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Armory Show
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factoids
Event_Name 1913 Armory Show
|Image_Name =Armory show button,1913.jpg
|Imagesize =
|Image_Alt = Armory Show button, 1913
|Image_Caption = Armory show button, 1913
|Thumb_Time =
|AKA = The International Exhibition of Modern Art
|Participants = Artists in the Armory Show
|Location = 69th Regiment Armory, New York, NY
|Date = to
|nongregorian =
|Deaths =
|Result =
|URL =
(File:ArmoryShow poster.jpg|thumb|Armory Show poster)The Armory Show, also known as the International Exhibition of Modern Art, was a show organized by the Association of American Painters and Sculptors in 1913. 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. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston,International Exhibition of Modern Art, Copley Society of Boston, Copley Hall, Boston, Mass., 1913 where, due to a lack of space, all the work by American artists was removed.Brown, Milton W., The Story of the Armory Show, Joseph H Hirshhorn Foundation, New York, 1963, pp. 185–186The show became an important event 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, Cubism, and Futurism. 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.BOOK, As National as the National Biscuit Company; The Academy, the Critics, and the Armory Show, Rave Reviews American Art and Its Critics, 1826–1925, Berman, Avis, New York: National Academy of Design, 2000, 131,

History

File:Sloan cubism.jpg|thumb|left|"A slight attack of third dimentia {{sic}} brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York" by John French SloanJohn French SloanFile:69th-regiment-armory.JPG|thumb|left|69th Regiment Armory69th Regiment Armory(File:Walter Pach, circa 1909.jpg|thumb|Exhibition organizer Walter Pach, circa 1909)(File:Arthur B. Davies, circa 1908.jpg|thumb|Exhibition 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.1913 Armory Show, The Story in Primary Sources (Timeline)In January 1912, Walt Kuhn, Walter Pach, and Arthur B. Davies joined together with some two dozen of their colleagues to reinforce a professional coalition: AAPS. They intended the organization to "lead the public taste in art, rather than follow it."WEB, New York Armory Show of 1913,weblink AskArt.com, February 1, 2013, Other founding AAPS members included D. Putnam Brinley, Gutzon Borglum, John Frederick Mowbray-Clarke, Leon Dabo, William J. Glackens, Ernest Lawson, Jonas Lie, George Luks, Karl Anderson, James E.Fraser, Allen Tucker, and J. Alden Weir. AAPS was to be dedicated to creating new exhibition opportunities for young artists outside of the existing academic boundaries, as well as to providing educational art experiences for the American public.NEWS, Cotter, Holland, Rethinking the Armory Show, The New York Times, 1, October 28, 2012,weblink Davies served as president of AAPS, with Kuhn acting as secretary.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.WEB, Securing a Space: The 69th Regiment Armory,weblink 1913 Armory Show: the Story in Primary Sources, Archives of American Art, Smithsonian Institution, February 1, 2013, It was confirmed that the show would later travel to Chicago and Boston.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. 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.WEB, Walt Kuhn's Itinerary through Europe, 1912,weblink 1913 Armory Show: the Story in Primary Sources, Archives of American Art, Smithsonian Institution, February 1, 2013, 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. 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.(File:Armory Show, International Exhibition of Modern Art, Chicago, 1913. The Cubist room.jpg|thumb|upright=1.5|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.Laurette E. McCarthy, Walter Pach, Walter Pach (1883–1958), The Armory Show and the Untold Story of Modern Art in America, Penn State Press, 2011The Armory Show 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.McShea, Megan, A Finding Aid to the Walt Kuhn Family Papers and Armory Show Records, 1859–1978 (bulk 1900–1949), Archives of American Art, Smithsonian Institution. 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. News reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, former President Theodore Roosevelt declared, "That's not art!"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; {{ISBN|978-0-375-50487-7}}), pages 267–272 and 660–663. According to Morris, Roosevelt's review looked with some favor upon the new American artists. The civil authorities did not, however, close down or otherwise interfere with the show.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 SpingarnJoel Spingarn, p. 110), 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).Brown, Milton W., The Story of the Armory Show, Joseph H Hirshhorn Foundation, New York, 1963, p. 110 The painting was purchased from the Armory Show by Fredric C. Torrey of San Francisco.xroads. Univ. of VirginiaThe purchase of Paul Cézanne's Hill of the Poor (View of the Domaine Saint-Joseph) by the Metropolitan Museum of Art signaled an integration of modernism into the established New York museums, but among the younger artists represented, Cézanne was already an established master.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.The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston, where, due to a lack of space, all the work by American artists was removed.While in Chicago, the exhibition created a scandal that reached the governors 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:

