58-776: 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. The exhibition went on to
116-473: 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. This architectural installation was subsequently exhibited at
174-500: 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 ), 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
232-560: 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. 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
290-631: 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." On December 14, 1911, an early meeting of what would become
348-587: 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 . 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. Women artists in
406-639: A key point in his career and the development of modern painting. It reflected Matisse's incipient fascination with primitive art : the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism . At the start of 20th-century Western painting , and initially influenced by Toulouse-Lautrec , Gauguin and other late-19th-century innovators, Pablo Picasso made his first Cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube , sphere and cone . With
464-658: A lack of space, all the work by American artists was removed. 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
522-512: A member of the jury at the Salon d'Automne where he exhibited three of his dreamlike works: Enigma of the Oracle , Enigma of an Afternoon and Self-Portrait . In 1913 he exhibited his work at the Salon des Indépendants and Salon d'Automne, and his work was noticed by Pablo Picasso , Guillaume Apollinaire , and several others. His compelling and mysterious paintings are considered instrumental to
580-666: 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) . The painting was purchased from the Armory Show by Frederic C. Torrey of San Francisco. The 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
638-536: 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". 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
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#1732765134184696-475: A professional coalition: AAPS. They intended the organization to "lead the public taste in art, rather than follow it." 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
754-596: A search for more realism in the depiction of common life, as found in the work of painters such as Jean-François Millet . The advocates of realism stood against the idealism of the tradition-bound academic art that enjoyed public and official favor. The most successful painters of the day worked either through commissions or through large public exhibitions of their work. There were official, government-sponsored painters' unions, while governments regularly held public exhibitions of new fine and decorative arts. The Impressionists argued that people do not see objects but only
812-493: 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. In February 2009, the Art Dealers Association of America (ADAA) presented its 21st annual Art Show to benefit
870-475: A strong commercial bent. 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
928-536: Is closely related to Modernism . Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. Francisco Goya is considered by many as the Father of Modern Painting without being a Modernist himself, a fact of art history that later painters associated with Modernism as a style, acknowledge him as an influence. The date perhaps most commonly identified as marking
986-641: Is located at the Baltimore Museum of Art as part of the Cone Collection . Matisse painted the nude when a sculpture he was working on shattered. He later finished the sculpture which is entitled Reclining Nude I (Aurore) . Matisse shocked the French public at the 1907 Société des Artistes Indépendants when he exhibited Blue Nude (Souvenir de Biskra) . Blue Nude was one of the paintings that would later create an international sensation at
1044-572: 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. 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
1102-650: 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. 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
1160-748: 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 ,
1218-709: The New-York Historical Society and titled "The Armory Show at 100," taking place from October 18, 2013, through February 23, 2014. 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
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#17327651341841276-722: 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. 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. The publicity that stormed
1334-510: The 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" ( Façade architecturale ). 40°44′29″N 73°59′03″W / 40.74139°N 73.98417°W / 40.74139; -73.98417 Modern art Art of Central Asia Art of East Asia Art of South Asia Art of Southeast Asia Art of Europe Art of Africa Art of
1392-513: The 1980s and 1990s, as evidenced by the rise of neo-expressionism and the revival of figurative painting . Towards the end of the 20th century, many artists and architects started questioning the idea of "the modern" and created typically Postmodern works . (Roughly chronological with representative artists listed.) Blue Nude (Souvenir de Biskra) Blue Nude (Souvenir of Biskra) ( French : "Nu bleu, Souvenir de Biskra" ), an early 1907 oil painting on canvas by Henri Matisse ,
1450-501: The Americas Art of Oceania Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophies of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about
1508-571: 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. 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
1566-612: 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. 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
1624-583: 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 . In January 1912, Walt Kuhn , Walter Pach , and Arthur B. Davies joined with some two dozen of their colleagues to reinforce
1682-704: The Netherlands, and France, visiting galleries, collections and studios and contracting for loans as he went. 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
1740-475: 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
1798-478: 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
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1856-484: The attention of curators and critics, at the expense of more traditional media. Larger installations and performances became widespread. By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of a provocative essay written in 1981 by Douglas Crimp ), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art . Painting assumed renewed importance in
1914-524: The birth of modern art as a movement is 1863, the year that Édouard Manet showed his painting Le déjeuner sur l'herbe in the Salon des Refusés in Paris. Earlier dates have also been proposed, among them 1855 (the year Gustave Courbet exhibited The Artist's Studio ) and 1784 (the year Jacques-Louis David completed his painting The Oath of the Horatii ). In the words of art historian H. Harvard Arnason : "Each of these dates has significance for
1972-406: 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
