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
Acht Jahre Secession v. Ludwig Hevesi, Wien 1906. The Post-Impressionist, by Lewis Hind, London (p. 412-417 Die Nach-Impressionisten).
Aus der Correspondenz, Kunst u. Künstler, II. p. 264, 417, 462, 493. 1904.
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.
Coellen, Ludwig, Die neue Malerei: Der Impressionismus; Van Gogh und Cézanne; Die Romantik der neuen Malerei; Gauguin und Matisse, Picasso u. der Kubismus; Die Expressionisten, München, 1912; E. W. Bonsels & Co., 2d edition.
Cohen-Gotschalk Zeitschrift für bildende Kunst, XIX. p. 225-235. 1907-08.
Das Erwachen des Geistes von Wilhelm Michel, Deutsche Kunst u. Dekoration, XXXII. p. 9-11.
Das Kolorit i. d. Zeitgenössischen deutschen Malerei. Ein Mahnwort von A. Giesecke. p. 41-43, Kunstnachrichten, Beiblatt der Kunstwelt. II. Jahrgang No. 6 März 1913.
Der Blaue Reiter, herausgegeben von Kandinsky, München, 1912.
Der Blaue Reiter von Hans Titeze, Kunst für Alle, XXVII. p. 543-550.
Der Kubismus i. d. französischen Kammer, Kunstchr, XXIV. p. 176.
Der Moderne Impressionismus von Meier-Graefe. Die Kunst Herausgegeben von Richard Muther, Verlag Julius Bard, Berlin.
Der Sturm Veranstaltete bisher folgende Ausstellungen in Berlin W. 9. Potsdamerstr. 134 a.
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.
13. Alfred Reth.
14. Franz Marc.
15. Der Moderne Bund, Schweiz.
16. Gino Severini.
Deri, Max, Die neue Malerei: Impressionismus, Pointillismus, Futuristen, die grossen Uebergangsmeister, Kubisten, Expressionismus, Absolute Malerei, München; Piper, 1913; with illustrations.
Die Ausstellung von Werken Zurückgewiessener der Berliner Secession 1910, Neue Secession, p. 440-441, Kunstchr, XXI.
Die Französischen Bilder der Sammlung Kohner von Hugo Haberfeld mit Abbildung Gauguin, Cézanne, Gogh, etc., Der Cicerone, III. p. 579-589. 1911.
Die Frühbilder, von H. Hildebrandt, p. 376-378, Kunst u. Künstler, XI. 1913.
Die Futuristen in Rom, Kunstnachrichten, Beiblatt der Kunstwelt, II. p. 48, Jahrg. No. 6. März 1913.
Die Grundlagen der jüngsten Kunstbewegung. Ein Vortrag von Emil Utitz, Verlag v. Ferd. Enke, Stuttgart 1913.
Die Hauptströmungen des XIX Jahrhunderts von Julius Leisching.
Die Impressionisten von Heilbut, E., Berlin, Cassierer.
Die Impressionistenausstellung der Secession von E. Heilbut, Kunst u. Künstler, I. p. 169-207.
Die Internationale Ausstellung des Sonderbundes v. A. Fortlage, Köln, Der Cicerone, IV. p. 547-556. 1912 (mit abbildung van Gogh, Cézanne, Gauguin, Picasso).
Die Jungmodernen, Neue Secession, Brücke, p. 443-444, Kunstchr, XXIII.
Die Jüngsten von Karl Scheffler, Kunst und Künstler, XI. S. 391-409.
Die Neue Kunst in Wien Salon Miethke, Kunstchr, XXIV. p. 286-287.
Die neue Malerei von L. Coellen. Der Impressionismus von Gogh u. Cézanne, Gauguin u. Mattise, Picasso u. d. Kubismus. Verlag E. W. Bonsch & Co., München.
Die Persönlichen Erinnerungen N. B. Mendes da Costa’s an seinen Lateinschüler—mitgeteilt v. Max Eisler, Kunst u. Künstler, X. p. 98-104.
