Here are more than 200 posts on Jan and Cora Gordon; famous travellers, writers, artists and musicians in the first half of the 20th century. They were articulate witnesses to the cultures and events of Europe and the USA from before WW1 to just after WW2. The abundance of primary materials presented here should make this a valuable resource for researchers. For a structured overview of the lives and works of the Gordons, please visit: http://www.pbase.com/hajar/art_of_jan_and_cora_gordon
Jan Gordon and Pablo Picasso
In March 2013 we visited the Picasso Black and White exhibition at the Museum of Fine Arts Houston. The range of styles on show was remarkable, from coolly classical to astonishingly abstract. "Head of a Man" 1908 looks like a Fang Ngil maskfrom Gabon. The several studies for “Guernica” reminded me of a visit to that town in 1994 (studying the nearby geology), looking quiet and peaceful on a sunny day and giving no hint of the Luftwaffe's horrific bombing in 1937.
He wrote, “Picasso – Pablo Ruiz is his real name – is the most vivid and and the most dramatic personality which has come into the art of today.”
“Picasso may well be considered as the problem of modern art. He has bewildered the public by the variety of and the differences between his artistic phases. An exhibition of haphazard Picassos, such as that held at the Leicester galleries, looks like the work of a group of five or six men who have scarcely an obvious idea between them. Monsieur Coquiot, the often subtly malicious author of “Les Indépendants,” calls Picasso a chameleon and the epithet seems not unearned.”
However, Jan Gordon continued, "Picasso, is a chameleon with some internal-illuminant, he often reflects a borrowed colour more strongly than he has received it.”
Marie-Thérèse, Face and Profile 1931
Jan Gordon reproduced two Picasso works in his book, "Three Nudes" and "The Red Cloth" (1922).
We walked out of the Houston exhibition of 118 works (made between 1904 and 1970) last Saturday with this same impression of Picasso as a chameleon, but also with a sense of wildly restless experimentation.
Dazzle painting of ships has fascinated many since its first deployment during WW1, spawning numerous articles, books and imitations. The artist and writer Jan Gordon was one of the original protagonists; he designed dazzle patterns, wrote about the principles and practice of the art, and remembered those days fondly when later dedicating one of his books to a dazzle painting colleague, Steven Spurrier. One of the dazzle designs produced by Jan Gordon was that for HMS Southampton and I discuss below the available information on this design. I also recently bought the book " A Naval Lieutenant 1914-1918," which gives an account of the wartime experiences of the Southampton, with several contemporary comments on camouflage and dazzle. Camouflage of ships in WW1 At the beginning of WW1 in 1914 , Stephen King-Hall (as "Etienne"), serving on HMS Southampton , recalled, " After the big sweep we all went to Loch Ewe to coal, and here I remember noticing the ba
Jan and Cora Gordon visited Albania in the summer of 1925 and in 1927 published the book " Two Vagabonds in Albania ." Two phrases from this book resonated when I first read it: " Now and again a wolf howled from far away, and somewhere a kid, lost or smelling some wolf-taint in the air, bleated with persistent terror " pg. 138. and " As we came down into the cultivated fields of the valley we found ourselves walking through clouds of red-winged grasshoppers, which sprang up on all sides with a clattering flight ." pg. 139 The book begins with "Don't stay in Durazzo." From Durazzo they made a clockwise loop to the south, passing through Tirana, Elbasan, Berat, Kelcyre, Permeti and Gjinokastro before returning north to Tirana. The second leg of the journey was an excursion to the north, from Scutari up into the mountains. Map of prominent places visited on the southern loop described in "Two Vagabonds in Albania"
I smiled last Saturday as we found ourselves taking part in an earnest time-share sales presentation in San Diego, experiencing some insistent and misleading salesmanship, quite alien in style and content to anything a Brit would have come across at home. This prompted a recollection of the encounter between Jan and Cora Gordon and California real estate salesmen in 1928 recorded in " Star-dust in Hollywood ". The similarities are astonishing. ".. every real estate firm, in an agony of cut-throat competition, was trying to catch every 'tourist' as he arrived with his savings, to induce him if possible to invest his money in land before he could discover the real conditions. All along the streets near the centre of the town large rubber-neck wagons waited to abduct the wandering visitor. Young and often charming women pounced upon one from doors, waving prospectuses and promising free drives, free lunches and the rest ." Cora Gordon " was willing