Part 20

[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.