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Description: The Société Anonyme: Modernism for America
Index
Author
PublisherYale University Art Gallery
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00159.019
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Index
Note: Page numbers in bold refer to photographs, artworks, and other illustrations.
A
Abstraction versus decoration, 88
Ackerman, Phyllis, 120
Addams, Jane, 99
Adult education, 97–119
Alajálov, Constantin, 46, 68, 68, 70, 71;
Brochure Quarterly cover, 68, 69, 70;
Modern Art at the Sesqui-Centennial cover, 60–61, 68;
Modern Art catalogue 66, 66, 68, 74–75, 83
Allied Arts Gallery, 72, 73n56, 140n1
Archipenko, Alexander, 35, 49–50, 58, 102, 128;
Archipentura, 50, 51, 112;
Woman, 35, 36, 49
Arensberg, Louise and Walter, 2, 3, 7, 13, 18, 42n3, 94n15, 125, 130
Armory Show (1913), 7, 45, 49, 75, 77. 77, 82
Arp, Jean (Hans), 91, 93, 132
Art history, writing of, 24, 27, 58, 121n42
Artistic community, 3, 157–65
Art market, 7, 33, 34–35, 37–38, 42n3, 130, 161, 163
Art press, 3, 102, 119, 138
B
Baader, Johannes, 127
Baargeld, Johannes, 127
Barnes, Albert, 98
Barr, Alfred H., Jr.: approach of, compared with Société Anonyme Collection, 2, 13, 93–94, 154n2;
Dreier and Duchamp on, 4, 15n9;
and Dreier’s Forty Variations, 71;
and early exhibition space for MoMA, 94n19;
influence of Dreier and Société Anonyme on, 4–5, 93;
and MoMA exhibition style, 80, 82, 93;
participation of, in Société Anonyme, 14n2;
relationship between Dreier and, 4, 135
Barzun, Henri-Martin, 121n31
Bauer, Rudolph, 104, 134
Bauhaus, 3, 49, 53, 68, 73n46, 119, 128, 130, 163
Baumeister, Willi, 88, 91;
Soccer Players, 112, 116
Beauvoir, Simone de, 135
Beaux Arts museums, 77, 80
Beckmann, Hans, 3
Bell, Clive, 93
Benton, Thomas Hart, 112;
Coal from America Today, 118, 118
Bercowitz, Anna, 121n34
Blavatsky, Helena Petrovna, 49, 73n13
Bohan, Ruth L., 98
Bohn, William E., 108, 121n34
Boix, Richard, DA-DA (New York Dada Group), 7, 17
Bortwick, Sandor, 60
Brancusi, Constantin, 34, 37, 42n3, 127, 128;
Leda, 149;
Little French Girl, 127;
Yellow Bird, x, 144, 152, 153
Braque, Georges, 60, 75, 93, 104
Breton, André, 135
Brinton, Christian, 46, 47, 50, 53, 58, 59, 62, 68, 102
Brochure Quarterly, 68, 69, 70
Brooklyn Museum: Exhibition of Russian Painting and Sculpture at, 53;
International Exhibition of Modern Art (1926) at, 27–28, 28, 30, 58, 62–63, 66, 75–76, 76, 79–94, 81, 89, 94nn14–15, 127, 130–31
Broom magazine, 46, 52, 66, 66
Bruce, Patrick Henry, 39, 127;
Composition I, 104, 105
Brummer Gallery, 34–35, 42n3, 42nn8–9
Buchheister, Carl, 1, 82, 140n20;
White with Black Wedge, 83, 85
Burliuk (Dreier), 46–47, 72n4
Burliuk, David: as Allied Arts Gallery director, 73n56;
Dreier’s book on, 46–47, 72n4;
exhibitions of, by Société Anonyme, 102, 109;
impact of Russian Revolution on, 47–48, 58;
and Malevich’s artwork, 73n28;
in Modern Art catalogue, 68;
personality of, 48;
photographs of, 46, 68
— works: The Eye of God, 48–49, 48;
South Sea Fishermen, 163, 163
C
Campendonk, Heinrich, 3, 75, 80, 81, 102, 119, 135, 141n36;
