By Chris Ealham
"Magnificent."-Paul Preston, writer of The Spanish Holocaust
Brick maker by way of alternate, progressive anarchist and historian via default; it is a learn of the lifetime of José Peirats (1908–1989) and the hard work union that gave him existence, the CNT. it's the biography of a person but in addition of a collective agent-the operating type Peirats was once born into-and the affective ties of kinship, friendship, and group that cemented right into a stream, the main robust of its style on the planet.
Chris Ealham is the writer of Anarchism and town: Revolution and Counter-revolution in Barcelona, 1898–1937.
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Additional resources for Living Anarchism: José Peirats and the Spanish Anarcho-syndicalist Movement
Stieglitz described their art collection: ‘splendid examples of Matisse, Picassos, Duchamp, a Cézanne watercolour & a Cézanne lithograph – several Brancusis – in marble, wood, & bronze’. Such images had hung on the walls of his tiny rooms at 291, and O’Keeffe had seen much similar work there.
A real surprise [and] . . I felt they were a genuine expression of yourself. ’44 O’Keeffe stumbled over her ﬁrst reply: ‘I don’t exactly get your meaning’, but she pressed on, ‘I am so glad they surprised – that they gave you joy. ’45 48 And so began the ﬁrst notes of what slowly grew into a love affair, and the tumultuous shared creativity of dual careers. 46 On 3 May 1916 O’Keeffe received a telegram containing long-dreaded news. Her mother had died the day before, on 2 May, and so ended the long struggle with tuberculosis.
Picasso shown in America. Major ﬁrst viewings of African tribal art as aesthetic objects, rather than ethnographic curiosities, followed in 1914, and that winter the new charcoal Cubist papiers collés, drawings by Picasso and Braque, also went on view. A sculpture exhibition of the works of Constantin Brancusi, his ﬁrst in America, came that spring, another introduction for American modernists. Earlier, in 1909, Stieglitz had experimented with another new idea closer to home, and showed the latest tendencies in American abstract painting in the exhibition Younger American Artists, which included works by Arthur Dove, John Marin and Marsden Hartley.