Chapter X: Appendix: II

TWO COMMENTS

It is only fair to the press to say that here and there, in most unexpected places, not only articles but editorials appeared admonishing the public to be cautious about condemning the new art too impulsively.

We have chosen two such expressions from places so different, as London, and Reno, Nevada.

Apropos the Russian Ballet and its extraordinary music, the London “Times,” in a leading editorial, July 13, 1913, said:

“We have entered into one of those periods of artistic revolution in which the public, audience, or spectators become partisans and express their opinions as if they were at a political meeting. The Russian Ballet, for instance, produced a conflict of opinion last Friday, which recalls the conflicts provoked by the plays of Victor Hugo in the thirties. Post-Impressionism now is what the Romantic movement was then. To one party it means the end of all beauty; to the other a new birth of it. People no longer clap or hiss because they think a particular performance is well or ill done. Even in England, where the arts are not commonly taken very seriously, they are beginning to clap or hiss on principle, and to feel that they are making history when they do so. Partisans on both sides are probably not very clear in their minds why they like Post-Impressionism or dislike it; but the word, vague and clumsy as it is, does imply to them a set of tendencies by which all the arts may be ruined or regenerated. It is not merely a fashion in painting, but, like Romanticism, a movement of the mind which is trying to express itself through all means of artistic expression.

“Of this the new turn taken by the Russian Ballet is a striking proof; for no one can suppose that the artists concerned in that enterprise are haters of beauty because of their own incompetence to achieve it. They have every material inducement to continue delighting the world with Ballets like Carnival or Scheherazade; and, if they attempt a new kind of art, it must be because they are driven to it by some force in themselves too powerful to be withstood. Masters like M. Nijinsky do not try dangerous experiments on the public for the mere pleasure of trying them; and it is a little presumptuous to assume that they are suddenly afflicted by sheer perversity of taste. It is more probable that they are possessed by that ardour of discovery which is common both to great artists and to great men of science, indeed to all men whose interest in life is stronger than their desire for their own comfort.

“Most people make the mistake of thinking that the development of an art consists altogether of what is called invention and not of discovery; and for that reason they often resent innovations as mere perversities. If a thing has been well done already they cannot see why it should not continue to be done. But the artist knows that he cannot invent again what has been once invented. He knows, too, that these seeming inventions are also discoveries of the possibilities of his art; and that when discovery has been carried very far in one direction it cannot be carried any further. The history of all arts proves this. After Michel Angelo no one could invent anything fresh in his manner, because he had discovered all that could be discovered about his method of art. Renaissance architecture prevailed in Europe because no new discoveries were possible in Gothic.

“The Romantic movement changed English poetry when there was nothing more to be said in the manner of Pope. You may prefer the old art to the new, but even if you are right in preferring it, you are not therefore right in condemning those who practice the new art. For they have no alternative. Either they must be mere imitators of the great men of the past or they must make a new start; and the true artist can no more content himself with imitation than the true philosopher can content himself with repeating what other philosophers have said.

“Behind all representation in the arts there is the impulse of expression; and that will make its discoveries wherever there is most to be discovered, turning naturally to those elements of the art which have lately been neglected. If we understand this we shall see that a new artistic movement, such as Post-Impressionism, is not to be judged merely by a few pictures or to be condemned because those pictures seem to us very unlike reality. Whatever may come of it, it is something that is happening in all the arts, because discovery is turning in a new direction. All the successes of the past are obstacles to new success of the same kind, and discovery naturally takes a line of least resistance away from them. For a long time, in every art, artists have been raising expectations which they found it difficult, if not impossible, to satisfy. In painting, with its effort at complete illusion, they have provoked comparisons with Velasquez. In music, with its elaborate forms, they must do as well as Beethoven if they are to succeed. The dance, as we are used to it, demands an easy grace in every movement, which M. Nijinsky himself cannot combine with novelties of expression. He has found that, if he is to be a discoverer in his art, he must teach his public not to expect this easy grace, this formal and accustomed beauty, from the start. And that is the purpose of Post-Impressionism in all the arts. It is determined not to arouse expectations which it cannot satisfy.

“The public may begin by thinking it all crude and ugly and childish; and it will be the more delighted by any beauties which it discovers afterwards. Hitherto the arts have promised more than they could possibly perform. Now they shall promise nothing, and so perform at least more than they promise. It is natural, perhaps, that the public should resent this as a kind of discourtesy. The artist who makes no professions seems to them lacking in respect, and they are inclined to hoot him as an impudent charlatan. But there are very few artists who wish to be hooted, and the real charlatan usually flatters his public. Whatever may be said against Post-Impressionists in all the arts, they are not flatterers.”

* * * * *

It is a far cry from London to Reno, and the differences between the two places are not measured by the miles between them.

Leading editorial from the “Journal,” Reno, July 11, 1913:

SIMPLE SOLOMON

“When Solomon staked his reputation for wisdom as well as originality on the assertion that there is nothing new under the sun, he did not think some day the Cubist painter, the Futurist artist, and the color musician would rise in the twentieth century and make him ridiculous. There is something new under the sun even in these departures, and like everything original since the first sin, the innovations are now roundly condemned.

“It is the fashion now to condemn the Cubist and the Futurist in art, even as not long ago it was the fashion to condemn the realist, the impressionist and the Post-Impressionist; but it is a peculiar tribute to the authority of an innovation that it requires such a general attack of condemnation. A trivial thing requires mere neglect; a war of condemnation implies some strong and virile thing to be subdued.

“These new things have a substantial basis for existence; else they would not exist. Their novelty has caused some extravagant adherents to carry them to unreasonable excess. They have abused the discoveries, not used them. They will pass away but the new principles will survive.

“The cubist takes his cue from the idea of perspective itself--carried to excess. No one can imagine anything but straight lines as the basis for ‘vanishing points.’ Curved lines, while apparent and obvious, are not the scientific representations of actualities. The things we see strike the eye on the basis of flat images and our imagination brings out shape and significance. It is but a simple reversal to present flat art and give the imagination equal play in reconstructing real images in the eye.

“If we take a half-tone engraving and examine it with a magnifying glass we find it is a series of holes of uniform size but more or less dense on the surface according to the requirements of light, shade and line. Magnify a half-tone 100 times and we have a large grating of black and white circles or squares. That is cubist art. It requires a slight shift in the point of view, a little development and stimulation of the imagination--nothing more.

“When Gulliver visited the Brobdingnagians and viewed the complexions of their women at close range, it almost made him sick--yet they were noted beauties. He looked too close. When they looked at him they observed no complexion--they looked too far. Yet each had a concrete complexion and the only trouble was the point of view and the shock of comparison.

“The futurists have a very novel and, at this time, an outlandish art. One of them has a full page picture used as an advertisement of the peculiar sound of a horn. It is a picture of a sound that saws its way through other sounds. There is a straight, fan-like picture for a constant, augmenting note, rising in scale. It is gray. There is a black ellipse for a loud varying noise of fairly regular variation of note, and so on. The foreign noise of the horn is shown as utterly unlike in form, intensity, regularity or harmony, any other sound.

“If one has a diagram one can understand the futurist art and, when one understands, he approves. The new arts are simply aids to comparison, discrimination and inspiration. They have all the delights of wine-tasting or salad-judging--and some salads are vile.

“The color musician has developed only another exercise in discrimination. If we were to make mathematics of music we would find that there is an exact relation between the number of vibrations of notes an octave apart; a constant relation between the vibrations in the natural and the sharp; a direct ratio between the vibrations of the notes in a chord; a formula for harmony and another for discord. It is an interesting mathematical study, a science as well as an art, and it proves that our appreciation through the senses is based on natural mathematical sequences and on well understood ratios, seasoned for variety’s sake by divergences from type.

“Now the color musician has taken the spectrum and made notes out of it like the notes on the gamut. He has a color-scale and can do as much on it for the delight of the eye as a musician can with the musical scale for the ear. He merely brings out an extra way of enjoying distinctions and of enjoying that most restful of enjoyable things--conventionality. The certainty and the satisfaction of the conventional is about the most assuring thing in all experience. There is no more steadying feeling in all the world than to know that two and two make four, and that c-a-t spells cat. The more ways by which we can be assured of the belief we hold by faith, that there is an uniform, unchanging, all-pervading rule in the world, arguing an individual, mastering central consciousness and direction, the happier we are.

“The cubists and the futurists and the color musicians may be faddists, but they help to drive out old Solomon’s pessimism. They help us to understand by purely human experience how it is that there may be some things which even humans cannot understand--but which are.”

BIBLIOGRAPHY

ENGLISH

In attempting this bibliography of the modern movement in art, the
search in periodical literature in England, France, and Germany has
been carried back no farther than 1908.

IS ART A FAILURE? by Robert Fowler. Nineteenth Century, July, 1912.

ART, A NEW VENTURE IN. _Exhibition at the Omega Workshops._ Times,
July 9, 1913.

BAKST, LEON. _Art Exhibitions. A Great Designer._ Times, June 17,
1912. Morning Post, June 18, 1912.

BAKST, LEON. _Exhibition._ Athenaeum, July 6, 1912.

BERLIN SECESSION. For short notices on see “Studio”: LI, p. 241;
LI, p. 328; LII, p. 68; LII, p. 153; LII, p. 240; LIII, p. 324;
LIV, p. 84; LV, p. 59; LV, p. 249; LVI, p. 241.

CÉZANNE. _Article by Maurice Denis._ Burlington Magazine, XVI Part
I, p. 207; Part II, p. 275.

_Cézanne_. _Manet and the French Impressionists. Pissaro--Claude
Monet--Sisley--Rénoir--Berthe Morisot--Cézanne--Guillaume._
Translated by J. E. Crawford Flitch. Illustrated with 34 etchings,
4 wood engravings, and 32 reproductions in half-tone No. 9 by
Theodore Duret. J. B. Lippincott & Co., Philadelphia, 1910.

CÉZANNE. _Cézanne and Gauguin._ Athenaeum, Dec. 2, 1911.

CÉZANNE. _Cézanne and Gauguin._ London Times, Nov. 28, 1911.

COURBET. _Exhibition._ Times, March 8, 1911.

CUBISTS. _Cubism._ Albert Gleizes and Jean Metzinger. Translated
from the French, with illustrations. T. Fisher Unwin, 1912.

DRAMA AND ART, THE NEW SPIRIT IN. Huntley Carter. London, Frank
Palmer, 1912.

FUTURISTS. Athenaeum, March 9, 1912.