Cartoon for a Mural Commemorating the Return of Schneidemühl to the German Nation, 112, 116
Carrà, Carlo, 22
Chagall, Marc, 52
Charchoune, Serge, 12
Chastel, Yvonne, 125
Cheney, Sheldon, 5
Chirico, Giorgio de, 154n12
Collaboration, 46, 47, 66, 68, 70–71, 109, 121n39
Collecting: by Dreier, x, 4, 8, 10, 18, 27, 45–72, 91, 93, 112, 125, 130;
by Duchamp, x;
by Gallatin, 91, 93;
by LeWitts, 161;
of Russian/Soviet avant-garde, 45–72;
by Vogels, 161. See also specific art collectors
Commercialism. See Art market; Materialism
Communism, 135, 162
Constructivism, 45, 52, 53, 59–60, 62, 70, 71–72, 75, 83, 88
Country Museum, 143, 145, 146, 148–49
Covert, John, 10, 87;
Brass Band, 158, 158, 160
Crane, Hart, 48
Crotti, Jean, 14, 112, 125, 126;
Portrait of Marcel Duchamp, 24, 24
Cubism, 53, 75, 93
D
Dada, 7, 7, 8, 8, 22, 23, 49, 127, 128, 157
Dana, John Cotton, 98, 102, 120n5
Daugherty, James Henry, 39, 127
Davies, Arthur B., 75, 82
Davis, Stuart, 160, 165
Decoration versus abstraction, 88
De Duve, Thierry, 42n10, 43n21
Demuth, Charles, 7
De Neyn, Pieter, 108
Depression, 10, 108
Derrida, Jacques, 40, 43n39
Der Sturm Gallery, 49, 83, 127, 130, 132
Dewey, John, 97–98, 108
Donas, Marthe: Still Life with Bottle and Cup, 164, 165
Doucet, Jacques, 37, 38
Dreier, Dorothea Adelheid (mother), 98, 99, 120n14, 120n16
Dreier, Dorothea Adelheid (sister), 98, 99, 100, 120n18, 130
Dreier, H. Edward, 98
Dreier, Katherine S.: in Argentina, 125;
art education of, 100–101;
birth of, 98;
cartoon on, 7, 17;
catalogue of Société Anonyme Collection by, 10, 13, 137, 148, 150;
China travels of, 7, 128;
with cockatoos at home, 14, 72;
collaborations by, 46, 47, 66, 68, 70–71, 109, 121n39;
commitment of, to Société Anonyme, 8;
correspondence of, 3, 9–10, 15n17, 123–40, 140n4;
death of, 13, 133, 138, 140, 152;
and development of Société Anonyme Collection, 10, 12–13;
and domestic settings for modern art, 88, 89, 91, 112, 163;
with Duchamp, 9, 12, 123, 138;
and Duchamp’s Large Glass, 9, 9, 12, 18, 47, 135, 143, 149, 154n5;
as educator and cultural collaborator in field of modern art, 7, 70, 97–119, 163;
European travels of, 52, 83, 100–101, 125–26, 127, 128, 130, 132, 133;
exhibitions of paintings of, 72, 73n56, 101, 140n1;
family background of, 98–100, 120n14;
as founder of Société Anonyme, x, 1, 2, 98, 126–27, 143;
and German avant-garde, 49, 52, 83, 127, 128, 132–33, 140–41n20;
and gift of Société Anonyme Collection to Yale Art Gallery, x, 2, 13, 119, 137, 143–53, 155nn32–33;
on goals of Société Anonyme, 5–6, 33–34, 87–88, 97–98, 146, 147;
health problems of, 9, 13, 133, 137–38, 143;
homes and garden of, 9, 14, 72, 134–35, 134, 135, 136, 139, 143, 144, 149, 149, 154n5;
humanitarian causes of, 22;
on idea’s relationship to patent, 157;
and International Exhibition of Modern Art (1926) at Brooklyn Museum, 75, 79–94, 130–31;
library of, 134, 149, 155n33;
on modern art, 75, 87, 103;
as painter, 9, 101, 128;
patronage of and collecting by, x, 4, 8, 10, 18, 27, 45–72, 91, 93, 112, 125, 130;
personal art collection of, 146, 147, 149, 150, 152–53, 155n32;
personality of, 140, 140n1;
