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: