Best known for his portraits of circus and burlesque performers and his role as secretary of the 1913 Armory Show, Kuhn was not part of a specific artistic circle, though he was active in the New York artworld, exhibited at major museums and galleries, and fetched high sums for his artwork.1 Painting in a realist style for much of his career, he was very deliberate in his attempt to designate himself and his art American, and chose the intentionally buckeye* or vulgar subject of showgirls as part of this aim. A photospread in Collier's shows that there was very little pretense at decor; things were strewn about, random notes were pinned to the wall along with cutouts of archaic Greek sculptures, nineteenth-century burlesque queens and theater posters, and half-finished canvases were stacked against each other at the baseboards (Hanna).16 Apparently, or so he wanted others to think, he was just too busy, too hard working, too practical and down-to-earth to think about such frivolous things as interior decor.
Baseball, Apple P
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"Baseball, Apple Pie, and Burlesque Queens: Nationalism in Walt Kuhn's Portraits of Showgirls"Please download to view full document