Baer, Sir Jack Mervyn Frank (1924–2016), art dealer

2020 ◽  
Author(s):  
Brian Allen
Keyword(s):  
Art Dealer

Leyda, Jay (1910–1988)

2018 ◽  
Author(s):  
Sueyoung Park-Primiano
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Museum Of Modern Art ◽  
Film Library ◽  
Sergei Eisenstein ◽  
Vanity Fair ◽  
Dziga Vertov ◽  
Artistic Training ◽  
Art Dealer

Jay Leyda’s peripatetic life and protean career cut a unique, remarkable path. The long list of roles he mined include filmmaker, photographer, critic, archivist, art dealer, translator, librettist, and educator. He is best remembered, however, as a leading historian of early and Soviet and Chinese cinemas, interests he started to develop in the vibrant art circle he helped establish in New York City in the 1930s. Born in Detroit, Michigan, Leyda was raised by his grandmother in Dayton, Ohio. His artistic training started early; after studying photography under Jane Reece, he moved to New York City in 1929 to work as Ralph Steiner’s darkroom assistant. After a year of working for Steiner, Leyda left and supported himself by freelancing as a portrait photographer for various magazines, including Vanity Fair and Arts Weekly; in this capacity he met and photographed Alfred Barr, the first director of the Museum of Modern Art (MoMA) and the person largely responsible for establishing its film library. Leyda also secured a position as sound and recording arranger at the Bronx Playhouse, where he was exposed to repeated showings of films by internationally acclaimed directors including Sergei Eisenstein and Dziga Vertov.

The Journal of a Transatlantic Art Dealer: René Gimpel 1918–1939

2019 ◽  
Vol 31 (2) ◽  
pp. 440-441
Author(s):  
Pamella Guerdat
Keyword(s):  
Art Dealer

Art dealer

2018 ◽  
Author(s):  
Lee Sorensen
Keyword(s):  
Art Dealer

East Hampton, Pro Sports, and the Separation

2017 ◽  
Author(s):  
Cathy Curtis
Keyword(s):  
Turning Point ◽  
State Of Mind ◽  
Art Dealer ◽  
Madison Square Garden

A party the de Koonings attended at the home of Fritz Hensler in 1952 was an alcohol-fueled example of Artists Behaving Badly—increasingly common as the decade progressed. During the summers of 1952 and 1953, the de Koonings were guests of art dealer Leo Castelli and his wife in East Hampton. Bill’s fierce-looking Woman paintings, shown in 1953, embroiled Elaine in controversy. In spring 1954, she had her first one-person show, at the Stable Gallery—portraits and paintings of basketball games, based on games at Madison Square Garden, photos in tabloid newspapers, and compositions from Old Master paintings. Although she had long lived apart from Bill, the birth of his daughter with Joan Ward marked a turning point in the marriage. The de Koonings separated in 1957. The brooding, largely abstract paintings she showed at Tibor de Nagy Gallery that November seemed to reflect her state of mind.

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