Synonyms for brodzky or Related words with brodzky

masselos              coxhead              korshak              baziotes              anuszkiewicz              gallison              whitehorne              hergesheimer              trendall              kirshbaum              sandback              slusser              eurich              kiddle              mallgrave              rothgeb              sillevis              bridgland              bestall              conisbee              friedlaender              fargher              dearinger              pougin              cuningham              caffin              boimistruck              welbourn              krehbiel              tillim              greensmith              mennell              phillpot              tovell              karpoff              brautigam              clutz              camhi              goulden              carmean              sheeler              feaver              eustice              muecke              szathmary              gendall              vadeboncoeur              dorning              sterl              hencken             



Examples of "brodzky"
"A Portfolio of Linoleum Cuts", by Horace Brodzky, 100 copies (1920)
Brodzky was born in Kew, Melbourne in 1885 to the Australian journalist Maurice Brodzky (a Jewish immigrant to Australia from Poland), and his wife Flora, née Leon. In his youth he assisted his father in the production of the magazine "Table Talk".
In 1965 80th anniversary exhibitions were organized for Brodzky at the Ben Uri Gallery and the Oxford Union Cellars. In 1967 some of his early linocuts were reissued in London in a signed edition of 60 prints. Brodzky died in Kilburn in 1969, when his estate was valued for probate at £7977. Exhibitions of Brodzky's work were held in the Jewish Museum of Australia (1988) and at the Boundary Gallery, London (1989).
Brodzky studied initially at the National Gallery School in Melbourne. In 1904 his father was bankrupted after exposing corruption, and Horace moved with his family to San Francisco.
In 1963, Brodzky wrote to the collector Ruth Borchard, who had just purchased from him a self-portrait for the sum of 12 guineas (₤12.60):
In 1908, Brodzky went to London where he studied during 1911 at the City and Guilds South London Technical Art School. He became an acquaintance and follower of Walter Sickert. Amongst his friends was Henri Gaudier-Brzeska who created in 1913 a portrait bust of Brodzky (now in the Tate Gallery, London), and whose biography he wrote in 1933. Brodzky is said to have been so engrossed in talk when he visited Gaudier-Brzeska's studio in the King's Road, that he missed the last bus to Herne Hill where he lived. Brodzky travelled to Italy with the poet John Gould Fletcher and this led to his first London exhibition, "Paintings and Sketches of Italian and Sicilian Scenes" (c. 1911), of which one painting was selected for the 1912 Venice Biennale. He was in fact the first Australian to be exhibited at the Biennale. In 1914 his work was exhibited along with that of other Jewish artists, including Mark Gertler and David Bomberg, in the Whitechapel Gallery. Brodzky became a member of the The London Group. During this period he was a pioneer of the technique of linocut, in which medium he has been said to have "excelled". His early oils reveal the influence of both Gertler and Bomberg. Among his works of this period are portraits of Jacob Epstein and Jacob Kramer.
Table Talk was a weekly magazine published from 26 June 1885 until 1939 in Melbourne, Australia. It was established in 1885 by Maurice Brodzky (1847–1919), who obtained financial assistance to start his own publication after resigning from The Herald.
In 1915 Brodzky moved to New York, with an introduction to the art patron John Quinn. There he worked as a poster artist and an arts journalist, and in 1917 helped Quinn organize a New York exhibition of Vorticist artists. In 1919 he married Bertha Greenfield; they were to have three sons. In 1920 Egmont Arens published in New York a collection of 21 of Brodzky's linoprints. Brodzky also designed book jackets for writers including Eugene O'Neill and Theodore Dreiser, and painted a portrait of O'Neill.
Horace Ascher Brodzky (30 January 1885 – 11 February 1969) was an Australian-born artist and writer most of whose work was created in London and New York. His work included paintings, drawings and linocuts, of which he was an early pioneer. An associate in his early career of many leading artists working in Britain of his period, including Henri Gaudier-Brzeska, Mark Gertler, and members of the Vorticism movement, he ended his life relatively neglected.
