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Brown, Milton W.

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Milton W. Brown

American Painting: From the Armory Show to the Depression

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Author

Milton W. Brown

PublisherPrinceton University Press

https://doi.org/10.37862/aaeportal.00013.013

Stable URL: https://aaeportal.com/?id=-18420

Bibliography

BIBLIOGRAPHIC NOTE

The intention of arranging this selective though extensive bibliography into a working instrument for the student and reader has led to the use of a topical and chronological rather than a purely alphabetical pattern. The major classification is topical, within which items are listed chronologically by year and alphabetically within the year. However, the nature of the material precludes a rigid topical classification and limited cross references have been made wherever it seemed most necessary. A bibliographical index has been added to facilitate further cross references.

The bibliography is divided into three major classifications:

1) a general bibliography listing all periodicals of the period which carried articles on contemporary art events and opinion, as well as subsequent art periodicals; reference dictionaries, encyclopedias and bibliographies; and books and articles dealing with the period in general;

2) a topical bibliography paralleling the subdivisions of the text;

3) a bibliography of personalities, including critics, collectors, and artists.

I. GENERAL

A. PERIODICALS

American Art News. (see The Art News.)

American Artist. New York, Watson-Guptill Publications, 1937 to date. (superseded Art Instruction.)

American Magazine of Art. (see Magazine of Art.)

The Architectural Record. New York, The Record and Guide (etc.), 1892 to date.

Art in America. New York, 1913 to date.

The Art Digest. Hopewell, N.J., 1926 to date.

Art and Life. (see Lotus Magazine.)

Art Lover. New York, J. B. Neumann, 1924–1937.

The Art News. New York, The American Art News Co. (1904–1929), 1902 to date. (1902–1904, Hyde’s Weekly Art News; 1904–1923, American Art News.)

Art and Progress. (see Magazine of Art.)

Art and Understanding. (see Bulletin of the Phillips Collection.)

The Art World. New York, Kalon Publishing Co., 1916–1918. (1917, absorbed The Craftsman; 1917–1918, organ of the Art Society of America; 1918, combined with Arts and Decoration.)

The Arts. New York, 1920–1931. (1921, absorbed Touchstone; 1931, superseded by The Arts Weekly.)

Arts and Decoration. New York, 1910 to date. (1918, combined with The Art World, continued as The Art World and Arts and Decoration; 1919, original title resumed; 1930, incorporated Arts and Decoration Quarterly.)

Atelier. New York, 1931–1939. (published in London as The Studio.)

Atlantic Monthly. Boston, Phillips, Sampson and Co., 1857 to date.

Bookman. New York, 1895–1933. (1933, superseded by The American Review.)

Bulletin of the Phillips Collection. Washington, Phillips Memorial Art Gallery, 1927–1932. (1929–1930, Art and Understanding.)

Camera Work. New York, 1903–1917.

The Century. New York, 1870–1930. (1870–1881, Scribner’s Monthly; 1930, absorbed by Forum and Century.)

College Art Journal. New York, College Art Association of America, 1941 to date. (1941, superseded Parnassus.)

The Craftsman. Eastwood, N.Y., 1901–1916. (1916, merged in The Art World.)

Creative Art. New York, A. and C. Boni, 1927–1933. (1927–1931, incorporated with The Studio of London; 1934, combined with Magazine of Art.)

The Critic. New York, Chevalier Publishing Corp., 1919–1920.

Current Literature. (see Current Opinion.)

Current Opinion. New York, Current Literature Publishing Co., 1888–1925. (1888–1912, Current Literature; 1903, absorbed Current History; 1925, merged with Literary Digest.)

The Dial. Chicago, Jansen, McClurg and Co., 1881–1918; New York, Dial Publishing Co., 1918–1929.

Formes (English edition). Paris, Édition des Quatres Chemins; Philadelphia, American Editorial Office, 1929–1933. (1934, merged with L’Amour de l’Art.)

The Forum. (see Forum and Century.)

Forum and Century. New York, The Forum Publishing Co., 1886–1940. (1886–1930, The Forum; 1930, absorbed The Century; 1940, absorbed by Current History.)

Good Morning. New York, Good Morning Co., 1919.

Harper’s Bazaar. New York, 1867 to date.

Harper’s Magazine. New York, 1850 to date. (1850–1900, Harper’s New Monthly Magazine; 1900–1931, Harper’s Monthly Magazine.)

Harper’s Weekly. New York, 1857–1916. (1916, merged in The Independent.)

The Independent. New York, 1848–1928. (1916, absorbed Harper’s Weekly; 1928, absorbed by the Outlook.)

International Studio. New York, 1897–1931. (1897–1921, American edition of London Studio; 1927–1931, associated with American edition of The Connoisseur; 1931, consolidated with The Connoisseur, continued as Connoisseur; with Which is Incorporated the International Studio.)

The Liberator. New York, 1918–1924.

The Literary Digest. New York, 1890–1938. (1906, absorbed Public Opinion; 1925, absorbed Current Opinion; 1937, absorbed The Review of Reviews; 1938, absorbed by Time.)

Lotus Magazine. New York, 1910–1920. (1910–1911, The Lotus; 1911–1919, Lotus Magazine; 1919–1920, Art and Life, incorporating Lotus Magazine; 1920, merged into Art and Archaeology.)

Magazine of Art. Washington, D.C., American Federation of Arts, 1909–1953. (1909–1915, Art and Progress; 1916–1936, American Magazine of Art.)

Manuscripts. New York, C. S. Nathan, Inc., 1922–1923.

Masses. New York, 1911–1917.

The Metropolitan Magazine. New York, 1895–1924. (1903, New Metropolitan; 1911–1924, Metropolitan; 1924, absorbed by McFadden Fiction Lovers Magazine.)

The Nation. New York, 1865 to date. (1921, absorbed The Arbitrator, which resumed separate publication Jan. 1922.)

New Masses. New York, New Masses, Inc., 1926–1948. (1948, united with Mainstream to form Masses and Mainstream.)

New Republic. New York, The Republic Publishing Co., 1914 to date.

North American Review. Boston (1815–1877), New York (1878–1940), 1815–1940. (1815–1827, North American Review and Miscellaneous Journal.)

