Chip Taylor Communications



Subject: Arts: Art & Artists

Art: Transatlantic Modernism Series

Art historian and author Wanda Corn (The Color of Mood; The Art of Andrew Wyeth; Grant Wood) examines the cultural dynamics that linked art circles in Paris and New York in the opening decades of the 20th century, focusing on painting, sculpture, art films, literature and the decorative arts. Produced Click for more

17. An American in Paris: Gerald Murphy

17. An American in Paris: Gerald Murphy

"'Modern Love' - Numerous influences are plain, but Gerald Murphy jumped ahead of his time with a laconic style that was prescient of big-scale abstraction and of Pop art." -The New Yorker Magazine
After World War I, Europe became obsessed with all things American, especially cultural fads and assembly line techniques, and Gerald Murphy and his wife, Sara, epitomized the ex-patriot Americans in 1920s Paris. Their sense of style and fashion and their patronage of the arts made them popular among the literary set {F. Scott Fitzgerald and Ernest Hemingway} as well as the avant-garde art circle. Although Murphy painted only fourteen works, he held a place in the French avant-garde because he promoted American products and the machine in his paintings. Murphy's The Razor of 1924 was exhibited in a French show with other Cubo/Futurists. Using the language of advertising with its large scale and poster-like quality, the painting depicts three labor saving products from America that were distributed internationally: a safety razor, a fountain pen, and a box of safety matches. Murphy strengthens the design of each product and, by using consumer goods as his subjects, reinterprets the traditional still life. The love affair between Murphy and the French continued until the Depression. At that time the Murphys returned to the United States. Murphy never painted again, and his work was ignored until 1959-1960, when he was rediscovered and became an inspiration for the pop art movement. 98/09DE SCA 60 min.





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