Die Secession von R. Klein, Moderne Zeitfragen, Nr. 9 Herausgegeben von Dr. Hans Landsberg, Pan-Verlag.
Die XXVI Ausstellung der Berliner Secession, Deutsche Kunst u. Dekoration, XXXII, p. 239-245, Darmstadt.
Die Zurückgewiessen auf der Berliner Secession, Kunstchr, XXIV. p. 480-482.
Du Quesne, Persönliche Erinnerungen an Vincent Van Gogh, München, 1913; R. Piper & Co., 3d ed.; 24 plates.
Entwickelung des Impressionismus in Malerei u. Plastik v. Meier-Graefe, Secession Wien.
Entwickelungsgeschichte der Modernen Kunst von J. Meier-Graefe I.-III. (III. Band Abbildungen), Verlag Jul Hoffmann, Stuttgart.
Erinnerungen an—von Emile Bernard, Kunst u. Künstler, VI, p. 421-429, p. 475-480, p. 521-527. 1908.
Erster Deutscher Herbstsalon Berlin 1913, Der Sturm, Berlin W. 9, Potsdamerstrasse 134a, mit einer Vorrede von Herwarth Walden.
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.
Futuristen v. Rud. Klein, Berlin, Deutsche Kunst u. Dekoration, XXX. p. 274-277, 1912, Darmstadt.
Gauguin, Paul, Noa-Noa, Berlin, Cassirer, 1911, 2d ed.
Gogh, V. Von, Briefe deutsche Ausgabe besorgt von M. Mauthner, II. Auflage, Bruno Cassierer, Berlin.
Gott schütz die Kunst, von Terentius, Die Kunstwelt, II. p. 353-360. 1912.
Hausenstein, Wilh., Die Neue Kunst; Zur Naturgeschichte der Kritik, In Katalog der II, Gesamtausstellung Neue Kunst, Hans Goltz, München, 1913; illustrated.
Hausenstein, W., Die bildende Kunst der Gegenwart, Stuttgart, Deutsche Verlagsanstalt, 1914.
Hermann, Curt, Der Kampf um den Stil. Probleme der modernen Malerei, with 8 autotypes; Berlin, Ed. Reiss’ Verlag, 1911; 8°.
Hildebrand, Hans, Adolph Stölzel als Zeichner, Stuttgart, Deutsche Verlagsanstalt, 1913; 8°.
Impressionismus. Ein Problem der Malerei i. d. Antike und Neuzeit von Werner Weisbach I., Berlin 1910, II. 1911.
Impressionismus v. Laforgue, Kunst u. Künstler, III. p. 501-506.
Impressionisten Gugs-Maud van Gogh, Pissarro-Cézanne, II, Aufl. München u. Leipzig 1907.
Impressionistische Weltanschauung v. Scheffler, K., Zukunft, XLV. p. 138-147.
Jacob, Les oeuvres burlesques et mystiques de Frère Natorel mort au Couvent, illustrated with wood cuts by André Dérain; Paris, 1912.
Jacob, Saint Natorel, illustrated with water colors by Pablo Picasso, Paris, 1911.
Kampf, Im-um die Kunst, Reply to the “Protest by German Artists,” München, R. Piper & Co., 1911; 8°.
Kandinsky über das Geistige in der Kunst, München 1912, Verlag Piper & Co.
Kandinsky, Ueber das Geistige in der Kunst, insbesondere in der Malerei, München, R. Piper & Co., 1912; 8°.
Katalog der Sonderausstellung v. V. van Gogh, Amsterdam, Städt. Museum 1905.
Kritik seiner Arbeiten, Pariser Herbstsalon. S. 47-48, Zeitschrift für Bildende Kunst, XVII. 1906-07.
Kubisten u. Nazarener, Künstchr., XXIV. p. 113-115.
Kunst, Deutsche und französische, A symposium of German artists, gallery directors, collectors and authors; München, R. Piper & Co., 1913; 8^o.
Kunst und Künstler, V. p. 339-359, 1907.
Kunst und Künstler, VI. p. 355-376, 1908.
Kunstchr., Zeitschrift für bildende Kunst, XIV. p. 420. 1902-03.
