Progressive Soles for Their Annual Art Show Called Perspective

1913 American art exhibition

1913 Armory Evidence

Armory show button, 1913
Date	February 17, 1913 (1913-02-17) to March 15, 1913 (1913-03-15)
Location	69th Regiment Armory, New York, NY
Too known equally	The International Exhibition of Modernistic Fine art
Participants	Artists in the Armory Evidence

The 1913 Arsenal Evidence, also known every bit the International Exhibition of Modern Art, was a bear witness organized past the Association of American Painters and Sculptors in 1913. It was the get-go large exhibition of mod art in America, as well as one of the many exhibitions that take been held in the vast spaces of U.S. National Guard armories.

The three-city exhibition started in New York City's 69th Regiment Armory, on Lexington Avenue betwixt 25th and 26th Streets, from February 17 until March 15, 1913.^[1] The exhibition went on to the Fine art Institute of Chicago and and so to The Copley Society of Art in Boston,^[2] where, due to a lack of space, all the work by American artists was removed.^[three]

The show became an important outcome in the history of American art, introducing astonished Americans, who were accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism and Cubism. The show served as a catalyst for American artists, who became more independent and created their ain "creative language."

The origins of the show lie in the emergence of progressive groups and independent exhibitions in the early 20th century (with meaning French precedents), which challenged the aesthetic ideals, exclusionary policies, and potency of the National Academy of Pattern, while expanding exhibition and sales opportunities, enhancing public knowledge, and enlarging audiences for contemporary art.^[4]

History [edit]

A drawing by John French Sloan titled "A slight attack of third dimentia brought on past excessive report of the much-talked of cubist pictures in the International Exhibition at New York", April 1913.

Exhibition organizer Walter Pach, circa 1909

Exhibition organizer Arthur B. Davies, circa 1908

On December fourteen, 1911 an early meeting of what would become the Association of American Painters and Sculptors (AAPS) was organized at Madison Gallery in New York. Four artists met to discuss the contemporary art scene in the U.s., and the possibilities of organizing exhibitions of progressive artworks by living American and foreign artists, favoring works ignored or rejected past current exhibitions. The meeting included Henry Fitch Taylor, Jerome Myers, Elmer Livingston MacRae and Walt Kuhn.^[5]

In January 1912, Walt Kuhn, Walter Pach, and Arthur B. Davies joined together with some two dozen of their colleagues to reinforce a professional person coalition: AAPS. They intended the organization to "lead the public taste in fine art, rather than follow information technology."^[6] Other founding AAPS members included D. Putnam Brinley, Gutzon Borglum, John Frederick Mowbray-Clarke, Leon Dabo, William J. Glackens, Ernest Lawson, Jonas Prevarication, George Luks, Karl Anderson, James E.Fraser, Allen Tucker, and J. Alden Weir.^[6] AAPS was to be dedicated to creating new exhibition opportunities for young artists outside of the existing academic boundaries, every bit well as to providing educational art experiences for the American public.^[1] Davies served as president of AAPS, with Kuhn acting as secretary.^{[ citation needed ]}

The AAPS members spent more than a twelvemonth planning their kickoff project: the International Exhibition of Modern Art, a bear witness of giant proportions, different any New York had seen. The 69th Regiment Armory was settled on every bit the chief site for the exhibition in the bound of 1912, rented for a fee of $5,000, plus an boosted $500 for boosted personnel.^[vii] It was confirmed that the evidence would afterwards travel to Chicago and Boston.^{[ citation needed ]}

Once the infinite had been secured, the most complicated planning job was selecting the fine art for the show, especially afterwards the determination was made to include a big proportion of vanguard European work, well-nigh of which had never been seen past an American audience.^[1] In September 1912, Kuhn left for an extended collecting bout through Europe, including stops at cities in England, Germany, holland, and French republic, visiting galleries, collections and studios and contracting for loans every bit he went.^[viii] While in Paris Kuhn met upward with Pach, who knew the art scene there intimately, and was friends with Marcel Duchamp and Henri Matisse; Davies joined them in that location in November 1912.^[ane] Together they secured iii paintings that would end up existence amid the Armory Show'south most famous and polarizing: Matisse's Blue Nude (Souvenir de Biskra) and Madras Rouge (Red Madras Headdress), and Duchamp'southward Nude Descending a Staircase, No. 2. But subsequently Davies and Kuhn returned to New York in Dec did they result an invitation for American artists to participate.^[1]