photographs of, 3, 9, 11, 12, 14, 45, 72, 98–100, 123, 136, 138, 139, 144, 148, 149, 151;
pro-German attitudes of, 4, 15n7, 52, 133;
publications by, 24, 27, 46–47, 58, 72n4, 121n42, 125, 155n29;
on reading about art, 121n42;
relationship between Duchamp and, 9, 13–14, 17–30, 71, 123, 125–28, 130–35, 137–38, 140, 140n4, 141n42;
relationship between Kandinsky and, 128, 130;
relationship between Stella and, 17–30, 130;
and Russian/Soviet avant-garde, 45–72;
at Société Anonyme Collection exhibition at Yale Art Gallery, 11, 148, 166;
and Society of Independent Artists, 17, 18, 123, 125, 130;
spiritual beliefs of, 18–19, 30, 47, 49, 59, 66, 70, 72, 87–88. See also Société Anonyme
— works: Abstract Portrait of Marcel Duchamp, 18, 20, 24, 27;
The Eternal Hills, 101;
Explosion, 96;
Forty Variations, 70–71, 70–71, 144;
Modern Art catalogue, 66, 66, 68, 74, 83, 87–88, 87;
Moonlight on the Thames, London, 101;
Portrait of Marcel Duchamp (Triangles), 18–19, 21, 22;
Self-Portrait, 153;
Stella, 27;
Two Worlds; Zwei Welten, 129, 148
Dreier, Mary Elizabeth, 98, 99, 99
Dreier, Theodore, 98, 99, 120n14
Drewes, Werner, 109
Drewin, Alexander, 52, 60;
Suprematism, 52, 53, 60
Duchamp, Duchamp-Villon, Villon exhibition (Yale Art Gallery), 12, 150 150
Duchamp, Lucie, 126
Duchamp, Marcel: and art market, Brooklyn Museum’s International Exhibition of Modern Art (1926), 27–28, 130–31;
Brummer Gallery job for, 34–35, 42n3, 42nn8–9;
cartoon on, 7, 17;
catalogue of Société Anonyme Collection by, 10, 13, 137, 148, 150;
and Catholicism, 29;
and chess, 33, 38, 125, 141n40;
correspondence of, 123, 125–28, 125, 130–33, 138, 140n4, 141n42;
and Country Museum idea, 145;
Crotti’s portrait of, 24, 24;
and development of Société Anonyme Collection, 10, 12–13, 165;
distaste of, for art world, 8–9, 14, 33, 34;
Dreier’s paintings of, 18–19, 20, 21, 22, 24, 27;
on esthetic echo, 41–42;
and excorporation, 38–42;
as executor of Dreier’s estate, 13–14, 137, 153;
and exhibition design, 38–42, 102;
exhibition of, at Yale Art Gallery, 12, 150, 150;
family of, 125–26;
films by, 43n40, 112;
on fourth dimension, 19;
and gift of Société Anonyme Collection to Yale Art Gallery, x, 13, 15n31, 137, 143, 155n32;
on goal of Société Anonyme, 5;
Hartley on, 15n20;
and incorporation, 33–38;
and logo of Société Anonyme, 2, 2, 33, 33, 38, 42n4;
marriage of, 131–32;
on modern art, 7;
and New School for Social Research exhibition, 112;
New York social life of, 125;
in Paris, 7, 22, 82, 112, 128, 132;
patronage of and collecting by, x;
personality of, 4, 9, 140;
Pevsner’s painting of, 62;
photographs of, 3, 9, 12, 21, 23, 123, 124, 136, 138, 151;
and readymades, 33–41;
relationship between Dreier and, 9, 13–14, 17–30, 71, 123, 125–28, 130–35, 137–38, 140, 140n4, 141n42;
relationship between Stella and, 17–30;
role of, in Société Anonyme, x, 1, 2, 4, 8–9, 33, 42n1, 77, 98, 126–28, 143;
Ruckstuhl on, 72n1;
silvering process of, 24;
Société Anonyme membership card of, 2;
and Société Anonyme’s inaugural exhibition (1920), 39–41;
and Society of Independent Artists, 17, 18, 38, 50, 123, 125, 140n2;
Stella’s portrait of, 24, 24, 27;
and trip to U.S. during World War II, 141n31;