The Outlook. New York, 1870–1935. (1928–1932, The Outlook and The Independent; 1932–1935, The New Outlook.)

Parnassus. New York, published for the members of the College Art Association of America, 1928–1941. (1941, superseded by the College Art Journal.)

Scribner’s Magazine. New York, 1887–1939. (1939, absorbed The Commentator, which continued as Scribner’s Commentator.)

The Seven Arts. New York, 1916–1917. (1917, absorbed by Dial.)

The Studio. London, New York, 1893 to date. (1897–1927, the American edition was called The International Studio; 1927–1931, Creative Art (American edition incorporating The Studio); 1931–1932, connection ceased with Creative Art, American edition called Atelier; 1932–1939, The London Studio (American edition of The Studio); 1939, American edition discontinued.)

The Touchstone. New York, Mary F. Roberts, Inc., 1917–1921. (1918, absorbed The American Art Student; 1921, merged into The Arts.)

Twice a Year. New York, 1938 to date. 291. New York, 1915–1916.

Vanity Fair. New York, Vanity Fair Publishing Co., 1913–1936. (1936, absorbed by Vogue.)

Vogue. New York, 1892 to date. (1936, absorbed Vanity Fair, continued as Vogue, incorporating Vanity Fair.)

World’s Work. New York, 1901–1932. (1932, absorbed by Review of Reviews and continued as American Monthly Review of Reviews.)

B. REFERENCE WORKS

1899. Levy, F. N. (editor), American Art Annual. New York, American Art Annual, Inc., 1899–1912.

Who’s Who in America; A Biographical Dictionary of Living Men and Women of the United States. Chicago, n.p., 1899–1900 to date.

1907. Thieme, U., and F. Becker, Allgemeines Lexicon der bildenden Kuenstler von der Antike bis zur Gegenwart. Leipzig, W. Engelmann, 1907–1939.

1913. Levy, F. N. (editor), American Art Annual. Washington, D.C., American Federation of Arts, 1913–1941.

1924. Biographical Sketches of American Artists. Lansing, Mich., Michigan State Library, 1924, fifth edition, revised and enlarged.

1926. Fielding, M., Dictionary of American Painters, Sculptors, and Engravers. Philadelphia, Lancaster Press (c. 1926).

1930. Smith, R. C., A Biographical Index of American Artists. Baltimore, Williams and Wilkins Co., 1930.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, 4 vols.

1935. Mallett, D. T., Mallett’s Index of Artists, International-Biographical. New York, R. R. Bowker Co., 1935.

1936. American Federation of Arts, Who’s Who in American Art; A Biographical Directory of Selected Artists in the United States Working in the Media of Painting, Sculpture, Graphic Arts, Illustration, Design, and the Handicrafts. Washington, D.C., American Federation of Arts, 1936, 1938, 1940.

1940. Current Biography. New York, H. W. Wilson Co., 1940–1942.

Who’s Who in America; Current Biographical Reference Service (supplement). Chicago, A. N. Marquis Co., 1940 to date.

1946. McCausland, E., “A Selected Bibliography on American Painting and Sculpture from Colonial Times to the Present,” Magazine of Art, XXXIX (Nov. 1946), 329–349.

1948. Monro, I. S., and K. M. Monro, Index to Reproductions of American Paintings. New York, H. W. Wilson Co., 1948.

C. GENERAL

1910. Blashfield, E. H., “The Actual State of Art Among Us,” North American Review, CXCI (Mar. 1910) 323–329.

1914. Blashfield, E. H., “Mural Painting in America,” Arts and Decoration, V (Dec. 1914), 60–61, 76.

Eddy, A. J., Cubists and Post-Impressionism. Chicago, A. C. McClurg and Co., 1914.

1915. Laurvik, J. N., “Evolution of American Painting,” Century, XC (Sept. 1915), 772–786.

Wright, W. H., Modern Painting; Its Tendency and Meaning. New York, J. Lane Co.; London, J. Lane, 1915.

1917. Bryant, L. M., American Pictures and their Painters. New York, J. Lane Co., 1917.

1921. General Federation of Women’s Clubs, Art Division, Study Outlines and Bibliography of American Art. General Federation of Women’s Clubs, 1921–1922.

Hartley, M., Adventures in the Arts; Informal Chapters on Painters, Vaudeville, and Poets. New York, Boni and Liveright (c. 1921).

Rosenfeld, P., “American Painting,” Dial, LXXI (Dec. 1921), 649–670.

1922. Gallatin, A. E., American Water-Colorists. New York, E. P. Dutton and Co., 1922.

Pach, W., “Les Tendences Modernes aux États-Unis,” L’Amour de l’Art, III (1922), 29–30.

1923. Cortissoz, R., American Artists. New York, London, Charles Scribner’s Sons, 1923.

Dreier, K. S., Western Art and the New Era; An Introduction to Modern Art. New York, Brentano’s (c. 1923).

Le Gallienne, R., Woodstock; An Essay. Woodstock, N.Y., Woodstock Art Association, 1923.

1924. Cheney, S. B., Primer of Modern Art. New York, Boni and Liveright, 1924.

Rosenfeld, P., Port of New York; Essays on Fourteen American Moderns. New York, Harcourt, Brace and Co. (c. 1924).

1925. Barnes, A. C., The Art in Painting. New York, Harcourt, Brace and Co., 1925.

Ely, C. B., The Modern Tendency in American Painting. New York, F. F. Sherman, 1925.

1926. Phillips, D., A Collection in the Making; A Survey of the Problems Involved in Collecting Pictures, Together with Brief Estimates of the Painters in the Phillips Memorial Art Gallery. New York, E. Weyhe; Washington, D.C. Phillips Memorial Art Gallery (c. 1926), Phillips Publication, no. 5.

1927. Bulliet, C. J., Apples and Madonnas; Emotional Expression in Modern Art. Chicago, P. Covici, 1927.

Figure Painting. New York, Associated Dealers in American Paintings, Inc. (c. 1927), Short Course in American Art, III.