FUTURISTS. Spectator, March 16, 1912.

FUTURISTS. _The Initial Manifesto of Futurism._ F. T. Marinetti.
Printed in the Catalogue of Exhibition in the Sackville Gallery,
London, of works by the Italian Futurist painters, March, 1912.

FUTURISTS. _Severini (Gino)._ Introduction to catalogue of his
pictures on view at the Marlborough Galleries, Duke street, London,
1913.

GAUGUIN. _Cézanne and Gauguin._ London Times, Nov. 28, 1911.

HARRISON, FREDERIC. _Aischro Latreia--The Cult of the Foul._
Nineteenth Century, February, 1912.

HIND, C. LEWIS. _The Consolations of a Critic._ London, A. and C.
Black, 1911.

HOURTICG, LOUIS. _Art in France._ London, Heinemann, 1911.

HUNEKER, JAMES. _Promenades of an Impressionist._

IMPRESSIONISTS. _The Post Impressionists._ Article by Clutton-Brock
(A), Burlington Magazine, XVIII, p. 216.

INTERNATIONAL SOCIETY. _Exhibitions._ Times, April 8, 1911;
Spectator, April 15, 1911.

LONDON SALON. See Times July 8, 1911; July 30, 1912, _Effects of
Artistic Freedom_; July 7, 1913.

MACCOLL, D. S. _Ugliness, Beauty and Mr. Frederic Harrison._
Nineteenth Century, March, 1912.

MAILLOL. _The Sculpture of Maillol._ Roger Fry. Burlington
Magazine, XVII, p. 26.

MEIER-GRAEFE, ALFRED JULIUS. _Modern Art, Being a Contribution to a
New System of Aesthetics._ Translated from the German by Florence
Simmons and George W. Chrystal. 2 vols. London, 1908.

MUNICH NEUE VEREINIGUNG. Studio, LIII, p. 320.

NEW ENGLISH ART CLUB EXHIBITION. Spectator, Nov. 30, 1912.

POST IMPRESSIONISTS. _The Post Impressionists._ C. Lewis Hind.
London, Methuen & Co., 1911.

POST IMPRESSIONISTS. _Review of Mr. Hind’s Book._ Athenaeum, July
8, 1911.

POST IMPRESSIONISTS. _Notes on the Post Impressionist Painters at
the Grafton Galleries._ C. J. Holmes. 1910-1911.

POST IMPRESSIONISTS. _On Post Impressionism._ Sir William Richmond.
Times, Jan. 10, 1911.

POST IMPRESSIONISTS. _Pages on Art._ Charles Ricketts. Containing
article on _Post-Impressionism at the Grafton Gallery_. London,
Constable & Co., 1913.

POST IMPRESSIONISTS. _French Artists of Today._ London, Heinemann,
1912.

POST IMPRESSIONISTS. _From Impressionism to the Spectral Palette._
H. P. H. Friswell. Saturday Review, Feb. 23, 1901.

POST IMPRESSIONISTS. Foreword to catalogue of exhibition by Frank
Rutter. Doré Galleries, London.

POST IMPRESSIONISTS. Letter on _The Post Impressionists at the
Grafton Gallery_. A. Warren Dow. Spectator, Oct. 12, 1912.

POST IMPRESSIONISTS. Athenaeum, Jan. 7, 1911; December, 1911.

POST IMPRESSIONISTS. _A Year of Post-Impressionism._ D. S. MacColl.
Nineteenth Century, February, 1912; “The Spectral Palette,”
Saturday Review, Feb. 9, 1901.

POST IMPRESSIONISTS. _The Post Impressionist and Others._ Yoshio
Markino. Nineteenth Century, February, 1913.

REVOLUTION IN ART. Athenaeum, Feb. 4, 1911.

RODIN, AUGUSTE. _Art._ From the French of Paul Gsell. London,
Hodder & Stoughton.

SCULPTURE. _Gills, Eric._ Times, Jan. 27, 1911.

SCULPTURE. _Post Impressionist Sculptures._ Athenaeum, Jan. 28,
1911.

SCULPTURE. _The Sculpture of Maillol._ Roger Fry. Burlington
Magazine, XVII, p. 26.

VAN GOGH. _The Letters of a Post Impressionist, Being the Familiar
Correspondence of Vincent Van Gogh._ Translated from the German by
Anthony M. Ludovici. London, Constable & Co., 1912.

VAN GOGH. _Review of V. Van Gogh’s Letters._ Athenaeum, Dec. 21,
1912.

VAN GOGH. _Riefstahl_, R. Meyer. Part I, _Vincent Van Gogh_,
Burlington Magazine, XVIII, p. 91; Part II, _Van Gogh’s Style in
Relation to Nature_, Burlington Magazine, XVIII, p. 155.

VAN GOGH. _The Letters of Vincent Van Gogh._ F. Melian Stawell
(review) Burlington Magazine, XVIX, p. 152.

FRENCH

APOLLINAIRE, GUILLAUME. _Meditations esthétiques. Les peintres
cubistes._ 1ère série: Pablo Picasso, Georges Braque, Jean
Metzinger, Albert Gleizes, Juan Gris, Mlle. Marie Laurencin,
Fernand Léger, Francis Picabia, Marcel Duchamp, Duchamp Villon.
Paris, Eug. Figuière, 1913. In-40, 84 p. et 46 planches,
reproductions.

BERNARD, EMILE. _Souvenirs sur P. Cézanne._ Paris, office central
de librairie, 5 rue Palatine, 1908. In-12.

BUZZI, PAOLO. _Aeroplani._ Canti alati di Paolo Buzzi. Col. IIe
Proclama futurista di F. T. Marinetti. Milano, edizione di
_Poesia_, 1909. In-16, 282 p.

DENIS, MAURICE. _Théories 1890-1910._ _Du symbolisme et de Gauguin
vers un nouvel ordre classique._ Paris, Bibliothèque de l’occident,
17 rue Eble, 1912. In-80, 272 p.

DUHEM, HENRI. _Impressions d’art contemporain._ Paris, Eug.
Figuière, 1913. In-120, 382 p.

GLEIZES, ALBERT ET METZINGER, JEAN. _Du cubisme._ Paris, Eug.
Figuière, 1912. In-40, 80, 44 p., et 30 pl., reproductions.

GUY, MICHEL. _Le dernier état de la peinture._ Paris, Union
française d’édition, Le Feu, 1911. In-16, plaquette.

LETALLE, ABEL. _Idées et figurations d’art._ Paris, E. Sansot,
1911. In-160.

MARINETTI, F. T. _Le futurisme._ Paris, E. Sansot, 1911. In-12, 240
p. La Iere édition italienne est de.

MARINETTI, F. T. _Coupées électriques._ Drama en trois actes avec
une préface sur le futurisme. Paris, E. Sansot, 1909. In-12, 194 p.

MARINETTI, F. T. _Le monoplan du pape, roman politique en vers
libres._ Paris, E. Sansot, 1913. In-16, 349 p.

_Les peintres futuristes italiens._ Exposition du Lundi 5, au Mardi
24 Février 1912. Paris, Bernheim, Jeune, 1912. Oct. In-16, 32 p., 8
fig. ou reproductions.

_Catalogues des peintres futuristes et sculpteurs_. Paris,
Bernheim-Jeune, 1912. In-16. Même opuscule que le précédent à peu
de chose près 3 éditions: en français, en anglais, en italien.

MELLERIO, ANDRÉ. _Le mouvement idéaliste en peinture._ Paris, H.
Floury, 1896. In-80, 75 p.

MELLERIO, ANDRÉ. _L’Exposition de 1900 et l’impressionnisme._
Paris, H. Floury, 1900. In-80, 48 p.

NOCQ, HENRY. _Tendances nouvelles. Enquête sur l’évolution des
industries d’art._ Paris, H. Floury, 1896. In-80, 204 p.

SALMON, ANDRÉ. _La jeune peinture française._ Paris, Société des
Trente. Albert Messein, 1910. In-80, 124 p.

Lors paraître prochainement du même auteur:

SALMON, ANDRÉ. _La jeune sculpture française._ Paris, Société des
Trente. Albert Messein, 1912. In-80.

SIGNAC, PAUL. _D’Eugène Delacroix au néo-impressionnisme._ Paris,
Floury, 1911. In-80, 120 p. (nouvelle édition) La Iere édition en
1899.

UHDE, J. B. _Henri Rousseau_, (dit Rousseau le Douanier) Paris,
Eug. Figuière, 1913. In-40, avec reproductions.

EN PRÉPARATION.

MORISSE, CHARLES. _Gauguin._ In-80. Chez l’éditeur H. Floury,
Boulevard des Capucines, Paris.

A noter pour paraître prochainement sous la direction de Guillaume Apollinaire, à la librairie Eugène Figuière à Paris, 7 rue Corneille; Une volume sur Cézanne, sur Seurat, sur Dégas, sur Rénois, par des auteurs différents. Une volume également sur _Les peintres orphiques_ par Guillaume Apollinaire lui-même.

À noter aussi l’ouvrage suivant:

RÉNOIR. _Album de quarante reproductions dont 4 fac-similés en
couleur et 36 phototypes._ Préface d’Octave Mirebeau. Texte des
plus notoires écrivains de tous les pays. Paris, chez
Bernheim-Jeune, 28 boulevard de la Madeleine, 1913. In folio.

ARTICLES.

ALEXANDRE, ARSÈNE. _Maurice Denis._ Signé: Arsène Alexandre. In-40,
6 pages, 5 reproductions. L’art et les artistes. Tome VIII,
Janvier, 1909.

APOLLINAIRE, GUILLAUME. _Henri Matisse._ Signé: Guillaume
Apollinaire. In-80, 5 pages, et 3 reproductions. La Phalange. No.
du 15 Décembre, 1907.

AUREL. _L’Ensiegnement d’Emile-Antoine Bourdelle._ Signé: Aurel.
In-80, 14 p. La Phalange. No. du 20 Mars, 1912.

BERTAUX, EMILE. _Notes sur le Gréco._ I. _Les Portraits_. II.
_L’Italienne_. III. _Le Byzantisme_. 3 articles dans de _revue de
l’art ancien et moderne_, Années: 1911, Juin; 1912, Décembre et
1913, Janvier. Nombreuses reproductions et planches hors texte.

BESSON, GEORGES. _Le grand palais aux bestiaux._ Signé: Georges
Besson. In-80, 5 pages. La Phalange. No. du 20 Décembre, 1912.

