The 1913 Armory Show, also known as the International Exhibition of Modern Art, was organized by the Association of American Painters and Sculptors. It was the first large exhibition of modern art in America, as well as one of the many exhibitions that have 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 between 25th and 26th Streets, from February 17 until March 15, 1913.[1] The exhibition went on to the Art Institute of Chicago and then to The Copley Society of Art in Boston,[2] where, due to a lack of space, all the work by American artists was removed.[3]
The show became an important event in the history of American art, introducing 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 own "artistic language."
"The origins of the show lie in the emergence of progressive groups and independent exhibitions in the early 20th century (with significant French precedents), which challenged the aesthetic ideals, exclusionary policies, and authority of the National Academy of Design, while expanding exhibition and sales opportunities, enhancing public knowledge, and enlarging audiences for contemporary art."[4]
History
A drawing by John French Sloan titled "A slight attack of third dimentia brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York.", April 191369th Regiment Armory in 2008Exhibition organizer Walter Pach, circa 1909Exhibition organizer Arthur B. Davies, circa 1908
On December 14, 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 United States, and the possibilities of organizing exhibitions of progressive artworks by living American and foreign artists, favoring works ignored or rejected by current exhibitions. The meeting included Henry Fitch Taylor, Jerome Myers, Elmer Livingston MacRae and Walt Kuhn.[5]
The AAPS members spent more than a year planning their first project: the International Exhibition of Modern Art, a show of giant proportions, unlike any New York had seen. The 69th Regiment Armory was settled on as the main site for the exhibition in the spring of 1912, rented for a fee of $5,000, plus an additional $500 for additional personnel.[7] It was confirmed that the show would later travel to Chicago and Boston.[citation needed]
Once the space had been secured, the most complicated planning task was selecting the art for the show, particularly after the decision was made to include a large proportion of vanguard European work, most of which had never been seen by an American audience.[1] In September 1912, Kuhn left for an extended collecting tour through Europe, including stops at cities in England, Germany, the Netherlands, and France, visiting galleries, collections and studios and contracting for loans as he went.[8] While in Paris Kuhn met up with Pach, who knew the art scene there intimately, and was friends with Marcel Duchamp and Henri Matisse; Davies joined them there in November 1912.[1] Together they secured three paintings that would end up being among the Armory Show's most famous and polarizing: Matisse's Blue Nude (Souvenir de Biskra) and Madras Rouge (Red Madras Headdress), and Duchamp's Nude Descending a Staircase, No. 2. Only after Davies and Kuhn returned to New York in December did they issue an invitation for American artists to participate.[1]
Armory Show, Chicago, 1913. The Cubist room.
Pach was the only American artist to be closely affiliated with the Section 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 Armory Show. Most of the artists in Paris who sent works to the Armory Show knew Pach personally and entrusted their works to him.[9] The Armory Show was the first, and ultimately the only exhibition mounted by the AAPS.
In 1913, the art collector and lawyer John Quinn fought to overturn censorship laws restricting modern art and literature from entering the United States. He convinced the United States Congress to overturn the 1909 Payne–Aldrich Tariff Act, which retained the duty on foreign works of art less than 20 years old, discouraging Americans from collecting modern European art. Quinn opened the Armory Show exhibition with the words:
... it was time the American people had an opportunity to see and judge for themselves concerning the work of the Europeans who are creating a new art.[10]
The Armory Show 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.[11] The publicity that stormed the show had been well sought, with the publication of half-tone postcards of 57 works, including the Duchamp nude that would become its most infamous.[12] 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 not take the exhibition seriously in his published cartoon, "A slight attack of third dimentia brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York".[13] About the modern works, former President Theodore Roosevelt declared, "That's not art!"[14] The civil authorities did not, however, close down or otherwise interfere with the show.[citation needed]
Among the scandalously radical works of art, pride of place goes to Marcel Duchamp's cubist/futurist style Nude Descending a Staircase, painted the year before, in which he expressed motion with successive superimposed images, as in motion pictures. Julian Street, an art critic, wrote that the work resembled "an explosion in a shingle factory" (this quote is also attributed to Joel Spingarn[15]), and cartoonists satirized the piece. Gutzon Borglum, one of the early organizers of the show who for a variety 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 Sun, entitled it The rude descending a staircase (Rush hour in the subway).[16] The painting was purchased from the Armory Show by Frederic C. Torrey of San Francisco.[17]
Duchamp's brother, who went by the "nom de guerre" Jacques Villon, also 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]
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 art institute, contains many indecent canvasses and sculptures will be investigated at once by the Illinois legislature white slave commission. A visit of an investigator to the show and his report on the pictures caused Lieutenant Governor Barratt O'Hara to order an immediate examination of the entire exhibition. Mr. O'Hara sent the investigator to look over the pictures after 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, however, and we owe it to the public that the subject 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[18]
