Walter Conrad Arensberg
Walter Conrad Arensberg (April 4, 1878 – January 29, 1954) was an American art collector, critic and poet. His father was part owner and president of a crucible steel company. He majored in English and philosophy at Harvard University. With his wife Louise (born as Mary Louise Stevens; 1879–1953), he collected art and supported artistic endeavors.[1]
Early life and career
Walter Arensberg was born in Pittsburgh, Pennsylvania, the oldest child of Conrad Christian Arensberg and his second wife, Flora Belle Covert. Walter's father was President and partial owner of a successful Pittsburgh crucible steel company. Between 1896 and 1900, Walter attended Harvard University. Following graduation, he traveled to Europe, where he spent at least two years. In 1903, he returned to Harvard, as a graduate student. He did not complete his degree, but rather moved to New York City to work as a cub reporter from 1904-1906.[citation needed]
Arensberg's first major book, The Cryptography of Dante (1921) was greeted as a literary scandal because of its deeply Freudian interpretation of the text. A full-page review appeared in The New York Evening Journal with the title "A Shocking Attack on Dante's immortal 'Inferno'."
Several volumes of his Symbolist-influenced verse were also published, including 1914's Poems and 1916's Idols. His poem Voyage a l'Infini was anthologized by Edmund Clarence Stedman. His far more adventurous, avant-garde poetry appeared in Dada magazines between 1917 and 1919: Rogue, The Blind Man, 391, TNT.[4]
Art collector
Between 1913 and 1950 the couple collected the works of Modern artists such as
California years
In 1921, for health and financial reasons and upon Louise's insistence, the couple relocated to
Francis Bacon Foundation
Intrigued with writer
Legacy
In the 1940s the Arensbergs began to look for a permanent home for their collection. In 1941, a group around actors Vincent Price, Edward G. Robinson, Fanny Brice, and Sam Jaffe tried to get the collection to stay on the West Coast, for the Modern Institute of Art in Beverly Hills.[10] In 1944, the Arensbergs signed a deed of gift with the University of California, Los Angeles, which included the stipulation that the University build an appropriate museum to house the collection in a specified time frame; their friend and fellow collector Galka Scheyer subsequently signed a similar agreement. By the fall of 1947 it was obvious that this condition would not be met and the contract was nullified. In 1939, the Los Angeles County Museum of Art's board turned down a gift of avant-garde works from the collection.[11]
The Arensbergs then began negotiations with numerous other institutions, including the
In 1949, Daniel Catton Rich and Katherine Kuh organized the first public exhibition of the Arensberg collection, held at the
'Hollywood Arensberg', by Mark Nelson,
References
- ^ a b c "Walter and Louise Arensberg papers, 1912-1982, (bulk 1917-1982)". Research collections. Archives of American Art. 2011. Retrieved 17 Jun 2011.
- ^ " A Shocking Attack on Dante's Immortal 'Inferno'," The New York Evening Journal, January 21, 1922.
- ^ William and Elizebeth Friedman, The Shakespearean ciphers examined, Cambridge University Press, 1957. Chapter X.
- ^ Francis M. Naumann, "Walter Conrad Arensberg: Poet, Patron, and Participant in the New York Avant-Garde, 1915-20, The Philadelphia Museum of Art Bulletin, vol. 76, no. 328 (Spring 1980).
- ^ Philadelphia Museum of Art, Jean Metzinger, Tea Time (Woman with a Teaspoon), 1911
- ^ a b c Arensberg Archives: Historical Note Philadelphia Museum of Art.
- New York Times.
- ISSN 1522-7464.
- ^ http://www.philamuseum.org/pma_archives/ead.php?c=WLA&p=hn Dorothea Tanning, Birthday (1942) Philadelphia Museum of Art.
- ^ Oral history interview with Vincent Price, 1992 Aug. 6-14 Archives of American Art Oral History Program.
- ^ D.J. Waldie (September 18, 2011), L.A.'s postwar art scene: Hot rods and hedonism Los Angeles Times.
- New York Times.
- ^ Stephen Birmingham (September 8, 1996), L.A.'s postwar art scene: Hot rods and hedonism Los Angeles Times.