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Carl Van Vechten

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Carl Van Vechten (Template:IPAc-en;<ref>Template:Cite Dictionary.com</ref> June 17, 1880Template:SpndDecember 21, 1964) was an American writer and artistic photographer who was a patron of the Harlem Renaissance and the literary executor of Gertrude Stein.<ref name="autogenerated1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He gained fame as a writer, and notoriety as well, for his 1926 novel Nigger Heaven. In his later years, he took up photography and took many portraits of notable people. Although he was married to women for most of his adult years, Van Vechten engaged in numerous homosexual affairs during his lifetime.

Life and careerEdit

Born in Cedar Rapids, Iowa, he was the youngest child of Charles Duane Van Vechten and Ada Amanda Van Vechten (née Fitch).<ref name="tastemaker">Template:Citation</ref>Template:Rp Both of his parents were well educated. His father was a wealthy, prominent banker. His mother established the Cedar Rapids Public Library and had great musical talent.<ref name="uipress.lib.uiowa.edu">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> As a child, Van Vechten developed a passion for music and theatre.<ref name="loc.gov">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He graduated from Washington High School in 1898.<ref>Template:Cite newsTemplate:Dead link</ref>

After high school, Van Vechten was eager to take the next steps in his life, but found it difficult to pursue his passions in Iowa. He described his hometown as "that unloved town". To advance his education, he decided in 1899 to study at the University of Chicago,<ref name="biography1">{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead link</ref><ref name="loc.gov"/> where he studied a variety of topics including music, art and opera. As a student, he became increasingly interested in writing and wrote for the college newspaper, the University of Chicago Weekly.

After graduating from college in 1903, Van Vechten accepted a job as a columnist for the Chicago American. In his column "The Chaperone", Van Vechten covered many different topics through a style of semi-autobiographical gossip and criticism.<ref name="loc.gov"/> During his time with the Chicago American, he was occasionally asked to include photographs with his column. This was the first time he is thought to have experimented with photography, which later became one of his greatest passions.<ref name="loc.gov"/> Van Vechten was fired from his position with the Chicago American because of what was described as an elaborate and complicated style of writing. Some commentators jokingly described his contributions to the paper as "lowering the tone" of the lowbrow and sensationalist Hearst papers.<ref name="uipress.lib.uiowa.edu"/> In 1906, he moved to New York City. He was hired as the assistant music critic at The New York Times.<ref name="Sanneh">Template:Cite magazine</ref> His interest in opera had him take a leave of absence from the paper in 1907 to travel to Europe and explore opera.<ref name="autogenerated1"/>

While in England, he married Anna Snyder, his longtime friend from Cedar Rapids. He returned to his job at The New York Times in 1909, where he became the first American critic of modern dance. Through the guidance of his mentor, Mabel Dodge Luhan, he became engrossed in the avant garde. He began to frequently attend groundbreaking musical premieres at the time when Isadora Duncan, Anna Pavlova, and Loie Fuller were performing in New York City. He also attended premieres in Paris where he met American author and poet Gertrude Stein in 1913.<ref name="uipress.lib.uiowa.edu"/> He became a devoted friend and champion of Stein and was considered to be one of Stein's most enthusiastic fans.<ref name="ReferenceA">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They continued corresponding for the remainder of Stein's life, and, at her death, she appointed Van Vechten her literary executor; he helped to bring into print her unpublished writings.<ref name="tastemaker" />Template:Rp A collection of the letters between Van Vechten and Stein has been published.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Van Vechten wrote a piece called "How to Read Gertrude Stein" for the arts magazine The Trend. In his piece, Van Vechten attempted to demystify Stein and bring clarity to her works. Van Vechten came to the conclusion that Stein can be best understood when one has been guided through her work by an "expert insider". He writes that "special writers require special readers".<ref>Template:Cite book</ref>

The marriage to Anna Snyder ended in divorce in 1912, and he wed actress Fania Marinoff in 1914.<ref name="Carl Van Vechten's Biography on nybooks.com">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Van Vechten and Marinoff were known for ignoring the social separation of races during the times and for inviting black people to their home for social gatherings. They were also known to attend public gatherings for black people and to visit black friends in their homes.

