Arthurus Everett Austin

Arthurus Everett "Chick" Austin, Jr. (18 Decembris 1900—29 Martii 1957) fuit innovativus et avant-garde Athenaei Wadsworthiani director ab anno 1927 ad 1944. Ingenium Austinianum fuit pertinaciter favere theatro moderno, designationi modernae, et praecipue artibus eius temporis. Salvator Dalí, Alexander Calder, et Geretrudis Stein utilitatem ex eius patrocinio ceperunt.^[1]^[2]

Chick Austin commutationem modi adiuvit per quem Americani artem modernam aspiciebant et cogitabant. Principio, primam Pauli Picassso exhibitionem respicientem in Civitatibus Foederatis ordinavit, primam exhibitionem artis surrealisticae produxit, et, cum Lincoln Kirstein, immigrationem iuvit Georgii Balanchine choreographi, seminaque Scholae Balletae Americanae Balanchinianae seruit.^[3]^[4]

Vita

Austin natus est in oppido Brookline Massachusettae, Schola Noble et Greenough Cantabrigiae prope Bostoniam et Academiam Phillipsianam Andover frequentavit antequam in Collegio Harvardiano cum classi 1922 matriculavit. Curriculum academicum interrupit ut in Aegypto et Sudania (1922–1923) cum expeditione archaeologica Universitatis Harvardianae et Musei Artium Elegantiorum Bostoniae operaretur, Georgio A. Reisner duce, tum Aegyptologista Americano maximi momenti. Post gradum anno 1924 acceptum, factus est scholasticus graduatus in parte artium elegantiorum Harvardiaa, ubi tres annos praecipuus adiutor graduatus Eduardi W. Forbes, directoris Musei Artis Foggiani, meruit. Consobrinus primus fuit Stephani Etnier, artificis Americani.

Athenaeum Wadsworthianum

Theatrum Memoriale Averianum.

Austin director Athenaei Wadsworthiani creatus est anno aetatis suae vicensimo sexto, et simul se operariis Collegii Trinitatis iunxit, ubi partem artium elegantiorum condidit, omnem per cursum directoris Athenaei docens. Anno 1929, Helenam Goodwin Lutetiae duxit. Familia Goodwin fuerat inter conditores Hartfordiae annis sub 1639, et cognati fuerunt familiae J. Pierpont Morgan, Hartfordiae nati, unius ex largitoribus Athenaei.

Austin primas picturarum barocarum Italicarum (1930), surrealismi (1931), et operum Pauli Picasso (1934) exhibitiones amplas in Civitatibus Foederatis produxit. Exhibitio Picassoana fuit pars inaugurationis Monumenti Averiani, novae aedificii alae, plerumque ab Austin ipso designati (cum Morris & O'Connor Urbis Novi Eboraci), cui fuit primam stili internationalis partem interiorem in Civitatibus Foederatis. Eodem tempore, Austin Theatrum Averianum (nunc Theatrum Aetna) inauguravit, unum ex primis theatris in ullo museo artis Americano, primam perfunctionem operae Four Saints in Three Acts Geretrudis Stein et Vergilii Thomson offerens.

Anno 1928, Austin gregem The Friends and Enemies of Modern Music ('Amicos et Hostes Musicae Modernae') condidit, societatem quae primas vel maturas perfunctiones operum edidit Inguari Stravinsky, Caroli Ives, Erici Satie, Vergilii Thomson, et aliorum compositorum illius temporis, atque operum Antonii Vivaldi, Domenici Scarlatti, et Francisci Couperin instrumentis aetatis propriae cantorum. Anno 1936, prima perfunctio Americana Socrate, dramatis symphonici Erici Satie, unum ex primis Alexandri Calder mobilibus pressit. Novitas anno 1929 coepta fuit pelliculae (externae, experimentales, Ruscisilvenses) exhibitae septem annos antequam pelliculae in Museo Artis Modernae exhibitae sunt. Providissimum ex eius facinoribus theatricalibus fuit pecunia et auctoritas, Lincoln Kirstein petente, immigrationis Georgii Balanchine ad Civitates Foederatas, anno 1933 effectae, ut Balanchine Scholam Saltationis Americanae Hartfordiae conderet.

Museum Ringlingianum

Austin senex fuit primus director Musei Artis Ioannis et Mable Ringling, cui importavit Theatrum Acelanum, primum anno 1798 Aceli Italiae ab Antonio Locatelli constructum.^[5] Etiam fuit sodalis Fraternitatis Internationalis Magorum.^[6] Dixit Michael Peppiatt:

Austin totus fuit in praestidigitatione et magia, seque puer Professor Miraculum appellans, in vita matura rediit nomine Magnus Osram—Mysteriorum Multiplicum Magister Personatus, oblectationes publicas aliquando offerens, et adeo suum actum in itinere agens. Hoc desiderium obstupefaciendi, iterum atque iterum, Magistrum Personatum in partibus parallelis curatoris etiam tenuit.^[7]^[8]

Mors

Austin carcinomatis pulmonum Hartfordiae Connecticutae die 29 Martii 1957 mortuus est, anno aetatis suae 56.

Domus Austiniana

Domus A. Everett Austin, domicilium in regione occidentali quod Chick Austin anno 1930 aedificari fecit postquam villas Palladianas Venetianae per iter in Venetia sub nuptias viderat, est Lapis Historicus Nationalis,^[9] inter domos in Roberti Vilae Guide to Historic Homes: In Search of Palladio comprehensos,^[10]^[11] studio operis et gratiae Andreae Palladii, architecti Renascentiae, sex horas longo et a Rete A&E prolatum.