BRICAUT, JEAN. _Essai sur la couleur._ Signé: Jean Bricaut. In-80,
5 pages. La Phalange. No. du 20 Avril, 1913.

CORNU, PAUL. _Bernard Naudin, dessinateur et graveur._ Signé: Paul
Cornu. Les Cahiers du Centre. 40 Série, Mars, 1913.

A noter dans cette même revue; La Phalange--Léon Werth puis Georges Besson rédigent le mois du peintre donnet à propos des différentes expositions à la galerie Bernheim-Jeune, à la Galerie Volard et autres, des aperçus et des considerations souvent fort intéressants sur le cubisme et le néo-impressionisme et sur de nombreux artistes tels que Cézanne, Gauguin, Van Gogh, Rénois, Cissaro, Seurat, etc.

Dans de Mercure de France, Charles Morisse, puis Gustave Kahn, font le même sous la rubrique _Art et art moderne_.

COUSTURIER, LUCIE. _Georges Seurat._ (1889-1891.) Signé: Lucie
Cousturier. In-40, 16 pages, 15 reproductions. Art décoratif. Revue
de l’art ancien et de la vie artistique moderne. No. 174, 20 Juin,
1912.

COUSTURIER, LUCIE. _Pierre Bonnard._ Signé: Lucie Cousturier.
In-40, 16 pages, 16 reproductions. Art décoratif. Revue de l’art
ancien et de la vie artistique moderne. No. 186, 20 Décembre, 1912.

COUSTURIER, LUCIE. _Henri-Edmond Cross._ Signé: Lucie Cousturier.
In-40, 16 pages, 15 reproductions. Art décoratif. Revue de l’art
ancien et de la vie artistique moderne. No. 189, Mars, 1913.

COUSTURIER, LUCIE. _Maurice Denis._ Signé: Lucie Cousturier. In-40,
16 pages, 16 reproductions. Art décoratif. Revue de l’art ancien et
de la vie artistique moderne. No. 191, Mai, 1913.

DENIS, MAURICE. _Maillol._ (Aristide.) Signé: Maurice Denis. In-40,
6 p., 5 reproductions. L’art et les artistes. Tome VIII, Janvier,
1909.

DEVERIN, EDOUARD. _Paul-Emile Colin._ Signé: Edouard Deverin.
In-40, 8 pages, 7 reproductions. Art décoratif. Revue de l’art
ancien et de la vie artistique moderne. No. 190, Avril, 1913.

FAURE, ELIE. _Paul Cézanne._ Signé: Elie Faure. In-40, 16 pages, 17
reproductions dont 1 en couleur. Art décoratif. Revue de l’art
ancien et de la vie artistique moderne. No. 157, Octobre, 1911.

FAURE, ELIE. _Francisco Iturino._ Signé: Elie Faure. In-40, 4 p., 3
reproductions. Art décoratif. Revue de l’art ancien et de la vie
artistique moderne. No. 178, 20 Août, 1912.

GODET, PIERRE. _Vincent Van Gogh._ Signé: Pierre Godet. In-40, 16
p., 14 reproductions dont une en couleur. Art décoratif. Revue de
l’art ancien et de la vie artistique moderne. No. 156, Septembre,
1911.

GODET, PIERRE. _Puvis de Chavannes et la peinture d’aujourd’hui._
Signé: Pierre Godet. In-40, 16 pages, 13 reproductions. Art
décoratif. Revue de l’art ancien et de la vie artistique moderne.
No. 164, Janvier, 1912.

GODET, PIERRE. _Un peintre suisse._ Cuno Amiet. Signé: Pierre
Godet. In-40, 10 pages, 11 reproductions. Art décoratif. Revue de
l’art ancien et de la vie artistique moderne. No. 171, 5 Mai, 1912.

GUY, MICHEL. _Paul Gauguin._ Signé: Michel Guy. In-40, 16 pages, 13
reproductions. Art décoratif. Revue de l’art ancien et de la vie
artistique moderne. No. 151, Avril, 1911.

GUY, MICHEL. _Les Fauves._ Signé: Michel Guy. In-89, 9 pages. La
Phalange. No. du 15, Septembre, 1907.

GUY, MICHEL, _van Gogh._ Signé: Michel Guy. In-80. La Phalange. No.
du 15, Février, 1908.

HENRI, FRANTZ. _La Collection Henri Rouart._ Signé: Henri Frantz.
In-40, 31 pages et 32 reproductions. Art décoratif. Revue de l’art
ancien et de la vie artistique moderne. No. 185, 5 Décembre, 1912.
Contient de nombreux aperçus sur des œuvres des peintres
impressionistes tels que Cézanne, Rénoir, Monet, Degois, etc.

LAENEN, JEAN. _Jacob Smits._ Signé: Jean Laenen. In-40, 9 pages, 8
reproductions. Art décoratif. Revue de l’art ancien et de la vie
artistique moderne. No. 121, Octobre, 1908.

MARVAL, JACQUELINE, _Les danseurs de Flandrin._ Signé: Jacqueline
Marval. In-40, 12 pages, 12 reproductions. Art décoratif. Revue de
l’art ancien et de la vie artistique moderne. No. 190, Avril, 1913.

MAUCLAIN, CAMILLE. _Gaston Crunier._ Signé: Camille Mauclain.
In-40, 12 pages, 14 reproductions et 1 planche en couleur hors
texte. Art décoratif. Revue de l’art ancien et de la vie artistique
moderne. No. 139, Avril, 1910.

MEIER-GRAEFE, J. _Grêco peintre baroque._ Signé: J. Meier-Graefe.
Trav. de l’allemand par Pierre Godet. In-40, 36 pages, 35
reproductions. Art décoratif. Revue de l’art ancien et de la vie
artistique moderne. No. 182, 20 Octobre, 1912.

RITTER, WILLIAM. _Frank Brangwyn._ Signé: William Ritter. In-40, 14
p., 14 reproductions. L’art décoratif, revue de l’art ancien et de
la vie artistique moderne. No. 144, Septembre, 1910.

RIVIÈRE, JACQUES. _Coussin et la peinture contemporaine._ Signé:
Jacques Rivière. In-40, 16 pages, 14 reproductions. Art décoratif.
Revue de l’art ancien et de la vie artistique moderne. No. 167,
Mars, 1912.

SALMON, ANDRÉ. _Odilon Rédon._ Signé: André Salmon. In-40, 16
pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de
la vie artistique moderne. No. 187, Janvier, 1913.

SALMON, ANDRÉ. _Marie Laurencin._ Signé: André Salmon. In-40, 6
pages, et 6 reproductions. Art décoratif. Revue de l’art ancien et
de la vie artistique moderne. Nos. 194-198, Août-Septembre, 1913.

_Tougendhold, Jacques._ _Borissoff Moussatoff._ Signé: Jacques
Tougendhold. In-40, 12 pages, 13 reproductions. Art décoratif.
Revue de l’art ancien et de la vie artistique moderne. No. 188,
Février, 1913.

_Vauxcelles, Louis._ _A propos des bois sculptes de Paul Gauguin._
In-160, 2 pages, 3 reproductions. Art décoratif. Revue de l’art
ancien et de la vie artistique moderne. No. 148, Janvier, 1911.

_Werth, Léon._ _Aristide Maillol._ Signé: Léon Werth. In-40, 16
pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de
la vie artistique moderne. No. 188, Février, 1913.

GERMAN

Acht Jahre Secession v. Ludwig Hevesi, Wien 1906. The
Post-Impressionist, by Lewis Hind, London (p. 412-417 Die
Nach-Impressionisten).

Aus der Correspondenz, Kunst u. Künstler, II. p. 264, 417, 462,
493. 1904.

Aus der Correspondenz, Kunst u. Künstler, III, p. 39-40, 86, 120,
169, 214-217, 261-262, 298-300, 347-348, 391-392, 436-438, 479-480
u. 528. 1905.

Ausstellung b. Cassirer von H. Rosenhagen, Kunst für Alle, XIX. p.
401-403, 1913-14.

Ausstellung der Kubisten in dem Moderne Kunstkring, zu Amsterdam,
p. 137-140, Kunstchr, XXIII.

Ausstellung in Berlin, Kunstchr, 09. XX. p. 238.

Ausstellung in Köln v. G. E. Lüthgen, Deutsche Kunst u. Dekoration,
XXXII. p. 179-182.

Ausstellung in München, Kunst für Alle, XXVI. p. 21-22, 1910-11.

Biermann, Georg, Bernhard Hoetger, ein deutscher Bildauer der
Gegenwart, München, H. Goltz, 1914.

Briefe von E. Schur, Kunst für Alle, 08, XXIII. p. 562-670.

Cato, Die Schweizer Abteilung der internationalen Kunstausstellung
München, München, 1913.

Cézanne u. Hodler, Einführung in die Probleme der Malerei der
Gegenwart von Fritz Burger, 1913, Delphin Verlag, München, Text und
Tafelband.

Coellen, Ludwig, Die neue Malerei: Der Impressionismus; Van Gogh
und Cézanne; Die Romantik der neuen Malerei; Gauguin und Matisse,
Picasso u. der Kubismus; Die Expressionisten, München, 1912; E. W.
Bonsels & Co., 2d edition.

Cohen-Gotschalk Zeitschrift für bildende Kunst, XIX. p. 225-235.
1907-08.

Das Erwachen des Geistes von Wilhelm Michel, Deutsche Kunst u.
Dekoration, XXXII. p. 9-11.

Das Kolorit i. d. Zeitgenössischen deutschen Malerei. Ein Mahnwort
von A. Giesecke. p. 41-43, Kunstnachrichten, Beiblatt der
Kunstwelt. II. Jahrgang No. 6 März 1913.

Der Blaue Reiter, herausgegeben von Kandinsky, München, 1912.

Der Blaue Reiter von Hans Titeze, Kunst für Alle, XXVII. p.
543-550.

Der Kubismus i. d. französischen Kammer, Kunstchr, XXIV. p. 176.

Der Moderne Impressionismus von Meier-Graefe. Die Kunst
Herausgegeben von Richard Muther, Verlag Julius Bard, Berlin.

Der Sturm Veranstaltete bisher folgende Ausstellungen in Berlin W.
9. Potsdamerstr. 134 a.

