the development of the Alu-
&
ized large oil properties, including wells in
minum Company of America, Gulf Oil, the Car-
ols Andrew
western Pennsylvania, pipelines, and refineries
borundum Company, and Marshall-McClintic.
of Pennsyl.
at Marcus Hook, Pa. His activities at one time
Like other industrial leaders, he did not escape
the class of
brought him into conflict with John D. Rocke-
controversy and sharp criticism. Alcoa, pro-
raduating to
feller [q.v.], to whose Standard Oil Company
tected at first by patents and later by tariffs,
S in nearby
Mellon disposed of these properties in 1895.
was constantly accused of monopolistic sins.
fficient, and
Six years later he took an important part in
Acheson, who developed carborundum, became
n analytical
founding what became the Gulf Oil Corpora-
Mellon's enemy, accusing him of injustice; the
ip. Thomas
tion, which presently sprang to great wealth
purchase by Mellon and three others of Hein-
real estate
with the development of oil fields in Texas and
rich Kopper's American assets from the Alien
to Andrew
Oklahoma. He also helped to establish the
Property Custodian in 1918 for little over
aned Henry
Union Steel Company, with mills on the Mo-
$300,000 aroused criticism. Mellon also became
00. Young
nongahela, later merged into United States
interested in oil investments in Mexico; and
o men and
Steel. He could claim to be the chief creator of
after the Madero revolution his executives, like
neron-Quay
the Standard Steel Car Company and the New
other American holders, resisted Mexican land
er, in 1880,
York Shipbuilding Company, both powerful
laws and suffered heavily.
ir which is
corporations. It was he who converted the small
Few financiers of comparable wealth and
al taste for
American organization of Heinrich Koppers,
power have been as little known as Mellon was
n the lum-
German inventor of by-product coke ovens, into
down to 1921. A man of moderate height,
374 entered
rich and important corporation, which saved
slender build, long narrow head, chilly gray-
in to Judge
vast quantities of gas, sulfur, coal-tar, and
blue eyes, and tightly closed lips masked by a
nly the best
other substances formerly wasted. His partner-
mustache, he possessed a quiet elegance of
a touch of
ship with two young Lehigh graduates, Howard
presence but lacked magnetism. He was reti-
:2 he trans-
H. McClintic and Charles D. Marshall, enabled
cent, soft-voiced, diffident in manner, and ex-
Sons to his
their firm to become world famous for con-
tremely reluctant to speak in public, a slight
struction work, building the Panama Canal
stammer indicating nervousness. To a small cir-
center of
a
locks, the Hell Gate Bridge, the George Wash-
cle of friends he was devoted; he played poker
was quick
ington Bridge over the Hudson, the Waldorf-
regularly with Frick, George Westinghouse,
could play
Astoria Hotel, and many other notable struc-
and Philander C. Knox [qq.v.]. Sometimes he
industries.
tures. Mellon was also active in public utilities
took a vacation with boon companions in camp-
ial talents:
in the Pittsburgh area and in many companies
ing and fishing or hunting. He was too busy,
small firms
of moderate size. At one time he was a di-
however, to give much time to society. Till
estimating
rector or officer of more than sixty corporations.
1900 he lived modestly with his parents on
nd shrewd-
The core of his interests, however, remained
Negley Avenue, and he seldom entertained. He
constantly
banking. In 1890 Judge Mellon made over to
took some interest in public institutions, becom-
which made
Andrew substantially all of his property, to be
ing vice-president and treasurer of the Carnegie
r assessing
controlled for the benefit of the family. A year
Library of Pittsburgh and a director of the
nces of his
earlier Andrew had become the first president
Carnegie Institute of Technology and the Pitts-
apparently
of the Union Trust Company of Pittsburgh, of
burgh Maternity Hospital. He was also chosen
all under-
which he and Henry Clay Frick were the prin-
a trustee of the University of Pittsburgh. On
assistance,
cipal organizers. In 1902 T. Mellon & Sons
its campus, in 1913, he established, with his
Hall [q.v.]
was incorporated as the Mellon National Bank,
brother Richard, the Mellon Institute of In-
Hall's ep-
with Andrew as president. Most of its capital
dustrial Research, to carry forward the pro-
ytic manu-
stock was placed in the hands of the Union
gram of Robert Kennedy Duncan [q.v.] for
Aluminum
Trust Company, control of which was shared
bridging the gap between science and industry.
1 the Mel-
by Mellon, Frick, and Mellon's younger brother
Until I900 Mellon seemed a confirmed bache-
W Mellon
Richard Beatty, whom he had taken in as his
lor. But Frick in 1898 had introduced him on
,, became
co-partner in T. Mellon & Sons in 1887 and
a transatlantic liner to Mr. and Mrs. Alexander
vas briefly
who thereafter remained as his close associate.
P. McMullen, of an established brewing family
ve similar
Other Pittsburgh banking institutions soon
in Hertfordshire, the lessees of Hertford Castle.
rich Ache-
joined the Mellon ranks; together they consti-
Their twenty-year-old daughter Nora Mary, a
lum Com-
tuted one of the great financial powers of the
beautiful, high-spirited girl, attracted Andrew.
ing Ache-
nation.
He followed her to England, fell in love with
had stock
In large part, Mellon left the management of
her, and though at first rebuffed, persisted un-
the industrial enterprises in which he invested
til he married her in Hertford on Sept. 12, 1900.
ied or fol-
to trusted subordinates. But he took a keen per-
On his return home he took a twelve-room
447
Mellon
Mellon
house of plain style on Forbes Street, distin-
tacked the appointment on the ground of Mel-
guished only by some of the fine paintings
lon's wealth, widespread banking activities, and
vic
which he had begun to buy. Two children were
industrial holdings. Since his department would
act
born, Paul and Ailsa. Unfortunately, the mar-
enforce prohibition, an outcry was also raised
WC
riage did not prove happy. Mrs. Mellon did not
over his stock ownership in the Overholt distil-
of
like life in industrial Pittsburgh, resented her
lery-though this was only a $25,000 holding
husband's absorption in business, and probably
in a concern which had gone bankrupt five
to
felt the disparity in their ages. Every summer
years earlier.
but one from 1901 to 1909 Mellon joined his
In the next eight years Mellon made himself
on
wife for long vacations in England, twice of
the dominant figure in the Harding and Coo-
Hc
five months' duration, but at other times they
lidge administrations. For one reason, he had
abl
were much apart. The alienation grew in 1909
to deal with some of their most difficult prob-
into a separation, and in I910 he filed a divorce
lems: reduction of the national debt, readjust-
suit, the decree being granted in July 1912.
ment of taxation, financial settlements with a
After the divorce Pittsburgh found him more
long list of nations, and the sudden change from
an
completely devoted to business than ever, sel-
boom to depression. For another, his real abil-
dom giving a dinner or accepting an invitation.
ity and immense experience and expertness in
in
By I910 Mellon had become an important if
finance impressed a nation embarking on per-
tro
retiring figure in Pennsylvania politics, aiding
haps the most materialistic period in its history.
tin
generously the Republican machine dominated
His scheme of tax reform in particular became
po
first by Matthew S. Quay and then by Boies
famous as the "Mellon Plan," though some of
to
Penrose [qq.v.]. It was said that Penrose
its reductions had been proposed by President
als
counted on him for some of his largest finan-
Wilson and Secretary of the Treasury David
cut
cial contributions. A much more congenial
F. Houston [q.v.] in recommendations after the
per
figure to him was Philander C. Knox, with
war closed. Even Mellon's insistence on econ-
Th
whom he regularly lunched at the Duquesne
omy delighted people, for national economy
Club and who was a close friend as well as
meant more money for business and personal
$66
legal counsel. Mellon's Republicanism was of
expenditure. Most important of all, his person-
he
the orthodox conservative, high-tariff, nation-
ality lent itself to a tremendous campaign of
alistic variety, with principles dating from Har-
publicity. The contrast between his immense
De
rison-McKinley days. Opposed to Woodrow
wealth and retiring life, the apparent ease with
Wilson, he gave money in 1916 to the cam-
which he handled intricate problems involving
lett
paign against him, and in 1918-19 he con-
billions, his intense belief in business as the
leg
tributed $10,000 (the same sum as Frick) to a
mainspring of national well-being and hence
we
propagandist committee to assist Knox in re-
the dominant concern of the government, the
wa
sisting the League of Nations. In 1920 Mellon
suddenness with which he had appeared on the
tor
advocated Knox for the presidential nomina-
national stage-all this made it easy to present
pre
tion. It was natural for Knox to wish to make
him as a Merlin, a wizard who turned every-
rat
Mellon an active force in national affairs.
thing he touched into prosperity. He held him-
to
When Warren G. Harding was nominated and
self coldly aloof from the raffish figures and
Bo
elected president in 1920, he owed a debt to both
disreputable episodes of the Harding admin-
lon
Knox and Penrose. In his erratic search for
istration. Men not only called him the greatest
ne
cabinet members, he accepted Knox's advice
head of the Treasury since Hamilton, but be-
Wi
that the Treasury post be given to Mellon,
lieved what they said.
ex
whom Knox described as "one of the greatest
The fiscal difficulties he faced on taking of-
the
constructive economists of the century." Mel-
fice on Mar. 4, 1921, were serious: a national
the
lon was reluctant to accept, but finally did so.
debt of just over $24,000,000,000, expenditures
per
The choice, though generally applauded, as-
which reached five billions in the fiscal year
fix
tonished the country, for hardly one citizen in
1921 and were expected to total four billions in
on
a thousand had heard of Mellon. The news that
that of 1922, a heavy and ill-adjusted tax sys-
he had spent a lifetime in banking-he was
tem, and an urgent public demand for a return
pri
sixty-five-and was one of the richest men in
to peacetime budgets and tax-levies. It was easy
the
the world, and that he belonged to the most
to institute the reductions of expenditure prom-
cre
conservative wing of Republicanism in a con-
ised by Harding. Charles G. Dawes, the first
hir
servative state, was accepted as one of many
Director of the Budget, worked harmoniously
It
evidences that Harding would turn back to pre-
with Mellon to this end. While the government
at
progressive policies. The New York World at-
reduced expenditures, Mellon turned to a drastic
448
Mellon
Mellon
the ground of Mel-
revision of taxes. This was based on his con-
eral spending well under income was universally
nking activities, and
viction that business was above all others the
approved. Veterans' bonus legislation he con-
is department would
activity of the country which counted, that it
sistently opposed, and he guided President
cry was also raised
would prosper in proportion to the lightening
Harding's hand in writing the veto message of
the Overholt distil-
of its tax-load, and that a prosperity which
1922. Congress, he pointed out, had failed to
a $25,000 holding
initially benefited the rich would filter down
provide revenue to pay for the bonus, and the
gone bankrupt five
to workingmen and farmers. In dealing with
proposed increase of the public debt by one
taxes he characteristically spoke of their effect
sixth to benefit fewer than five million people
fellon made himself
on "business and industry," not on the people.
would undermine confidence in the national
Harding and Coo.
Holding the principles of Herbert Spencer, he
credit. In 1924 he aided Coolidge with another
one reason, he had
abhorred any idea of taxation as a social force,
veto, but this time the measure, costing about
most difficult prob-
useful for equalizing wealth. "I have never
$3,500,000,000, was successfully repassed. Mel-
onal debt, readjust-
viewed taxation," he remarked, "as a means of
lon also consistently fought the successive
settlements with a
rewarding one class of taxpayers or punishing
McNary-Haugen bills providing for farm re-
sudden change from
another."
lief by shipping surplus agricultural commodi-
other, his real abil-
The tax program Mellon laid before Congress
ties abroad. He objected to them not only as
and expertness in
in December 1921 therefore aroused violent con-
burdensome to the Treasury but as requiring a
embarking on per-
troversy. He urged complete repeal of the war-
large bureaucratic machinery, artificial price-
eriod in its history.
time Excess Profits Act, which taxed all cor-
fixing, and assumption by the government of
n particular became
porate gains above eight per cent, as tending
responsibility for the welfare of a large section
though some of
to chill enterprise and restrict investment. He
of the population. The first such bill was de-
posed by President
also asked that the income tax and surtax be
feated in the House in 1924; when the second
he Treasury David
cut from their maximum of 65 per cent to 40
passed Congress in 1926 he helped to write a
nendations after the
per cent immediately and 33 per cent shortly.
veto message that killed it, and he did so again
insistence on econ-
These personal reductions should apply to the
in 1928. He had thus earned the hostility of
national economy
rich alone, however, not affecting incomes below
veterans and the farming population.
siness and personal
$66,000. To maintain government revenues,
Yet he could afford this in view of his posi-
t of all, his person-
he asked for more stamp taxes, a bank-check
tive achievements. He helped to decrease the
adous campaign of
tax, a motor vehicle tax, and higher postage.
budget until in the fiscal year 1927 it stood be-
tween his immense
Democrats under Senator James Reed and pro-
low $3,500,000,000, or about three billions less
apparent ease with
gressive Republicans under Robert M. La Fol-
than in Woodrow Wilson's last year. Short-
problems involving
lette [q.v.] assailed this plan as flagrant class
term obligations were paid off or refunded into
in business as the
legislation. "He favors a system that will let
long-term obligations at lower interest rates.
ll-being and hence
wealth escape," declared La Follette. Hostility
Mellon boasted in January 1928 that a childless
ie government, the
was accentuated by Mellon's opposition to Sena-
man with a $4,000 income who would have paid
ad appeared on the
for George Norris's bill to meet the farm de-
a $120 income tax in 1920 now paid only $5.63.
e it easy to present
pression by creating a federally financed corpo-
He defended excise taxes as giving many per-
who turned every-
ration to buy surplus commodities and send them
sons otherwise practically untaxed a just share
crity. He held him-
to starving populations abroad on Shipping
in governmental burdens. Naturally the upper-
raffish figures and
Board vessels. Critics alleged that under Mel-
and middle-income groups applauded him. In
e Harding admin-
lon's tax plan his own interests would save
1924 he again presented an elaborate tax revi-
ed him the greatest
nearly a million annually. His program was
sion scheme to the country. Declaring that cuts
Hamilton, but be-
warmly defended, on the other hand, by such
would increase national production, he proposed
experts as Alexander Dana Noyes. In the end
to reduce surtaxes from 50 to 25 per cent, lower
aced on taking of-
the excess profits tax was mainly repealed. But
taxes on moderate incomes, and eliminate tax-
serious: a national
the corporation tax was raised from IO to 12.5
exempt bonds by constitutional amendment.
0,000, expenditures
per cent, the maximum surtax on incomes was
Congress, its liberal members suspicious, in-
in the fiscal year
fixed at 50 per cent, and taxes were lowered
sisted on keeping the surtax at 40 per cent on
otal four billions in
on incomes as low as $6,000.
incomes of $500,000 or above, increased the
l-adjusted tax sys-
The Secretary continued to press his fiscal
maximum estate taxes from 25 per cent to 50
emand for a return
principles and in the favorable atmosphere of
per cent, established a gift tax, and provided
-levies. It was easy
the Harding-Coolidge administrations met in-
for publicity of income tax returns. Coolidge
expenditure prom-
creasing success. Prosperity and peace helped
signed the new law (June 1924) with a public
;. Dawes, the first
him in a steady lowering of the national debt.
protest that some of the provisions which con-
rked harmoniously
It was reduced almost eight billions, standing
travened Mellon's wishes were harmful. But it
ile the government
at the end of the fiscal year 1928-29 at
did effect a general reduction of income tax
turned to a drastic
$16,185,000,000. His insistence on keeping fed-
rates.
449
Mellon
Mellon
Mellon's domestic philosophy of debt reduc-
Administration. In these and other labors of
tion, tax reduction, and special care for large
the Treasury he was aided by a devoted group
capital aggregations in order that benefits might
of younger men, among whom may be specially
seep from the upper strata down to the lower
mentioned S. Parker Gilbert, Ogden L. Mills
was easily grasped. But the underlying theory
[qq.v.], and David E. Finley. He took a finely
of the Coolidge-Mellon program of debt settle-
creative interest in the beautification of the na-
ments with foreign nations was less logical.
tional capital and in the realization of the
Mellon was chairman of the World War Debt
Burnham-McKim-Olmsted-Saint-Gaudens plan
Commission. In 1925 he presided in Washing-
of 1901. When Congress finally determined on
ton over meetings with Belgian commissioners
the rescue of Pennsylvania Avenue and the
which resulted in an agreement for repayment
Mall, Mellon was entrusted with the acquisition
of the Belgian war debt with interest over a
of land and erection of public buildings. It was
period of sixty-two years. Similar agreements
in no small degree because of his taste and en-
with Britain, France, Italy, Hungary, Poland,
ergy that Washington was largely transformed
Czechoslovakia, and other countries followed,
in the years 1921-30. A lesser accomplishment
resulting in the funding of more than $11,500,-
in which he took pride was the introduction of
000,000 of foreign war and postwar obligations.
a better-designed and more convenient paper
In computing terms, "ability to pay" was one
currency, much smaller in size.
ruling factor; though Western Europe could
Lauded as one of the greatest secretaries of
not possibly continue remittances unless Ger-
the Treasury, Mellon was at the same time un-
man reparations were collected, the United
der constant attack from Democrats and pro-
States stubbornly recognized no connection be-
gressive Republicans. Senators La Follette,
tween reparations and debt; and no account was
George W. Norris, James Couzens [q.v.], and
taken of the effect of payments on trade. Ulti-
John Nance Garner became prominent critics
mately European debtors would have to send
of all his policies. His Revenue Act of 1928, re-
the United States many billion dollars' worth
ducing the tax burden more than $220,000,000,
of goods-perhaps twenty billion dollars' worth
cutting the corporation income tax from 13.5
-to finance the payments; yet Mellon, support-
per cent to I2 per cent, increasing the credit
ing high tariff walls, was unwilling to receive
for earned income, and repealing the excise tax
such goods. Before the economic crash of 1930
on automobiles, brought the criticism to a head.
it became plain that the vaunted debt settle-
He was specially assailed for Treasury tax re-
ments were workable only while the United
funds to corporations, which in 1929 included
States pumped loans (the Dawes Plan and
$15,000,000 to United States Steel and over the
Young Plan loans) into Germany to pay repa-
years of his incumbency included several mil-
rations to finance international debts; and in
lions to Mellon companies. Garner alleged that
time the debt settlements were engulfed in the
the total of "refunds and secret credits to
Great Depression and the later world war.
wealthy taxpayers," including Alcoa, exceeded
They reflected the ideas of a large body of cabi-
two billions. It was later revealed, too, that
net members, congressional leaders, and experts,
Mellon had secured a memorandum from the
supported by general American opinion. But
Commissioner of Internal Revenue on the vari-
Mellon had shown no great imagination or fore-
ous ways in which an individual might legally
sight, had lent himself to current fallacies, and
avoid taxes, and that a tax expert sent by the
even after world skies darkened did nothing to
Commissioner to help prepare the Secretary's
enlighten and lead American opinion.
income tax return (a common practice in the
Lesser features of Mellon's long Treasury
Treasury Department) subsequently joined
service can be given but cursory mention. Un-
Mellon's personal staff and, by means of family
der the Volstead Act he had responsibility for
corporations and stock sale losses among them,
prohibition enforcement, entrusted first to a
enabled Mellon to reduce his tax payments
prohibition unit in the Bureau of Internal Reve-
(Schlesinger, post, p. 63). As for Mellon's pub-
nue and later to a Bureau of Prohibition under
lic policies, the credit for budget, debt, and tax
a commissioner. Under successive Agricultural
reduction must unquestionably be divided be-
Credits acts of 1921 and 1923 he reorganized
tween his shrewd management and the economic
and efficiently administered the federal farm
boom of 1921-29. Unquestionably also he re-
loan system, which through various agencies
mained benevolent toward large business inter-
had by 1928 advanced farm interests well over
ests. When the depression began it could be
$2,000,000,000. He terminated the complex fi-
questioned whether his policies, favoring rapid
nancial operations of the United States Railroad
capital accumulation and investment, had not
45°
Mellon
Mellon
d other labors of
stimulated stock market speculation and infla-
Pittsburgh and at once resumed activities at
/ a devoted group
tion. No more than Coolidge and others did he
his old desk in the Mellon National Bank. The
1 may be specially
foresee the depression or take precautionary
death of his brother Richard in 1933 was a
Ogden L. Mills
heavy blow. Another brother, James Ross, died
He took a finely
measures. Retained as Hoover's first Secretary of the
in 1934.
fication of the na-
Treasury, Mellon agreed with him that the de-
Mellon's later years were marked by an un-
ealization of the
pression was part of an inevitable aftermath of
pleasant tax wrangle, the government asserting
the first World War. He had said as late as
that he had underpaid his income tax for 1931
int-Gaudens plan
lly determined on
March 1927 that the stock market was "or-
by a figure ultimately set at $2,059,507. The
derly" and he saw "no evidence of over-
charge, first aired by Congressman Louis T.
Avenue and the
th the acquisition
speculation." The Treasury surplus was now
McFadden [q.v.] of Pennsylvania in 1933,
buildings. It was
replaced by deficits, foreign payments first
hinged on Mellon's sale of a large block of stock,
his taste and en-
dwindled and then ceased, and federal bonds
at a substantial loss, to the Union Trust Com-
gely transformed
became increasingly difficult to sell at par.
pany of Pittsburgh, which in turn sold the same
r accomplishment
Hoover and Mellon met the depression by em-
stock a few months later to a corporation owned
phasizing retrenchment, especially with the
by Mellon's two children. Contending that the
e introduction of
convenient paper
army and navy. In 1931 large borrowings be-
transaction had been fraudulently arranged, the
came necessary, reaching $150,000,000 a month
Department of Justice in May 1934 sought to
ze.
in the latter half of the year. Mellon for a time
obtain Mellon's indictment by a federal grand
est secretaries of
he same time un-
issued Treasury notes at intervals of a few
jury, which, however, found the evidence in-
nocrats and pro-
weeks and refunded them by bonds after a few
sufficient. When the Bureau of Internal Reve-
months, a generally commended expedient; but
nue levied a deficiency assessment in 1935, Mel-
ors La Follette,
in December 1931 rising interest rates forced
lon carried the case to the Board of Tax Ap-
izens [q.v.], and
him to offer $1,300,000,000 in obligations of
peals. Its unanimous decision, rendered a few
prominent critics
Act of 1928, re-
one year's maturity or less. He capably assisted
months after Mellon's death, found the con-
ian $220,000,000,
the National Credit Corporation (for banks),
tested stock sale valid; and though on other
e tax from 13.5
the Home Loan banks, and other relief agen-
technical grounds it added $485,809 to Mellon's
asing the credit
cies. In June 1931 he and Secretary of State
1931 income tax, the result was considered a
complete vindication.
ig the excise tax
Henry L. Stimson, in Europe on ostensible va-
ticism to a head.
cations, sent home warnings on the condition
of Germany which led Hoover to issue his pro-
with Pobilanth especially with the
Treasury tax re-
n 1929 included
posal of June 20 for a war debt and reparations
formiling in Washington what became the
moratorium of one year. The depression, how-
He had acquired over
teel and over the
ded several mil-
ever, undercut Mellon's prestige and brought
the years one of the greatest private art collec-
him increasingly under criticism; and Hoover,
tions in the world. His personal taste at first
rner alleged that
who had never been close to Mellon, turned
ran especially to portraits, but his appreciation
ecret credits to
more and more to Ogden L. Mills, since 1927
broadened. Among his I26 paintings were eight
Alcoa, exceeded
Under Secretary of the Treasury. In Febru-
Rembrandts, three Vermeers, three Titians, and
realed, too, that
ary 1932 Mellon was prevailed upon to accept
valuable works by Velasquez, Reynolds, Goya,
indum from the
the ambassadorship to Great Britain, and Mills
El Greco, Holbein, Dürer, Constable, and Rae-
nue on the vari-
was appointed in his place.
burn. His sculptures included splendid works
al might legally
As ambassador, Mellon was warmly welcomed
by Donatello, Verrocchio, and Luca della Rob-
pert sent by the
by British society as well as business leaders
bia. The collection as a whole was valued at
the Secretary's
and statesmen. He had become gracefully ef-
$35,000,000 or more. In one day in 1923 he paid
practice in the
ficient in speechmaking, and with his daughter
$500,000 for four paintings, including two
quently joined
Ailsa as hostess, he offered a pleasing hospital-
Turners. Twenty-one masterpieces from the
means of family
ity at the embassy. No official part of his serv-
Hermitage collection of Catherine the Great
es among them,
ice, which ended with the Hoover administra-
came into Mellon's hands after the Russian
tax payments
tion, was memorable except his work in helping
Revolution at a cost of about $10,000,000. For
or Mellon's pub-
to implement the debt moratorium and to of-
Raphael's "Alba Madonna" alone he paid
t, debt, and tax
fer advice on international financial problems.