File:Florine Stettheimer. Asbury Park South, 1920.jpg
Van Vechten is depicted in Asbury Park South, 1920 painting by Jazz Age artist Florine Stettheimer. Amid a summer crowd in Asbury Park, the artist is under a green parasol, several of her friends are also recognizable. Van Vechten stands on the elevated structure left (black suit), Avery Hopwood (white suit, right side) talks with a woman in a yellow dress, and the Swiss painter Paul Thévanaz (red bathing suit) bends over a camera. Artist Marcel Duchamp (pink suit) walks with Van Vechten's wife, the actress Fania Marinoff.<ref>McBride, Henry, Florine Stettheimer, The Museum of Modern Art 1946.</ref>

Although Van Vechten's marriage to Fania Marinoff lasted for 50 years, they often argued about Van Vechten's affairs with men.<ref name="ReferenceA"/> Van Vechten kept a circle of handsome young men around him, including Donald Angus, Jimmie Daniels, Max Ewing, and Prentiss Taylor. Van Vechten was also known to have romantic and sexual relationships with men, especially Mark Lutz.<ref name="Sanneh" /> Lutz (1901–1968) grew up in Richmond, Virginia, and was introduced to Van Vechten by Hunter Stagg in New York in 1931. Lutz was a model for some of Van Vechten's earliest experiments with photography. The friendship lasted until Van Vechten's death. At Lutz's death, as per his wishes, the correspondence with Van Vechten, amounting to 10,000 letters, was destroyed. Lutz donated his collection of Van Vechten's photographs to the Philadelphia Museum of Art.<ref>Template:Cite book</ref>

Several books of Van Vechten's essays on various subjects, such as music and literature, were published between 1915 and 1920, and Van Vechten also served as an informal scout for the newly formed Alfred A. Knopf.<ref>Template:Cite book</ref> Between 1922 and 1930, Knopf published seven novels by him, starting with Peter Whiffle: His Life and Works and ending with Parties.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> His sexuality is most clearly reflected in his intensely homoerotic portraits of working-class men.

As an appreciator of the arts, Van Vechten was extremely intrigued by the explosion of creativity that was occurring in Harlem. He was drawn towards the tolerance of Harlem society and the excitement it generated among black writers and artists. He also felt most accepted there as a gay man.<ref name="Bernard 2012">Template:Cite book</ref> Van Vechten promoted many of the major figures of the Harlem Renaissance, including Paul Robeson, Langston Hughes, Ethel Waters, Richard Wright, Zora Neale Hurston and Wallace Thurman. Van Vechten's controversial novel Nigger Heaven<ref name="biography1"/> was published in 1926. His essay "Negro Blues Singers" was published in Vanity Fair in 1926. Biographer Edward White suggests Van Vechten was convinced that African American culture was the essence of America.<ref name="tastemaker"/>

File:Carl Van Vechten, NYC, NY.jpg
Van Vechten House and Studio, Manhattan, New York City, 2017

Van Vechten played a critical role in the Harlem Renaissance and helped to bring greater clarity to the African-American movement. However, for a long time he was also seen as a very controversial figure. In Van Vechten's early writings, he claimed that black people were born to be entertainers and sexually "free". In other words, he believed that black people should be free to explore their sexuality and singers should follow their natural talents such as jazz, spirituals and blues.<ref name="Bernard 2012"/> Van Vechten wrote about his experiences of attending a Bessie Smith concert at the Orpheum Theatre in Newark, New Jersey, in 1925.<ref>Template:Cite book</ref>

In Harlem, Van Vechten often attended opera and cabarets. He was credited for the surge in white interest in Harlem nightlife and culture as well as involved in helping well-respected writers such as Langston Hughes and Nella Larsen to find publishers for their early works.<ref>Template:Cite book</ref>