as trustee of Société Anonyme Collection, 143, 147
— works: “Archie Pen Co.” advertisement, 35–37, 36, 49, 50;
Belle Haleine, Eau de Voilette, 35, 35, 38;
Bicycle Wheel, 19;
Cemetery of Uniforms and Liveries, No. 2, 126;
Chocolate Grinder studies, 18, 28;
Etant donnés, 39, 41, 42;
Fountain, 17, 18, 38, 42n10, 50, 123, 125, 140n2;
Fresh Widow, 34, 34;
Genre Allegory, 162, 163;
Handmade Stereopticon Slide, 43n40;
The Large Glass, 9, 9, 12, 15n31, 18, 23, 24, 28–29, 28, 37, 43n38, 47, 125, 128, 135, 143, 149, 154n5;
Monte Carlo Bond, 35, 35, 37, 38;
Network of Stoppages, 28, 29;
Nude Descending a Staircase, 18;
Pocket Chess Set, 32, 126;
postcard showing Jacques Villon with lace frame, 40;
“Rotoreliefs,” 37;
3 Standard Stoppages, 18;
To Be Looked At, 24, 24, 25, 43n32;
Tu m’, 9, 18, 19, 19, 125, 143, 153, 157;
Wanted: $2,000 Reward, 34, 34, 38
Duchamp, Mme. Marcel, 131–32, 131
Duchamp, Suzanne, 14, 112, 125, 126, 140n6, 141n40
Duchamp-Villon, Raymond: Seated Woman, 153, 153
Du Quesne van Gogh, Elisabeth, 120n19
E
Echaurren, Roberto Matta. See Matta Echaurren, Roberto
Eilshemius, Louis Michel, 7, 102, 130, 161, 165;
Mountain Landscape, 161;
The Pool, 90, 91, 95n39
Emerson, Ralph Waldo, 47, 49
Emigration. See Immigrants and immigration
Ernst, Max, 3, 13, 112, 127, 128, 132;
Anthropomorphic Figure (Plaster Man), 112, 114;
Paris-Rêve, 153, 153
Erst Russische Kunst Austellung (First Russian art show), 52, 52, 53, 59, 63, 66
Exhibition design, 38–42, 77–81, 87, 91, 93, 102
F
Field, Hamilton Easter, 35
Fillin-Yeh, Susan, 23–24
Films, 43n40, 112
Focillon, Henri, 154n14
Frost, Robert, 109
Fuller, Buckminster, 108
Futurist art, 22, 53, 135
G
Gabo, Miriam, 134, 135
Gabo, Naum, 52, 53, 62, 66, 72, 87, 134, 135, 155n29;
Construction in Relief, 52, 55, 60;
Monument for an Observatory, 66
Gallatin, A. E., 2, 75, 91, 93
Gallery of Living Art, 75, 91
Gallup, David, 138
Games, 35–37, 49
Gaulois, Paul, 87
German avant-garde, 49, 52, 83, 127, 128, 132–33, 140–41n20. See also specific artists
German Home for Women and Children, 99, 120n15
Gleizes, Albert, 60
Goll, Ivan, 50
Goodwin, Philip, 155n23
Gould, Joseph F., 23
Grabar, Igor, 53, 58
Graham, John D., 12–13, 109, 123
Gris, Juan, 93, 127;
Newspaper and
Fruit Dish, 160, 160
Grosz, George, 127
Guggenheim, Solomon, 134
H
Hamilton, George Heard, xi, 10, 138, 147, 148, 157
Hartley, Marsden, 3, 5, 7, 8, 8, 15n20, 23, 49–50, 102, 123;
Rubber Plant, 104, 104
Hartt, Frederick, 146, 148, 154n3, 154n19, 155n26
Hausmann, Raoul, 127
Heap, Jane, 46, 66, 68
Heartfield, John, 127
Hekking, William M., 143, 145
Hepworth, Barbara, 134
Hoerle, Angelika, 1
Hopkins, David, 29
Hout, Bob, 158
I
Immigrants and immigration, 7, 22, 98, 99, 109, 134
Incorporation, 33–38
International Exhibition of Modern Art (1926): antecedents to, 77–79;
artists included in, 27–28, 30, 62–63, 82–87, 90–93, 127;
catalogue of, 30, 58–59, 66, 83, 87–88, 87, 95n32;
and domestic setting for modern art, 88, 89, 91;
Dreier’s role in, 75, 79–94, 130–31;
Dreier’s vision for, 87–88, 91, 93;
Duchamp’s role in, 27–28, 130–31;
installation design of, 27–28, 28, 76, 80, 81, 89, 94nn14–15;