1. Der Blaue Reiter, Oskar, Kokoschka.

2. Die Futuristen: Boccioni, Carra, Russolo, Severini.

3. Französische Graphik, Pablo Picasso.

4. Deutsche Expressionisten: Campemdonk, Bloch, Jawlensky,
Kandinsky, Marc, Münter.

5. Französische Expressionisten: Braque, Derain, Othon, Friess,
Herbin Marie Laurencin, de Vlaminck.

6. Jungbelgische Künstler.

7. Kandinsky.

8. Die Pathetiker: Ludwig Meider, Jacob Steinhardt.

9. Egon Adler, Van Gauguin, Arthur Segal.

10. Die Neue Secession.

11. Gabriele Münter.

12. Robert Delaunay, Ardengo Soffici.

13. Alfred Reth.

14. Franz Marc.

15. Der Moderne Bund, Schweiz.

16. Gino Severini.

Deri, Max, Die neue Malerei: Impressionismus, Pointillismus, Futuristen, die grossen Uebergangsmeister, Kubisten, Expressionismus, Absolute Malerei, München; Piper, 1913; with illustrations.

Die Ausstellung von Werken Zurückgewiessener der Berliner Secession 1910, Neue Secession, p. 440-441, Kunstchr, XXI.

Die Französischen Bilder der Sammlung Kohner von Hugo Haberfeld mit Abbildung Gauguin, Cézanne, Gogh, etc., Der Cicerone, III. p. 579-589. 1911.

Die Frühbilder, von H. Hildebrandt, p. 376-378, Kunst u. Künstler, XI. 1913.

Die Futuristen in Rom, Kunstnachrichten, Beiblatt der Kunstwelt, II. p. 48, Jahrg. No. 6. März 1913.

Die Grundlagen der jüngsten Kunstbewegung. Ein Vortrag von Emil Utitz, Verlag v. Ferd. Enke, Stuttgart 1913.

Die Hauptströmungen des XIX Jahrhunderts von Julius Leisching.

Die Impressionisten von Heilbut, E., Berlin, Cassierer.

Die Impressionistenausstellung der Secession von E. Heilbut, Kunst u. Künstler, I. p. 169-207.

Die Internationale Ausstellung des Sonderbundes v. A. Fortlage, Köln, Der Cicerone, IV. p. 547-556. 1912 (mit abbildung van Gogh, Cézanne, Gauguin, Picasso).

Die Jungmodernen, Neue Secession, Brücke, p. 443-444, Kunstchr, XXIII.

Die Jüngsten von Karl Scheffler, Kunst und Künstler, XI. S. 391-409.

Die Neue Kunst in Wien Salon Miethke, Kunstchr, XXIV. p. 286-287.

Die neue Malerei von L. Coellen. Der Impressionismus von Gogh u. Cézanne, Gauguin u. Mattise, Picasso u. d. Kubismus. Verlag E. W. Bonsch & Co., München.

Die Persönlichen Erinnerungen N. B. Mendes da Costa’s an seinen Lateinschüler--mitgeteilt v. Max Eisler, Kunst u. Künstler, X. p. 98-104.

Die Secession von R. Klein, Moderne Zeitfragen, Nr. 9 Herausgegeben von Dr. Hans Landsberg, Pan-Verlag.

Die XXVI Ausstellung der Berliner Secession, Deutsche Kunst u. Dekoration, XXXII, p. 239-245, Darmstadt.

Die Zurückgewiessen auf der Berliner Secession, Kunstchr, XXIV. p. 480-482.

Du Quesne, Persönliche Erinnerungen an Vincent Van Gogh, München, 1913; R. Piper & Co., 3d ed.; 24 plates.

Entwickelung des Impressionismus in Malerei u. Plastik v. Meier-Graefe, Secession Wien.

Entwickelungsgeschichte der Modernen Kunst von J. Meier-Graefe I.-III. (III. Band Abbildungen), Verlag Jul Hoffmann, Stuttgart.

Erinnerungen an--von Emile Bernard, Kunst u. Künstler, VI, p. 421-429, p. 475-480, p. 521-527. 1908.

Erster Deutscher Herbstsalon Berlin 1913, Der Sturm, Berlin W. 9, Potsdamerstrasse 134a, mit einer Vorrede von Herwarth Walden.

Fischer, Otto, Das neue Bild, published by the New München Artists’ League; München, 1912; Delphin Verlag; 4°, with 36 art plates.

Französisch Importen von Felix Lorenz, Die Kunstwelt, III. p. 700-701. 1912.

Friedrich, Hans, Hodler, die Schweiz und Deutschland, München; James Verlag, 1913.

Futuristen und Genossen bei der Arbeit, Die Kunstwelt, II. 3. p. 189-191, 1912.

Futuristen v. Rud. Klein, Berlin, Deutsche Kunst u. Dekoration, XXX. p. 274-277, 1912, Darmstadt.

Gauguin, Paul, Noa-Noa, Berlin, Cassirer, 1911, 2d ed.

Gogh, V. Von, Briefe deutsche Ausgabe besorgt von M. Mauthner, II. Auflage, Bruno Cassierer, Berlin.

Gott schütz die Kunst, von Terentius, Die Kunstwelt, II. p. 353-360. 1912.

Hausenstein, Wilh., Die Neue Kunst; Zur Naturgeschichte der Kritik, In Katalog der II, Gesamtausstellung Neue Kunst, Hans Goltz, München, 1913; illustrated.

Hausenstein, W., Die bildende Kunst der Gegenwart, Stuttgart, Deutsche Verlagsanstalt, 1914.

Hermann, Curt, Der Kampf um den Stil. Probleme der modernen Malerei, with 8 autotypes; Berlin, Ed. Reiss’ Verlag, 1911; 8°.

Hildebrand, Hans, Adolph Stölzel als Zeichner, Stuttgart, Deutsche Verlagsanstalt, 1913; 8°.

Impressionismus. Ein Problem der Malerei i. d. Antike und Neuzeit von Werner Weisbach I., Berlin 1910, II. 1911.

Impressionismus v. Laforgue, Kunst u. Künstler, III. p. 501-506.

Impressionisten Gugs-Maud van Gogh, Pissarro-Cézanne, II, Aufl. München u. Leipzig 1907.

Impressionistische Weltanschauung v. Scheffler, K., Zukunft, XLV. p. 138-147.

Jacob, Les oeuvres burlesques et mystiques de Frère Natorel mort au Couvent, illustrated with wood cuts by André Dérain; Paris, 1912.

Jacob, Saint Natorel, illustrated with water colors by Pablo Picasso, Paris, 1911.

Kampf, Im-um die Kunst, Reply to the “Protest by German Artists,” München, R. Piper & Co., 1911; 8°.

Kandinsky über das Geistige in der Kunst, München 1912, Verlag Piper & Co.

Kandinsky, Ueber das Geistige in der Kunst, insbesondere in der Malerei, München, R. Piper & Co., 1912; 8°.

Katalog der Sonderausstellung v. V. van Gogh, Amsterdam, Städt. Museum 1905.

Kritik seiner Arbeiten, Pariser Herbstsalon. S. 47-48, Zeitschrift für Bildende Kunst, XVII. 1906-07.

Kubisten u. Nazarener, Künstchr., XXIV. p. 113-115.

Kunst, Deutsche und französische, A symposium of German artists, gallery directors, collectors and authors; München, R. Piper & Co., 1913; 8^o.

Kunst und Künstler, V. p. 339-359, 1907.

Kunst und Künstler, VI. p. 355-376, 1908.

Kunstchr., Zeitschrift für bildende Kunst, XIV. p. 420. 1902-03.

Le Fauconnier, Die Auffassung unserer Zeit und das Gemälde, translated by Gertrude Osthaus in connection with the exposition at the Folkwang museum in Hagen, Westphalia, München, 1913; 8^o.

Malerische Impressions und Koloristische Rythmus, Beobachtungen über Malerei der Gegenwart von Wilh. Neimeyer. Sonderbund Ausstellung 1910, Düsseldorf, mit Abbildungen unter anderen von A. v. Jawlensky, Henri Matisse, W. Kandinsky.

Marinetti, F. P., Le Futurisme, Tours, 1911; E. Arrauset Cie.

Meier-Graefe, Paul Cézanne, München, 1910, R. Piper & Co.; 4th-6th ed., 1913.

Neue Kunst, Katalog der II. Gesamtausstellung August-September, 1913. Hans Goltz, München, Odeonsplatz 1 (mit Abbildungen von Picasso, Matisse, Kandinsky, Jawlensky).

Noa-Noa-Tagebuch, p. 78-81, p. 125-127, Kunst u. Künstler, VI. p. 160-164, 1908.

Noa-Noa von P. Fechter-Aufenthalt in Tahiti, Kunst für Alle, 08. XXIII. S. 250-255.

Notiz über Kandinsky, p. 434. Kunst für Alle XXVII.

Notizen eines Malers, Kunst u. Künstler, VII. p. 335-347, 1909.

Paris auf der Juryfreien Kunstchau in Berlin v. J. v. Bülow, Kunstchr., XXIV. p. 249-254.

Paul Cézanne v. Julius Meier-Graefe München, 1910, Verlag R. Piper & Co.

Paul Gauguin, Gallerie Miethke, Katalog mit Biogr. von Rudolf Adalbert Meyer, März-April 1907.

Paul Gauguin, 1847-1903, par Jean de Rotonchamp, Paris chez. Ed. Druet.

Paul Gauguin, v. Dr. Meyer Riefstal, Paris, p. 109-116. Deutsche Kunst u. Dekoration XXVII, Darmstadt.

Persönliche Erinnerungen an V. van Gogh, E. H. du Quesne, München Piper 1911.

Pratella, Franc, Balita, Musica Futurista per Ontesta, Bologna, F. Bongiovanni, 1913.

Raphael, Max, Von Monet zu Picasso; Grundzüge einer Aesthetik und Entwickelung der modernen Malerei, München, Delphin Verlag, 1913; 8^o.

Reiter, Der blaue, Ein Dokument des Expressionismus. Herausgeber: Kandinsky und Franz Marc, München, R. Piper & Co., 1912; with 34 plates.

Soffici, Ardenzo, Cubismo e oltre, Florence, Libreria della Voce, 1913.

Sydow, Eckart v., Cuno Amiet. Eine Einführung in ein nationales Werk. In “Kunstgeschichte des Auslandes,” issue 106, Strassburg, 1913; with 11 plates; 4^o.

Ueber Impressionismus von J. Meier-Graefe, p. 145-162, Kunst für Alle, XXV. 1909 u. 10.

