Slaven Perovic

Crteži, skice, krokiji, karikature, prilog za biografijuDrawings, drafts, sketches, caricatures, a contribution to the biography

18. 5. 2016. - 1. 7. 2016.

SandersWilliam Fanning

2. PORTRET MUŠKARCA S CRNIM BRKOVIMA, SUČELICE PORTRAIT OF A MAN WITH BLACK MOUSTACHE, FACE ON

olovka na papiru pencil on paper59 x 40 mm

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WILLIAM “BILL” SANDERS FANNING1 rođen je u Detroitu 10. svibnja 1887. i umro u istome gradu 15. prosinca 1964. godine. Bio je slikar, dizajner, arhitekt, ilustrator i crtač. Podatci o ovome umjetniku šturi su, a najviše ih možemo naći u pregledima i leksikonima američkih umjetnika. Who’s Who in American Art iz 1947. kao i izdanje iz 1953. godine donosi kako je učio kod Johna P. Wickera2 (1860.–1931.) u School of Fine Arts u Detroitu, zatim na University of Michigan u Detroitu i kod Othona Friesza (1879.–1949.) i Jeana Marchanda (1882.–1940.) na Académie moderne u Parizu. Izlagao je na Art Institute of Chicago, Detroit Institute of Art i kod Detro­it Independentsa. Oba izdanja donose istu adresu stanovanja: 5522 Sweet Briar Street, Pleasant Lake Highlands, Oakland County, Michigan.3 Ar­thur Hopkin Gibson u Artists of Early Michigan: A Biographical Dictionary of Artists Native to or Active in Michigan donosi podatak da Fanning 1934. godine još djeluje u Detroitu.4 Mantle Fielding u Dictionary of American Painters, Sculptors & Engravers navodi Francisa Paulusa (1862.–1933.) kao prvoga Fanningova učitelja, a kao adresu stanovanja 1929. godine, 5470 Trumbull Avenue u Detroitu.5 Who Was Who in American Art 1564-1975 do­nosi da je bio članom American Artists’ Congress (AAC) i Detroit Artists Union i kako je izlagao na Salons of America i kod Society of Indepen­dent Artists6, a Bénézit, osim što donosi podatak da je bio članom Detroit Society of Independent Artists, navodi da je bio i arhitekt.7 Činjenica je da je Fanning studirao arhitekturu, ali ga nalazimo na popisu studenata koji nisu diplomirali.8

Saznanja o Williamu Sandersu Fanningu proširio je Charles Culver9, umjetnički kritičar Free Pressa koji je u nepoznatim, pretpostavljam michi­ganskim novinama nepoznatoga nadnevka, objavio članak Re-Discovering

1 Zahvaljujem: Milisi Petronijevicu, Angeli Cannon i KathyWoodrell iz Library of Congress u Washingtonu koji su mi pomogli oko prikupljanja podataka iz američkih leksiko­na u kojima se W. S. Fanning spominje. Zahvaljujem i Da­nielu Sperryju iz Wayne State University Art Collection u Detroitu koji mi je poslao članak Charlesa Culvera (koje­ga sam već posjedovao u svojoj dokumentaciji). Također zahvaljujem Evelyn Janick, Steveu Janicku, Richardu L. Jenkinsu, Lindi Lilly, Davidu Pezdi i Danielle Swanson iz Alpha Rho Chi bratstva i udruga diplomiranih studenata University of Michigan koji su mi pomogli oko prikuplja­nja informacija vezanih uz razdoblje u kojem je Fanning studirao na University of Michigan i pripadao navedenom bratstvu. Bez pomoći s druge strane Atlantika ovaj bi rad bio osjetno siromašniji.

2 John P. Wicker postao je partnerom Josephu Giesu (1860.– 1935.), jednome od osnivača Detroit Art Academy. Godine 1911. Art Academy postala je Wicker School of Fine Arts. ­ The WPA Guide to Michigan: The Great Lakes State, knjiga na Mreži, nepaginirana: https://books.google.hr/

3 Who’s Who in American Art: Volume IV, For the Years 1940-1947.,1947., str. 162. i Who’s Who in American Art, 1953., str. 131.

4 Arthur Hopkin Gibson, 1975., str. 102. 5 Mantle Fielding: Mantle Fielding’s Dictionary of American

Painters, Sculp tors & Engravers, 1986., str. 269. 6 Who was who in American art 1564–1975, 1999., str. 1083. 7 Emmanuel Bénézit, Dictionnaire critique et documentaire

des peintres, sculpteurs, dessinateurs et graveurs, V, Librairie Gründ, Pariz, 1999. str. 292.

8 The Michigan Alumnus, Volume 71, October, 1964., str. 191.9 Charles Culver (1908–1967) djelovao je u Detroitu kao akva­

relist, kritičar i profesor. Umjetničkim kritičarem za Detroit Free Press postao je 1966. godine. ­ http://www.aaa.si.edu/collections/charles­culver­papers­9423/more#section_3 (prosinac 2015.)

Crteži, skice, krokiji, karikature, prilog za biografiju

SandersWilliam FanningSlaven Perovic

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Mr. Fanning And a Legacy10, u odjeljku Art in Detroit, po svoj prilici 1966. ili nakon te godine. Kako je članak kratak, a podatci o Fanningu rijetki, donosim ga ovdje u cijelosti:

“Pokojni je William Fanning skoro sasvim nepoznato michigansko kul­turno blago, dio neotkrivenih kulturnih bogatstava ove države. Umro je 1964. godine u 77. godini života i za sobom ostavio preko dvije tisuće akva­rela, ulja na platnu i crteža od kojih većina nikada nije bila javno izložena.

Kako bi se ovaj propust ispravio, u Garelick’s Gallery, 20208 Liver nois, priređena je retrospektiva na kojoj je izloženo 100 Fanningovih djela. Izlo­žba je otvorena 23. listopada, a trajati će do 12. studenoga.

Fanning je kao umjetnik dvadesetipet godina radio za Detroit Free Press. Diplomirao je arhitekturu11 na University of Michigan, a kao mla­dić studirao je slikarstvo u Parizu. Počevši karijeru već 1905. godine i na­stavivši dva i pol desetljeća kao novinski umjetnik, Fanning je cijelo vrije­me, više ili manje tajno, stvarao i lijepu umjetnost. Aktovi, ljudski likovi, likovi u krajoliku i krajolici, bili su mu omiljene teme. Nacrtao je mnoge portrete (uključujući i one nekolicine urednika i novinara Free Pressa). Na njegovim djelima vidi se utjecaj francuskoga slikarstva fin-de-sièclea, i američke Ash Can School.

Ako posjetitelj galerije uživa u Daumieru, Lautrecu, Latouru, ili ra­nome Johnu Sloanu, jednako tako bi mogao uživati u ovoj privlačnoj izlo­žbi. Fanning nije oponašao Sloana, Daumiera ili Lautreca nego je od njih učio i crpio nadahnuće iz njihovih djela i načina na koji su stvarali. Pod njihovim je utjecajem bio na zdrav, plodan način što je urodilo slobodom u načinu izražavanja, ali bez oponašanja. Ova će izložba pružiti veliko zadovoljstvo publici koja uživa u odmjerenom i punom slikarstvu izgra­đenom na humanističkoj misli.”

Kako Detroit Free Press 30. listopada 1966. godine, a zatim i 6. stude­noga iste godine spominje izložbu Williama Sandersa Fanninga u Gare­lick’s Gallery, zaključujem da se radi o izložbi iz članka i da mu je prva posthumna izložbe organizirana 1966. godine.12

Sljedeća je13, koliko je iz plakata kojega posjedujem razvidno, održana u Galerie De Boicourt, 725 S Adams Road u Birmighamu. Otvorena je u ne­djelju, 26. travnja i trajala je do 14. svibnja 1970. godine. Nazvana je Retro-spektivnom izložbom, a na njoj su izloženi Fanningovi akvareli i crteži (Sl. 57).

Charles je Culver spomenuo u članku da je Fanning kao mladić stu­dirao slikarstvo u Parizu, kod Othona Friesza (1879.–1949.) i Jeana Mar­chanda (1882. ili 1883.–1941.) na Académie moderne u Parizu.14 Friesz je na poziv Akademije počeo predavati 1912. godine. Tu je bio profesorom do 1921. godine.15 Iz ovoga proizlazi da se Fanning školovao u Parizu ne­

10 Ponovno otkrivanje Fanninga i njegova nasljeđa.11 Vidi bilješku 7.12 https://www.newspapers.com/newspage/97965082/ (siječanj 2016.) https://www.newspapers.com/newspage/97537567/ (siječanj 2016.)13 Ako u međuvremenu nije organizirana još pokoja za koju ne znam.14 Vidi bilješku 2. 15 David Butcher: Othon Friesz, Le fauve baroque, 1879– 1949,

Gallimard, Paris, 2007., str. 88.http://www.alonzakaim.com/artists/friesz_emile_othon/ (siječanj 2016.)

