Stan and Gus: artwork, workers and friendship that builds the gilded periodby Henry Winek
In Edith Wharton’s Home, a wonderful room is usually a harmful place. An arcade of sentimental yellow marble can equally simply fulfill the “longing of the hero for the exterior finish of life” because it provides a “brighter benefit to the shortage of its personal capabilities.”
This paradox would really feel immediately true to Wharton’s first readers in Gilded Age New York. Colonnades Might Have Misplaced Some Forex, However The Dichotomy Nonetheless Stands – And The Form That Henry Wience Captures Brilliance in “Stan and Gus: Artwork, and the Friendship The BUILT BUILT Tag-Staff Glimpse of Two Giants Who Helped Make The Flip of the Century Look So Assured: The Architect Stanford White and His Collaborator and Someday Lover, The Sculptor Augustus Senno-Gentius.
A Bombastic Puck with a Cartoonishly Giant Mustache, White (1853-1906) Apprenticed as a Teenager to the Nice American Revivalist of Romanesque Structure, Henry Hobson Ric York’s ENORMOUSLY INFLUENTAL FIRM MCKIM, MEAD & WHITE, WERE HE DEPLOYED HIS Cannonball Velocity and Lack of Filter, His Genius with Interiors, Floor Element and Historic Collage.
White may extract one thing unusual American feeling from historical Italy, as he did with an arch in Washington Sq.; or from Ansien regime France, with a mansion of Rod Island within the Gatsby class; or from Spain from the Golden Age, in addition to with the electrical illuminated pleasure of the palace of Madison Square’s second gardento which Wiencek opens and closes its chronicle of decline.
