Chapter IX: Appendix: I

EXHIBITIONS AT 291 FIFTH AVENUE

During a number of years prior to 1913 Mr. Alfred Stieglitz gave exhibitions of extreme modern work in his Small Photo-Secession Gallery, 291 Fifth Avenue, New York, and the International was the outcome, the logical culmination of these earlier efforts.

Mr. Stieglitz prepared the following chronological narrative:

In the end of November, 1906, “291” (“Photo-Secession Gallery,” “Little Gallery,” etc., etc.) was opened with an exhibition of pictorial photography. The exhibition represented the best work of Steichen, Frank Eugene, Kasebier, Clarence White, Stieglitz, Coburn, Brigman, Herbert G. French, and about thirty others, all Americans.

This exhibition was followed up by a series of exhibitions--usually one-man--of the picked work which had been done in pictorial photography the world over.

In 1907 the first exhibition not devoted to photography was that of Miss Pamela Coleman Smith. This exhibition created a sensation. At the time it aroused the ire of most of the New York critics.

Following this there were shown Willie Geiger’s (Munich) best etchings and Ex Libris. This was the first show of his in America.

But the real beginning, I suppose, of the so-called _Modern_ work shown at “291” was the exhibition of about sixty of Rodin’s choicest drawings. These were selected by Rodin and Steichen for the special exhibition. The exhibition aroused intense indignation in New York amongst the critics and amongst most painters (men like Chase, Alexander, and others of this type feeling that such things were not meant for the public).

April, 1908, Matisse was introduced to the American public for the first time. This exhibition of Matisse’s represented the complete evolution of Matisse from his academic period up to date. It included etchings, drawings, water colors, lithographs, and oil paintings.

January, 1909, the work of Marius De Zayas was introduced for the first time.

March, 1909, John Marin and Alfred Maurer (the “new” Maurer) were introduced. The work of these Americans seemed to upset the equilibrium of the academicians even more than the “jokes” of Rodin and Matisse.

May, 1909, Marsden Hartley was introduced to the public for the first time.

December, 1909, Toulouse Lautrec Exhibition. A very choice collection of his lithographs. First Lautrec Exhibition in America.

February, 1910, second Marin Exhibition.

March, 1910, exhibition of the work of “Younger American Painters”: Arthur G. Dove, Arthur B. Carles, L. Fellows, Marsden Hartley, Putnam Brindley, John Marin, Alfred Maurer, Steichen, Max Weber. This was the first collective exhibition of Modern work by Americans.

April, 1910, second Rodin Exhibition. The very latest drawings of Rodin were shown, together with eleven of his earliest ones. At the same time the best small bronze of the “Penseur” (loaned by Mrs. John W. Simpson) was exhibited.

November, 1910, Exhibition of lithographs by Cézanne, Renoir, Manet, and Toulouse Lautrec. Together with these, drawings and paintings by Henri Rousseau, just deceased. This exhibition introduced Rousseau for the first time to America, as well as it introduced Cézanne.

January, 1911, Exhibition by Max Weber, American.

February, 1911, Marin Exhibition (third).

March, 1911, a series of Cézanne water colors. The first one-man show of Cézanne’s in America. These water colors were most carefully selected and really represent a side of Cézanne which is underestimated by all those, even Cézanne lovers, who do not fully understand Cézanne’s importance.

April, 1911, Picasso. Drawings, lithographs, water colors, etc. A series of eighty showing the complete evolution of Picasso. The first introduction of Picasso to America and the first exhibition anywhere of Picasso held in this sense.

February, 1912, second Hartley exhibition.

February, 1912, first Arthur G. Dove exhibition.

March, 1912, sculptures and latest drawings by Matisse. First introduction to America of Matisse, the sculptor.

April, 1912, Exhibition of Children’s Work, showing relationship of that to much of the spirit of so-called “Modern” work, first exhibition of its kind held in America.

December, 1912, drawings and paintings by A. Walkowitz.

January, 1913, fourth Marin Exhibition--the now famous New York skyscraper series were shown.

March, 1913, Picabia’s New York work. The first one-man show of Picabia held in America.

April, 1913, Exhibition of De Zaya’s abstract caricature. Possibly the most _modern_ expression of the human portrait.

Incidentally, without having had official shows, the work of Eli Nadelmann (Paris) and Manolo, was introduced to America by examples of their work being shown.

Outside of all these exhibitions, of course, must be added the exhibition of color-photography, first in America, in 1907, and numerous other exhibitions, of important photographic work.