Part 19

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.