Arsenal Show, Chicago, 1913. The Cubist room

Pach was the just American artist to be closely affiliated with the Department d'Or group of artists, including Albert Gleizes, Jean Metzinger, Duchamp brothers Marcel Duchamp, Raymond Duchamp-Villon, Jacques Villon and others. Pach was responsible for securing loans from these painters for the Arsenal Show. Most of the artists in Paris who sent works to the Armory Testify knew Pach personally and entrusted their works to him.^[ix]

The Armory Testify was the first, and ultimately the only exhibition mounted by the AAPS. It displayed some 1,300 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented.^[10] The publicity that stormed the evidence had been well sought, with the publication of one-half-tone postcards of 57 works, including the Duchamp nude that would become its virtually infamous.^[11] News reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels, and mock exhibitions. Some responded with laughter, as the artist John French Sloan seemed to non take the exhibition seriously in his published cartoon, "A slight attack of tertiary dimentia brought on by excessive report of the much-talked of cubist pictures in the International Exhibition at New York".^[12] About the modern works, former President Theodore Roosevelt declared, "That'due south not art!"^[13] The ceremonious authorities did not, however, close down or otherwise interfere with the show.^{[ citation needed ]}

Amid the scandalously radical works of art, pride of identify goes to Marcel Duchamp's cubist/futurist mode Nude Descending a Staircase, painted the year earlier, in which he expressed movement with successive superimposed images, as in move pictures. Julian Street, an art critic, wrote that the work resembled "an explosion in a shingle manufactory" (this quote is also attributed to Joel Spingarn^[14]), and cartoonists satirized the piece. Gutzon Borglum, ane of the early organizers of the show who for a diversity of reasons withdrew both his organizational prowess and his work, labeled this piece A staircase descending a nude, while J. F. Griswold, a writer for the New York Evening Sunday, entitled it The rude descending a staircase (Rush hour in the subway).^[xv] The painting was purchased from the Armory Show by Frederic C. Torrey of San Francisco.^[16]

The purchase of Paul Cézanne'due south Hill of the Poor (View of the Domaine Saint-Joseph) by the Metropolitan Museum of Fine art signaled an integration of modernism into the established New York museums, but among the younger artists represented, Cézanne was already an established master.^{[ commendation needed ]}

Duchamp's blood brother, who went by the "nom de guerre" Jacques Villon, besides exhibited, sold all his Cubist drypoint etchings, and struck a sympathetic chord with New York collectors who supported him in the following decades.^{[ citation needed ]}

The exhibition went on to show at the Fine art Establish of Chicago and then to The Copley Society of Art in Boston,^[2] where, due to a lack of space, all the piece of work past American artists was removed.^[3]

While in Chicago, the exhibition created a scandal that reached the governor's office. Several articles in the press recounted the issue. In one newspaper the headline read: Cubist Art Will be Investigated; Illinois Legislative Investigators to Probe the Moral Tone of the Much Touted Art:

Chicago, April 2: Charges that the international exhibition of cubist and futurist pictures, now being displayed here at the fine art institute, contains many indecent canvasses and sculptures will be investigated at one time by the Illinois legislature white slave committee. A visit of an investigator to the show and his report on the pictures acquired Lieutenant Governor Barratt O'Hara to order an immediate exam of the entire exhibition. Mr. O'Hara sent the investigator to look over the pictures later he had received many complaints of the character of the show. "We will not condemn the international exhibit without an impartial investigation," said the lieutenant governor today. "I have received many complaints, yet, and we owe it to the public that the field of study be looked into thoroughly." The investigator reported that a number of the pictures were "immoral and suggestive." Senators Woodward and Beall of the commission will visit the exhibition today.