$1,166,000, reputed to be the highest sum ever
be divided be-
He hung on the embassy walls some parts of
given for a work of art. In 1937
nd the economic
his costly art collection, the extent of which was
of
bly also he re-
then only conjectural, which aroused keen in-
elfeder evertiment
business inter-
terest. During his residence abroad he added to
sufficient costinge
an it could be
that collection. Closing his official labors on
shout and to establish a $5,000,000
favoring rapid
his seventy-eighth birthday, he returned to
endowment. President Roosevelt asked Con-
tment, had not
451
Mellon
Mendes
gress to take favorable action on the "magnifi-
essentially simple, thoughtful, and just nature.
cent" offer; and though some critics objected to
With the misfortune of excessive wealth he
Mellon's course in naming the original members
coped as conscientiously and efficiently as his
of a self-perpetuating board of trustees and to
training and traditions permitted.
restrictions which emphasized classic rather
than living American art, Congress did so.
[No adequate biog. of Mellon exists. He is grossly
overpraised in Philip H. Love's Andrew W. Mellon (1929)
Construction of the National Gallery, designed
and caustically undervalued in Harvey O'Connor's Mel
by John Russell Pope [q.v.], began before Mel-
lon's Millions (1933). An unpublished biog. by Burton
J. Hendrick, based on Mellon's papers and prepared at the
lon's death. He specially stipulated that the
request of the family in the early 1940'S, is in their posses-
building should not bear his name; and he an-
sion. There is useful material in Thomas Mellon's pri-
vately printed Thomas Mellon and his Times (1885). See
ticipated, as proved true, that other donors
also William L. Mellon and Boyden Sparkes, Judge Mel-
would add valuable collections to his.
lon's Sons (privately printed, 1948), and Frank R. Den-
In the spring of 1937 the government filed
ton, The Mellons of Pittsburgh (Newcomen Soc., 1948).
For Mellon's own views, see his annual reports as Sec-
suit against the Aluminum Company of Amer-
retary of the Treasury and his Taxation: the People's
ica, alleging that it was a monopoly in restraint
Business (1924). George Soule's Prosperity Decade:
From War to Depression, 1917-1929 (1947), in the
of interstate trade. Mellon, his son Paul, and
Econ. Hist. of the U. S. series, is important for the
twenty-four others were named as defendants;
economic background. Political and social histories are
of little value for Mellon's work, though such books as
they, through their attorneys, argued that ear-
Frederick L. Allen's Only Yesterday (1931) paint in the
lier investigations had cleared Alcoa of wrong-
color of the period. Underlying trends are well treated
doing. The legal battle had hardly begun, in
in Recent Econ. Changes in the U. S. (2 vols., 1929),
mainly written under the auspices of the Nat. Bureau of
June, when Mellon, living in Washington to
Econ. Research. Much of value may be gleaned from
direct work for the National Gallery, was seized
Sidney Ratner, Am. Taxation (1942); from William Allen
White's A Puritan in Babylon (1939) and Claude M.
with a bronchial ailment. Partially recovering,
Fuess's Calvin Coolidge, The Man from Vermont (1940);
he went next month to the home of his daugh-
and from William Starr Myers and Walter H. Newton,
ter Ailsa at Southampton, Long Island. There
The Hoover Administration (1936). The volume by
Harold U. Faulkner, From Versailles to the New Deal
he died of bronchial pneumonia and uremia.
(Yale Chronicles of America, 1950), is illuminating, as
The body was taken to Pittsburgh for the fu-
is Arthur M. Schlesinger, Jr.'s The Crisis of the Old
Order (1957). In large part, however, students of Mel-
neral and burial at Allegheny Cemetery.
lon's career must rely on newspapers, such magazines as
Mellon had unquestionably been one of the
Current Hist. and the Nation (strongly anti-Mellon); on
the debates in the Cong. Record; and on the successive
major figures in the industrial and financial de-
vols. of the Am. Year Book and the New Internat. Year
velopment of the trans-Allegheny region and
Book. Mellon's own papers are in the possession of the
family. There is some Mellon correspondence in the Cal-
the most powerful personage of the Harding-
vin Coolidge Papers at the Lib. of Cong. and the Carter
Coolidge regimes. His resourcefulness, shrewd-
Glass Papers at the Univ. of Va. Lib., and other material
ness, and foresight had fostered numerous en-
in the Nat. Archives, esp. Record Group 84.]
ALLAN NEVINS
terprises that others neglected. Charles M. Hall
had sought vainly in other quarters for the
money to apply his aluminum process before
the Mellons came to his aid; the men who
MENDES, HENRY PEREIRA (Apr. 13,
opened the Beaumont, Texas, area after the
1852-Oct. 20, 1937), rabbi, the third son and
dramatic Spindletop oil-strike found the Mel-
third of twelve children of the Rev. Abraham
lons readier than others to supply credit. Mel-
Pereira and Eliza (de Sola) Mendes, was born
lon's large achievements as Treasury head syn-
in Birmingham, England, where his father was
chronized with an upward sweep of the business
then a minister. One of his two older brothers
cycle, and his failures with its downward fall.
died in infancy. He received his general educa-
His doctrines of the paramount importance of
tion in London in a school (Northwick College)
business, the wisdom of distributing wealth
conducted by his father, and afterward for two
from the top downward, and the folly of using
years in University College; his Hebrew edu-
taxation as a social instrument were rejected
cation came from private instruction. His
by the New Deal generation which followed
mother's father was London's beloved Sephardic
him and have been questioned by many econo-
religious leader, David Aaron de Sola, son-in-
mists. It may nevertheless be argued that in
law of London's Sephardic rabbi, Raphael Mel-
postwar America his emphasis on economy and
dola. A descendant of long lines of rabbis on
tax-reduction was sound, his technical expert-
both his father's and his mother's side, young
ness in complex financial matters was highly
Mendes early consecrated himself to the rab-
valuable, and that his composure, system, and
binate, as his older brother Frederic de Sola
solidity strengthened the nation's confidence.
Mendes [q.v.] had done. At the age of twenty-
His veiled and reticent personality cloaked an
three he was appointed reader and preacher in
452
19 Dedication of National Gallery of Art
19. Dedication of National Gallery of Art
19 "The Freedom of the Human Spirit Shall
containing a considerable part of the most important work
Go On" Address at Dedication of National
brought to this country from the continent of Europe, has neces-
sarily a new significance. I think it signifies a new re-
Gallery of Art. March 17, 1941
lation here made visible in paint and in stone be ween the
whol and the old inherited tradition of
IT IS WITH a very real sense of satisfaction that I accept for the
And we shall remember that these halls of beauty, the
people of the United States and on their behalf this National
conception of a great American architect, John Russell Pope,
Gallery and the collections it contains. The giver of this building
combine the classicism of the past with the convenience of today.
has matched the richness of his gift with the modesty of his spirit,
In accepting this building and the paintings and other art that
stipulating that the Gallery shall be known not by his name but
it contains, the people of the United States accept a part in that
by the Nation's. And those other collectors of paintings and of
inheritance for themselves. They accept it for themselves not be-
sculpture who have already joined, or who propose to join, their
cause this Gallery is given to them - though they are thankful for
works of art to Mr. Mellon's - Mr. Kress and Mr. Widener-
have felt the same desire to establish, not a memorial to them-
the gift. They accept it for themselves because, in the past few
selves, but a monument to the art that they love and the country
years, they have come to understand that the inheritance is theirs
and that, like other inheritors of other things of great value, they
to which they belong. To these collections we now gratefully add
the gift of Miss Ellen Bullard and three anonymous donors, which
have a duty toward it.
marks the beginning of the Gallery's collection of prints; and also
There was a time when the people of this country would not
the loan collection of early American paintings from Mr. Chester
have thought that the inheritance of art belonged to them or that
Dale.
they had responsibilities to guard it. A few generations ago, the
There have been, in the past, many gifts of great paintings and
people of this country were often taught by their writers and by
of famous works of art to the American people. Most of the
their critics and by their teachers to believe that art was something
wealthy men of the last century who bought, for their own satis-
foreign to America and to themselves - something imported from
faction, the masterpieces of European collections, ended by pre-
another continent, something from an age which was not theirs
senting their purchases to their cities or to their towns. And so
- something they had no part in, save to go to see it in some
great works of art have a way of breaking out of private owner-
guarded room on holidays or Sundays.
ship into public use. They belong so obviously to all who love
But recently, within the last few years - yes, in our lifetime -
them - they are so clearly the property not of their single owners
they have discovered that they have a part. They have seen in
but of all men everywhere - that the private rooms and houses
their own towns, in their own villages, in schoolhouses, in post
where they have lovingly hung in the past become in time too
offices, in the back rooms of shops and stores, pictures painted by
narrow for their presence. The true collectors are the collectors
their sons, their neighbors - people they have known and lived
who understand this - the collectors of great paintings who feel
beside and talked to. They have seen, across these last few years,
that they can never truly own, but only gather and preserve for
rooms full of painting and sculpture by Americans, walls covered
all who love them, the treasures that they have found.
with painting by Americans - some of it good, some of it not
But though there have been many public gifts of art in the past,
so good, but all of it native, human, eager, and alive - all of it
the gift of this National Gallery, dedicated to the entire Nation,
painted by their own kind in their own country, and painted
72
73
19. Dedication of National Gallery of Art
19. Dedication of National Gallery of Art
about things that they know and look at often and have touched
diverting money and labor from the prosecution of the war, and
and loved.
certain critics - for there were critics in 1863 - certain critics
The people of this country know now, whatever they were
found much to criticize. There were new marble pillars in the
taught or thought they knew before, that art is not something just
Senate wing of the Capitol; there was a bronze door for the cen-
to be owned but something to be made: that it is the act of making
tral portal and other such expenditures and embellishments. But
and not the act of owning that is art. And knowing this they know
the President of the United States, whose name was Lincoln, when
also that art is not a treasure in the past or an importation from
he heard those criticisms, answered: "If people see the Capitol
another land, but part of the present life of all the living and
creating peoples - all who make and build; and, most of all, the
going on, it is a sign that we intend this Union shall go on."
We may borrow the words for our own. We too intend the
young and vigorous peoples who have made and built our present
wide country.
Union shall go on. We intend it shall go on, carrying with it the
It is for this reason that the people of America accept the in-
great tradition of the human spirit which created it.
heritance of these ancient arts. Whatever these paintings may
The dedication of this Gallery to a living past, and to a greater
have been to men who looked at them generations back - today
and more richly living future, is the measure of the earnestness
they are not only works of art. Today they are the symbols of the
of our intention that the freedom of the human spirit shall go on,
human spirit, symbols of the world the freedom of the human
too.
spirit has made - and, incidentally, a world against which armies
NOTE: The National Gallery of
audience of 8,000, including many
now are raised and countries overrun and men imprisoned and
Art at Washington, D. C., was estab-
notable artists and scholars. The
their work destroyed.
lished by Joint Resolution of the
directors of nearly every North
To accept, today, the work of German painters such as Hol-
Congress, approved March 24, 1937
American and South American art
bein and Dürer, of Italians like Botticelli and Raphael, of painters
(50 Stat. 51; Item 8 and note, pp.
gallery and museum were present
of the Low Countries like Van Dyck and Rembrandt, and of
29-30, 1937 volume). The resolution
in the distinguished gathering.
accepted Andrew W. Mellon's offer
famous Frenchmen, famous Spaniards - to accept this work to-
The National Gallery building,
to give his art collection, a building,
a familiar landmark of the Nation's
day for the people of this democratic Nation is to assert the belief
and an endowment fund to the
Capital, is one of the largest marble
of the people of this democratic Nation in a human spirit which
United States. The Congress then
structures in the world. It is 785
now is everywhere endangered and which, in many countries
authorized public funds for the
feet long and its floor area exceeds
where it first found form and meaning, has been rooted out and
maintenance of the Gallery and
half a million square feet.
broken and destroyed.
established it as a bureau of the
The paintings and sculpture pre-
To accept this work today is to assert the purpose of the people
Smithsonian Institution.
sented by Mr. Mellon comprised
of America that the freedom of the human spirit and human mind
The building, constructed at a
works by many of the great masters
cost of more than $15,000,000, was
from the thirteenth to the nine-
- which has produced the world's great art and all its science -
begun in June, 1937, and completed
teenth centuries, and formed a
shall not be utterly destroyed.
in December, 1940. In the fore-
nucleus of high quality from which
Seventy-eight years ago, in the third year of the War Between
going address, when the Gallery
the Gallery's collection has con-
the States, men and women gathered here in the Capital of a
was opened to the public, the Presi-
tinued to grow. Even before the
divided Nation, here in Washington, to see the dome above the
dent accepted the gift for the
Gallery opened, Mr. Samuel H.
Capitol completed and to see the bronze Goddess of Liberty set
Nation.
Kress of New York presented his
upon the top. It had been an expensive and laborious business,
The President addressed a large
famous collection of paintings and
74
75
20. National Defense Mediation Board
20. National Defense Mediation Board
sculpture of the Italian schools.
has made generous donations to the
(b) Each member of the Board shall receive necessary traveling
Subsequently Mr. Kress enlarged
Gallery, and in addition has placed
and even further enriched the Kress
on indefinite loan a large collection
expenses, and each member who, during the period of his service
Collection with additional paint-
of modern French paintings. Les-
on said Board, is not an officer or employee of the United States
ings and sculpture of the Italian
sing J. Rosenwald has given the
shall receive in addition thereto $25.00 per diem for subsistence
and French schools.
Gallery his well-known collection
expense on such days as he is performing Board duties. Within
In 1942, the late Joseph E. Wide-
of prints and drawings. As of De-
the limits of such funds as may be appropriated by Congress
ner of Philadelphia donated the
cember 31, 1948, the National Gal-
or allocated to it by the President, through the Bureau of the
famous collection built up by him-
lery included more than 17,000
self and his father, Peter A. B.
works of art.
Budget, the Office of Production Management shall furnish the
Widener. Chester Dale of New York
Board with necessary experts, assistants, officers, and employees,
and make provision for the necessary supplies, facilities, and
services.
20 [The National Defense Mediation Board
2. Whenever the Secretary of Labor certifies to the Board that
Is Established. Executive Order No. 8716.
any controversy or dispute has arisen between any employer (or
group of employers) and any employees (or organization of em-
March 19, 1941
ployees) which threatens to burden or obstruct the production or
transportation of equipment or materials essential to national de-
WHEREAS it is essential in the present emergency that employers
fense (excluding any dispute coming within the purview of the
and employees engaged in production or transportation of mate-
Railway Labor Act as amended) and which cannot be adjusted
rials necessary to national defense shall exert every possible effort
by the commissioners of conciliation of the Department of Labor,
to assure that all work necessary for national defense shall pro-
the Board is hereby authorized -
ceed without interruption and with all possible speed:
Now, THEREFORE, by virtue of the authority vested in me by the
(a) To make every reasonable effort to adjust and settle any
Constitution and the statutes, and in order to define further cer-
such controversy or dispute by assisting the parties thereto to
tain functions and duties of the Office for Emergency Manage-
negotiate agreements for that purpose;
ment of the Executive Office of the President with respect to the
(b) To afford means for voluntary arbitration with an agree-
national emergency as declared by the President to exist on Sep-
ment by the parties thereto to abide by the decision arrived at
tember 8, 1939, it is hereby ordered as follows:
upon such arbitration, and, when requested by both parties,
1. (a) There is hereby created in the Office for Emergency
to designate a person or persons to act as impartial arbitrator
Management, a board to be known as the National Defense Medi-
or arbitrators of such controversy or dispute;
ation Board (hereinafter referred to as the Board). The Board
(c) To assist in establishing, when desired by the parties,
shall be composed of eleven members to be appointed by the
methods for resolving future controversies or disputes between
President, of whom three shall be disinterested persons represent-
the parties; and to deal with matters of interest to both parties
ing the public, four shall be representatives of employees and
which may thereafter arise;
four shall be representatives of employers. The President shall
(d) To investigate issues between employers and employees,
designate as chairman of the Board one of the members represent-
and practices and activities thereof, with respect to such con-
ing the public.
troversy or dispute; conduct hearings, take testimony, make
7
6
77
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National Gallery of Art
Washington, D.C. 20565
THE FOLLOWING FACSIMILE MESSAGE :S FROM THE NATIONAL GALLERY OF ART
TO:
Bob Simon
FAX NO. 202-456-6218
Genevra Higginson
FROM:
FAX NO.
17
CONSISTS OF
PAGES INCLUDING LEADER
10/3/91
SENT AT:
DATE:
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AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
*denotes response not yet received
KEY
TC:
NGA Trustees' Council
CC:
NGA Collectors Committee
XDO:
NGA Development Office
DCG:
NGA Graphic Arts
DCM:
NGA Modern Painting
XIO:
NGA Information Office
*Abbott, Mr. John
DCG (and Guggenheim, Mr. Peter)
*Adams, Mr. Charles F.
XDO; Raytheon Co.
*Adams, Mrs. (Beatrice)
Adams, Mr. Robert McC.
NGA Trustee; Secretary of the
Smithsonian
*Agnelli, Mr. Giovanni
D; Fiat USA, Inc.
*Agnelli, Mrs. (Marella)
Allbritton, Mr. Joe L.
XDO; Allbritton Communications Co.
Allbritton, Mrs. (Barby)
*Anderson, Mr. Harry W.
XDO; Saga Corporation
*Anderson, Mrs. (Moo)
*Andreas, Mr. Dwayne O.
DCM; Chrm. & Pres., Archer-Daniels
*Andreas, Mrs. (Dorothy Inez)
Midland Co.
Andréani, Mme. Jacques (Donatalle)
wife of the French Ambassador to
the United States
H.E. Giulic
The President of the Council of
*Andreotti, Mos.
Ministers of the Italian Republic
Annenberg, Hon. Walter H.
XDO; Former US Amb. to the Court
Annenberg, Mrs. (Leonore)
of St. James'
*Baer, Dr. George M.
XDO
*Baer, Mrs.
Bain, Mr. Herbert
she: Rep. Yates' AA
Bain, Mrs. (Mary)
*Baker, Dr. Richard Brown
XDO
*The Secretary of State
NGA Trustee
*Baker, Mrs. (Susan)
1
OCT 01 '91 11:40 NAT'L GALLERY OF ART 2028422403
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AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
*Baker, Dr. William O.
AMW Fdn. Chrm. Emeritus
*Baker, Mrs. (Frances)
Baskett, Mr. John
Mellon Guest; John Baskett, Ltd.
*Bass, Mr. Perry R.
TC; Bass Enterprises Production Co.
*Bass, Mrs. (Nancy Lee)
Bass, Mr. Sid R.
XDO; DCM; CC
Bass, Mrs. (Mercedes)
Beach, Mr. Thomas M., Jr.
Mellon Guest
Beach, Mrs. (Beverly)
*Bell, Professor Daniel
DCG; Sociology Professor, Harvard
*Bell, Mrs.
University
Bellow, Adam
she: AWM Fdn.
Bellow, Rachel
Benedict, Dr. Ruth B.
XDO;
Bernier, Ms. Rosamond
Mellon Guest; DCM (and Russell, Mr.
John, New York Times)
H.E. The Ambassador of Italy (Biancheri)
Blackmun, Justice Harry A.
US Supreme Court
Blackmun, Mrs. (Dorothy)
*Blatherwick, Mr. Gerald D.
XDO; Southwester Bell Corp.
*Blatherwick, Mrs. (Anne)
Blinken, Mr. Donald M.
TC; E.M. Warburg, Pincus & Co., Inc.
Blinken, Mrs. (Vera)
Blom, Mrs. Inger Lise
Lady in Waiting to Her Majesty
The Queen (of Norway)
*Boorstin, Hon. Daniel J.
Cafritz Fdn.
*Boorstin, Mrs.
Borghi, Mr. Mark
DCG; Borghi & Co.
& Guest
Borghi, Mr. Paul
DCG; Borghi & Co.
Borghi, Mrs.
Bowen, Mr. William G.
AWM Fdn. President
Bowen, Mrs.
Brooks, Mr. Harry A.
XDO; Wildenstein & Co., Inc.
2
OCT 01 '91 11:40 NAT'L GALLERY OF ART 2028422403
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AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Brown, Dr. David
NGA
Brown, Mr. J. Carter
NGA Director
*Bruce, Mr. David S.
XDO
Bruce, Mrs. David K.E. (Evangeline)
Mellon Guest; widow of
former NGA Trustee
Bulaj, Ms. Beata P.
guest of Johnson, Mrs. J. Seward)
Burger, Chief Justice Warren E.
Retired Chief Justice US Supreme
Burger, Mrs. (Elvera)
Court
The President of the United States
Bush, Mrs. George (Barbara)
*Byrd, Hon. Robert C.
US Senate (D-WV)
*Byrd, Mrs.
*Cafritz, Mr. Calvin
XDO; Calvin Cafritz Enterprises
*Cafritz, Mrs. (Joyce)
Carter, Mr. Edward W.
TC; Chairman of the Board, Carter
Carter, Mrs. (Hannah)
Hawley Hale Stores
H.E. The Ambassador of Belgium
Cassiers, Mrs.
Cavanagh, Mr. Carroll J.
Mellon Guest; TC;
(and Smith, Ms. Candida)
Cavander, Mr. Kenneth
and Kaplan, Ms. Ruth, NGA
*Claiborne, Dr. Herbert A., Jr.