Grant, W. M., and F. N. Price, Modern Art. New York, Associated Dealers in American Paintings, Inc. (c. 1927), Short Course in American Art, VIII.

Isham, S., supplemental chapters by R. Cortissoz, The History of American Painting. New York, Macmillan Co., 1927.

Macbeth, R. W., A Summarized History of American Art. New York, Associated Dealers in American Paintings, Inc. (c. 1927), Short Course in American Art, II.

Mather, F. J., Jr., C. R. Morey, and W. J. Henderson, The American Spirit in Art. New Haven, Conn., Yale University Press, 1927, The Pageant of America, XII.

1928. Berry, R. V. S., What Do You Know About American Art? Eighty Questions Covering the Whole Field of American Art Fully Answered, with Extensive Bibliography and Club Programs. New York, The Club Corner of Scribner’s Magazine (c. 1928), chap. VII.

Duffus, R. L., The American Renaissance. New York, A. A. Knopf, 1928.

Frank, W., “The Re-discovery of America: XII, Our Arts,” New Republic, LIV (May 9, 1928), 343–347.

Jackman, R. E., American Arts. New York, Chicago, San Francisco, Rand, McNally and Co. (c. 1928).

Mumford, L., “The Arts,” in C. A. Beard (ed.), Whither Mankind. New York, Longman, Green and Co., 1928, 287–312.

Pach, W., Modern Art in America. New York, C. W. Kraushaar Art Galleries, 1928.

Phillips, D., “Contemporary American Painting,” Bulletin of the Phillips Collection (Feb.–May 1928), 37–51.

1929. LaFollette, S., Art in America. New York, London, Harper and Bros., 1929.

1930. Kootz, S. M., Modern American Painters. New York, Brewer and Warren, Inc. (c. 1930).

Narodny, I., American Artists. New York, Roerich Museum Press, 1930.

Sayler, O. M., Revolt in the Arts; A Survey of the Creation, Distribution, and Appreciation of Art in America. New York, Brentano’s (c. 1930).

Watson, F., “The All-American Nineteen,” Arts, XVI (Jan. 1930), 301–311.

Wilenski, R. H., A Miniature History of Art; With a Chapter on American Art by E. A. Jewell. New York, Oxford University Press, 1930.

1931. Barker, V., A Critical Introduction to American Painting. New York, Whitney Museum of American Art (c. 1931).

Jewell, E. A., “American Painting,” Creative Art, IX (Nov. 1931), 359–367.

Mumford, L., “El Arte en los Estados Unidos,” Sur, I (1931), 49–82.

Neuhaus, E., The History and Ideals of American Art. Stanford University, Cal., Stanford University Press; London, Humphrey Milford, Oxford University Press, 1931.

Phillips, D., The Artist Sees Differently. New York, E. Weyhe, 1931, Phillips Publications, no. 6.

Poore, H. R., Modern Art—Why, What and How? New York, London, G. P. Putnam’s Sons, 1931.

Smith, S. C. K., An Outline of Modern Painting in Europe and America. New York, William Morrow and Co., 1931; London, Medici Society, 1932.

Whitney Museum of American Art, Catalogue of the Collection, Wm. E. Rudge for the Whitney Museum of American Art, 1931, 1935, 1937.

1932. Cahill, H., “American Art Today,” in F. J. Ringel (editor), America as Americans See It. New York, Harcourt, Brace and Co., 1932, 246–266.

Cahill, H., American Painting and Sculpture, 1862–1932. New York, W. W. Norton and Co. for the Museum of Modern Art (c. 1932).

Craven, T., “American Men of Art,” Scribner’s Magazine, XCII (Nov. 1932), 262–267.

Coleman, L. V., El Arte, la Literature y la Musica en los Estados Unidos. Washington, Pan American Union, 1932, American Nation Series, no. 19 A.

George, W., “Americanism and Universality,” Formes, XXI (Jan. 1932), 196.

Grafly, D., “Art and America,” Formes, XXI Jan. 1932), 207–208.

Hartmann, S., A History of American Art. Boston, L. C. Page and Co., 1932, II, revised edition.

Jacobson, J. Z. (editor), Art of Today. Chicago, L. M. Stein (c. 1932).

Lewisohn, S. A., “Is There an American Art Tradition?” Formes, XXI (Jan. 1932), 204–205.

Munro, T., “Present American Painting; a Report of Progress,” Formes, XXI (Jan. 1932), 202–204.

Phillips, D., “Original American Painting Today,” Formes, XXI (Jan. 1932), 197–201.

Saklatwalla, B. D., “Contemporary American Art,” Formes, XXI (Jan. 1932) 205–207.

1933. Burrows, C., “The Rise of American Art,” London Studio, V (Apr. 1933), 273–282.

Keppel, F. P., and R. L. Duffus, The Arts in American Life. New York, London, McGraw-Hill Book Co., Inc., 1933, Recent Social Trends Monographs.

1934. Cahill, H., and A. H. Barr, Jr., Art in America in Modern Times. New York, Reynal and Hitchcock, 1934.

Cheney, S. B., Expressionism in Art. New York, Boni and Liveright (c. 1934).

Craven, T., Modern Art; The Men, the Movements, the Meaning. New York, Simon and Schuster, 1934.

Huyghe, R., “Les Pays Anglo-Saxon; Introduction,” L’Amour de l’Art, XV (Oct. 1934), 457.

Murrell, W., A History of American Graphic Humor. New York, Whitney Museum of American Art, 1934.

Pach, W., “Histoire de l’Art Contemporain: Les États-Unis,” L’Amour de l’Art, XV (Oct. 1934), 463–468.

1935. Cahill, H., and A. H. Barr, Jr., Art in America; A Complete Survey. New York, Reynal and Hitchcock (c. 1935).

LaFollette, S., “American Art: Its Economic Aspects,” American Magazine of Art, XXVIII (June 1935), 336–344.

Whitney Museum of American Art, New York, Whitney Museum of American Art: History, Purpose and Activities. New York, Whitney Museum of American Art (c. 1935).

1936. Barr, A. H., Jr., Fantastic Art, Dada, Surrealism. New York, Museum of Modern Art, 1936.

Baur, J. I. H., “Modern American Painting,” Brooklyn Museum Quarterly, XXIII (Jan. 1936), 2–19.