— Ottumwa Tri-Weekly Courier, Iowa, 3 April 1913^[17]

Floor program [edit]

The following shows the content of each gallery:^[xviii]

• Gallery A: American Sculpture and Decorative Art
• Gallery B: American Paintings and Sculpture
• Gallery C, D, E, F: American Paintings
• Gallery G: English, Irish and German Paintings and Drawings
• Gallery H, I: French Painting and Sculpture
• Gallery J: French Paintings, H2o Colors and Drawings
• Gallery K: French and American Water Colors, Drawings, etc.
• Gallery L: American Water Colors, Drawings, etc.
• Gallery M: American Paintings
• Gallery N: American Paintings and Sculpture
• Gallery O: French Paintings
• Gallery P: French, English, Dutch and American Paintings
• Gallery Q: French Paintings
• Gallery R: French, English and Swiss Paintings

Legacy [edit]

The original exhibition was an overwhelming success. There accept been several exhibitions that were celebrations of its legacy throughout the 20th century.^[19]

In 1944 the Cincinnati Art Museum mounted a smaller version, in 1958 Amherst College held an exhibition of 62 works, 41 of which were in the original evidence, and in 1963 the Munson-Williams-Proctor Arts Institute in Utica, New York organized the "1913 Armory Show 50th Anniversary Exhibition" sponsored by the Henry Street Settlement in New York, which included more 300 works.^[xix]

Experiments in Art and Engineering science (East.A.T.) was officially launched past the engineers Billy Klüver and Fred Waldhauer and the artists Robert Rauschenberg and Robert Whitman when they collaborated in 1966 and together organized nine Evenings: Theatre and Applied science, a serial of performance art presentations that united artists and engineers. Ten artists worked with more than 30 engineers to produce art performances incorporating new applied science. The performances were held in the 69th Regiment Armory, as an homage to the original and historical 1913 Armory evidence.^{[20] [21]}

In February 2009, the Fine art Dealers Clan of America (ADAA) presented its 21st annual Art Show to benefit the Henry Street Settlement, at the Seventh Regiment Armory, located between 66th and 67th Streets and Park and Lexington Avenues in New York Metropolis. The exhibition began as a historical homage to the original 1913 Armory Evidence.^{[ commendation needed ]}

Starting with a small exhibition in 1994, by 2001 The Armory Show, now held at the Javits Center, evolved into a "hugely entertaining" (The New York Times) annual contemporary arts festival with a potent commercial bent.^{[ citation needed ]}

Commemorating the centennial [edit]

Many exhibitions in 2013 celebrated the 100th anniversary of the 1913 Armory Prove, too equally a number of publications, virtual exhibitions, and programs. The first exhibition, "The New Spirit: American Art in the Armory Evidence, 1913," opened at the Montclair Art Museum on Feb 17, 2013, a hundred years to the day from the original.^[one] The second exhibition was organized past the New-York Historical Society and titled "The Armory Prove at 100," taking place from Oct 18, 2013 through Feb 23, 2014.^[22] The Smithsonian's Archives of American Art, which lent dozens of historic documents to both the New York Historical Social club and Montclair for the exhibitions, created an online timeline of events, 1913 Arsenal Show: the Story in Primary Sources, to showcase the records and documents created by the testify's organizers.^[23]

Showing contemporary work, a third exhibition, The Fountain Art Fair, was held at the 69th Regiment Armory itself during the 100th ceremony during March 8–x, 2013. The ethos of Fountain Fine art Fair was inspired past Duchamp'due south famous "Fountain" which was the symbol of the Fair.^[24] The Art Establish of Chicago, which was the only museum to host the 1913 Armory Show, presented works February twenty – May 12, 2013, the items fatigued from the museum's modern collection that were displayed in the original 1913 exhibition.^[25] The DePaul Art Museum in Chicago, Illinois presented For and Against Mod Fine art: The Arsenal Testify +100, from Apr 4 to June 16, 2013.^[26] The International Print Center in New York held an exhibition, "1913 Armory Testify Revisited: the Artists and their Prints," of prints from the testify or by artists whose work in other media was included.^[xi]

In addition, the Greenwich Historical Society presented The New Spirit and the Cos Cob Art Colony: Before and After the Armory Testify, from October 9, 2013, through January 12, 2014. The evidence focused on the furnishings of the Arsenal Show on the Cos Cob Art Colony, and highlighted the involvement of artists such as Elmer Livingston MacRae and Henry Fitch Taylor in producing the show.^[27]

American filmmaker Michael Maglaras produced a documentary film about the Armory Show entitled, The Swell Confusion: The 1913 Armory Evidence. The picture show premiered on September 26, 2013, at the New Britain Museum of American Art in New Uk, Connecticut.^[28]

List of artists [edit]