Mellon Guest; VA Museum of Fine
*Claiborne, Mrs.
Arts; Pres., VMFA Fdn.; VP Bd. of
T. VMFA
Clark, Mr. A. James
XDO; Pres., , George Hyman
Clark, Mrs. (Alice)
Construction Corp.
Clement, Ms. Constance
Mellon Guest; Yale Center for
British Art (and Crary, Mr.
Alexander)
*Coberly, Mr. William B.
XDO;
*Coberly, Mrs. (Victoria)
Conover, Ms. Catherine M.
Mellon Guest; CC
Cormack, Mr. Malcolm
Mellon Guest; PM Curator at
Cormack, Mrs.
Virginia Museum of Fine Art
The President of the Republic of Italy
Cossiga, Mrs. Francoses
OCT 01 '91 11:41 NAT'L GALLERY OF ART 2028422403
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AWM V WHITE TIE DINNER, October 10, 1991
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Cox, Mr. Edwin L.
TC; Co-Chrm., CC; Edwin L. Cox Co.
Crary, Mr. Alexander D.
guest of Clement, Ms. Constance;
LA to Senator Pell
Cullum, Ms. Lee
guest of Nasher, Mr. Ray
Curran, Mrs. Catherine G.
XDO; DCM
*Currier, Ms. Lavinia (Vinny)
Mellon Guest; granddaughter of
Ailsa Mellon Bruce
*Currier, Mr. Michael
Mellon Guest; grandson of Ailsa
Mellon Bruce
*Curtis, Mr. John R., Jr.
Mellon Guest; Virginia
*Curtis, Mrs.
Museum of Fine Arts
Daly, Mr. Patrick
Dept. of State, Office of Protocol
Davidson, Mr. John B.
DCG
Davidson, Mrs. Louis G.
DCG
*Davis, Mr. Roy
Mellon Guest;
*Davis, Mrs.
Davis & Langdale Co., Inc.
*Deaver, Hon. Michael K.
Cafritz Fdn.
*Deaver, Mrs. (Carolyn)
de Fortabat, Mrs. Alfredo (Amalia)
XDO;
de Menil, Dr. Georges
TC; she: Vice Chrm.
de Menil, Mrs. (Lois)
*Dicks, Hon. Norman D.
US House (D-WA)
*Dicks, Mrs. (Suzanne)
*Dixon, Hon. Sharon Pratt
Mayor of the District of Columbia
*Dole, Hon. Robert J.
US Senate Minority Leader (R-KS);
*Dole, Hon. Elizabeth
she: American Red Cross
Dombrosky, Mr. Nicolas
guest of Gunnarsson, Mrs. Helena
*Donnelley, Mr. Gaylord
XDO
*Donnelley, Mrs. (Dorothy)
*Downie, Mr. Leonard, Jr.
XIO; Washington Post,
*Downie, Mrs.
Editor-in-Chief
Duemling, Hon. Robert W.
XDO; CC; Former US Amb. to Surinam
Duemling, Mrs. (Louisa)
4
OCT 01 '91 11:41 NAT'L GALLERY OF ART 2028422403
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AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Dyke, Mr. James T.
TC; Dyke Industries
Dyke, Mrs. (Helen)
*Eaker, Mr. Alan B.
XDO; Dir., Graphicstudio
Eichholz, Mrs. Robert B. (Merci)
XDO; DCG
(and Irelan, Mr. John)
Elson, Mr. Edward E.
TC; CC
Elson, Mrs. (Suzanne)
Erburu, Mr. Robert F.
TC; Pres. & CEO, Times Mirror
Erburu, Mrs. (Lois)
Evans, Ms. Anne Borden
NGA Executive Officer
(and Wallace, Mr. William F.)
*Evans, Mr. Edward P.
XDO
*Farish, Mr. Williams S. III
XDO
*Farish, Mrs. (Sarah)
*Felsen, Mr. Sidney B.
XDO; Gemini G.E.L.
*Felsen, Mrs.
Fisher, Mr. Chester
she: NGA
Fisher, Mrs. (Laura)
*Fitch, Mr. Walter III
XDO
Fleischman, Mr. Aaron
DCG; CC
(and Lougheed, Dr. Lin)
*Foley, Hon. Thomas S.
The Speaker of the House of
*Foley, Mrs. (Heather)
Representative (D-WA)
*Folger, Mrs. John Clifford (Kathrine)
XDO
Fontaine, Mr. John C.
TC; Hughes Hubbard & Reed
Fontaine, Mrs. (Elizabeth)
*Ford, Mrs. Kathleen DuRoss
XDO; Ford Motor Co.
(Mrs. Henry Ford II)
*Foshay, Mr. and Mrs. William Ward
XDO
Freedberg, Professor Sydney J.
Former NGA Executive Officer
Freedberg, Mrs. (Catherine)
*Frohnmayer, Hon. John E.
Chrm. NEA
*Frohnmayer, Mrs. (Leah)
*Fuller, Mr. Andrew P.
XDO; The Fuller Fdn., Inc.
5
OCT 01 '91 11:42 NAT'L GALLERY OF ART 2028422403
P.7/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
*Fuller, Mrs. (Geraldine)
Gaines, Mr. John R.
TC; Gaines Burgers; JRG Investment
Gaines, Mrs. (Joan)
Corp.
Ganz, Mr. Julian, Jr.
TC; DCM; CC; McMahon's Furniture
Ganz, Mrs. (JoAnn)
Stores
*Gephardt, Hon. Richard A.
US House Majority Leader (D-MO)
*Gephardt, Mrs.
*Gibson, Mr. Eric
XIO; Washington Times art critic
*Gibson, Mrs.
*Gilman, Mr. Howard
DCG; The Gilman Fdn.
*Glassman, Ms. Elizabeth
XDO; Georgia O'Keeffe Fdn.
*Gordon, Mr. Albert H.
XDO; Kidder Peabody & Co., Inc.
*Gordon, Mrs. Douglas
DCG
Graham, Mrs. Katharine
CC; The Washington Post Co.
Gray, Hon. C. Boyden
XDO; Counsel to the President
Gray, Ms. Deecy
niece/guest of Mr. Ivan Phillips;
x-wife of brother of C. Boyden Gray
Grimstad, Mr. Carl-Erik
Private Secretary to Her Majesty
The Queen (of Norway)
*Guggenheim, Mr. Peter
DCG (and Abbott, Mr. John)
Gunnarsson, Mrs. Helena
XDO (and Dombrosky, Mr. Nicolas)
Haas, Mr. Walter A., Jr.
TC; Levi Strauss & Co.
Haas, Mrs. (Evelyn D.)
Hall, Mr. Michael E., Jr.
DCG
Harriman, Mrs. W. Averell (Pamela)
TC
Harris, The Very Reverend Charles U.
XDO
Harris, Mrs. (Janet C.)
*Hatch, Mr. John Davis
XDO
Haupt, Mrs. Enid Annenberg
XDO; DCG
Haverstick, Mrs. Iola
XDO; DCG
Havnen, Mr. Ingvard
Counselor, Press & Cultural Affairs
6
OCT 01 '91 11:42 NAT'L GALLERY OF ART 2028422403
P.8/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Havnen, Mrs.
The Royal Norwegian Embassy
Heinemann, Mrs. Rudolf J. (Lore)
TC
Heinz, Mrs. H. John III (Teresa)
XDO; DCM
*Heinz, Mrs. Henry H. II (Drue)
XDO; CC; H.J. Heinz Co.
*Held, Professor Julius S.
XDO
Helms, Hon. Richard M.
Mellon Guest; Former Director, CIA;
Helms, Mrs. (Cynthia)
Former US Ambassador to Iran
Herr, Mr. Kenneth J.
AWM Fdn. Treasurer & Asst. Secretary
Herr, Mrs.
Herrick, Mr. Daniel
NGA Executive Officer
(and Seeger, Ms. Anne)
Herring, Mr. John D.
DCG; John and Paul Herring, Inc.
Herring, Mr. Paul L.
DCG; John and Paul Herring Inc.
Herring, Mrs.
Higgins, Dr. William H., Jr.
Mellon Guest; Virginia
Higgins, Mrs.
Museum of Fine Arts
Higginson, Mr. Charles
she: NGA
Higginson, Mrs. (Genevra)
he: Director, Conncil on Ocean Law
*Hills, Hon. Roderick M.
US Trade Representative
*Hills, Hon. Carla A.
*Hitchcock, Mrs. Thomas (Margaret Mellon) Mellon Guest
*H.E. The Ambassador of Austria
*Hoess, Mrs.
Hooker, Mrs. James Stewart (Janet)
XDO; CC (and Ingram, Mr. Louis
Wilson)
Hornstein, Mr. Michael
DCM
Hornstein, Mrs.
Horten, Dr. Bruce
Mellon Guest
*Howland, Dr. Richard H.
Cafritz Fdn.
Hunt, Mr. John Dixon
Mellon Guest
Hunt, Mrs.
Ingram, Mr. Louis Wilson
guest of Hooker, Mrs. Janet Stewart
7
OCT 01 '91 11:43 NAT'L GALLERY OF ART 2028422403
P.9/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Irelan, Mr. John
guest of Eichholz, Mrs. Robert
Ireland, Mr. R.L. III
TC; CC; Brown Brothers Harriman
Ireland, Mrs. (Anne)
and Co.
Irwin, Hon. John N. II
CC; Former NGA Trustee; Patterson,
Irwin, Mrs. (Jane)
Belknap, Webb & Taylor
*Ittleson, Mr. H. Anthony
XDO; Ittleson Fdn., Inc.
*Ittleson, Mrs. (Marianne)
Jessup, Mr. Philip C., Jr.
NGA Executive Officer
Jessup, Mrs. (Helen)
Jewett, Mr. George F., Jr.
TC
Jewett, Mrs. (Lucy)
*Johnson, Mr. Edward C. III
XDO
*Johnson, Mrs.
*Johnson, Mr. James L.
XCR; Chrm. & CEO, GTE Corp.
Johnson, Mrs. J. Seward (Barbara)
XDO; DCM; CC
(and Bulaj, Ms. Beata P.)
Kainen, Mr. Jacob
TC
Kainen, Mrs. (Ruth)
Kaku, Mr. Ryuzaburo
XCR; Chrm., Canon Inc.
Kaku, Mrs.
Kaplan, Ms. Ruth
NGA (and Cavander, Mr. Kenneth)
Kaufman, Mr. George M.
DCM
Kaufman, Mrs. (Linda)
*Keck, Mrs. Howard B. (Libby)
XDO
Kellen, Mr. Stephen M.
TC; CC; Arnold & S. Bleichroeder,
Kellen, Mrs. (Anna-Maria)
Inc.
Kempner, Ms. Christina
and Rosenfeld, Mr. Seth
Kennedy, Justice Anthony M.
US Supreme Court
Kennedy, Mrs. (Mary)
*Kidder, Hon. Randolph A.
XDO
*Kidder, Mrs. (Dorothy)
Kimmelman, Mr. Peter
TC; CC; Peter Kimmelman Asset Mngmt.
Kimmelman, Mrs. (Elbrun)
Co.
Kirstein, Mr. Richard A.
TC; Richmarr Construction Corp.
8
OCT 01 '91 11:43 NAT'L GALLERY OF ART 2028422403
P.10/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Kirstein, Mrs. (Lee)
Knox, Dr. Bernard M.W.
Mellon Guest; Dir. Emeritus, Center
Knox, Mrs.
for Hellenic Studies
*Koch, Mr. William I.
XDO; The Fred C. Koch Fdn., Inc.
*Koch, Mrs. (Joan)
*Kogod, Mr. Robert P.
XDO; CC
*Kogod, Mrs. (Arlene)
*H.E. The Ambassador of the Union of Soviet States
*Komplektov, Mrs.
Kopper, Mr. Philip
Mellon Guest; NGA Oral Historian
Kopper, Mrs. (Mary)
*Koten, Mr. John A.
XCR; Sr. VP Ameritech
*Koten, Mrs. (Cathie)
Krakora, Mr. Joseph J.
NGA Executive Officer
Krakora, Mrs. (Polly)
*Kress, Mrs. Rush H. (Virginia)
Kress, Mrs. Jocelyn
*Kuralt, Mr. Charles
XIO; CBS - Sunday Morning
*Kuralt, Mrs.
*Latham, Mr. Aaron
XIO (and Stahl, Ms. Leslie)
Lauder, Mr. Leonard A.
TC; Estée Lauder, Inc.
Lauder, Mrs. (Evelyn)
Laughlin, Mr. Alexander M.
NGA Trustee; TC; Deltec Securities
Laughlin, Mrs. (Judy)
Corp.
*Lee, Mr. Charles R.
XCR; Pres., GTE Corp.
*Lee, Mrs. (Ilda)
Lenkin, Mr. Melvin
DCM
Lenkin, Mrs. (Thelma)
Levenson, Mr. Jay
NGA (and Schuette, Ms. Mary)
*Lloyd, Mr. Stacy B. III
Mellon Guest
*Loeb, Mr. John L.
XDO
*Loeb, Mrs.
Lougheed, Dr. Lin
guest of Fleischman, Mr. Aaron
9
OCT 01 '91 11:43 NAT'L GALLERY OF ART 2028422403
P.11/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Lovejoy, Dr. Thomas
Undersecretary of the Smithsonian
(guest of Sally Quinn)
*Lovett, Mr. Laurence D.
DEV
*Lunde, Mr. Asbjorn R.
DCG
*Luzón, Mr. Francisco
XCR; Presidente, Banco Exterior
*Luzón, Mrs.
de España
Mandle, Mr. Roger
NGA Executive Officer
Mandle, Mrs. (Gayle)
*Manning, Mr. Robert L.
XDO; DCM
*Manning, Mrs. (Bertina Suida)
Massey, Mrs. Jack C. (Alyne)
XDO
*Matisse, Mrs. Pierre (Gaetana)
DCM; XDO
*McBean, Mr. Peter
XDO
*McBean, Mrs.
McLucas, Mr. D. H.
Mellon Guest
McLucas, Mrs.
*McNamara, Mr. Francis J., Jr.
XDO; Cummings & Lockwood
*McNamara, Mrs.
*McNeil, Mr. Robert L., Jr.
XDO; The Barra Fdn., Inc.
*McNeil, Mrs. (Nancy)
H.E. The Ambassador of The Netherlands
Meesman
Mellon, Mr. Paul
NGA Honorary Trustee; AWM Fdn.
Mellon, Mrs. (Bunny)
Honorary Trustee
Mellon, Mr. Timothy
Mellon Guest; TC;
Mellon, Mrs. (Louise)
AWM Fdn. Trustee
*Menschel, Mr. Robert B.
XDO
*Menschel, Mrs. (Joyce)
*Michel, Hon. Robert H.
US House Minority Leader (R-IL)
*Michel, Mrs.
Millard, Mrs. Mark Jacob (Liselotte)
XDO
Millon, Professor Henry A.
NGA Executive Officer
Millon, Mrs. (Judy)
10
OCT 01 '91 11:44 NAT'L GALLERY OF ART 2028422403
P.12/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Moffett, Mr. Charles
NGA
*Morgan, Mr. Edward P.
XDO
Mosbacher, Mr. Emil, Jr.
D
Mosbacher, Mrs. (Patricia)
*Moynihan, Hon. Daniel P.
US Senate (D-NY)
*Moynihan, Mrs. (Liz)
Murphy, Dr. Franklin D.
NGA Trustee; Times Mirror
Murphy, Mrs. (Judy)
Nasher, Mr. Raymond D.
TC; CC; Raymond D. Nasher Company
(and Cullum, Ms. Lee)
Nef, Mrs. John Ulric (Evelyn)
XDO
*Newman, Mrs. Barnett
XDO; DCM
Her Majesty The Queen of Norway
Nutt, Mrs. Roy
XDO
*O'Brien, Mr. John
DCG
*de Ojeda y Eiseley, The Ambassador of Spain
Ohrstrom, Mr. Ricard R.
XDO
Ohrstrom, Mrs. (Allen)
Pearl, Mr. Frank H.
XDO; DCM; Rappahannock Investment
Pearl, Mrs. (Gery1)
Co.
Pearson, Mr. Nathan W.
Mellon Guest
Pearson, Mrs. (Kathleen)
Pei, Mr. I. M.
Mellon Guest;
Pei, Mrs. (Eileen)
Pei Cobb Freed & Partners
*Perez de Cuellar, H.E. Javier
Secretary General of the United
*Perez de Cuellar, Mrs.
Nations
Perry, Dr. Marilyn
President, Kress Fdn.
*Peterson, Mr. Milton V.
XDO; Hazel-Peterson Companies;
*Peterson, Mrs.
Guest Services, Inc.
Phillips, Mr. Ivan E.
XDO (and Gray, Ms. Deecy)
Phillips, Mr. Neil F.
XDO
Phillips, Mrs. (Sharon)
11
OCT 01 '91 11:44 NAT'L GALLERY OF ART 2028422403
P.13/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
*Pinkus, Mr. Gerhard E.
XDO
*Pinkus, Mrs.
*Powers, Mr. John
XDO
*Powers, Mrs. (Kimiko)
Prince, Mr. Frederick H.
TC; CC
Prince, Mrs. (Diana)
Prizel, Mr. Ilya
DCM (and Rothko Prizel, Ms. Kate)
The Vice President of the United States
Quayle, Mrs. J. Danforth (Marilyn)
Quinn, Ms. Sally
XIO (and Lovejoy, Dr. Thomas,
Undersecretary of the Smithsonian)
*Rash, General Dillman A.
XDO; CC
*Rauschenberg, Mr. Robert
XDO
Reed, Hon. Joseph Verner
The Chief of Protocol
*Regula, Hon. Ralph
US House (R-OH)
*Regula, Mrs.
Reid, Mr. Bryan S.
Mellon Guest; she: Dir., Virginia
Reid, Mrs. (Katharine C. Lee)
Museum of Fine Art
Reilly, Hon. William K.
Administrator, Environmental
Reilly, Mrs. (Libby)
Protection Agency
*H.E. The British Ambassador
*Renwick, Lady
*Richard, Mr. Paul
XIO; Washington Post
*Richard, Mrs. (Deborah)
Richards, Mr. Thomas
Mellon Guest
Richards, Mrs.
*Ridgeway, Mr. Thomas
Mellon Guest (daughter of J. Russell
*Ridgeway, Mrs. (Jane Akers)
Pope)
*Ripley, Hon. S. Dillon II
Mellon Guest; Secretary Emeritus,
*Ripley, Mrs. (Mary)
Smithsonian; Former NGA Trustee
Robertson, Mr. William IV
AWM Fdn. Program Dir.
Robertson, Mrs. (Alicia)
Robinson, Mr. Duncan
Mellon Guest; Dir., Yale Center
Robinson, Mrs.
for British Art
12
OCT 01 '91 11:45 NAT'L GALLERY OF ART 2028422403
P.14/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Robison, Dr. Andrew
NGA
Robson, Hon. John
Deputy Secretary of the Treasury
Robson, Mrs. (Margaret)
Rockefeller, Mr. David, Sr.
XDO
Rockefeller, Mrs. (Peggy)
Rockefeller, Hon. John D. IV
XDO; US Senate (D-WVA);
Rockefeller, Mrs. (Sharon)
she: President WETA-TV
*Rogers, Hon. William P.
XDO; Rogers & Wells
*Rogers, Mrs. (Adele)
*Rose, Mr. Daniel
XDO
*Rose, Mrs.
Rosenfeld, Mr. Seth
grandson of Boris Leavitt
(and Kempner, Ms. Christina)
Rothko Prizel, Ms. Kate
DCM; (and Prizel, Mr. Ilya)
Russell, Mr. John
Mellon Guest; DCM;
(and Bernier, Ms. Rosamond)
Rust, Mr. David E.
XDO
Ryskamp, Dr. Charles A.
Mellon Guest; Trustee AWM Fdn.
*Sabarsky, Mr. Serge
DCG; Serge Sabarsky Gallery, Inc.
*Sabarsky, Mrs.
Sackler, Mrs. Arthur M. (Jill)
TC; Arthur M. Sackler Fdn.
*Saff, Dr. Donald
DCG
*Saff, Mrs.
*Salant, Mr. Walter
DCG
*Salant, Mrs. (Edna)
*Saltzman, Mr. Arnold A.
XDO; Vista Resources, Inc.
*Saltzman, Mrs. (Joan)
Sarnoff, Mrs. Stanley J. (Lili-Charlotte) XDO; Survival Technology, Inc.
(and Dr. Stephen Parks Strickland)
Saul, Mr. B. Francis II
XDO; B.F. Saul Company
Saul, Mrs. (Elizabeth)
Savitt, Mr. Charles
Mellon Guest
Scaife, Mr. Richard M.
Mellon Guest; DCM
Scaife, Mrs. (Margaret Battle)
13
OCT 01 '91 11:45 NAT'L GALLERY OF ART 2028422403
P.15/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Schmidt, Hon. Adolph W.
Mellon Guest; Former US Ambassador
Schmidt, Mrs. (Helen)
to Canada
Schuette, Ms. Mary
and Levenson, Mr. Jay
Seeger, Ms. Anne
guest of Herrick, Mr. Daniel
*Shepard, Rear Adm. Tazwell, Jr.
Cafritz Fdn.
*Shepard, Mrs.
*Shickman, Mr. Herman
XDO; Herman Shickman Gallery
*Shickman, Mrs.
*Silberman, Mr. John
XDO
*Simpson, Mrs. Beatrice
Mellon Guest
Smith, Ms. Candida
Mellon Guest; TC (and Cavanagh, Mr.
Carroll)
Smith, Mr. James S.
TC; Arnold D. Frese Fdn., Inc.
Smith, Mrs. (Laurie)
*Smith, Mr. Joshua P.
DCG
Smith, Mr. Robert H.
NGA Trustee
Smith, Mrs. (Clarice)
Solomon, Mrs. Lillian
XDO
*Solow, Mr. Sheldon H.
DCM
*Solow, Mrs.
Spadolini, President Giovanni
President Italian Senate
*Squires, Mr. Richard
Mellon Guest
*Squires, Mrs. (Andrea B. Currier)
*Stahl, Ms. Lesley
XIO; CBS News; 60 Minutes
(and Latham, Mr. Aaron)
*Stark, Mr. Ray
XDO; Ray Stark Productions, Inc.
*Stark, Mrs.
Stevenson, Hon. John R.
NGA Trustees; AWM Fdn. Trustee
Stevenson, Mrs. (Ruth Carter)
Sullivan & Cromwell
Stewart, Dr. Zeph
Mellon Guest; Dir., Hellenic
Stewart, Mrs. (Diana)
Center
Strickland, Dr. Stephen Parks
guest of Sarnoff, Mrs. Stanley J.
The Secretary of HHS
Cabinet
14
OCT 01 '91 11:45 NAT'L GALLERY OF ART 2028422403
P.16/17
AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Sullivan, Mrs. Louis (Eva Ginger)
Sullivan, Mr. T. Dennis
AWM Fdn., Financial VP
Sullivan, Mrs. (Susan)
Sununu, Hon. John H.
Chief of Staff to the President
Sununu, Mrs. (Nancy)
*Swenson, Mr. Edward F., Jr.