Floor plan

File:Marcel Duchamp, Jacques Villon, Raymond Duchamp-Villon in the garden of Villon's studio, Puteaux, France, c.1913.jpg|thumb|250px|Marcel Duchamp, Jacques Villon, Raymond Duchamp-VillonRaymond Duchamp-VillonThe following shows the content of each gallery:WEB,weblink University of Virginia, February 16, 2018, Gallery Map,
  • 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, Water 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

{{multiple image
| align = left
| direction = horizontal
| image1 = Duchamp - Nude Descending a Staircase.jpg
| width1 = 141
| caption1 = Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912, Philadelphia Museum of Art.
| image2 = Robert Henri - Figure en mouvement.jpg
| width2 = 110
| caption2 = Robert Henri, Figure in Motion, 1913, Art Institute of Chicago.
}}The original exhibition was an overwhelming success. There have been several exhibitions that were celebrations of its legacy throughout the 20th century.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 show, 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 than 300 works.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.Vehicle, online. Retrieved September 25, 2008.documents, history online. Retrieved September 25, 2008.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. The exhibition began as a historical homage to the original 1913 Armory Show.{{citation needed|date=February 2018}}Starting with a small exhibition in 1994, by 2001 the "New" New York Armory Show, held in piers on the Hudson River, evolved into a "hugely entertaining" (The New York Times) annual contemporary arts festival with a strong commercial bent. The 2008 and 2009 Armory Shows did not hold back on the more crude and vulgar works, which are not unknown for the show, which has been less tame in past years.{{citation needed|date=February 2018}}

Commemorating the centennial

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. 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.WEB, The Armory Show at 100,weblink New-York Historical Society, February 1, 2013, 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.WEB, 1913 Armory Show: The Story in Primary Sources, Archives of American Art, Smithsonian Institution,weblink February 1, 2013, 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.WEB, Fountain Art Fair,weblink February 24, 2013, 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.WEB, Celebrating the Armory Show,weblink March 12, 2013, The DePaul Art Museum in Chicago, Illinois presented For and Against Modern Art: The Armory Show +100, from April 4 to June 16, 2013.WEB, Armory Show,weblink March 12, 2013, 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.Andress, Sarah. "1913 Armory Show Revisited: The Artists and their Prints," Art in Print Vol. 3 No. 2 (July–August 2013).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.Greenwich Historical SocietyAmerican 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.JOURNAL,weblink World Premier Film Event: The Great Confusion: The 1913 Armory Show, Connecticut Magazine, Connecticutmag.com, 2013,

List of artists

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.1913 Armory Show 50th Anniversary Exhibition 1963 copyright and organized by Munson-Williams-Proctor Arts Institute, copyright and sponsored by the Henry Street Settlement, New York City, Library of Congress card number 63-13993{{Div col|colwidth=18em}} {{div col end}}

List of women artists

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.BOOK, Shircliff, Jennifer Pfeifer, Women of the 1913 Armory Show: Their Contributions to the Development of American Modern Art, May 2014, University of Louisville, Louisville, Kentucky,weblink November 15, 2014,

Images

File:A list written by Pablo Picasso of European artists to be included in the 1913 Armory Show, 1912. Walt Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution.jpg|thumb|A list written in 1912 by Pablo PicassoPablo PicassoFile:Armory Show 1.jpg|Entrance of the Exhibition, 1913, New York CityFile:Armory Show 2.jpg|Interior view of the exhibition, 1913, New York CityFile:Armory Show 3.jpg|Interior view of the exhibition, 1913, New York CityFile:Armory Show artists and members of the press at the beefsteak dinner given by the Association of American Painters and Sculptors, 8 March 1913.jpg|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 InstitutionFile:Installation shot of the Matisse room, 1913 Armory Show, published in the New York Tribune, February 17, 1913, p. 7.jpg|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 CityFile:Armory Show, 1913, the Cubist room, Raymond Duchamp-Villon, Albert Gleizes, Marcel Duchamp, Alexander Archipenko, New York Tribune, 17 February 1913, p. 7.jpg|Installation shot of the Cubist room, published in the New York Tribune, February 17, 1913 (p. 7). Left to right: Raymond Duchamp-Villon, La Maison Cubiste (Projet d'Hotel), Cubist House; Marcel Duchamp Nude (Study), Sad 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 Life