Utitz, Die Grundlagen der jüngsten Kunstbewegung. Ein Vortrag, Stuttgart, Enke, 1913; 8^o.

v. Meyer Riefstahl, Burlington Magazine, XVIII. p. 91-99. 155-162.

Van Gogh, Vinc., Briefe. Deutsch von N. Mauthner, Berlin, P. Cassirer, 1911; 4th ed.; with 15 drawings; 8^o.

Vincent Van Gogh, München, 1910, R. Piper & Co.; 4th-6th ed., 1912.

Vincent Van Gogh u. Gauguin zum Klassizismus, Kunst u. Künstler, 09, VIII. p. 86-101.

Vincent Van Gogh von Julius Meier-Graefe, München 1910.

Vom Wert des Neo-Impressionismus von A. L. Plehn, Kunst für Alle, XIX. p. 514-522.

Von Eugen Delacroix zum Neo-Impressionismus. Einzige deutsche autorisierte Uebersetzung, Krefeld, 1903, Rheinischer Verlag G. A. Hohns Söhne.

Von Impressionismus zum Neo-Impressionismus. Autoris. Uebersetzung, Berlin, Verlag. K. Schnabel.

Von P. Gauguin, Kunst u. Künstler, VIII. p. 579-586.

Von Paul Gauguin, Kunst u. Künstler, VIII. p. 579-586. 1910.

Was ist uns impressionistische Malerei von A. Gold, Deutschland, III. p. 328-342.

Weese, Arth., Ferdinand Hodler, Berlin, 1910; Francke.

Worringer, Wilh., Abstraction und Einfühlung. Ein Beitrag zur Stilpsychologie, München, Piper, 1911; 3d ed.; 8^o.

Zum Klassizismus von Maurice Denis, Kunst u. Künstler, VIII. p. 86-101, 1910.

ARTICLES.

Alt, Theod., Hodler und seine Zeitgenossen, Der Thürmer, XV,
1912-13, p. 626-37.

Apollinaire, Guill., Réalité, peinture pure, Der Sturm, 1902, No.
138-39.

Apollinaire, Guill., Die moderne Malerei. Uebersetzt von Jean
Jacques, Der Sturm, 1903, No. 148-49.

Avenarius, Von Van Gogh, Kunstwart, XXIV, 1910, I, p. 56-59.

Avenarius, Ferd., Futuristen, Kunstwart, XXV, 1912, III, p. 278-81.

Beckmann, Frz., Gedanken über zeitgemässe und unzeitgemässe Kunst.
A reply to Die neue Malerei, by Frz. Marc., Pan, II, 1, p. 499-502.

Bahne, Adolf, Der Maler Franz Marc, Pan, III, 1913, p. 616-18.

Bender, Ewald, Deutsche Kunst um 1913, Zeitschrift für bildende
Kunst, new series 24, 1912-13, p. 287,302, with 1 illustration.

Bender, Ewald, F. A. Weinzheimer, Zeitschrift f. bildende Kunst,
new series XXIV, 1912-13, p. 305-8, with illustrations.

Benkard, Ernst A., Ferdinand Hodler, Zur Hodlerausstellung im
Frankfurter Kunstverein, Zeitschrift f. bildende Kunst, new series
XXIII, 1911-12, p. 7-12, with illustrations.

Beringer, Jos. Aug., Deutsche Kunstnöte, Süddeutsche Monatshefte,
XI, 1913-14, p. 198-208.

Bernard, Emile, Erinnerungen an Paul Cézanne, Kunst und Künstler,
vol. VI, 1908, p. 421, 475, 521, with illustration.

Biermann, Hans Georg, Bernhard Hoetger, Kunst f. Alle, XXVIII,
1912-13, p. 385-96, with illustrations.

Breuer, Robert, Max Pechstein, Deutsche Kunst u. Dekoration, XXIX,
1911-12, p. 423-36, with illustrations.

Corinth, Lovis, Die neueste Malerei, Pan, II, 1910-11, p. 432-7.

Denis, Maurice, Von Gauguin und Van Gogh zum Klassizismus, Kunst u.
Künstler, Berlin, VIII, 1910, p. 86-101, with illustrations.

Denis, Maurice, Edmund Cross, Kunst u. Künstler, Berlin, IX,
1910-11, p. 294-6.

Dennert, Die Kunst der Urmenschen und der Allermodernsten, Der
Türmer, XVI, 1913, p. 296-301.

Dreyfus, Alb., Paul Cézanne, Zeitschrift f. bildende Kunst, new
series XXIV, 1912-13; p. 197-206, with illustr.

Eisler, Max, Die persönlichen Erinnerungen N. B. Mendes da Costa’s
an seinen Lateinschüler Vincent Van Gogh, Kunst und Künstler, X,
1911-12, p. 98-104, with illustrations.

Fechter, Paul, Die Fortbildungen des Impressionismus, Deutsche
Kunst u. Dekoration, XXIX, 1911-12; p. 299-304.

Fortlage, Arnold, Die internationale Ausstellung des Sonderbundes,
Cicerone IV, 1912, p. 547-56, with illustrations; Kunst f. Alle,
XXVIII, 1912-13, p. 84-93, with illustrations.

Fortlage, Arnold, Georg Minne, Kunst f. Alle, XXVIII, 1912-13; p.
347-53, with illustrations.

Friedeberger, Hans, Zeichnungen von Max Pechstein, with
illustrations, Cicerone, V, 1913, p. 289-91.

Friedrich, Hans, Eine Analyse des Futurismus, Janus (München), II,
1, 1912-13, p. 173-7. Die Hinrichtung Paul Cézanne’s durch Max
Beckmann, Janus, II, 1, 1912-13; p. 362-4.

Futuristen und Genossen bei der Arbeit, Kunstwelt, II, 1912-13;
vol. 1, p. 189-91.

Gauguin, Paul, Vincent Van Gogh, Kunst u. Künstler, Berlin, VIII,
1910; p. 579-86, with 6 illustrations.

Hausenstein, Wilh., Vom Kubismus, Der Sturm, IV, 1913; p. 170-71.
Albert Weisgerber, Zeit im Bilde, XI, 1913; p. 2641-7; with
illustrations. Von der neuen Kunst Zum Sommerschau von 1913 im
Kunstsalon Goltz in München, Zeit im Bild, XI, 1913; p. 2185-92;
with illustrations.

Holl, J. C., Après l’impressionnisme, Physionomie de l’art actuel,
La leçon de l’impressionnisme, XX Siècle, Paris.

Michel, Wilh., Das Weltanschauliche der neuen Malerei, Deutsche
Kunst u. Dekoration, XVII, 1913-14; p. 33-39.

Kandinsky, Ueber Kunstverstehen, Der Sturm, 1912, No. 129;
illustrated.

Kandinsky, Für., Protest, Der Sturm, 1913, Nos. 150-5.

Kandinsky, Malerei als reine Kunst, Der Sturm, 1913; Nos. 178-9.

Klein, Rud., Futuristen, Deutsche Kunst u. Dekoration, XXX, 1912;
p. 274-77.

Kuhn, Alfr., Eduard Mundt, Zeit im Bild, XI, 1903; p. 2999-3003;
illustrated.

Léger, Fern., Les origines de la peinture contemporaine et sa
valeur représentative, Der Sturm, IV, 1913; Nos. 172-73.

Märten, Lu., Vincent Van Gogh, Die Grenzboten, 72, 1913, I, p.
237-43.

Manifest der Futuristen, Der Sturm, 1912, No. 103.

Marc, Franz, Die neue Malerei, Pan II, 1, 1911-12; p. 468-71.

Die konstruktiven Ideen der neuen Malerei, Pan, p. 527-31.

Anti-Beckmann, Pan, p. 555-6.

Markus, S., Die Kunst der Zukunft, Kunst für Alle, XXVIII, 1912-13,
p. 541-8; illustrated.

Meyer-Riefstahl, Rud., Paul Gauguin, Deutsche Kunst und Dekoration,
XXVII, 1910-11; p. 109-16; illustrated.

Michel, Wilh., Albert Weisgerber, Deutsche Kunst und Dekoration,
XXIX, 1911-12; p. 295-96; illustrated.

Osborn, Max, Bernhard Hoetger, V. Collective Exhibition of Modern
Art by Hans Goltz, Munich, 1913; with many illustrations.

Pechstein, Max, Was ist mit dem Picasso?, Pan, II, i, 1912; p.
665-9.

Rivière, Jacques, Gauguin, translated from the French by Jean
Jacques, Der Sturm, 1912; Nos. 134-5.

Rote, M. K., Pablo Picasso, Kunst für Aile, XXVIII, 1912-13; p.
377-83; illustrated.

Bernhard Hoetger, Der Cicerone, V. 1913; p. 197-203; illustrated.

Bewegungen in der neuen Kunst und ihre Aussichten, Kunst für Alle,
XXVIII, 1912-13; p. 292-305; illustrated.

Rovere, Jean, Paul Cézanne; Erinnerungen, Kunst und Künstler, X,
1911-12; p. 477-86; illustrated.

Salmon, André, La jeune peinture française, Paris, 1912.

Sch., K. E., Kubisten und Nazarener, Kunstchronik, new series,
XXIV, 1912-13; p. 113-4.

Schaefer, W., Bernhard Hoetger, Die Rheinlande, XVII, 1909; p.
13-14; illustrated.

Die junge und die jüngste Malerei. (Glossen zur
Sonderbund-Ausstellung in Köln.) Vincent Van Gogh; Cézanne; Der
blaue Reiter, Deutsche Monatshefte, Düsseldorf, XII, 1912; p.
284-317-355.

Schmidt, Max, Finke, Igc., Weiss, Konr., Eine Ausstellung des
Sonderbundes (at Düsseldorf), Hochland, XIII, 1, 1910-11; p. 245
and 516-17.

Schmidt, Paul Ferd., Ueber die Expressionisten, Deutsche
Monatshefte, XI, 1911; p. 427-9.

Die internationale Ausstellung des Sonderbundes in Köln 1912,
Zeitschrift für bildende Kunst, new series XXIII, 1911-12; p.
229-38; illustrated.

Schoenlank, M. R., Brief an Pechstein, Pan, II, 2, 1912; p. 738-9.

Schulze, Otto, Bildhauer Bernhard Hoetger, Deutsche Kunst und
Dekoration, XXVII, 1910-11; p. 116-23; illustrated.