Below is a partial list of the artists in the testify. These artists are all listed in the 50th anniversary catalog as having exhibited in the original 1913 Armory evidence.^[19]

• Robert Ingersoll Aitken
• Alexander Archipenko
• George Gray Barnard
• Chester Beach
• Gifford Beal
• Maurice Becker
• George Bellows
• Joseph Bernard
• Guy Pène du Bois
• Oscar Bluemner
• Hanns Bolz
• Pierre Bonnard
• Solon Borglum
• Antoine Bourdelle
• Constantin Brâncuși
• Georges Braque
• Bessie Marsh Brewer
• Patrick Henry Bruce
• Paul Burlin
• Theodore Earl Butler
• Charles Camoin
• Arthur Carles
• Mary Cassatt
• Oscar Cesare
• Paul Cézanne
• Robert Winthrop Chanler
• Pierre Puvis de Chavannes
• John Frederick Mowbray-Clarke
• Nessa Cohen
• Camille Corot
• Kate Cory
• Gustave Courbet
• Henri-Edmond Cross
• Leon Dabo
• Andrew Dasburg
• Honoré Daumier
• Jo Davidson
• Arthur B. Davies (President)
• Stuart Davis
• Edgar Degas
• Eugène Delacroix
• Robert Delaunay
• Maurice Denis
• André Derain
• Katherine Sophie Dreier
• Marcel Duchamp
• Georges Dufrénoy
• Raoul Dufy
• Jacob Epstein
• Mary Foote
• Roger de La Fresnaye
• Othon Friesz
• Paul Gauguin
• William Glackens
• Albert Gleizes
• Vincent van Gogh
• Francisco Goya
• Marsden Hartley
• Childe Hassam
• Robert Henri
• Edward Hopper
• Ferdinand Hodler
• Jean Auguste Dominique Ingres
• James Dickson Innes
• Augustus John
• Gwen John
• Wassily Kandinsky
• Ernst Ludwig Kirchner
• Leon Kroll
• Walt Kuhn (Founder)
• Gaston Lachaise
• Marie Laurencin
• Ernest Lawson
• Henri de Toulouse-Lautrec
• Arthur Lee
• Fernand Léger
• Wilhelm Lehmbruck
• Jonas Lie
• George Luks
• Aristide Maillol
• Édouard Manet
• Henri Manguin
• Edward Middleton Manigault
• John Marin
• Albert Marquet
• Henri Matisse
• Alfred Henry Maurer
• Kenneth Hayes Miller
• David Milne
• Claude Monet
• Adolphe Monticelli
• Edvard Munch
• Ethel Myers
• Jerome Myers (Founder)
• Elie Nadelman
• Olga Oppenheimer
• Walter Pach
• Jules Pascin
• Francis Picabia
• Pablo Picasso
• Camille Pissarro
• Maurice Prendergast
• Odilon Redon
• Pierre-Auguste Renoir
• Boardman Robinson
• Theodore Robinson
• Auguste Rodin
• Georges Rouault
• Henri Rousseau
• Morgan Russell
• Albert Pinkham Ryder
• André Dunoyer de Segonzac
• Georges Seurat
• Charles Sheeler
• Walter Sickert
• Paul Signac
• Alfred Sisley
• John Sloan
• Amadeo de Souza Cardoso
• Joseph Stella
• Felix Eastward. Tobeen
• John Henry Twachtman
• Félix Vallotton
• Raymond Duchamp-Villon
• Jacques Villon
• Maurice de Vlaminck
• Bessie Potter Vonnoh
• Édouard Vuillard
• Abraham Walkowitz
• J. Alden Weir
• James Abbott McNeill Whistler
• Enid Yandell
• Jack B. Yeats
• Mahonri Young
• Marguerite Zorach
• William Zorach

Listing of women artists [edit]

Women artists in the Arsenal Prove includes those from the United states of america and from Europe. Approximately a fifth of the artists showing at the armory were women, many of whom have since been neglected.^[29]

Images [edit]

A list written in 1912 past Pablo Picasso of European artists he felt should exist included in the 1913 Armory Show. This document dispels the assertion that an unbridgeable divide separated the Salon Cubists from the Gallery Cubists. Walt Kuhn family papers and Arsenal Show records, Archives of American Art, Smithsonian Institution.

