| 1000 |
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| 1001 |
artist |
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| 1002 |
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| 1003 |
artist |
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| 1004 |
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| 1005 |
artist |
Levy provided a venue for Surrealists, who were often viewed as outcasts, with The Julien Levy Gallery. This is significant because his gallery was the first in New York to display the various works from the Surrealists. |
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| 1006 |
writer |
Charles Henri Ford was the publisher of Blues and View. |
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| 1007 |
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| 1008 |
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| 1009 |
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| 1010 |
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| 1011 |
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Founder of Dada and contributer to many social and artistic movements in Paris |
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| 1012 |
activist |
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| 1013 |
artist |
Cubist painter, famous for incorporating depictions of machinery and technology into Cubist paintings, filmmaker, most famous film: "Ballet Mecanique", experimental film that explores the beauty in machinery |
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| 1014 |
artist |
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| 1015 |
painter |
Under the 'orders' of Julien Levy, who scouted Oelze as an artist, Mina Loy befriended this German surrealist painter. Crossing paths in Paris during the mid 1930's, Loy and Oelze are thought to have been lovers; he is also the 'subject' of Loy's only novel, Insel. |
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| 1016 |
filmmaker |
Bunuel's nuanced techniques in filmmaking pushed the limits of reality and questioned societal standards. He was one of the first and most iconic Surrealist filmmakers to unapologetically use his art to criticize racial equality, gender roles, and the hypocrisy of the church. |
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| 1017 |
painter |
One of the 20th century’s most influential artists, Max Ernst was one of the founders of Dada and later among the leading artists of Surrealism. Inspired by many different European painters of all periods, his works revolutionized art, with new modernist painting and sculpting techniques. |
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| 1018 |
writer |
Recognized as the founder of Surrealism |
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| 1019 |
sculptor |
Brancusi was an avante-garde artist who worked in Paris and was most famously known for his sculptures, which were made from stone, marble, wood, brass, and bronze. |
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| 1020 |
editor |
Sylvia Beach opened a bookshop called Shakespeare and Company, located in Paris on 12 rue de l'Odéon. Shakespeare and Company was famous for publishing and advocating for key Modernist texts and writers |
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| 1021 |
writer |
Barney ran a prominent salon at 20 rue Jacob for over half a century. She wrote poetry, prose, and essays, and supported the work of guests at her salon (including Mina Loy and several famous writers of the 20th century.) |
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| 1022 |
artist |
Djuna Barnes was an extremly influential journalist that was studing and writing about the expatriate movement in Paris. She ended up becoming friends with a working alongside many of the major modernists at the time. |
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| 1023 |
editor |
Eugene Jolas' career was one marked by globetrotting and exploration. Maintaining an artistic presence in both the US and Europe, Jolas and his work for the little magazine Transition were instrumental in helping the avant garde movements of the early twentieth century find a broader audience and appreciation. His work with authors such as James Joyce and Samuel Beckett is now acknowledged as being invaluable to establishing both their reputations as artists and the reputation of the movements at large. |
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| 1024 |
writer |
Gertrude Stein was a prominent figure of American literature, known for being host to a circle of avant-garde artists and writers in her Paris salon. |
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| 1025 |
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| 1026 |
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| 1027 |
writer |
James Joyce became known for his authentic style and pushing boundaries that led to censorship and the agreements and disagreements that come along with the practice. |
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| 1028 |
writer |
Poet; worked with Ford Madox Ford at the transatlantic review |
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| 1029 |
writer |
Avant-garde poet, editor of Contact Publishing Company; author of Being Geniuses Together (1934), his memoir of the Lost Generation. |
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| 1030 |
editor |
Heiress to the Cunard Steamship Company, experimental poet, founder of the avant-garde Hours Press; editor of The Negro 1934), an anthology of black writing. |
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| 1031 |
editor |
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artist |
Jane Heap was a publisher and editor of the modernist experimental little magazine, The Little Review. |
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| 1037 |
Film Director, Author, Poet, Artist, Playwright, Actor, Librettist |
Jean Cocteau was born in Maisons-Laffitte, a horse-riding hub 12 miles outside of Paris. The third child of Georges Cocteau and Eugénie Lecomte Cocteau, “solid” members of the Parisian bourgeoisie. His father committed suicide when Cocteau was 9, and afterwards he was raised along with his siblings by his mother and grandmother in Paris. He adored his mother, whom he once described as “Madonna swathed in velvet, smothered in diamonds, bedecked with nocturnal plumes, a glittering chestnut tree, spiked with rays of light, tall, abstracted, torn between the last promptings to be good and one last look in the mirror” (Jeffries) and perhaps her tastes prompted his later, ardent friendships with stylish women such as Coco Chanel, Edith Piaf, and Russian Princess Natalia Pavlovna.