The original exhibition was an overwhelming success. There have been several exhibitions that were celebrations of its legacy throughout the 20th century.[20]
Experiments in Art and Technology (E.A.T.) was officially launched by the engineers Billy Klüver and Fred Waldhauer and the artists Robert Rauschenberg and Robert Whitman when they collaborated in 1966 and together organized 9 Evenings: Theatre and Engineering, a series of performance art presentations that united artists and engineers. Ten artists worked with more than 30 engineers to produce art performances incorporating new technology. The performances were held in the 69th Regiment Armory, as an homage to the original and historical 1913 Armory show.[21][22]
In February 2009, the Art Dealers Association 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 City.[23] The exhibition began as a historical homage to the original 1913 Armory Show.[citation needed]
Many exhibitions in 2013 celebrated the 100th anniversary of the 1913 Armory Show, as well as a number of publications, virtual exhibitions, and programs. The first exhibition, "The New Spirit: American Art in the Armory Show, 1913," opened at the Montclair Art Museum on February 17, 2013, a hundred years to the day from the original.[1] The second exhibition was organized by the New-York Historical Society and titled "The Armory Show at 100," taking place from October 18, 2013, through February 23, 2014.[24] The Smithsonian's Archives of American Art, which lent dozens of historic documents to both the New York Historical Society and Montclair for the exhibitions, created an online timeline of events, 1913 Armory Show: the Story in Primary Sources, to showcase the records and documents created by the show's organizers.[25]
Showing contemporary work, a third exhibition, The Fountain Art Fair, was held at the 69th Regiment Armory itself during the 100th anniversary during March 8–10, 2013. The ethos of Fountain Art Fair was inspired by Duchamp's famous "Fountain" which was the symbol of the Fair.[26]The Art Institute of Chicago, which was the only museum to host the 1913 Armory Show, presented works February 20 – May 12, 2013, the items drawn from the museum's modern collection that were displayed in the original 1913 exhibition.[27] The DePaul Art Museum in Chicago, Illinois presented For and Against Modern Art: The Armory Show +100, from April 4 to June 16, 2013.[28] The International Print Center in New York held an exhibition, "1913 Armory Show Revisited: the Artists and their Prints," of prints from the show or by artists whose work in other media was included.[12]
In addition, the Greenwich Historical Society presented The New Spirit and the Cos Cob Art Colony: Before and After the Armory Show, from October 9, 2013, through January 12, 2014. The show focused on the effects of the Armory 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.[29]
American filmmaker Michael Maglaras produced a documentary film about the Armory Show entitled, The Great Confusion: The 1913 Armory Show. The film premiered on September 26, 2013, at the New Britain Museum of American Art in New Britain, Connecticut.[30]
Below is a partial list of the artists in the show. These artists are all listed in the 50th anniversary catalog as having exhibited in the original 1913 Armory show.[20]
Women artists in the Armory Show includes those from the United States and from Europe. Approximately a fifth of the artists showing at the armory were women, many of whom have since been neglected.[31]
Images
A list written in 1912 by Pablo Picasso of European artists he felt should be 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 Armory Show records, Archives of American Art, Smithsonian Institution.
Entrance of the Exhibition, 1913, New York City
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 Association of American Painters and Sculptors, March 8, 1913. Percy Rainford, photographer. Walt Kuhn family papers and Armory Show records, Archives of American Art, Smithsonian Institution
Installation shot of the Matisse room, 1913 Armory Show, published in the New York Tribune (p.7), 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
Paul Gauguin, Nature morte à l'estampe japonaise (Flowers Against a Yellow Background), 1889, oil on canvas, 72.4 × 93.7cm, Museum of Contemporary Art, Tehran
Marcel Duchamp, 1911–1912, Nude (Study), Sad Young Man on a Train (Nu, esquisse, jeune homme triste dans un train), oil on cardboard mounted on Masonite, 100 × 73cm, Peggy Guggenheim Collection, Venice
Francis Picabia, Grimaldi après la pluie (believed to be Souvenir of Grimaldi, Italy), ca. 1912, location unknown
Jacques Villon, 1912, Girl at the Piano (Fillette au piano), oil on canvas, 129.2 × 96.4cm, oval, Museum of Modern Art, New York. Exhibited at the 1913 Armory Show, New York, Chicago and Boston. Purchased from the Armory Show by John Quinn
Aristide Maillol, Bas Relief, terracotta. Exhibited at the 1913 Armory Show, New York, Chicago, Boston. Catalogue image (no. 110)
Alexander Archipenko, 1910–11, Negress (La Negresse), Armory Show catalogue photo
Alexander Archipenko, La Vie Familiale (Family Life), 1912. Exhibited at the 1912 Salon d'Automne, Paris and the 1913 Armory Show in New York, Chicago and Boston. The original sculpture (approx six feet tall) was accidentally destroyed
Constantin Brâncuși, The Kiss, 1907–1908, published in the Chicago Tribune, March 25, 1913
Constantin Brâncuși, Une Muse, 1912, plaster, 45.7cm (18 in.) Armory Show postcard. Exhibited: New York (no. 618); The Art Institute of Chicago (no. 26) and Boston, Copley Hall (no. 8)
Raymond Duchamp-Villon, 1912, Study for La Maison Cubiste, Projet d'Hotel (Cubist House), plaster, H. 3 meters by W. 10 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 quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within 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 mind: on the contrary, it should lead it, little by little, 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...".[32] "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye".[33]La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort 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 by Duchamp-Villon.[34] This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston,[35] listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).[36][37]
Sources
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 15, 1913. Association of American Painters and Sculptors, 1913.