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gdje unutar razdoblja od devet godina, 1912. –1921. godine, znači između navršenih 22. i 31. godine. Kako je u članku spomenuto da je kao mladić studirao u Francuskoj, onda će to biti bliže početcima Frieszove profesure. Tome odgo vara i napomena iz Bénézita da je studij umjetnosti, kojega je pohađao u Americi, dovršio u Parizu “u radionici Othona Friesza”.16

Iz podataka o Fanningovu studiranju koje su mi elektroničkom poštom proslijedili njegovi kolege, bivši studenti University of Michi gan, članovi bratstva Alpha Rho Chi, a koje sam naveo u zahvali doznao sam slijedeće podatke: Prvoga siječnja 1912. godine William S. Fanning bio je iniciran u bratstvo Sigma Upsilon. Zahvaljujući tome postao je članom bratstva Alpha Rho Chi. Tada je stanovao na adresi 16567 Avon Rd. u Detroitu u Michiganu.

U godišnjaku kojeg izdaje University of Michigan, Michiganensianu, Fanning je na popisu studenata 1913. godine.

Godine 1914. bratstvo Sigma Upsilon postalo je utemeljiteljem bratstva Alpha Rho Chi pa je automatski Fanning postao njihovim članom. Kako se ne spominje na povelji od 5. lipnja 1914. godine ni kao član u Michi ga -nensianu iz iste godine, moguće je da je napustio Sveučilište u Michi ga­nu u to vrijeme.

Bill Fanning se potpisao na crtežu objavljenom u časopisu Archi iz siječ­nja 1916. godine, na 28. stranici. Crtež je predstavljao Ples bivših studenata.17

U Projektnom birou arhitekta Alberta Kahna18 (1869.–1942.) u Detroi­tu zajedno s Clairom Williamom Ditchyjem19 (1891.–1967) Fanning je ra­dio 1916. godine.

Archi, časopis Alpha Rho Chi bratstva, spominje Fanninga na popisu bivših studenata i djelatnika ogranka Iktinos, kada je živio na adresi 1108 Trumball Ave, Detroit, Michigan.

U broju Archija iz veljače 1921. godine na koricama kojega je Fanning zalijepio crtež Ženski akt podignutih koljena, profil ulijevo (Sl. 32), “Bill” Fanning je naveden kao član i domaćin zbora Detroit Alumni Chapter.

William Sanders Fanning spomenut je u slijedećim popisima članova Alpha Rho Chi bratstva objavljenim u časopisu Archi:

­ Archi 1919. s adresom Trumbull Ave, Detroit, Michigan­ Archi 1. studenog 1922. s adresom 1394 E. Jefferson Ave, Detroit, Michigan­ Archi, siječanj 1923. godine, objavljena je obavijest da je “Wn Fanning, stari djelatnik Iktinosa, otputovao u studenom u Europu i putovati će inozemstvom godinu dana.”

­ Archi 15. prosinca 1923. s adresom 304 E. Jefferson Ave, Detroit,Michigan

­ Archi 15. ožujka 1924. s adresom 102 W 13th St., New York City

16 Vidi bilješku 6.17 Detroit Alumni, Archi of Alpha Rho Chi, Vol. 1, siječanj 1916.,

br. 1, Detroit, 1916., str. 28.https://alpharhochi.org/wp­content/uploads/1916­January ­Archi­opt.pdf (siječanj 2016.)Crtež je reproduciran i u članku Ricka Jenkinsa objavljenom u jesenskom broju Archija 2015. godine.

18 Svojedobno vodeći američki industrijski arhitekt. Smatra se arhitektom koji je izgradio Detroit.http://architect.architecture.sk/albert­kahn­architect/albert ­kahn­architect.php (travanj 2016.)https://en.wikipedia.org/wiki/Albert_Kahn_(architect) (veljača 2016.)

19 Značajan američki arhitekt. https://sites.google.com/site/miarchitectdirectory/home/a­­­f/ditchy­clair­w (veljača 2016.)

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­ Archi 15. travnja 1924. s adresom 5“700 Trumbull Ave, Detroit, Michigan

­ Archi 20. ožujka 1925. s adresom 51 Poplar St., Brooklyn, NY­ Archi 30. studenog 1925. bez adrese.Fanning se nakon 30. studenog 1925. godine više ne pojavljuje na popi­

sima Alpha Rho Chi bratstva, pa ni s oznakom “adresa nepoznata”, a Archi ne donosi spomena o ikakvome raski du. Do raskida je moglo doći zbog Fanningove suradnje s Communist Party of America što se vidi iz njego­vih priloga časopisima poput The Liberator i The Daily Worker. 20 Fannin­gove ilustracije objavljene su u The Liberatoru u siječnju i u kolovozu 1924. godine.21 U Daily Workeru objavljen je prilog 13. veljače 1926. godine.22

Crteži23

Fanning je imao običaj male crteže zalijepiti na veći komad tvrđega papira ili kartona. Tome bi mu često poslužile posjetnice. Podatci koje sam našao na poleđini jedne od njih, a radi se zapravo o Fanningovoj poslo­vnoj posjetnici, Pretpostavljeni profil Fanningova oca (Sl. 1) otkrivaju nam kako je Fanning radio u umjetničkom odsjeku u Broadway Studios u De­troitu na adresi 106 Broadway, koji se bavio umjetničkim oglašavanjem. Poleđina posjetnice na koju je zalijepljen crtež Muški portret s crnim brko-vima, sučelice (Sl. 2), a ovdje se radi o privatnoj posjetnici, govori nam da je Fanning stanovao na adresi 1108 Trumbull Avenue u Detroitu. Kako su crteži bez nadnevaka, teško se može zaključiti kada je radio za Broadway Studios i kada je stanovao na broju 1108 Trumbull Avenue na kojoj je, kao što smo vidjeli, u tri navrata živio.

Na poleđini crteža “Pink” (Sl. 14) nalazimo naliv­perom crnom tintom rukopisom napisanih trinaest redaka24. Usporedimo li ih s tekstom s crte­ža Capt. Roger Howes (Sl. 56), nesumnjivo je Fanningov. Lako je čitljiv, ali kako je papir, osim na lijevoj strani, obrezan, teško je shvatiti o čemu se točno radi. Spominjanje sjaja, srebra, bjeline, prekrivača, stabla cedra, utoči-šta stvara pozitivan ugođaj pun svjetla i topline koji kvare riječi antipa(...) i aversion iz predzadnja dva retka. Taj crtež, kao i onaj s natpisom “Tattoo” (Sl. 15) očito su dio produkcije vezane uz oglašavanje reklama, a možda su nastali u razdoblju kada je radio za Broadway Studios.

Sam natpis na crtežu “Madeleine lisant Corot” (Sl. 17), napisan Fannin­govom rukom ispod motiva govori nam da je ponekad crtao po starijim majstorima.25 Ne znamo je li to jedini crtež nadahnut djelima Jean­Bap­tistea Corota (1796. –1875.). Crtež Žena koja napinje luk (?) (Sl. 16) tako­đer djeluje kao da je nastao po djelu nekog drugog umjetnika, možda po reljefu ili kipu.

20 The Liberator bio je socijalistički mjesečnik kojega su 1918.godine utemeljili Max Eastman i njegova sestra Crystal Eastman. Godine 1922. postao je de facto službeno glasilo Communist Party of America.https://en.wikipedia.org/wiki/The_Liberator_(magazine) (ožujak 2016.)https://www.marxists.org/history/usa/culture/pubs/libe­rator/ (travanj2016.)U časopisu je likovne priloge objavljivao među inim ame­ričkim umjetnicima i Georg Grosz (1893.–1959.). U broju objavljenom u ožujku i onome iz travnja 1924. godine nekoliko je njegovih ilustracija:https://www.marxists.org/history/usa/culture/pubs/libe­rator/1924/03/v7n03­w71­mar­1924­liberator.pdf (ožujak 2016.)https://www.marxists.org/history/usa/culture/pubs/libera­tor/1924/04/v7n04­w72­apr­1924­liberator.pdf (ožujak 2016.)Käte Kollwitz (1867.–1945.) objavila je jedan svoj rad u broju koji je objavljen u kolovozu 1924. godine. U istome su broju i Groszove ilustracije:https://www.marxists.org/history/usa/culture/pubs/libera­tor/1924/08/v7n08­w76­aug­1924­liberator.pdf (ožujak 2016.)https://www.marxists.org/history/usa/culture/pubs/libe­rator/1924/01/v7n01­w69­jan­1924­liberator.pdf, str. 9., 11., 15. (ožujak 2016.)The Daily Worker bio je glasilo Communist Party of Ame­rica koje je počelo izlaziti u New Yorku 1924. godine.https://en.wikipedia.org/wiki/Daily_Worker (ožujak 2016.).http://www.britannica.com/topic/Daily­Worker (travanj 2016.)

21 https://www.marxists.org/history/usa/culture/pubs/libera­tor/1924/08/v7n08­w76­aug­1924­liberator.pdf str. 27. (ožu­jak 2016.)

22 https://www.marxists.org/history/usa/pubs/daily­worker/cartoons/WSFanning­4­v3n028­p7­feb­13­1926­TDW.pdf (ožujak 2016.)

23 Ovih je pedesetšest crteža kupljeno na dražbi u Francuskoj (eBay.fr) u studenom 2012. godine. Čuvaju se u hrvatskoj privatnoj zbirci u Zagrebu.

