Jones, a character based on Loy’s role as Levy’s Paris agent, and Insel, based on Oelze. Loy’s dealings with the German surrealist painter Richard Oelze in 1935-6 would inspire her novel Insel, which chronicles the relationship between Mrs. After viewing Luis Buñuel’s L’Age d’Ôr in 1932 with Julien Levy and Lee Miller, Loy encouraged and helped to arrange the film’s premiere in New York (Burke 378-9 Schaffner, “Alchemy” 37). In Paris, Loy negotiated acquisitions with the Bermans, Giacometti, Tchelitchew, De Chirico, and Massimo Campigli, and commissioned work from Max Ernst, Salvador Dali, and Magritte she also worked with Pierre Colle and Leonce Rosenberg who had galleries showing Surrealist work in Paris. Levy opened his New York gallery in November 1931 and arranged for Loy to become his Paris representative, which “justified the monthly ‘allowance'” that he sent to her (Burke 377).Īs the agent in Paris who arranged the purchase and transportation of Surrealist art to Levy’s Gallery from 1931-36, Mina Loy was a central figure in European Surrealism’s trans-Atlantic career and reception in the United States. With Julien and Edgar Levy’s financial help, Loy was able to buy out Peggy Guggenheim’s share of her lampshade shop in 1928, and then to sell it in 1930, permitting more time for her writing and art. Levy married Joella in August 1927 and remained entranced by his mother-in-law’s beauty and artistic gifts he would help to promote Loy’s poetry and visual art through the remainder of her career (Burke 346, Burke “Loy-alism” 62). With Duchamp and Robert McAlmon, Julien Levy traveled to Paris in February 1927, where he met Mina Loy and her daughter Joella at a party at Peggy Guggenheim’s. Loy’s poem “Brancusi’s Golden Bird,” originally published in The Dial 73 (November 1922) and republished in Lunar Baedecker (1923), had accompanied the 1926 exhibition of Bird in Space at the Brummer Gallery in New York (Januzzi, “Bibliography” 523). Duchamp met Julien Levy in New York when Duchamp learned that Levy’s father Edgar had purchased Brancusi’s Bird in Space. The story of how this came to pass involves the trans-Atlantic circuit of art and artists that characterized Loy’s career.ĭuchamp - like Loy, a pivotal figure in the trans-Atlantic migration of Surrealism - played a key role in introducing Loy to Julien Levy. In 1931 Loy began to serve as the Paris agent for the innovative Julien Levy Gallery (1931-1949), which not only held the first Surrealist exhibition in New York in January 1932, but throughout the 1930s and 1940s served as the premier American gallery for Surrealist work of all kinds. Mina Loy’s 1933 Exhibition at the Julien Levy Gallery & her unexhibited 1930s Paintings.
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