By Timothy Materer
Pound wrote to John Quinn—a big apple legal professional, knowledgeable in enterprise legislations, and a collector of surprising flavor and discrimination—about those artists and lots of extra, urging him to help their journals, acquire their manuscripts, and purchase and show their work and sculptures. Quinn at one time owned manuscripts of Ulysses and The Waste Land, Brancusi’s sculpture Mlle. Pogany, and Picasso’s portray Three Musicians. but he used to be frequently skeptical concerning the price of recent faculties of artwork, akin to Vorticism, and disturbed by means of the outspokenness of authors resembling Joyce. Pound’s letters are strangely tactful while he counters Quinn’s doubts and explains the premises of experimental artwork. Pound’s letters to Quinn are touched together with his attribute humor and wordplay and are specially striking for his or her lucidity of expression, engendered by way of Pound’s deep recognize for Quinn.
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Additional info for The Selected Letters of Ezra Pound to John Quinn: 1915-1924
If you are near the councils of the powers I would be glad to make out a fuller statement. This detail is one of the causes of American authors coming abroad, and of the punereal nature of all serious American periodicals. The printing is supposed to be so costly that it is impossible to publish in America, especially periodicals which are, as are a few in London and Paris, largely in the control of writers' or in which they have influence. ARTIST AND PATRON 21 Henry IV took off the octroi from books coming into Paris, some centuries since, because they made for the increase of learning, and it is high time America followed suite.
Zilczer, "The Dispersal of the John Quinn Collection," Connoisseur, 202 (September 1979): 27· Reid, p. 234· Zilczer, "John Quinn and Modern Art Collectors," p. 63. Reid, p. 624. INTRODUCTION I Artist and Patron, 1915 John Quinn began the correspondence when he read Pound's criticism of him as a patron of art in the January 1915 New Age (see Introduction). Quinn's first letter refuted Pound's charges through a factual account of his dealings with Jacob Epstein and other artists and set the tone of their exchanges by assuring Pound, "Please remember I do not resent it one bit.
I suppose a loan exhibit of Brzeska might be arranged for the Metropolitan Gallery in New York if they will pay the carriage to and fro, and if they make an offer before old Gaudier-Brzeska gets over here from France, or before the stuff is scattered. Maclagan offered to put the matter before the chiefs of the S. kensington, but says they haven't a suitable room AND that it is almost sure to be vetoed at Whitehall. The "Tate" can't show it, as that water closet is reserved for "British Art". Blast is just out, will send you a copy in a day or so as soon as I get a spare one.