24 (...) / and shone like (...) / silver / The white, pla (...) / made a coverlet / as the vision of / eye, save wher(e) / and cedar trees / a touch of wa (...) / and refuge, here (...) / The geyser of his / (pre?)judice and antipa (...) / (aversion) was furi (...) / alive (?) I (ili prekrižena zatvarajuća zagrada).

25 Corotovo ulje na platnu Madeleine lisant (Magdalena čita)iz 1854. godine (inv. br. RF 1592; 33,2x47 cm) Louvreu je darovala Hélène Cuvelier 1905. godine uz još dva Corotova ulja na platnu i po jedno Milletovo i de la Peñino.http://www.culture.gouv.fr/public/mistral/joconde_fr?A­CTION=CHERCHER&FIELD_98=APTN &VALUE_98=Cu­velier%20Mme%20H%e9l%e8ne&DOM=All&REL_SPECI­FIC=3 (ožujak 2016.)

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Fanning je nacrtao dva portreta mladih muškaraca, članova Young Men’s Christian Association (YMCA)26, međunarodne udruge, koja je po samom nazivu temeljno kršćanska, a kojoj je možda i sam pripadao. Na crte žu Portret mladog čovjeka sa simbolom YMCA, profil udesno (Sl. 7) i Portret mladog čovjeka s kapom, profil udesno (Sl. 8) ispod inicijala udruge YMCA napisanih crnom tintom piše i La Bouboule27. Govori li nam isti nat­pis ispod dva različita portreta da bi se ovdje moglo raditi o Fanningovu nadimku? Vremenski je teško odrediti kada su točno nastali crteži mladi­ća iz YMCA, ali sudeći po odorama, mogli su nastati za Prvoga svjetskog rata. U pozadini jednog od mladića, Portret mladog čovjeka sa simbolom YMCA, profil udesno (Sl. 7) Fanning je nacrtao naopako okrenut trokut koji je zapravo desni krak ipsilona znaka YMCA.28

Za razliku od odora nacrtanih na spomenutim crtežima, one prikazane na crtežima Portret muškarca u vojničkoj kapi, profil ulijevo (Sl. 55) i “Capt Roger Howes” (Sl. 56) djeluju suvremenije. Mislim da su nastali u neveli­kom vremenskom razdoblju i kako je Fanning crtež “Capt Roger Howes” datirao 1943. godinom, moguće je da je i Portret muškarca u vojničkoj kapi nastao za vrijema Drugoga svjetskog rata.

Fanning je skicirao ljude na ulici koji obavljaju svakodnevne poslove što vidimo na crtežima Listonoša (Sl. 12) i Žena s pletenom košarom (Sl. 13) kao i ljude u kavanama i na javnim mjestima (Sl. 45, 46, 47 i 48), a i one koji borave na otvorenom svojom voljom ili protiv nje. Tako su nastali crteži Pognuti čovjek s metlom u vrtu (Sl. 18) i “Guarding Prisoners on coal pile” (Sl. 22). To su ujedni primjeri krajolika, urbanog i suburbanog, a tu bi se uklopili i crteži “brouette, mouette”29 (Sl. 20), Dvije kuće i kula (Sl. 21) i Crvena kuća (Sl. 19), primjeri ruralnog krajolika. Crtež Dvije kuće i kula djeluje kao da je dio francuskoga krajolika, a Crvena kuća dio američkoga, tipična kuća na farmi Srednjega Zapada.

Mislim da bi portreti na crtežima “Bob Carr” (Sl. 24), Muškarac crta naslonjen na stol (Sl. 26), Čovjek koji kleči i crta (Sl. 25), “Bill Fitz” (Sl. 27), a možda i “Henry Rentz” (Sl. 28), mogli biti prikazi Fanningovih kolega iz redakcija Detroit Free Pressa.

Muški portreti ponekad nastaju brzo, u nekoliko poteza. Primjeri za to su crteži Čovjek s naočalama koji se smiješi (Sl. 37), Dvostruki portret go-spo dina s brkovima, profili udesno (Sl. 38) i Portret muškarca s naočalama, profil ulijevo (Sl. 39). Više je pažnje, makar to nije utjecalo na kvalitetu crte ža, Fanning posvetio pojedinim crtežima na kojima je prikazao mu­škarce u odijelima, s kravatom ili leptir­kravatom što vidimo na crtežima Portret muškarca svijetle kose s razdjeljkom (Sl. 40), Portret muškarca zali-zane kose s crnom leptir-kravatom (Sl. 41), Portret muškarca s brčićima i cr-

26 Udruga mladića kršćana. Međunarodna udruga osnovana u Ženevi 1844. godine. Službeni motto američke YMCA je ”Za razvoj mladih. Za zdrav život. Za društvenu odgovor­nost.”

27 S francuskog jezika prevesti bi se dalo kao Debeljko.28 https://en.wikipedia.org/wiki/YMCA#YMCA_of_ the_USA

(ožujak 2016.)29 Francuski: tačke, galeb.

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nom kravatom, sučelice (Sl. 42), Portret muškarca kuštrave kose s brčićima (Sl. 43) i Portret muškarca, izrezan (Sl. 44). Ti su crteži nastali u kasnijem razdoblju Fanningova stvaranja. Na prvospomenutima je razvidna mla­denačka spontanost.

Ženski su mu aktovi čest motiv, a vidimo ih na crtežima Ženski akt ispruženih nogu, profil udesno (Sl. 31), Ženski akt, kleči na lijevom koljenu (Sl. 29) i Ženski akt, kleči na desnom koljenu, uzdignutog lakta lijeve ruke (Sl.30) djeluju poput aktova kakvi se crtaju na akademiji dok žena na crtežu Žen-ski akt podignutih koljena, profil ulijevo (Sl. 32) djeluje poput skice koja je mogla nastati na plaži. Na ovim je crtežima prepoznatljiv Frieszov utjecaj koji se očituje u tehnici crtanja i u monumentalnosti ženskih likova koji nadrastaju papir na kojem su nastali. Žene koje su odjevene po modi svo­ga vremena vidimo na crtežima Žena s torbom (Sl. 11), Portret žene s klobu-kom valovita oboda (Sl. 10), Glava žene u kaputu velikoga ovratnika (Sl. 9) i Zaljubljeni par u prirodi (Sl. 53), a tu pripada i crtež s plakata za Fanningo­vu izložbu u Galerie De Boicourt iz 1970. godine (Sl. 57). Makar se radi o likovnim zabilješkama nastalim u trenu, na ovim je crtežima skromnim tehničkim sredstvima majstorski uhvatio njihova unutarnja stanja.

Zanimljivi su prikazi ljudi na javnim mjestima. Crteži Studija muške glave, čovjek u fotelji, žena koja plete (Sl. 45), Čovjek s klobukom sjedi na stolcu (Sl. 47), Čovjek u kavani (Sl. 46) i Čovjek čita “Post” (Sl. 48) mogli su nastati u kavani. Likovi, nesvjesni da su crtani, djeluju živo, opušteno, zadublje­no u misli, štivo ili pletivo. Fanning zna biti duhovit što vidimo na crtežu Zaljubljeni par u prirodi (Sl. 53) na kojemu je karikaturalno prikazao ženu i muškarca atrofiranih ručica s parom isto tko zaljubljenih ptičica na gra­ni iznad njih. Muškarac nosi leptir­kravatu, naočele, Girardi­klobuk i puši lulu, dok je nasmiješena žena u šarenoj haljini prislonila glavu na njego­vo rame. U karikaturalne crteže spada i pogled s leđa na klempavu glavu čovjeka pred kojim stoji pet zgodnih, mladih i golih žena (Sl. 52). U tu bi skupinu spadao i groteskan prikaz mladog čovjeka neproporcionalno ve­likih očiju, širokoga nosa i neskladno velikih zubi (Sl. 51).

Zanimljiv je i jedini datiran crtež u ovoj zbirci, “Capt Roger Howes” (Sl. 56), uz crteže Muška glava s leđa i pet ženskih aktova (Sl. 52), Crvena kuća (Sl. 19) i Pognuti čovjek s metlom u vrtu (Sl. 18), spada u rijetke crte­že na kojima je Fanning koristio boje. Nastao je 1943. godine i prikazuje satnika Rogera Howesa kako leži na podu nužnika, pretpostavljam pod jačim utjecajem alkohola.

Crtež na kojemu je prikazan naoružan stražar koji na hrpi ugljena nadzire zatvorenike, “Guarding Prisoners on coal pile” (Sl. 22) dokument je depresivne stvarnosti, za razliku od “me shirt river” (Sl. 20, verso), kro­

9

kija, također dokumentarnog na kojemu je Fanning prikazao sebe kako pere košulju na rijeci. Taj je crtež na poleđini crteža “brouette, mouette” (Sl. 20) koji je, ravnajući se po naslovu, mogao nastati u Francuskoj. Po naslovu crteža na kojemu je prikazan muškarac u čizmama i klobuku, “Panama” (Sl. 54) možda možemo zaključiti da je Fanning boravio i u La­tinskoj Americi.

U Wayne State University Art Collection čuva se nedatirani Portret Fanningova oca30 kojega je zbirci ostavio Rex Lamoureaux 2008. godine. Usporedimo li lik oca s likom muškarca na crtežu Portret starijeg muškar-ca, moguće Fanningova oca, profil udesno (Sl. 1), lako ćemo se uvjeriti da se radi o istoj osobi.

