Intimate Companions: A Triography of George Platt Lynes, Paul Cadmus, Lincoln Kirstein, and Their Circle, by David Leddick
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Intimate Companions: A Triography of George Platt Lynes, Paul Cadmus, Lincoln Kirstein, and Their Circle, by David Leddick
Best PDF Ebook Intimate Companions: A Triography of George Platt Lynes, Paul Cadmus, Lincoln Kirstein, and Their Circle, by David Leddick
Photographer George Platt Lynes, painter Paul Cadmus, and critic Lincoln Kirstein played a major role in creating the institutions of the American art world from the late 1920s to the early 1950s. The three created a remarkable world of gay aesthetics and desire in art with the help of their overlapping circle of friends, lovers, and collaborators.
Through hours of conversation with surviving members with their circle and unprecedented access to papers, journals, and previously unreleased photos, David Leddick has resurrected the influences of this now-vanished art world along with the lives and loves of all three artists in this groundbreaking biography.
Intimate Companions: A Triography of George Platt Lynes, Paul Cadmus, Lincoln Kirstein, and Their Circle, by David Leddick- Amazon Sales Rank: #371418 in eBooks
- Published on: 2015-11-24
- Released on: 2015-11-24
- Format: Kindle eBook
From Publishers Weekly "Ars longa, Vita brevis," noted Hippocrates, but time gave art a run for its money in the decades-long careers of the artists, writers, photographers, producers and salon-keepers chronicled in Leddick's group biography of Lynes, Cadmus, Kirstein, Glenway Westcott, Monroe Wheeler, Pavel Tchelitchev, Charles Henri Ford and Parker Tyler. These artists--all gay men who had significant influence on the New York visual art, theatrical and literary scenes from the 1930s to the '50s--have never received the critical or biographical attention Leddick believes they deserve. In a fresh approach to material he first covered in Naked Men: Pioneering Male Nudes (1997), Leddick charts not only the men's intersecting professional careers but how their personal and sexual lives contributed to their creativity and vision. One of his central narratives details how Kirstein drew upon the creative efforts of Lynes and Cadmus in his American Ballet Company, and how the two visual artists also pursued important careers of their own. By turns compassionate about and amused by the romantic and sexual connections among these men, Leddick is at his best when describing how Kirstein married Cadmus's sister and how Lynes became the lover of Wheeler and, later, the third member of Wheeler's "marriage" to Westcott. However, Leddick's history can be sketchy and lacks a sustained view of the artists' broader social context. Often, he mistakes personal detail--such as Westcott's distress over the size of his penis--for insight rather than gossip. Ultimately, however, Leddick makes a strong case for why his subjects remain vital and important American artists. (May) Copyright 2000 Reed Business Information, Inc.
From Library Journal Photographer Platt Lynes, ballet impresario Kirstein, and painter Cadmus, who just died at the age of 94, each made important contributions to his field. Together, they were part of an ever-changing group of artistic talents and promoters who guided New York's--meaning America's--cultural development from the 1930s to the 1950s. That they and many of their colleagues were gay is one of the imprecisely developed themes here--implying some sort of proto-Lavender Mafia. Novelist Leddick came to the project after researching the subjects of photos for his Naked Men: Pioneering Male Nudes (Universe, 1997), and he has clearly undertaken much useful research, garnering candid interviews with many relatives, lesser lights, and with Cadmus himself. He seems unable to cope with the raw data, however, and inelegantly strings together facts, conjecture, and gossip in chapters that alternately focus on each participant. Never does the "circle" gel, nor is it even clear why these three figures should form the locus of this book. Recommended only for academic and large public gay studies collections as a source for further research on these important men.-Eric Bryant, "Library Journal" Copyright 2000 Reed Business Information, Inc.