TC; Edward F. Swenson and Company
*Swenson, Mrs. (Marie)
Takemoto, Mr. Hideharu
XCR; Pres. & CEO, Canon USA Inc.
Takemoto, Mrs.
Terra, Hon. Daniel J.
XDO; The Vernon Group Inc.
Terra, Mrs. (Judith)
Terry, Mr. Frederick A., Jr.
Mellon Guest; Sullivan & Cromwell
and Guest
regatly
*Thatcher, The Rt. Hon. Margaret
*Thatcher, Sir Denis
*Thyssen-Bornemisza, Baroness Francesca
DEV
Toups, Mr. John M.
Chairman of the Board, GSI
Toups, Mrs. (Nina)
Tunick, Mr. David
DCG; David Tunick Inc.
Tunick, Mrs.
*H.E. The Royal Norwegian Ambassador
*Vibe, Mrs. (Beate)
Viti, Mr. Paolo
Palazzo Grassi, S.p.A.
Viti, Mrs.
*H.E. The Federal Chancellor of Austria
*Vranitsky, Mrs.
*Walker, Mr. John III
Mellon Guest; Dir. Emeritus NGA
Wallace, Mr. William
(and Evans, Ms. Anne Borden, NGA
Executive Officer)
*Walton, Mr. James M.
Mellon Guest
*Walton, Mrs. (Ellen)
*Walton, Mr. William
Cafrtiz Fdn.
Warner, Mr. John W. IV
Mellon Guest; son of Catherine M.
Conover
15
OCT 01 '91 11:46 NAT'L GALLERY OF ART 2028422403
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AWM V WHITE TIE DINNER, October 10, 1991
Acceptance List a.o. October 1, 1991
Warner, Ms. Virginia S.
Mellon Guest; daughter of Catherine
& Guest
M. Conover
*Warwick, The Earl of
Mellon Guest
*Weaver, Mr. Melvin R.
XDO
*Weber, Dr. John C.
DCM
*Weber, Mrs. (Charlotte)
*Weir, Mr. Michael
Mellon Guest
*Weir, Mrs. (Pidge)
Whitehead, Hon. John C.
TC Chrm.; AWM Fdn. Chairman;
Whitehead, Mrs. (Nancy)
AEA Investors Inc.
*Wiener, Mr. Malcolm
DCM; The Millburn Corp.
*Wiener, Mrs.
Wilbur, Mr. William N.
Mellon Guest
Wilbur, Mrs.
Williams, Mr. Dave H.
DCG; CC
Williams, Mrs. (Reba)
*Williams, Hon. Patrick
US House (D-MT)
*Williams, Mrs. (Carol)
*Wittrock, Herr Wolfgang
DCG
*Wolfensohn, Mr. James D.
Chrm., The John F. Kennedy Center
*Wolfensohn, Mrs. (Elaine)
for the Performing Arts
Wood Prince, Mr. William
TC; CC; F.H. Prince Co., Inc.
Wood Prince, Mrs. (Eleanore)
Woodner, Ms. Andrea
XDO; Jonathan Woodner & Co.
Woodner, Ms. Dian
TC
*Woodward, Hon. Stanley
XDO; Woodward Fdn.
Yates, Hon. Sidney R.
US House (D-IL); Subcomm. on
Yates, Mrs. (Addie)
Interior Appropriations
16
ockbusters' never leave
"Expulsion of Adam and Eve From Paradise" by Benjamin West
Museums' permanent collections
knows his collection inside and out.
often are neglected treasures. To give
He should. Director of the Na-
readers a taste of what they're miss-
tional Gallery since 1969, he's had
ing, The Washington Times asked the
plenty of time to study it, having
city's major museums to take art
spent his entire professional career
critic Eric Gibson on a tour of their
at the gallery. He started out as an
permanent collections. Today, in the
assistant to the director in 1961 after
first of an occasional series, J. Carter
graduating from Harvard in 1956,
Brown, dirèctor of the National Gal-
staying on for a business degree and
lery of Art, guides us through new
then doing postgraduate study in art
galleries devoted to British and
history and museum studies in Eu-
American painting.
rope.
Mr. Brown's tenure has coincided
By Eric Gibson
2-11-91
with the most tumultuous period in
THE WASHINGTON TIMES
American museums, as an explosion
in public interest in art has accom-
A museum's permanent col-
lection is the core
panied a large expansion in museum
of its institutional
facilities and programs. At the Na-
being.
tional Gallery this evolution has
"That's what
been most visible in the East Build-
lasts," J. Carter
ing designed by architect I.M. Pei
Brown says.
and opened in 1978.
"That's why we are here."
Although containing some perma-
But these days
nent exhibition
as the National
space, the East
Gallery of Art's
director well
knows, the perma-
CURATOUR
Building primar-
ily is used for tem-
porary exhibi-
nent collection is
tions as well as
the forgotten
Vouide to choice-art
modern art. "The
cousin of muse-
concept of that is
ums, a casualty of
that it's in con-
the more heavily hyped temporary
stant flux," Mr. Brown explains.
shows that come to town for a while
But the West Building is all about
and then leave.
permanence. "I like the idea of a visi-
That's ironic, since the permanent
tor coming back to Washington and
collection is an ongoing "block-
seeing things in the same place they
buster" exhibition of its own. A case
remember them," he says.
in point: If you couldn't face the
This doesn't mean the permanent
crowds to see "Titian, Prince of
collection is sacrosanct.
Painters," don't worry. The National
Gallery's five Titians in the exhibi-
"A lot of things have changed in
terms of new acquisitions," Mr.
tion stayed in Washington when the
show closed.
Brown says. "We have some very tal-
ented staff, and they should have a
"My advice to visitors is, just peel
chance to express their ideas."
off a section of the permanent col-
Those ideas are about what the
lection and treat it as if it were a visit
museum should show and how. Cura-
to a temporary exhibition," Mr.
tors want the visitor to enjoy a beau-
Brown says.
tiful object but also understand its
Mr. Brown is perhaps the ideal
place in art history.
Photo by Sharon Kuck/The Washington Times
guide. Witty, avuncular, fluidly com-
"Pictures develop dialogues with
and seeing things in the same place they remember them,"
bining anecdote and personal im-
f Art since 1969.
pressions with in-depth analysis, he
see ART, page E2,
ilitary
gradually the number of pools and
promises eventually to scrap the
pool system entirely, allowing unilat-
eral coverage, seasoned combat re-
sitters,
porters lie like beached whales on
FREE KUWAIT
couches here. They smoke too many
cigarettes and glare at reports from
proves
their lucky colleagues up near the
front, grousing about a system that
allows only one reporter from each
bunch
newspaper to get a pool shot.
They didn't come here to be com-
PAGE E2 / MONDAY, FEBRUARY 11, 1991
Che Washington cumes
MUSIC /
ART
19
18
17
16
15
National Gallery of Art
80
79
78
Octavio Roca
tratid
81
83
75
76
77
From page E1
91
87
21
23
90
86
83
74
73
Venetian and
88
NSO takes
each other," Mr. Brown says. They
92
19th Century French
are, he adds, "very sensitive to their
25
26
127
93
89
as
84
72
juxtapositions - where they are
hung, who they are hung next to and
Lobby
Easty
Mahler to
East Sculpture Hall
Lubby
with."
C
Carden Court
D
Mr. Brown gives an example of
how placement can make a point.
52
56
57
58
71
69A
at
"We thought we would do something
17th
18th
70
grand level
32
30
Century French
59
67
rather daring," he says of the instal-
17th and 18th
60
53
54
55
British
American
68
69
lation in Gallery 57, where the tour
Century Italian
stislav Rostropovich is
begins, "and take Turner out of his
61
63
60A
65
66
M
back with the National
strict chronological sequence and
Symphony Orchestra
put him in here to be along the main
62
60B
64
and there is cause for
passageway."
celebration. Their performance of
The director points to J.M.W.
East wing of the west building
the "Kindertotenlieder," Mahler's
Turner's 1835 painting "Keelmen
ce
meditation on the death of chil-
Heaving in Coals by Moonlight," a
dren, was supremely beautiful. It
painting that he says is "one of the
was a reminder that the National
great pictures in America."
Symphony is a national treasure,
"It's done in moonlight, so you get
and that this volatile, unpredictable
this cold, greenish light on the Tyne
Russian is one of the consummate
River," Mr. Brown says. "But then,
artists of our time.
like the fires of hell, you get wonder-
The concert is repeated tonight
ful torches over on the right."
at Carnegie Hall in New York and
Moving the Turners places them
again tomorrow at the Kennedy
across the sculpture court, the build-
Center Concert Hall. Thursday's
ing's central artery, from the gal-
opening concert moved many in the
lery's French Impressionist collec-
Concert Hall to tears and loud
tion. "Keelmen" faces two views of
cheers.
Rouen Cathedral painted more than
half a century later by Claude Mo-
Hakan Hagegard sang the "Kin-
dertotenlieder," bringing to life the
net.
What's the point of all this? Mo-
intimate tragedy of Friedrich
net, Mr. Brown says, "was in London
Treasures of the National Gallery of Art's permanent
Rueckert's poems. Maestro Ros-
in 1870 and was very struck by
collection: "The Voyage of Life: Youth" by Thomas
tropovich's conducting challenged
Turner," making the English painter
Cole (top left); "Baby at Play" by Thomas Eakins
the singer with daringly slow tem-
"in a sense the prime mover of Im-
(above); "Mrs. Richard Brinsley Sheridan" by Thomas
pos and rhythms as erratic as those
pressionist fascination with light."
Gainsborough (top right); and "Watson and the
of a breaking heart.
He leads the way into Gallery 59,
Shark" by John Singleton Copley (right)
The cellos were devastating in
site of "Mrs. Richard Brinsley
Sheridan," painted around 1785 by
Thomas Gainsborough, one of the
with him, because he was the second
son and the Shark," a work by West's
low] Homer."
just because it's in a great museum.
president of the Royal Academy, and
most distinguished contemporary,
Mr. Brown is struck not just by
greatest portraitists of his day in
"But this picture grows on you."
WHAT: Music of Mahler, Wernick and
the treatment of the landscape set-
England. The subject, Mr. Brown
he had made it in European terms."
and the most important painter of
What he finds striking is the story
Tchaikovsky: Hakan Hagegard,
says, was a famous beauty. Orig-
The director points to a new ac-
Colonial America, John Singleton
ting but by the symbolism. He points
it tells of the child's emerging con-
Mstislav Rostropovich and the
inally an accomplished soprano,
quisition, West's "Expulsion of
Copley. The National Gallery is
to "Childhood," the first picture in
sciousness. "The fact that he has
National Symphony Orchestra
Elizabeth Linley ran off with play-
Adam and Eve From Paradise," one
strong in Copleys of all periods. But
the series.
given up - I mean symbolically -
WHERE: Kennedy Center Concert Hall
room over in Gallery 62. It is one of
Mr. Brown talks most spiritedly of
"A little detail like the hourglass
wright Sheridan.
the cutesy toy to begin to play with
WHEN: Tomorrow night at 7
"She was the toast of London," Mr.
a series of religious paintings com-
this one, painted after the artist had
is absolutely full," he says. "And all
the alphabet blocks," Mr. Brown ex-
TICKETS: $14.50 to $33
Brown says. "I mean, everybody was
missioned by George III for the
moved permanently to England.
of these carved figures on the boat
plains.
PHONE: 202/467-4600
in love with her."
Royal Chapel at Windsor Castle. The
"The kids love this picture," he
are just full of energy and hope. And
Now it's on to Gallery 69 and an-
MAXIMUM RATING: FOUR STARS
The background landscape is
painting is important as an example
gushes. "It's 'Jaws III!"
it's spring and it's morning, and
other iconic image, James Abbott
more loosely painted, giving the pic-
of West's late career and for the way
The painting is placed strategi-
everything's just coming up roses."
McNeill Whistler's "The White Girl:
it points to later Romantic painting.
cally. drawing visitors the
Rv
missioned by George 111 for the
moved permanently to England.
10
mese
call
veu
Brown says. "I mean, was
plains.
PHONE: 202/467-4600
in love with her."
Royal Chapel at Windsor Castle. The
"The kids love this picture," he
are just full of energy and hope. And
Now it's on to Gallery 69. and an-
MAXIMUM RATING: FOUR STARS
The background landscape is
painting is important as an example
gushes. "It's 'Jaws III!"
it's spring and it's morning, and
other iconic image, James Abbott
more loosely painted, giving the pic-
of West's late career and for the way
The painting is placed strategi-
everything's just coming up roses."
McNeill Whistler's "The White Girl:
ture an element of Romantic feeling,
it points to later Romantic painting.
cally, drawing visitors into the
By the final painting, "Old Age,"
Symphony in White, No. 1" of 1862.
an effect Gainsborough achieved,
"We got it at a little auction in
American galleries when they
things have changed. "The boat
As one of the paintings included in
the drawn-out anguish of "Now I
Mr. Brown says, by using 6-foot-long
London," Mr. Brown says. "I went
glimpse it from the museum's East
didn't get through unscathed, the
the 1863 "Salon des Refuses" exhibi-
see clearly" and miraculously
tion, a catalytic event in the history
soothing in the end. There was rare
over to see it, and it was really grimy
Garden Court.
hourglass is now gone. It's wonder-
brushes.
and just didn't look like anything."
"It's based on a historical incident
ful stuff. One can keep mining it for
of modern art, it has an impressive
nobility in Dotian Litton's harp. The
Then, pointing to the wood panel-
But "it's a discovery," he adds.
that happened in Havana harbor,"
detail and richness of imagination."
pedigree.
whole orchestral fabric, in fact, of-
ing in the gallery, he explains that
when the National Gallery was built
"It's been lost for 150 years." He sin-
Mr. Brown says. "The boy has al-
Mr. Brown moves eagerly to
"It's allshades of white, including
ten acquired a crystalline quality
gles out the "billowing cloud," the
ready lost a foot. And so the drama
Winslow Homer's 1878 "Breezing
the lily," Mr. Brown says. Therein lay
that let Mr. Hagegard's lyric instru-
in the late 1930s, the paneling was
put in for a specific group of pic-
"wonderful sense of space."
is what is going to happen-next, be-
Up," in Gallery 68. "This just has to
its daring, he continues, and the rea-
ment persuade with unforced deli-
"As an American achievement
cause the shark is coming around for
be one of the most joyous pictures in
son it had to be shown with other
cacy.
tures.
the crucial bite, which is the head.
all of American art," he says:
"radicals" like Manet and Monet,
Maestro Rostropovich has a par-
"So when we started reinstalling,
and as a moment in Romanticism,"
some of the pictures didn't fit in the
Mr. Brown concludes, "it shows that
And he's just out of reach, and those
Homer's work marks a trend to-
rather than in the official salon exhi-
ticular affinity for the art of our
the hometown boy made pretty good
people are trying to get out of the
ward greater realism, a fact Mr.
bitions.
panels," the director says. "Visitors
century, for the uncertainty, terror
aren't going to notice a thing's
over there."
boat to him. And to the rescue is the
Brown takes note of when, with a
From there it's into Gallery 70
and hope often mirrored in our mu-
Gilbert Stuart's "The Skater" is in
harpooner.
sailor's experienced eye, he terms
and the 20th century. Here are the
sic. It took profound understanding
changed, but in fact we had to recon-
the same gallery. Stuart, a pupil of
"It's like an intercut movie."
this painting "very accurate."
beginnings of the Ashcan School,
to feel the serenity at the heart of
struct those panels."
West's, is best known for his por-
Besides the element of action, he
"You can see the angle of the rud-
this country's first modern art move-
sorrow in Mahler's music. It took
With both English and American
paintings, the next stop, Gallery 61,
traits of George Washington. The
points out "the intensity of all those
der and the amount of turbulence it
ment. But it's Gallery 71 that really
genius to expose it patiently, sim-
National Gallery owns the so-called
expressions and the psychological
would kick up - he knows what he's
shows them off.
is meant to demonstrate the impor-
ply.
"Vaughn Portrait" of Washington (in
penetration," not to mention "one of
doing."
In the work of George Bellows,
tance of Europe in the evolution of
Gallery 60A), the first done from
the great heroic images of a black in
And here's an insight into how
Robert Henri and John Sloan, says
The world premiere of Richard
American art.
"What a lot. of visitors don't re-
American art."
artists work: There is the shadow of
life.
Mr. Brown, 'there was whole dis-
Wernick's Piano Concerto followed,
But The Skater was the artist's
Mr. Brown moves into Gallery 60,
a ship just to the right of the sailboat.
covery that the city could be inter-
played by Lambert Orkis. On first
member," Mr. Brown says, "is that we
first full-length portrait, and the pic-
eager to talk about a cycle of four
Mr. Brown says Homer originally
esting." Given America's grand tra-
impression and without benefit of a
were part and parcel of the British
Empire, so it would be perfectly logi-
ture, Mr. Brown says, "that made
paintings called "The Voyage of
had a Gloucester, Mass., fishing
dition of landscape painting, "This
score, it seemed a big, minor piece.
schooner there. "And then I guess he
was a whole new kind of subject
It was a feast of bravura for pianist
cal for an artist to go to London."
Stuart's reputation." It is, he adds, an
Life," by the pioneer American land-
He is referring to Benjamin West
icon of American art.
scapist Thomas Cole. It is, he says,
realized there was so much thrust
matter, in this country anyway."
and orchestra alike, however.
Stuart's sitter, William Grant, had
"virtually the first purchase we
over on [that] side of the picture that
He turns to Bellows' "Both Mem-
Tchaikovsky's Symphony No. 2
(1738-1820), a pivotal figure in the
history of painting on both sides of
arrived late, Mr. Brown explains,
made after I became director. And
he didn't really want it, so he painted
bers of This Club," from 1909.
in C minor, known as the "Little
and was reluctant to sit indoors hav-
we paid more money than anybody
it out and put it [farther to the
"Bellows was good at breaking
Russian," closed the concert. It was
the Atlantic in the late 18th century.
"He grew up in Pennsylvania and
ing his portrait painted when he
had paid for American art in living
right]." But "paint gets transparent
the image of the effete artist. He was
a rambunctious reading, full of ex-
went first to Rome and then to Lon-
could be out skating instead.
history, and everybody thought I was
with time, and we're beginning to
all-American. He was interested in
citement and especially powerful in
"Stuart was a very accomplished
nuts."
see ghosts appear."
these boxing matches, which were
don," Mr. Brown says. "He stayed
the joyful Scherzo. Thursday's con-
there and became a kind of den fa-
But he held firm.
The director walks over to "Baby
skater and also a very accomplished
illegal, so they had to have clubs."
cert began on a sad note with
ther for every American painter of
procrastinator.
And
so
they
went
"I felt so strongly about our need
at Play," an 1876 painting by Thomas
Mr. Brown points to the lower
Bach's famous "Air" from his or-
any importance. So [John Singleton]
out, and he got this idea, which was
for Romanticism and the impor-
Eakins, Homer's great contempo-
part of the painting and the faces in
chestral suites. It was played in
totally innovative, to show him
tance of Cole to everything subse-
rary.
the audience distorted with the pas-
Copley and [Gilbert] Stuart and
memory of the NSO clarinetist
[Charles Willson] Peale and, even
[Grant] actually on skates."
quent in American art history the
"I never used to like it," he says,
sion of total involvement,
Robert Genovese, who died Thurs-
later, Washington Allston and Sam-
Moving into the next room, Gal-
Hudson River School, then Lumi-
reassuring words for those who
think they have to like something
"Pretty gutsy stuff," he says.
day afternoon.
uel F.B. Morse all came and worked
lery 60B, Mr. Brown points to "Wat--
nism, then right through to [Wins-
The situation, he says, "is getting
to position themselves where they
charted territory of Saudi Arabia
the Saudis and an expired New York
of the press will not travel unescort-
PRESS
way out of hand."
can see something.
was an unqualified success.
state driver's license. The MPs
ed and will not reveal sensitive infor-
The concept of a group of journal-
wanted his passport, which he didn't
mation on troop location and move-
He is not alone. Mr. Bocxe says he
have on him, Mr. Bocxe says, be-
ments - a document Mr. Bocxe
heard a report of a French photogra-
The media buildup
ists that could "hit the beach" with
From page El
the troops in an invasion had been
cause "after what happened to Bob
previously had refused to sign.
pher whose car was shot at last week
Nowadays Lt. Col. Larry Icenogle
much discussed and tested for years.
since Jan. 21. Their jeep was found
Simon, I didn't think it was wise to
Having quietly signed a copy of
by U.S. troops as he drove unescort-
can't move five feet out of his JIB
Compared with the Panama inva-
abandoned, the keys in the ignition,
carry it."
the rules, Mr. Bocxe now feels
ed up north. The photog apparently
office without being accosted by an
sion's "ill-fated pool fiasco," as Col.
near the Kuwaiti border. Demoral-
The MPs, alert for Iraqi spies,
trapped, unable to do what he was
turned around and went home un-
unhappy camper asking when he or
Icenogle puts it, in which the DOD
ized CBS employees muse privately
were not happy.
sent here to do. Because the press
harmed.
she is going to get to see the soldiers.
pool arrived in the country hours
that the group probably is in Iraqi
"They spread-eagled me and
agency that represents him, Sipa, is
searched me and put a blindfold on
French-owned, he is unable to get
MPs also detained an Associated
As the JIB's No. 2 guy, Col.
after the action started, the initial
hands, possibly dead.
Press reporter for three hours after
Icenogle brought the 17 members of
days of Operation Desert Storm pro-
me, and put me in their Humvee
photos from the photo press pool
that supplies U.S. news organiza-
he approached them and asked to
the Department of Defense national
vided pool members with incredible
Detention
[truck] and drove me to their base in
the desert," the photog says.
speak to a public affairs officer.
media pool to Dhahran on Aug. 13.
access.
tions.
The pool was disbanded 10 days later
When it became evident last fall
Things are tightening up steadily.
Officers detained Mr. Bocxe for
But no MP is going to stop a re-
BY HARRY PINCUS FOR THE WASHINGTON POST
THE GALLERY'S GOLDEN
In the Art Museum's 50th Birthday Show, the Mellon Largess on Dazzling Display
3-17-91
Daddy is in this case is Paul Mellon, 83, the phi-
Mellon Bruce, and their family foundations, who
in a Punt," a 1780 canvas by the Englishman
By Paul Richard
lanthropist-collector who more than any other
paid the $100 million bill.