Cocteau’s mother introduced him to her contacts within Paris’s artistic circles and salons, and by 1909 Cocteau had released his first book of poems, La Lampe d'Aladin. In 1917, he wrote the story for the ballet Parade, which included décor by his dear friend Pablo Picasso, which bombed spectacularly.
In 1919, Cocteau began a one-sided love affair with the young writer Raymond Radiguet. Though Radiguet did not necessarily return Cocteau’s affections, he relished the attention of the older man. Radiguet died tragically in 1923, which sent Cocteau into a serious opium addiction.
In the 1930s, Cocteau wrote his best-received play, The Infernal Machine, but, more significantly, truly began his filmmaking career with 1930’s The Blood of a Poet. His film career reached its apex with 1946’s Beauty and the Beast, though he would make a number of influential films after that. These early films were notable for their surrealistic style and their focus on the themes of love and death.
In the 1940s, Cocteau’s legacy became somewhat more complicated. Though his lover, Jean Marais, fought with the Resistance, Cocteau’s affection for “Hitler’s Sculptor” Arno Brecker led to charges of Nazi sympathizing. Though he was later cleared of charges of collaboration, Cocteau’s failure to truly condemn the Nazis leaves a shadow over the man and his work.
Cocteau remained active in the film world throughout his final years and passed away in his chateau on Oct. 11, 1963, the same day as his friend Edith Piaf.
Relationship to Loy:
There is photographic evidence of Cocteau and Loy together in Paris in 1923. Loy had recently returned to Paris after a long absence and Cocteau was mourning the passing of his friend/lover Raymond Radiguet. Loy was seeing increasing success, particularly with the release of The Lunar Baedeker in 1923 and Cocteau had finished his Radiguet-assisted novel Thomas the Imposter. From 1923 to 1936, it can be assumed that Loy and Cocteau, both multi-disciplinary artists and thinkers, were in overlapping circles and frequently experiencing one another’s work, particularly given Cocteau’s twin launches into filmmaking and self-promotion during this time. If nothing else, Loy would have surely come into contact with Cocteau as a result of this promotion, as she was scouting talent for the art dealer Julien Levy. |
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| 1038 |
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editor |
Man Ray's darkroom assistant in Paris, portraitist in Paris, documentary photographer in New York. With Julien Levy, manager of Paris street photographer Eugène Atget's archive after his death. |
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| 1085 |
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| 1090 |
writer |
The Modernist Era was distinguishable for its incestuous artistic circle of authors, painters, musicians, and the like, but few artists were born into the circle as Ford Madox Ford was in December of 1873—the son of Francis Hueffer, a German music critic, and Catherine Madox Brown, an English painter, pianist, and model; thus much of Ford’s literary success unarguably stemmed from his upbringing. |
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| 1092 |
writer |
One of the most influential intellects of the 20th century, T.S. Eliot was not only a poet and a dramatist but also a literary critic, editor and publisher. Eliot’s relationship with Loy was one of acquaintance: they never met, but their work was published in the same magazines and periodicals, and Eliot was a critic of Loy’s poetry. |
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| 1093 |
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| 1094 |
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| 1096 |
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| 1098 |
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| 1099 |
artist |
Professional boxer and performance artist; publisher of the polemical art review Maintenant, second husband of Mina Loy, presumed lost at sea when traveling to Buenos Aires to escape the draft. |
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| 2000 |
writer |
His greatest contributions to the movement were the establishment of Glebe, and even more so, Others. He was also a member of the Arensberg circle and worked with many famous figures in the movement. He was a judge on the pulitzer committee, a member of a number of literary societies. Charles Allen said "“The significance of Glebe and Others is no greater or no less than the estimate that one places on the desirability of securing the reputations of such poets as Williams, Moore, and Stevens” and Frank Waldo said “He has more claim to be called a founder [Of the American Theater] than Eugene O’Neill.” |
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| 2001 |
artist |
Hosted a literary salons at Villa Curonia, on Fifth Avenue, and in Taos, NM; wrote a four-volume memoir in the 1930s and three other books about Taos; acted as a confidante, an inspiration, and a muse for those who attended her salons. |
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| 2002 |
painter |
Played major role in the formation of the Society of Independent artists and their first exhibition. Contributed erotic and revolutionary illustrations to the Modernist movement. |
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| 2003 |
writer |
Moore was a Pulitzer Prize winning American modernist poet whose work was characterized by linguistic precision and vivid description. She served as the editor of the little magazine The Dial from 1925-1929, was well respected amongst her modernist contemporaries, and well known for her distinctive style. |
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| 2004 |
writer |
Known as the “Mother of Dada,” the Baroness was an emblematic figure of the New York Dada scene. She worked in poetry and sculpture, but her best-known contribution came from her performance art. |
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| 2005 |
artist |
Stevens is the American artist most associated with the Italian Futurists. Featured at the Armory Show (1913) and the International Exhibition of Futurism (1914), her work influenced the Futurist movement and Modernism in the United States. |
