Armory Show facts for kids

Quick facts for kids
1913 Armory Show

Armory show button, 1913
Date	February 17, 1913 (1913-02-17) to March 15, 1913 (1913-03-15)
Location	69th Regiment Armory, New York, NY
Also known as	The International Exhibition of Modern Art
Participants	Artists in the Armory Show

Armory Show poster

The 1913 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 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 astonished 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."

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 1913.

69th Regiment Armory in 2008

Exhibition organizer Walter Pach, circa 1909

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.

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." 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. 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. 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. 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.

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.

The 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. The publicity that stormed the show had been well sought, with the publication of half-tone postcards of 57 works. 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". 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.

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 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 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'.

Floor plan

Marcel Duchamp, Jacques Villon, Raymond Duchamp-Villon, and Villon's dog Pipe in the garden of Villon's studio, Puteaux, France, ca. 1913. All three brothers were included in the exhibition.

The following shows the content of each gallery:

• 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

Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912, Philadelphia Museum of Art.

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.

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 Armory Show, now held at the Javits Center, evolved into a "hugely entertaining" (The New York Times) annual contemporary arts festival with a strong commercial bent.

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. 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.

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, 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 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 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.

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.

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.

Images for kids

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.

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  Entrance of the Exhibition, 1913, New York City

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  Interior view of the exhibition, 1913, New York City

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  Interior view of the exhibition, 1913, New York City

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  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

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  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

Selected painting and sculpture

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  Eugène Delacroix, Christ on the Sea of Galilee, 1854

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  Honoré Daumier, The Third Class Wagon, 1862–1864

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  Édouard Manet, The Bullfight, 1866

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  James Abbott McNeill Whistler, 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.

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  Pierre-Auguste Renoir, In The Garden 1885, Hermitage Museum, St. Petersburg

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  Mary Cassatt, Mère et enfant (Reine Lefebre and Margot before a Window), c.1902

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  Vincent van Gogh, Self-Portrait, c. 1887, oil on canvas, 40 x 34 cm (15 ¾ by 13 ⅜ in). Wadsworth Atheneum Museum of Art, Hartford, CT

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  Vincent van Gogh, Portrait of Adeline Ravoux 1890, Cleveland Museum of Art

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  Vincent van Gogh, Mountain in Saint-Rémy, 1889, Solomon R. Guggenheim Museum

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  Albert Pinkham Ryder, Seacoast in Moonlight, 1890, the Phillips Collection, Washington, D.C.

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  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, Tehran

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  Henri Rousseau, The Centenary of the Revolution, 1892

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  Henri Rousseau, Cheval attaqué par un jaguar (Jaguar Attacking a Horse), 1910, oil on canvas, 116 x 90 cm, Pushkin Museum

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  Edvard Munch, Vampire 1893–94, Nasjonalgalleriet, Oslo

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  Paul Cézanne, Old Woman with Rosary, 1895–1896

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  Julian Alden Weir, The Red Bridge, 1895

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  Claude Monet, Water Lilies and Japanese Bridge, 1897–1899

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  John Twachtman, Hemlock Pool, c.1900

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  Henri-Edmond Cross, Cypresses at Cagnes, c.1900

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  Paul Signac, Port de Marseille, 1905, Metropolitan Museum of Art

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  André Derain, 1912, Window on the Park (La Fênetre sur le parc), 130.8 × 89.5 cm, Museum of Modern Art, New York

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  André Derain, Landscape in Provence (Paysage de Provence) (c. 1908), Brooklyn Museum, Brooklyn

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  Odilon Redon, Le Silence, 1900, pastel, 54.6 × 54 cm, Museum of Modern Art, New York

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  George Bellows, Both Members of This Club, 1909

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  Amadeo de Souza Cardoso, Saut du Lapin, 1911

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  Amadeo de Souza Cardoso, Avant la Corrida, 1912, oil on canvas, 60 × 92 cm, Calouste Gulbenkian Foundation, Lisbon, Portugal

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  Robert Winthrop Chanler, Leopard and Deer, 1912, gouache or tempera on canvas, mounted on wood, 194.3 × 133.4 cm, Rokeby Collection

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  Edward Middleton Manigault, The Clown, 1910–12, oil on canvas, 86.4 × 63.2 cm, Columbus Museum of Art, Ohio

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  Patrick Henry Bruce, Still Life, ca. 1912

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  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 York

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  Maurice Prendergast, Landscape With Figures, 1913

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  Henri Matisse, Madras Rouge, The Red Turban, 1907, Barnes Foundation

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  Henri Matisse, L'Atelier Rouge, 1911, oil on canvas, 162 × 130 cm., The Museum of Modern Art

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  Pablo Picasso, 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 x 60 cm, Gemeentemuseum, The Hague

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  Georges Braque, Violin: "Mozart Kubelick", 1912, oil on canvas, 45.7 × 61 cm, Metropolitan Museum of Art

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  Albert Gleizes, 1910, La Femme aux Phlox (Woman with Phlox), oil on canvas, 81 x 100 cm, Museum of Fine Arts, Houston

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  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)

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  Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912, Philadelphia Museum of Art

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  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, Venice

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  Francis Picabia, Grimaldi après la pluie (believed to be Souvenir of Grimaldi, Italy), ca. 1912, location unknown

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  Francis Picabia, The Procession, Seville, 1912, oil on canvas, 121.9 × 121.9 cm, National Gallery of Art, Washington DC.

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  Robert Delaunay, Window on the City, No. 4, 1910-11 (1912)

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  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 Quinn

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  Constantin Brâncuși, 1909, Portrait De Femme (La Baronne Renée Frachon), now lost. Armory Show, published press clipping, 1913

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  Constantin Brâncuși, 1912, Portrait of Mlle Pogany, Philadelphia Museum of Art. Armory Show postcard

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  Constantin Brâncuși, The Kiss, 1907-1908, published in the Chicago Tribune, March 25, 1913

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  Constantin Brâncuși, 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)

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  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.

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  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.

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  Jacob Epstein, The Rock Drill, 1913, in its original form, it is now lost.

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  Antoine Bourdelle, Herakles the Archer, 1909

Special installation

La Maison Cubiste (Cubist House)

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 ...". "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". 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 décratif, 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 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).

See also

In Spanish: Armory Show para niños