Burroughs, A., Limners and Likeness—Three Centuries of American Painting. Cambridge, Mass., Harvard University Press, 1936.

Cahill, H., and others, American Art Portfolios. New York, Raymond and Raymond, Inc., 1936, series i.

Richardson, E. P., Twentieth Century Painting. Detroit, Detroit Institute of Art, 1936.

1937. American Federation of Arts, American Artists in Color Reproductions. Washington, D.C., American Federation of Arts, 1937, A.F.A. Portfolio, no. 1.

Baldinger, W. S., “Formal Change in Recent American Painting,” Art Bulletin, XIX (Dec. 1937), 580–591.

Effelberger, H., Umrisse der amerikanischen Kultur und Kunst. Frankfurt a. M., Moritz Diesterweg, 1937.

Lewisohn, S. A., Painters and Personality; A Collector’s View of Modern Art. New York, Harper and Bros. (c. 1937).

1938. Baldinger, W. S., The Development of Form in American Painting of the Twentieth Century. University of Chicago, 1938, thesis.

Brimo, R., L’Évolution du Goût aux États-Unis d’après l’Histoire des Collections. Paris, J. Fortune (c. 1938).

Musée du Jeu de Paume, Paris, Trois Siècles d’Art aux États-Unis, Exposition Organizée en collaboration avec le Museum of Modern Art, New York. Paris, Éditions des Musées Nationaux, 1938, 27–32.

1939. Art Institute of Chicago, Chicago, Half a Century of American Art. Chicago, Art Institute of Chicago, 1939.

Boswell, P., Jr., Modern American Painting. New York, Dodd, Mead and Co., 1939.

Cheney, M. C., Modern Art in America. New York, London, Whittlesey House, McGraw-Hill Book Co., Inc. (c. 1939).

Living American Art; Color Plates of American Paintings. New York, Living American Art, Inc., 1939.

Pohl, L. V. A., Die Entwicklung der Malerei in Amerika von 1913 bis 1938. Bonn, J. F. Carthaus, 1939.

Richardson, E. P., The Way of Western Art, 1776–1914. Cambridge, Mass., Harvard University Press, 1939.

1940. Landgren, M. E., Years of Art: The Story of the Art Students League of New York. New York, Robert M. McBride and Co., 1940.

1941. Cheney, S., The Story of Modern Art. New York, Viking Press, 1941.

Medford, R. C., American Painting. Philadelphia, F. A. Davis Co. (c. 1941), Continued Study Units in Cultural Life, III.

Read, H. A., La Pintura Contemporanea Norte-Americana. New York, William E. Rudge’s Sons for the Museum of Modern Art, 1941.

Saint-Gaudens, H., The American Artist and his Times. New York, Dodd, Mead and Co., 1941.

1942. Janis, S., They Taught Themselves; American Primitive Painters of the Twentieth Century. New York, Dial Press, 1942.

Mellquist, J., The Emergence of an American Art. New York, Charles Scribner’s Sons, 1942.

Neumeyer, A., “Picasso and the Road to American Art,” Journal of Aesthetics and Art Criticism, I, 6 (1942), 23–41.

Zigrosser, C., The Artist in America. New York, Alfred A. Knopf, 1942.

1943. Kootz, S. M., New Frontiers in American Painting. New York, Hastings House, 1943.

Pearson, R. M., Experiencing American Pictures. New York, London, Harper and Bros., 1943.

Soby, J. T., and D. C. Miller, Romantic Painting in America. New York, Museum of Modern Art, 1943.

Varga, M., “The Rise of American Art,” London Studio, XXV (Apr. 1943), 113–121.

Janson, H. W., “The International Aspects of Regionalism,” College Art Journal, II (May 1943), 110–115.

Frankfurter, A. M., “Forty Years of Art News,” Art Parade: Seeing the Past Forty Years Through Art News and the Frick Collection by H. G. Wright and A. M. Frankfurter. New York, The Art Foundation, Inc., 1943, 17–28, 103–116.

Museum of Modern Art, New York, American Realists and Magic Realists. New York, Museum of Modern Art, 1943.

Porter, J. A., Modern Negro Art. New York, Dryden Press, 1943.

Whitney Museum of American Art, New York, Memorial Exhibition: Gertrude Vanderbilt Whitney, Jan. 26–Feb. 28, 1943. New York, Whitney Museum of American Art, 1943.

1944. Janis, S., Abstract and Surrealist Art in America. Reynal and Hitchcock, New York, 1944.

Museum of Modern Art, New York, Modern Drawings. New York, Museum of Modern Art, 1944.

Newark Museum, Newark, N.J., A Museum in Action—Presenting the Museum’s Activities. Catalogue of an exhibition of American paintings and sculpture from the museum’s collections, Oct. 31 to Jan. 31, 1945. Newark, N.J., Newark Museum, 1944.

Phillips Memorial Gallery, Washington, D.C., The American Paintings of the Phillips Collection, Apr. 9 to May 30, 1944. Washington, D.C., Phillips Memorial Gallery, 1944.

1945. Goodrich, L., American Watercolor and Winslow Homer. Minneapolis, The Walker Art Center (c. 1945).

Pagano, G., Catalogue of the Encyclopaedia Britannica Collection of Contemporary American Painting. Chicago, Encyclopaedia Britannica, Inc., 1945.

1946. Cahill, H., “In Our Time,” Magazine of Art, XXXIX (Nov. 1946), 308–325.

Force, J. R., “The Whitney Museum of American Art,” Magazine of Art, XXXIX (Nov. 1946), 271, 328.

Huth, H., “Impressionism Comes to America,” Gazette des Beaux-Arts, XXIX (Apr. 1946), 225–252.

Whitney Museum of American Art, New York, Pioneers of Modern Art in America. New York, Whitney Museum of American Art, 1946.

1947. Born, W., Still-Life Painting in America. New York, Oxford University Press, 1947, 43–48.

Brown, M., “Forces Behind Modern U.S. Painting,” Art News, XLVI (Aug. 1947), 16–17, 33–35.