Walt Kuhn. The Story of the Armory Show. New York, 1938.
Milton W. Brown. The Story of the Armory Show. Joseph H. Hirshhorn Foundation, distributed by New York Graphic Society, 1963. [republished by Abbeville Press, 1988.]
1913 Armory Show 50th Anniversary Exhibition. Text by Milton W. Brown. Utica: Munson-Williams-Proctor Institute, 1963.
Cubism is an early-20th-century avant-garde art movement begun in Paris that revolutionized painting and the visual arts, and influenced artistic innovations in music, ballet, literature, and architecture. Cubist subjects are analyzed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term cubism is broadly associated with a variety of artworks produced in Paris or near Paris (Puteaux) during the 1910s and throughout the 1920s.
Jacques Villon, also known as Gaston Duchamp, was a French Cubist and abstract painter and printmaker.
Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the neo-Impressionism of Georges Seurat and Henri-Edmond Cross. Between 1904 and 1907, Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works.
The Salon d'Automne, or Société du Salon d'automne, is an art exhibition held annually in Paris. Since 2011, it is held on the Champs-Élysées, between the Grand Palais and the Petit Palais, in mid-October. The first Salon d'Automne was created in 1903 by Frantz Jourdain, with Hector Guimard, George Desvallières, Eugène Carrière, Félix Vallotton, Édouard Vuillard, Eugène Chigot and Maison Jansen.
Albert Gleizes was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Du "Cubisme", 1912. Gleizes was a founding member of the Section d'Or group of artists. He was also a member of Der Sturm, and his many theoretical writings were originally most appreciated in Germany, where especially at the Bauhaus his ideas were given thoughtful consideration. Gleizes spent four crucial years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, and both a founder and participant in the Abbaye de Créteil. Gleizes exhibited regularly at Léonce Rosenberg's Galerie de l’Effort Moderne in Paris; he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, e.g., La Peinture et ses lois, Vers une conscience plastique: La Forme et l’histoire and Homocentrisme.
Nude Descending a Staircase, No. 2 is a 1912 painting by Marcel Duchamp. The work is widely regarded as a Modernist classic and has become one of the most famous of its time. Before its first presentation at the 1912 Salon des Indépendants in Paris it was rejected by the Cubists as being too Futurist. It was then exhibited with the Cubists at Galeries Dalmau's Exposició d'Art Cubista, in Barcelona, 20April – 10May 1912. The painting was subsequently shown, and ridiculed, at the 1913 Armory Show in New York City.
John Quinn was an Irish-American cognoscente of the art world and a lawyer in New York City who fought to overturn censorship laws restricting modern literature and art from entering the United States.
The Section d'Or, also known as Groupe de Puteaux or Puteaux Group, was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism. Based in the Parisian suburbs, the group held regular meetings at the home of the Duchamp brothers in Puteaux and at the studio of Albert Gleizes in Courbevoie. Active from 1911 to around 1914, members of the collective came to prominence in the wake of their controversial showing at the Salon des Indépendants in the spring of 1911. This showing by Albert Gleizes, Jean Metzinger, Robert Delaunay, Henri le Fauconnier, Fernand Léger and Marie Laurencin, created a scandal that brought Cubism to the attention of the general public for the first time.
Walter Pach was an artist, critic, lecturer, art adviser, and art historian who wrote extensively about modern art and championed its cause. Through his numerous books, articles, and translations of European art texts Pach brought the emerging modernist viewpoint to the American public.
The Bathers is a large oil painting created at the outset of 1912 by the French artist Albert Gleizes. It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in Du "Cubisme", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. Les Baigneuses, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris.
