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Armory Show poster. 1913.

Many exhibitions have been held in the vast spaces of U.S. National Guard armories, but the Armory Show refers to the International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors and opened in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, on February 17, 1913, ran to March 15, and became a legendary watershed date in the history of American art, introducing astonished New Yorkers, accustomed to realistic art, to modern art. The show served as a catalyst for American artists, who became more independent and created their own "artistic language".

Contents

History

"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," drawn by John French Sloan in April 1913.

The Armory Show, was the first exhibition mounted by the Association of American Painters and Sculptors and was run by their president, Arthur B. Davies, Walt Kuhn the secretary and Walter Pach. It displayed some 1,250 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented.[1]

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, 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 a Staircase, painted the year before, in which he expressed motion with successive superimposed images, as in motion pictures. An art critic for the New York Times wrote that the work resembled "an explosion in a shingle factory," and cartoonists satirized the piece.

However, 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 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 in Chicago and Boston.

Partial list of the artists

Robert Ingersoll Aitken, Alexander Archipenko, George Grey Barnard, Chester Beach, Gifford Beal, George Bellows, Joseph Bernard, Guy Pène du Bois, Oscar Bluemner, Pierre Bonnard, Gutzon Borglum, Antoine Bourdelle, Constantin Brancusi, Georges Braque, Patrick Henry Bruce, Paul Burlin, Charles Camoin, Arthur Carles, Mary Cassatt, Paul Cézanne, Pierre Puvis de Chavannes, Camille Corot, Gustave Courbet, Henri-Edmond Cross, Leon Dabo, Andrew Dasburg, Honoré Daumier, Stuart Davis, Arthur B. Davies, Edgar Degas, Eugène Delacroix, Robert Delaunay, Maurice Denis, André Derain, Marcel Duchamp, Raoul Dufy, Jacob Epstein, Roger de La Fresnaye, Othon Friesz, Paul Gauguin, William Glackens, Albert Gleizes, Vincent van Gogh, Marsden Hartley, Childe Hassam, Robert Henri, Edward Hopper, Jean Auguste Dominique Ingres, James Innes, Augustus John, Wassily Kandinsky, Ernst Ludwig Kirchner, Leon Kroll, Walt Kuhn, Gaston Lachaise, Marie Laurencin, Henri de Toulouse-Lautrec, Fernand Léger, Jonas Lie, George Luks, Aristide Maillol, Édouard Manet, Henri Manguin, John Marin, Albert Marquet, Henri Matisse, Alfred Henry Maurer, Claude Monet, Adolphe Monticelli, Edward Munch, Walter Pach, Jules Pascin, Francis Picabia, Pablo Picasso, Camille Pissarro, Maurice Prendergast, Odilon Redon, Pierre-Auguste Renoir, Theodore Robinson, Georges Rouault, Henri Rousseau, Albert Pinkham Ryder, Georges Seurat, Charles Sheeler, Walter Sickert, Paul Signac, Alfred Sisley, John Sloan, Joseph Stella, John Henry Twachtman, Félix Vallotton, Raymond Duchamp-Villon, Jacques Villon, Édouard Vuillard, Abraham Walkowitz, J. Alden Weir, James Abbott McNeill Whistler, Jack B. Yeats, William Zorach, Amadeo de Souza Cardoso [2]

Legacy

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 New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets as an homage to the original and historical 1913 Armory show.[3][4]

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. 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" (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.

See also

References

  1. ^ 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.
  2. ^ 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
  3. ^ [1]Vehicle, online, retrieved September 25, 2008
  4. ^ [2] documents, history online, retrieved September 25, 2008

Sources

  • Sarah Douglas. "Pier Pressure." ARTINFO. March 26, 2008 Accessed on 15 April 2008 from http://www.artinfo.com/news/story/27204/pier-pressure/
  • Catalogue of International Exhibition of Modern Art, at the Armory of the Sixty-Ninth Infantry, Feb. 15 to Mar. 15, 1913. Association of American Painters and Sculptors, 1913.
  • The Story of the Armory Show. Walt Kuhn. New York, 1938.
  • The Story of the Armory Show. Milton W. Brown. 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.
  • Malloy, Nancy and Stover, Catherine. A Finding Aid to the Walter Pach Papers, 1883–1980, in the Archives of American Art. The Walter Pach Papers Online, Smithsonian Archives of American Art.

External links

1913 Armory Show

Armory shows after 1913

Coordinates: 40°44′28.44″N 73°59′00.54″W / 40.7412333°N 73.9834833°W / 40.7412333; -73.9834833

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Many exhibitions have been held in the vast spaces of U.S. National Guard armories, but the Armory Show refers to the International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors and opened in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, on February 17, 1913, ran to March 15, and became a legendary watershed date in the history of American art, introducing astonished New Yorkers, accustomed to realistic art, to modern art. The show served as a catalyst for American artists, who became more independent and created their own "artistic language".

