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