Storck, Willy F., Ausstellung des deutschen Künstlerbundes in
Mannheim 1913, Deutsche Kunst und Dekoration, XXVII, 1913-14; p.
9-27; illustrated.

St. K., Die Zukünftler, Der Türmer, XIV, 1912, II; p. 422-4.

Terentius, Gott schütz’ die Kunst, Ein Faschingskapitel, Die
Kunstwelt, I, 1912; p. 353-60; illustrated.

Warstat, W., Die Futuristen, Die Grenzboten, 71, 1912, III; p.
210-18.

Walser, Rob., Zu der Arleserin von Van Gogh, Kunst und Künstler, X,
1911-12; p. 442-5.

Werth, Léon, Aristide Maissol, Kunst für Alle, XXVI, 1910-11; p.
276-82; illustrated.

Zukunft, Die, der deutschen Kunst. Eine Umfrage, Die Kunstwelt,
vol. 3 (1913), first issue; p. 19-33. Contains the answers given by
German artists and other well known personages to the following
questions put to them by the editor of the Kunstwelt:

1. How are you impressed by the creations of the latest schools of
art--the primitivists, the cubists, the futurists, the
expressionists?

2. Do you believe that in these directions or in one of them the
future of German art must be looked for?

REPRODUCTIONS OF FUTURIST AND CUBIST PAINTERS--PORTFOLIOS:

Cézanne Mappe; München; R. Piper & Co., 1912; 15 reprod.

Ehrenstein, A., Tubutsch. 12 drawings by O. Kokoschka. Wien; Jokoda
& Siegel, 1911.

Engert, Seven Drawings; H. P. S. Bachmann, 1913; 8°.

Gauguin Mappe, München; Piper, 1913. 15 reproductions.

Genin, Robert, Figürliche Kompositionen; 20 original drawings on
stone. München, Delphin Verlag, 1912.

Hodlermappe, München; Piper, 1913.

Kandinsky Album, 1901-1913; 80 full page reproductions of paintings
by Kandinsky with text written by himself. Berlin, Verlag der
Sturm, 1914.

Kokoschka, Oskar, Dramen und Bilder. Leipzig, Kurt Wolff, 1913.

Kokoschka, Oskar, 20 drawings. Berlin, Verlag der Sturm, 1913.

Reinhardt, Sig., Simson; 43 pen and ink sketches. München, 1913.

Schwalbach, Karl, 10 original lithographic drawings. München,
Delphin Verlag, 1913.

Senna, 15 original lithographic drawings by the artists’
association Senna. München, Delphin Verlag, 1912.

Van Gogh Mappe, München; Piper, 1912.

INDEX

Academic attitude, 61

Advertising, art of, 171-172

Age and new experiments, 66

Alexander and Sargent, 199;
Van Rees, 199;
post-Impressionistic, 199

America and virile Impressionism, 191;
new movement in 48;
what is happening in, 191

Americans, as dreamers, 192

Anderson, 1

Apollinaire, 67, 81

Arrangements, 14

Arteries, sclerosis of, 62

Archipanko, 204;
his Family Life, 205

Architecture, sky-scrapers, 199

Art, archaic and primitive, 78;
attitude of observer and producer, 87;
attitude of observer, 127;
conflict between old and new, 156;
continuous, 110;
creative, 30;
creative work by certain Americans, 196-197;
criticism, professional, 9-10;
currents in, 33;
decorative, correspondence regarding cubist pictures, 50-52;
definition of, 87-88;
expression of inner self, 112;
extravagances in, 34;
evolution of new movement, 11;
gains from controversy, 58, 59;
in offices, 161;
is cubism art? 86-87;
its relation to life, 198-199;
jargon, 9-10; laws of, 106;
modern expression of inner self, 11;
modern pictures in newspaper office, 160;
movement from studio to nature and back again, 14, 15;
movements from perfections to imperfections, 9;
movements of recent years, 60;
movements in, 8;
new movement a spiritual offering, 115;
new movements in relation to origin of art, 111;
new movements profoundly interesting, 108;
objective, 90;
on the horse-block, 7;
part played by subject,
159;
philosophy of movements in, 20;
private galleries graveyards of, 160;
revolution in, 3;
ridicule of great men by their own generations, 8;
sign of life is flux, 60;
subjective, 90;
thrives on controversy, 1;
ugliness in new pictures, 154;
works of observation and works of imagination, 14-15

Barbizon school and later developments, 11-12;
imaginative, 30;
its method, 15

Barnard, 203

“Bathsheba,” record of sales, 6, 7

Baum, 111

Beautiful, our notions of the, 155-156
(see also Ugliness)

Bechtejeff, 47, 111

Bell, Mrs., 48

Bellows, 1

Berlin, new movement in, 47

Bernard, 36, 43

Blaue Reiters, organization of, 112

Blue Riders, 55

Boccioni, 179;
exhibition in Paris, 184-185

Borghlum, 203

Borgmeyer, 21

Bossi, 111

Bourget, Paul, style obsolete, 170

Bracque, 47, 112

Brancusi, 182, 204;
article on his sculpture, 183;
“Sleeping Muse,” 182-183

Bloch, 115

Books in French and German, 107

Breton, protest against Cubist pictures, 51

Brinley, 1

Browning clubs, 108

Browning, ridicule of, 60

Burljuk, 47, 112

Cardoza, 200

Carter, 64

Cézanne and Cubism, 43, 81;
and Gauguin, 42;
leaders of Post-Impressionism, 28;
a painter’s painter, 209;
and substance of things, 35;
a substantial Impressionist, 208-210;
and the Impressionists, 35;
career of, 36;
compared with Monet, 195;
method of work, 36-37;
scientific theories, 43

Chabaud and Millet, 15

Charmy, 200

_Chicago Tribune_, article on London Exhibition, 55

Chicago Symphony Orchestra, 9

Chilton-Brock, 30, 31, 40

Chinanpin, 147-149

Chinese art, blue hair, 151;
esoragoto, 147

Chinese painting, 30;
four warnings, 153;
perspective in, 78;
principles of, 147-149

Cinematograph, secret of popularity, 170-171

Civilization, material and spiritual, 144

Clarke, 1

Color, compositions of, 91;
effects in theater, 142-143;
harmonies, 12, 95, 146;
in offices, 162;
music, 140-146 (see Music);
notes of in still lifes, 145

Colors used arbitrarily, 151-152;
used constructively, 37-38, 42;
used decoratively, 93, 144-5;
used imitatively, 93, 146

Color waves, 143

Columbian Exposition, 1, 3

Compenetration of planes in Futurism, 185-186

Compositionalists, 13

Compositional painting, 124-128;
no radical departure, 137

Conservative and radical tendencies in exhibitions, 57, 58

Convictions, the courage of, 7-8

Corot, ridiculed in France, 8

Courbet and followers, 11-12, 17

Cramer, 49

Creative art, 30

Critic, the ideal art critic, 134

Criticism of great masters, 155-156;
rage against great painters, 11, 12;
two comments, 214-220;
violent, 61

Cubism, and broad technic, 80;
and Futurism, 173-174;
and geometrical figures, 80-81;
a misleading term, 82;
and sincerity, 158;
and the substance of things, 98;
attitude of observer, 32;
derivation of name, 67;
development and exhibitions of, 67-68;
drawings by first year art students, 73;
effect on American art, 109;
explanation of by Picabia, 95-98;
explained by music, 106;
Gleizes and Metzinger’s book, 103;
is it art? 86-87;
its technical side, 72;
largely esoragoto, 158;
no object to help out picture, 159;
not a plea for, 65;
“Nude Descending the Stairs,” 164;
one form of prevailing reaction, 31;
significance of new movement, 66;
the different tendencies described, 68-70;
the elemental in, 78;
the theory of, 90;
transparency of objects, 180-182;
two extremes, 69;
what is it? 60;
when a puzzle, 69;
will pass away,67

Cubists, American, 48;
and El Greco, 110;
and certain American painters, 60;
child-like faith of, 109;
esoragoto, 147;
free to express themselves in their own way, 103-107;
getting away from cubes and angles, 82-83;
impression of New York, 96-97;
in business or profession, 62;
more favorably considered, 55, 56;
mostly young men, 108-109;
named by Matisse, 22;
nothing strange in their theories, 63;
protest against pictures, 50;
quotation from Plato, 102;
see nothing in Futurism, 59;
too serious, 158;
understanding them, 83-85

Dabo, 1

Dasburg, 49

Davidson, 1, 203

Davies, 1, 201; a creative painter, 196

Decoration and pictures, 159;
of offices, 162-163

Delauney, 47

Denissow, 47

Derain, 28, 47, 112;
“Forest at Martigues,” 69

DeZayas, 98

Dove, 48

Drawing, modern men are masters of, 130

Dresden, new movement in, 47

DuBois, 1

Duchamp, “Chess Players,” 68, 71;
“King and Queen,” 70, 71;
“Nude Descending the Stairs,” 164

Dufy, 47

Durand-Ruel, 22, 23, 24

Durer, elemental lines in human figure, 73-77

Duret, 12, 21

Emotions, painting of, 11, 92, 102;
sclerosis of, 62

England, new movement in, 47-48

Erbsloh, 111

Esoragoto, 147-153;
all great paintings are, 150

Etchells, 48

Exhibitions at 291 Fifth Ave., 211-213;
by Impressionists, 21-26;
independent, 194;
Morgan, pictures in Metropolitan Museum, 198-199

Extremists in art, 2-3

Fauvism, what it means, 47

Ferguson, 47

Ferment of new ideas, 4

Fiction, future development of, 171

Fischer, 38, 72, 112

Freedom to express one’s self, 103-107

French, 204

Friesz, 28, 47

Fry, Roger, 48, 116;
article on Brancusi, 183

Fry, S. E., 1

Futurism, 164-189;
development of, 165;
exhibition of sculpture, 184-185;
first exhibition in London, 175;
manifestoes of, 165-180;
manifestoes not to be accepted too literally, 188-189;
pictures and theories extreme, 166;
sculpture, 182-186;
theory of, 165;
theory of literature, 167-172;
theory of sculpture, 185-186;
transparency of objects, 176-179, 180-182