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| 2006 |
writer |
Van Vechten was a patron of the Harlem Renaissance and archivist of the New York avant-garde |
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| 2007 |
dancer |
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| 2008 |
writer |
Close friend of Duchamp; one of the fathers of Dadaism |
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| 2009 |
painter |
Father of imagism; greatly contributed to modernism; brilliant, but controversial; still widely read today |
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| 2010 |
artist |
Founder of modern dance and proponent of women's freedoms. |
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| 2011 |
writer |
Poet; worked with Ford Madox Ford at the transatlantic review |
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| 2012 |
writer |
Artist; extremely sccessful painter |
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| 3000 |
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| 3001 |
writer |
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| 3002 |
writer |
Kathleen Fraser is a contemporary American poet, writer, and visual artist. Born in 1935, in Oklahoma, and raised in Colorado and California, she graduated from Occidental College (California) with a degree in English Literature in 1959. She moved to New York City, working as an editorial assistant for Mademoiselle magazine before pursuing her poetic studies with Stanly Kunitz at The 92nd St. Y “Poetry Center.” Additionally, she studied briefly with Robert Lowell and Kenneth Koch at The New School. It was during this time when she began to meet several prominent New York poets and artists, associated with Black Mountain, The Objectivists, and the New York School. Some influences on Fraser’s work included Frank O'Hara, Barbara Guest and George Oppen. Fraser also attributes the works of Lorine Niedecker, Charles Olson, and Basil Bunting as having a serious impact on her poetics. After the publication of her first book - Change of Address (Kayak, 1968), Fraser taught, as a poet-in-residence for two years at the Iowa Writer's Workshop. She taught contemporary literature and writing programs at Reed College and at San Francisco State University where she remained as a Professor of Creative Writing through 1992. In her early years at SFSU, Fraser directed The Poetry Center and founded the American Poetry Archives and founded the American Poetry Archives. While teaching a course on Feminine Poetics at SFU, Fraser founded, published, and edited the publication HOW(ever), which ran from 1983-1991, as a small magazine focused on innovative writings by contemporary women and “erased” or neglected texts by Anglo/American modernist women writers, together with associate editors Frances Jaffer, Beverly Dahlen and Susan Gevirtz and contributing editors Carolyn Burke and Rachel Blau DuPlessis. Additionally, she wrote and narrated the hour-long video Working Women in Literature. Fraser’s honors and awards include the New School’s Frank O’Hara Poetry Prize (1964) and the American Academy’s Discovery Award (1964), as well as a fellowship from the National Endowment for the Arts (1971, 1978) and a Guggenheim Fellowship (1981). Working primarily with small press publications, Fraser has published more than fifteen books, including mixed-genre collections, a chapbook of collaged wall pieces, and an essay collection. Her published works include twelve volumes of poems and two children’s books: What I Want (1974), New Shoes (1978), Magritte Series (1977), Each Next: narratives (1980), Something (even human voices) in the foreground, a lake (1984), Notes Preceding Trust (1987), when new time folds up (1993), WING (1995), il cuore : the heart—Selected Poems 1970–1995 (1997), Translating the Unspeakable (2000), and Discrete Categories Forced into Coupling (2004). Fraser now splits her time between San Francisco and Rome where she lives with her husband, the philosopher/playwright Arthur Bierman. She lectures and gives readings at local Italian universities and has translated Lampi e acqua, a book-length serial poem by Maria Obino (excerpts published in AVEC), and a selection of poems by Toni Maraini, Daniela Attanasi, Sara Zanghi and Giovanna Sandri (published in Thirteenth Moon, "Italian Women Writers" issue). |
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| 3003 |
Spiritualist/Writer |
Rachel blau DuPlessis was born in Brooklyn, New York in 1941. During her undergraduate studies at Barnard College she began to develop her pin both poetic style, pushing against formalism in her writing and against sexism in society. DuPlessis’ poetry as well as her work in poetics and critical essay writing have maintained a feminist positionality while representing the unique intersections of poetry, politics, society, and gender. For DuPlessis, the unique character of Loy’s work emerged as both distinctly feminist, and politically subversive. Loy’s work as a poet, play write, and artist drew out DuPlessis’ affinity for the modernist style of poetics and various experimental, aesthetic expressions. Intrigued and inspired by Loy’s works, DuPlessis devoted a great deal of time in her own writing to Loy as a key modernist poet. |
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| 3004 |
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Denise Levertov is remembered as a poet of the Black Mountain school. In the 1960s and '70s, Levertov's poetry took on a political dimension as Levertov became more interested in protesting the Vietnam War and taking part in the feminist movement. |
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| 3011 |
artist |
Janet Flanner was an American expatriate who resided in Paris both before and after WWII. She worked for The New Yorker for over 50 years, writing pieces on notable figures, such as Pablo Picasso, Adolf Hitler, Bette Davis, and the Queen of England. |
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| 3012 |
artist |
Thomas Merton was a Trappist monk and writer on spirituality. |
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| 3013 |