• 

  Entrance of the Exhibition, 1913, New York Urban center

• 

  Interior view of the exhibition, 1913, New York City

• 

  Interior view of the exhibition, 1913, New York City

• 

  Armory Show artists and members of the press at the beefsteak dinner given by the Clan of American Painters and Sculptors, March viii, 1913. Percy Rainford, photographer. Walt Kuhn family papers and Armory Testify records, Athenaeum of American Art, Smithsonian Institution

• 

  Installation shot of the Matisse room, 1913 Armory Show, published in the New York Tribune (p. seven), February 17, 1913. From the left: Le Luxe II, 1907–08, Statens Museum for Kunst, Copenhagen; "Blue Nude (Souvenir de Biskra)", 1907, Baltimore Museum of Art; L'Atelier Rouge, 1911, Museum of Modern Art, New York City

• 

  Installation shot of the Cubist room, published in the New York Tribune, Feb 17, 1913 (p. vii). Left to correct: Raymond Duchamp-Villon, La Maison Cubiste (Projet d'Hotel), Cubist House; Marcel Duchamp Nude (Study), Deplorable Young man on a Train; Albert Gleizes, L'Homme au Balcon, Man on a Balcony; Marcel Duchamp, Nude Descending a Staircase, No. 2; Alexander Archipenko, La Vie Familiale, Family unit Life

Selected painting and sculpture [edit]

• 

  Mary Cassatt, Mère et enfant (Reine Lefebre and Margot before a Window), c.1902

• 

• 

• 

• 

  Paul Gauguin, Nature morte à l'estampe japonaise (Flowers Against a Yellow Background), 1889, oil on canvas, 72.4 × 93.vii cm, Museum of Contemporary Art, Tehran

• 

  Henri Rousseau, Cheval attaqué par un jaguar (Jaguar Attacking a Horse), 1910, oil on canvass, 116 x 90 cm, Pushkin Museum

• 

• 

• 

  Othon Friesz, Mural with Figures, 1909, oil on sail, 65 × 83 cm

• 

• 

  Robert Winthrop Chanler, Leopard and Deer, 1912, gouache or tempera on sail, mounted on wood, 194.3 × 133.4 cm, Rokeby Collection

• 

• 

• 

• 

  Pablo Picasso, 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 10 60 cm, Gemeentemuseum, The Hague

• 

• 

• 

• 

  Francis Picabia, Grimaldi après la pluie (believed to be Gift of Grimaldi, Italy), ca. 1912, location unknown

• 

  Jacques Villon, 1912, Girl at the Piano (Fillette au piano), oil on canvas, 129.2 x 96.4 cm, oval, Museum of Modernistic Art, New York. Exhibited at the 1913 Arsenal Show, New York, Chicago and Boston. Purchased from the Armory Show by John Quinn

• 

  Aristide Maillol, Bas Relief, terracotta. Exhibited at the 1913 Armory Evidence, New York, Chicago, Boston. Catalogue paradigm (no. 110)

• 

  Alexander Archipenko, La Vie Familiale (Family Life), 1912. Exhibited at the 1912 Salon d'Automne, Paris and the 1913 Arsenal Evidence in New York, Chicago and Boston. The original sculpture (approx six feet tall) was accidentally destroyed

• 

  Constantin Brâncuși, 1909, Portrait De Femme (La Baronne Renée Frachon), now lost. Armory Bear witness, published press clipping, 1913

• 

  Constantin Brâncuși, Une Muse, 1912, plaster, 45.7 cm (18 in.) Armory Show postcard. Exhibited: New York (no. 618); The Art Institute of Chicago (no. 26) and Boston, Copley Hall (no. viii)

• 

  Wilhelm Lehmbruck, 1911, Femme á genoux (The Kneeling One), bandage rock, 176 × 138 × 70 cm, Arsenal Show postcard

• 

  Jacob Epstein, The Rock Drill, 1913, in its original form, information technology is now lost.