Selected painting and sculpture

Image:Christ sur la mer de Galilée (Delacroix) Walters Art Museum 37.186.jpg|Eugène Delacroix, Christ on the Sea of Galilee, 1854File:Honoré Daumier (French, Marseilles 1808–1879 Valmondois) - The Third-Class Carriage - Google Art Project.jpg|Honoré Daumier, The Third Class Wagon, 1862–1864File:Edouard Manet 063.jpg|Édouard Manet, The Bullfight, 1866Image:Whistlers Mother high res.jpg|James Abbott McNeill Whistler, (Whistler's Mother|Arrangement in Grey and Black: The Artist's Mother) 1871, popularly known as Whistler's Mother, Musée d'Orsay, Paris. Although Whistler was represented by four paintings in the Armory show this was not included.File:Pierre-Auguste Renoir - In the Garden.jpg|Pierre-Auguste Renoir, In The Garden 1885, Hermitage Museum, St. PetersburgFile:Mary Cassatt, 1902, Reine Lefebre and Margot before a Window.jpg|Mary Cassatt, Mère et enfant (Reine Lefebre and Margot before a Window), c.1902File:Georges Seurat - Les Poseuses.jpg|Georges Seurat, Models (Les Poseuses) 1886-88, Barnes Foundation, PhiladelphiaFile:Vincent van Gogh, Self-Portrait, c. 1887, oil on canvas, 15 ¾ by 13 â…œ inches. Wadsworth Athenaeum Museum of Art, Hartford, Connecticut.jpg|Vincent van Gogh, Self-Portrait, c. 1887, oil on canvas, 40 x 34 cm (15 ¾ by 13 â…œ in). Wadsworth Atheneum Museum of Art, Hartford, CTFile:Adeline Ravoux.jpg|Vincent van Gogh, Portrait of Adeline Ravoux 1890, Cleveland Museum of ArtFile:Van Gogh - Berglandschaft in Saint-Rémy.jpeg|Vincent van Gogh, Mountain in Saint-Rémy, 1889, Solomon R. Guggenheim MuseumImage:Albert Pinkham Ryder 003.jpg|Albert Pinkham Ryder, Seacoast in Moonlight, 1890, the Phillips Collection, Washington, D.C.File:Words of the Devil.jpg|Paul Gauguin, Words of the Devil, 1892, National Gallery of Art, Washington, DC.File:Paul Gauguin 121.jpg|Paul Gauguin, Nature morte à l'estampe japonaise (Flowers Against a Yellow Background), 1889, oil on canvas, 72.4 × 93.7 cm, Museum of Contemporary Art, TehranFile:Paul Gauguin 051.jpg|Paul Gauguin, Tahitian Pastorals, (Reo Mā`ohi: Faa iheihe (Fa'ai'ei'e)), 1898, National Gallery on loan from the TateFile:Henri Rousseau (French) - A Centennial of Independence - Google Art Project.jpg|Henri Rousseau, The Centenary of the Revolution, 1892File:Henri Rousseau, 1910, Cheval attaqué par un jaguar (Jaguar Attacking a Horse), oil on canvas, 116 x 90 cm, Pushkin Museum.jpg|Henri Rousseau, Cheval attaqué par un jaguar (Jaguar Attacking a Horse), 1910, oil on canvas, 116 x 90 cm, Pushkin MuseumFile:Edvard Munch - Vampire (1895) - Google Art Project.jpg|Edvard Munch, Vampire 1893–94, Nasjonalgalleriet, OsloFile:Paul Cézanne 067.jpg|Paul Cézanne, Old Woman with Rosary, 1895–1896File:Paul Cézanne 013.jpg|Paul Cézanne, Baigneuses, 1877–1878File:Julian Alden Weir 001.jpg|Julian Alden Weir, The Red Bridge, 1895File:Water-Lilies-and-Japanese-Bridge-(1897-1899)-Monet.jpg|Claude Monet, Water Lilies and Japanese Bridge, 1897–1899File:JohnTwachtman-Hemlock Pool c1900.jpg|John Twachtman, Hemlock Pool, c.1900Image:Henri Edmond Cross 001.jpg|Henri-Edmond Cross, Cypresses at Cagnes, c.1900File:Paul Signac Port de Marseille.jpg|Paul Signac, Port de Marseille, 1905, Metropolitan Museum of ArtFile:André Derain, 1912, Window on the Park (La Fênetre sur le parc), 130.8 x 89.5 cm (51.5 x 35.25 in), Museum of Modern Art, NY.jpg|André Derain, 1912, Window on the Park (La Fênetre sur le parc), 130.8 × 89.5 cm, Museum of Modern Art, New YorkFile:Landscape in Provence (Paysage de Provence) - André Derain.jpg|André Derain, Landscape in Provence (Paysage de Provence) (c. 1908), Brooklyn Museum, BrooklynFile:Odilon Redon, Le Silence.jpg|Odilon Redon, Le Silence, 1900, pastel, 54.6 × 54 cm, Museum of Modern Art, New YorkFile:Roger and Angelica-Redon.jpg|Odilon Redon, Roger and Angelica, 1910File:Both Members of This Club