Cubists and Post-Impressionism

by Arthur Jerome Eddy

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.)