George Stubbs, must be among the nicest dog
Washington Post Staff Writer
man has given the museum, conceived by his fa-
Now and then he'd give his gallery a picture,
portraits ever painted. It hangs just beside the
rt for the Nation: Gifts
ther, its kindliness, its character. He's been there
or 93 of them at once, but his most important
door. The next object one encounters is Mellon's
in Honor of the 50th An-
from the start.
contributions may have been intangible. He has
copy of the "Nuremberg Chronicle," a history of
niversary of the National
When John Russell Pope's West Building
always been a book man, as well as a picture
the world that ranks among the most important
Gallery of Art" is a hap-
opened-nearly empty-on March 17, 1941,
man, and the gallery's Center for Advanced
illustrated books of the later 15th century.
py exhibition filled with
precisely 50 years ago today, Mellon was in
Study in the Visual Arts is in most ways his cre-
Though it contains 1,809 hand-colored woodcuts,
ooh-and-aah surprises.
charge. (His father, Andrew Mellon, had died
ation. Mellon, when at home, hangs all his own
and might therefore be viewed as a 1.809-plcture
Its spirit is familial, and
four, years before.) As the gallery's first presi-
pictures, and it is no accident that the gallery
gift, its binding is intact, and it's catalogued as
touchingly affectional.
dent, he saw to its construction, kept statues
he's built spends such care and cash on its instal-
one. Viewers who remember the gallery's enor-
The newest work on
from its niches, toned down its embellishments,
lations. Its insistence on the best, and its nice-
mous fuminist exhibit will be delighted to discov-
view, Claes Oldenburg's
filled its halls with flowers. He picked its person-
ness to the public, reflect his guiding spirit. By
er here Fitz Hugh Lane's 1860 scascape "Ber
"Profiterole," a donation
nel-charming Johnny Walker, the gallery's first
1981, more than 6.7 million folks a year were en-
calmed Off Halfway Rock," the key work of that
from the artist and from
chief curator, was a boyhood pal from Pitts-
joying its exhibits. When you enter the museum's
show, and another Mellon gift. His superb Wine-
Gemini, his publisher, is a little painted bronze,
burgh-and then he stepped back half a pace and
doors-and find that you don't have to tip to
low Homer, "Dad's Coming (1860), is but nine
all chocolate cake and ice cream and dribbles of
watched it slowly grow.
check your coat, that the illustrated catalogues
inches high, and yet its monumental presence
hot fudge. It's a small thing, but appropriate
cost much less than they might, that the entire
somehow rules the room. When I was a kid, a
He watched its first directors, David Finley
This is a birthday party show.
and Walkert those suitors of the rich, snapoup
institution seems intent on giving pleasure- you
print of van Gogh's "Harvest" hung above my
One expects on such occasions that-while
great collections, and then watched J. Carter
can't escape the feeling that you Paul Mellon
bed; Mellon and his wife now have added van
many new-found friends will show up with small
guest.
Gogh's reed pen drawing of that amazing paint
Brown, in charge for 20 years now, enormously
presents-Daddy will provide the most impres-
His stamp is on this 375-object birthday show.
ing to the gallery's collection.
enhance its exhibition schedule, its adherence to
sive gifts of all, and that's what happens here,
high scholarship, its ambition and its reach. He
It's not just that the 160 other donors repre-
In 1900 Pierre Bonnard, the post-impression-
was always there when needed. He hired I.M
sented have responded to his graciousness with
ist, made an illustrated book of verses by Ver-
Pei to design the new East Building, and super
presents of their own. The entire exhibition is
laine. The painter's preparatory volume, with
For highlights of the exhibition, see the
vised construction (he never missed a building
studded with his gifts.
100 charcoal drawings, as well as his finished
Sunday Magazine.
Page 26
Their quality is wonderful. His "White Poodle
See BIRTHDAY, G5, Col. 1
meeting). It was Mellon and his sister, quiet Ailsa
Company, will present in Its Washing-
By
ton premiere at Lister Authorized Pri-
Whomp Hyah!
day and Socurity elghts,
It's a work that - you
Dance
mande" work! be more the
meaning of faith att a world NO vide with
E.
AND
THE WASHINGTON POST
shall be included in the Permanent Col-
Gifts for NGA
lection
unless it be of similar high
standard of quality to those in the col-
lection acquired from the donor."
So much for "Profiterole." And so
much for that batch of quick and clum-
"I was in a dilemma," Walker wrote.
sy works on paper made by sculptor
BIRTHDAY, From G1
Andrew Mellon had donated only 126
David Smith. Many of the objects in
book, with its 200 lithographs, are in
paintings and 26 works of sculpture.
the last rooms of this show-that Andy
the show as promised gifts-from Paul
"We were about to open a vast building
Warhol, for example, or that gaudy
and Bunny Mellon. She also has provid-
designed to provide well over a hun-
Helen Frankenthaler, that Michael
ed two grand Mark Rothko oils. Ce-
dred galleries.
That was all we had.
Heizer print, that Sandro Chia multiple
zanne's "Boy in a Red Waistcoat" is the
No one else had given anything. The
and that tool-encrusted sculpture
strongest portrait here, and near it is a
Mellon works of art, I thought, would
thrown together by Jim Dine-are, by
sketchbook with 73 pages of drawings
seem as scattered as sheep on a Scotch
any measure, distinctly minor works of
by-fhat master. These too are Mellon
moor. Imagine Congress being asked
art. The happiest of parties tend to go
gifts.
to provide funds for one work of art
a little raggedy as the day wears on,
The largest, most imposing set of
per room! Politicians, like nature, ab-
what with frosting on the carpet and
Mellon's presents-his waxes by Ed-
hor a vacuum. I had a vision of the Gal-
smudges on the glasses, and this birth-
gar Degas-fill a pair of galleries. At
lery being used to show works of local
day exhibition also falls off notably as it
auction in November 1988, a posthu-
artists from every state in the Union."
nears its end.
mous bronze cast of Degas's "Little
Walker and his colleagues were res-
It is a fine show nonetheless. Its
Dancer Fourteen Years Old" brought
cued in the nick of time by Samuel
spirit is inclusive. You can sense the
more than $10 million. Mellon, years
Kress, the dime store magnate, who,
old guard changing-the super-rich re-
before, had bought the wax original
just before its opening, presented to
treating, and a new breed of collectors
(with its human hair and canvas shoes),
the gallery an additional 375 pictures.
emerging to replace them-as you
and the plaster that was made from it,
Other great collectors-Sam Kress's
wander through these halls.
and 29 related works-of quickly mod-
brother, Rush, the Widener brothers,
True, a number of its major works
eled women and leaping, prancing
and cranky Chester Dale, that great
come from families of famous
horses. They bear the master's finger-
buyer of French paintings, and lastly
wealth-that grandly moody Thomas
prints. The bronzes that were cast
Lessing Rosenwald, the scholarly
Cole, "Sunrise in the Catskills" (1826),
from them long after his death are
Sears, Roebuck heir who carefully ac-
comes from Mrs. John D. Rockefeller;
monochrome and heavy, but these
quired more than 22,000 works on pa-
that superb Vincent van Gogh still life
translucent waxes are so subtle in their
per-would eventually provide more
of white roses in a vase is a gift from
colors, and so vital in their movements,
than enough art to fill those hundred
the late W. Averell Harriman and Pam-
that you feel that they're alive.
rooms.
ela C. Harriman; that grand Henri de
His father was a gentleman famous
Great collectors of their ilk are in
Toulouse-Lautrec, "Marcelle Lender
Vincent van Gogh's "Roses," an 1890 oil on canvas.
for his somberness. John Walker, in his
extremely short supply these days.
Dancing the Bolero in "Chilperic," is a
memoirs, "Self-Portrait With Donors,"
The gallery's founding benefactors
partial and promised gift of Betsy
Cushing Whitney in honor of John Hay
Christine Sander, Kathleen Ewing,
and Clarice Smith (he's a gallery trust-
nens, Joshua Smith, Daryl R. and Lee
describes Andrew Mellon as "excep-
were 19th-century men with 19th-cen-
tionally silent." Nor was he effusive
tury tastes. Andrew Mellon, for exam-
Whitney; and that somber, unforgetta-
Christopher and Alexandra Midden-
ee) have given five important pictures,
G. Rubenstein, Mr. and Mrs. Leonard
when it came to buying art. His collec-
ple, was something of a prude, and
ble Thomas Eakins portrait of Rear
dorf, George Hemphill and Lenore
among them Picasso's "The Frugal Re-
A. Lauder, as well as other donors-
Adm. George W. Melville comes from
Winters. One of Lunn's two presents
past" of 1904, one of his grandest etch-
and its many English pictures-by
tion was magnificent-in 1930-31 he
something of a snob. He could not look
at martyrdoms, nor would he purchase
the collection of Sen. and Mrs. H. John
was given in honor of Jacob Kainen.
ings. John Wilmerding, who worked
Thomas Rowlandson, William Bla
bought Raphael's "Alba Madonna," van
Eyck's "Annunciation," Titian's "Venus
nudes, and he demanded that his gal-
Heinz III.
Such gestures of old friendships are
there once as deputy director, has giv-
Samuel Palmer, Sir Edward Copy
With a Mirror" and 19 other master-
(Some less-forthcoming donors pro-
common in this show.
en an oil sketch by Thomas Eakins.
Burne-Jones, Hugh Douglas Hamilton,
lery restrict its future acquisitions to
David E. Rust, another former curator,
"Mad" John Martin and David Hock-
works from the Hermitage in Lenin-
the sort of pictures he preferred. So
vided gifts of money. Ambassador Wal-
More than 380 patrons, from 21
grad-but its size was small. The ob-
strong was his bias for works by long-
ter H. Annenberg and his wife, Leo-
states and five foreign nations, have
has given "The Mocking of Christ" (cir-
ney-are at least as fine. Some first-
jects in the present show outnumber 3
dead giants that he had a clause insert-
nore-who, with questionable timing,
given cash or works of art for the gal-
ca 1625), a fiercely painful oil by Hen-
rate works by women-by Paula Mod-
chose last week to tell the world that
lery's celebration. New York is repre-
drick ter Brugghen, the Dutch follower
ersohn-Becker, Vija Celmins, Nancy
to 1 the old-master paintings in the
ed into the act of Congress that estab-
lished the museum: "No work of art
their wonderful collection would be go-
sented well, so is Massachusetts, so is
of Caravaggio. This is just the sort of
Graves, Käthe Kollwitz, Lee Krasner
founder's gift.
ing to the Met, thus denting the high
California-but it's the local neighbor-
picture-it's both unsettling and reli-
and Lisette Model-are also on display.
hopes of the Philadelphia Museum of
hood that's represented best of all.
gious-that Andrew Mellon would not
Carter Brown's regime, though
Art and the state of California, to say
More than half the donors-among
have deigned to buy.
widely, rightly praised for all it has ac-
nothing of the National Gallery's—
them Martin and Liane Atlas, Patricia
The gallery did not really need more
complished-its endless exhibitions, its
have given cash instead of art. Their
Bauman and John L. Bryant Jr., Louisa
works by Winslow Homer, but "Dad's
careful publications, its devotion to art
tion was magnificent-in 1930-31 ne
something OI a snop. ne with not
the collection of Sen. and Mrs. H. John
was given in nonor OI Jacob
bought Raphael's "Alba Madonna," van
at martyrdoms, nor would he purchase
Such gestures of old friendships are
there once as deputy director, has giv-
Samuel Palmer, Sir Edward Coley
nudes, and he demanded that his gal-
Heinz III.
common in this show.
en an oil sketch by Thomas Eakins.
Burne-Jones, Hugh Douglas Hamilton,-
Eyck's "Annunciation," Titian's "Venus
With a Mirror" and 19 other master-
lery restrict its future acquisitions to
(Some less-forthcoming donors pro-
More than 380 patrons, from 21
David E. Rust, another former curator,
"Mad" John Martin and David Hock-
the sort of pictures he preferred. So
vided gifts of money. Ambassador Wal-
works from the Hermitage in Lenin-
has given "The Mocking of Christ" (cir-
ney-are at least as fine. Some first-
ter H. Annenberg and his wife, Leo-
states, and five foreign nations, have
grad-but its size was small. The ob-
ca 1625), a fiercely painful oil by Hen-
rate works by women-by Paula Mod-
strong was his bias for works by long-
dead giants that he had a clause insert-
nore-who, with questionable timing,
given cash or works of art for the gal-
jects in the present show outnumber 3
lery's celebration. New York is repre-
drick ter Brugghen, the Dutch follower
ersohn-Becker, Vija Celmins, Nancy
ed into the act of Congress that estab-
chose last week to tell the world that
their wonderful collection would be go-
sented well, SO is Massachusetts, so is
of Caravaggio. This is just the sort of
Graves, Käthe Kollwitz, Lee Krasner
to 1 the old-master paintings in the
ing to the Met, thus denting the high
California-but it's the local neighbor-
picture-it's both unsettling and reli-
and Lisette Model-are also on display.
founder's gift.
lished the museum: "No work of art
gious-that Andrew Mellon would not
Carter Brown's regime, though
hopes of the Philadelphia Museum of
hood that's represented best of all.
More than half the donors-among
have deigned to buy.
widely, rightly praised for all it has ac-
Art and the state of California, to say
them Martin and Liane Atlas, Patricia
The gallery did not really need more
complished-its endless exhibitions, its
nothing of the National Gallery's-
works by Winslow Homer, but "Dad's
careful publications, its devotion to art
have given cash instead of art. Their
Bauman and John L. Bryant Jr., Louisa
money has been spent on five impres-.
Duemling, the Epstein family, Aaron I.
Coming," from Paul Mellon, and Jo Ann
scholarship-long has been regarded
Fleischman, Mr. and Mrs. Anthony
and Julian Ganz's schoolmarm at her
as somewhat less successful in adding
sive drawings, among them a fine por-
blackboard, both show Homer at his
works of art to the permanent collec-
trait by Jacques-Louis David and two
Geber, Helena Gunnarsson, Jem Hom,
best, and no one is complaining-it's
tion. This enormous, handsome birth-
nice Picassos.)
Sidney and Jean Jacques, Mr. and Mrs.
The gallery, when new, depended
Gilbert H. Kinney, Richard A. and Lee
grand to have them here. Such gifts
day show will dim that old complaint. It
for its pictures on the noblesse oblige
G. Kirstein, Robert P. and Arlene R.
add strength to existing strengths, and
might have been a hodgepodge, In-
Kogod, Katherine L. Meier and Ed-
might be seen as luxuries. But others
stead, a bit surprisingly, it manager to
of millionaires. But that's no longer so.
ward J. Lenkin, Robert and Jane Mey-
are essential. Of these, the most im-
survey five centuries of Western Nt. 1:
Many of the pictures here are presents
portant help to fill the yawning gaps in
is particularly rich in drawings and
from more modest folk-workers in
erhoff, Kent and Marcia Minichiello,
the permanent collection.
prints. Recent changes in the ter laws
museums, Washington collectors, art-
Evelyn Stefansson Nef, Mr. and Mrs.
William Nitze, Mrs. Walter Salant,
The National Gallery has never
(which restored on deductions, for
ists, dealers and historians.
owned a major Neapolitan baroque
1991. to the median it att given)
Consider, for example, Ruth and Ja-
Lili-Charlotte Sarnoff, Joshua P. Smith,
Natalie Davis Spingarn, and Arthur
painting, but it has one now-Jusepe
surely below this exhibition. but of is
cob Kainen. He's the distinguished
de Ribera's "The Martyrdom of Saint
not money, : is gratitude instead, the
Washington painter, scholar and collec-
and Charlotte Vershbow-come from
Maryland, Virginia and the District of
Bartholomew," a present from the 50th
one tends to think of when locking at
tor. The Kainens have given an anony-
Columbia. And that's just as it should
Anniversary Gift Committee. Thanks
this show.
mous German woodcut of 1485, a rare
to Bunny Mellon, Herman and Lila
There may be great collecters out
16th-century Hendrik Goltzius draw-
be. The gallery's walls are being filled
Shickman, Mrs. Harriman and others,
there-say, Norton Simon or the An-
ing, an engraving by that master, an
now by those who use it most.
etching done by Claude Lorrain and-
Ruth B. Benedict, the Washington
its collection of strong still lifes has
nenbergs-who see no need give their
print collector who long has prowled its
been much enhanced. The gallery was
art to "Paul Mellon's museum," but they
much strengthening the gallery's Ger
late to start collecting the abstract
are much outnumbered by others who,
manvexpressionist collection
print rooms, has given a Rembrandt
etching, a drawing by Henry Moore
paintings of the New York School, but
responding to remarkable example, will
Ernst Ludwig Kirchners: two boldly
and-in honor of Andrew Robison, the
now it has its first two Clyfford Stills
support his great museum long after
colored oils, a lithograph, a woodcut
(one comes from the Meyerhoffs, one
he's gone. Happy birthday to it! Art for
and an illustrated book.
gallery's senior curator and curator of
graphics, who organized this show-a
from Marcia S. Weisman), and thanks
the Nation: Gifts in Honor of the 50th
Among the highlights of this show is
rare woodcut by Goltzius. Robison, in
to that five-painting gift from Annalee
Anniversary of the National Gallery of
turn, has provided four presents of his
Newman, the widow of the artist, its
Art"-which has been supported by a
its gallery of photographs, a room
whose varied pictures quietly announce
that the museum is now accepting
own. Nor is he the only gallery official
Barnett Newman collection now must
$500,000 grant from G.T.E.-will re-
rank among the strongest in the land.
main in the East Building through June
works by photographers it, long ig-
to contribute to the show.
J. Carter Brown, the gallery's direc-
Its. European holdings have always
16. A goodly number of its objects, its
nored-August Sander, for example,
tor since 1969, has presented his mu-
been much stronger in Italian and
piedged and promised gifts, will be re-
or Lisette Model. Many of these imag-
French pictures than in works from
turned to their donors, but only for a
CA come as gifts from local dealers. or
seum with MI eagle drawn by Titian,
Germany and Britsin. Dut this show $
while, They'll creaturly return, and
from former local desters-Harry
the first drawing by the master to en-
Table
Please
ter its collection Virginia's Robert H.
Bld with German art-trom the Kal-
time they to any the level
E
Lane, for name, and Gorband and
TICKETFINDERS,
INC.
PHANTOM
MOZART
BTOCKWOW
CELEBRATION
ART
31
nting ourselves
treats with simplicity or with
45 That sweet City with her dreaming
WHISTLER. Yes madam, Nature is
has been known
severity a serious subject.
spires
creeping up.
Id, and thus with
Closing words. On Translating Homer
She needs not June for beauty's
James Whistler (1834-1903) US painter.
uman spirit.
heightening.
Whistler Stories (D. Seitz)
eface
33 Cruel, but composed and bland,
Referring to Oxford. Thyrsis
Dumb, inscrutable and grand,
9 Well, not, bad, but there are
on for
So Tiberius might have sat,
46 And sigh that one thing only has
decidedly too many of them, and
and (what is
Had Tiberius been a cat.
been lent
they are not very well arranged. I
or making them
Poor Matthias
To youth and age in common -
would have done it differently.
discontent.
James Whistler His reply when asked if he
34 Go, for they call you, Shepherd,
:face
Youth's Agitations
agreed that the stars were especially beautiful
from the hill.
one night. Attrib.
selves that
The Scholar Gipsy
47 I am past thirty, and three parts
iced over.
10 The Admiral of the Atlantic salutes
ness.
35 All the live murmur of a summer's
the Admiral of the Pacific.
8
Letter to A. H. Clough, 12 Feb 1853
day.
Wilhelm II (1859-1941) King of Prussia and
The Scholar Gipsy
Emperor of Germany. Telegram sent to Czar
me that the
ARROGANCE
Nicholas II during a naval exercise. The Shad-
elley's genius
36 Tired of knocking at Preferment's
ow of the Winter Palace (E. Crankshaw)
nusic, not of
See also conceit, egotism, pride
door.
11 All men think all men mortal, but
The Scholar Gipsy
te
1 The need to be right - the sign of
themselves.
37 Before this strange disease of
a vulgar mind.
Edward Young (1683-1765) British poet.
were shut in
modern life,
Albert Camus (1913-60) French existentialist
Night Thoughts
writer. Notebooks, 1935-42.
With its sick hurry, its divided aims.
ART
and held our
The Scholar Gipsy
2 I am sure no man in England will
38 Still nursing the unconquerable
take away my life to make you
See also artists. arts, painting, sculpture
but our soul
King.
: thunder's roll.
hope,
Still clutching the inviolable shade.
Charles II (1630-85) King of England. To his
1 The works of art, by being publicly
brother James following revelation of Popish
exhibited and offered for sale, are
The Scholar Gipsy
Plot fabricated by Titus Oates. Attrib.
becoming articles of trade, following
d our heart in
39 Resolve to be thyself: and know,
as such the unreasoning laws of
3 He was like a cock who thought the
at birth
that he
markets and fashion; and public and
sun had risen to hear him crow.
Who finds himself, loses his misery.
even private patronage is swayed
lap of earth.
George Eliot (Mary Ann Evans; 1819-80)
by their tyrannical influence.
Self-Dependence
Memorial Verses
British novelist. Adam Bede
Prince Albert (1819-61) The consort of Queen
40 Others abide our question, Thou art
Victoria Referring to the Great Exhibition.
S in his course
4 If this young man expresses himself
Speech Royal Academy Dinner, 3 May 1851
free,
and Byron's
in terms too deep for me,
We ask and ask: Thou smilest and
Why, what a very singularly deep
2 The object of art is to give life a
art still,
pe's latter hour
young man this deep young man
shape.
Out-topping knowledge.
must be!
Jean Anouth (1910-87) French dramatist.
th's healing
Referring to Shakespeare. Shakespeare
The
W. S. Gilbert (1836-1911) British dramatist.
Patience, I
41 Truth sits upon the lips of dying
3 The lower one's vitality, the more
men.
en we will
5 There, but for the Grace of God,
sensitive one is to great art.
Sohrab and Rustum
goes God.
Max Beerbohm 1872-1956) British writer.
heart resides,
Seven Mr Ench Soames'
d is still,
42 Who saw life steadily, and saw it
Herman J. Mankiewicz (1897-1953) US jour-
nalist and screenwriter. Said of Orson Welles
whole:
4 It would follow that 'significant form'
bides.
in the making. of Citizen Kane. Also attributed
The mellow glory of the Attic stage.
was form behind which we catch a
to others. The Citizen Kane Book
Sonnets to a Friend
sense of ultimate reality.
hence he lies
6 The bullet that is to kill me has not
Clive Eel 1964) British art critic. Art,
43 And see all sights from pole to
yet been moulded.
Pt CE :
vn;
h shining eyes,
pole,
Napoleon I (Napoleon Bonaparte; 1769-1821)
5 Art is = only thing that can go on
down.
And glance, and nod, and bustle by;
French emperor. In reply to his brother Jo-
mattering cose it has stopped
And never once possess our soul
seph, King of Spain, who had asked whether he
Before we die.
had ever been hit by a cannonball. Attrib.
hurting
Elizaber Sowen 1899 Irish novelist.
sh book and
A Southern Night
7 What His Royal Highness most
The Hear IT IN Da. Ch. 16
1 the Iliad
44 The difference between genuine
particularly prides himself upon, is
6 Art for sake.
S of speech is
poetry and the poetry of Dryden,
the excellent harvest.
leness; and
Victor Case French philoso-
Pope, and all their school, is briefly
Richard Brinsley Sheridan (1751 1816) Brit-
pher. Letter Serbonne, 1818
this: their poetry is conceived and
ish dramatist. Lampooning George IV's habit of
composed in their wits, genuine
taking credit for everything good in England.