George Bellows.jpeg|George Bellows, Both Members of This Club, 1909File:Landscape with Figures by Othon Friesz 1909.jpg|Othon Friesz, Landscape with Figures, 1909, oil on canvas, 65 × 83 cmFile:Cardoso02.jpg|Amadeo de Souza Cardoso, Saut du Lapin, 1911File:Amadeo Avant la Corrida 1912 oil on canvas 60x92cm.jpg|Amadeo de Souza Cardoso, Avant la Corrida, 1912, oil on canvas, 60 × 92 cm, Calouste Gulbenkian Foundation, Lisbon, PortugalFile:Robert W. Chanler, Leopard and Deer.jpg|Robert Winthrop Chanler, Leopard and Deer, 1912, gouache or tempera on canvas, mounted on wood, 194.3 × 133.4 cm, Rokeby CollectionFile:Edward Middleton Manigault - The Clown (1912).jpg|Edward Middleton Manigault, The Clown, 1910–12, oil on canvas, 86.4 × 63.2 cm, Columbus Museum of Art, OhioFile:Still Life Patrick Henry Bruce.jpeg|Patrick Henry Bruce, Still Life, ca. 1912File:Ernst Ludwig Kirchner Spielende nackte Menschen 1910-1.jpg|Ernst Ludwig Kirchner, Naked Playing People, 1910File:Vassily Kandinsky, 1912 - Improvisation 27, Garden of Love II.jpg|Wassily Kandinsky, Improvisation 27 (Garden of Love II), 1912, oil on canvas, 47 3/8 x 55 1/4 in. (120.3 x 140.3 cm), The Metropolitan Museum of Art, New YorkFile:Maurice B. Prendergast, Landscape With Figures, 1913.jpg|Maurice Prendergast, Landscape With Figures, 1913File:Robert Henri - Figure en mouvement.jpg|Robert Henri, Figure in Motion, 1913File:Arthur B. Davies - Reclining Woman (Drawing), 1911.jpg|Arthur B. Davies, Reclining Woman (Drawing),, 1911, Pastel on gray paperFile:Matisse.mme-matisse-madras.jpg|Henri Matisse, Madras Rouge, The Red Turban, 1907, Barnes FoundationFile:Matisse Souvenir de Biskra.jpg|Henri Matisse, Blue Nude (Souvenir de Biskra), 1907, Baltimore Museum of ArtFile:Henri Matisse, Le Luxe II, 1907–8, Distemper on canvas; 82 1-2 x 54 3-4 in. (209.5 x 138 cm), Statens Museum for Kunst, Copenhagen.jpg|Henri Matisse, Le Luxe II, 1907–08, distemper on canvas, 209.5 × 138 cm, Statens Museum for Kunst, CopenhagenFile:Atelier rouge matisse 1.jpg|Henri Matisse, L'Atelier Rouge, 1911, oil on canvas, 162 × 130 cm., The Museum of Modern ArtFile:Pablo Picasso, 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 x 60 cm, Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913.jpg|Pablo Picasso, 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 x 60 cm, Gemeentemuseum, The HagueFile:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg|Georges Braque, Violin: "Mozart Kubelick", 1912, oil on canvas, 45.7 × 61 cm, Metropolitan Museum of ArtFile:Albert Gleizes, 1910, Femme aux Phlox, oil on canvas, 81 x 100 cm, exhibited Armory Show, New York, 1913, The Museum of Fine Arts, Houston..jpg|Albert Gleizes, 1910, La Femme aux Phlox (Woman with Phlox), oil on canvas, 81 x 100 cm, Museum of Fine Arts, HoustonFile:Albert Gleizes, l'Homme au Balcon, 1912, oil on canvas, 195.6 x 114.9 cm, Philadelphia Museum of Art.jpg|Albert Gleizes, L'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud), 1912, Philadelphia Museum of Art. Published in the Record Herald, Chicago, 25 March 1913 (see page 140)File:Duchamp - Nude Descending a Staircase.jpg|Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912, Philadelphia Museum of ArtFile:Marcel Duchamp, 1911-12, Nude (Study), Sad Young Man on a Train (Nu -esquisse-, jeune homme triste dans un train), Peggy Guggenheim Collection, Venice.jpg|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 × 73 cm, Peggy Guggenheim Collection, VeniceFile:Francis Picabia, ca.1910, Grimaldi après la pluie (after the rain), location unknown.jpg|Francis Picabia, Grimaldi après la pluie (believed to be Souvenir of Grimaldi, Italy), ca. 1912, location unknownFile:Francis Picabia, The Dance at the Spring, 1912, oil on canvas, Philadelphia Museum of Art.jpg|Francis Picabia, The Dance at the Spring, 1912, oil on canvas, 47 7/16 × 47 