The Blue Bird is an oil painting created in 1912–1913 by the French artist and theorist Jean Metzinger. L'Oiseau bleu, one of Metzinger's most recognizable and frequently referenced works, was first exhibited in Paris at the Salon des Indépendants in the spring of 1913, several months after the publication of the first Cubist manifesto, Du "Cubisme", written by Jean Metzinger and Albert Gleizes (1912). It was subsequently exhibited at the 1913 Erster Deutscher Herbstsalon in Berlin.
Man on a Balcony, is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912. The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.
Man with a Pipe, also referred to as Portrait of an American Smoker, Portrait of an American Smoking, American Smoking and American Man, is a painting by the French Cubist artist Jean Metzinger. The work was reproduced on the cover of catalogue of the Exhibition of Cubist and Futurist Pictures, Boggs & Buhl Department Store, Pittsburgh, forming part of a show in 1913 that traveled to several U.S. cities: Milwaukee, Cleveland, Pittsburgh, New York, and Philadelphia.
The Harbor, is a painting by the French artist Jean Metzinger. The work was exhibited in the spring of 1912 at the Salon des Indépendants in Paris, and at the Salon de La Section d'Or, Galerie La Boétie, October 1912, Paris,. Le Port was reproduced a few months later in the first major text on Cubism entitled Du "Cubisme", written in 1912 by Jean Metzinger and Albert Gleizes, published by Eugène Figuière Editeurs the same year. The Harbor was subsequently reproduced in The Cubist Painters, Aesthetic Meditations , written by Guillaume Apollinaire, published by Figuière in 1913. At the Salon des Indépendants of 1912, Apollinaire had noticed the classical Ingresque qualities of Metzinger's Le Port, and suggested that it deserved to be hung in the Musée du Luxembourg's modern art collection. The dimensions and current whereabouts of Le Port are unknown.
Au Vélodrome, also known as At the Cycle-Race Track and Le cycliste, is a painting by the French artist and theorist Jean Metzinger. The work illustrates the final meters of the Paris–Roubaix race, and portrays its 1912 winner Charles Crupelandt. Metzinger's painting is the first in Modernist art to represent a specific sporting event and its champion.
The Société Normande de Peinture Moderne, also known as Société de Peinture Moderne, or alternatively, Normand Society of Modern Painting, was a collective of eminent painters, sculptors, poets, musicians and critics associated with Post-Impressionism, Fauvism, Cubism and Orphism. The Société Normande de la Peinture Moderne was a diverse collection of avant-garde artists; in part a subgrouping of the Cubist movement, evolving alongside the so-called Salon Cubist group, first independently then in tandem with the core group of Cubists that emerged at the Salon d'Automne and Salon des Indépendants between 1909 and 1911. Historically, the two groups merged in 1912, at the Section d'Or exhibition, but documents from the period prior to 1912 indicate the merging occurred earlier and in a more convoluted manner.
Brooklyn Bridge is a 1915 painting by the French artist, theorist and writer Albert Gleizes. Brooklyn Bridge was exhibited at the Montross Gallery, New York, 1916 along with works by Jean Crotti, Marcel Duchamp and Jean Metzinger.
Les Peintres Cubistes, Méditations Esthétiques, is a book written by Guillaume Apollinaire between 1905 and 1912, published in 1913. This was the third major text on Cubism; following Du "Cubisme" by Albert Gleizes and Jean Metzinger (1912); and André Salmon, Histoire anecdotique du cubisme (1912).
La Maison Cubiste, also called Projet d'hôtel, was an architectural installation in the Art Décoratif section of the 1912 Paris Salon d'Automne which presented a Cubist vision of architecture and design. Critics and collectors present at the exhibition were confronted for the first time with the prospect of a Cubist architecture.
Tulip Hysteria Co-ordinating is a fictitious work of art by Marcel Duchamp.
1 2 Brown, Milton W.The Story of the Armory Show, Joseph H. Hirshhorn Foundation, New York, 1963, pp. 185–186
↑ Berman, Avis (2000). As National as the National Biscuit Company; The Academy, the Critics, and the Armory Show, Rave Reviews American Art and Its Critics, 1826–1925. New York: National Academy of Design. p.131.
↑ Blanke, David. The 1910s. Greenwood Publishing Group, 2002. p. 275. ISBN9780313312519
↑ Theodore Roosevelt's review of the Armory Show for The Outlook, published on March 29, 1913, was entitled "A Layman's View of an Art Exhibition". See Edmund Morris, Colonel Roosevelt (Random House, New York, 2010; ISBN978-0-375-50487-7), pages 267–272 and 660–663. According to Morris, Roosevelt's review looked with some favor upon the new American artists.
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