review of, 76;
significance of, 75–76
Internationalism, 58–59, 88, 130
Isabey, Eugène, 108
J
Jahns, Rudolf, 140n20
Johnson, Alvin, 109, 118, 121n42
Jónsson, Finnur, 82;
Womao at the Card Table, 83, 86
Josephson, Matthew, 46, 52, 66
K
Kádár, Béla, 80, 81;
Separation, 108, 109
Kakabadzé, David Nestorovitch, 91;
Z, 153
Kandinsky, Nina, 128, 130
Kandinsky, Wassily: in Armory Show, 49;
and Bauhaus, 53, 130;
correspondence of, 3, 128, 130, 163;
exhibitions of, with Société Anonyme, 5, 102, 104, 112, 128;
on materialism, 1;
and Modern Art catalogue, 66;
publications of, 18, 49, 121n42;
relationship between Dreier and, 123, 128, 130;
role of, in Société Anonyme, 128, 130;
spiritual beliefs of, 18, 49, 95n29, 128;
in van Diemen show, 52, 58
— works: Blauer Kreis, 66;
Improvisation No. 7 (Storm), 44, 49;
Kleine Welten, 70–71
Keyser, Ragnhild: Composition I, 82, 83
Kiesler, Frederick, 71, 133, 135
Kiesler, Stefi, 133, 135, 165;
Typo-Plastic, 165
Klee, Paul, 87, 102, 112, 128, 154n12
Klien, Erika Giovanna, 1
Kubler, George, 15n14
Kuh, Katherine, 2
Kuhn, Walt, 82
Kuniyoshi, Yasuo, 95n32
L
Lachaise, Gaston, 15n20
LACMA. See Los Angeles County Museum of Art (LACMA) The Large Glass (Duchamp), 9, 9, 12, 15n31, 18, 23, 24, 28–29, 28, 37, 43m38, 47, 125, 128, 135, 143, 149, 154n5
Léger, Fernand, 82, 102, 112;
Study for The City, 160, 161
Levy, Julien, 135
Lewis, Wilmarth S., 146, 154n17
LeWitt, Carol and Sol, 161
Lipchitz, Jacques, 60
Lissitzky, El, 47, 49, 52, 53, 60–63, 66, 68, 75, 83;
Broom cover, 66, 66;
Erst Russische Kunst Austellung (First Russian art show) cover, 52, 66;
Proun 19D, 52, 53, 60;
Proun 99, 108, 110;
Victory over the Sun, 63, 6365, 70
The Little Review, 46, 66, 67, 83
Little Review Gallery, 66
Loeb, Harold, 46
Los Angeles County Museum of Art (LACMA), 157–58
Louchheim, Aline, 3
Loving, Pierre, 121n31
Loy, Mina, 7, 23, 102
Lozowick, Louis, 46, 59–60, 62, 66;
City Shapes, 59;
Machine Ornament, 60;
Modern Russian Art cover, 60, 66
Lyotard, Jean-François, 43n43
M
Machine Age Exposition, 66, 67, 68
Malevich, Kasimir, 49, 52–53, 61, 73n28;
The Knife Grinder, 52–53, 54, 59–60, 73n28;
White on White, 53
Mangold, Sylvia and Robert, 157–65
Marc, Franz, 75
Martens, Ludwig, 50, 52
Materialism, 7, 45, 49, 50, 52, 70, 72, 128, 163
Matta Echaurren, Roberto, 2, 10, 47, 135
Mayakovsky, Vladimir, 48
McBride, Henry, 7, 39–40, 42, 43n30, 43n32, 76, 94n11, 102
Medunetsky, Konstantin: Spatial Construction, 52, 55, 60
Meeker, Jess, 71
Meeks, Everett Victor, 145
Meier-Graefe, Julius, 135
Mense, Carlo: The River Wuppe, 104, 107
Metropolitan Museum of Art, 108, 109, 121n39, 121nn35–36
Metzinger, Jean, 60
Mies van der Rohe, Ludwig, 134, 141n27
Miró, Joan, 12, 13, 93, 112
Modern art: Dreier on, 75, 87, 103;
Duchamp on, 7. See also specific artists
Modern Art catalogue, 66, 66, 68, 69, 74, 83, 87–88, 87, 95n32
Modernism, 7–8, 17, 34, 40, 83, 127, 158. See also Société Anonyme
Modern Russian Artists exhibition (1924), 59–60, 62
Mogenson, Paul, 158
Moholy-Nagy, László, 62, 66, 71, 83, 123, 135
Molzahn, Johannes, 104;
Family Portrait II, 80, 81;
