A trifle 'off topic" - I don't suppose Smithsonian could be classified as a "Photographic Magazine", but it is usually of interest to photographers.
This issue, March 2005, has a brief article about Andre' Kerte'sz; Indelible Images (p.17).
"His pictures seem familiar because he borrowed others' tricks - rather generations of photographers borrowed his. And still do."
Later, "in 1997, a picture he made in 1929 - a less that 4 x 4-inch still life of a pipe and eyeglasses belonging to the Dutch painter Piet Mondrian - sold at auction for $376,500, among the highest prices ever paid for a photograph."
Also, of great interest to me, there is a more extensive article; Modigliani: Misunderstood (p.72).
"One of the many ironies of Modigliani's career is that so tortured a life could produce so serene a body of work.. His art managed to bridge the stylistic chasm between classical Italian painting and avant-garde Modernism..."
and ...
"... Yet conventional art histories barely mention him. His work, it seems, was too hard to pigeonhole within the canon of 20th-century painting."
and...
"Charles Beadle, an English journalist who contributed to a 1914 biography of Modigliani titled Artist Quarter, had known the artist in Paris around 1913. "Once", Beadle wrote, "I asked him what he called his`manner'. he retorted haughtily; `Modigliani! When an artist has need to stick on a label, he is lost'".
I Like this magazine!!
This issue, March 2005, has a brief article about Andre' Kerte'sz; Indelible Images (p.17).
"His pictures seem familiar because he borrowed others' tricks - rather generations of photographers borrowed his. And still do."
Later, "in 1997, a picture he made in 1929 - a less that 4 x 4-inch still life of a pipe and eyeglasses belonging to the Dutch painter Piet Mondrian - sold at auction for $376,500, among the highest prices ever paid for a photograph."
Also, of great interest to me, there is a more extensive article; Modigliani: Misunderstood (p.72).
"One of the many ironies of Modigliani's career is that so tortured a life could produce so serene a body of work.. His art managed to bridge the stylistic chasm between classical Italian painting and avant-garde Modernism..."
and ...
"... Yet conventional art histories barely mention him. His work, it seems, was too hard to pigeonhole within the canon of 20th-century painting."
and...
"Charles Beadle, an English journalist who contributed to a 1914 biography of Modigliani titled Artist Quarter, had known the artist in Paris around 1913. "Once", Beadle wrote, "I asked him what he called his`manner'. he retorted haughtily; `Modigliani! When an artist has need to stick on a label, he is lost'".
I Like this magazine!!