Fanning je izvrstan crtač. Spontan, brz i vrlo plodan. Očito je osjećao potrebu neprestano bilježiti trenutke života kroz koji se kretao, dokumenti­rajući značajno i teško razdoblje kroz koje je svijet prošao u prvoj polovini XX. stoljeća. Putovao je svijetom, obrazovao se u Sjedinjenim državama i Francuskoj. Prolazio je kroz različite faze, surađujući s mladim kršćanima iz YCMA­e, da bi kasnije objavljivao u komunističkim glasilima. Koliko je držao do crteža govori nam činjenica da je i male crteže, krokije ili ski­ce čuvao jednako pomno kao i sasvim dovršene. Pojedini su crteži poput “Turning disk with finger”31 (Sl 23) ili Portret muškarca u odijelu s prslu kom (Sl. 35) isječeni iz većeg papira po crtama povučenim redalicom. Nakon što ih je izrezao, lijepio ih je na čvršće papire. Pojedini su crteži isječeni i obris prati lik na crtežu kao što je slučaj kod crteža Ženski akt ispruže-nih nogu, profil udesno (Sl. 31) i crteža Portret muškarca, izrezan. (Sl. 44). Razlog tome bi moglo biti odstranjivanje oštećenog dijela papira ili je na odsječenom komadu već započinjao drugi crtež kojega je posebno želio sačuvati. Ne znamo kada je crteže potpisao. Većina potpisa djeluju kao da su nastali istovremeno, posebice oni potpisani plavom kemijskom olov­kom. Možda je bio odlučio prodati dio crteža pa ih je opremio pričvrsti­vši ih na podloge, a zatim ih je i potpisao. Kako su crteži kupljeni na dra­žbi u Francuskoj, moguće je da se potpisivanje i odvijalo u zemlji u koju se u nekoliko navrata vraćao. Crteži su završili u Hrvatskoj, u kojoj, koli­ko mi je poznato, nema američkih autora nazočnih u javnim zbirkama, a za pretpostaviti je da su u privatnima rijetki. Preseljeni iz američkog kultrurnog krajolika u europski, prenjeli su doživljaj umjetnika jednoga mentaliteta u potpuno drugačije podneblje. Umjetnika koji je, osim što je osobno i bukvalno sudjelovao u stvaranju urbanog krajolika Detroita u Projektnom birou arhitekta Alberta Kahna, stvorio djelo kojim nam je dao uvid u život Amerike u usponu i život grada koji se, ako bi poželio vi­djeti svoje sretno razdoblje, danas može jedino osvrnuti.

30 Ulje na lesonitu; 60x55,5 cm.http://artcollection.wayne.edu/picture­of­the­week.php?id=48 (ožujak 2016.)

31 Okrećući ploču prstom. Ostatak teksta je nečitak.

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7. PORTRET MLADOG ČOVJEKA SA SIMBOLOM YMCA, PROFIL UDESNO PORTRAIT OF A YOUNG MAN WITH YMCA SYMBOL, RIGHT PROFILE

olovka na papiru pencil on paperd.d. crnom tintom: Y.m c / m / La Bou b. r. in black ink: Y.m c / m / La Bou92 x 64 mm

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WILLIAM “BILL” SANDERS FANNING1 was born in Detroit on May 10, 1887, and died in the same city on December 15, 1964. He was painter, desig­ner, illustrator and draughtsman. Details about this artist are few and far between, and most of those that there are can be found in surveys and dictionaries of American artists. Who’s Who in American Art of 1947 and the edition of 1953 say that he studied under John P. Wicker2 (1860­1931) in the School of Fine Arts in Detroit, and then at the University of Mic­higan in Detroit, as well as later with Othon Friesz (1879­1949) and Jean Marchand (1882­1940) at the Académie moderne in Paris. He exhibited at the Art Institute of Chicago, the Detroit Institute of Art and with the Detroit Independents. Both of the editions give his address as 5522 Sweet Briar Street, Pleasant Lake Highlands, Oakland County, Michigan.3 Arthur Hopkin Gibson in A Biographical Dictionary of Artists Native to or Active in Michigan says that in 1934 Fanning was still working in Detroit.4 Mangle Fielding in his Dictionary of American Painters, Sculptors & Engravers gives Francis Paulus (1862­1933) as his first teacher, and supplies as his residen­tial address for 1929 5470 Trumbull Avenue in Detroit.5 Who Was Who in American Art 1564-1975 says that Fanning was a member of the American Artists’ Congress and the Detroit Artists’ Union, and that he exhibited at the Salons of America and at the Society of Independent Artists6, while Bénézit, as well as providing the information that he was a member of the Detroit Society of Independent Artists, also says that he was an architect.7 It is true that Fanning studied architecture but he is to be found on the list of students who did not complete their degree.8

Knowledge about William Sanders Fanning was expanded by Char­les Culver9, art critic of the Free Press, who published in some unknown but presumably Michigan paper on an unknown date an article entitled

1 I would like to thank Milisa Petronijevic, Angela Cannon and Kathy Woodrell of the Library of Congress in Washing­ton who helped me to assemble data from American lexi­cons in which Fanning is mentioned. I would also thank Daniel Sperry of Wayne State University Art Collection in Detroit who sent me the Charles Culver article (which I already had in my documentation). Thanks also go to Eve­lyn Janick, Steve Janick, Richard L. Jenkins, Linda Lilly, David Pezda and Danielle Swanson from the Alpha Rho Chi fraternity and the alumni association of the University of Michigan, who helped me gather information related to the period when Fanning was a student there and belon­ged to that fraternity. Without help from the other side of the Atlantic, this work would have been much the poorer.

2 John P. Wicker became the business partner of Joseph Gies(1860 – 1935), one of the founders of the Detroit Art Acade my. In 1911, the Art Academy became the Wicker School of Fine Arts. − The WPA Guide to Michigan: The Great Lakes State, unpaginated Web book at https://books.google.hr/books?id=cWHpCAA AQBAJ&pg=PT138&lpg=PT138&dq=John+P.+Wicker+painter&source=bl&ots=AyOzY9JWHo&sig=0cUNewSnEPLqqtnoJHinL3nVGMU&hl=en&sa=X&ved=0ahUKEwikufyE0ZzLAhUK­J5oKHUbZBLoQ6AEIGjAA#v=onepage&q=John%20P.%20Wicker%20painter&f=true (December 2015)

3 Who’s Who in American Art: Volume IV, For the Years 1940- 1947, 1947, p. 162 and Who’s Who in American Art, 1953, p. 131.

4 Arthur Hopkin Gibson, 1975, p. 102.5 Mantle Fielding: Dictionary of American Painters, Sculptors & Engravers, 1986, p. 269.6 Who was who in American art 1564–1975, 1999, p. 1083.7 Emmanuel Bénézit, Dictionnaire critique et documentaire

des peintres, sculpteurs, dessinateurs et graveurs, V, Librairie Gründ, Paris, 1999, p. 292.

8 The Michigan Alumnus, Volume 71, October, 1964, p. 191.9 Charles Culver (1908­1967) worked in Detroit as waterco­

lourist, critic and teacher. He started to work as art critic for the Detroit Free Post in 1966. http://www.aaa.si.edu/collections/charles­culver­papers­9423/more#section_3 (Decembre 2016)

Drawings, drafts, sketches, caricatures, a contribution to the biography

SandersWilliam FanningSlaven Perovic

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Re-Discovering Mr. Fanning and a Legacy10, in the Art in Detroit section, probably in 1966 or after that year. Since the article is short, and data about Fanning are sparse, I reproduce it here in its entirety.

The late William Fanning was an almost unknown Michigan cultural po ssession, a part of this state’s undiscovered natural resources. He died in 1964 at the age of 77 years, leaving behind over 2,000 watercolours, oils and drawings, most of which were never publicly exhibited.

To make up somewhat for this lack, a retrospective showing of 100 of Mr Fanning’s works has been arranged at Garelick’s gallery, 20208 Livernois. It opened October 23 and will continue through November 12.

Fanning was a staff artist with the Detroit Free Press for 25 years. He held a degree in architecture from the University of Michigan11 and during his youth studied painting in Paris. Beginning as early as 1905, and continuing through his two and a half decades as a newspaper artist, Fanning carried on a more or less secret career as a fine artist. Nude and costumed human fi-gures, figures in landscape and pure landscape were his favoured subjects. He also produced many portrait drawings (including those of several Free Press editors and writers). His work was inspired by fin-de-siècle French painting and by the American ”ash-can school”.

If a gallery visitor can enjoy a Daumier, a Lautrec, Latour or early John Sloan, he will also enjoy this charming exhibition. Fanning did not imitate Sloan, Daumier or Lautrec; he learned from them, drew inspiration from the-ir works and points of view. He was influenced in a sound, productive way which bestows freedom without mimicry. For those who enjoy gentle, solid painting arising out of a philosophy of humanism, this exhibition should give much pleasure.

Since the Detroit Free Press of October 30, 1966, and then of Novem­ber 6 the same year, mentions an exhibition of William Sanders Fanning in Garelick’s Gallery, I assume that the exhibition mentioned in the arti­cle must refer to this show, and that his first posthumous exhibition was accor dingly organised in 1966.12

The next13, as far as is visible from the poster that I have, was held in the Galerie De Boicourt, 725 Adams Road in Birmingham. It was opened on Sunday, April 26, and lasted until May 14, 1970. It was called a Retrospecti-ve Exhibition, and showed Fanning’s watercolours and drawings (Fig. 57).

