\ \ 1\11 1 Coo11Ill1s111111
beasl" and lhat he refu sed Lo bu) Cor him anymore (Bloch pape rs ew York, box 3, L 8).
In dustrial Revival in In dia (Madras, 1912), p. 196. 67. Ibid.
65. 1t i beyond lhe scope or lh is paper lo di scuss Slella Bloc h' role in lhe Ha rlem Renaissance, her ex hibili ons of drawings of black da ncers and enlertai ne rs she met in Harl em, and her ma rriage lo Edward Eli scu, \\-ho was a Broadway songwriter with whom she moved lo Ca lifornia in the early 1930s. Bloch's lellers lo Edna Offne r suggest that she was initially enthralled by Coomaraswamy as a thinker more than a lover, and she bragged in 1919 that he had bought he r a $400 fur coal and was re nting an aparlmenl for her. By 1922, her mood had changed a nd she complained lo Morlimer Offner th al Mrs. Moody and her fri ends in Chi cago (whom she vi ilecl 11 ilh Coomaraswa my) were "schla mpy and insufferable - a pac k of dopey foreigners talking arl and constantly sc hl eming for a good meal" and thal she " would will and di e in Boslon路' and needed . '200 per month for her new 57th lreel apartment; however, she added, "Coom i dead broke." Eliscu. wilh whom she was corresponding already in 1919, was address ing her as " my mrn s,1-eel darling" by 1924. She a lso in 1923 wro te cheeky. fli rlalious lellers Lo George Cukor (a lhea lre direclor prior Lo hi s beller-known ca reer in Hollywood and a boyhood fri end of Morlime r Offner), a nd desc ribed her drunken parties a nd madcap acl venlures in ew York. By Febru ary L930, she confessed lo Eddie El isc u lha l he was " depressed" by Coomaras wamy's visit.
68. Coo111a ras1rnmy has often been calegori zed as an " antimocle rni st," lhanks lo his earl y fri endship with Arthur Pe nLy and his inlellec lual exc ha nges in lhe 1920s and ] 930s wilh lhe French philosopher, Re ne Cuenon. Penly, an architect and proponenl or Guild ociali sm, cla imed in his ] 922 book, Post-Industrialism, that he owed the term Lo Coomaraswamy. with whom in 1914 he had edited a book , Essays on Post-I ndustrialism. Post-industrialism was the belief thal excessive mac hini sm could only be countered by a return lo mal l- cale agri cultural production and ha nd manufacture based on the ideals of lhe medi eval guild. Penty, like Coomaraswamy, be lieved thal the arti st should be dedi calecl lo spirilual goals and should subordinate himself lo lhe good of the community (rather than the expression of personal te mpera me nt). A1thur Penty, Post-Tndu trialism (New York, 1922). pp. 45, 47, 153. On Cuenon and Coomaraswamy, see Lipsey 1977, vol. 3, pp. 169- 72, 270- 74. 69. O'Shea 2007, p. 72. 70. Ananda Coomaraswamy, \Vhat Use is Art Any way?: Six Broadcasts Sponsored by the Boston MLLseLLm of Pine Arts , JanLtary and F'ebriwry 1937 (Newport, R. 1., 1937). p. l.
66. Coomaraswamy 1909, ciled in Erne t Binfie ld HavelJ , Th e Basis for Artistic and
193