In 1946 Brodzky published his own study of the French-Romanian-Jewish artist Jules Pascin. In London he lived for most of the rest of his life in the Kilburn and Willesden areas, continuing to produce paintings, drawings and linocuts. He supported himself by teaching and painting stage-decor and from 1948 to 1962 he was art-editor of the "Antique Dealer and Collector's Guide", (founded by his brother Adrian).
However, he became increasingly interested in particular artists, and in the course of a distinguished career as a critic he produced monographs on "Drawings of L. S. Lowry" (1963), "The Paintings of D. H. Lawrence" (1964), "The Paintings of L.S. Lowry: oils and watercolours" (1975), "Whistler lithographs: an illustrated catalogue raisonne" (1975), "The Drawings of L. S. Lowry public and private" (1976), and "Carel Weight" (1986). In 1968 he, with Pamela Hansford Johnson and Robert Lowell, contributed to Perry Miller Adato's documentary film, "Dylan Thomas The World I Breathe". In addition he wrote contributions or introductions to exhibition catalogues and studies on several artists - Frans Baljon (1948), Eva Frankfurther (1962), Gaudier-Brzeska drawings and sculpture (1965), Horace Brodzky retrospective (1965), Scottie Wilson (1966), Clifford Hall (1967), Carel Weight (1972), John Bignell Chelsea photographer (1983), the (Ruth) Lambert Collection (1988), Ronald Ossory Dunlop (1989?), Rabuzin (1990) and Colin Moss (1996). In 1982 he published his autobiography, "Reflections in a broken mirror".
When Brodzky died, Boxing News was sold twice in quick succession, and Graham Houston became editor in 1971, immediately broadening the range of coverage, especially in North America. Houston left in 1977 to work on morning newspapers in Canada. This prompted the appointment of perhaps BN's greatest Editor of recent years, Harry Mullan. Circulation increased exponentially during the Mullan years, which doubled as a time of great change in the boxing world. Most notable new developments were the proliferation of ‘world’ titles and the increase in the number of major British promoters. Mullan was fiercely principled and tremendously well respected in the boxing fraternity. When Mullan left in October 1996, he was given this glowing tribute from then BN Publisher Peter Kravitz: "His writing stands comparison with the Lieblings, Hausers and Mailers of this century of boxing."
In 1935, Millier departed and the owner replaced him with Sydney Ackland, who had previously worked as John Murray's assistant editor and had been taught by him. World War II brought many changes as first Sydney, then replacement Stanley Nelson, contributed to the war effort. Murray made a popular comeback as editor but ill health forced him to step down in 1941. Gilbert Odd took over until the building housing the paper was destroyed by the enemy. Odd was then called up for national service and both Masters and Murray served further terms. Now with the new name of Boxing News, the paper was bought by Australian publicist Vivian Brodzky and former promoter Sydney Hulls. Northern sports writer Bert Callis was the new editor. Odd took over for a second term upon Callis’ retirement. Odd implemented the tradition of reporting the results and fighters' weights for every single fight in the country. When Odd quit to write books, he was succeeded by Jack Wilson and then Tim Riley.
Returning to London in 1923 he became a professional artist. His work featured in the first-ever exhibition of linocuts, organized by Claude Flight at the Redfern Gallery in 1929. Initial success however withered in the 1930s, when his marriage broke up, and from then on he lived in financial straits. In 1935 James Laver published a study "Forty Drawings by Horace Brodzky". Laver described Brodzky's drawing technique as follows:Brodzky prefers the ordinary 'dip-in' steel nib, for this enables the hand, by varying its pressure on the paper, to broaden the line at will, or rather in obedience to the obscure subconscious or half-conscious promptings which guide the hand to its task. He makes no preliminary studies, draws no pencil outline, carefully rubbed out afterwards to give a false impression of spontaneity. There are no erasures or alterations. Each drawing is made 'au premier coup'. It is made very quickly, as a unity, and when finished the artist cannot remember at what point it was started. The drawing has been thrown on the paper, as it were, with a single gesture.