Charles Culver mentions in his article that as a youth Fanning studied in Paris, under both Othon Friesz (1879­1949) and Jean Marchand (1882 or 1883 to 1941) at the Académie moderne in Paris.14 At the invitation of the Academy, Friesz started teaching there in 1912. He was a professor there until 1921.15 Accordingly, Fanning must have studied in Paris sometime within that pe­

10 Translation into Croatian in the original text.11 See n. 7.12 https://www.newspapers.com/newspage/97965082/

(January 2016) https://www.newspapers.com/news­page/97537567/ (January 2016)

13 Unless some other that I do not know of was organised inthe meantime.

14 See n. 2.15 David Butcher: Othon Friesz, Le fauve baroque, 1879 – 1949,

Gallimard, Paris, 2007, p. 88.http://www.alonzakaim.com/artists/friesz_emile_othon/ (January 2016)

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riod of nine years, from 1912 to 1921, that is, between his 22nd and 31st years. Since the article says that he studied in France while he was a young man, it would probably have been closer to the beginnings of Friesz’s professorship. This correlates with the remark from Bénézit that the art course he had atten­ded in America was completed in Paris ”in the workshop of Othon Friesz”.16

From the data about Fanning’s studies emailed to me by his collea­gues, former students of the University of Michigan, members of the Alpha Rho Chi fraternity, whom I have listed in the acknowledgements, I found out the following.

On January 1, 1912, William S. Fanning was initiated into the Sigma Upsilon fraternity. Thanks to this he became a member of the Alpha Rho Chi fraternity. At that time he was living at 16567 Avon Road in Detroit, Michigan.

In Michiganensian, the yearbook issued by the University of Michigan, Fanning is on the list of students in 1914.

In 1914, the Sigma Upsilon fraternity became a founder of the Alpha Rho Chi fraternity, and Fanning automatically became a member. Since he is not mentioned in a charter of June 5 1914, or as a member in the Michiganensian of the same year, it is possible that he left the University of Michigan at that time.

Bill Fanning put his signature on a drawing published in The Archi of January 1915, on page 28. The drawing represented Alumni Dance.17

In 1916, together with Clair William Ditchy18 (1891­1967) Fanning was working in the Albert Kahn19 (1869­1942) architectural design office in Detroit.

The Archi, the journal of Alpha Rho Chi, mentions Fanning on a list of alumni and members of the Iktinos chapter when he was living at 1108 Trumball Avenue, Detroit.

In the issue of The Archi of February 1921, on the cover of which Fan ning had pasted a drawing Female Nude with raised knees, left profile (Fig. 32), Bill Fanning was given as member and host of the choir of the Detroit Alumni Chapter.

William Fanning is mentioned in the following lists of members of the Alpha Rho Chi fraternity published in the periodical The Archi:

­ The Archi for 1919, at the address Trumbull Ave, Detroit, Michigan­ The Archi for November 1, 1922, at the address 1394 E. Jefferson Ave, Detroit, Michigan­ The Archi for January 1923 published the announcement that ”Wn

Fanning, former member of Iktinos, had left for Europe in November and would travel abroad for a year”.

­ The Archi for December 15, 1923, at the address 304 E. Jefferson Ave, Detroit, Michigan

16 See n. 6.17 Detroit Alumni, The Archi of Alpha Rho Chi, Vol. 1, Janua­

ry 1916, no. 1, Detroit, 1916, p. 28.https://alpharhochi.org/wp­content/uploads /1916­Ja nuary­Archi­opt.pdf (January 2016)The drawing was reproduced in an article of Rick Jenkins published in the autumn number of The Archi in 2015.

18 An important American architect. https://sites.google.com/site/miarchitectdirectory/home/

a­­­f/ditchy­clair­w (February 2016)19 In his time, the leading American industrial archi tect; he

is held to be the architect who developed Detroit.http://architect.architecture.sk/albert­kahn­architect/albert­kahn­architect.php (travanj 2016)https://en.wikipedia.org/wiki/Albert_Kahn_(architect) (February 2016)

14

­ The Archi for March 15, 1924, at the address 102 W 13th St., New York City­ The Archi for April 15, 1924, at the address 5700 Trumbull Ave, Detroit, Michigan­ The Archi for March 20, 1925, at the address 51 Poplar St., Brooklyn, NY­ The Archi for November 30, 1925, no address given.

After November 30, 1925, he no longer appears on the lists of the fra­ternity, not even with ”address unknown”, and yet The Archi does not men­tion any kind of break. But this might have happened because of Fanning’s association with the Communist Party, which can be glimpsed in his contri­butions to periodicals like The Liberator and The Daily Worker.20 Fanning’s illustrations were published in The Liberator in January and August 1924.21 A contribution was published in The Daily Worker on February 13, 1926.22

The Drawings23

Fanning had the habit of pasting little drawings on larger pieces of sti­ffer paper or cardboard. They were often used as visiting cards. Data that I found on the back of one of them (actually a business card of Fanning’s) Portrait of an elderly man, possibly Fanning’s father, right profile (Fig. 1) re­veals to us that Fanning worked in the art department of the Broadway Studios in Detroit, at the address 106 Broadway, the business of which was advertising artwork. The back of a card on which he had pasted the drawing Portrait of a man with black moustache, face on (Fig. 2), which is a private visiting card, tells us that Fanning lived at 1108 Trumbull Avenue, Det roit. Since the drawings are undated, it is not easy to conclude at what time Fanning worked for Broadway Studios and when he lived at 1108 Trum­bull Avenue at which, as we have seen, he is thrice mentioned as living.

On the back of the drawing Pink (Fig. 14), we can find thirteen lines written in black ink with a fountain pen.24 If we compare them with the text from the drawing Capt Roger Howes (Fig. 56), there is no doubt that it is Fanning’s. It is rather legible, but since the paper has been cut, except on the left, it is hard to understand what exactly it is about. The mention of shining, silver, whiteness, coverlet, cedar tree and refuge creates a positive mood full of light and warmth, spoiled by the words antipa[thy] and aversion of the penulti­mate two lines. This drawing and the drawing with the caption Tattoo (Fig. 15) are clearly part of the production work related to advertising, and were perhaps made at the period when Fanning worked for Broadway Studios.

The very caption on the drawing ”Madeleine lisant Corot” (Fig. 17), in Fanning’s handwriting below the subject, tells us that sometimes he drew after the old masters.25 We do not know if this is the only drawing inspi­

20 The Liberator was a socialist monthly founded in 1918 by Max Eastman and his sister Crystal Eastman. In 1922 it became de facto the official mouthpiece of the Communist Party of America. https://en.wikipedia.org/wiki/The_Liberator_(maga zine) (March 2016.)https://www.marxists.org/history/usa/culture/pubs/libe­rator/ (April 2016.)There was artwork in the periodical, and among other, American, artists, Georg Grosz (1893­1959) too published his work. In the issues for March and April 1924 there were several of his illustrations.https://www.marxists.org/history/usa/culture/pubs/libera­tor/1924/03/v7n03­w71­mar­1924­liberator.pdf (March 2016)https://www.marxists.org/history/usa/culture/pubs/libera­tor/1924/04/v7n04­w72­apr­1924­liberator.pdf (March 2016)Käte Kollwitz (1867 – 1945) published a piece of hers in the issue for August 1924, which also contained Grosz’s illu strations. https://www.marxists.org/history/usa/culture/pubs/liber­ator/1924/08/v7n08­w76­aug­1924­liberator.pdfhttps://www.marxists.org/history/usa/culture/pubs/liber­ator/1924/01/v7n01­w69­jan­1924­liberator.pdf, p. 9, 11, 15.The Daily Worker was a mouthpiece of the Communist Par­ty of America that started to come out in New York in 1924.https://en.wikipedia.org/wiki/Daily_Worker (March 2016.). http://www. britannica. com/topic/Daily­Worker (April 2016.)

21 https://www.marxists.org/history/usa/culture/pubs/libe­rator/1924/08/v7n08­w76­aug­1924­liberator.pdf p. 27. (March 2016)

22 https://www.marxists.org /history/usa /pubs/dailyworker/cartoons/WSFanning­4­v3n028­p7­feb­13­1926­TDW.pdf (March 2016)

23 These fifty­six drawings purchased at auction in France (eBay.fr) in November 2012 are kept in the Croatian pri­vate collection in Zagreb.

24 (...) / and shone like (...) / silver / The white, pla (...) / made a coverlet / as the vision of / eye, save wher(e) / and cedar trees / a touch of wa(...) / and refuge, here (...) / The geyser of his / (pre?)judice and antipa(...) / (aversion) was furi(...) / alive (?) I (or crossed out, closing the brackets).

25 Corot’s oil on canvas Madeleine lisant of 1854 (inv. no. RF 1592; 33.2 x 47 cm) was given to the Louvre by Hélène Cuvelier in 1905, along with two other Corot oil paintings and one each by Millet and de la Peña http://www.cul­ture.gouv.fr/pu blic/mistral/joconde_fr?ACTION=CHER­CHER&FIELD_98=APTN&VALUE_98=Cuvelier%20Mme %20H%e9l%e8ne&DOM=All&REL_SPECIFIC=3

15

red by the works of Jean­Baptiste Corot (1796­1875). Woman in motion, left arm stretched out (Fig. 16) also seems to have been done after the work of some other artist, perhaps from a relief or statue.

