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Although realist painter John Sloan (1871 – 1951) was one of the fortunate American painters to also be included in the 1913 Armory Show (he was also on the organizing committee), it did not mean that he was above ridiculing the European modernists who were enjoying the same prestige that he was.
To read an anti-Picasso review from that same period, click here.
The attached VANITY FAIR article announced that the numero uno society portrait painter of the Gilded Age, John Singer Sargent (1856 – 1925) was swearing-off portrait commissions in order to concentrate on water color. Little did he know that he would be back at it in a few years painting whole boat-loads of general officer portraits when he was named as one of the Official British War Artists.
Among all the paintings on exhibition at the Paris Fall Salon, none is attracting so much attention as the extraordinary productions of the so-called ‘Cubist’ school. In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition.
The attached art review is a classic piece of anti-modernist criticism:
The intellectual degeneracy of the modernistic movement of to-day can easily be traced back to the moral degeneracy of the Second Empire, created by the Mephistophic traitor and despot Napoleon III…
Clive Bell (1869 – 1964) was an art critic who is remembered in our day as one of the most devoted champions of modern abstract art. In this 1921 review for THE NEW REPUBLIC, Bell explained why he held that the paintings of the André Derain (1880-1954) were so significant – writing that the Frenchman was best painter in all of France (reserving for Picasso the roll of the most influential painter in all of Europe).
Why Dada? is a thoughtful essay by Sheldon Cheney (1886 – 1980), a Dada enthusiast and founder of the American monthly THEATRE ARTS MAGAZINE. This is a fine article which attempted to explain Dada to the American public and identified several American artists who subscribed to Dada principles.
…at last years exhibitions the Futurists and Cubists joined the academicians in denouncing the Dadaists as fakers, charlatans, and ignoramuses who know nothing of the laws of art and only wish to shock the public into considering them a sensation! And the Dadaists get unlimited joy out of the situation, but hold to the center of the stage…
This article will give you a good look at how the seeds were sewn as early as 1915 to ensure the rise of New York City as one of the great art centers of the world. For the first time since the 1913 Armory Show, New York was again to host an important exhibition of the European modernists. Much of the article concerns Henri Matisse (1869 – 1954) and is illustrated with a portrait of the artist by the photographer Edward Steichen.
Things were changing – not long after New York was proclaimed as the commercial capital of the art world, America was recognized as the preeminent world power, click here to read about it…
This article will give you a good look at how the seeds were sewn as early as 1915 to ensure the rise of New York City as one of the great art centers of the world. For the first time since the 1913 Armory Show, New York was again to host an important exhibition of the European modernists. Much of the article concerns Henri Matisse (1869 – 1954) and is illustrated with a portrait of the artist by the photographer Edward Steichen.
Things were changing – not long after New York was proclaimed as the commercial capital of the art world, America was recognized as the preeminent world power, click here to read about it…
Recent paintings from Paris have been brought to New York by Pierre Matisse (1900 – 1989) and are now on view at his 57th Street Gallery [at the Fuller Building]. Represented are the Pierre Bonnard, Jean Dubuffet, Andre Marchand, Henri Matisse, Pablo Picasso, Georges Rouault.