Le Fauconnier, Die Auffassung unserer Zeit und das Gemälde, translated by Gertrude Osthaus in connection with the exposition at the Folkwang museum in Hagen, Westphalia, München, 1913; 8^o.
Malerische Impressions und Koloristische Rythmus, Beobachtungen über Malerei der Gegenwart von Wilh. Neimeyer. Sonderbund Ausstellung 1910, Düsseldorf, mit Abbildungen unter anderen von A. v. Jawlensky, Henri Matisse, W. Kandinsky.
Marinetti, F. P., Le Futurisme, Tours, 1911; E. Arrauset Cie.
Meier-Graefe, Paul Cézanne, München, 1910, R. Piper & Co.; 4th-6th ed., 1913.
Neue Kunst, Katalog der II. Gesamtausstellung August-September, 1913. Hans Goltz, München, Odeonsplatz 1 (mit Abbildungen von Picasso, Matisse, Kandinsky, Jawlensky).
Noa-Noa-Tagebuch, p. 78-81, p. 125-127, Kunst u. Künstler, VI. p. 160-164, 1908.
Noa-Noa von P. Fechter-Aufenthalt in Tahiti, Kunst für Alle, 08. XXIII. S. 250-255.
Notiz über Kandinsky, p. 434. Kunst für Alle XXVII.
Notizen eines Malers, Kunst u. Künstler, VII. p. 335-347, 1909.
Paris auf der Juryfreien Kunstchau in Berlin v. J. v. Bülow, Kunstchr., XXIV. p. 249-254.
Paul Cézanne v. Julius Meier-Graefe München, 1910, Verlag R. Piper & Co.
Paul Gauguin, Gallerie Miethke, Katalog mit Biogr. von Rudolf Adalbert Meyer, März-April 1907.
Paul Gauguin, 1847-1903, par Jean de Rotonchamp, Paris chez. Ed. Druet.
Paul Gauguin, v. Dr. Meyer Riefstal, Paris, p. 109-116. Deutsche Kunst u. Dekoration XXVII, Darmstadt.
Persönliche Erinnerungen an V. van Gogh, E. H. du Quesne, München Piper 1911.
Pratella, Franc, Balita, Musica Futurista per Ontesta, Bologna, F. Bongiovanni, 1913.
Raphael, Max, Von Monet zu Picasso; Grundzüge einer Aesthetik und Entwickelung der modernen Malerei, München, Delphin Verlag, 1913; 8^o.
Reiter, Der blaue, Ein Dokument des Expressionismus. Herausgeber: Kandinsky und Franz Marc, München, R. Piper & Co., 1912; with 34 plates.
Soffici, Ardenzo, Cubismo e oltre, Florence, Libreria della Voce, 1913.
Sydow, Eckart v., Cuno Amiet. Eine Einführung in ein nationales Werk. In “Kunstgeschichte des Auslandes,” issue 106, Strassburg, 1913; with 11 plates; 4^o.
Ueber Impressionismus von J. Meier-Graefe, p. 145-162, Kunst für Alle, XXV. 1909 u. 10.
Utitz, Die Grundlagen der jüngsten Kunstbewegung. Ein Vortrag, Stuttgart, Enke, 1913; 8^o.
v. Meyer Riefstahl, Burlington Magazine, XVIII. p. 91-99. 155-162.
Van Gogh, Vinc., Briefe. Deutsch von N. Mauthner, Berlin, P. Cassirer, 1911; 4th ed.; with 15 drawings; 8^o.
Vincent Van Gogh, München, 1910, R. Piper & Co.; 4th-6th ed., 1912.
Vincent Van Gogh u. Gauguin zum Klassizismus, Kunst u. Künstler, 09, VIII. p. 86-101.
Vincent Van Gogh von Julius Meier-Graefe, München 1910.
Vom Wert des Neo-Impressionismus von A. L. Plehn, Kunst für Alle, XIX. p. 514-522.
