APPENDIX I
EXHIBITIONS AT 291 FIFTH AVENUE
DURING a number of years prior to 1913 Mr. Alfred Stieglitz gave exhibitions of extreme modern work in his Small Photo-Secession Gallery, 291 Fifth Avenue, New York, and the International was the outcome, the logical culmination of these earlier efforts.
Mr. Stieglitz prepared the following chronological narrative:
In the end of November, 1906, “291” (“Photo-Secession Gallery,” “Little Gallery,” etc., etc.) was opened with an exhibition of pictorial photography. The exhibition represented the best work of Steichen, Frank Eugene, Kasebier, Clarence White, Stieglitz, Coburn, Brigman, Herbert G. French, and about thirty others, all Americans.
This exhibition was followed up by a series of exhibitions—usually one-man—of the picked work which had been done in pictorial photography the world over.
In 1907 the first exhibition not devoted to photography was that of Miss Pamela Coleman Smith. This exhibition created a sensation. At the time it aroused the ire of most of the New York critics.
Following this there were shown Willie Geiger’s (Munich) best etchings and Ex Libris. This was the first show of his in America.
But the real beginning, I suppose, of the so-called Modern work shown at “291” was the exhibition of about sixty of Rodin’s choicest drawings. These were selected by Rodin and Steichen for the special exhibition. The exhibition aroused intense indignation in New York amongst the critics and amongst most painters (men like Chase, Alexander, and others of this type feeling that such things were not meant for the public).
April, 1908, Matisse was introduced to the American public for the first time. This exhibition of Matisse’s represented the complete evolution of Matisse from his academic period up to date. It included etchings, drawings, water colors, lithographs, and oil paintings.
January, 1909, the work of Marius De Zayas was introduced for the first time.
March, 1909, John Marin and Alfred Maurer (the “new” Maurer) were introduced. The work of these Americans seemed to upset the equilibrium of the academicians even more than the “jokes” of Rodin and Matisse.
May, 1909, Marsden Hartley was introduced to the public for the first time.
December, 1909, Toulouse Lautrec Exhibition. A very choice collection of his lithographs. First Lautrec Exhibition in America.
February, 1910, second Marin Exhibition.
March, 1910, exhibition of the work of “Younger American Painters”: Arthur G. Dove, Arthur B. Carles, L. Fellows, Marsden Hartley, Putnam Brindley, John Marin, Alfred Maurer, Steichen, Max Weber. This was the first collective exhibition of Modern work by Americans.
April, 1910, second Rodin Exhibition. The very latest drawings of Rodin were shown, together with eleven of his earliest ones. At the same time the best small bronze of the “Penseur” (loaned by Mrs. John W. Simpson) was exhibited.
November, 1910, Exhibition of lithographs by Cézanne, Renoir, Manet, and Toulouse Lautrec. Together with these, drawings and paintings by Henri Rousseau, just deceased. This exhibition introduced Rousseau for the first time to America, as well as it introduced Cézanne.
January, 1911, Exhibition by Max Weber, American.
February, 1911, Marin Exhibition (third).
March, 1911, a series of Cézanne water colors. The first one-man show of Cézanne’s in America. These water colors were most carefully selected and really represent a side of Cézanne which is underestimated by all those, even Cézanne lovers, who do not fully understand Cézanne’s importance.
April, 1911, Picasso. Drawings, lithographs, water colors, etc. A series of eighty showing the complete evolution of Picasso. The first introduction of Picasso to America and the first exhibition anywhere of Picasso held in this sense.
February, 1912, second Hartley exhibition.
February, 1912, first Arthur G. Dove exhibition.
March, 1912, sculptures and latest drawings by Matisse. First introduction to America of Matisse, the sculptor.
April, 1912, Exhibition of Children’s Work, showing relationship of that to much of the spirit of so-called “Modern” work, first exhibition of its kind held in America.
December, 1912, drawings and paintings by A. Walkowitz.