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| 3014 |
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| 3017 |
artist |
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| 3021 |
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| 3083 |
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| 4000 |
Founder of Religion |
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| 4001 |
writer |
Marinetti's Futurist movement moved Loy to beginning writing poetry in the 1910s, styled after the ideologies of the Founding and Manifesto of Futurism. He and Loy had an intermittent affair, which eventually turned into a love triangle with Giovanni Papini. |
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| 4003 |
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| 4009 |
artist |
Walter Conrad Arensberg intermingled with and befriended some of the most important artists of the 20th century. He and his wife Louise played an integral role in the formation and promulgation of avant-garde artistic ideas and activities in the United States. |
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| 4010 |
artist |
Joseph Stella was one of the founders of Futurism in America. |
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| 4013 |
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| 4016 |
photographer |
Beatrice Wood was considered a mother of Dada and later became a prominent lusterware ceramicist. |
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| 4017 |
painter |
Katherine Dreier was a founding member of the Société Anonyme. She was also a member of the Society of the Independent Artists. |
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| 4020 |
activist |
Elsa Schiaparelli was known for the surrealist fashion designs she produced at her famous 21 Place Vendome boutique in Paris. Some of her most well known pieces were the result of collaborations with Salvador Dalí and Jean Cocteau. Though it is unknown if she and Mina Loy knew each other, they mingled with the same group of Surrealist artists and both lived in Paris in the 1920s. |
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| 4021 |
artist |
Photographer Lee Miller, friend of Mina Loy, lived many lives: she pursued careers as a Vogue model, a surrealist artist, a World War II photojournalist, and an experimental gourmet chef. |
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| 4025 |
writer |
Hermine David was a 20th-century painter and book illustrator. The wife of Jules Pascin, she was also close friends with Mina Loy for much of their lives. |
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| 4027 |
writer |
Poet, fiction writer and ex-patriate, Wescott was introduced to Mina Loy through Marianne Moore in the 1920s. The two writers were involved in the same literary circles and it was rumoured that Wescott was deeply infatuated with Loy. |
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| 4033 |
artist |
Founder of the Catholic Worker Movement, Member of Provincetown Players |
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| 4043 |
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| 4044 |
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| 4052 |
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Mary Baker Eddy founded the Christian Science Religion. |
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| 4100 |
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| 4101 |
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| 4151 |
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| 4152 |
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| 4153 |
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| 4154 |
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| 4155 |
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| 4156 |
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| 4157 |
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| 4158 |
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| 4159 |
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| 4160 |
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| 4161 |
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| 4162 |
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| 4163 |
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| 4164 |
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| 4165 |
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| 4166 |
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| 5000 |
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| 5001 |
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| 5002 |
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| 5003 |
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| 5004 |
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| 5005 |
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| 5006 |
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| 5007 |
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| 5008 |
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| 5009 |
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| 5010 |
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| 5011 |
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| 5012 |
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| 5013 |
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| 5014 |
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| 5015 |
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| 5016 |
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| 5017 |
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| 5018 |
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Boyce began working as the sole woman reporter for The Commercial Advertiserin 1898 after moving to New York (Trimberger 102). There, she met her future husband, Hutchins Hapgood and Mabel Dodge. A novelist and playwright, Boyce is known for her novel, The Bond, and two plays written in 1915: Constancy and Enemies. She was a leading figure in the Provincetown Players. She befriended Mina Loy in Florence, 1914, at the Villa Curonia. Both women were considered part of the New Woman movement. |
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