Cubists and Post-Impressionism

CUBISTS AND POST-IMPRESSIONISM
GLEIZES
Man on Balcony
BY ARTHUR JEROME EDDY Author of “Delight, the Soul of Art,” “Recollections and Impressions of James A. McNeill Whistler,” etc. With Twenty-three Reproductions in Color of Cubist and Post-Impressionist Paintings, and Forty-six Half-Tone Illustrations
CHICAGO A. C. McCLURG & CO. 1914 Copyright A. C. McClurg & Co. 1914 Published March, 1914 W. F. HAL. PRINTING COMPANY, CHICAGO
TO THAT SPIRIT the beating of whose restless wings is heard in every land
CUBISTS AND POST-IMPRESSIONISM
“It is unlikely that any painters will ever again have to face the hostility which was manifested against the Impressionists. The repetition of such a phenomenon would be impossible. The case of the Impressionists, in which withering scorn yielded place to admiration, has put criticism on its guard. It will surely stand as a warning, and ought to prevent the recurrence of a similar outburst of indignation against the innovators and independents whom time may yet bring forth.”
—“Manet and the French Impressionists,” by Theodore Duret, pp. 180, 181.
Cubists and Post-Impressionism
“Stimulating” is the word, for while the recent exhibition may have lacked some of the good, solidly painted pictures found in the earlier, it contained so much that was fresh, new, original—eccentric, if you prefer—that it gave our art-world food for thought—and heated controversy.
Art thrives on controversy—like every human endeavor. The fiercer the controversy the surer , the sounder , the saner the outcome.