January, 1913, fourth Marin Exhibition—the now famous New York skyscraper series were shown.
March, 1913, Picabia’s New York work. The first one-man show of Picabia held in America.
April, 1913, Exhibition of De Zaya’s abstract caricature. Possibly the most modern expression of the human portrait.
Incidentally, without having had official shows, the work of Eli Nadelmann (Paris) and Manolo, was introduced to America by examples of their work being shown.
Outside of all these exhibitions, of course, must be added the exhibition of color-photography, first in America, in 1907, and numerous other exhibitions, of important photographic work.
APPENDIX II
TWO COMMENTS
IT is only fair to the press to say that here and there, in most unexpected places, not only articles but editorials appeared admonishing the public to be cautious about condemning the new art too impulsively.
We have chosen two such expressions from places so different, as London, and Reno, Nevada.
Apropos the Russian Ballet and its extraordinary music, the London “Times,” in a leading editorial, July 13, 1913, said:
“We have entered into one of those periods of artistic revolution in which the public, audience, or spectators become partisans and express their opinions as if they were at a political meeting. The Russian Ballet, for instance, produced a conflict of opinion last Friday, which recalls the conflicts provoked by the plays of Victor Hugo in the thirties. Post-Impressionism now is what the Romantic movement was then. To one party it means the end of all beauty; to the other a new birth of it. People no longer clap or hiss because they think a particular performance is well or ill done. Even in England, where the arts are not commonly taken very seriously, they are beginning to clap or hiss on principle, and to feel that they are making history when they do so. Partisans on both sides are probably not very clear in their minds why they like Post-Impressionism or dislike it; but the word, vague and clumsy as it is, does imply to them a set of tendencies by which all the arts may be ruined or regenerated. It is not merely a fashion in painting, but, like Romanticism, a movement of the mind which is trying to express itself through all means of artistic expression.
“Of this the new turn taken by the Russian Ballet is a striking proof; for no one can suppose that the artists concerned in that enterprise are haters of beauty because of their own incompetence to achieve it. They have every material inducement to continue delighting the world with Ballets like Carnival or Scheherazade; and, if they attempt a new kind of art, it must be because they are driven to it by some force in themselves too powerful to be withstood. Masters like M. Nijinsky do not try dangerous experiments on the public for the mere pleasure of trying them; and it is a little presumptuous to assume that they are suddenly afflicted by sheer perversity of taste. It is more probable that they are possessed by that ardour of discovery which is common both to great artists and to great men of science, indeed to all men whose interest in life is stronger than their desire for their own comfort.
“Most people make the mistake of thinking that the development of an art consists altogether of what is called invention and not of discovery; and for that reason they often resent innovations as mere perversities. If a thing has been well done already they cannot see why it should not continue to be done. But the artist knows that he cannot invent again what has been once invented. He knows, too, that these seeming inventions are also discoveries of the possibilities of his art; and that when discovery has been carried very far in one direction it cannot be carried any further. The history of all arts proves this. After Michel Angelo no one could invent anything fresh in his manner, because he had discovered all that could be discovered about his method of art. Renaissance architecture prevailed in Europe because no new discoveries were possible in Gothic.
“The Romantic movement changed English poetry when there was nothing more to be said in the manner of Pope. You may prefer the old art to the new, but even if you are right in preferring it, you are not therefore right in condemning those who practice the new art. For they have no alternative. Either they must be mere imitators of the great men of the past or they must make a new start; and the true artist can no more content himself with imitation than the true philosopher can content himself with repeating what other philosophers have said.