Review Plunges us into that "queer" world that was New York artistic life in the late 1920s, 30s and 40s...A splendid study of what it is like to live an almost entirely unfettered private life.--Washington PostA lively and sensitive collective biography that illuminates both their professional and private lives.--Booklist
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Most helpful customer reviews
17 of 22 people found the following review helpful. A fine book, finely written By John H. Flannigan David Leddick has accomplished in this book what couldn't have been achieved by any impeccably-trained art critic or scholarly biographer: he has told the story of three vastly different but intertwined lives from the standpoint of a cultural historian who knew his subjects very well. I for one don't regret, as other reviewers have, that Leddick didn't write about the various other "menages a trois" that crop up in the world of George Platt Lynes, Paul Cadmus, and Lincoln Kirstein. (I don't believe that the French-Cadmus or the Wheeler-Wescott-Lynes trios, for example, is particularly interesting beyond the sexually titillating.) On the other hand, the Lynes-Cadmus-Kirstein connection, to my knowledge, has not been explored in any depth at all, and Lynes especially is in need of an historical re-evaluation. Leddick does an admirable job of showing the kind of world these three men inhabited when they were at ease sexually and emotionally. Like another reviewer, I found the first-person introductions to the book's chapter divisions first-rate writing and terrific gay-history. And Leddick's evocation of Lynes, the flamboyant cement who seems to have held many of these friendships together, is both heartwarming and heartbreaking. I enjoyed this book immensely.
22 of 29 people found the following review helpful. Intimate Companions by David Leddick By Randy Clay In the introduction the author tells us that he is not concerned with social context but with "sexual shenanigans." This is unfortunate. The real story of these remarkable men deals with their enormous contribution to American modernist culture before World War II. Their sex lives are no more remarkable than any other bohemian group of their day and Leddick's voyeuristic obsession with bedrooms and penis size is ultimately boring to say nothing of discomforting. The endless number of sentences that include the words "must have," "I assume that they," "could have," "might have," "likely to have," shows just how many cracks there are in the factual foundation of this tawdry and disappointing book.
4 of 5 people found the following review helpful. Mr. Leddick Tries To Do Too Much. By Foster Corbin I picked up this book because I like the work of George Platt Lynes and Paul Cadmus a lot. I also read and liked very much Mr. Leddick's first novel and own a couple of his books on male nude photography. (I have little interest in Lincoln Kirstein or ballet either.) I finished this book not having learned much about either of these two men that I cared to remember. Part of the problem is that Mr. Leddick attempts too much. He is art critic, photography critic, dance critic, literary critic as well as consummate gossip. Additionally since there are no footnotes in this book, the reader has no idea whether Leddick's conclusions about anything are his or something he gleaned from the list of sources at the back of the book. Take the opening sentence from Leddick's chapter on Katherine Anne Porter: "Katherine Anne Porter is among the most esteemed women writers of the twentieth century in America." Is that Mr. Leddick's opinion-- and what qualifies him to make such a judgment-- or the literary critics who tell us whom we should read? Incidentally, Ms. Porter comes off as a most distasteful person. Mr. Leddick paints her as homophobic although she obviously hung out with a lot of people whose lives she couldn't tolerate. He might have discussed her racism as well if he wanted to really give us a rounded view of this pretty ugly woman.I would have preferred more insight into what made Mr. Lynes one of America's great photographers and less information and speculation as to whom he did bed or might have taken to bed. Mr. Leddick does discuss at some length many of Cadmus' paintings. Without the actual reproductions preferably in color, however, it is impossible to know whether or not this writer has a clue as to what he is discussing.Mr. Leddick does briefly discuss Lynes' influence on later photographers, particularly Bruce Weber and Herb Ritts. For my money, Lynes is the best photographer of the male nude this country has had. His studio lighting is creative and quite wonderful. Just look at the photographs of anyone who followed him to see the long shadow he cast. (And all this inventive and difficult lighting before the strobe. At least there were no monotonous umbrella reflections in the eyes of Lynes' models.) Robert Mapplethorpe--whose work I admire a lot-- but who lit every photograph he ever took pretty much the same way-- could certainly have learned a plenty from studying Lynes' lighting.So if you want to appreciate these two men-- study their works and made your own judgments. Mr. Leddick has edited a fine book on Mr. Lynes' photographs and there are several fine books on Cadmus in color.
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