Von Eugen Delacroix zum Neo-Impressionismus. Einzige deutsche autorisierte Uebersetzung, Krefeld, 1903, Rheinischer Verlag G. A. Hohns Söhne.
Von Impressionismus zum Neo-Impressionismus. Autoris. Uebersetzung, Berlin, Verlag. K. Schnabel.
Von P. Gauguin, Kunst u. Künstler, VIII. p. 579-586.
Von Paul Gauguin, Kunst u. Künstler, VIII. p. 579-586. 1910.
Was ist uns impressionistische Malerei von A. Gold, Deutschland, III. p. 328-342.
Weese, Arth., Ferdinand Hodler, Berlin, 1910; Francke.
Worringer, Wilh., Abstraction und Einfühlung. Ein Beitrag zur Stilpsychologie, München, Piper, 1911; 3d ed.; 8^o.
Zum Klassizismus von Maurice Denis, Kunst u. Künstler, VIII. p. 86-101, 1910.
ARTICLES.
Alt, Theod., Hodler und seine Zeitgenossen, Der Thürmer, XV, 1912-13, p. 626-37.
Apollinaire, Guill., Réalité, peinture pure, Der Sturm, 1902, No. 138-39.
Apollinaire, Guill., Die moderne Malerei. Uebersetzt von Jean Jacques, Der Sturm, 1903, No. 148-49.
Avenarius, Von Van Gogh, Kunstwart, XXIV, 1910, I, p. 56-59.
Avenarius, Ferd., Futuristen, Kunstwart, XXV, 1912, III, p. 278-81.
Beckmann, Frz., Gedanken über zeitgemässe und unzeitgemässe Kunst. A reply to Die neue Malerei, by Frz. Marc., Pan, II, 1, p. 499-502.
Bahne, Adolf, Der Maler Franz Marc, Pan, III, 1913, p. 616-18.
Bender, Ewald, Deutsche Kunst um 1913, Zeitschrift für bildende Kunst, new series 24, 1912-13, p. 287,302, with 1 illustration.
Bender, Ewald, F. A. Weinzheimer, Zeitschrift f. bildende Kunst, new series XXIV, 1912-13, p. 305-8, with illustrations.
Benkard, Ernst A., Ferdinand Hodler, Zur Hodlerausstellung im Frankfurter Kunstverein, Zeitschrift f. bildende Kunst, new series XXIII, 1911-12, p. 7-12, with illustrations.
Beringer, Jos. Aug., Deutsche Kunstnöte, Süddeutsche Monatshefte, XI, 1913-14, p. 198-208.
Bernard, Emile, Erinnerungen an Paul Cézanne, Kunst und Künstler, vol. VI, 1908, p. 421, 475, 521, with illustration.
Biermann, Hans Georg, Bernhard Hoetger, Kunst f. Alle, XXVIII, 1912-13, p. 385-96, with illustrations.
Breuer, Robert, Max Pechstein, Deutsche Kunst u. Dekoration, XXIX, 1911-12, p. 423-36, with illustrations.
Corinth, Lovis, Die neueste Malerei, Pan, II, 1910-11, p. 432-7.
Denis, Maurice, Von Gauguin und Van Gogh zum Klassizismus, Kunst u. Künstler, Berlin, VIII, 1910, p. 86-101, with illustrations.
Denis, Maurice, Edmund Cross, Kunst u. Künstler, Berlin, IX, 1910-11, p. 294-6.
Dennert, Die Kunst der Urmenschen und der Allermodernsten, Der Türmer, XVI, 1913, p. 296-301.
Dreyfus, Alb., Paul Cézanne, Zeitschrift f. bildende Kunst, new series XXIV, 1912-13; p. 197-206, with illustr.
Eisler, Max, Die persönlichen Erinnerungen N. B. Mendes da Costa’s an seinen Lateinschüler Vincent Van Gogh, Kunst und Künstler, X, 1911-12, p. 98-104, with illustrations.
Fechter, Paul, Die Fortbildungen des Impressionismus, Deutsche Kunst u. Dekoration, XXIX, 1911-12; p. 299-304.