“Behind all representation in the arts there is the impulse of expression; and that will make its discoveries wherever there is most to be discovered, turning naturally to those elements of the art which have lately been neglected. If we understand this we shall see that a new artistic movement, such as Post-Impressionism, is not to be judged merely by a few pictures or to be condemned because those pictures seem to us very unlike reality. Whatever may come of it, it is something that is happening in all the arts, because discovery is turning in a new direction. All the successes of the past are obstacles to new success of the same kind, and discovery naturally takes a line of least resistance away from them. For a long time, in every art, artists have been raising expectations which they found it difficult, if not impossible, to satisfy. In painting, with its effort at complete illusion, they have provoked comparisons with Velasquez. In music, with its elaborate forms, they must do as well as Beethoven if they are to succeed. The dance, as we are used to it, demands an easy grace in every movement, which M. Nijinsky himself cannot combine with novelties of expression. He has found that, if he is to be a discoverer in his art, he must teach his public not to expect this easy grace, this formal and accustomed beauty, from the start. And that is the purpose of Post-Impressionism in all the arts. It is determined not to arouse expectations which it cannot satisfy.
“The public may begin by thinking it all crude and ugly and childish; and it will be the more delighted by any beauties which it discovers afterwards. Hitherto the arts have promised more than they could possibly perform. Now they shall promise nothing, and so perform at least more than they promise. It is natural, perhaps, that the public should resent this as a kind of discourtesy. The artist who makes no professions seems to them lacking in respect, and they are inclined to hoot him as an impudent charlatan. But there are very few artists who wish to be hooted, and the real charlatan usually flatters his public. Whatever may be said against Post-Impressionists in all the arts, they are not flatterers.”
It is a far cry from London to Reno, and the differences between the two places are not measured by the miles between them.
Leading editorial from the “Journal,” Reno, July 11, 1913:
SIMPLE SOLOMON
“When Solomon staked his reputation for wisdom as well as originality on the assertion that there is nothing new under the sun, he did not think some day the Cubist painter, the Futurist artist, and the color musician would rise in the twentieth century and make him ridiculous. There is something new under the sun even in these departures, and like everything original since the first sin, the innovations are now roundly condemned.
“It is the fashion now to condemn the Cubist and the Futurist in art, even as not long ago it was the fashion to condemn the realist, the impressionist and the Post-Impressionist; but it is a peculiar tribute to the authority of an innovation that it requires such a general attack of condemnation. A trivial thing requires mere neglect; a war of condemnation implies some strong and virile thing to be subdued.
“These new things have a substantial basis for existence; else they would not exist. Their novelty has caused some extravagant adherents to carry them to unreasonable excess. They have abused the discoveries, not used them. They will pass away but the new principles will survive.
“The cubist takes his cue from the idea of perspective itself—carried to excess. No one can imagine anything but straight lines as the basis for ‘vanishing points.’ Curved lines, while apparent and obvious, are not the scientific representations of actualities. The things we see strike the eye on the basis of flat images and our imagination brings out shape and significance. It is but a simple reversal to present flat art and give the imagination equal play in reconstructing real images in the eye.
“If we take a half-tone engraving and examine it with a magnifying glass we find it is a series of holes of uniform size but more or less dense on the surface according to the requirements of light, shade and line. Magnify a half-tone 100 times and we have a large grating of black and white circles or squares. That is cubist art. It requires a slight shift in the point of view, a little development and stimulation of the imagination—nothing more.
“When Gulliver visited the Brobdingnagians and viewed the complexions of their women at close range, it almost made him sick—yet they were noted beauties. He looked too close. When they looked at him they observed no complexion—they looked too far. Yet each had a concrete complexion and the only trouble was the point of view and the shock of comparison.
“The futurists have a very novel and, at this time, an outlandish art. One of them has a full page picture used as an advertisement of the peculiar sound of a horn. It is a picture of a sound that saws its way through other sounds. There is a straight, fan-like picture for a constant, augmenting note, rising in scale. It is gray. There is a black ellipse for a loud varying noise of fairly regular variation of note, and so on. The foreign noise of the horn is shown as utterly unlike in form, intensity, regularity or harmony, any other sound.