Happening, 158, 159
MoMA. See The Museum of Modern Art (MoMA)
Mondrian, Piet, 12, 93, 112, 137;
Fox Trot A & B, 112, 113
Morris, George L.: Composition, 145
Mueller-Munk, Peter, 121n31
The Museum of Modern Art (MoMA): building for, 80;
compared with Société Anonyme, 75, 80, 93–94, 97, 154n2;
Dreier and Duchamp on, 4, 15n9;
early exhibition spaces for, 80, 94n19;
exhibition style of, 80, 82, 93;
influence of Société Anonyme on, 5, 80;
mission of, 93–94;
opening of, 75, 97, 154n2;
overshadowing of Société Anonyme by, 4, 13;
works from Société Anonyme Collection in, 137
Music, 63, 71, 102
N
Nadelman, Eli, 15n20, 102
Nationalism, 7
New School for Social Research, 50, 72, 108, 109, 111, 112, 112, 118–19, 118
New York Dada, 23, 49
Nicholson, Ben, 134
Nierendorf, Karl, 134, 141n27
Nisbet, Peter, 73n26
Nitschke, Ulrich, 140n20
Nonobjective, 53
Nozkowski, Tom, 159
O
One-artist exhibitions, 49, 101, 102, 128, 161
Orozco, José Clemente: The Table of Brotherhood and Ultimate Universality, 118, 119
Ozenfant, Amédée, 112
P
Pach, Walter, 7, 38–39
Pannaggi, Ivo, 1, 135;
Geometric Function K 5, 135
Papazoff, Georges: Head (Tete), 112, 115
Patronage, x, 4, 8, 10, 18, 27, 45–72, 91, 93, 112, 125, 130. See also specific art patrons
Perdriat, Hélène, 1
Peri, Laszlo, 60, 165;
Room (Space Construction), 108, 111, 156, 159
Pevsner, Antoine, 62, 72, 87, 135;
Portrait of Marcel Duchamp, 62, 62
Phillips, Duncan, 14n2, 15n31, 47
Phocas, Suzanne, 95n22;
Child with Dog, 82–83, 84
Picabia, Francis, 12, 13, 37, 42n3, 112, 127–28;
Midi (Promenade des anglais), 122
Picabia, Gabrielle, 127–28
Picasso, Pablo, 60, 75, 93
Polygraphic Company of America, 68, 69
Popova, Liubov, 52;
Painterly Architectonic, 52, 5657
Postmodernism, 34
Poussette-Dart, Nathaniel, 121n31
Progressivism, 97–100, 108
Q
Quinn, John, 42n3
R
Rand School of Social Science, 108–9, 121nn30–31, 121nn33–39
Ray, Man: cartoon on, 7, 17;
contributions of, to Société Anonyme, 7, 102, 127;
correspondence of, 123, 130;
and Duchamp’s marriage, 131;
film by, 43n40;
as founder of Société Anonyme, 1, 2, 98, 127, 143;
and name for Société Anonyme, 35;
New York social life of, 125;
in Paris, 7, 22, 128;
proposed meeting between Gallup and, 138;
Société Anonyme membership card of, 2;
and Société Anonyme’s exhibition rooms, 94n11;
on Stella’s involvement in Société Anonyme, 22
— works: Lampshade, 103, 103;
L’Impossibilité Danger/Dancer, 127, 127;
photograph of Mme. Marcel Duchamp, 131, 131;
The Promenade, 141n32;
Three Heads (Joseph Stella and Marcel Duchamp), 23–24, 23
Readymades, 33–41
The Realistic Manifesto (Gabo and Pevsner), 53, 72, 87
Reiniger, Lotte, 112
Ribemont-Dessaignes, Georges, 39, 104, 127
Ring, Nancy, 24
Robins, Margaret Dreier, 98–99
Robins, Raymond, 99
Roché, Henri-Pierre, 42n3, 135, 140n1
Rockefeller, Nelson, 4, 5
Rodchenko, Alexander, 52, 53, 68
Ruekstuhl, Frederick, 45
Ruskin, John, 99
Russian/Soviet avant-garde, 45–72. See also specific artists
S
Salon, 3, 88
Sawyer, Charles H., 151
Schamberg, Morton Livingston, 127
Schwarz, Arturo, 43n38
Schwitters, Kurt: and abstract artists in Hannover, 82, 83, 140–41n20;
