[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.