“If one has a diagram one can understand the futurist art and, when one understands, he approves. The new arts are simply aids to comparison, discrimination and inspiration. They have all the delights of wine-tasting or salad-judging—and some salads are vile.
“The color musician has developed only another exercise in discrimination. If we were to make mathematics of music we would find that there is an exact relation between the number of vibrations of notes an octave apart; a constant relation between the vibrations in the natural and the sharp; a direct ratio between the vibrations of the notes in a chord; a formula for harmony and another for discord. It is an interesting mathematical study, a science as well as an art, and it proves that our appreciation through the senses is based on natural mathematical sequences and on well understood ratios, seasoned for variety’s sake by divergences from type.
“Now the color musician has taken the spectrum and made notes out of it like the notes on the gamut. He has a color-scale and can do as much on it for the delight of the eye as a musician can with the musical scale for the ear. He merely brings out an extra way of enjoying distinctions and of enjoying that most restful of enjoyable things—conventionality. The certainty and the satisfaction of the conventional is about the most assuring thing in all experience. There is no more steadying feeling in all the world than to know that two and two make four, and that c-a-t spells cat. The more ways by which we can be assured of the belief we hold by faith, that there is an uniform, unchanging, all-pervading rule in the world, arguing an individual, mastering central consciousness and direction, the happier we are.
“The cubists and the futurists and the color musicians may be faddists, but they help to drive out old Solomon’s pessimism. They help us to understand by purely human experience how it is that there may be some things which even humans cannot understand—but which are.”
BIBLIOGRAPHY
ENGLISH
In attempting this bibliography of the modern movement in art, the search in periodical literature in England, France, and Germany has been carried back no farther than 1908.
Is Art a Failure? by Robert Fowler. Nineteenth Century, July, 1912.
Art, A New Venture in. Exhibition at the Omega Workshops. Times, July 9, 1913.
Bakst, Leon. Art Exhibitions. A Great Designer. Times, June 17, 1912. Morning Post, June 18, 1912.
Bakst, Leon. Exhibition. Athenaeum, July 6, 1912.
Berlin Secession. For short notices on see “Studio”: LI, p. 241; LI, p. 328; LII, p. 68; LII, p. 153; LII, p. 240; LIII, p. 324; LIV, p. 84; LV, p. 59; LV, p. 249; LVI, p. 241.
Cézanne. Article by Maurice Denis. Burlington Magazine, XVI Part I, p. 207; Part II, p. 275.
Cézanne. Manet and the French Impressionists. Pissaro—Claude Monet—Sisley—Rénoir—Berthe Morisot—Cézanne—Guillaume. Translated by J. E. Crawford Flitch. Illustrated with 34 etchings, 4 wood engravings, and 32 reproductions in half-tone No. 9 by Theodore Duret. J. B. Lippincott & Co., Philadelphia, 1910.
Cézanne. Cézanne and Gauguin. Athenaeum, Dec. 2, 1911.
Cézanne. Cézanne and Gauguin. London Times, Nov. 28, 1911.
Courbet. Exhibition. Times, March 8, 1911.
Cubists. Cubism. Albert Gleizes and Jean Metzinger. Translated from the French, with illustrations. T. Fisher Unwin, 1912.
Drama and Art, The New Spirit in. Huntley Carter. London, Frank Palmer, 1912.
Futurists. Athenaeum, March 9, 1912.
Futurists. Spectator, March 16, 1912.
Futurists. The Initial Manifesto of Futurism. F. T. Marinetti. Printed in the Catalogue of Exhibition in the Sackville Gallery, London, of works by the Italian Futurist painters, March, 1912.
Futurists. Severini (Gino). Introduction to catalogue of his pictures on view at the Marlborough Galleries, Duke street, London, 1913.
Gauguin. Cézanne and Gauguin. London Times, Nov. 28, 1911.
Harrison, Frederic. Aischro Latreia—The Cult of the Foul. Nineteenth Century, February, 1912.