Notae

↑ Michael Z. Wise, "The Man Who Pushed Picasso," The New York Observer, 26 Novembris 2000: "Not only did Austin promote artists like Picasso, Balthus, Mondrian and Dalí when they were virtually unknown in the United States, but he also amassed an important collection of masterworks (especially Baroque painting, Dutch still lifes and Poussin) on view at the Atheneum to this day. Alfredus Barr, the founding director of the Museum of Modern Art, told Austin: 'You did things sooner and more brilliantly than any one.'"}
↑ Peppiat 2001.
↑ Anglice: "Chick Austin helped alter the way Americans looked at and thought about modern art. For starters, he organized the first Picasso retrospective in the United States, put on the first show of Surrealist art and, with Kirstein, helped engineer the immigration of choreographer George Balanchine and sow the seeds for Balanchine's School of American Ballet."
↑ Wise 2000.
↑ John and Mable Ringling Museum of Art, History: Timeline of the Historic Asolo Theater (1454-2006).
↑ John and Mable Ringling Museum of Art, The Ringling Circus Museum Collections: An Overview: "A. Everett Austin, the first Director of the Ringling Museum and a member of the International Brotherhood of Magicians, envisioned the idea of a Museum celebrating the American Circus."
↑ Anglice: "Austin became obsessed by sleight of hand and magic, and having billed himself as "Professor Marvel" as a boy, he returned as "The Great Osram—Masked Master of Multiple Mysteries" in mature life, giving regular entertainments in public and even taking his act on road shows. This desire to amaze, time after time, also characterized the Masked Master in his parallel role as museum director."
↑ Peppiatt 2001.
↑ Wadsworth Atheneum, The Austin House (Hartfordiae: Wadsworth Atheneum): "The Austin House is a National Historic Landmark and the former home of A. Everett "Chick" Austin, Jr., the museum's innovative director from 1927 to 1944. In the 1930s it was a gathering place for leaders of the international art world, including Salvador Dalí, Alexander Calder, Gertrude Stein, George Balanchine, Le Corbusier, Cecil Beaton, Martha Graham, Agnes de Mille, Aaron Copland, and Virgil Thomson."
↑ Bob Vila, "Guide to Historic Homes: In Search of Palladio" A&E Network.
↑ "Everett Austin, Chick Austin," Biographical Dictionary of Art Historians.

Bibliographia

Austin, Arthur Everett. 1958 [editio postuma]. A. Everett Austin, Jr.: A Director's Taste and Achievement. Hartfordiae Connecticutae: Wadsworth Atheneum.
Gaddis, Eugene R. 2000. Magician of the Modern: Chick Austin and the Transformation of the Arts in America. Random House. ISBN 9780394587776.
Peppiatt, Michael. 2001. Professor Marvel at the Atheneum. The New York Times, 25 Februarii. Recognitio libri Gaddis 2001.

[1] Michael Z. Wise, "The Man Who Pushed Picasso," The New York Observer, 26 Novembris 2000: "Not only did Austin promote artists like Picasso, Balthus, Mondrian and Dalí when they were virtually unknown in the United States, but he also amassed an important collection of masterworks (especially Baroque painting, Dutch still lifes and Poussin) on view at the Atheneum to this day. Alfredus Barr, the founding director of the Museum of Modern Art, told Austin: 'You did things sooner and more brilliantly than any one.'"}

[2] Peppiat 2001.

[3] Anglice: "Chick Austin helped alter the way Americans looked at and thought about modern art. For starters, he organized the first Picasso retrospective in the United States, put on the first show of Surrealist art and, with Kirstein, helped engineer the immigration of choreographer George Balanchine and sow the seeds for Balanchine's School of American Ballet."

[4] Wise 2000.

[5] John and Mable Ringling Museum of Art, History: Timeline of the Historic Asolo Theater (1454-2006).

[6] John and Mable Ringling Museum of Art, The Ringling Circus Museum Collections: An Overview: "A. Everett Austin, the first Director of the Ringling Museum and a member of the International Brotherhood of Magicians, envisioned the idea of a Museum celebrating the American Circus."

[7] Anglice: "Austin became obsessed by sleight of hand and magic, and having billed himself as "Professor Marvel" as a boy, he returned as "The Great Osram—Masked Master of Multiple Mysteries" in mature life, giving regular entertainments in public and even taking his act on road shows. This desire to amaze, time after time, also characterized the Masked Master in his parallel role as museum director."

[8] Peppiatt 2001.

[9] Wadsworth Atheneum, The Austin House (Hartfordiae: Wadsworth Atheneum): "The Austin House is a National Historic Landmark and the former home of A. Everett "Chick" Austin, Jr., the museum's innovative director from 1927 to 1944. In the 1930s it was a gathering place for leaders of the international art world, including Salvador Dalí, Alexander Calder, Gertrude Stein, George Balanchine, Le Corbusier, Cecil Beaton, Martha Graham, Agnes de Mille, Aaron Copland, and Virgil Thomson."

[10] Bob Vila, "Guide to Historic Homes: In Search of Palladio" A&E Network.

[11] "Everett Austin, Chick Austin," Biographical Dictionary of Art Historians.

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