Trump’s Next Challenge Is to Turn 74 Million Believers Into Buyers Bloomberg 3/9/2021 Max Abelson and Sophie Alexander
(Bloomberg) They backed Donald Trump in November, and now they aren’t buying what he’s selling.
A quarry owner in the heart of Texas Trump country says she has little interest in staying at one of his hotels. For a sheep rancher in Montana, life’s too tough to throw money at golf. A ballroom-dancing Alabaman who was one of the billionaire’s first donors hasn’t bought anything from him in years.
Interviews with supporters show the challenges for an ex-president who’d like to turn 74 million voters into customers. His business empire is under pressure from a pandemic that’s emptied office towers and hotels, the repercussions of the Capitol riot and government investigations. The company could use a boost from fans who sent Trump to the White House and wanted him there for four more years.
First artworks from Elie and Sarah Hirschfeld s promised gift now on view at the New-York Historical Society
William James Glackens (1870-1938), Early Spring, Washington Square, ca. 1910. Oil on canvas; 18 x 24 in. New-York Historical Society, Gift of the Elie and Sarah Hirschfeld Collection, Scenes of New York City, 2020.35. 2.
NEW YORK, NY
.-The New-York Historical Society announced that the first artworks from philanthropists and art collectors Elie and Sarah Hirschfelds extraordinary promised gift have joined the Museums collection and are now on view.. Depicting New York locations still recognizable today, the works include The Boat Harbor (Gowanus Pier), ca. 1888, by William Merritt Chase; Early Spring, Washington Square, ca. 1910, by William James Glackens; Foggy Night, New York by George Luks, ca. 19001930; and Dredging in the East River, ca. 1879, by John Henry Twachtman. The full Hirschfeld collection is slated to be displayed at New-York Historical in fall 2021 i
Restoring the lost laurels of Adolf Dehn Editorial Staff
Vogue, Vanity Fair, and
The New Yorker. Nearly every major American museum was acquiring his work. As the cherry on top,
Life magazine celebrated Dehn’s art with a fivepage spread in its August 8th issue. But within a few years, as art critics rushed to embrace abstract expressionism, Dehn and many other artists of the social realism school were virtually forgotten. A new exhibition opening this month at the Fairfield University Art Museum in Connecticut aims to restore some luster to Dehn’s name.
Manhattan from Docks by Adolf Dehn, 1947. Estate of Adolf and Virginia Dehn.