Fortlage, Arnold, Die internationale Ausstellung des Sonderbundes, Cicerone IV, 1912, p. 547-56, with illustrations; Kunst f. Alle, XXVIII, 1912-13, p. 84-93, with illustrations.
Fortlage, Arnold, Georg Minne, Kunst f. Alle, XXVIII, 1912-13; p. 347-53, with illustrations.
Friedeberger, Hans, Zeichnungen von Max Pechstein, with illustrations, Cicerone, V, 1913, p. 289-91.
Friedrich, Hans, Eine Analyse des Futurismus, Janus (München), II, 1, 1912-13, p. 173-7. Die Hinrichtung Paul Cézanne’s durch Max Beckmann, Janus, II, 1, 1912-13; p. 362-4.
Futuristen und Genossen bei der Arbeit, Kunstwelt, II, 1912-13; vol. 1, p. 189-91.
Gauguin, Paul, Vincent Van Gogh, Kunst u. Künstler, Berlin, VIII, 1910; p. 579-86, with 6 illustrations.
Hausenstein, Wilh., Vom Kubismus, Der Sturm, IV, 1913; p. 170-71. Albert Weisgerber, Zeit im Bilde, XI, 1913; p. 2641-7; with illustrations. Von der neuen Kunst Zum Sommerschau von 1913 im Kunstsalon Goltz in München, Zeit im Bild, XI, 1913; p. 2185-92; with illustrations.
Holl, J. C., Après l’impressionnisme, Physionomie de l’art actuel, La leçon de l’impressionnisme, XX Siècle, Paris.
Michel, Wilh., Das Weltanschauliche der neuen Malerei, Deutsche Kunst u. Dekoration, XVII, 1913-14; p. 33-39.
Kandinsky, Ueber Kunstverstehen, Der Sturm, 1912, No. 129; illustrated.
Kandinsky, Für., Protest, Der Sturm, 1913, Nos. 150-5.
Kandinsky, Malerei als reine Kunst, Der Sturm, 1913; Nos. 178-9.
Klein, Rud., Futuristen, Deutsche Kunst u. Dekoration, XXX, 1912; p. 274-77.
Kuhn, Alfr., Eduard Mundt, Zeit im Bild, XI, 1903; p. 2999-3003; illustrated.
Léger, Fern., Les origines de la peinture contemporaine et sa valeur représentative, Der Sturm, IV, 1913; Nos. 172-73.
Märten, Lu., Vincent Van Gogh, Die Grenzboten, 72, 1913, I, p. 237-43.
Manifest der Futuristen, Der Sturm, 1912, No. 103.
Marc, Franz, Die neue Malerei, Pan II, 1, 1911-12; p. 468-71.
Die konstruktiven Ideen der neuen Malerei, Pan, p. 527-31.
Anti-Beckmann, Pan, p. 555-6.
Markus, S., Die Kunst der Zukunft, Kunst für Alle, XXVIII, 1912-13, p. 541-8; illustrated.
Meyer-Riefstahl, Rud., Paul Gauguin, Deutsche Kunst und Dekoration, XXVII, 1910-11; p. 109-16; illustrated.
Michel, Wilh., Albert Weisgerber, Deutsche Kunst und Dekoration, XXIX, 1911-12; p. 295-96; illustrated.
Osborn, Max, Bernhard Hoetger, V. Collective Exhibition of Modern Art by Hans Goltz, Munich, 1913; with many illustrations.
Pechstein, Max, Was ist mit dem Picasso?, Pan, II, i, 1912; p. 665-9.
Rivière, Jacques, Gauguin, translated from the French by Jean Jacques, Der Sturm, 1912; Nos. 134-5.
Rote, M. K., Pablo Picasso, Kunst für Aile, XXVIII, 1912-13; p. 377-83; illustrated.
Bernhard Hoetger, Der Cicerone, V. 1913; p. 197-203; illustrated.
Bewegungen in der neuen Kunst und ihre Aussichten, Kunst für Alle, XXVIII, 1912-13; p. 292-305; illustrated.