Hind, C. Lewis. The Consolations of a Critic. London, A. and C. Black, 1911.
Hourticg, Louis. Art in France. London, Heinemann, 1911.
Huneker, James. Promenades of an Impressionist.
Impressionists. The Post Impressionists. Article by Clutton-Brock (A), Burlington Magazine, XVIII, p. 216.
International Society. Exhibitions. Times, April 8, 1911; Spectator, April 15, 1911.
London Salon. See Times July 8, 1911; July 30, 1912, Effects of Artistic Freedom; July 7, 1913.
MacColl, D. S. Ugliness, Beauty and Mr. Frederic Harrison. Nineteenth Century, March, 1912.
Maillol. The Sculpture of Maillol. Roger Fry. Burlington Magazine, XVII, p. 26.
Meier-Graefe, Alfred Julius. Modern Art, Being a Contribution to a New System of Aesthetics. Translated from the German by Florence Simmons and George W. Chrystal. 2 vols. London, 1908.
Munich Neue Vereinigung. Studio, LIII, p. 320.
New English Art Club Exhibition. Spectator, Nov. 30, 1912.
Post Impressionists. The Post Impressionists. C. Lewis Hind. London, Methuen & Co., 1911.
Post Impressionists. Review of Mr. Hind’s Book. Athenaeum, July 8, 1911.
Post Impressionists. Notes on the Post Impressionist Painters at the Grafton Galleries. C. J. Holmes. 1910-1911.
Post Impressionists. On Post Impressionism. Sir William Richmond. Times, Jan. 10, 1911.
Post Impressionists. Pages on Art. Charles Ricketts. Containing article on Post-Impressionism at the Grafton Gallery. London, Constable & Co., 1913.
Post Impressionists. French Artists of Today. London, Heinemann, 1912.
Post Impressionists. From Impressionism to the Spectral Palette. H. P. H. Friswell. Saturday Review, Feb. 23, 1901.
Post Impressionists. Foreword to catalogue of exhibition by Frank Rutter. Doré Galleries, London.
Post Impressionists. Letter on The Post Impressionists at the Grafton Gallery. A. Warren Dow. Spectator, Oct. 12, 1912.
Post Impressionists. Athenaeum, Jan. 7, 1911; December, 1911.
Post Impressionists. A Year of Post-Impressionism. D. S. MacColl. Nineteenth Century, February, 1912; “The Spectral Palette,” Saturday Review, Feb. 9, 1901.
Post Impressionists. The Post Impressionist and Others. Yoshio Markino. Nineteenth Century, February, 1913.
Revolution in Art. Athenaeum, Feb. 4, 1911.
Rodin, Auguste. Art. From the French of Paul Gsell. London, Hodder & Stoughton.
Sculpture. Gills, Eric. Times, Jan. 27, 1911.
Sculpture. Post Impressionist Sculptures. Athenaeum, Jan. 28, 1911.
Sculpture. The Sculpture of Maillol. Roger Fry. Burlington Magazine, XVII, p. 26.
Van Gogh. The Letters of a Post Impressionist, Being the Familiar Correspondence of Vincent Van Gogh. Translated from the German by Anthony M. Ludovici. London, Constable & Co., 1912.
Van Gogh. Review of V. Van Gogh’s Letters. Athenaeum, Dec. 21, 1912.
Van Gogh. Riefstahl, R. Meyer. Part I, Vincent Van Gogh, Burlington Magazine, XVIII, p. 91; Part II, Van Gogh’s Style in Relation to Nature, Burlington Magazine, XVIII, p. 155.
Van Gogh. The Letters of Vincent Van Gogh. F. Melian Stawell (review) Burlington Magazine, XVIX, p. 152.
FRENCH
Apollinaire, Guillaume. Meditations esthétiques. Les peintres cubistes. 1ère série: Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Juan Gris, Mlle. Marie Laurencin, Fernand Léger, Francis Picabia, Marcel Duchamp, Duchamp Villon. Paris, Eug. Figuière, 1913. In-40, 84 p. et 46 planches, reproductions.