1948. Born, W., American Landscape Painting: An Interpretation. New Haven, Yale University Press, 1948, 196–213.

Soby, J. T., Contemporary Painters. New York, Museum of Modern Art, 1948.

1949. Cahill, H., “Forty Years After: An Anniversary for the A. F. A.,” Magazine of Art, XLII (May 1949), 169–178, 189.

Larkin, O. W., Art and Life in America, New York, Rinehart and Co., Inc., 1949.

Rowland, B., Jr., “American Painting Since 1900,” Phoenix: Maandschrift voor Bildende Kunst, IV (1949), 85–111.

Whitney Museum of American Art, New York, Juliana Force and American Art: A Memorial Exhibition, Sept. 23–Oct. 30,1949. New York, Whitney Museum of American Art, 1949.

Wight, F. S., Milestones of American Painting in Our Century. Boston, Institute of Contemporary Art; New York, Chanticleer Press, 1949.

1950. Flexner, J. T., A Short History of American Painting. Boston, Houghton Mifflin Co., 1950.

Myers, B. S., Modern Art in the Making. New York etc., McGraw-Hill Book Co., Inc., 1950, 383–406.

1951. Baur, J. I. H., Revolution and Tradition in Modern American Art. Cambridge, Mass., Harvard University Press, 1951, The Library of Congress Series in American Civilization.

McCausland, E., “The Daniel Gallery and Modern American Art,” Magazine of Art, XLIV (Nov. 1951), 280–285.

Motherwell, R. (editor), The Dada Painters and Poets: An Anthology. New York, Wittenborn, Schultz, Inc., 1951.

Riegner, H., “Die amerikanische Malerei den letzten fünfzig Jahre,” Werk, XXXVIII (Apr. 1951), 116–128.

Ritchie, A. C., Abstract Painting and Sculpture in America. New York, Museum of Modern Art, 1951.

Robb, D. M., The Harper History of Painting: The Occidental Tradition. New York, Harper and Brothers (c. 1951), 892–943.

II. TOPICAL

BACKGROUND

1910. Knauft, E., “Art Activities in the United States,” American Review of Reviews, XLI (Jan. 1910), 49–59.

Hartmann, S., “The American Picture World, its Shows and Shams,” Forum, XLIV (Sept. 1910), 295–304.

1922. Stearns, H. E. (editor), Civilization in the United States; An Inquiry by Thirty Americans. New York, Harcourt, Brace and Co., 1922.

1925. Kreymborg, A., Troubadour; An Autobiography. New York, Boni and Liveright, 1925. Myers, G., The History of American Idealism. New York, Boni and Liveright, 1925, chaps. 11–14.

1927. Siegfried, A., America Comes of Age, translated by H. H. Hemming and D. Hemming. New York, Harcourt, Brace and Co., 1927.

Sullivan, M., Our Times; The United States, 1900–1925. New York, etc., Charles Scribner’s Sons, 1927–1935, 6 vols.

1928. Mazur, P. M., American Prosperity; Its Causes and Consequences. New York, Viking Press, 1928.

Merz, C., The Great American Bandwagon. New York, Literary Guild of America, 1928.

1929. Frank, W. D., Rediscovery of America; An Introduction to a Philosophy of American Life. New York, London, Charles Scribner’s Sons, 1929.

1930. Anderson, M. C., My Thirty Years’ War. New York, Covici, Friede; London, A. A. Knopf, 1930.

Hapgood, N., The Changing Years; Reminiscences of Norman Hapgood. New York, Farrar and Rinehart, 1930.

Josephson, M., Portrait of the Artist as American. New York, Harcourt, Brace and Co. (c. 1930).

Sayler, O. M., Revolt in the Arts; A Survey of the Creation, Distribution, and Appreciation of Art in America. New York, Brentano’s (c. 1930).

1931. Huddleston, S., Back to Montparnasse; Glimpses of Broadway in Rohemia. Philadelphia, London, J. B. Lippincott Co., 1931.

Schmalhausen, S. D. (editor), Behold America. New York, Farrar and Rinehart, 1931.

1933. Parry, A., Garrets and Pretenders; A History of Bohemianism in America. New York, Covici, Friede, 1933.

1934. Cowley, M., Exiles Return; A Narrative of Ideas. New York, W. W. Norton and Co. (c. 1934).

Frank, W., and L. Mumford, D. Norman, P. Rosenfeld, H. Rugg, America and Alfred Stieglitz: A Collective Portrait. Garden City, N.Y., Doubleday, Doran and Co., Inc., 1934.

1935. Cournos, J., Autobiography. New York, G. P. Putnam’s Sons, 1935.

Jackson, J. H., The Post War World: A Short Political History, 1918–1934. London, V. Gollancz, Ltd., 1935, 389–407.

1936. Agar, H., What is America. London, Eyre and Spottiswoode, 1936.

Luhan, M. D., Movers and Shakers. New York, Harcourt, Brace and Co. (c. 1936).

1938. Davidson, D., The Attack on Leviathan; Regionalism and Nationalism in the United States. Chapel Hill, University of North Carolina Press, 1938.

Pach, W., Queer Thing, Painting; Forty Years in the World of Art. New York, London, Harper and Bros., 1938.

Stearns, H. E. (editor), America Now; An Inquiry into Civilization in the United States by Thirty-six Americans. New York, Charles Scribner’s Sons, 1938.

White, W. A., A Puritan in Babylon; The Story of Calvin Coolidge. New York, Macmillan Co., 1938.

1939. Hapgood, H., A Victorian in the Modern World. New York, Harcourt, Brace and Co., 1939.

1940. Branston, R., and J. Stuart, The Fat Years and the Lean. New York, Modern Age Books (c. 1940).

1942. Kazin, A., On Native Grounds; An Interpretation of Modern American Prose Literature. New York, Reynal and Hitchcock (c. 1942).

1946. McBride, H., Florine Stettheimer. New York, Museum of Modern Art, 1946.

NEW YORK REALISTS (General)

1900. Armstrong, R., “New Leaders in American Illustration, part IV: The Typists: McCarter, Yohn, Glackens, Shinn and Luks,” Bookman, XI (May 1900), 243–251.