Rovere, Jean, Paul Cézanne; Erinnerungen, Kunst und Künstler, X, 1911-12; p. 477-86; illustrated.
Salmon, André, La jeune peinture française, Paris, 1912.
Sch., K. E., Kubisten und Nazarener, Kunstchronik, new series, XXIV, 1912-13; p. 113-4.
Schaefer, W., Bernhard Hoetger, Die Rheinlande, XVII, 1909; p. 13-14; illustrated.
Die junge und die jüngste Malerei. (Glossen zur Sonderbund-Ausstellung in Köln.) Vincent Van Gogh; Cézanne; Der blaue Reiter, Deutsche Monatshefte, Düsseldorf, XII, 1912; p. 284-317-355.
Schmidt, Max, Finke, Igc., Weiss, Konr., Eine Ausstellung des Sonderbundes (at Düsseldorf), Hochland, XIII, 1, 1910-11; p. 245 and 516-17.
Schmidt, Paul Ferd., Ueber die Expressionisten, Deutsche Monatshefte, XI, 1911; p. 427-9.
Die internationale Ausstellung des Sonderbundes in Köln 1912, Zeitschrift für bildende Kunst, new series XXIII, 1911-12; p. 229-38; illustrated.
Schoenlank, M. R., Brief an Pechstein, Pan, II, 2, 1912; p. 738-9.
Schulze, Otto, Bildhauer Bernhard Hoetger, Deutsche Kunst und Dekoration, XXVII, 1910-11; p. 116-23; illustrated.
Storck, Willy F., Ausstellung des deutschen Künstlerbundes in Mannheim 1913, Deutsche Kunst und Dekoration, XXVII, 1913-14; p. 9-27; illustrated.
St. K., Die Zukünftler, Der Türmer, XIV, 1912, II; p. 422-4.
Terentius, Gott schütz’ die Kunst, Ein Faschingskapitel, Die Kunstwelt, I, 1912; p. 353-60; illustrated.
Warstat, W., Die Futuristen, Die Grenzboten, 71, 1912, III; p. 210-18.
Walser, Rob., Zu der Arleserin von Van Gogh, Kunst und Künstler, X, 1911-12; p. 442-5.
Werth, Léon, Aristide Maissol, Kunst für Alle, XXVI, 1910-11; p. 276-82; illustrated.
Zukunft, Die, der deutschen Kunst. Eine Umfrage, Die Kunstwelt, vol. 3 (1913), first issue; p. 19-33. Contains the answers given by German artists and other well known personages to the following questions put to them by the editor of the Kunstwelt:
1. How are you impressed by the creations of the latest schools of art—the primitivists, the cubists, the futurists, the expressionists?
2. Do you believe that in these directions or in one of them the future of German art must be looked for?
REPRODUCTIONS OF FUTURIST AND CUBIST PAINTERS—PORTFOLIOS:
Cézanne Mappe; München; R. Piper & Co., 1912; 15 reprod.
Ehrenstein, A., Tubutsch. 12 drawings by O. Kokoschka. Wien; Jokoda & Siegel, 1911.
Engert, Seven Drawings; H. P. S. Bachmann, 1913; 8°.
Gauguin Mappe, München; Piper, 1913. 15 reproductions.
Genin, Robert, Figürliche Kompositionen; 20 original drawings on stone. München, Delphin Verlag, 1912.
Hodlermappe, München; Piper, 1913.
Kandinsky Album, 1901-1913; 80 full page reproductions of paintings by Kandinsky with text written by himself. Berlin, Verlag der Sturm, 1914.
Kokoschka, Oskar, Dramen und Bilder. Leipzig, Kurt Wolff, 1913.
Kokoschka, Oskar, 20 drawings. Berlin, Verlag der Sturm, 1913.
Reinhardt, Sig., Simson; 43 pen and ink sketches. München, 1913.
Schwalbach, Karl, 10 original lithographic drawings. München, Delphin Verlag, 1913.
Senna, 15 original lithographic drawings by the artists’ association Senna. München, Delphin Verlag, 1912.
Van Gogh Mappe, München; Piper, 1912.
Footnotes
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.