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“It is unlikely that any painters will ever again have to face the hostility which was manifested against the Impressionists. The repetition of such a phenomenon would be impossible. The case of the Impressionists, in which withering scorn yielded place to admiration, has put criticism on its guard. It will surely stand as a warning, and ought to prevent the recurrence of a similar outburst of indignation against the innovators and independents whom time may yet bring forth.”

—“Manet and the French Impressionists,”

by Theodore Duret, pp. 180, 181.

Cubists and Post-Impressionism

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SINCE the exhibit at the Columbian Exposition (1893) nothing has happened in the world of American art so stimulating as the recent INTERNATIONAL EXHIBITION OF MODERN ART. New York and Chicago, spring of 1913.ssss1

“Stimulating” is the word, for while the recent exhibition may have lacked some of the good, solidly painted pictures found in the earlier, it contained so much that was fresh, new, original—eccentric, if you prefer—that it gave our art-world food for thought—and heated controversy.