7 Art is È resions mistress.
The Fine Art of Political Wit (L. Harris)
: that the
poetry is conceived and composed
Raiph wad: Emerson (1803-82) US poet
in the soul.
and essayse - of Life, 'Wealth'
oetry, when a
8 A LADY. This landscape reminds me
Thomas Gray
I gifted,
of your work.
8 Works II, EL H my opinion, are
32
ARTHURIAN LEGEND
the only objects in the material
18 Nothing unites the English like war.
picnic baskets. Imagination without
universe to possess internal order,
Nothing divides them like Picasso.
skill gives us modern art.
and that is why, though I don't
Hugh Mills (1913-71) British screenwriter.
Tom Stoppard (1937- ) Czech-born British
See also art.
believe that only art matters, I do
Prudence and the Pill (film)
dramatist. Artist Descending a Staircase
1 When Si
believe in Art for Art's sake.
19 To be aristocratic in Art one must
30 Art is not a handicraft, it is the
All Natur
E. M. Forster (1879-1970) British novelist.
avoid polite society.
transmission of feeling the artist has
The King
Art for Art's Sake
George Moore (1852-1933) Irish writer and
experienced.
Queen's
9 No artist is ahead of his time. He is
art critic. Enemies of Promise (Cyril Connol-
Leo Tolstoy (1828-1910) Russian writer.
And all h
his time; it is just that others are
ly), Ch. 15
What is Art?, Ch. 19
William BI
behind the times.
Art and An
20 All art deals with the absurd and
31 What a delightful thing this
Martha Graham (1894- ) US dancer and
aims at the simple. Good art speaks
perspective is!
choreographer. The Observer Magazine, 8 July
2 Poets an
truth, indeed is truth, perhaps the
Paolo Uccello (1397 1475) Italian painter.
1979
class sys
only truth.
Men of Art (T. Craven)
constitute
10
I rarely draw what I see. I
Iris Murdoch (1919- ) Irish-born British nov-
elist. The Black Prince, Bradley Pearson's
any authentic work of art must
own, like
32
draw what I feel in my body.
Foreword
start an argument between the
gipsies.
Barbara Hepworth (1903-75) British sculp-
artist and his audience.
Gerald Br
tor. World of Art Series (A. M. Hammersmith)
21 All art constantly aspires towards
1894-1987)
Rebecca West (Cicely Isabel Fairfield; 1892-
the condition of music.
Season, 'Wr
11 In free society art is not a weapon.
1983) British novelist and journalist. The
Walter Pater (1839-94) British critic. The
Court and the Castle, Pt. I, Ch. 1
Artists are not engineers of the
3 Rememb
Renaissance, "The School of Giorgione'
soul.
33 Art is the imposing of a pattern on
know wh
John Fitzgerald Kennedy (1917-63) US
22 When I was their age, I could draw
experience, and our aesthetic
law. Nex
statesman. Address at Dedication of the Robert
like Raphael, but it took me a
enjoyment is recognition of the
Joyce Car
Frost Library, 26 Oct 1963
lifetime to learn to draw like them.
Horse's Mo
pattern.
12 But the Devil whoops, as he
Pablo Picasso (1881 1973) Spanish painter.
A. N. Whitehead (1861-1947) British philoso-
4 You have
Visiting an exhibition of drawings by children.
whooped of old:
pher. Dialogues, 228
Picasso: His Life and Work (Ronald Penrose)
painters
'It's clever, but is it art?'
34 Art never expresses anything but
their sitt
Rudyard Kipling (1865-1936) Indian-born
23 The pain passes, but the beauty
itself.
Kenneth (
British writer. The Conundrum of the Workshops
remains.
Oscar Wilde 1900) Irish-born British
The Observe
Pierre Auguste Renoir (1841-1919) French
13 Art is not a special sauce applied to
dramatist. The Decay of Lying
impressionist painter. Explaining why he still
5 Beware
ordinary cooking; it is the cooking
painted when his hands were twisted with ar-
35 All Art is quite useless.
intellect
itself if it is good.
thritis. Attrib.
Oscar Wilde The Picture of Dorian Gray,
doesn't 1
W. R. Lethaby (1857-1931) British architect.
Form in Civilization, 'Art and Workmanship'
24 Burnings of people and (what was
Preface
F. Scott I
This Side
more valuable) works of art.
36 Art is the most intense mode of
14 In other countries, art and literature
A. L. Rowse (1903- ) British historian and
individualism that the world has
6 I don't a
are left to a lot of shabby bums
critic. Historical Essays (H. R. Trevor-Roper)
known.
as a bus
living in attics and feeding on booze
25 Life without industry is guilt, and
Oscar Wilde The Soul of Man Under
they rea
and spaghetti, but in America the
industry without art is brutality.
Socialism
crippled
successful writer or picture-painter
is indistinguishable from any other
John Ruskin (1819-1900) British art critic and
physical
writer. Lectures on Art, 3, "The Relation of Art
ARTHURIAN LEGEND
Grandma
decent business man.
to Morals', 23 Feb 1870
Moses; 18
Sinclair Lewis (1885-1951) US novelist. Bab-
1 What were they going to do with
ferring to
bitt, Ch. 14
26 Fine art is that in which the hand,
'How Do
the Grail when they found it, Mr
the head, and the heart of man go
15 I do not know whether he draws a
Rossetti?
together.
7 In a fev
line himself. But I assume that his
Max Beerbohm (1872-1956) British writer.
a raceh
John Ruskin The Two Paths, Lecture II
is the direction
It makes
Caption to a cartoon
a man 1
Disney the most significant figure in
27 The trouble, Mr Goldwyn is that
2 An arm
known.
graphic art since Leonardo.
you are only interested in art and I
Rose up from out the bosom of the
Pierre A
David Low (1871-1963) New-Zealand-born
am only interested in money.
lake,
newspaper cartoonist. Walt Disney (R. Schickel),
George Bernard Shaw (1856-1950) Irish
Clothed in white samite, mystic,
8 I should
Ch. 20
dramatist and critic. Turning down Goldwyn's of-
which I
wonderful.
fer to buy the screen rights of his plays. The
Academ
16 In England, pop art and fine art
Movie Moguls (Philip French), Ch. 4
Alfred, Lord Tennyson (1809-92) British
poet. Idylls of the King, The Passing of Arthur'
might b
stand resolutely back to back.
Angelo.
Colin MacInnes (1914-76) British novelist.
28 A portrait is a picture in which
there is something wrong with the
3 On either side the river lie
Joshua R
England, Half English, 'Pop Songs and Teen-
mouth.
Long fields of barley and of rye,
painter.
agers
That clothe the wold and meet the
emy, 10
Eugene Speicher (1883-1962) US painter.
17 Art is not a mirror to reflect the
Attrib.
sky;
And thro' the field the road runs by
9 Nobody
world, but a hammer with which to
Titian,
shape it.
29 Skill without imagination is
To many-tower'd Camelot.
undercu
Vladimir Mayakovsky (1893-1930) Soviet
craftsmanship and gives us many
Alfred, Lord Tennyson The Lady of Shalott,
about h
poet. The Guardian, 11 Dec 1974
useful objects such as wickerwork
Pt. I
ART
P G WODEHOUSE
11 One fine day (but all days are fine!) as my
DAVIS
1 Few of them were to be trusted within reach of a
was putting the bread in the oven, I went up
value of impermanence is to call
trowel and a pile of bricks.
and taking her by her flour-smeared elbow I
recement.
On remodeled Victorian structures. Country Life 23 Oct
her, "Mama
I want to be a painter."
Recalled on his death 24 Jun 64
84
Newsweek 8 Apr 85
DONACHY
12 Great art picks up where nature ends.
TREVOR WOOD
Time 30 Dec 85
want to be so shortsighted as
2 The pillars of this great cathedral church of God,
diaper rash. and not taking
roughhewn to perfection. spring from blessed roots
WINSTON CHURCHILL
strings. like nuclear war.
at which the bones of St Cuthbert lay.
Os
13 The first quality that is needed is audacity.
Amber Waves of Grain, created
On Durham Cathedral, Illustrated London News Oct 84
pregnant-as a traveling exhibition of
Painting as a Pleasure Whittesay House 50
sentations of US weapons. Christian
LADY MARJORY WRIGHT, wife of British ambassador to
14 My hand seemed arrested by a silent veto.
lan 86
the US
On trying to paint a pale-blue sky. quoted by
DUBUFFET
3 When you come walking up that grand staircase you
Manchester The Last Lion Little. Brown 83
know you are in a bit of the Empire.
15 I cannot pretend to be impartial about the color
me. insanity is super sanity. The
rejoice with the brilliant ones, and am genuines
Normal means lack of imag.
On British Embassy in Washington DC, NY Times 26
ativity.
Jun 84
Γy for the poor browns.
New Yorker 16 Jun 73
ib
MINA WRIGHT
EPSTEIN
4 It does all the don'ts of architecture, mixing bits of
JEAN COCTEAU
a lover. can perhaps never St
everything from Moorish to Gothic. It's a rebel of a
16 An artist cannot speak about his art any more
wes
They rarely ever do. P
room that's characteristic of the whole building. 1
a plant can discuss horticulture.
Nocre artist has more chance of S
love it.
Newsweek 16 May 55
Entrin: An Autobiography Dutton 55
On War Department Library in Washington DC's Old
Executive Office Building, NY Times 17 May 85:
GIANLUIGI COLALUCCI
FRANGELLA
17 Around the dimmed and smoky view of Mid
ART
something needs to be pair
gelo a whole culture has formed itself.
Painters & Sculptors
many will not accept the change.
Liquire Apr 86
On his restoration of the Sistine Chapel
original appearance. London Times 14 Apr
GIACOMETTI
LEONARD BASKIN
is are the most honest girls. TI
5 Pop art is the inedible raised to the unspeakable.
JOSEPH CORNELL
right away.
Publishers Weekly 5 Apr 65
18 Shadow boxes become poetic theaters or
choice of models. quoted by
wherein are metamorphosed the element of
Farrar. Straus & Giroux 85
THOMAS HART BENTON
hood pastime.
GOULD
6 I lapsed into my favorite role as the old curmudgeon
Quoted by Dore Ashton A Joseph Cornell
with the cotton-candy heart.
74
there. start with a repulsive chara
On advising people in his "home country" of Joplin MO
to "get some satisfaction out of this mural now-for it
GARDNER Cox
Dick Tracy cartoons. NY Daily
is now that you're stuck with it and now that you're
19 I do a bale of sketches, one eye. a piece of
GRAVES
going to pay for it. all $60,000," quoted in NY Times 26
Mar 73
pound of observation. then an ounce of
On his portraits. Washington Post 31 May 75
to rest from the phenomena
to pronounce and to make
ARBIT BLATAS
SALVADOR DALI
& with which to verify the im
7 The surface of Venice is constantly metamorphosing
20 Drawing is the honesty of the art. There bad is
unconventional paintings of
[and] painting Venice is almost like being a restorer,
Christian Science Monitor 19 F
peeling off the layers to find the picture after picture
sibility of cheating. It is either good or
HART
underneath.
People 27 Sep 76
Quoted by Erica Jong "A City of Love and Death: Ven-
21 Each morning when I awake, I experence
Makes the figures as passing I
ice" NY Times 23 Mar 86
supreme pleasure-that of being Salvador
the in the presence of the
NY Times 1 Jan 80
it almost as a vision.
GEORGES BRAQUE
8 Painting is a nail to which I fasten my ideas.
22 Let my enemies devour each other.
sculpture of a trio of soldiers I
May Memorial as in Washington DC. N.
Replying at age 80 to reports that his
Recalled on his death 31 Aug 63
of his painting. ib 19 Mar 85
ALEXANDER CALDER
23 Painting is an infinitely minute part of my
HOPPER
9 I paint with shapes.
ity.
in painting has always been
On suspended sculptures that move with air-"mo-
ib
nature. possible of my most i
biles," as Marcel Duchamp called them in 1932. Satur-
in Apr so
day Evening Post 27 Feb 65
Jo DAVIDSON
24 My approach to my subjects was very
MARC CHAGALL
er had them pose, we just talked about
wanted house. to do was to paint
10 I work in whatever medium likes me at the moment.
in the world.
On his sculpture. Between Sittings Dial 31
tool. on his death to mean "I war
Recalled on his death 28 Mar 85
Newsweek 29 May 67
256
Painters & Sculptors
J STEWARD JOHNSON JR
y (but all days are fine!) as my mother
the bread in the oven, I went up to
STUART DAVIS
her by her flour-smeared elbow I said her
The value of impermanence is to call attention to the
12 The common strain in my work is that in each case
I celebrate a moment when the individual responded
I want to be a painter.
permanent. Recalled on his death 24 Jun 64
to his or her own humanity.
k 8 Apr 85
On his sculptures, "Capturing Moments" Leaders Oct
cks up where nature ends.
BARBARA DONACHY
84
Dec 85
about diaper rash, and not taking care
didn't want to be so shortsighted as to be of worrying bigger
13 I see a man taking a break in his highly structured
life, reading a newspaper in the park, or a young
HURCHILL
things. like nuclear war.
man sitting on a curb eating a sandwich and reading
ality that is needed is audacity.
On Amber Waves of Grain, created-while she was
a book, taking the moment for himself. I celebrate
pregnant-as a traveling exhibition of miniature repre-
these moments in bronze.
as a Pleasure Whittesay House 50
sentations of US weapons, Christian Science Monitor
ib
emed arrested by a silent veto.
28 Jan 86
to paint a pale-blue sky. quoted by William
CORITA KENT
er The Last Lion Little. Brown 83
JEAN DUBUFFET
etend to be impartial about the colors.
For me. insanity is super sanity. The normal is psy-
14 A painting [is] a symbol for the universe. Inside it,
the brilliant ones, and am genuinely soe,
chotic. Normal means lack of imagination, lack of
each piece relates to the other. Each piece is only
answerable to the rest of that little world. So, prob-
oor browns.
creativity. New Yorker 16 Jun 73
ably in the total universe, there is that kind of total
harmony, but we get only little tastes of it.
AU
JACOB EPSTEIN
Newsweek 17 Dec 84
A wife, a lover, can perhaps never see what the art-
15 That's why people listen to music or look at paint-
innot speak about his art any more than
discuss horticulture.
sees
They rarely ever do. Perhaps a really
ings. To get in touch with that wholeness.
k 16 May 55
ist mediocre artist has more chance of success.
ib
Epstein: An Autobiography Dutton 55
ROCKWELL KENT
OLALUCCI
Luis FRANGELLA
16 If to the viewer's eyes, my world appears less beau-
dimmed and smoky view of Michelus
When something needs to be painted it lets me
tiful than his, I'm to be pitied and the viewer
le culture has formed itself.
know.
praised.
ot accept the change.
Esquire Apr 86
Recalled on his death 13 Mar 71
storation of the Sistine Chapel ceiling to
ppearance. London Times 14 Apr 86
a
ALBERTO GIACOMETTI
DONG KINGMAN
Whores are the most honest girls. They present the
17 Most artists are surrealists.
always
dreaming
NELL
bill right away.
something and then they paint it.
xes become poetic theaters or settings
On his choice of models. quoted by James Lord Gia-
Quoted in Mary Ann Guitar ed Twenty-two Famous
metamorphosed the element of a child.
cometti Farrar. Straus & Giroux 85
Painters and Illustrators Tell How They Work McKay
e.
64
y Dore Ashton A Joseph Cornell Album Viking
CHESTER GOULD
71 usually start with a repulsive character and go on
18 Three men riding on a bicycle which has only one
wheel, I guess that's surrealist.
from there.
DX
On his Dick Tracy cartoons. NY Daily News 18 Dec 55
ib
of sketches, one eye, a piece of hair. A
MORRIS GRAVES
ALEXANDER LIBERMAN
servation. then an ounce of painting.
paint to rest from the phenomena of the external
19 All art is solitary and the studio is a torture area.
rtraits. Washington Post 31 May 75
world-to pronounce and to make notations of its
NY Times 13 May 79
ALI
essences with which to verify the inner eye.
On his unconventional paintings of conventional sub-
Roy LICHTENSTEIN
the honesty of the art. There is no pos-
jects. Christian Science Monitor 19 Feb 64
20 I don't have big anxieties. I wish I did. I'd be much
heating. It is either good or bad.
more interesting.
Sep 76
FREDERICK HART
Quoted by Deborah Solomon "The Art behind the Dots"
ng when I awake, I experence again a
One senses the figures as passing by the tree line
NY Times 8 Mar 87
asure-that of being Salvador Dali.
and. caught in the presence of the wall, turning to
21 I like to pretend that my art has nothing to do with
I Jan 80
gaze upon it almost as a vision.
me.
nies devour each other.
On his sculpture of a trio of soldiers near Vietnam Vet-
ib
erans Memorial in Washington DC, National Geograph-
I age 80 to reports that his assistants did much
ic May 85
ting. ib 19 Mar 85
MAYA LIN
n infinitely minute part of my personal-
EDWARD HOPPER
22 It terrified me to have an idea that was solely mine
My aim in painting has always been the most exact
to be no longer a part of my mind. but totally public.
transcription possible of my most intimate impres-
On her design for Vietnam Veterans Memorial in Wash-
sion of nature.
ington DC. National Geographic May 85
Life 17 Apr 50
JACQUES LIPCHITZ
I to my subjects was very simple. I DC9-
What I wanted to do was to paint sunlight on the
pose, we just talked about everything
side of a house.
23 Copy nature and you infringe on the work of our
Recalled on his death to mean "I want to paint the hu-
Lord. Interpret nature and you are an artist.
Ipture. Between Sittings Dial 51
man soul." Newsweek 29 May 67
NY Times 28 Apr 64
257
ART
1 Imagination is a very precise thing. you know-it is
15 A sculptor is a person who is interested in the shape
When you are doing a piece you
not fantasy; the man who invented the wheel while
of things, a poet in words, a musician by sounds.
don't want to wait until next week
he was observing another man walking-that is
ib
will have given you something els
imagination!
Chicago Tribune 4 Jun 67
16 A sculptor is a person obsessed with the form and
shape of things, and it's not just the shape of
woman may not hit a ball stro
2 Cubism is like standing at a certain point on a moun-
thing, but the shape of anything and everything: the
but it is different. I prize that diffe
tain and looking around. If you go higher. things will
growth in a flower: the hard. tense strength.
look different; if you go lower, again they will look
though delicate form of a bone; the strong. solid
different. It is a point of view.
fleshiness of a beech tree trunk.
GEORGIA O'KEEFFE
ib
ib
was in the 1920s, when nobody h
3 All my life as an artist I have asked myself: What
17 [Discipline in art is] a fundamental struggle to
that I saw a still-life painting with
pushes me continually to make sculpture? I have
derstand oneself, as much as to understand what
perfectly exquisite, but so small yo
found
the
answer.
art is an action against death.
is drawing.
appreciate it.
It is a denial of death.
Recalled on his death 31 Aug 86
On the discovery that led to an ap
ib
18 Seeing that picture, for me, was like Chartres
with her name-the magnifying of
HENRI MATISSE
other aspects of nature. Reader's D
thedral.
4 You study, you learn, but you guard the original na-
On a visit in student days to see Cézanne's Large Bath
decided that if I could paint that
iveté. It has to be within you, as desire for drink is
ers, now in the Philadelphia Museum of Art. ib
scale. you could not ignore its bea
within the drunkard or love is within the lover.
Time 26 Jun 50
ANNA MARY ROBERTSON MOSES ("Grandma Moses")
Sun-bleached bones] were most
5 A picture must possess a real power to generate light
19 Paintin's not important. The important thing is keep
the blue-that blue that will alway
[and] for a long time now I've been conscious of
in' busy.
now after all man's destruction is I
expressing myself through light or rather in light.
News summaries 2 Jan 54
On desert skies of New Mexico. Ne
Quoted by Pierre Schneider Matisse Rizzoli 84
20 If you know somethin' well, you can always paint
PABLO PICASSO
6 Impressionism is the newspaper of the soul.
[but] people would be better off buyin' chickens.
ib
ib
When one starts from a portrait a
7 [I wouldn't mind turning into] a vermilion goldfish.
cessive eliminations to find pure fo.
At age 80, ib
ROBERT MOTHERWELL
itably ends up with an egg.
8 I have always tried to hide my efforts and wished
21 If you can't find your inspiration by walking around
Look 6 Jun 56
my works to have the light joyousness of springtime
the block one time, go around two blocks-but
only we could pull out our brain
which never lets anyone suspect the labors it has
er three.
eyes.
cost me.
Nightline ABC TV 9 Aug 85
On painting objectively, Saturday R
Quoted by Theodore F Wolff in review of "The Draw-
22 It may be that the deep necessity of art is the
good taste! What a dreadful tl
ings of Henri Matisse" exhibit at Manhattan's Museum
amination of self-deception.
enemy of creativeness.
of Modern Art, Christian Science Monitor 25 Mar 85
On relationship between torment and creativity.
Quote 24 Mar 57
9 Drawing is like making an expressive gesture with
Times 17 Nov 85
Art is a lie that makes us realize th
the advantage of permanence.
23 It's not that the creative act and the critical act
21 Sep 58
ib
simultaneous. It's more like you blurt something
The people no longer seek consol
10 It is only after years of preparation that the young
and then analyze it.
refined people, the rich, the idl
[artist] should touch color-not color used descrip-
ib
the extraordinary, the extravagant.
tively, that is, but as a means of personal expres-
24 Most painting in the European tradition was painties
Parade 3 Jan 65
sion.
the mask. Modern art rejected all that. Our subject
ib
have contented these people with
matter was the person behind the mask.
name things that have come into I
11 I have been no more than a medium, as it were.
ib
they understand, the more the
Quoted in Smithsonian Nov 86
JOAN MIRÓ
MAUREEN MULLARKEY
amusing myself with all these g:
12 My way is to seize an image that moment it has
25 A large-boned unexceptional young woman.
Mase, all these picture puzzle
formed in my mind, to trap it as a bird and to pin it
Yet as soon as she disrobed and took her place
at once to canvas. Afterward I start to tame it, to
the platform. she became not only a bare body
understood his time.
I am only a public ent
master it. I bring it under control and I develop it.
a splendid living design. She became a nude.
London Observer 10 Jun 79
NY Times 29 Aug 85
13 Art class was like a religious ceremony to me. I
26 Here was the drama of the flesh.
an
archite
There are painters who transform I
tonic system of skeleton and muscle, a musical
spot. but there are others who
would wash my hands carefully before touching pa-
and intelligence, transform a ye
per or pencils. The instruments of work were sacred
rangement of ellipsoids and undulating arcs.
objects to me.
ib
Quote 21 Mar 65
ib
HENRY MOORE
27 I see no reason why I should tickle stones or -
stately mistaken.
Those trying to explain pictures a
LOUISE NEVELSON
Quoted in Dore Ashton ed Picasso
14 It is a mistake for a sculptor or a painter to speak or
time on polishing bronze.
write very often about his job. It releases tension
On her use of "found objects" showing traces of ther -
Every main child is an artist. The probl
needed for his work.
original use, quoted in Christian Science Monitor
Henry Moore on Sculpture Viking 67
76
Recalled on his death 8 Apr 73
an artist once he grows up.