1/2 inches (120.5 × 120.6 cm), Philadelphia Museum of Art, PhiladelphiaFile:Francis Picabia, 1912, The Procession, Seville, oil on canvas, 121.9 x 121.9 cm, National Gallery of Art, Washington DC.jpg|Francis Picabia, The Procession, Seville, 1912, oil on canvas, 121.9 × 121.9 cm, National Gallery of Art, Washington DC.File:Robert Delaunay- Window on the City, No. 4 1910-11 (1912).jpg|Robert Delaunay, Window on the City, No. 4, 1910-11 (1912)File:Jacques Villon, 1912, Girl at the Piano, oil on canvas, 129.2 x 96.4 cm, Museum of Modern Art, New York...jpg|Jacques Villon, 1912, Girl at the Piano (Fillette au piano), oil on canvas, 129.2 x 96.4 cm, 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 QuinnFile:Aristide Maillol, Bas Relief, terracota, Armory Show catalogue image.jpg|Aristide Maillol, Bas Relief, terracotta. Exhibited at the 1913 Armory Show, New York, Chicago, Boston. Catalogue image (no. 110)File:Alexander Archipenko, 1910-11, Negress (La Negresse), Armory Show catalogue photo.jpg|Alexander Archipenko, 1910–11, Negress (La Negresse), Armory Show catalogue photoFile:Alexander Archipenko, La Vie Familiale, Family Life, 1912.jpg|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 destroyedFile:Alexander Archipenko, 1912, Le Repos, Armory Show post card, 1913.jpg|Alexander Archipenko, Le Repos, 1912, Armory Show postcard published in 1913File:Constantin Brancusi, 1909, Portrait De Femme (La Baronne Renée Frachon), now lost. Armory Show, published press clipping, 1913.jpg|Constantin BrâncuÈ™i, 1909, Portrait De Femme (La Baronne Renée Frachon), now lost. Armory Show, published press clipping, 1913File:Constantin Brancusi, Portrait of Mlle Pogany, 1912, Philadelphia Museum of Modern Art, Philadelphia..jpg|Constantin BrâncuÈ™i, 1912, Portrait of Mlle Pogany, Philadelphia Museum of Art. Armory Show postcardFile:Constantin Brancusi, 1907-08, The Kiss, Exhibited at the Armory Show and published in the Chicago Tribune, 25 March 1913..jpg|Constantin BrâncuÈ™i, The Kiss, 1907-1908, published in the Chicago Tribune, March 25, 1913File:Constantine Brancusi, Une Muse, 1912, plaster, 45.7 cm (18 in.). Armory Show postcard.jpg|Constantin BrâncuÈ™i, 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. 8)File:Andrew Dasburg, Lucifer, 1913, plaster of Paris, exhibited at the 1913 Armory show, no. 647.jpg|Andrew Dasburg, ca. 1912, Lucifer, plaster of Paris, no. 647 of the catalogue. Dasburg extensively reworked by carving directly into a sculpture of a life-size plaster head by Arthur Lee.(American Studies at the University of Virginia)File:Abastenia St. Leger Eberle, 1912-13, The White Slave.jpg|Abastenia St. Leger Eberle, 1912–13, The White Slave. Photograph from The Survey, Journal Publication, Ohio, May 3, 1913File:John Frederick Mowbray-Clarke, Group, Armory show postcard, 1913.jpg|John Frederick Mowbray-Clarke, ca. 1912, Group, sculpture, Armory show postcardFile:Wilhelm Lehmbruck, 1911, Femme á genoux (The Kneeling One), cast stone, plaster, 176 x 138 x 70 cm (69.2 x 54.5 x 27.5 in), Armory Show postcard.jpg|Wilhelm Lehmbruck, 1911, Femme á genoux (The Kneeling One), cast stone, 176 × 138 × 70 cm, Armory Show postcardFile:Raymond Duchamp-Villon, 1910, Torse de jeune homme (Torso of a young man), terracotta, Armory Show postcard, published 1913.jpg|Raymond Duchamp-Villon, 1910–11, Torse de jeune homme (Torso of a young man), terracotta, 60.4 cm (23 3/4 in), Armory Show postcard, published 1913. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.File:Rock Drill by Jacob Epstein.jpg|Jacob Epstein, The Rock Drill, 1913, in its original form, it is now lost.File:Héraklès tue les oiseaux du lac Stymphale.jpg|Antoine Bourdelle, Herakles the Archer, 1909File:George Grey Barnard, The Birth, marble, exhibited at the Armory Show, 1913.jpg|George Grey Barnard, The Birth, c. 1913, marble