Special installation [edit]

La Maison Cubiste (Cubist House) [edit]

Raymond Duchamp-Villon, 1912, Study for La Maison Cubiste, Projet d'Hotel (Cubist House), plaster, H. 3 meters by W. ten meters. Image published in Les Peintres Cubistes, by Guillaume Apollinaire, March 17, 1913

At the 1912 Salon d'Automne an architectural installation was exhibited that rapidly became known every bit Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare forth with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote well-nigh the autonomous nature of art, stressing the betoken that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antonym of the picture". "The true movie" wrote Metzinger and Gleizes, "bears its raison d'être inside itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the listen: on the contrary, it should lead information technology, trivial by petty, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...".^[30] "Mare'due south ensembles were accepted every bit frames for Cubist works considering they immune paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement non but of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's former friends Léger and Roger La Fresnaye".^[31] La Maison Cubiste was a fully furnished house, with a staircase, wrought fe banisters, a living room—the Salon Bourgeois, where paintings past Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a chamber. It was an instance of Fifty'art décoratif, a home within which Cubist fine art could be displayed in the condolement and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed past Duchamp-Villon.^[32] This architectural installation was afterward exhibited at the 1913 Arsenal Show, New York, Chicago and Boston,^[33] listed in the catalogue of the New York exhibit equally Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).^{[34] [35]}

Sources [edit]

• Sarah Douglas. "Pier Pressure." March 26, 2008. Archived on April 11, 2008.
• Catalogue of International Exhibition of Modern Art, at the Armory of the Sixty-Ninth Infantry, Feb 15 to March xv, 1913. Clan of American Painters and Sculptors, 1913.
• Walt Kuhn. The Story of the Arsenal Show. New York, 1938.
• Milton Due west. Brown. The Story of the Armory Show. Joseph H. Hirshhorn Foundation, distributed by New York Graphic Order, 1963. [republished by Abbeville Press, 1988.]
• 1913 Armory Show 50th Anniversary Exhibition. Text by Milton W. Brown. Utica: Munson-Williams-Proctor Found, 1963.
• Walter Pach Papers, Archives of American Art, Smithsonian Institution
• Walt Kuhn, Kuhn Family Papers, and Armory Show Records, Archives of American Art, Smithsonian Institution

Run into as well [edit]

• Listing of artists in the Armory Show
• List of women artists in the Arsenal Show
• Experiments in Art and Applied science
• American modernism
• American realism
• Ashcan school
• Civilisation of New York Urban center
• The Armory Show (art off-white)

References [edit]

