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Responsible for the details of the tombstone show was grey-haired, convivial Designer Ernest Leland of Manhattan's swank Presbrey-Leland Studios. He is a self-taught draughtsman, whose forebears for generations have been tombstone-makers. Salesmen know that he has embellished more graves than any other single individual in the industry. From his drawing board came one of the most expensive tombs ever erected in the U. S., the $300,000 William Rockefeller Mausoleum at Tarrytown, N. Y. He is responsible for the Back-to-the-Epitaph movement now stirring the industry...

Author: /time Magazine | Title: Art: Memorialists | 2/24/1936 | See Source »

...more often Syrian than Romanesque. In all his churches the object most admired by the public-at-large, the tower of Boston's Trinity Church, was not designed by Richardson at all. It was an adaptation by the slickest of exterior decorators, the late Stanford White, then a draughtsman in the Richardson office, of the lantern of Salamanca Cathedral, added when Trinity's builders announced that they were unable to execute Richardson's more original first design...

Author: /time Magazine | Title: Art: Richardson v. Richardsonian | 1/27/1936 | See Source »

Bald, cantankerous Rudolph E. Leppert is not only art editor of The Literary Digest but a draughtsman in his own right. Weeks ago he sent a pen & ink drawing of President Roosevelt to the exhibition of Manhattan's Salmagundi Club, an organization of elderly esthetes. Last week the Salmagundi hanging committee accepted the Leppert drawing, stuck it up behind a door. Rudolph E. Leppert also happens to be a rampant admirer of the New Deal. As he saw it, the Salmagundi Club was guilty of a "slur at the President...

Author: /time Magazine | Title: Art: Those Punks | 11/4/1935 | See Source »

Typical of the whole show was On Shipboard by Henry Bacon (see cut), showing a group of hardy passengers on a liner of the swinging lamp era trying to forget their interior troubles. Artist Bacon was an excellent draughtsman with an instinctive sense of composition but beyond that his artistic mind did not rise. Yet in the ingenuous 1870's his name meant much in the art world. Wounded in the Civil War, he went to Paris to recuperate and study art, spending most of his life thereafter in Europe. A pupil of the painstaking Jean Leon Gerome, Alexandre...

Author: /time Magazine | Title: Art: Social Scene | 4/8/1935 | See Source »

Spectacled Muralist Kadish and dapper Muralist Goldstein are both parlor pinks and both influenced by a Los Angeles esthete known as Lorser Feitelson. An able draughtsman with a shrewd eye for publicity, Artist Feitelson was anxiously trying to burst into the news last week as the prophet of a new art movement called Post-Surrealism or New Classicism. As an example of his new school's work he presented his own canvas entitled Genesis. Similar to fresco painting in technique, it showed a young lady's rear, her navel reflected in a mirror, a rising...

Author: /time Magazine | Title: Art: On a Mexican Wall | 4/1/1935 | See Source »

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