Fanning drew two portraits of young men, members of the YMCA26, the international association that according to its very name is fundamentally Christian, and to which he perhaps himself belonged. On the drawing Por-trait of a young man with YMCA symbol, right profile (Fig. 7) and on the Por-trait of a young man with cap, right profile (Fig. 8), the words La Bouboule27 are also written underneath the black ink initials YMCA. Does this caption, under two different portraits, suggest that it might be Fanning’s nickname? It is hard to tell just when the drawings of the YMCA youths were made, but judging from the uniforms, it might have been during World War I. In the background of one of the youths, Portrait of a young man with YMCA profile, right profile (Fig. 7), Fanning has drawn an upside down triangle that is in fact the right arm of the Y character in the YMCA logo.28

Unlike the uniforms drawn on the drawings mentioned, those shown in the drawings Portrait of a man in military cap, left profile (Fig. 55) and ”Capt Roger Howes” (Fig. 56) have a much more contemporary feel. I think that they were drawn in a not very long period of time, and since the drawing ”Capt Roger Howes” is dated 1943, it is possible that the Portrait of a man in a military cap was also created during World War II.

Fanning sketched people in the street, going about their daily jobs, as we can see in the drawings Postman (Fig. 12) and Woman with woven bas-ket (Fig. 13), people in the cafes and public places (Figs. 45, 36, 47 and 48) as well as those who were outside willingly or unwillingly. Created in this way were the drawings Stooping man with broom in a garden (Fig. 18) and Guarding prisoners on a coal pile (Fig. 22). These are also examples of lands­capes, urban and suburban, into which category the drawings ”brouette, mouette”29 (Fig. 20), Two houses and a tower (Fig. 21) and Red house (Fig. 19) would fit, examples of the rural landscape. The drawing Two houses and a tower seems to be part of the French landscape, while Red house is part of the American, a typical farmhouse in the Midwest.

I think that the portraits in the drawings ”Bob Carr” (Fig. 24), Man drawing leaning on a table (Fig. 26), Man kneeling and drawing (Fig. 25), ”Bill Fitz” (Fig. 27) and perhaps also ”Henry Rentz” (Fig. 28) might be depictions of Fanning’s co­workers from the editorial section of the Detroit Free Press.

Male portraits are sometimes dashed off rapidly in a few strokes. Examp­les of this are Man with glasses smiling (Fig. 37), Double portrait of gentleman with moustache, right profile (Fig. 38) and Portrait of a man with eyeglasses, left profile (Fig. 39). Fanning devoted more attention, though without affecting

26 Founded in Geneva in 1844. The official motto of the Ame­ rican association was: ”For the development of the young. For a healthy life. For social responsibility.”

27 Might be translated from the French as Fatty.28 https://en.wikipedia.org/wiki/YMCA#YMCA_ of_the_USA (March 2016)29 French: barrow, gull. Lack of capital letters in the original.

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the quality of the drawing, to some drawings in which he showed men with suits, with neckties or bow­ties, as we can see in the drawings Portrait of a man with unkempt hair with moustache (Fig. 43) and Portrait of a man, cut out (Fig. 44). These drawings were done at a later period of Fanning’s work, whi­le in the first mentioned pieces some youthful spontaneity can be discerned.

Female nudes are a frequent motif, as we can see in the drawings: Fe-male nude with outstretched legs, right profile (Fig. 31), Female nude, kneel-ing on left knee (Fig. 29), and Female nude kneeling on right knee, with raised right elbow (Fig. 30). These nudes give the impression of life studies made in an art school, while the woman in the drawing Female nude with raised knees, left profile (Fig. 32) looks like a sketch that might have been made on the beach. In these drawings, the influence of Friesz can be made out, manifesting in the drawing technique and the monumentality of the fe­male figures that outgrow the paper they are made on. Women who are dressed in the fashion of the time can be seen in the drawings Woman with bag (Fig. 11), Portrait of a woman with a hat with a wavy brim (Fig. 10), Head of a woman in a coat with a large collar (Fig. 9) and Couple in love in nature (Fig. 53). Also belonging here is a drawing from a poster for the Fanning exhibition in the Galerie De Boicourt of 1970 (Fig 57). Although these are visual notes created in a moment, in these drawings with modest technical means, Fanning was a master at catching people’s inner states.

There are interesting depictions of people in public places. The drawings Study of a male head, man in an armchair, woman knitting (Fig. 45), Man with hat sitting on a chair (Fig. 47), Man in a cafe (Fig. 46) and Man reading The Post (Fig. 48) might all have been done in a cafe. The figures, unaware of being drawn, give a lively and relaxed impression, they are engrossed in their thoughts, reading or knitting. He could be witty as well, as we can see on the Couple in love in nature (Fig. 53), in which, shown in caricature style, there are a man and a woman with atrophied little hands with a pair of si­milarly enamoured birds on a branch above them. The man has a bow tie, spectacles, a Girardi hat and is smoking a pipe, while the smiling woman in her patterned dress has her head leaning on his shoulder (Fig. 52). Also classified as a caricature is the view from behind of the jug­eared head of a man before whom stand five pretty, young and naked women. And this group would also include a grotesque depiction of a young man with dispro­portionately large eyes, a broad nose and ill­assorted large teeth (Fig. 51).

The only dated drawing in this collection, ”Capt Roger Howes” (Fig. 56) is interesting. Along with the drawings Male head from behind and five female nudes (Fig. 52), Red house (Fig. 19) and Stooping man with broom in garden (Fig. 18), it is among those few drawings in which Fanning used

17

colour. It was done in 1943, and depicts Captain Roger Howes, lying on the floor of a toilet, presumably incapacitated by drink.

A drawing on which an armed guard is shown supervising prisoners on a pile of coal, Guarding prisoners on a coal pile (Fig. 22) is a document of the depressing reality, unlike ”me shirt river” (Fig. 20, verso), a sketch, also of a documentary nature, showing Fanning himself washing a shirt in the river. This drawing is on the back of the drawing brouette, mouette (Fig 20), which, judging from the title, could well have been done in France. From the title of a drawing in which a man wearing boots and a hat is shown – Panama (Fig. 54), we can conclude that Fanning spent time in Latin America as well.

In Wayne State University Art Collection there is an undated Portrait of Fanning’s father, which was left to the collection by Rex Lamoureux, in 2008.30 If we compare the figure of the father with the figure of the man in the drawing Portrait of an olderly man, possibly Fanning’s father, right pro-file (Fig. 1), it is easy to conclude that the same person is being portrayed.

Fanning is an excellent draughtsman. He is spontaneous, rapid and very prolific. He felt the need constantly to record the moments of the life in which he moved, documenting the fraught and important period through which the world was passing in the first half of the 20th centu­ry. He travelled the world, and was educated in the USA and in France. He went through various phases, working with the young Christians of the YMCA, but later published work in communist papers. What kind of store he set by the drawing can be seen from the fact that he kept little drawings or sketches as carefully as those that were completely finished. Some of the drawings, like ”Turning disk with finger”31 (Fig. 23) or Portrait of man in suit with waistcoat (Fig 35) have been cut out of a bigger piece of paper along lines drawn with a ruler. After cutting them out, he would paste them onto a stiff piece of paper. Some of the drawings are actually cut out, the contour following the figure on the drawing, as is the case in the drawing Female nude with outstretched legs, right profile (Fig. 31) and the drawing Portrait of a man, cut out (Fig. 44). Perhaps the reason was to remove some damaged part of the paper, or perhaps he had already star­ted another drawing on the same sheet that he wanted to keep separately. We do not know when he signed the drawings. Most of the signatures look as if they were made all at the same time, particularly those written in blue ballpoint. He might have decided to sell some of the drawings, and mounted them for the purpose, and then signed them. Since the drawings were bought at auction in France, it is possible that the signing took place in the country to which he returned several times. The drawings ended up in Croatia, in which, as far as I know, there are no American artists

30 Oil on hardboard; 60 x 55.5 cm.http://artcollection.wayne.edu/picture­of­the­week.php?id=48 (March 2016)

31 Turning disk with finger / Illegible.

18

in public collections, and perhaps it can be assumed that they are rare in private collections as well. Translated from the American cultural lands­cape to the European, they have conveyed the experience of an artist of one mentality to a very different clime. An artist who, as well as having personally and literally taken part in the creation of the urban landscape in the architectural firm Albert Kahn Associates, he also created a work in which he gave us an insight into the life of America on the rise and the life of a city that, to see a period of happiness, can only look back.