In 2001, Emily Bernard published Remember Me to Harlem, a collection of letters that documents the long friendship between Van Vechten and Langston Hughes, who publicly defended Nigger Heaven.<ref name="Bernard 2012"/> Bernard's 2010 book Carl Van Vechten and the Harlem Renaissance: A Portrait in Black and White explores the messy and uncomfortable realities of race, and the complicated tangle of black and white in America.<ref name="Bernard 2012"/>

His older brother Ralph Van Vechten died on June 28, 1927; when Ralph's widow Fannie died in 1928, Van Vechten inherited $1 million invested in a trust fund, which was unaffected by the stock market crash of 1929 and provided financial support for Carl and Fania.<ref name="tastemaker" />Template:Rp<ref>Template:Citation</ref>

By 1930, at the age of 50, Van Vechten was finished with writing<ref>A partial exception is Sacred and Profane Memories, published in 1932. As it states on pages vii-viii, it consists of previously published papers (except for one, which is the longest one in the book), but it also states, "All of these papers have been rewritten, some of them extensively...."</ref> and took up photography, using his apartment at 150 West 55th Street as a studio, where he photographed many notable people.<ref name="answers1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Van Vechten died in 1964 at the age of 84 in New York City. His ashes were scattered over the Shakespeare garden in Central Park.<ref>Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3rd edn: 2 (Kindle Location 48447). McFarland & Company, Inc., Publishers. Kindle Edition</ref> He was the subject of a 1968 biography by Bruce Kellner, Carl Van Vechten and the Irreverent Decades,<ref>Kellner, Bruce, Carl Van Vechten and the Irreverent Decades (Norman: University of Oklahoma Press, 1968). Template:Oclc</ref> as well as Edward White's 2014 biography, The Tastemaker: Carl Van Vechten and the Birth of Modern America.<ref name="tastemaker"/>

WorksEdit

At the age of 40, Van Vechten wrote the book Peter Whiffle (1922), which established him as a respected novelist. This novel was recognized as contemporary and an important work to the collection of Harlem Renaissance history. In his novel, autobiographical facts were arranged into a fictional form. In addition to Peter Whiffle, Van Vechten wrote several other novels. One is The Tattooed Countess, a disguised manipulation of his memories of growing up in Cedar Rapids.<ref name="ReferenceA"/> His book The Tiger in the House explores the quirks and qualities of Van Vechten's most beloved animal, the cat.<ref>Template:Cite book Originally published in 1921.</ref>

One of his more controversial novels, Nigger Heaven, was received with both controversy and praise. Van Vechten called this book "my Negro novel". He intended for this novel to depict how African Americans were living in Harlem and not about the suffering of Black people in the South who were dealing with racism and lynchings. Although many encouraged Van Vechten to reconsider giving his novel such a controversial name, he could not resist having an incendiary title. Some worried that his title would take away from the content of the book. In one letter, his father also cautioned him: "Whatever you may be compelled to say in the book," he wrote, "your present title will not be understood & I feel certain you should change it."<ref name="White Mischief">Template:Cite magazine</ref>

Many black readers were divided over how the novel depicted African Americans. Some felt that it depicted black people as "alien and strange", and others valued the novel for its representation of African Americans as everyday people, with complexity and flaws just like typical white characters. The novel's supporters included Nella Larsen, Langston Hughes and Gertrude Stein, who all defended the novel for bringing Harlem society and racial issues to the forefront of America.<ref name=Tastemaker>Template:Cite book</ref>

His supporters also sent him letters to voice their opinions of the novel. Alain Locke sent Van Vechten a letter from Berlin citing his novel Nigger Heaven and the excitement surrounding its release as his primary reason for making an imminent return home. Gertrude Stein sent Van Vechten a letter from France writing that the novel was the best thing he had ever written. Stein also played an important role in the development of the novel.<ref name=Tastemaker/>

