A prominent art critic who championed American art and artists, playing a significant role in shaping the country's art scene in the early 20th century.
Royal Cortissoz, a stalwart defender of traditionalism, spent nearly six decades as the art critic for the New York Herald Tribune, championing the cause of classical art forms and vociferously decrying the rise of modernism. His influential writings not only reflected his own aesthetic tastes but also helped shape the country's cultural narrative.
Born on February 10, 1869, in Brooklyn, New York, Cortissoz was the son of Francisco Emmanuel Cortissoz, an Englishman of Spanish descent, and Julia da Costa Mauri, from Martinique. He began his career as an architect, working at the prestigious firm of McKim, Mead, and White, before joining the staff of the Commercial Advertiser. In 1891, he joined the New York Tribune, where he would eventually become the art editor.
Cortissoz's role as an art critic was not simply to review exhibitions but to foster an appreciation of art in the common man. He believed that art was central to society's wellbeing and wrote extensively on various forms, including jewelry, rare book designs, architecture, furniture, and interior design. His philosophy was rooted in the idea that art should be beautiful, dignified, and uplifting, rather than challenging or provocative.
One of Cortissoz's most enduring contributions is the inscription he wrote for the statue of Abraham Lincoln in the Lincoln Memorial in Washington, D.C.: "In this temple, as in the hearts of the people for whom he saved the Union, the memory of Abraham Lincoln is enshrined forever." This iconic phrase has become an integral part of American cultural heritage.
Cortissoz was also a prolific writer, producing numerous articles, essays, and books on art and culture. His writings not only reflected his own aesthetic tastes but also helped shape the country's cultural narrative, influencing generations of artists, critics, and art enthusiasts.
Cortissoz was a vocal critic of modernism, which he saw as a faddish and superficial movement. In one of his most famous quotes, he wrote, "It will someday prove a kind of Victorian dud, with a difference, obviously, but a dud just the same." This critique not only reflected his own aesthetic tastes but also sparked a wider debate about the role of art in society.
Cortissoz's life was not without its challenges. He suffered from anxiety and psychosomatic ailments, which he attributed to the pressures of his job. Despite these challenges, he remained a stalwart defender of traditionalism, continuing to write and influence until his death on October 17, 1948.
Today, Cortissoz's legacy as an art critic and cultural commentator remains unparalleled. His contributions to American cultural heritage are a testament to his tireless advocacy for classical art forms and his unwavering commitment to promoting beauty, dignity, and upliftment through art.
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