1908. Edgerton, G., “The Younger American Painters: Are They Creating a National Art?” Craftsman, XIII (Feb. 1908), 512–532.

1909. “Foremost American Illustrators: Vital Significance of Their Work,” Craftsman, XVII (Dec. 1909), 266–280.

1911. Baury, L., “Message of Bohemia,” Bookman, XXXIV (Nov. 1911), 256–266.

Baury, L., “Message of the Proletaire,” Bookman, XXXIV (Dec. 1911), 399–413.

1915. Cournos, J., “Three Painters of the New York School,” International Studio, LVI (Oct. 1915), 239–246.

du Bois, G. P., “Despotism and Anarchy in Art,” Arts and Decoration, V (Jan. 1915), 97–98, 114.

1916. Mather, F. J., Jr., “Some American Realists,” Arts and Decoration, VII (Nov. 1916), 1316.

Gallatin, A. E., Certain Contemporaries. New York, J. Lane Co., 1916.

1922. Ely, C. B., “The Modern Tendency in Henri, Sloan, and Bellows,” Art in America, X (Apr. 1922), 132–143.

1925. Ely, C. B., The Modern Tendency in American Painting. New York, F. F. Sherman, 1925.

1937. Whitney Museum of American Art, New York, New York Realists, 1900–1914. New York, Whitney Museum of American Art, 1937.

1943. Brooklyn Institute of Arts and Sciences, The Brooklyn Museum, Brooklyn, N.Y., The Eight. Brooklyn, N.Y., Brooklyn Museum Press, 1943.

1944. Pach, W., “The Eight Then and Now,” Art News, XLII (Jan. 1–14, 1944), 25, 31.

1945. Philadelphia Museum of Art, Philadelphia, “Artists of the Philadelphia Press,” Philadelphia Museum Bulletin, XLI (Nov. 1945).

1946. Read, H. A., Robert Henri and Five of His Pupils. Loan exhibition of paintings, Apr. 5–June 1, 1946. New York, Century Association, 1946.

STIEGLITZ AND “291”

1903. Camera Work: A Photographic Quarterly. New York, A. Stieglitz, 1903–1917.

1915. “Who’s Who in American Art—Alfred Stieglitz,” Arts and Decoration, V (Apr. 1915), 235.

291. New York, 1915–1916.

1922. Manuscripts. New York, C. S. Nathan, Inc., 1922–1923.

1924. Rosenfeld, P., Port of New York. New York, Harcourt, Brace and Co. (c. 1924), 237–279.

1934. Frank, W., L. Mumford, D. Norman, P. Rosenfeld, and H. Rugg. America and Alfred Stieglitz. Garden City, N.Y., Doubleday Doran and Co., Inc., 1934.

1935. Benton, T. H., “America and/or Alfred Stieglitz,” Common Sense, IV (Jan. 1935), 22–24.

1938. Twice a Year; A Semi-annual Journal of Literature, the Arts, and Civil Liberties. New York, 1938 to date.

1944. Philadelphia Museum of Art, Philadelphia, History of an American: “291” and after; selections from the Stieglitz Collection. Philadelphia, Philadelphia Museum of Art (c. 1944).

1945. Philadelphia Museum of Art, Philadelphia, “An American Collection,” Philadelphia Museum Bulletin, XL (May 1945).

1947. Larkin, O., “Alfred Stieglitz and ‘291,’” Magazine of Art, XL (May 1947), 179–183.

Norman, D., “Was Stieglitz a Dealer?” Atlantic Monthly, CLXXIX (May 1947), 22–23.

Norman, D., “In Memoriam: six happenings (and a conversation recorded by Dorothy Norman),” Twice a Year, no. 13–15 (1947), 188–202.

Norman, D. (editor), Stieglitz Memorial Portfolio: 1863–1946. Reproductions of 18 photographs by Alfred Stieglitz. Tributes in Memoriam. New York, Twice a Year Press, 1947.

ARMORY SHOW

1913. “An Art Awakening,” American Art News, XI (Mar. 15, 1913), 4.

“An Opportunity to Study New Art Tendencies,” Outlook, CIII (Mar. 1, 1913), 466–467.

“Art Revolutionists on Exhibition in America,” American Review of Reviews, XLVII (Apr. 1913), 441–448.

Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, at the Armory of the Sixty-Ninth Infantry, Feb. 15 to Mar. 15, 1913. New York, n.p., 1913.

“Bedlam in Art,” Current Opinion, LIV (Apr. 1913), 316–317.

Brinton, C., “Evolution not Revolution in Art,” International Studio, XLIX (Apr. 1913), xxvii–xxxv.

Brinton, C., “Fashions in Art—Modern Art,” International Studio, XLIX (Mar. 1913), ix–x.

Cortissoz, R., “The Post-Impressionist Illusion,” Century Magazine, LXXXV (Apr. 1913), 805–815.

Cox, K., “The Modern Spirit in Art,” Harper’s Weekly, LVII (Mar. 15, 1913), 10.

(Davies, A. B.), “Chronological Chart Made by Arthur B. Davies Showing the Growth of Modern Art,” Arts and Decoration, III (Mar. 1913), 150.

Davies, A. B., “Explanatory Statement: The Aim of the A. A. P. S.,” Arts and Decoration, III (Mar. 1913), 149.

Dodge, M., “Speculations, or Post-Impressionism in Prose,” Arts and Decoration, III (Mar. 1913), 172, 174.

du Bois, G. P., “The Spirit and the Chronology of the Modern Movement,” Arts and Decoration, III (Mar. 1913), 151–154, 178.

Fisher, W. M., “Sculpture at the Exhibition,” Arts and Decoration, III (Mar. 1913), 168–169.

Gregg, F. J., “A Remarkable Art Show,” Harper’s Weekly, LVII (Feb. 15, 1913), 13–16.

Gregg, F. J., “The Attitude of the Americans,” Arts and Decoration, III (Mar. 1913), 165–167.

G(regg), F. J., “The Extremists: An Interview with Jo Davidson,” Arts and Decoration, III (Mar. 1913), 170–171, 180.

“Lawlessness in Art,” Century, LXXXVI (May 1913), 150.