Futurists, and reaction, 32;
patriotism of, 189-196;
see nothing in Cubism, 59

Gauguin, 37;
a dreamer, 42;
and Strindberg, 41-42;
career, 40-42

Genin, 47

Gill, 48

Girieud, 47, 111

Glackens, 1

Gleizes and Metzinger’s book, 103

Gleizes, “Man on the Balcony,” 70

Gore, 48

Grant, 48

Graveyards of art, private galleries as, 160

Great artist, quality of, 26, 27

Greek painting, portraits, 113

Greek sculpture, painted, 152

Grieg, 106-107

Haller, 112

Hearn collection in Metropolitan Museum, 198-199

Hegel, philosophy of art, 20

Henri, 1;
a virile Impressionist, 193

Hoetger, 112

Hofer, 111

Hokusai, terra cotta horse, 152

Homer, a virile Impressionist, 192;
absorbed his subjects, 149;
his technic, 79;
work compared with recent pictures, 198

Ideals, demand for, 31

Ideas, accepting ready made, 64

Imagination and observation in art, 14-15

Impressionism (see Virile Impressionism);
American, 193;
and Monet, 34;
definition of term, 28;
different forms of, 195-196;
growth of, 19;
of Les Fauves, 33;
method of, 16;
realistic, and the great portrait painters, 208;
realistic leads to, 207-208;
substantial leads to, 208-210;
substantial, leads to Post-Impressionism, 210;
summing up of, 207;
superficial leads to, 207

Impressions, reaction to, 62-63

Impressionists, 11;
and Futurists, we all are at times, 62;
derivation of name, 21;
early exhibitions of, 21-26

Impressionist pictures bought by Chicago woman, 27

International Exhibition, 1, 3, 4, 26;
coincided with other upheavals in life, 65;
effect of on society, 7;
indignation of older men, 194;
no Futurist pictures, 164;
plenty of ugly pictures in, 157;
younger men curious, 194-195

Jakulof, 47

James, Henry, style obsolete, 168

Japanese art esoragoto, 147;
painting bamboo forest, 150;
sumi, 150;
perspective in, 78;
principles of, 147-149

Jargon in art and other departments of thought, 10

Jawlensky, 47, 110, 111, 113

Johnson, 49

_Journal_, Reno, Nevada, editorial from, 217

Kahler, 112

Kanabe, 47

Kandinsky, 111, 112;
and Turner, 29;
article in “Der Blaue Reiter,” 131-135;
estimate by other artists, 138, 139;
extreme in theories and work, 115;
his improvisations, 116;
his pictures in London exhibition, 116;
his writings, 107;
Improvisations, 124-128;
letters from, 124-128;
personal letter regarding his development, 135-137;
praised by a critic, 116-117;
spiritual values and necessities, 133-135;
qualifications and theories, 117-128

Kanoldt, 111

Kantsch, 47

Koga, 111, 114

Kramer, 1

Kroll, a virile Impressionist, 195, 196

Kuhn, 1

Kuznezoff, 47

Lempué, letter from, 50

Larionoff, 47

Laurencin, 47

Laughing at what is strange, 63

Laughter at the pictures, 7-8

Laurvik, 86

Lawson, 1

Lee, 49

Le Fauconnier, 111

LeFitz Simons, 20

Lehmbruck, 182

Les Fauves, 33, 37

Lewis, 47, 48

Lewis, 48

Lie, 1

Life and rhythm, 8

Life, romantic and realistic periods of, 18-19

Light, painting of, 11

Light, waves, 143

Literature, objectionable books, 157

Lloyd, George, 62

London, Allied Artists’ Exhibition, 183;
first exhibition of Futurism, 175

Luks, 1

MacMonies, 204

Manet, a realistic Impressionist, 207-210;
and followers, 11-12;
studio painter, 17

Marc, 112, 115

Marinetti, 165

Marquet, 47

Maschkoff, 47

Materialism and idealism, 18-19

Matisse, 28, 37;
career of, 43-47;
element of ugliness in, 157;
inevitable after Bouguereau, 157;
“Madras Rouge,” 113;
sculpture, 202;
theories of, 44-47

McFee, 49

McRae, 1

Metropolitan Museum, 26

Metzinger, 47

Millet, a subject painter, 14;
and Chabaud, 15;
and others ridiculed by Paris, 8;
manner of working, 16

Miller, Kenneth, a creative painter, 196

Mogilewsky, 112

Monet, a superficial Impressionist, 207-210;
and painting of light, 29;
and surface of things, 35

Morgan Exhibition in Metropolitan Museum, 198-199

Mourey, protest against Cubist pictures, 52

Movements in art, 8, 19;
never devoid of force, 53;
new in music, drama, etc., 30-31

Munich, atmosphere of compared with that of Paris, 111;
new movement in, 47;
Secessionists, 55;
the new art in, 110

Münter, 111, 112, 114

Müther, 16

Music and painting, development of, 92-94

Music, changes of appreciations in, 9;
Chinese, 128-129;
color organ, 140-146;
Greek, 128-129;
imitative, 106-107;
in color, 140-146;
of Schoenberg, 9;
Oriental, 128-129;
Russian Ballet, 9;
sound waves, 143;
understood in different ways by different hearers, 84-85;
used to explain, 106-107

Myers, 1

Nankivell, 1

National Academy in New York conservative, 57

Nature is living spirit, 134

Neo-Cubists, 67

Neo-Impressionists, 13;
logical outcome of Impressionism, 27

New and strange, average man bewildered by, 153

New ideas and work, 5

Newspaper, pictures in editorial room of, 160

New York, impressions by a Cubist, 96-97

Nieder, 112

Nocturnes, 14

Objects flow through one another (see chapter on Cubism)

Objective art, 90

Observation and imagination in art, 14-15

Offices, decoration of, 162;
pictures in, 161

Official exhibitions and independent, value of, 57

Old and new men, 4, 5

Old masters and the new art, 110

Old masters, works belong to public, 6

Opera not understood, 83-84

Orphists, 60;
theory of, 90-91

Organ, for color music, 140-146

Pach, 1

Painters like inventors, 19-20

Painting, a terrible problem, 2;
and music, development of, 92-94;
and sculpture compared, 187-188;
in France, 19th century, 12

Paris compared with Munich, 111

Peploe, 47

Perfections of Impressionism to imperfections of Post-Impressionism, 9

Perfection unattainable, 1

Periods in work of artist, 20

Photo-Secession Gallery, 1

Picabia, calls Cubism a misnomer, 82;
comparison made by, 91-92;
“Dance at the Spring,” 68;
explanation of abstract painting, 95-97;
impressions of New York, 96-97

Picasso, 47, 112;
changes in style, 67;
his development, 100-101;
his theory, 98-100;
“Woman and the Pot of Mustard,” 68;
“Woman with a Mandolin,” 123

Pictures, easel, 144

Planes, as used by Picasso, 101;
drawing in, 73-78;
illustrated in modelling an orange, 80

Plato, quotation from, 102

Pointillists, 28

Porter, 1

Portrait painting and cubism, 159;
and the modistes, 95;
the average, 159

Post-Cubists, 67

Post-Impressionism, 11;
aim of, 30;
and reaction, 30;
fundamentally different from Impressionism, 27, 28;
what it means, 11;
Exhibition in London, 55

Prendergast, 1

Prices, absurd for old masters, 6-7;
of famous Impressionist pictures, 22-26

Private buyer, his opportunity, 6

Progressive Political Convention, 4

Progressive Political Party, 66

Protest, a futile, 50

Public instinctively feels, 158

Public, normal attitude toward new pictures, 156

Reaction in art, 2

Realism and Courbet, 12

Redon, 47

Rembrandt, sale of “Bathsheba,” 6-7;
overpriced, 60

Resilient, men who are, 62

Revolutionary movements, interest in, 66

Ridicule, of famous Impressionists, 22-26;
of the strange, 65;
which greeted great masters, 21

Rimington, 140-146

Rodin, 35, 182;
attitude towards sculpture, 203;
his Balzac purely Post-Impressionistic, 79;
his technic, 79

Rohland, 49

Romanticism, 12

Royal Academy in London conservative, 57

Rousseau, 37

Rouault, 112

Russia, new movement in, 47

Russian Ballet, 9

Ruskin, opinion of Wagner, 61

Russolo, 179

Rutter, 3, 28, 42

Sacharoff, 111

Salmon, 43

Salon d’Automne, 54;
exhibition 1912, 50

Salon des Refuses, 11

Salon d’Independants, plan of, 56

Salons grow conservative, 57

Sargent, a virile Impressionist, 193;
and Alexander, 199;
and Whistler, 193;
his technic, 79;
tired of portrait painting, 102

Sarjan, 47

Schalowsky, 47

Schereczowa, 47

Schnabel, 111

Schools, effect of, 137, 138

Sculpture, 202-205; (see Futurism);
American, 203-204;
compared with painting, 187-188;
creative works, 204-205;
developments in, 202-203;
Futurist (see Futurism);
Greek, 203;
Matisse, 202;
observation and imagination in, 204;
painted, 152;
primitive element in, 206;
Rodin, 203;
spiritual element in, 205;
work of Brancusi and Archipanko, 204

Secessionists, Munich, 55

Segonzac, 200

Seguin, 42

Shaw, Bernard, a reactionary, 170

Sky-scrapers, 199

Sloan, 1

Société des Artistes Francais, 53-54

Société des Artistes Independents, 54

Société Nationale des Beaux-Arts, 53-54

Sound waves, 143

Sousa Cardoza, 85

St. Gaudens, 204

Stieglitz, 1, 116;
his exhibitions, 211-213

Still lifes, 94, 145

Story-telling pictures, 14

Strauss and other composers, 9

Strindberg and Gauguin, 41-42

Striving as an element of vitality, 89

Studios, art and nature art, 14;
mostly ugly, 95

Subjective art, 90

Subjects in painting, 13-14

Substance of things difficult to paint, 98

Sudbinin, 112

Symphonies, 14

Synchronists, 60

Taste, attitude of public normal, 156;
change in public taste, 55-56;
changes from decade to decade, 155-156

Taylor, 1

Theater, Cubists, Futurists, etc., in, 64;
color effects in, 142-143;
future development of play, 170-171

Things, painting of, 11

_Times_, London, editorial from, 214

Times ripe for a change in art, 9

Tolerance, a plea for, 65

_Tribune_, Chicago, article on London Exhibition, 55

Tucker, 1

Turner and light effects, 28;
forerunner of Impressionism, 13;
his strange pictures, 29;
ridiculed in England, 8

Ugliness, 154-163;
a matter of taste, 154-156;
and superb technic, 156;
a realism, 158;
a touchstone for taste, 157;
great masters thought ugly, 155-156;
in sculpture, 205-206;
Matisse, 157

