My Man Anton Schutz: An Immigrant's View of the New York


22 Responses to “My Man Anton Schutz: An Immigrant's View of the New York”

  1. Thad E Ginataom says:

    That photograph, the man and the machine, is just wonderful, and then, the story behind it, and the fabulous artwork.

    Sorry, I’m chocking on superlatives here, not to mention a tear or two.

  2. neward says:

    His artistic abilities led to him being contracted by the German army to draw postcards of occupied cities in Belgium and France. Often, his postcards would be of destroyed cities to be sent home by soldiers.

    Curious, I wonder if there were any American artists in the Army in Iraq sending home pictures of destroyed cities.

    • capl says:

      Kristopher Battles, Henry Casselli, and Michael D. Fay are apparently the three official military artists working now.

  3. Anonymous says:

    This is just wonderful, to see a photo of the artist and to get an insight into his life. About 18 years ago I was living in Chicago and was attracted to one of his sketches, the store owner told me it was $90 but she couldn’t sell it to me until she had checked with an expert re. it’s value. I went back the next day and she nor the “expert” had heard of Anton Schutz. I bought the signed etching and have been fascinated by it ever since. It’s a scene I have not seen in any of my research and is in it’s original frame with Marchall Field’s inforamtion on the back, including the sales price and the sales person. Now, years later, I can put a face to the artist and get a glimpse into his life. It’s fascinating and I’d love to know what has drawn me to him.

  4. Anonymous says:

    The technical skill required to produce that first aquatint is truly jaw-dropping. It’s also an astoundingly beautiful image. Thanks for this!

    • Anonymous says:

      Seconded; I gave up etching because I couldn’t control aquatint to the degree I needed. Damn Goya, making it look straightforqard *grin* So what did I do? Concentrated on mezzotint, dooming myself to eternal hard graft, but oh, the results, and the absolute first hand control of tonality, mean I’ll never look back. For the quick stuff I have linocut.

  5. bellhalla says:

    I suppose most of the descendants of immigrants are, by this time, decedents as well.

    Or, wait… Oh my god! We’re all zombies!

  6. Kerov says:

    “most of us here in the USA are decedents”

    That explains everything.

  7. Eric Z Goodnight says:

    Sorry to be negative, but I’ve not heard the term “reverse etching” ever. He’s using an intaglio press, and the prints with shading are “aquatints.”

    Where did the term “reverse etching” come from?

  8. dhuff says:

    Wonder if any of us will be as clear-thinking as Schutz to notice when fascism comes to the U.S., and have the personal courage to leave and start a new life elsewhere ? (think I’m being melodramatic ? have you noticed the Tea Party and the Christian Right lately ?)

    “When fascism comes to America it will be wrapped in the flag and carrying a cross.” —Sinclair Lewis

    • capl says:

      Schutz indeed left Germany very early. I always wondered if he truly saw fascism coming to Germany or if he just got lucky. Either way, he was successful and wealthy in Germany at the time so had no real urgent reason to leave so perhaps he saw something others didn’t.

  9. Anonymous says:

    I wonder if anyone knows whether the Midtown Canyon scene is real or imagined?

    The viaduct leading to a second storey open parking in front of a building is fascinating me for its architectural incongruence. Why would there be parking on the roof of a 1-storey addition, and why would access be from across the street??

    I tried Google Earthing to see if I could find any remaining landmarks near the Chrysler building, but no luck. Help?

  10. Anonymous says:

    Biographies such as this always make me contemplate the perceptions we all harbor regarding “what” someone is in terms of, for lack of better words, nationality and offspring. Is he a German or an American, or a “German-American” whatever that is? Would a German answer this differently than an American? How would an Italian or a Chinese answer? Which ultimately leads to: and does it really matter? I’m sure it did matter to him to some degree, considering the treatment he no doubt received during the 1940s considering his German descent (he obviously didn’t americanize his name like other immigrants did it to escape unjust persecution), and possibly under McCarthyism as well considering he had spent time in Russia. And what does that tell us about today’s examples of xenophobia?

    (As an aside, clicking one of the links leads to news search which leads to the NYT archives, where I can purchase a piece of news from 1930 about his achieving American citizenship. For $3.95 – I kid you not. A miniature digital snippet of information from 80 years ago, for almost four freaking dollars. Dear NYT, I hope this business model is working for you, but just to be clear: that’s some obscene amount of money compared to what I’d be getting.)

    • Anonymous says:

      The NYT articles for $4 also are text only… no images, what a rip off. I assume that with the dates you could easily find a library with NYT microfiche.

  11. Anonymous says:

    I am the daughter-in-law of this fantastic artist and although I never met the man, his body of work is truly breathtaking. He left Germany because he did indeed see the “handwriting on the wall”, not just by dumb luck. Judging by the character of his son, he must have been an amazing individual.

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