Archi of Alpha Rho Chi, Vol. 1, siječanj 1916., br. 1, Detroit, 1916.Emmanuel Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, V, Librairie Gründ, Paris, 1999David Butcher: Othon Friesz, Le fauve baroque, 1879 - 1949, Gallimard, Paris, 2007Mantle Fielding: Mantle Fielding’s Dictionary of American Painters, Sculptors & Engravers, ed. Glenn B. Opitz, Apollo, Poughkeepsie, NY, 1986Arthur Hopkin Gibson: Artists of Early Michigan: A Biographical Dictionary of Artists Native to or Active in Michigan 1701-1900, Wayne State University Press, Detroit, 1975The Michigan Alumnus, Volume 71, October, The Alumni Association of the University of Michigan Publishers, Michigan, 1964Who was who in American art 1564-1975, 400 years of artists in America, Ed. Pe­ter Hastings Falk, Sound View Press, Madison, CT, 1999.Who’s Who in American Art: Volume IV, For the Years 1940-1947; A Biographical Directory of Contemporary Artists, Editors, Critics, Executives, etc., Ed. Dorothy B. Gilbert, (American Art Annual Series), American Federation of Arts, Wa­shington, D.C., 1947Who’s Who in American Art, Ed. Dorothy B. Gilbert, American Fede ra tion of Arts, R.R. Bowker Company, New York, 1953The WPA Guide to Michigan: The Great Lakes State, https://books.google.hr/books?id=cWHpCAAAQBAJ&pg=PT138&lpg=PT138&dq=John+P.+Wic­ker+painter&source=bl&ots= AyOzY9JWHo&sig=0cUNewSnEPLqqtnoJHinL­3nVGMU&hl= en&sa=X&ved=0ahUKEwikufyE0ZzLAhUKJ5oKHUbZBLoQ6A­EIGjAA#v=onepage&q=John%20P.%20Wicker%20painter&f=true (veljača / february 2016)https://books.google.hr/books?id=KfLhAAAAMAAJ&pg=PA191&l­pg=PA191&dq=william+sanders+fanning&source=bl&ots =0la3LftDUO&sig=qX­DiVDX4HOXvpWRT5f82o5JY2OE&hl =en&sa=X&ved=0ahUKEwiTwqeKwp_LA­hUBUBQKHb0XC1g4 ChDoAQgzMAU#v=onepage&q=william%20sanders%20fanning &f=false (veljača / february 2016)

Literatura i izvori

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1. PORTRET STARIJEG MUŠKARCA, MOGUĆE FANNINGOVA OCA, PROFIL UDESNO

PORTRAIT OF AN ELDERLY MAN, POSSIBLY FANNING’S FATHER, RIGHT PROFILE

olovka na papiru pencil on paper41 x 36 mm

4. PORTRET MUŠKARCA U SMOKINGU, S BRKOVIMA, PROFIL UDESNO PORTRAIT OF A MAN IN A TUXEDO, WITH MOUSTACHE, RIGHT PROFILE

olovka na papiru pencil on paper72 x 42 mm

3. PORTRET ČOVJEKA S NAOČALAMA KOJI GLEDA PREMA DOLJE PORTRAIT OF A MAN WITH SPECTACLES LOOKING DOWN

crvenka na papiru sanguine on paper84 x 65 mm

5. PORTRET MUŠKARCA S BRKOVIMA, PROFIL ULIJEVO PORTRAIT OF A MAN WITH MOUSTACHE, LEFT PROFILE

olovka na papiru pencil on paper82 x 43 mm

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8. PORTRET MLADOG ČOVJEKA S KAPOM, TRI ČETVRTINE ULIJEVO PORTRAIT OF A YOUNG MAN WITH CAP, THREE QUARTERS RIGHTolovka na papiru pencil on paper55 x 38 mm

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6. PORTRET MLADOG ČOVJEKA S KAPOM, PROFIL UDESNO PORTRAIT OF A YOUNG MAN WITH A CAP, RIGHT PROFILEolovka na papiru pencil on paperd.l. crnom tintom: Ymca / sredina: La Bouboule.bottom l. in black ink: Ymca / middle: La Bouboule. 46 x 39 mm

10. PORTRET ŽENE S KLOBUKOM VALOVITA OBODA PORTRAIT OF WOMAN IN A HAT WITH WAVY BRIM

olovka na papiru pencil on paper82 x 67 mm

12. LISTONOŠA MAILMAN

olovka na papiru pencil on paper125 x 66 mm

11. ŽENA S TORBOM WOMAN WITH BAG

perom crni tuš s laviranjem kistom na smeđem papiru pen and black India ink with brush wash on brown paperpotpis d.l., rukopisom, olovkom: Fanning signature bottom l., handwriting, in pencil: Fanning131 x 45 mm

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9. GLAVA ŽENE U KAPUTU VELIKOGA OVRATNIKA HEAD OF A WOMAN IN COAT WITH BIG COLLAR

crna tinta na papiru black ink on paper36 x 39 mm

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14. “PINK”

olovka i vodene boje na papiru pencil and water colours on paper d. s. olovkom P I N K centre bottom in pencil P I N K77 x 48 mm

15. “TATTOO”

olovka na papiru pencil on paperd.l. olovkom: ­ TATTOO ­; d.d. plavom kemijskom olovkom, rukopisom: Fanning b. l. in pencil: ­ TATTOO ­; b. r. handwriting, in blue ball point: Fanning98 x 72 mm

16. ŽENA KOJA NAPINJE LUK (?)WOMAN IN MOTION, LEFT ARM STRETCHED OUT

olovka na papiru pencil on paper110 x 63 mm

13. ŽENA S PLETENOM KOŠAROM WOMAN WITH WOVEN BASKET

olovka na papiru pencil on paper77 x 47 mm

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17. “MADELEINE LISANT”

d.s. olovkom: Madeleine / lisant / Corotpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanningbottom centre in : Madeleine / lisant / Corotsignature b. r. handwriting, in blue ball point: Fanning94 x 156 mm

18. POGNUTI ČOVJEK S METLOM U VRTU STOOPING MAN WITH BROOM IN GARDEN

olovka, akvarel i gvaš kistom na papiru pencil, watercolour and gouache with brush on paper79 x 136 mm

20. “BROUETTE, MOUETTE”olovka na papiru pencil on paperd.l. olovkom brouette / mouette d b. l. in pencil brouette / mouetteg.d. olovkom: (?)dea t. r. in pencil: (?)dea d.s. olovkom: me / shirt / river b. r. in pencil: me / shirt / river94 x 142 mm

20. verso: “me shirt river”

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19. CRVENA KUĆA RED HOUSE

olovke u boji na smeđem papiru coloured pencils on brown paperpotpis d.l. rukopisom, plavom kemijskom olovkom: Fanning signature b. l. handwriting, in blue ball point: Fanning85 x 152 mm

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22. “GUARDING PRISONERS ON COAL PILE”

olovka na papiru s crtama pencil on lined paperd.s. olovkom: Guarding Prisoners on / coal pile b. middle in pencil: Guarding Prisoners on / coal pile92 x 133 mm

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21. DVIJE KUĆE I KULA TWO HOUSES AND A TOWER olovka na papiru pencil on paper 94 x 169 mm

23. “TURNING DISK WITH FINGER”olovka na papiru pencil on paperodozgor prema dolje na desnoj strani crteža olovkom: Turning / disk with / finger. / Machine / ? / ?from top to bottom on right hand side of drawing in pencil Turning / disk with / finger. / Machine / ? / ?71 x 79 mm

24. “BOB CARR”olovka na smeđem papiru pencil on brown papers.l. plavom kemijskom olovkom: BOB KARRpotpis d.s., rukopisom, plavom kemijskom olovkom: Fanningb. l. in blue ballpoint pen: BOB CARRsignature b. r., handwriting in blue ballpoint pen: Fanning256 x 190 mm

25. ČOVJEK KLEČI I CRTA MAN KNEELING AND DRAWING

olovka na papiru pencil on paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning110 x 129 mm

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27. “BILL FITZ”

olovka na papiru pencil on papers.d. Bill / Fitz b. r. Bill / Fitzpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning109 x 105 mm

28. “HENRY RENTZ” (REUTZ?)

ugljen na smeđem papiru charcoal on brown papers.l. rukopisom olovkom: Henry / Rentz (Reutz?) / F. P. / Printer; potpis d.s., rukopisom, plavom kemijskom olovkom: Fanning middle l. handwriting in pencil: Henry / Rentz (Reutz?) / F. P. / Printer; signature b. r., handwriting in blue ballpoint pen: Fanning267 x 199 mm

29. ŽENSKI AKT, KLEČI NA LIJEVOM KOLJENU FEMALE NUDE, KNEELING ON LEFT KNEE

olovka i gvaš na smeđem papiru pencil and gouache on brown paperpotpis d.s., rukopisom, plavom kemijskom olovkom: Fanning signature b. centre, handwriting in blue ballpoint pen: Fanning267 x 169 mm

26. MUŠKARAC CRTA NASLONJEN NA STOLMAN DRAWING LEANING ON A TABLE

kistom crna tinta i gvodene boje na kartonu black ink and watercolours, brush, on cardboard165 x 175 mm

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32. ŽENSKI AKT PODIGNUTIH KOLJENA, PROFIL ULIJEVOFEMALE NUDE WITH RAISED KNEES, LEFT PROFILE

perom crna tinta na papiru pen and black ink on paperpotpis d.d., rukopisom, olovkom: Fanningsignature b. r. in handwriting, pencil: Fanning112 x 120 mm

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31. ŽENSKI AKT ISPRUŽENIH NOGU, PROFIL UDESNO FEMALE NUDE WITH OUTSTRETCHED LEGS, RIGHT PROFILE

olovka na papiru pencil on paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning115 x 157 mm

