Sadakichi Hartmann – författare

Brilliant and controversial, art critic Sadakichi Hartmann wrote copiously about American and European art and the shaping of American culture during the decades from 1890 to 1910. Jane Weaver has recovered and assembled over fifty of Hartmann's critical writings from influential, though often obscure, turn-of-the-century journals. These reviews and theoretical essays not only provide some of the earliest known criticism of important artists and photographers of the period, but also make Hartmann's fundamental--and uniquely American--definition of modernism available to students of art and cultural history. A most useful adjunct to the text is a complete bibliography of Hartmann's writings on art, as well as an annotated checklist of all the artists treated by Hartmann in this book. Sadakichi Hartmann (1867-1944), half German, half Japanese, learned the American cast of mind and heart as a beloved young disciple of the aged Walt Whitman. Reflecting the poet's zealous vision, Hartmann's piercing commentaries on the art centers of Boston and New York offer unparalleled documentation of the years before and after 1900.

From 1898 until shortly after World War I, Hartmann rampaged through the photographic world, first as Alfred Stieglitz''s iconoclastic hatchetman of the Photo-Secession movement, later as an unruly rebel sniping away at his mentor under the pseudonym of Caliban. One of the most prolific photographic critics of all time, Hartmann discovered many of our greatest photographers, championed photography as an art form, and sparked endless controversies about the medium.From 1898 until shortly after World War I, Hartmann rampaged through the photographic world, first as Alfred Stieglitz''s iconoclastic hatchetman of the Photo-Secession movement, later as an unruly rebel sniping away at his mentor under the pseudonym of Ca

Brilliant and controversial, art critic Sadakichi Hartmann wrote copiously about American and European art and the shaping of American culture during the decades from 1890 to 1910. Jane Weaver has recovered and assembled over fifty of Hartmann''s critical writings from influential, though often obscure, turn-of-the-century journals. These reviews and theoretical essays not only provide some of the earliest known criticism of important artists and photographers of the period, but also make Hartmann''s fundamental—and uniquely American—definition of modernism available to students of art and cultural history. A most useful adjunct to the text is a complete bibliography of Hartmann''s writings on art, as well as an annotated checklist of all the artists treated by Hartmann in this book.Sadakichi Hartmann (1867-1944), half German, half Japanese, learned the American cast of mind and heart as a beloved young disciple of the aged Walt Whitman. Reflecting the poet''s zealous vision, Hartmann''s piercing commentaries on the art centers of Boston and New York offer unparalleled documentation of the years before and after 1900.Brilliant and controversial, art critic Sadakichi Hartmann wrote copiously about American and European art and the shaping of American culture during the decades from 1890 to 1910. Jane Weaver has recovered and assembled over fifty of Hartmann''s critical

“He brought symbolist-inflected poetry and drama to the US, became a respected art critic publishing in Alfred Stieglitz’s Camera Work and Alfred Kreymborg’s Others, wrote some of the earliest English-language haiku, and even became a Hollywood showman later in life, famously playing the court magician in Douglas Fairbanks’s The Thief of Bagdad. Despite increasing attention to Hartmann, not until this collection, beautifully put together by Floyd Cheung in a Little Island Press edition, do Hartmann’s achievements in the lyric come into full view.” – the Modernist Review