Bernard, Emile. Souvenirs sur P. Cézanne. Paris, office central de librairie, 5 rue Palatine, 1908. In-12.
Buzzi, Paolo. Aeroplani. Canti alati di Paolo Buzzi. Col. IIe Proclama futurista di F. T. Marinetti. Milano, edizione di Poesia, 1909. In-16, 282 p.
Denis, Maurice. Théories 1890-1910. Du symbolisme et de Gauguin vers un nouvel ordre classique. Paris, Bibliothèque de l’occident, 17 rue Eble, 1912. In-80, 272 p.
Duhem, Henri. Impressions d’art contemporain. Paris, Eug. Figuière, 1913. In-120, 382 p.
Gleizes, Albert et Metzinger, Jean. Du cubisme. Paris, Eug. Figuière, 1912. In-40, 80, 44 p., et 30 pl., reproductions.
Guy, Michel. Le dernier état de la peinture. Paris, Union française d’édition, Le Feu, 1911. In-16, plaquette.
Letalle, Abel. Idées et figurations d’art. Paris, E. Sansot, 1911. In-160.
Marinetti, F. T. Le futurisme. Paris, E. Sansot, 1911. In-12, 240 p. La Iere édition italienne est de.
Marinetti, F. T. Coupées électriques. Drama en trois actes avec une préface sur le futurisme. Paris, E. Sansot, 1909. In-12, 194 p.
Marinetti, F. T. Le monoplan du pape, roman politique en vers libres. Paris, E. Sansot, 1913. In-16, 349 p.
Les peintres futuristes italiens. Exposition du Lundi 5, au Mardi 24 Février 1912. Paris, Bernheim, Jeune, 1912. Oct. In-16, 32 p., 8 fig. ou reproductions.
Catalogues des peintres futuristes et sculpteurs. Paris, Bernheim-Jeune, 1912. In-16. Même opuscule que le précédent à peu de chose près 3 éditions: en français, en anglais, en italien.
Mellerio, André. Le mouvement idéaliste en peinture. Paris, H. Floury, 1896. In-80, 75 p.
Mellerio, André. L’Exposition de 1900 et l’impressionnisme. Paris, H. Floury, 1900. In-80, 48 p.
Nocq, Henry. Tendances nouvelles. Enquête sur l’évolution des industries d’art. Paris, H. Floury, 1896. In-80, 204 p.
Salmon, André. La jeune peinture française. Paris, Société des Trente. Albert Messein, 1910. In-80, 124 p.
Lors paraître prochainement du même auteur:
Salmon, André. La jeune sculpture française. Paris, Société des Trente. Albert Messein, 1912. In-80.
Signac, Paul. D’Eugène Delacroix au néo-impressionnisme. Paris, Floury, 1911. In-80, 120 p. (nouvelle édition) La Iere édition en 1899.
Uhde, J. B. Henri Rousseau, (dit Rousseau le Douanier) Paris, Eug. Figuière, 1913. In-40, avec reproductions.
EN PRÉPARATION.
Morisse, Charles. Gauguin. In-80. Chez l’éditeur H. Floury, Boulevard des Capucines, Paris.
A noter pour paraître prochainement sous la direction de Guillaume Apollinaire, à la librairie Eugène Figuière à Paris, 7 rue Corneille; Une volume sur Cézanne, sur Seurat, sur Dégas, sur Rénois, par des auteurs différents. Une volume également sur Les peintres orphiques par Guillaume Apollinaire lui-même.
À noter aussi l’ouvrage suivant:
Rénoir. Album de quarante reproductions dont 4 fac-similés en couleur et 36 phototypes. Préface d’Octave Mirebeau. Texte des plus notoires écrivains de tous les pays. Paris, chez Bernheim-Jeune, 28 boulevard de la Madeleine, 1913. In folio.