1. ^ ^{a b c d e f} Cotter, Holland (October 28, 2012). "Rethinking the Armory Prove". The New York Times. p. 1.
2. ^ ^{a b} International Exhibition of Modernistic Art, catalogue cover, Copley Social club of Boston, Copley Hall, Boston, Mass., 1913
3. ^ ^{a b} Brown, Milton W., The Story of the Arsenal Show, Joseph H Hirshhorn Foundation, New York, 1963, pp. 185–186
4. ^ Berman, Avis (2000). As National as the National Beige Visitor; The Academy, the Critics, and the Armory Prove, Rave Reviews American Fine art and Its Critics, 1826–1925. New York: National Academy of Design. p. 131.
5. ^ 1913 Armory Show, The Story in Master Sources (Timeline)
6. ^ ^{a b} "New York Arsenal Show of 1913". AskArt.com. Retrieved February ane, 2013.
7. ^ "Securing a Space: The 69th Regiment Armory". 1913 Armory Show: the Story in Primary Sources. Athenaeum of American Art, Smithsonian Institution. Retrieved Feb 1, 2013.
8. ^ "Walt Kuhn's Itinerary through Europe, 1912". 1913 Armory Evidence: the Story in Chief Sources. Archives of American Art, Smithsonian Institution. Retrieved February 1, 2013.
9. ^ Laurette E. McCarthy, Walter Pach, Walter Pach (1883–1958), The Armory Testify and the Untold Story of Modern Fine art in America, Penn State Printing, 2011
10. ^ McShea, Megan, A Finding Aid to the Walt Kuhn Family Papers and Armory Show Records, 1859–1978 (majority 1900–1949), Archives of American Art, Smithsonian Establishment.
11. ^ ^{a b} Andress, Sarah. "1913 Arsenal Show Revisited: The Artists and their Prints," Art in Print Vol. iii No. 2 (July–August 2013).
12. ^ Blanke, David. The 1910s. Greenwood Publishing Grouping, 2002. p. 275. ISBN 9780313312519
13. ^ Theodore Roosevelt's review of the Armory Show for The Outlook, published on March 29, 1913, was entitled "A Layman'south View of an Fine art Exhibition". See Edmund Morris, Colonel Roosevelt (Random Firm, New York, 2010; ISBN 978-0-375-50487-7), pages 267–272 and 660–663. According to Morris, Roosevelt'south review looked with some favor upon the new American artists.
14. ^ Joel Spingarn, p. 110
15. ^ Brown, Milton W., The Story of the Armory Testify, Joseph H Hirshhorn Foundation, New York, 1963, p. 110
16. ^ xroads. Univ. of Virginia
17. ^ Cubist Art Volition exist Investigated; Illinois legislative Investigators to Probe the Moral Tone of the Much Touted Art, Ottumwa Tri-Weekly Courier (Ottumwa, Iowa), iii April 1913. Chronicling America: Celebrated American Newspapers. Lib. of Congress
18. ^ "Gallery Map". University of Virginia. Retrieved Feb sixteen, 2018.
19. ^ ^{a b c} 1913 Armory Show 50th Ceremony Exhibition 1963 copyright and organized by Munson-Williams-Proctor Arts Institute, copyright and sponsored by the Henry Street Settlement, New York Metropolis, Library of Congress card number 63-13993
20. ^ Vehicle, online. Retrieved September 25, 2008.
21. ^ documents, history online. Retrieved September 25, 2008.
22. ^ "The Arsenal Prove at 100". New-York Historical Guild. Retrieved Feb 1, 2013.
23. ^ "1913 Arsenal Bear witness: The Story in Main Sources". Archives of American Art, Smithsonian Institution. Retrieved February 1, 2013.
24. ^ "Fountain Fine art Fair". Retrieved February 24, 2013.
25. ^ "Celebrating the Armory Show". Retrieved March 12, 2013.
26. ^ "Armory Show". Retrieved March 12, 2013.
27. ^ Greenwich Historical Gild
28. ^ "Earth Premier Film Consequence: The Smashing Confusion: The 1913 Armory Testify". Connecticut Magazine. Connecticutmag.com. 2013.
29. ^ Shircliff, Jennifer Pfeifer (May 2014). Women of the 1913 Arsenal Show: Their Contributions to the Evolution of American Modern Art. Louisville, Kentucky: University of Louisville. Retrieved Nov fifteen, 2014.
30. ^ "Albert Gleizes and Jean Metzinge, except from Du Cubisme, 1912" (PDF). Archived from the original (PDF) on June 2, 2013. Retrieved Apr 15, 2013.
31. ^ Christopher Green, Art in French republic: 1900–1940, Affiliate 8, Modern Spaces; Modern Objects; Modern People, 2000
32. ^ La Maison Cubiste, 1912 Archived March 13, 2013, at the Wayback Auto
33. ^ Kubistische werken op de Armory Show
34. ^ Duchamp-Villon's Façade architecturale, 1913
35. ^ "Catalogue of international exhibition of modern art: at the Armory of the Sixty-9th Infantry, 1913, Duchamp-Villon, Raymond, Facade Architectural

External links [edit]

External video
@ The Museum of Modern Art, New York City
MoMA Celebrates 1913: Constantin Brancusi's Mlle Pogany

1913 Armory Show [edit]

• The Armory Show at 100: Modern Art and Revolution, The New-York Historical Society
• Smithsonian, Archives of American Art, Walt Kuhn scrapbook of press clippings documenting the Armory Testify, vol. 2, 1913. Armory Testify catalogue (illustrated) from pages 159 through 236
• Catalogue of international exhibition of modern art Association of American Painters and Sculptors. Published 1913 by the Association in New York
• 1913 Armory Show: the Story in Main Sources, Archives of American Art, Smithsonian Establishment
• Virtual re-creation of the Arsenal Show from the American Studies Programs at the University of Virginia
• Works of art exhibited at the Armory Show of the clan of American Painters and Sculptors, New York, Library of Congress
• The Arsenal Testify at 100: Armory Testify 1913 Complete List, The New-York Historical Society

Arsenal shows later on 1913 [edit]

• The "New" Armory Show
• Artkrush.com feature on the 2006 Armory Show (March, 2006)
• 2010 Armory Prove
• Swann Galleries – The Armory Show at 100 – Exhibition through November v, 2013
• Arsenal Testify 2014: List of exhibiting galleries

Coordinates: xl°44′29″N 73°59′03″W  /  xl.74139°N 73.98417°West  / 40.74139; -73.98417

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