By Christos M. Joachimides, David Anfam, Norman Rosenthal
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29 Douglas Tallack Culture, Politics and Society in Mid-Century America Introduction Compared with the exuberance of the American 1920s, the individual and collective dramas of the Depression and wartime years, and the radicalism of the 1960s, the middle years of the century come down to us in images of conformity' excessive materialism. export its Here was a stereot\q3ical representations of affluence globally. America, Even what passed of everyday hfe in the 1950s (Sloan Wilson's The William \ATiyte's The Organization Man Man (see Fig.
Photographer, at first devoted his efforts to his own work and promotion of other photographers. By 1907, however, six years before the Armory Show, he had also begim to show paintings and drawings by European and Stieglitz, a leading to the American modernists. Noteworthy exhibitions of the former included those of Rodin's drawings in 1908 and his drawings and watercolours in 1910; Cezanne's watercolours and Picasso's first one-man show in 191 1; and Henri Rousseau's paintings and drawings in 19 10.
Milton \\. '\\ 1963. As Brown points out, compli- cating factors, such as free admissions, it the Brown, The Story of make impossii)le to determine the exact figure. made by private collectors, which domain and form the beginnings of prominent These collectors included Dr. Albert C. Barnes; who bought works by Cezanne, Gauguin, Redon, Renoir, and X'^uillard later pass into the public museum Fig. /i A. Davidson 4° John Quinn and Arthur J. Eddy, who acquired, respectively, thirty-one and tw^entythree pieces; and \\ aher C.