ARTICLES.
Alexandre, Arsène. Maurice Denis. Signé: Arsène Alexandre. In-40, 6 pages, 5 reproductions. L’art et les artistes. Tome VIII, Janvier, 1909.
Apollinaire, Guillaume. Henri Matisse. Signé: Guillaume Apollinaire. In-80, 5 pages, et 3 reproductions. La Phalange. No. du 15 Décembre, 1907.
Aurel. L’Ensiegnement d’Emile-Antoine Bourdelle. Signé: Aurel. In-80, 14 p. La Phalange. No. du 20 Mars, 1912.
Bertaux, Emile. Notes sur le Gréco. I. Les Portraits. II. L’Italienne. III. Le Byzantisme. 3 articles dans de revue de l’art ancien et moderne, Années: 1911, Juin; 1912, Décembre et 1913, Janvier. Nombreuses reproductions et planches hors texte.
Besson, Georges. Le grand palais aux bestiaux. Signé: Georges Besson. In-80, 5 pages. La Phalange. No. du 20 Décembre, 1912.
Bricaut, Jean. Essai sur la couleur. Signé: Jean Bricaut. In-80, 5 pages. La Phalange. No. du 20 Avril, 1913.
Cornu, Paul. Bernard Naudin, dessinateur et graveur. Signé: Paul Cornu. Les Cahiers du Centre. 40 Série, Mars, 1913.
A noter dans cette même revue; La Phalange—Léon Werth puis Georges Besson rédigent le mois du peintre donnet à propos des différentes expositions à la galerie Bernheim-Jeune, à la Galerie Volard et autres, des aperçus et des considerations souvent fort intéressants sur le cubisme et le néo-impressionisme et sur de nombreux artistes tels que Cézanne, Gauguin, Van Gogh, Rénois, Cissaro, Seurat, etc.
Dans de Mercure de France, Charles Morisse, puis Gustave Kahn, font le même sous la rubrique Art et art moderne.
Cousturier, Lucie. Georges Seurat. (1889-1891.) Signé: Lucie Cousturier. In-40, 16 pages, 15 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 174, 20 Juin, 1912.
Cousturier, Lucie. Pierre Bonnard. Signé: Lucie Cousturier. In-40, 16 pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 186, 20 Décembre, 1912.
Cousturier, Lucie. Henri-Edmond Cross. Signé: Lucie Cousturier. In-40, 16 pages, 15 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 189, Mars, 1913.
Cousturier, Lucie. Maurice Denis. Signé: Lucie Cousturier. In-40, 16 pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 191, Mai, 1913.
Denis, Maurice. Maillol. (Aristide.) Signé: Maurice Denis. In-40, 6 p., 5 reproductions. L’art et les artistes. Tome VIII, Janvier, 1909.
Deverin, Edouard. Paul-Emile Colin. Signé: Edouard Deverin. In-40, 8 pages, 7 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 190, Avril, 1913.
Faure, Elie. Paul Cézanne. Signé: Elie Faure. In-40, 16 pages, 17 reproductions dont 1 en couleur. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 157, Octobre, 1911.
Faure, Elie. Francisco Iturino. Signé: Elie Faure. In-40, 4 p., 3 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 178, 20 Août, 1912.
Godet, Pierre. Vincent Van Gogh. Signé: Pierre Godet. In-40, 16 p., 14 reproductions dont une en couleur. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 156, Septembre, 1911.
Godet, Pierre. Puvis de Chavannes et la peinture d’aujourd’hui. Signé: Pierre Godet. In-40, 16 pages, 13 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 164, Janvier, 1912.
Godet, Pierre. Un peintre suisse. Cuno Amiet. Signé: Pierre Godet. In-40, 10 pages, 11 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 171, 5 Mai, 1912.
Guy, Michel. Paul Gauguin. Signé: Michel Guy. In-40, 16 pages, 13 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 151, Avril, 1911.
