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