Well known critics of this novel included African American scholar W. E. B. Du Bois and black novelist Wallace Thurman. Du Bois dismissed the novel as "cheap melodrama".<ref name="Bernard 2012"/> Decades after the book was published, novelist and literary critic Ralph Ellison remembered Van Vechten as a bad influence, an unpleasant character who "introduced a note of decadence into Afro-American literary matters which was not needed". In 1981, David Levering Lewis, historian and author of a classic study of the Harlem Renaissance, called Nigger Heaven a "colossal fraud", a seemingly uplifting book with a message that was overshadowed by "the throb of the tom-tom". He viewed Van Vechten as being driven by "a mixture of commercialism and patronizing sympathy".<ref name="White Mischief"/>Template:Colbegin

Posthumous

  • The Dance Writings of Carl Van Vechten (1974)

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Archives and museum collectionsEdit

Template:External Most of Van Vechten's personal papers are held by the Beinecke Rare Book & Manuscript Library at Yale University. The Beinecke Library also holds a collection titled "Living Portraits: Carl Van Vechten's Color Photographs of African Americans, 1939–1964", a collection of 1,884 color Kodachrome slides.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

File:Saul Mauriber, after a photograph of Salvador Dali by Halsman, 1944.jpg
Saul Mauriber, after a photograph of Salvador Dalí by Halsman (1944), by Van Vechten

The Library of Congress has a collection of approximately 1,400 photographs which it acquired in 1966 from Saul Mauriber (May 21, 1915 – February 12, 2003). There is also a collection of Van Vechten's photographs in the Prentiss Taylor collection in the Smithsonian's Archives of American Art, and a Van Vechten collection at Fisk University. The Museum of the City of New York's collection includes 2,174 of Carl Van Vechten's photographs. Brandeis University's department of Archives & Special Collections holds 1,689 Carl Van Vechten portraits.<ref name="brandeis">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Van Vechten also donated materials to Fisk University to form the George Gershwin Memorial Collection of Music and Musical Literature.<ref name="tastemaker"/>Template:Rp

The Philadelphia Museum of Art currently holds one of the largest collection of photographs by Van Vechten in the United States. The collection began in 1949 when Van Vechten made a gift of sixty of his photographs to the museum. In 1965, Mark Lutz made a gift to the museum of more than 12,000 photographs by Van Vechten from his personal collection. Included in the collection are images from extensive portrait sessions with figures of the Harlem Renaissance such as Langston Hughes, Ella Fitzgerald, Billie Holiday, Zora Neale Hurston, and Cab Calloway; artists such as Marcel Duchamp, Henri Matisse, Gaston Lachaise,<ref name=AIC2024>The bronze portrait bust of Carl Van Vechten, 1931, made by Gaston Lachaise, is owned by the Art Institute of Chicago.{{#invoke:citation/CS1|citation |CitationClass=web }}.</ref> Joan Miró, and Frida Kahlo; and countless other actors, musicians, and cultural figures. Also included in the Mark Lutz gift is an extensive body of photographs Van Vechten took at the 1939 New York World's Fair as well as a large number of photographs depicting scenes across Western Europe and Northern Africa taken during Van Vechten's travels in 1935–1936.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1980, concerned that Van Vechten's fragile 35 mm nitrate negatives were fast deteriorating, photographer Richard Benson, in conjunction with the Eakins Press Foundation, transformed 50 of the portraits into handmade gravure prints. The album 'O, Write My Name': American Portraits, Harlem Heroes was completed in 1983. That year, the National Endowment for the Arts transferred the Eakins Press Foundation's prototype albums to the permanent collection of the Smithsonian American Art Museum.<ref name="harlemheroes">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The National Portrait Gallery, London, holds 17 of Van Vechten's portraits of leading creative talents of his era.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

More than 3,000 Van Vechten portraits, most of which come from the Library of Congress collection, are included in Wikimedia Commons. His public domain photographs illustrate countless Wikipedia entries on mid-century (mostly American) notables. See examples in the gallery below.

GalleryEdit

ReferencesEdit

NotesEdit

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