Mather, F. J., Jr., “Newest Tendencies in Art,” Independent, LXXIV (Mar. 6, 1913), 503–512.

Mather, F. J., Jr., “Old and New Art,” Nation, XCVI (Mar. 6, 1913), 240–243.

McColl, W. D., “The International Exhibition of Modern Art,” Forum, L (July 1913), 23–36.

Meltzer, C. H., “New York Sees Things,” Hearst’s Magazine, XXIII (Apr. 1913), 635–636.

“Mob as Art Critic,” Literary Digest, XLVI (Mar. 29, 1913), 708–709.

“New Tendencies in Art,” American Review of Reviews, XLVIII (Aug. 1913), 245.

Pattison, J. W., “Art in an Unknown Tongue,” Fine Arts Journal, XXVII–XXIX (May 1913), 293–307.

Phillips, D., “Revolutions and Reactions in Painting,” International Studio, LI (Dec. 1913), cxxiii–cxxix.

Quinn, J., “Modern Art from the Layman’s Point of View,” Arts and Decoration, III (Mar. 1913), 155–158, 176.

Roberts, M. F., “Science in Art, as Shown in the International Exhibition of Painting and Sculpture,” Craftsman, XXIV (May 1913), 216–218.

Roosevelt, T., “A Layman’s View of an Art Exhibition,” Outlook, CIII (Mar. 29, 1913), 718–720.

Simons, T. LeF., “The New Movement in Art: From a Philosophic Standpoint,” Arts and Decoration, III (Apr. 1913), 214.

“The American Section; The National Art; An Interview with the Chairman of the Domestic Committee, William J. Glackens,” Arts and Decoration, III (Mar. 1913), 159–164.

“The Greatest Exhibition of Insurgent Art Ever Held,” Current Opinion, LIV (Mar. 1913), 230–232.

1914. Alexander, J. W., “Is Our Art Distinctively American?” Century, LXXXVII (Apr. 1914), 826–828.

Blashfield, E. H., “The Painting of Today,” Century, LXXXVII (Apr. 1914), 837–840.

Blumenschein, E. L., “The Painting of Tomorrow,” Century, LXXXVII (Apr. 1914), 845–850.

Cox, K., “Artist and Public,” Scribner’s Magazine, LV (Apr. 1914), 512–520.

Hambidge, J., and G. Hambidge, “The Ancestry of Cubism,” Century, LXXXVII (Apr. 1914), 869–875.

Pach, W., “The Point of View of the Moderns,” Century, LXXXVII (Apr. 1914), 851–864.

S(tein), L., “Panic in Art,” New Republic, I (Nov. 7, 1914), 20–21.

“This Transitional Age in Art,” Century, LXXXVII (Apr. 1914), 825–875.

1915. “European Art Invasion,” Literary Digest, LI (Nov. 27, 1915), 1223–25.

1938. Kuhn, W., The Story of the Armory Show. New York, W. Kuhn (c. 1938).

1939. Kuhn, W., “The Story of the Armory Show,” Art News Annual, XXXVII (1939), 63–64, 168–174.

1943. Mellquist, J., “The Armory Show 30 Years Later,” Magazine of Art, XXXVI (Dec. 1943), 298–301.

AFTERMATH

PANAMA-PACIFIC EXPOSITION

1915. Brinton, C., “American Painting at the Panama-Pacific Exposition,” International Studio, LVI (Aug. 1915), xxv–xxxii.

Brinton, C., “Exhibition Defeating Itself,” Literary Digest, LI (Aug. 1915), 403–405.

Brinton, C., “Foreign Painting at the Panama-Pacific Exposition,” International Studio, LVI (Sept.–Oct. 1915), xlvii–liv, lxxxix–xcvi.

Laurvik, J. N., and J. E. D. Trask (editors), Catalogue de Luxe of the Department of Fine Arts, Panama-Pacific International Exposition. San Francisco, Paul Elder and Co. (c. 1915).

1916. Brinton, C., Impressions of the Art at the Panama-Pacific Exposition. New York, John Lane Co., 1916.

Parker, E. S., “An Analysis of Futurism,” International Studio, LVII (Apr. 1916), lix–lx.

FORUM EXHIBITION

1915. Wright, W. H., “The Truth about Painting,” Forum, LIV (Oct. 1915), 443–454.

1916. Anderson Galleries, New York, The Forum Exhibition of Modern American Painters, Mar. 13 to Mar. 25, 1916. New York, M. Kennerley, 1916.

Buchanan, C. L., “Paint and Progress,” International Studio, LVIII (June 1916) cxii–cxv.

Mather, F, J., Jr., “Forum Exhibition,” Nation, CII (Mar. 23, 1916), 340.

Weichsel, J., “Another New Art Venture: The Forum Exhibition,” International Studio, LVIII (June 1916) cxv–cxvii.

Wright, W. H., “Forum Exhibition at the Anderson Galleries,” Forum, LV (Apr. 1916), 457–471.

INDEPENDENTS’ EXHIBITION

1917. “Art Exhibition with a Punch,” Literary Digest, LIV (June 9, 1917), 1780–1781.

“Attempt to Abolish Juries and Prizes for Works of Art,” Current Opinion, LXII (Mar. 1917), 202.

Catalogue of the First Annual Exhibition of the Society of Independent Artists, Grand Central Palace, from Apr. 10 to May 6. New York, Society of Independent Artists, Inc., 1917.

“Duchamps Resigns from ‘Independents,’” American Art News, XV (Apr. 14, 1917), 1.

Glackens, W. J., “The Biggest Art Exhibition in America and, incidentally, the War,” Touchstone, I (June 1917), 163–173.

Henri, B., “The ‘Big Exhibition,’ the Artist and the Public,” Touchstone, I (June 1917), 173–177.

M., L., “The Independents’ Exhibition,” American Magazine of Art, VIII (June 1917), 323–324.

“Mobilizing the Artists of America in a Democratic Paint Circus,” Current Opinion, LXII (June 1917), 423–424.

Simonson, L., “The Painters’ Ark,” The Seven Arts, II (June 1917), 202–213.