258
Observers & Critics
nt. irk you seldom smiled, since
you wanted put across your levity face
MARSHALL MCLUHAN
PAUL RICHARD
think of art. at its most significant, as a DEW line,
12 A mood of gloom or longing that people mistake for
Distant Early Warning system that can always be
profundity.
relied on to tell the old culture what is beginning to
On Andrew Wyeth's paintings. Newsweek 18 Aug 86
happen to it.
FRIDA KAHLO RIVERA
Understanding Media McGraw-Hill 64
vill stand back from a picture at some
13 I cannot speak of Diego as my husband because that
ead cocked slightly to one side.
GEORGE MENDOZA
term. when applied to him, is an absurdity. He never
riod of gazing (during which he
juint his eyes), he will approach may
You never saw any husband writing an alimony
has been, nor will he ever be, anybody's husband.
check in Norman Rockwell's America.
Acknowledging that art overruled everything in her hus-
ches of the picture and examine
band's life. quoted by William Weber Johnson "The Tu-
will then return to his former distance the
Quoted in NY Times 20 Aug 85
multuous Life and Times of the Painter Diego Rivera"
he picture another glance and
Smithsonian Feb 86
THOMAS MERTON
14 His capacity for work breaks clocks and calendars.
50
Wheels of fire, cosmic, rich, full-bodied honest vic-
ib
tories over desperation.
an be recognized in the home by the
On Vincent van Gogh. quoted by Monica Furlong Mer-
JOHN RUSSELL
ves the pictures on your walls, quick
ton Harper & Row 80
15 What makes people the world over stand in line for
as though he were undressing them
d either by complete and pained
WRIGHT MORRIS
Van Gogh is not that they will see beautiful pictures
[but] that in an indefinable way they will come away
ment such as "That's really a very
[His] special triumph is in the conviction his coun-
feeling better human beings. And that is exactly
vater color you have there.'
trymen share that the mythical world he evokes ac-
what Van Gogh hoped for.
tually exists.
NY Times 19 Oct 84
On Norman Rockwell. Time 7 Jul 86
MACISAAC
16 Though produced by a very old man who was mor-
NEWSWEEK
tally ill, they seem to come from the springtime of
n with a penny in his pocket carries
the world.
le of Daniel Chester French's work.
Her face is like a wise Pekingese that has seen eve-
On Henri Matisse's paper cutouts. ib 25 Nov 84
Landscape" House & Garden Jul 84
rything from a box by the bed, her bare arms are
filled with spent cartridges of old age and she is
17 Objects rarely if ever bore their natural hues: cows
packaged in fateful red, as if she has just received
were likely to be blue, horses green, people red, [in]
French Minister of Culture
the
final invitation.
a world without gravity.
are in the gallery because they belong
On René Bouché's painting of "social mixmaster" Elsa
On Marc Chagall's paintings. ib 29 Mar 85
di others because they belong to the
Maxwell. 22 Jul 63
18 Henry Moore was
the Number 1 choice when-
He paints the astonishingly complicated loneliness
ever a public sculpture was needed
It was
National Gallery of Art. Washington DC,
of the limbo hours in a coffee shop. like a glass-
thought that a large Henry Moore work out front
ibune 12 May 62
bulled boat trapped in the black ice of the city, lit
would add a final distinction.
talk of the risks this painting took
by a slice of yellow light like stale lemon pie, and
ib I Sep 86
Louvre
But the risks taken by
full of the sadness of a gray fedora, a red dress and
19 [He] was no less successful with his smaller sculp-
inded one day in Normandy-to say
clean coffee urn.
tures, which worked their way up from toothbrush
e who had preceded them 25 years
On Nighthawks by Edward Hopper. 29 May 67
size to a scale that could dominate
a
six-acre
uch more certain.
lawn.
oring the exhibition of the Mona Lisa
NEW YORKER
ib
allery. ib 8 Jan 63
Like a grande dame caught in the middle of dressing
20 In a world at odds with itself. his sculptures got
among them. who may be listening
for her birthday ball.
through to an enormous constituency as something
ant to say
that the masterpiece
On preparations for centennial of the Metropolitan Mu-
that stood for breadth and generosity of feeling.
seum of Art. 11 Oct 69
re paying historic homage this eve-
ib
inting which he has saved.
A unique. private world of imperious dowagers, de-
21 They also suggested that the human body could be
caying tycoons, lovesick spinsters and vaguely epi-
the measure of all things, for it was in terms of head,
cene young men.
museum without walls.
shoulder. breast, pelvis, thigh, elbow and knee that
Tribute to Mary Petty for her cover paintings spanning
athan Cott Conversations with Glenn
Mr Moore set the imagination free to roam across a
nearly 50 years. 12 Apr 76
rown 84
vast repertory of connotations in myth and symbol.
BRIAN O'DOHERTY
ib
ST
He searched disorder for its unifying principle.
GEORGE SANTAYANA
en difficult to get very close to the
On Stuart Davis. abstractionist whose work prefigured
22 Art is delayed echo.
ne Chapel: now that it is cleaned.
pop art. NY Times 26 Jun 64
Quoted in John Gassner and Sidney Thomas eds The
et close to a trumpet.
RONALD REAGAN, 40th US President
Nature of Art Crown 64
14 Apr 86
23 Nothing is so poor and melancholy as an art that is
In an atmosphere of liberty. artists and patrons are
free to think the unthinkable and create the auda-
interested in itself and not in its subject.
ib
cious: they are free to make both horrendous mis-
he had cut up the sky, melted down
takes and glorious celebrations.
JEAN PAUL SARTRE
tossed in some jewels and made il
To recipients of the National Medal of Arts, Newsweek
24 What I see is teeming cohesion, contained disper-
13 May 85
sal.
For him, to sculpt is to take the fat off
ares of Louis Comfort Tiffany Doubleday
Where there's liberty, art succeeds.
hristian Science Monitor 26 Nov 80
space.
ib
On Alberto Giacometti's work. Situations Braziller 65
265
ART
1 The imagination must not be given too much mate-
13 I don't really have studios. I wander around
CECAL BEATON
rial. It must be denied food so that it can work for
around people's attics, out in fields, in cellars.
itself.
Mrs Woolf's complaint should be add
place I find that invites me.
ib
creator, who made her, rather than mc
ib
Answering Virginia Woolf's protest ab
MAURICE UTRILLO
14 I dream a lot. I do more painting when I'm not PAINE
of her. quoted by Hugo Vickers Ceci.
ing. It's in the subconscious.
Brown 85
2 The people here are idiots-idiots!
There's not
ib
an hour I don't think of it.
out
here
and
An old Polish frog
with
a
huge
C
I'm
shut
they won't let me go. I would rather be there than
and she clicks her teeth and
JAMIE WYETH
anywhere.
Rubbish. Much more in Paris."
On his longing for Montmartre while living in an asylum
15 Had I been born in New York, I'd probably be paid
On Helena Rubinstein. ib
outside Paris. Life 16 Jan 50
ing taxis
but because I live on this farm. I pail
(He stared into the camera] like some
objects and landscapes I know and love.
imal gazing from across the back of it
MARTINE VERMEULEN
Interviewed in his studio at Chadds Ford PA. M Ass
On Winston Churchill. ib
3 Clay. It's rain, dead leaves, dust, all my dead ances-
16 Trees or rooms I don't know don't interest me.
tors. Stones that have been ground into sand. Mud.
representational painter has to feel that way, other
MARGARET BOURKE-WHITE
The whole cycle of life and death.
wise the results would just be postcard junk.
The beauty of the past belongs to the
On her pottery, NY Times 3 Dec 75
ib
On modern photojournalism. quoted b
ANDY WARHOL
Marien Christian Science Monitor 5 De
DEAN YOUNG
4 I'd asked around 10 or 15 people for sugges-
17 I don't deal in controversy. I deal in fun. It's
HENRI CARTIER-BRESSON
tions
Finally one lady friend asked the right
rate from reality.
He made me suddenly realize that
question, "Well, what do you love most?" That's
On continuing the comic strip Blondie begun by
could reach eternity through the mom
how I started painting money.
ther Chic Young. Newsweek I Oct 84
On Hungarian photographer Martin M
Quoted in "Andy Warhol Inc. Portrait of the Artist as a
national Herald Tribune 15 Nov 85
Middle-Aged Businessman" Manhattan Inc Oct 84
Photographers
5 If you want to know all about Andy Warhol, just
ALFRED EISENSTAEDT
look at the surface of my paintings and films and me,
ANSEL ADAMS
don't like to work with assistants. I
and there I am. There's nothing behind it.
18 It is my intention to present-through the medium
too many: the camera alone would be
Recalled on his death, Newsweek 9 Mar 87
of photography-intuitive observations of the
On his 50-year career as a Life magazir
ral world which may have meaning to the spectations.
JON WITCOMB
New York 15 Sep 86
The Portfolios of Ansel Adams NY Graphic Society/Us
6 Portraits are supposed to "look within," but in my
tle, Brown 81
PHILIPPE HALSMAN
opinion very few people have an interior significant-
19 The negative is comparable to the composer's scont
10f the thousands of people, celeb
ly different from the outside portrait.
and the print to its performance. Each performance
known. who have sat before my cam
Quoted in Mary Ann Guitar ed Twenty-two Famous
differs in subtle ways.
liked who was the most difficult subj
Painters and Illustrators Tell How They Work McKay
ib
64
inst, or which picture is my favorite.
20 There is nothing worse than a brilliant image of
tice is like asking a mother which chi
GRANT WOOD
thost.
fuzzy concept.
7 All the really good ideas I ever had came to me while
Recalled on his death 22 Apr 84
Recalled on his death 25 Jun 79
I was milking a cow.
21 Not everybody trusts paintings but people believe
Yousuf KARSH
News summaries I Mar 54
photographs.
ib
have found that great people do
ANDREW WYETH
an immense belief in the
8 I prefer winter and fall, when you feel the bone
RICHARD AVEDON
their mission. They also have great di
structure in the landscape-the loneliness of it-the
22 It's in trying to direct the traffic between Artifact
well as an ability to work hard. At
dead feeling of winter. Something waits beneath it-
confronted with the questions about photography
[sic] and Candor, without being run that THE
Ment of decision. they draw on th
the whole story doesn't show.
wisdom. Above all, they have integ
Quoted by Richard Meryman The Art of Andrew Wyeth
Parade 3 Dec 78
that matter most to me.
NY Graphic Society 73
On maintaining authenticity. NY Times 27 Dec 85
#I've also seen that great men are of
9 I think anything like that-which is contemplative,
understandable, because they hav
silent, shows a person alone-people always feel is
DAVID BAILEY
Mandards for themselves that they
sad. Is it because we've lost the art of being alone?
23 My fashion pictures are documents just as much of
create. But that same loneliness is part of
ib
my boat people or my pictures for Band-Aid
10 There's an emotion in them that I feel very strongly
dan.
about, and I don't want to stop that train of thought.
International Herald Tribune 15 Nov 85
Character. like a photograph. devel
On why he hid a series of paintings of his model Helga
24 When I die I want to go to Vogue.
Testorf for 15 years. NY Times 6 Aug 86
ib
25 All pictures are unnatural. All pictures are sad your
Ancré KERTESZ
11 When you show it to someone, if they like it, you're
stopped, and if they dislike it you're stopped-either
way.
cause they're about dead people. Paintings specific
Everything To is a subject. Every subje
don't think of in a special time or with a
ib
event. With photos I always think I'm looking
fired moment of such a raison d'êtr
feel it is the raison d'être. The
is itself.
12 I'm like a prostitute
never off duty.
something dead.
Time 18 Aug 86
ib
The Concerned Photographer Gross
260
Collectors & Curators
le's Ily have attics. studios. I wander
12 I am still hungry.
CACA Woolfs BEATON complaint should than be addressed me. to her
When asked at age 90 why he continued to take pic-
that invites out me. in fields. in cellars, arom
tures, recalled on his death. NY Times 30 Sep 85
- who made her. rather
creator. Woolf's protest about Beaton his drawing Little,
ARNOLD NEWMAN
e I subconscious. do more painting when I'm not -
Hugo Vickers Cecil
13 The subject must be thought of in terms of the 20th
Brown 85
with a huge casket of jew-
century, of houses he lives in and places he works,
old
Polish and she frog clicks her Paris." teeth and shrugs, "Only
in terms of the kind of light the windows in these
places let through and by which we see him every
more
in
day.
orn but in because New York, I'd probably be
On ib
One Mind's Eye Godine 74
andscapes know and love.
I I live on this farm, I - Pay
with gazing from across the
stared into the camera] like back some of its sort sty. of an an-
NORMAN PARKINSON
di in his studio at Chadds Ford PA. M
ms I don't know don't interest Alice
On Winston Churchill, ib
14 A photographer without a magazine behind him is
like a farmer without fields.
nal ilts painter has to feel that way, /
MARGARET BOURKE-WHITE
New Yorker 10 Dec 84
would just be postcard junk.
The beauty of the past belongs to the past.
15 The camera can be the most deadly weapon since
modern photojournalism. quoted by Mary Warner
Marien On Christian Science Monitor 5 Dec 86
the assassin's bullet. Or it can be the lotion of the
heart.
ality. in controversy. I deal in fun.
MINAI CARTIER-BRESSON
ib
the made me suddenly realize that photographs
EDWARD STEICHEN
Young. Newsweek I Oct 84
uing the comic strip Blondie begun by
could reach eternity through the moment.
On Hungarian photographer Martin Munkacsi, Inter-
16 Photography records the gamut of feelings written
hers
national Herald Tribune 15 Nov 85
on the human face, the beauty of the earth and skies
that man has inherited and the wealth and confusion
ALFRED EISENSTAEDT
man has created.
don't like to work with assistants. I'm already one
Time 7 Apr 61
ntion to present-through the
too many: the camera alone would be enough.
17 Photography is a major force in explaining man to
hy-intuitive observations of the
On his 50-year career as a Life magazine photographer.
man.
ich may have meaning to the spectation.
New York 15 Sep 86
ib
lios 81 of Ansel Adams NY Graphic Society/Uk
18 Every other artist begins [with] a blank canvas, a
PHILIPPE HALSMAN
piece of paper
the photographer begins with the
is comparable to the composer's
or the thousands of people, celebrated and un-
finished product.
I to its performance. Each performance
known. who have sat before my camera, I am often
Recalled on his death 25 Mar 73
otle ways.
asked who was the most difficult subject, or the eas-
19 When that shutter clicks, anything else that can be
jest. or which picture is my favorite. This last ques-
done afterward is not worth consideration.
hing worse than a brilliant image of
tion is like asking a mother which child she likes the
ib
pt.
most.
n his death 22 Apr 84
Recalled on his death 25 Jun 79
Collectors & Curators
dy trusts paintings but people believe
Yousuf KARSH
ALFRED BARR, Director of Collections, Museum of Modern
have found that great people do have in com-
Art
mon
an immense belief in themselves and in
DON
their mission. They also have great determination as
20 This museum is a torpedo moving through time, its
to direct the traffic between Artiface
well as an ability to work hard. At the crucial mo-
head the ever-advancing present, its tail the ever-
ndor, without being run over, that I'm
ment of decision. they draw on their accumulated
receding past of 50 to 100 years ago.
with the questions about photography
wisdom. Above all, they have integrity.
Newsweek 1 Jun 64
lost to me.
Parade 3 Dec 78
FRANÇOISE CACHIN, Director, Musée d'Orsay, Paris
ning authenticity. NY Times 27 Dec 85
I've also seen that great men are often lonely. This
is understandable, because they have built such high
21 Certainly we have bad paintings. We have only the
standards for themselves that they often feel alone.
"greatest" bad paintings.
ictures are documents just as much
But that same loneliness is part of their ability to
Time 8 Dec 86
ple or my pictures for Band-Aid of Se
create.
HUGH CASSON, former President, Royal Academy of Art
ib
al Herald Tribune 15 Nov 85
Character. like a photograph. develops in darkness.
22 Mine [was] the role of the oilcan in making the ma-
want to go to Vogue.
ib
chinery clunk around.
Architectural Digest Dec 85
ANDRÉ KERTESZ
are unnatural. All pictures are sad be
CLEMENT G CONGER, White House curator
e about dead people. Paintings you
Everything is a subject. Every subject has a rhythm.
of in a special time or with a specific
To feel it is the raison d'être. The photograph is a
23 If you do a president you're going to do it for the
photos I always think I'm looking
fixed moment of such a raison d'être, which lives on
thrill of it.
ad.
in itself.
On securing portraitists without cost. International Her-
The Concerned Photographer Grossman 67
ald Tribune 18 Apr 86
261
ART
PEGGY GUGGENHEIM
BARON HANS HEINRICH THYSSEN-BORNEMISZA
ARTHUR C DANTO, Johnsonian Professor 0
Columbia University
1 If Venice sinks, the collection should be preserved
12 I chase works of art the way others chase les jolies
The Rockwell [magazine] cover was n
somewhere in the vicinity of Venice.
maîtresses.
the American reality than a record of
Handwritten postscript to the final agreement on the dis-
M Jul 85
In review of Laurie Norton Moffat's No
posal of her art collection. Smithsonian Jul 86
PETER C WILSON, Chairman, Sotheby's
A Definitive Catalogue Norman Rockwe
GISBERTO MARTELLI, Superintendent of Monuments, Milan
versity Press of New England 86. NY 7
13 Works of art are all that survive of incredibly gifted
His was a landscape of amiable codg
2 Imagine 500 friars eating 500 plates of steaming min-
people.
moms, adorable dogs, callow soldiers
estrone every night-thát's pollution.
London Illustrated News Dec 78
On the restoration of The Last Supper, Leonardo da
pold-grown-up Boy Scouts all.
Vinci's 1498 refectory fresco. NY Times 20 Aug 80
Observers & Critics
really is impossible not to like hin
PAUL MELLON
BERNARD BERENSON
was his failure.
3 The horse is an archetypal symbol which will always
find ways to stir up deep and moving ancestral mem-
14 I am only a picture-taster, the way others are wine-
or tea-tasters.
PETER DE VRIES
ories in every human being.
Sunset and Twilight Harcourt. Brace & World 63
Foreword to John Baskett The Horse in Art Little.
Murals in restaurants are on a par WI
Brown 80
JONATHAN BROWN, Professor of Fine Arts, NY University
museums.
Madder Music Little. Brown 77
WALTER PERSEGATI, Secretary-Treasurer, Vatican
15 Whenever the occasion arose. he rose to the occe
Museum
sion.
ALEXANDER ELIOT
4 You can't lock up art in a vault and keep it frozen
On Diego de Velázquez. quoted by Susan Heller
So-called art restoration is at least as
for posterity. Then the artist is betrayed, history is
derson NY Times 10 Aug 86
surgery. Most pictures expire und
betrayed.
sponge.
LINDA CHARLTON
NY Times 9 Jul 84
NY Times 20 Dec 86
16 [It is] a statue that draws children as hot toast dom
GAILLARD F RAVENEL, National Gallery of Art, Washington
HANS MAGNUS ENZENSBERGER
butter.
DC
On José de Creeft's Central Park figure of Alice in
Culture is a little like dropping an Al
5 You begin with a group of objects and then you build
derland. NY Times 17 May 79
Blass-you don't see it, but someho
a room like a glove to hold them.
list
On the gallery's exhibit "The Treasure Houses of Brit-
WINSTON CHURCHILL
Quoted by painter Hans Haacke NY 7
NY Times 10 Sep 85
17 Without tradition, art is a flock of sheep without
EMLY GENAUER
shepherd. Without innovation. it is a corpse.
S DILLON RIPLEY
To Royal Academy of Arts. Time 11 May 53
1 Since nudes in all countries and cel
6 I shall enjoy my freedom from the tyranny of the In
Mandard equipment, it's difficult to
and Out boxes.
H E CLARK
why the pictures at the Brooklyn Mu
On his retirement after 20 years as secretary of the
18 The photographer's palette [is] a thousand shades
so thoroughly American.
Smithsonian Institution. Smithsonian Sep 85
Reviewing a historical survey of the
JOHN ROTHENSTEIN, former Director, Tate Gallery,
gray. On a friend's black-and-white photographs. Christin
painting. NY Herald Tribune 10 Oct
London
Science Monitor 14 Apr 86
GILBERT
7 Art derives from the intention of the artist. But time
19 He carefully picked his cast of clouds. watched been
# Audubon biographers and scholars I
is the only impeccable judge.
intently as they swirled in before the lens and
marious euphemisms, that all great
Time 27 Jan 67
the sun would break in concert.
flows. and their man's principal fla
ib
he lied a lot.
ROBERT C SCULL, taxicab tycoon
Oa John James Audubon, Sports Illu
8 It holds up in one object or one surface, in one
KENNETH CLARK
ORACE GLUECK
bright, luminous and concentrated thing-whether a
20 Ruthless. greedy, tyrannical, disreputable
have had one principle worth all the rest. the
1
the studio, a room to which the arti
beer can or a flag-all the dispersed elements that
go to make up our lives.
ciple of delight!
for life, is naturally important, r
On his collection of pop and minimal art. Time 21 Feb
Introduction to Douglas Cooper ed Great Privally
place. but as a source of inspiration
64
lections Macmillan 63
one way or another, to tui
9 I'd rather use art to climb than anything else.
21 In Chicago, we may not think the Picasso preside be
PAT COLANDER
NY Times 29 Jun 84
When asked if his purchases were for investment or so-
cial climbing. recalled on his death 1 Jan 86
Dec HAMMARSKJÖLD
over the Richard J Daley Center
ELIZABETH SHAW, Public Relations Director, Museum of
know it's a big Picasso and it's sculument
breaking wave
Modern Art
and when the Cubs made the play-offs. the
they the same law.
the muscle as it contracts
10 Dead artists always bring out an older, richer crowd.
wore a baseball cap just like
Delicate line
On a fauvism exhibition that drew 2.000 people. NY
"A Metropolis of No Little
Times 26 Mar 76
withers the body's total strength
hold balance.
LOWERY SIMS, Associate Curator, Metropolitan Museum
22 Every artist undresses his subject. whether -
RICHARD CORLISS
my soul meet
of Art
11 [It was] like the wild child who belongs in a delin-
or still life. It is his business to find essences challengima
nevere a curve. journeying
way to form?
faces. and what more attractive and
quent home.
1
Poses inspired by sculptor Barbara
On status of modern art collection before $26-million.
face than the skin around a soul?
110,000-square-foot addition to the museum. Manhattan
On Andrew Wyeth's studies of Helga Testorf.
Christian Science Monitor 18 Jun SC 6.
the of a Hepworth
Inc Aug 86
Aug 86
262
Observers & Critics
NS HEINRICH THYSSEN-BORNEMISZA
ARTHUR C DANTO, Johnsonian Professor of Philosophy,
HARVARD UNIVERSITY
orks of art the way others chase les
Coumbia University
11 Her creative spirit has transformed the fragments of
The Rockwell [magazine] cover was more it. a part of
a familiar world into sculptured wholes surprising,
American reality than a record of
beguiling. demanding our visual appreciation.
review of Laurie Norton Moffat's Norman Rockwell:
Citation given with an honorary degree to Louise Nev-
VILSON, Chairman, Sotheby's
Definitive Catalogue Norman Rockwell Museum/Uni-
elson. NY Times 7 Jun 85
art are all that survive of incredibly
versity Press of New England 86. NY Times 28 Sep 86
illis adorable dogs, callow soldiers with hearts of
was a landscape of amiable codgers, nurturing
ROBERT HUGHES
Illustrated News Dec 78
moms. -grown-up Boy Scouts all.