Contents

History

File:Sloan
"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," drawn by John French Sloan in April 1913.

The Armory Show was the first exhibition mounted by the Association of American Painters and Sculptors and was run by their president, Arthur B. Davies, Walt Kuhn the secretary and Walter Pach. It displayed some 1,250 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented.[1]

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, 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 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 [2]) 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). [3]

However, 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 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 in Copley Hall in Boston, where, due to a lack of space, all the work by American artists was removed. [4]

Images

Floor plan

  • 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

List of the artists

, Jacques Villon, and Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Pateaux, France, 1914, all three brothers were included in the exhibition.]]

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.[1]

Robert Ingersoll Aitken, Alexander Archipenko, George Grey Barnard, Chester Beach, Gifford Beal, Maurice Becker, George Bellows, Joseph Bernard, Guy Pène du Bois, Oscar Bluemner, Pierre Bonnard, Solon Borglum, Antoine Bourdelle, Constantin Brancusi, Georges Braque, Patrick Henry Bruce, Paul Burlin, Theodore Earl Butler, Charles Camoin, Arthur Carles, Mary Cassatt, Oscar Cesare, Paul Cézanne, Pierre Puvis de Chavannes, Camille Corot, Gustave Courbet, Henri-Edmond Cross, Leon Dabo, Andrew Dasburg, Honoré Daumier, Jo Davidson, Arthur B. Davies, Stuart Davis, Edgar Degas, Eugène Delacroix, Robert Delaunay, Maurice Denis, André Derain, Marcel Duchamp, Raoul Dufy, Jacob Epstein, 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, Wassily Kandinsky, Ernst Ludwig Kirchner, Leon Kroll, Walt Kuhn, Gaston Lachaise, Marie Laurencin, Ernest Lawson, Henri de Toulouse-Lautrec, Fernand Léger, Jonas Lie, George Luks, Aristide Maillol, Édouard Manet, Henri Manguin, John Marin, Albert Marquet, Henri Matisse, Alfred Henry Maurer, Kenneth Hayes Miller, Claude Monet, Adolphe Monticelli, Edward Munch, Elie Nadelman, 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, John Henry Twachtman, Félix Vallotton, Raymond Duchamp-Villon, Jacques Villon, Maurice de Vlaminck, Édouard Vuillard, Abraham Walkowitz, J. Alden Weir, James Abbott McNeill Whistler, Jack B. Yeats, Marguerite Zorach, William Zorach, [2]

Selected works

Legacy

in New York City]]

The 1913 Armory Show contained approximately 1300 works by 300 artists. Many of the original works have been lost and some of the artists have been forgotten. The initial premise of the show was to bring the best avant-garde and recent European art to an American audience, and to exhibit the work side by side with the best works of American artists in New York City, Chicago and Boston. The original exhibition was an overwhelming success. However the conditions that made the show so shocking and so revolutionary cannot be duplicated in this modern era and there will never be a repeat of what was. Although there have been several exhibitions that were celebrations of its legacy throughout the 20th century. [1]

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.[2]

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 New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets as an homage to the original and historical 1913 Armory show.[3][4]

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. 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" (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. With the 100th anniversary in 2013 on the immediate horizon it is possible that the centennial of the original Armory Show will be celebrated in the 21st century.

See also

References

  1. ^ 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
  2. ^ 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
  3. ^ [1]Vehicle, online, retrieved September 25, 2008
  4. ^ [2] documents, history online, retrieved September 25, 2008

Sources

  • Sarah Douglas. "Pier Pressure." ARTINFO. March 26, 2008 Accessed on 15 April 2008 from http://www.artinfo.com/news/story/27204/pier-pressure/
  • Catalogue of International Exhibition of Modern Art, at the Armory of the Sixty-Ninth Infantry, Feb. 15 to Mar. 15, 1913. Association of American Painters and Sculptors, 1913.
  • The Story of the Armory Show. Walt Kuhn. New York, 1938.
  • The Story of the Armory Show. Milton W. Brown. 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.
  • Malloy, Nancy and Stover, Catherine. A Finding Aid to the Walter Pach Papers, 1883–1980, in the Archives of American Art. The Walter Pach Papers Online, Smithsonian Archives of American Art.

External links

1913 Armory Show

Armory shows after 1913

Coordinates: 40°44′28.44″N 73°59′00.54″W / 40.7412333°N 73.9834833°W / 40.7412333; -73.9834833


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