coinage of term MERZ by, 141n22;
correspondence of, 3, 8, 9, 10, 123, 132–33, 132, 136–37, 140–41n20;
death of, 136, 137, 141n36, 141n39;
exhibition of, by Société Anonyme, 8, 82, 104;
health problems of, 136, 137, 141n36, 141n39;
photograph of, 132;
relationship between Dreier and, 8, 123, 132–33, 135–37;
works by, in Société Anonyme Collection, 137;
during World War II, 135–36
— works: Merz 1003 (Peacock’s Tail), 91, 92, 163;
Relief with Red Segment, 112, 117
Seiwert, Franz Wilhelm: The Workman, 108, 108
Sesqui-Centennial Exposition (Philadelphia), 61, 62, 68, 73n46
Setze, Josephine, 147
Seymour, Charles, xii, 13, 143, 145, 146, 147, 151
Seymour, Mrs. Charles, 151
Shaw, Charles Greene: Plastic Abstraction, 145
Shawn, Ted, 71
Sheeler, Charles, 7
Sizer, Theodore, xi–xii, 145–49, 154n12, 154n18, 155nn23–24, 155n27–28
Socialism, 71, 104, 121n30, 162
Société Anonyme: achievements of, 2–3, 5, 10;
advertisement for, in The Arts magazine, 35–37, 36, 49, 50;
business manager of, 68;
cartoon on, 7, 17;
correspondence of, 3, 9–10, 15n17, 123–40;
dissolution of, 13, 13, 137, 150, 151;
educational mission of, 97–119;
exhibition rooms of, 3, 6, 59, 77, 94n11, 94n19, 102, 120n20;
exhibitions of, 2, 5–10, 15n15, 22, 27–28, 28, 30, 39–41, 49, 59–66, 75–94, 102, 108–9, 112, 120n20, 121n39, 121n35–36, 127, 128, 143;
founding of x, 1, 2, 98, 126–27, 143;
history of, 1–14;
inaugural exhibition (1920) of, 39–41, 104, 127;
logo of, 2, 2, 33, 33, 38, 42n4;
membership cards for, 2;
membership of, 1, 14n2;
Modern Russian Artists exhibition (1924) by, 59–60, 62;
and moveable art exhibitions, 102–4;
publications of, 2, 39, 59, 128;
public programs of, 2, 7, 22–23, 46–47, 75–94, 97–119;
purpose and goals of, 1, 2, 3, 5–6, 14n1, 33–34, 87–88, 97–119, 146, 147, 157;
Man Ray’s devising name for, 35;
reasons for marginalization of, 3–5;
relationship between Stella, Duchamp, and Dreier in, 17–30;
Russian roots of, 45–72;
signboard, xxii, 1;
stationery of, 33. See also Dreier, Katherine S.; Duchamp, Marcel; International Exhibition of Modern Art (1926); Ray, Man; and other specific artists
Société Anonyme Collection: catalogue of, written by Dreier and Duchamp, 10, 13, 137, 148, 150;
and Country Museum idea, 143, 145;
development of and selection criteria for, 2–3, 10, 12–13, 14–15n3, 143, 150, 165;
Dreier and Duchamp as joint trustees of, 143, 147;
gift of, to Yale Art Gallery, x–xii, 2, 13, 119, 137, 143–53, 155nn32–33;
housing of, in Dreier’s country estate, 143, 144;
Sylvia and Robert Mangold on, 157–65;
memorial exhibition of, after Dreier’s death, 152, 152;
significance of, 2–3, 153, 158;
size of, 2, 137, 143, 150, 153, 155n24, 159;
touring exhibition of (2006–8), x–xi, 159;
Yale Art Gallery exhibition (1942) of, 11, 147–48, 148, 16667;
Yale Art Galley exhibitions of, from 1945–1950, 150, 151
Society of Independent Artists, 3, 15n20, 17, 38, 50, 123, 124, 125, 130, 140n2
Soviet/Russian avant-garde, 45–72. See also specific artists
Spengler, Oswald, 91, 121n42
Spirituality in art, 18–19, 30, 47, 49, 59, 66, 70, 72, 87–88, 95n29
Steichen, Edward, 101;
Portrait of Katherine S. Dreier, 100