12 The protein of our cultural imagination.
rs & Critics
On exhibits in newly acquired space at Manhattan's Mu-
seum of Modern Art. Time 14 May 84
ERENSON
really is impossible not to like him. His success
13 Distanced from the work by crowds and railings,
was his failure.
they may listen on their Acoustiguides to the plum-
ers. a picture-taster, the way others are
my vowels of the Met's director, Philippe de Mon-
nd Twilight Harcourt. Brace & World 63
PETER DE VRIES
tebello, discoursing like an undertaker on the merits
Murals in restaurants are on a par with the food in
of the deceased.
BROWN, Professor of Fine Arts, NY University
On "Van Gogh in Arles" exhibit at the Metropolitan Mu-
museums. Madder Music Little, Brown 77
seum of Art. ib 22 Oct 84
the occasion arose, he rose to the occy
ALEXANDER ELIOT
14 Hair like black ice cream.
NY Times 10 Aug 86
de Velázquez. quoted by Susan Heller As
On Caravaggio exhibit at the Metropolitan Museum of
So-called art restoration is at least as tricky as brain
Art. ib 11 Mar 85
surgery. Most pictures expire under scalpel and
RLTON
15 Popular in our time, unpopular in his. So runs the
sponge. NY Times 20 Dec 86
stereotype of rejected genius.
tue that draws children as hot toast does
ib
HANS MAGNUS ENZENSBERGER
de Creeft's Central Park figure of Alice in Nos
16 An ideal museum show would be a mating of
NY Times 17 May 79
Culture is a little like dropping an Alka-Seltzer into
Brideshead Revisited
with
House
&
Gar-
glass-you don't see it. but somehow it does some-
den.
provoking intense and pleasurable nostal-
HURCHILL
thing.
gia for a past that none of its audience has had.
Quoted by painter Hans Haacke NY Times 25 Jan 87
adition, art is a flock of sheep without
On "The Treasure Houses of Britain" exhibit at Wash-
Without innovation, it is a corpse.
EMILY GENAUER
ington DC's National Gallery of Art. ib 11 Nov 85
I Academy of Arts. Time 11 May 53
Since nudes in all countries and centuries possess
17 Landscape
is to American painting what sex
standard equipment, it's difficult to say precisely
and psychoanalysis are to the American novel.
why the pictures at the Brooklyn Museum right now
On midcareer retrospective by Jennifer Bartlett. ib 30
trapher's palette [is] a thousand shades di
are so thoroughly American.
Dec 85
Reviewing a historical survey of the nude in American
18 "Less is more, and Moore is a bore" was what one
end's black-and-white photographs. Christian
painting. NY Herald Tribune 10 Oct 61
Monitor 14 Apr 86
heard from English art students.
GILBERT
On criticism of Henry Moore in the 1960s. ib 15 Sep 86
y picked his cast of clouds, watched them
they swirled in before the lens and hoped
Audubon biographers and scholars [have noted], by
19 Matisses and Mirós hung transfixed like rabbits in
uld break in concert.
various euphemisms. that all great men have their
the glare of spotlights.
llaws. and their man's principal flaw was that he.
On unsatisfactory exhibits in Paris's Centre National
well. he lied a lot.
Art Contemporain. ib 8 Dec 86
ARK
On John James Audubon. Sports Illustrated 23 Dec 85
20 [A Gustave Courbet] portrait of a trout
has
reedy. tyrannical. disreputable
they
GRACE GLUECK
more death in it than Rubens could get in a whole
ne principle worth all the rest, the pris-
The studio, a room to which the artist consigns him-
Crucifixion.
ght!
self for life, is naturally important. not only as work-
ib
on to Douglas Cooper ed Great Private Call
place. but as a source of inspiration. And it usually
facmillan 63
21 Woven through these galleries are some of the most
manages, one way or another. to turn up in his prod-
deliriously awful canvases of the 19th century
ER
uct.
high-finance porn of the ripest sort.
NY Times 29 Jun 84
we may not think the Picasso presiding
On Musée l'Orsay's otherwise brilliant collection. ib
hard J Daley Center plaza is art, but
DAG HAMMARSKJÖLD
big Picasso and it's the city's Picasso
The breaking wave
ALDOUS HUXLEY
e Cubs made the play-offs, the sculpture
and the muscle as it contracts
22 A competent portraitist knows how to imply the pro-
ball cap just like everything else.
obey the same law.
file in the full face.
polis of No Little Plans" NY Times 5 May
Delicate line
Quoted in John Gassner and Sidney Thomas eds The
gathers the body's total strength
Nature of Art Crown 64
RLISS
a bold balance.
undresses his subject, whether human
Shall my soul meet
ALEXANDRA JOHNSON
1 is his business to find essences in
severe a curve, journeying
hat more attractive and challenging
on its way to form?
23 [It] is that rare impressionist painting where people
skin around a soul?
Poem inspired by sculptor Barbara Hepworth. recalled
don't judge the light. but rather are judged by it.
Wyeth's studies of Helga Testorf. Time
on the dedication of a Hepworth sculpture at the UN.
On Terrace at Sainte-Adresse by Claude Monet. Chris-
Christian Science Monitor 18 Jun 64
tian Science Monitor I Oct 80
263
ART
1 It is a painting that exposes in oils what Chekhov so
12 You faced front, you seldom smiled, since levity
MARSHALL MCLUHAN
often did in print: sunlight mocking a dark isolation
was not the mark you wanted put across your face
of the moment. A moment fixed in a brave, failing
forever.
I think of art. at its most significant
light.
ib
a Distant Early Warning system th
ib
relied on to tell the old culture wh:
RUSSELL LYNES
happen to it.
CLAUDIA ("LADY BIRD") JOHNSON
Understanding Media McGraw-Hill
13 The Art Snob will stand back from a picture at some
2 Art is the window to man's soul. Without it, he
distance, his head cocked slightly to one side
GEORGE MENDOZA
would never be able to see beyond his immediate
world; nor could the world see the man within.
After a long period of gazing (during which he may
You never saw any husband wri
occasionally squint his eyes), he will approach
At opening of an addition to Manhattan's Museum of
check in Norman Rockwell's Amer
within a few inches of the picture and examine the
Modern Art. NY Times 25 May 64
Quoted in NY Times 20 Aug 85
brushwork; he will then return to his former distant
LYNDON B JOHNSON, 36th US President
position, give the picture another glance and wall
THOMAS MERTON
away.
3 The ugliest thing I ever saw.
Wheels of fire, cosmic, rich, full-bc
Snobs Harper 50
On portrait of him by Peter Hurd. recalled on Hurd's
tories over desperation.
death 9 Jul 84
14 The Art Snob can be recognized in the home by the
On Vincent van Gogh. quoted by M
quick look he gives the pictures on your walls. quick
ton Harper & Row 80
CARL JUNG
but penetrating. as though he were undressing them.
WRIGHT MORRIS
4 A "scream" is always just that-a noise and not mu-
This is followed either by complete and pained
sic.
lence or a comment such as "That's really a very
[His] special triumph is in the con
On Pablo Picasso, Letters Vol / Princeton 73
pleasant little water color you have there."
trymen share that the mythical WOI
ib
fually exists.
JOHN F KENNEDY, 35th US President
On Norman Rockwell. Time 7 Jul 86
5 The life of the artist is, in relation to his work, stern
HEATHER SMITH MACISAAC
NEWSWEEK
and lonely. He has labored hard. often amid depri-
15 Every American with a penny in his pocket carries
vation, to perfect his skill. He has turned aside from
Her face is like a wise Pekingese th
a minute example of Daniel Chester French's work.
quick success in order to strip his vision of eve-
rything from a box by the bed, he
"Figures in a Landscape" House & Garden Jul 84
filled with spent cartridges of old
rything secondary or cheapening. His working life is
packaged in fateful red, as if she h
marked by intensive application and intense disci-
ANDRÉ MALRAUX, French Minister of Culture
the final invitation.
pline.
From 1963 introduction to book about the National Cul-
16 Some pictures are in the gallery because they belone
On René Bouché's painting of "socia
tural Center in Washington DC, quoted in NY Post 7
to humanity and others because they belong to de
Maxwell. 22 Jul 63
Jan 64
United States.
He paints the astonishingly compli
On visiting the National Gallery of Art. Washington
the limbo hours in a coffee she
JESSE KORNBLUTH
NY Herald Tribune 12 May 62
bulled boat trapped in the black ic
6 Although one of his long-standing fantasies was to
17 There has been talk of the risks this painting tool
by a slice of yellow light like stale
open a house of prostitution, the fantasy role he
by
leaving
the
Louvre
But the risks taken
of the sadness of a gray fedora.
chose for himself was that of cashier.
the boys who landed one day in Normandy-to
clean coffee urn.
On Andy Warhol. New York 9 Mar 87
nothing of those who had preceded them 25 years
On Nighthawks by Edward Hopper.
before-were much more certain.
New YORKER
RICHARD LACAYO
At dinner honoring the exhibition of the Mona Lisa
7 A museum show is the acid test for photojournalism.
the National Gallery. ib 8 Jan 63
Like a grande dame caught in the m
for her birthday ball.
On retrospective of Carl Mydans's work. Time 19 Aug
85
18 To the humblest among them, who may masterpieur be listenine
On preparations for centennial of the
to me which now, you are paying say historic homage this -
to
I
want
to
that
the
seum of Art. 11 Oct 69
8 He found the egg-shaped perimeter of Nikita
Khrushchev's head sweeping to a comic climax in
is a painting which he has saved.
unique. private world of imperior
ning
the dark hole of his open mouth.
caying tycoons, lovesick spinsters
ib
state young men.
ib
19 An art book is a museum without walls.
MADELEINE L'ENGLE
Quoted by Jonathan Cott Conversations with Giren
Tribute to Mary Petty for her cover
nearly 50 years, 12 Apr 76
Gould Little. Brown 84
9 Artistic temperament sometimes seems a battle-
BRAN O'DOHERTY
ground, a dark angel of destruction and a bright an-
NIGEL McGILCHRIST
searched disorder for its unifyir
gel of creativity wrestling.
20 It has always been difficult to get very close to
On Stuart Davis, abstractionist who
A Severed Wasp Farrar, Straus & Giroux 82
spirit of the Sistine Chapel: now that it is cleaned
Dop art. NY Times 26 Jun 64
10 When the bright angel dominates. out comes a great
work of art, a Michelangelo David or a Beethoven
is like trying to get close to a trumpet.
RONALD REAGAN, 40th US President
symphony.
London Times 14 Apr 86
free an atmosphere of liberty, artists
ib
21 It was as though he had cut up the sky. melted made down
sious: they are free to make both
to think the unthinkable and
HUGH MCKEAN
MICHAEL LESY
takes and glorious celebrations.
11 Photographers represented occasions once. You
a flower garden, tossed in some jewels and
To recipients of the National Medal
B May 85
dressed for them as you might for church. they cost
into glass.
money, they recorded important moments.
The Lost Treasures of Louis Comfort Tiffany Doubled
Where there's liberty, art succeeds
Wisconsin Death Trip Pantheon 73
80, quoted in Christian Science Monitor 26 Nov
264
Observers & Critics
front. mark you seldom smiled. since
you wanted put across your face
MARSHALL McLUHAN
PAUL RICHARD
think of art. at its most significant, as a DEW line,
12 A mood of gloom or longing that people mistake for
Distant Early Warning system that can always be
profundity.
milled on to tell the old culture what is beginning to
On Andrew Wyeth's paintings. Newsweek 18 Aug 86
NES
Suppen to it.
FRIDA KAHLO RIVERA
b will stand back from a picture at
Understanding Media McGraw-Hill 64
13 I cannot speak of Diego as my husband because that
period of gazing (during which he
head cocked slightly to one side. If
GEORGE MENDOZA
term. when applied to him, is an absurdity. He never
You never saw any husband writing an alimony
has been, nor will he ever be, anybody's husband.
V he will the picture and examine
squint inches his of eyes), he will approach I
check in Norman Rockwell's America.
Acknowledging that art overruled everything in her hus-
band's life, quoted by William Weber Johnson "The Tu-
then return to his former
Quoted in NY Times 20 Aug 85
multuous Life and Times of the Painter Diego Rivera"
ve the picture another glance and district
Smithsonian Feb 86
THOMAS MERTON
14 His capacity for work breaks clocks and calendars.
rper 50
wheels of fire, cosmic, rich, full-bodied honest vic-
ib
bb can be recognized in the home by
uries over desperation.
On Vincent van Gogh. quoted by Monica Furlong Mer-
JOHN RUSSELL
e gives the pictures on your walls, the
for Harper & Row 80
15 What makes people the world over stand in line for
ing. as though he were undressing them. and
wed either by complete and pained
WRIGHT MORRIS
Van Gogh is not that they will see beautiful pictures
[but] that in an indefinable way they will come away
comment such as "That's really a very
le water color you have there.
(His] special triumph is in the conviction his coun-
feeling better human beings. And that is exactly
wymen share that the mythical world he evokes ac-
what Van Gogh hoped for.
sally exists.
NY Times 19 Oct 84
On Norman Rockwell. Time 7 Jul 86
ITH MACISAAC
16 Though produced by a very old man who was mor-
rican with a penny in his pocket carries
NEWSWEEK
tally ill, they seem to come from the springtime of
the world.
ample of Daniel Chester French's work
Her face is like a wise Pekingese that has seen eve-
rything from a box by the bed, her bare arms are
On Henri Matisse's paper cutouts. ib 25 Nov 84
n a Landscape" House & Garden Jul 84
filled with spent cartridges of old age and she is
17 Objects rarely if ever bore their natural hues: cows
packaged in fateful red, as if she has just received
were likely to be blue, horses green, people red, [in]
AUX, French Minister of Culture
final invitation.
a world without gravity.
es are in the gallery because they below
On René Bouché's painting of "social mixmaster" Elsa
On Marc Chagall's paintings. ib 29 Mar 85
and others because they belong to the
Maxwell. 22 Jul 63
18 Henry Moore was
the Number 1 choice when-
es.
He paints the astonishingly complicated loneliness
ever a public sculpture was needed
It was
the National Gallery of Art. Washington DC
the limbo hours in a coffee shop. like a glass-
thought that a large Henry Moore work out front
d Tribune 12 May 62
bulled boat trapped in the black ice of the city, lit
would add a final distinction.
een talk of the risks this painting took
a slice of yellow light like stale lemon pie, and
ib I Sep 86
he Louvre
But the risks taken by
of the sadness of a gray fedora, a red dress and
19 [He] was no less successful with his smaller sculp-
o landed one day in Normandy-to say
clean coffee urn.
tures, which worked their way up from toothbrush
hose who had preceded them 25 years
On Nighthawks by Edward Hopper. 29 May 67
size to a scale that could dominate
a six-acre
e much more certain.
lawn.
honoring the exhibition of the Mona Lisa .
NEW YORKER
ib
al Gallery. ib 8 Jan 63
Like a grande dame caught in the middle of dressing
20 In a world at odds with itself, his sculptures got
lest among them. who may be listening
for her birthday ball.
through to an enormous constituency as something
want to say
that the masterpiece
On preparations for centennial of the Metropolitan Mu-
that stood for breadth and generosity of feeling.
seum of Art. 11 Oct 69
are paying historic homage this eve-
ib
painting which he has saved.
A unique, private world of imperious dowagers. de-
21 They also suggested that the human body could be
caying tycoons. lovesick spinsters and vaguely epi-
the measure of all things, for it was in terms of head.
cene young men.
is a museum without walls.
shoulder, breast. pelvis. thigh, elbow and knee that
Tribute to Mary Petty for her cover paintings spanning
Jonathan Cott Conversations with Glenn
Mr Moore set the imagination free to roam across a
nearly 50 years. 12 Apr 76
e. Brown 84
vast repertory of connotations in myth and symbol.
BRIAN O'DOHERTY
ib
HRIST
He searched disorder for its unifying principle.
GEORGE SANTAYANA
been difficult to get very close to the
On Stuart Davis. abstractionist whose work prefigured
22 Art is delayed echo.
istine Chapel: now that it is cleaned. it
pop art. NY Times 26 Jun 64
Quoted in John Gassner and Sidney Thomas eds The
to get close to a trumpet.
RONALD REAGAN, 40th US President
Nature of Art Crown 64
ies 14 Apr 86
In an atmosphere of liberty, artists and patrons are
23 Nothing is so poor and melancholy as an art that is
free to think the unthinkable and create the auda-
interested in itself and not in its subject.
ib
cious: they are free to make both horrendous mis-
gh he had cut up the sky, melted down
takes and glorious celebrations.
JEAN PAUL SARTRE
en. tossed in some jewels and made it
To recipients of the National Medal of Arts. Newsweek
13 May 85
24 What I see is teeming cohesion. contained disper-
asures of Louis Comfort Tiffany Doubleday
sal.
For him. to sculpt is to take the fat off
Where there's liberty, art succeeds.
n Christian Science Monitor 26 Nov 80
space.
ib
On Alberto Giacometti's work. Situations Braziller 65
265
FASHION
SUSAN SONTAG
12 Piet Mondrian, with his precisely defined, irreduci-
Luxury must be comfortable, otherv
ble images of right angles and primary colors.
ury.
1 Life is not significant details. illuminated by a flash.
modernism's champion painter of "nouns."
NY Times 23 Aug 64
fixed forever. Photographs are.
"Painters of Nouns and Verbs" ib 22 May 86
On Photography Farrar. Straus & Giroux 77
Fashion is made to become unfashi
13 Jackson Pollock. with his passionate hurlings and
MARK STEVENS
dribblings of paint, is its outstanding producer
Look for the woman in the dress. If
2 Shouldn't a great museum foster serious seeing be-
"verbs."
there is no dress.
fore all else?
ib
On poor presentation of a Van Gogh exhibit at the Met-
FASHION
is the unseen, unforgettable, ultim
ropolitan Museum of Art. Newsweek 15 Oct 84
fashion.
that heralds your arriv
3 One of the best things about paintings is their si-
lence-which prompts reflection and random rever-
Designers
your departure.
On perfume. NY Herald Tribune 18
ie.
BILLY BALDWIN, interior designer
Elegance is not the prerogative of
Decrying guided tours by headphone. ib
14 [Rich Palm Beach clients] all wanted the same kind
just escaped from adolescence. bi
GENE THORNTON
of different thing.
have already taken possession of th
NY Times 20 Oct 85
McCall's Nov 65
4 Magazine photography is the mural painting of mod-
ern times.
CRISTÓBAL BALENCIAGA
LINDKA CIERACH
NY Times 15 Jul 79
15 You don't have to have any taste at all. You
wanted the Duchess of York's sens
fitted by my fitter and that is it.
TIME MAGAZINE
to come out in the dress. One day I
To Diana Vreeland. who had asked. "Does one need
middle of the night and had dreamed
5 The doodle is the brooding of the hand.
great taste to wear your clothes?" quoted by Colin
16 Oct 78
McDowell Country Life 15 May 86
On Sarah Ferguson's wedding gowl
WILLIAM TOBY JR, Regional Administrator, Health Care
MANOLO BLAHNIK
embroidered bees and thistles from 1
arms and anchors and waves for he
Financing Administration
16 About half my designs are controlled fantasy.
Andrew. news summaries 24 Jul 86
6 During my 17 years of employment in this building,
percent are total madness and the rest are bread
nothing has offended me and my staff more than the
and-butter designs.
ANGELA CUMMINGS, jewelry designer
erection of this huge, rusted metal barrier.
W 25 Aug 86
think of Bergdorf's as, being some
On Tilted Arc, a 12-foot-high. 112-foot-long steel sculp-
17 These are very dainty and superrefined. but really
sapphires.
ture bisecting plaza of the Jacob K Javits Federal Build-
vile.
On a fashionable clothing store. NY
ing in Manhattan. NY Times 7 Mar 85
On shoes for winter 1986. ib
CALVIN TOMKINS
18 Women are wearing tight and sexy clothes again.
LLLY DACHÉ
7 Each year. it seems, larger and more daunting
is the body-conscious mentality. and women are
Glamour is what makes a man as!
mountains of text rise from the lush lowlands of vis-
vealing every bulge.
phone number. But it also is what
ual reproduction.
You are likely to find yourself
ib
for the name of your dressmake
scaling craggy massifs of prose
hacking a path
19
My
shoes
are
special
shoes
for
discerning
feet.
News summaries 3 Dec 54
through thickets of Nietzsche, Kierkegaard, Baude-
ib
ELSE DE WOLFE (Lady Mendl), interior
laire and Marx.
BILL BLASS
On the "changing topography of coffee-table art books."
my color-beige!
New Yorker 11 Feb 85
20 When in doubt wear red.
On the Parthenon. recalled on her de
News summaries 31 Dec 82
LUCIE UTRILLO
21 Sometimes the eye gets so accustomed that if - you
NIELS DIFFRIENT, industrial designer
8 I picked him up in a gutter, and saved him for
don't have a change, you're bored. It's the
The less there is of a phone, the m
France.
with fashion, you know. And that. I suppose.
At a Manhattan Phone City display.
On her husband Maurice. recalled on his death 5 Nov
what style is about.
55
W 25 Feb 83
looks like a galosh with electroni
LILA ACHESON WALLACE
MARIO BUATTA, interior designer
On a rubber Italian telephone. ib
9 A painting is like a man. If you can live without it,
22 I like all the chairs to talk to one another and to or
sofas and not those parlor-car arrangements that
CHRISTIAN DIOR
then there isn't much point in having it.
Recalled on her death 8 May 84
ate two Siberias.
My dream is to save them from nat
New York 28 Jan 85
On his desire to make all women le
THEODORE F WOLFF
her's 10 Jun 55
10 It creates an enchanted world which draws the Han-
23 The jean! The jean is the destructor! It is a dictation stopped
PIERRE CARDIN
are most fascinating betwe
sel or Gretel in each of us into mysterious forms and
after they have won a few
structures.
It is destroying creativity. The jean must be
to pace themselves. Since few
On the Whitney Museum's exhibit "Louise Nevelson:
People 28 Jun 76
maximum fascination can conti
Atmospheres and Environments." Christian Science
Monitor 5 Jun 80
GABRIELLE ("Coco") CHANEL
11 It may be big, bold and brilliantly effective, but it
24 I love luxury. And luxury lies not in richness
ANE FOGARTY
was painted with about the same degree of feeling
ornateness but in the absence of vulgarity. in
with which new cars are painted in Detroit.
is the ugliest word in our language. I stay
secret of a happy marriage.
you adore her, you must adorn h
On Persistence of Electrical Nymphs in Space by James
game to fight it.
Wife Dressing Messner 59
Rosenquist. ib 24 Jun 85
Life 19 Aug 57
266