Van Dongen, 47, 112

Van Gogh, 37;
letters of, 40

Verhoeven, 47

Virile Impressionism, 191-201;
glorious future for, 209-210;
material and practical, 192;
outcome of substantial Impressionism, 209-210

Visual music, 117

Vitality, a new art, 154

Vlaminck, 47, 112, 200

Wagner and Ruskin, 61;
Ruskin’s ridicule, 60

Werefkin, 47, 111, 114

Whistler, 4, 11;
as a Post-Impressionist, 18;
as an Impressionist, 18;
and Sargent and realistic Impressionism, 208;
compared with Sargent, 193;
forerunner of Post-Impressionism, 13;
his literal moods, 17;
master of technic, 14;
on level with Chinese masters, 103;
suit against Ruskin, 13

Whitman, ridicule of, 60

Wittenstein, 111

Young, 1

Youth, and new experiments, 66;
radicalisms of, 61

Zak, 200

Zorach, 49

FOOTNOTES:

[1] The names of the men who, in a spirit of disinterested devotion to art, organized this exhibition should not be forgotten. They were: Arthur B. Davies, J. Mowbray Clarke, Elmer L. McRae, Walt Kuhn, Karl Anderson, George Bellows, D. Putnam Brinley, Leon Dabo, Jo Davidson, Guy Pene DuBois, Sherry E. Fry, William J. Glackens, Robert Henri, E. A. Kramer, Ernest Lawson, Jonas Lie, George B. Luks, Jerome Myers, Frank A. Nankivell, Bruce Porter, Walter Pach, Maurice Prendergast, John Sloan, Henry Fitch Taylor, Allen Tucker, Mahonri Young.

For detailed account of earlier exhibitions held by Mr. Alfred Stieglitz--the real pioneer--in the Photo-Secession Gallery, 291 Fifth Ave., New York, see Appendix.¹

[2] “Revolution in Art,” by Frank Rutter, pp. 14, 15.

[3] Five short pieces of the music by Arnold Schoenberg were played for the first time in Chicago, December 31, 1913, by the Chicago Symphony Orchestra.

“Had Mr. Richard Swiveller been present at the performance of the new Stravinsky-Nijinsky ballet, ‘Le Sacre du Printemps,’ at Drury Lane on Friday night he would certainly have pronounced it ‘a staggerer.’ Both the music of M. Stravinsky and the choreography of M. Nijinsky are more defiantly anarchical than anything we have ever had before, and the purport of it all was a dark mystery, even though Mr. Edwin Evans was deputed to throw light on it in a long explanatory prologue. As every one knows by this time, M. Nijinsky is the apostle of a sort of ‘post-impressionist’ or ‘Cubist’ revolution of the dance, in which mere gracefulness is ruthlessly sacrificed to significance and force of expression, and everything is stated in terms of symbolism, and in the new ballet he seems to have carried his theories into the most extreme practice.... M. Stravinsky seems as determined to make the hearer sit up as his colleague. Save that he condescends to regular rhythms, his music is the last word in emancipation from form and the cacophony of it is at times distressing.”--(London Sunday Times, July 13, 1913, from its article on the new Russian ballet, the sensation of the season.)

[4] “Manet and the French Impressionists,” by Theodore Duret, Introduction.

[5] Testimony of Whistler in suit of “Whistler v. Ruskin.”

[6] How little the world cared for Millet when he lived is a matter of history. He painted his greatest pictures in a room without a fire, in straw shoes, and with a horse blanket on his shoulders, and often he and his wife went without food. “All his efforts to exhibit in Paris were in vain. Even in 1859, ‘Death and the Woodcutter’ was rejected by the Salon. The public laughed, being accustomed to peasants in comic opera, and, at best, his pictures were honored by a caricature in a humorous paper.” His pictures brought from fifty to sixty dollars.

[7] “History of Modern Painting,” Richard Muther, Vol. II, pp. 487-8.

[8] “The New Movement in Art from a Philosophical Standpoint,” by Theo. LeFitz Simons.

[9] See “Manet and the French Impressionists,” by Duret, p. 112 _et seq._, and a readable article, “The Master Impressionists,” by C. L. Borgmeyer, in “Fine Arts Journal” for March, 1913.

[10] April 25, 1874.

[11] “Library Gazette,” May 14, 1842, p. 331.

[12] “Athenaeum,” May 14, 1842, p. 433.

[13] “Revolution in Art,” by Frank Rutter, p. 17, 18.

[14] The interest expressed in much impressionist painting is only an interest of curiosity. The painter represents facts that he has only just noticed. He is like a clever journalist who makes an article out of his first observations of a new country. But the aim of the Post-Impressionist is to substitute the deeper and more lasting emotional interest for the interest of curiosity.

Like the great Chinese artists, they have tried to know thoroughly what they paint before they begin to paint it, and out of the fulness of their knowledge to choose only what has an emotional interest for them. Their representations have the brevity and concentrated force of the poet’s descriptions. He does not go out into the country with a note-book and then versify all that he has observed. His descriptions are often empty of fact, just because he only tells us what is of emotional interest to himself and relevant to the subject of his poem; and they are justified, not by the information they convey, but by the emotion they communicate through the rhythm of sound and words. The Post-Impressionists try to represent as the poet describes. They try to give every picture an emotional subject-matter and to make all representation relevant to it.

“The Post-Impressionists,” by A. Chilton-Brock, “Burlington Magazine,” January, 1911.

[15] “The Post-Impressionists,” by A. Chilton-Brock, “Burlington Magazine,” January, 1911.

[16] In another book, “The New Competition,” the writer has attempted this in relation to business and economics.

[17] “Souvenirs Sur Paul Cézanne,” by Emile Bernard, 1912.

[18] “Das Neue Bild,” Otto Fischer, 11-12. Several of the half-tone reproductions which we use are from this work on Munich art.

[19] “The Post-Impressionists,” by A. Chilton-Brock, “Burlington Magazine,” January, 1911.

[20] “Revolution in Art,” by Frank Rutter, p. 27.

[21] “Paul Gauguin,” by Michael Puy, “L’Art Décoratif,” April, 1911.

[22] “Revolution in Art,” by Frank Rutter, 32-33. Now that the great Swedish dramatist, and pessimist, is becoming known to the English-speaking world, these words of Gauguin’s are singularly interesting--and just.

[23] See “Paul Gauguin,” by Armand Seguin, “L’Occident,” March, April, and May, 1903.

[24] “Souvenirs of Paul Cézanne,” by Emile Bernard, p. 36.

[25] See “Laws of Japanese Painting,” Henry P. Bowie, by long odds the best book in English on the subject.

[26] See “La Jeune Peinture Française,” pas. André Salmon, pp. 18, 19.

[27] “La Jeune Peinture Française,” André Salmon, p. 19.

[28] From an article and interview by C. T. MacChesney, printed in the “New York Times,” March 9, 1913.

[29] See “Le Jeune Peinture Française,” André Salmon, 1912.

[30] “Der Blaue Reiter,” p. 5.

[31] See “Der Blaue Reiter,” pp. 17, 18.

[32] “L’Art Décoratif,” Nov. 1912.

[33] See “The New Spirit in Drama and Art,” by Huntley Carter.

[34] This and the following chronological information are from “Les Peintres ‘Cubistes,’” by Guillaume Apollinare, 22 _et seq._

[35] “Les Peintres ‘Cubistes,’” pp. 24-26.

[36] “Das Neue Bild,” Otto Fischer, pp. 12-13.

[37] See “The Mask,” Vol. VI, pp. 64-75.

[38] “Les Peintres ‘Cubistes,’” Guillaume Apollinare, p. 15.

[39] “Is It Art? Post-Impressionism, Cubism, Futurism,” by J. N. Laurvik. The sub-title is obviously confusing, since Post-Impressionism includes all the developments following Impressionism.

[40] “Delight; the Soul of Art,” p. 9 et seq.

[41] “Delight; the Soul of Art,” lecture V, “Delight in Labor.”

[42] From “An Interview with Francois Picabia,” in the “New York Tribune.”

[43] J. N. Laurvik, in “Boston Evening Transcript.”

[44] “Cubism,” Gleizes and Metzinger (Eng. Edition).

[45] “Das Neue Bild,” by Otto Fischer, pp. 22, 23.

[46] “Das Neue Bild,” p. 34.

[47] It was purchased by Mr. Alfred Stieglitz.

[48] Roger Fry in “The Nation,” August 2, 1913.

[49] Second edition, Munich, R. Piper & Co., 1912.

[50] “Der Sturm,” Berlin.

[51] See pages 87-88 for quotation from “Delight; the Soul of Art.”

[52] It should be stated that the brilliant colors of the original are very inadequately shown in the reproduction for the reason the painting is so large it does not reproduce well so small.

[53] “The History of Music,” Emil Nauman, Vol. 1, p. 7 _et seq._

[54] See “Sensations of Tone,” Helmholtz, Eng., Edit., p. 258.

[55] Helmholtz, p. 258.

[56] Ibid., p. 265.

[57] For a scientific investigation of Siamese and Japanese scales, see additions to English edition of Helmholtz, “Sensation of Tone,” p. 556.

[58] “History of Music,” Nauman, Vol. I, p. 10.

[59] Ibid., Vol. I, p. 12.

[60] By Mr. A. W. Rimington, Professor of Fine Arts at Queen’s College, London. See his book, “Color Music.”

[61] “On the Laws of Japanese Painting,” by Bowie, p. 55.

[62] “On the Basis of Japanese Painting,” Bowie, pp. 77-79.

[63] Signor Marinetti is the founder of the school; he is not a painter, but a writer, editor of “Poesia.” He is a young man and is followed by a small band of young enthusiastic writers, poets, musicians, painters, sculptors, whose innovations strike even the cubists as wild extravagances. In fact, Futurism and Cubism have very little in common except innovation; both are revolutionary but otherwise diametrically opposed in many of their aims and theories.

[64] Before seeing any of the Futurist literature and influenced only by developments in the printing of newspapers and periodicals in America, the writer caused a book on an economic subject to be printed in such a manner that, so far as possible, each page displayed on its face its contents. The attempt was made to so break up the pages and so use italics and capitals that the task of the reader would be lightened. The attempt attracted the very favorable attention of reviewers, several remarking that “the arts of the advertiser had been used to display the ideas”--and that was true.

[65] From an article by Ray Nyst, a Belgian critic in “La Belgique Artistique et Libraire.”

[66] Writer in “The Times-Democrat,” New Orleans.