Who Was Clara Bow?

“Dear Reader,”
I’m sure that, like us, you have kept The Tortured Poets Department on repeat since Taylor Swift released her latest album on April 19th. Consider yourself “The Lucky One”, as we have a dazzling find to share with you. Our “Fearless” Collections Staff recently came across two (✌🏻) photographs in the GW Collection of Clara Bow herself (and we have to say that “Two is Better Than One”). The last track of TTPD is entitled “Clara Bow”, who was Hollywood’s first “It” girl after the success of the film It in 1927, which was written with Bow herself in mind.

Woman stands in the center, smiling with her arms out.  3 other women around her but lower, two looking at her.

Image: Philippe Halsman, Clara Bow, 1949, gelatin silver print, 14″ x 11″. GW Collection, Gift of Arthur Mintz, 1983 (P.83.23.5) © Halsman Archive.

About Clara Bow

In both of these images, Clara Bow is being gazed upon with looks of adoration, reflecting just one of the elements of fame that Swift sings about on this track. During her career, Clara Bow appeared in 57 films – 46 silent films and 11 talkies. Her flapper look embodied the Roaring Twenties. However, her fame did not come without turmoil.

Clara Bow’s secretary, Daisy DeVoe, had been placed in charge of Bow’s personal affairs and money, but was sued by Bow for financial mismanagement. Over the course of the trial, the press released countless details of Bow’s personal life. Deeply personal letters were read aloud in court and newspapers printed as much as they could of Bow’s private life, which took a staggering mental toll on Bow and she was later taken to a sanatorium at her request. Though DeVoe tried to ruin Bow’s sparkling Reputation, Paramount Studios stated that this would not impede her career, but she soon left Hollywood and moved to a Nevada ranch with Rex Bell, who soon became her husband. Later, Bow starred in two more films before her retirement from acting. 

For her contributions to the film industry, Clara Bow was given a star on the Hollywood Walk of Fame, located at 1500 Vine Street. A quick search on Google Maps reveals that the intersecting street at the corner of her star is none other than Sunset Boulevard, taking us back to the Reputation track “Gorgeous”, where Swift sings “Whiskey on ice, Sunset and Vine / You’ve ruined my life, by not being Mine”. We know “All Too Well” how Swift loves to leave these “Easter Eggs” for us to find! You can “Call It What You Want”, but we argue that Swift proves once again that she is a “Mastermind.”

Image: Philippe Halsman, Clara Bow, 1949, gelatin silver print, 14″ x 11″. GW Collection, Gift of Lawrence Benenson, 1983 (P.83.18.222) © Halsman Archive.

About the Photographer: Philippe Halsman

Both photographs were taken by Philippe Halsman, who compared his works to that of a good psychologist: bringing out the true character of his sitters. His approach might seem like “Nothing New” now, but during his career, Halsman actively sought to go against trends he saw in “Paris”, where he was a fashion photographer. Much like Swift’s deep and vulnerable lyrics on TTPD, Halsman wanted depth in his work. 

Halsman immigrated to America during World War II with the help of Albert Einstein, who he later photographed. While he was widely known in France, he was not quite so famous in the US. He did not have to wait long for his big break, which came in 1941 after photographing Connie Ford. This photo of Ford became the ad campaign for a “Red” lipstick by Elizabeth Arden, made specifically for women in service. Though Halsman worked in other types of photography, he would later come back to portraiture. Halsman has more LIFE covers to his credit than any other photographer (101 in total). 

The two photographs of Clara Bow are part of a group of over 300 works by Halsman in the GW Collection. To explore our works by Halsman visit our collections website.

– Molly Megan and Lauren Holt

Bibliography

“Autobiography,” Philippe Halsman Archive, last modified 2023, https://www.philippehalsman.com/about.

“Clara Bow,” Britannica, last modified May 31, 2024, https://www.britannica.com/biography/Clara-Bow

“Clara Bow Cinema Card,” National Museum of American History, https://americanhistory.si.edu/collections/nmah_1464538

Joan Renner, “Revenge of the Celebrity Secretary: The Career-Ending Extortion of Screen Star Clara Bow”, Los Angeles Magazine, last modified June 4, 2013, https://lamag.com/crimeinla/revenge-of-the-celebrity-secretary-the-career-ending-extortion-of-screen-star-clara-bow#:~:text=In%201930%20her%20money%20and,break%20in%20their%20professional%20relationship.