33. PORTRET ŽENE TAMNE KOSE NAŠMINKANIH USANA PORTRAIT OF DARK-HAIRED WOMAN WEARING LIPSTICK

ugljen na smeđem papiru charcoal on brown paperpotpis d.s., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning237 x 180 mm

34. PORTRET ŽENE S TAMNIM OVRATNIKOM PORTRAIT OF WOMAN WITH DARK COLLAR

perom siva tinta (koja blijedi), tragovi žute boje na papiru, pen and grey ink (fading), traces of yellow paint on paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning139 x 113 mm

30. ŽENSKI AKT, KLEČI NA DESNOM KOLJENU, UZDIGNUTOG LAKTA LIJEVE RUKE FEMALE NUDE, KNEELING ON RIGHT KNEE, WITH RAISED LEFT ELBOW

olovka na papiru pencil on paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning270 x 209 mm

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35. PORTRET MUŠKARCA U ODIJELU S PRSLUKOM PORTRAIT OF MAN IN SUIT WITH WAISTCOAT

perom siva tinta (koja blijedi) na papiru pen and grey ink (fading) on paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning163 x 80 mm

36. PORTRET MUŠKARCA S NAOČALAMA U KLOBUKU, PROFIL ULIJEVO PORTRAIT OF A MAN WITH SPECTACLES IN A HAT, LEFT PROFILE

olovka na papiru pencil on paperpotpis d.l., rukopisom, plavom kemijskom olovkom: Fanning signature b. l., handwriting in blue ballpoint pen: Fanning127 x 121 mm

37. ČOVJEK S NAOČALAMA KOJI SE SMIJEŠI MAN WITH GLASSES SMILING

kistom crna tinta na papiru brush and black ink on paperpotpis d.s., rukopisom, plavom kemijskom olovkom: Fanning signature b. c., handwriting in blue ballpoint pen: Fanning200 x 163 mm

38. DVOSTRUKI PORTRET GOSPODINA S BRKOVIMA, PROFILI UDESNO DOUBLE PORTRAIT OF GENTLEMAN WITH MOUSTACHE, RIGHT PROFILE

olovka na smeđem papiru pencil on brown paper62 x 84 mm

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39. PORTRET MUŠKARCA S NAOČALAMA, PROFIL ULIJEVOPORTRAIT OF A MAN WITH SPECTACLES, RIGHT PROFILE

smeđa tinta na smeđem papiru brown ink on brown paperpotpis d.s. rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning105 x 132 mm

40. PORTRET MUŠKARCA SVIJETLE KOSE S RAZDJELJKOM PORTRAIT OF A MAN WITH LIGHT-COLOURED HAIR WITH PARTING

olovka na smeđem papiru pencil on brown paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning226 x 162 mm

41. PORTRET MUŠKARCA ZALIZANE KOSE S CRNOM LEPTIR-KRAVATOM PORTRAIT OF A MAN WITH SLICKED-DOWN HAIR AND BLACK BOW TIE

ugljen, crvenka i bijela kreda na papiru charcoal, sanguine and white chalk on paperpotpis d.l., rukopisom, crnom kemijskom olovkom: Fanning signature b. l., handwriting in blue ballpoint pen: Fanning302 x 193 mm

43. PORTRET MUŠKARCA KUŠTRAVE KOSE S BRČIĆIMA PORTRAIT OF A MAN WITH UNKEMPT HAIR WITH LITTLE MOUSTACHE

olovka na papiru pencil on paperpotpis s.d., rukopisom, plavom kemijskom olovkom: Fanning signature c. r., handwriting in blue ballpoint pen: Fanning279 x 203 mm

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42. PORTRET MUŠKARCA S BRČIĆIMA I CRNOM KRAVATOM, SUČELICE PORTRAIT OF A MAN WITH LITTLE MOUSTACHE AND BLACK TIE, EN FACE

olovka na papiru pencil on paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning253 x 176 mm

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45. STUDIJA MUŠKE GLAVE, ČOVJEK U FOTELJI, ŽENA KOJA PLETE STUDY OF A MALE HEAD, MAN IN ARMCHAIR, WOMAN KNITTING

olovka na papiru pencil on paper122 x 113 mm

46. ČOVJEK U KAVANI MAN IN CAFÉ

olovka na papiru pencil on paper114 x 202 mm

47. ČOVJEK S KLOBUKOM SJEDI NA STOLCUMAN WITH HAT SITTING ON CHAIR

olovka na papiru pencil on paper105 x 199 mm

44. PORTRET MUŠKARCA, IZREZAN PORTRAIT OF A MAN, CUT OUT

olovka na papiru pencil on paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning192 x 106 mm

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48. ČOVJEK ČITA POST MAN READING THE POST

kistom crna tinta na papiru brush and black ink on paper potpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning166 x 174 mm

49. BRADATI MUŠKARAC I MUŠKARAC S KLOBUKOMBEARDED MAN AND MAN WITH HAT

crvenka i perom crna tinta na papiru sanguine and pen and black ink on paper137 x 158 mm

50. GLAVA ŽENE HEAD OF A WOMAN

crvenka na smeđem papiru sanguine on brown paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning123 x 192 mm

51. GROTESKNA GLAVA GROTESQUE HEAD

olovka na papiru pencil on paper152 x 124 mm

51. verso: Dvije studije glave verso: Two head studies

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52. MUŠKA GLAVA SLEĐA I PET ŽENSKIH AKTOVA MALE HEAD FROM BEHIND AND FIVE FEMALE NUDES

olovka , kistom crna tinta i vodene boje na kartonu pencil, brush with black ink and watercolours on cardboardpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning274 x 179 mm

53. ZALJUBLJENI PAR U PRIRODI COUPLE IN LOVE IN NATURE

olovka na papiru pencil on paperpotpis d.d., rukopisom, plavom kemijskom olovkom: Fanning signature b. r., handwriting in blue ballpoint pen: Fanning204 x 180 mm

54. “PANAMA”

olovka na papiru pencil on paperpotpis d.l., rukopisom, plavom kemijskom olovkom: Fanning / Panama signature b. l., handwriting in blue ballpoint pen: Fanning / Panama200 x 107 mm

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39Izvorni Fanningovi naslovi stavljeni su u navodnike. Original Fanning titles are placed in quotation marks.

57. PLAKAT IZLOŽBE FANNING: A RETROSPECTIVE EXHIBITION POSTER FANNING: A RETROSPECTIVE EXHIBITION FANNING

26. travnja do 14. svibnja 1970. April 26 – May 14, 1970Galerie De Boicourt, Detroit430 x 279 mm

56. “CAPT ROGER HOWES”

perom i kistom crna tinta i gvaš na papiru pen and brush, black ink and gouache on paperd.l. naliv­perom: Capt Roger Howes / in Detroit / Aug 1943 b.r. with fountain pen: Capt Roger Howes / in Detroit / Aug 1943246 x 179 mm

55. PORTRET MUŠKARCA U VOJNIČKOJ KAPI, PROFIL ULIJEVO PORTRAIT OF MAN IN MILITARY CAP, LEFT PROFILE

perom crna tinta, kistom laviranje i bijeli gvaš brush and black ink, brush wash and white gouachepotpis d.l. rukopisom, plavom kemijskom olovkom: Fanning signature b. l., handwriting in blue ballpoint pen: Fanning165 x 120 mm

Nakladnik Publisher Muzej Mimara The Mimara Museum

Za nakladnika For the publisher Lada Ratković Bukovčan

Urednik Editor Slaven Perović

Autor izložbe, koncepcije i likovnog postava, teksta i kataloga Author of the exhibition, the concept and visual display, text and catalogue Slaven Perović

Tehnička realizacija postava izložbe Technical realization of the exhibition Tehnička služba Muzeja Mimara Mimara Museum technical department

Recenzenti Readersdr. sc. Marina Bregovac Piskprof. dr. sc. Frano Dulibić

Lektorica hrvatskog teksta Croatian language editor Alisa Kichl

Prijevod na engleski English translation Graham McMaster

Fotografije Photographs Slaven Perović

Računalna obrada fotografija Computer processing of photographs:Gordan Daut­Kaiser

Oprema crteža MountingMilan Pleša

Grafičko oblikovanje kataloga, pozivnice, plakata i panoa Graphic design of catalogue, invitation, poster and panel Ana Zubić

Multimedija Multimedia Gordan Daut­Kaiser

Marketing Marketing Siniša Pušonjić, Nikša Vodanović

Odnosi s javnošću Public relationsAna Hoić

Edukativni program Education programme Danijela Šoštarić Brna

Tisak Printed byKerschoffset, Zagreb

Naklada Print order1000 primjeraka copies

Copyright by Muzej Mimara

ISSN 978­953­248­071­9

Izložba je ostvarena sredstvima Ministarstva kultu re Republike Hrvat ske, Gradskog ureda za obrazovanje, kulturu i šport grada Zagreba, spon ­zora i Muzeja Mimara

The exhibition has been produced with funds from the Ministry of Cultu re of the Republic of Croatia, the City Office for Education, Culture and Sport of the City of Zagreb, the sponsors and the Mimara Museum.

Grad Zagreb