Stein, Gertrude, 39, 101, 102, 138
Stein, Leo, 101
Steinitz, Käte Traumann, 1
Stella, Antonio, 19, 22, 27, 31n12
Stella, Joseph: cartoon on, 7, 17;
and Catholicism, 29;
correspondence of, 123;
on Dada, 23;
death of, 137;
Dreier on, 10, 27;
exhibitions of, by Société Anonyme, 7, 31n28, 102, 127;
Hartley on, 15n20;
on lack of recognition of Société Anonyme, 4, 15n8;
personality of, 24;
photograph of, 23;
relationship between Duchamp, Dreier and, 17–30, 130;
role of, in Société Anonyme, 22–23, 31n12,
and silverpoint medium, 24;
and Society of Independent Artists, 17, 130
— works: Battle of Lights, Coney Island, Mardi Gras, 16, 27, 29, 78, 80;
Brooklyn Bridge, 26, 27, 28, 29, 39, 48, 76, 80, 103, 104;
Flower and Butterfly, 23, 23, 24, 112, 115;
Man in Elevated (Train), 18, 18, 29;
New York Interpreted (The Voice of the City), 27, 27;
Portrait of Marcel Duchamp, 24, 24, 27;
The Survey drawings, 22
Stettheimer, Carrie, 125
Stettheimer, Ettie, 38, 40, 125
Stettheimer, Florine, 40, 41, 43n33, 125;
Music, 40
Stieglitz, Alfred, 5, 7, 8, 37, 75, 77, 82, 93, 130;
photograph of Duchamp by, 124. See also 291 gallery
Storrs, John Henry Bradley, 4, 13, 42n8, 102, 112;
Dancer, 153
Stuckenberg, Fritz, 87
Suprematism, 45, 52, 53, 59–60
Surrealism, 39, 41, 93, 157
Sweeney, James Johnson, 93, 155n29
T
Tanguy, Yves, 138
Tatlin, Vladimir, 52, 53, 66
Theosophy, 18–19, 30, 47, 49, 59, 70, 128
Tomkins, Calvin, 42n3
Trexler, Samuel Geiss, 145
291 gallery, 5, 7, 15n20, 75, 77, 77. See also Stieglitz, Alfred
Tyler, Parker, 40
Typography, 66–70
Tzara, Tristan, 128
U
Udaltsova, Nadezhda, 52;
At the Piano, 52, 58, 159
Urban, Joseph, 109, 111
V
Van Diemen Gallery, 52, 53, 58, 73n26
Van Doren, Mark, 112
Van Everen, Jay: Abstraction or Lady in Abstract, 159, 159
Van Gogh, Vincent, 127;
Adeline Ravoux, 127
Varèse, Edgar, 24
Villon, Jacques, 31n28, 39, 102, 112, 127, 128, 165;
After “Olympia” by Manet, 91, 91;
Color Perspective, 159, 159, 160;
In Memoriam, 104, 106;
Philosopher, 153
Viollier, Jean, 112
Vogel, Herbert and Dorothy, 161
Vogeler, Heinrich Johann, 127;
The Island of Peace, 104, 107, 108
Vordemberge-Gildewart, Friedrich, 14n20
W
Walden, Herwarth, 127, 130
Weiner, Larry, 158
Weir, Irene, 104
Werblow, David, 68
Western Art and the New Era (Dreier), 24, 27, 121n42
Whitman, Walt, 47
Wiebe, Robert H., 98
Wilfred, Thomas: Clavilux, 112
Wood, Beatrice, 125
Worcester Art Museum, 78–79, 78, 79, 80, 94n13
World War II, 47, 133–35, 141n36
Wright, Frank Lloyd, 43n42
Y
Yale Art Gallery: donations for generally, 155n23;
Dreier’s involvement in, 149–50, 155nn28–29;
Duchamp, Duchamp-Villon, Villon exhibition at, 12, 150, 150;
exhibition of Société Anonyme Collection (1942) at, 11, 147–48, 148, 16667;
exhibitions of Société Anonyme Collection from 1945–1950, 150, 151, 155n34;
gift of Société Anonyme Collection to, x–xii, 2, 13, 119, 137, 143–53, 155n32–33;
Sylvia and Robert Mangold on, 157–65;
memorial exhibition in, after Dreier’s death, 152, 152;
public programs of, 146;
re-creation of “Directors exhibition” in (2002), 155n34;
and touring exhibition of Société Anonyme Collection (2006–8), x–xi, 159