2030-501: The development of modern art, but none categorically marks a completely new beginning .... A gradual metamorphosis took place in the course of a hundred years." The strands of thought that eventually led to modern art can be traced back to the Enlightenment . The modern art critic Clement Greenberg , for instance, called Immanuel Kant "the first real Modernist" but also drew a distinction: "The Enlightenment criticized from
2088-425: The development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubists Georges Braque , André Derain , Raoul Dufy , Jean Metzinger and Maurice de Vlaminck revolutionized the Paris art world with "wild," multi-colored, expressive landscapes and figure paintings that the critics called Fauvism . Matisse's two versions of The Dance signified
2146-527: The early beginnings of Surrealism . Song of Love (1914) is one of the most famous works by de Chirico and is an early example of the surrealist style, though it was painted ten years before the movement was "founded" by André Breton in 1924. The School of Paris , centered in Montparnasse flourished between the two world wars. World War I brought an end to this phase but indicated the beginning of many anti-art movements, such as Dada , including
2204-481: 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
2262-630: The exhibition in the spring of 1912, rented for a fee of $ 5,000, plus an additional $ 500 for additional personnel. 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,
2320-588: 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". About the modern works, former President Theodore Roosevelt declared, "That's not art!" 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
2378-474: The exhibition today. The following shows the content of each gallery: 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
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2436-415: The existing academic boundaries, as well as to providing educational art experiences for the American public. 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
2494-412: The first clear manifestation of cubism, was followed by Synthetic cubism , practiced by Braque, Picasso, Fernand Léger , Juan Gris , Albert Gleizes , Marcel Duchamp and several other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. The notion of modern art
2552-500: The first decade of the 20th century were Fauvism , Cubism , Expressionism , and Futurism . Futurism took off in Italy a couple years before World War I with the publication of Filippo Tommaso Marinetti 's Futurist Manifesto . Benedetta Cappa Marinetti , wife of Filippo Tommaso Marinetti, created the second wave of the artistic movement started by her husband. "Largely thanks to Benedetta, her husband F.T. Marinetti re orchestrated
2610-473: The focal point of new artistic movements. The 1950s and 1960s saw the emergence of Abstract Expressionism , Color field painting , Conceptual artists of Art & Language , Pop art , Op art , Hard-edge painting , Minimal art , Lyrical Abstraction , Fluxus , Happening , video art , Postminimalism , Photorealism and various other movements. In the late 1960s and the 1970s, Land art , performance art , conceptual art, and other new art forms attracted
2668-482: The items drawn from the museum's modern collection that were displayed in the original 1913 exhibition. The DePaul Art Museum in Chicago, Illinois presented For and Against Modern Art: The Armory Show +100 , from April 4 to June 16, 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
2726-433: The light that they reflect, and therefore painters should paint in natural light ( en plein air ) rather than in studios and should capture the effects of light in their work. Impressionist artists formed a group, Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Association of Painters, Sculptors, and Engravers") which, despite internal tensions, mounted a series of independent exhibitions. The style
2784-434: 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 ...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating
2842-467: The nature of materials and functions of art. A tendency away from the narrative , which was characteristic of the traditional arts, toward abstraction is characteristic of much modern art. More recent artistic production is often called contemporary art or Postmodern art . Modern art begins with the heritage of painters like Vincent van Gogh , Paul Cézanne , Paul Gauguin , Georges Seurat and Henri de Toulouse-Lautrec all of whom were essential for
2900-402: The outside ... . Modernism criticizes from the inside." The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and accustomed the public to vigorous political and social debate. This gave rise to what art historian Ernst Gombrich called a "self-consciousness that made people select the style of their building as one selects
2958-434: The painting Les Demoiselles d'Avignon (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his new Cubist inventions. Analytic cubism was jointly developed by Picasso and Georges Braque , exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Analytic cubism,
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#17327651341843016-448: The pattern of a wallpaper." The pioneers of modern art were Romantics , Realists and Impressionists . By the late 19th century, additional movements which were to be influential in modern art had begun to emerge: Post-Impressionism and Symbolism . Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly Japanese printmaking , to the coloristic innovations of Turner and Delacroix , to
3074-728: The shifting ideologies of Futurism to embrace feminine elements of intuition, spirituality, and the mystical forces of the earth." She painted up until his death and spent the rest of her days tending to the spread and growth of this period in Italian art, which celebrated technology, speed and all things new. During the years between 1910 and the end of World War I and after the heyday of cubism , several movements emerged in Paris. Giorgio de Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio ). Through his brother, he met Pierre Laprade,
3132-403: 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. Some responded with laughter, as the artist John French Sloan seemed to not take
3190-540: The show's organizers. 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. The Art Institute of Chicago , which was the only museum to host the 1913 Armory Show, presented works February 20 – May 12, 2013,
3248-468: The work of Marcel Duchamp , and of Surrealism . Artist groups like de Stijl and Bauhaus developed new ideas about the interrelation of the arts, architecture, design, and art education. Modern art was introduced to the United States with the Armory Show in 1913 and through European artists who moved to the U.S. during World War I. It was only after World War II , however, that the U.S. became
3306-467: Was adopted by artists in different nations, in preference to a "national" style. These factors established the view that it was a "movement." These traits—establishment of a working method integral to the art, the establishment of a movement or visible active core of support, and international adoption—would be repeated by artistic movements in the Modern period in art. Among the movements that flowered in
3364-681: Was included. 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. American filmmaker Michael Maglaras produced
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