Paul J. Karlstrom and Susan Ehrlich Turning the Tide: Early Los Angeles Modernists 1920-1956, Barry M. Heisler Introduction Santa Barbara Museum of Art 1990, 1944
Lorser Feitelson (1898-1978), 1990,
". . . Like Krasnow and Macdonald-Wright, Feitelson learned to paint at an early age, . . . After seeing the Armory Show in 1913, where the works of Cezanne, Matisse, Gleizes, and DuChamp impressed him . . . Extended stays in Paris between 1919 and 1927 . . . despite his success, Feitelson, like Merrild, Krasnow, and Macdonald-Wright, felt dissatisfied with the quality of life in Manhattan, and thus ventured to Los Angeles in November 1927."
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" . . . From 1937 to 1943, he brought art to the public as Southern California supervisor of the Federal Art Project's easel painting, sculpture, and mural division. . . .
" . . . In 1944 he joined the faculty of the Art Center School . . . where he arranged a screening of Oskar Fischinger's films and a Stanton Macdonald-Wright retrospective . . .
" . . . In November 1948, . . . one of Feitelson's Federal Art Project murals and one painted by Lundeberg [his wife] under his aegis were accused of being Communist-inspired. . . .
" . . . In 1951, . . . The municipal exhibition in Griffith Park for which he was the juror was attacked by right-wing factions as being Communistic . . . he . . . castigated Councilman Harold Harby who had denounced the art as "stinkweed stuff" . . . "