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
[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [R], [S], [T], [U], [V], [W], [Y], [Z]
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.