Mary Panzer, “Philippe Halsman: A Retrospective,” National Portrait Gallery, https://npg.si.edu/exh/halsman/intro.htm

A Master of Folk Art Music: Elizabeth (Libba) Cotton

Several pieces selected from the GW Collection of artwork are now on display in the Luther W. Brady Art Gallery through December 16, 2023. In GW Collection: Faculty Selection, 10 professors from the Corcoran School of Art and Design respond to the works they chose in relation to their artistic practice, pedagogical approach, or personal interests. Director of the Corcoran School and Professor of Music Lauren Onkey chose to highlight a photograph of the legendary folk singer Elizabeth (Libba) Cotten. The portrait by Brian Lanker “radiates the joy and history embedded in her music,” Onkey writes in the accompanying text.

Born near Chapel Hill, North Carolina in 1893, Cotten taught herself how to play her brother’s right-handed banjo with the opposite hand, which she played backward without restringing. Elizabeth Cotten left school to work after the third grade. Making 75 cents a month cleaning houses and cooking, she saved up the $3.75 required to purchase her own guitar from a local dry-goods store. With determination and self-reliance, Cotten developed a unique picking style characterized by simple figures played on the bass strings with her fingers in counterpoint to a melody played on the treble strings with her thumb. Despite criticism from other guitarists, Elizabeth Cotten took pride in her distinctive inverted technique, creating what decades later became known as the “Cotten style.” 

Elizabeth Cotten was married and had a daughter in her mid-teens. As she became immersed in family life, religion began driving a wedge between Cotten and her blossoming music career. At the recommendation of her church community, Elizabeth Cotten stopped playing her “worldly” guitar music. Ironically, many of Cotten’s songs express the devotion of their deeply religious author. “Time to Stop Your Idling,” in particular, demonstrates Cotten’s fervent faith: 

“If you don’t like your brother, don’t scandalize his name/ Put it in your bosom and take it on to God/ Used to have some friends, to come along with me/ But when I got converted, they turned their backs on me.”

It was not until many years later that Cotten returned to music.

By chance encounter, Elizabeth Cotten started working for the Seeger family in Washington, D.C. as a maid and cook at age 60. The Seegers were a family of influential folk musicians and musicologists. Ruth Crawford Seeger was a noted composer and music teacher, while her husband, Charles, pioneered the field of ethnomusicology. The Seegers soon recognized Cotten’s enormous talent and, as a result, documented her music and stories in the early 1950s. Thanks to Mike Seeger’s early recordings of her work, Elizabeth Cotten gained attention by giving small concerts in the homes of Congressmen and senators, including that of John F. Kennedy. At age 62, she recorded her first album, Elizabeth Cotten: Negro Folk Songs and Tunes, which features her famous tune “Freight Train.” Unfortunately, Elizabeth Cotten battled many cases of copyright infringement after “Freight Train” experienced unexpected international success. Copyright laws often disadvantaged Black artists who were not well-educated or resourced and inexperienced in navigating the copyright system. Like many of her peers, Cotten didn’t realize that publicly performing her work would allow anyone to fix the lyrics and claim copyright. Elizabeth Cotten later was ascribed only a third of the songwriting credit.

Black and white photograph of a close up image of an African-American women who is touching her face lightly with her fingertips and looking out of the frame to the upper right
Brian Lanker, Elizabeth “Libba” Cotten from “I Dream a World”, 1987, gelatin silver print, 10-1/4″ x 10-3/8″. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the artist). CGA.1996.10.3 © Brian Lanker Archive

The Cotten style, although difficult for right-handed guitarists to master, became a staple of the folk revival of the 1960s. ​​Cotten’s career generated media acclaim and many awards, including the National Folk 1972 Burl Ives Award for her contribution to American folk music. At the age of 92, her album Elizabeth Cotten – Live! (1983) won the Grammy for Best Ethnic or Traditional Recording. Moreover, Brian Lanker included her photograph in his book, I Dream a World: Portraits of Black Women Who Changed America, which put her in the company of Rosa Parks, Marian Anderson, and Oprah Winfrey. 

Through her songwriting, commanding personality, and unique left-handed guitar and banjo styles, Elizabeth Cotten’s influence has reverberated through generations of younger artists– permeating every genre of music. Her legacy endures not only through her recordings but also in the many musicians who continue to cover her work. Bob Dylan performed “Shake Sugaree,” and The Grateful Dead produced several renditions of “Oh, Babe, It Ain’t No Lie”. Please enjoy this playlist featuring some of Elizabeth Cotten’s masterpieces, popular interpretations of her most cherished works, and artists inspired by her innovation.

by Kendall Larade, Gallery Assistant, Luther W. Brady Art Gallery