Special installation

La Maison Cubiste (Cubist House)

File:Raymond Duchamp-Villon, 1912, Projet d'hôtel, Maquette de la façade de la Maison Cubiste, published in Les Peintres Cubistes, 1913.jpg|thumb|280px|Raymond Duchamp-VillonRaymond Duchamp-VillonAt 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{{nbsp}}...".Albert Gleizes and Jean Metzinge, except from Du Cubisme, 1912 "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".Christopher Green, Art in France: 1900–1940, Chapter 8, Modern Spaces; Modern Objects; Modern People, 2000 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.La Maison Cubiste, 1912 {{webarchive|url=https://web.archive.org/web/20130313233214weblink |date=March 13, 2013 }} This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston,Kubistische werken op de Armory Show listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).Duchamp-Villon's Façade architecturale, 1913"Catalogue of international exhibition of modern art: at the Armory of the Sixty-ninth Infantry, 1913, Duchamp-Villon, Raymond, Facade Architectural''

Sources

  • Sarah Douglas. "weblink" title="web.archive.org/web/20080411053800weblink">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.
  • Walter Pach Papers, Archives of American Art, Smithsonian Institution
  • Walt Kuhn, Kuhn Family Papers, and Armory Show Records, Archives of American Art, Smithsonian Institution

See also

References

{{Reflist|30em}}

External links

{{external media | width = 210px | align = right | headerimage = | video1 = MoMA Celebrates 1913: Constantin Brancusi’s Mlle Pogany, Museum of Modern Art}}{{Commons category|Armory Show}}

1913 Armory Show

Armory shows after 1913

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