Guy, Michel. Les Fauves. Signé: Michel Guy. In-89, 9 pages. La Phalange. No. du 15, Septembre, 1907.
Guy, Michel, van Gogh. Signé: Michel Guy. In-80. La Phalange. No. du 15, Février, 1908.
Henri, Frantz. La Collection Henri Rouart. Signé: Henri Frantz. In-40, 31 pages et 32 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 185, 5 Décembre, 1912. Contient de nombreux aperçus sur des œuvres des peintres impressionistes tels que Cézanne, Rénoir, Monet, Degois, etc.
Laenen, Jean. Jacob Smits. Signé: Jean Laenen. In-40, 9 pages, 8 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 121, Octobre, 1908.
Marval, Jacqueline, Les danseurs de Flandrin. Signé: Jacqueline Marval. In-40, 12 pages, 12 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 190, Avril, 1913.
Mauclain, Camille. Gaston Crunier. Signé: Camille Mauclain. In-40, 12 pages, 14 reproductions et 1 planche en couleur hors texte. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 139, Avril, 1910.
Meier-Graefe, J. Grêco peintre baroque. Signé: J. Meier-Graefe. Trav. de l’allemand par Pierre Godet. In-40, 36 pages, 35 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 182, 20 Octobre, 1912.
Ritter, William. Frank Brangwyn. Signé: William Ritter. In-40, 14 p., 14 reproductions. L’art décoratif, revue de l’art ancien et de la vie artistique moderne. No. 144, Septembre, 1910.
Rivière, Jacques. Coussin et la peinture contemporaine. Signé: Jacques Rivière. In-40, 16 pages, 14 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 167, Mars, 1912.
Salmon, André. Odilon Rédon. Signé: André Salmon. In-40, 16 pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 187, Janvier, 1913.
Salmon, André. Marie Laurencin. Signé: André Salmon. In-40, 6 pages, et 6 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. Nos. 194-198, Août-Septembre, 1913.
Tougendhold, Jacques. Borissoff Moussatoff. Signé: Jacques Tougendhold. In-40, 12 pages, 13 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 188, Février, 1913.
Vauxcelles, Louis. A propos des bois sculptes de Paul Gauguin. In-160, 2 pages, 3 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 148, Janvier, 1911.
Werth, Léon. Aristide Maillol. Signé: Léon Werth. In-40, 16 pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de la vie artistique moderne. No. 188, Février, 1913.
GERMAN
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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.
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Das Erwachen des Geistes von Wilhelm Michel, Deutsche Kunst u. Dekoration, XXXII. p. 9-11.
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Der Blaue Reiter, herausgegeben von Kandinsky, München, 1912.
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Der Moderne Impressionismus von Meier-Graefe. Die Kunst Herausgegeben von Richard Muther, Verlag Julius Bard, Berlin.
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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.
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Die Französischen Bilder der Sammlung Kohner von Hugo Haberfeld mit Abbildung Gauguin, Cézanne, Gogh, etc., Der Cicerone, III. p. 579-589. 1911.
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Die Hauptströmungen des XIX Jahrhunderts von Julius Leisching.
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Du Quesne, Persönliche Erinnerungen an Vincent Van Gogh, München, 1913; R. Piper & Co., 3d ed.; 24 plates.
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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.
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Hermann, Curt, Der Kampf um den Stil. Probleme der modernen Malerei, with 8 autotypes; Berlin, Ed. Reiss’ Verlag, 1911; 8°.
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Jacob, Saint Natorel, illustrated with water colors by Pablo Picasso, Paris, 1911.
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Sydow, Eckart v., Cuno Amiet. Eine Einführung in ein nationales Werk. In “Kunstgeschichte des Auslandes,” issue 106, Strassburg, 1913; with 11 plates; 4^o.
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v. Meyer Riefstahl, Burlington Magazine, XVIII. p. 91-99. 155-162.
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ARTICLES.