i-xxii Front matter.qxd - Brandeis Institutional Repository

Notes / 1793. Emile de Antonio and Mitch Tuchman, Painters Painting: A Candid History of theModern Art Scene, 1940–1970 (New York: Abbeville, 1984), 126.4. The photographer-artist has occupied an intermediate ground, a terrain with shiftingboundaries, between the artworld, peopled by a small group of cognoscenti, andthe world of high-end commercial publishing, directed to a broader but welleducatedpublic. During the 1920s and 1930s, Edward Steichen’s portraits of Brancusior Jacob Epstein could appear in Vanity Fair along with his portraits of Hollywoodstars, musicians, novelists, journalists, and polititians. The visual artist therebytook his place among the realm of the country’s cultural elite. In the context of amonographic art book devoted to the work of Steichen, however, the portraitsweigh in as evidence of the photographer’s interpretation of the artist’s personality,that is, as the photographer’s artistic expression. Thus, the type of publication inwhich the portraits appeared served to deƒne the portrait photograph either as an illustrationof cultural ideals or as art.5. Barbaralee Diamonsteen, Inside New York’s Artworld (New York: Rizzoli, 1979), 254.6. Gerrit Henry, “The Artist and the Face, A Modern Sampling,” Art in America 63/1(January-February 1975), 40.7. Ibid., 34.8. Ibid., 40.9. Neel began in illustration, where her classes were taught by the muralist GeorgeHarding. A pupil of the well-known illustrator Howard Pyle, Harding had also studiedwith George Bellows at the Pennsylvania Academy of the Fine Arts. Harding’sconservative work provides a tenuous link at best with the Ashcan School, however.Neel considered Paula Balano a more challenging teacher.10. Gerald L. Belcher and Margaret L. Belcher, Collecting Souls, Gathering Dust: TheStruggles of Two American Artists, Alice Neel and Rhoda Medary (New York: ParagonHouse, 1991), 19.11. Ibid.12. Patricia Hills, Alice Neel (New York: Harry N. Abrams, 1983; 1995), 15–17.13. Ibid., 21.14. William Innes Homer, Robert Henri and His Circle (Ithaca: Cornell UniversityPress, 1969), 182. It is unlikely that Neel ever met Henri, as he died in 1929, shortlyafter Neel moved to New York City.15. The artists speciƒcally mentioned as exemplars of these principles were Velasquez,Hogarth, Goya, Daumier, Titian, Homer, Corot, Manet, and Cézanne. Degas andEakins do not appear in the book, although Ryerson and Homer assert with authoritythat he did hold them up as models.16. Robert Henri, The Art Spirit, ed. Margery Ryerson (New York: J. B. Lippincott,1923/1930), 80–81; 85–86.17. Edmond Duranty, “La Nouvelle Peinture” (1876), quoted in Carol Armstrong,Odd Man Out: Readings of the Work and Reputation of Edgar Degas (Chicago:University of Chicago Press, 1991), 76.18. Quoted in Hills, Alice Neel, 134.19. Ibid., 167.20. Henri, The Art Spirit, 10–11.