MISCELLANEOUS

1921. A Protest against the Present Exhibition of Degenerate “Modernistic” Works in the Metropolitan Museum of Art, signed: a Committee of Citizens and Supporters of the Museum. (New York). (c. 1921).

Brooklyn Museum, Brooklyn, N.Y., Painting by Modern French Masters Representing the Post Impressionists and Their Predecessors. Brooklyn, N.Y., Brooklyn Museum Press, 1921.

Metropolitan Museum of Art, New York, Loan Exhibition of Impressionist and Post-Impressionist Paintings. New York, Metropolitan Museum of Art, 1921.

Worcester Art Museum, Worcester, Mass., Exhibition of Paintings by Members of the Société Anonyme. Worcester, Mass., Worcester Art Museum, 1921.

1924. Veritas, Bolshevism in Art and Its Propagandists. New York, Veritas Publishing Co., 1924.

WAR YEARS

1915. “Artistic Inspiration of the War,” International Studio, LVII (Nov. 1915), 76.

Galsworthy, J., “Art and the War,” Atlantic Monthly, CXVI (Nov. 1915), 623–628.

Mortimer-Lamb, H., “Canadian Artists and the War,” International Studio, LVI (Oct. 1915), 259–264.

Senseney, G., “The Effect of this War on Art,” Arts and Decoration, V (Mar. 1915), 175–177, 204.

“‘War’ by Young Sculptors,” American Art News, XIII (May 1, 1915), 2.

1916. “Aero Club’s Defense Posters,” American Art News, XIV (Mar. 18, 1916), 1.

“German View of War and Art,” Literary Digest, LIII (July 1916), 71.

Harrison, B., “Art and the European War,” Art and Progress, VII (May 1916), 270–272.

Price, C. M., “The Opportunity of the Poster,” Arts and Decoration, VI (Aug. 1916), 467.

“What Art Pays for War,” Literary Digest, LVII (Apr. 1916), 1063.

1917. Bailey, V. H., Drawings and Lithographs of War Work in America. New York, Arthur H. Hahlo and Co., 1917.

Exhibition of War Posters of the Allied Nations for the Benefit of the American Red Cross. New York, Arden Gallery, 1917.

“Munitions Work: Sixteen Full-page Pictures of Mr. Joseph Pennell,” The Times History and Encyclopedia of War. London, 1917, X, 321–324.

Newark Free Public Library, Newark, N.J., Posters and American War Posters: Historical and Explanatory. Newark, N.J., The Free Public Library, 1917.

Smith, J. A., “Notes on Camouflage,” Architectural Record, XLII (NOV. 1917), 468–477.

Smithsonian Institution, National Collection of Fine Arts, Washington, D.C., Catalogue of an Exhibition of Lithographs of War Work in Great Britain and the United States by Joseph Pennell. Washington, D.C., Government Printing Office, 1917.

1918. American Art Association, Allied War Salon, Dec. 9–Dec. 24, 1918, introduction by A. E. Gallatin. New York, American Art Galleries, 1918.

Carnegie Institute, Department of Fine Arts, Pittsburgh, Pictures of the Great War: An Exhibition of Drawings, Paintings and Prints, including United States Official Drawings. Pittsburgh, Carnegie Institute, 1918.

Cornelius, Capt. J. R., “The Value of Landscape Targets, Their Use in Musketry,” Scribner’s Magazine, LXIV (Oct. 1918), 433–440.

Embury, A., “Nature’s Camouflage and Man’s,” New Country Life, XXXIV (June 1918), 26–40.

Holliday, R. C., “Posing the War for the Painter,” Bookman, XLVII (July 1918), 512–516.

McCormick, W. B., “Unmasking the Museum Conspirators,” Chronicle IV (Oct. 1918).

McDonald, H. A., “The Story of the War Posters,” Sea Power, V (Aug. 1918), 92–95.

Moses, M. J., “Making Posters Fight,” Bookman, XLVII (July 1918), 503–513.

Pennell, J., Joseph Pennell’s Pictures of War Work in America: Reproductions of a Series of Lithographs of Munitions Works Made by Him with the Permission and Authority of the U. S. Government. Philadelphia, J. B. Lippincott Co., 1918.

Phillips, D., “Art and the War,” American Magazine of Art, IX (June 1918), 303–308.

Phillips, D., “The Heroic Soul of France: Lucien Jonas’ War Lithographs,” American Magazine of Art, IX (Oct. 1918), 497–503.

Price, C. M., “The Artists’ Call to Colors: The Opportunity of the Poster,” Art World and Arts and Decoration, VIII (July 1918), 155–157.

Price, C. M., and H. Brown, How to Put in Patriotic Posters the Stuff that Makes People Stop—Look—Act! Washington, D.C., National Committee of Patriotic Societies, 1918.

Recruiting Posters: Issued by the United States Navy since the Declaration of War. Press, U. S. Navy Recruiting Bureau, 1918.

Rihani, A. F., “Artists in Wartime,” International Studio, LXvi (Dec. 1918), xxix–xxxvii.

Street, J., “Our Fighting Posters,” McClure’s Magazine, LI (July 1918), 12–13, 34.

“What Is the Matter with American Art,” Art World and Arts and Decoration, VIII (May 1918), 5.

Wyer, R., “Germany and Art,” International Studio, LXVI (Dec. 1918), xli–xlii.

1919. “Art at the Peace Table,” New York Tribune (Jan. 5, 1919), part II, 1.

Buchanan, C. L., “Nationalism and American Painting,” International Studio, LXVII (Mar. 1919), x–xv.

Carnegie Institute, Department of Fine Arts, Pittsburgh, Pictures of the Great War: An Exhibition of Drawings, Paintings and Prints, including United States Official Drawings, Jan. 9–31, 1919. Pittsburgh, Carnegie Institute (c. 1919).

Cortissoz, R., “How Germany Can Pay in Terms of Art,” New York Tribune (Jan. 5, 1919), part V, 7.

Foster, W., “A Day with a Sketch Book on the Front,” Illustrations from the Author’s Sketches, Scribner’s Magazine, LXV (Apr. 1919), 449–455.

Gallatin, A. E., “American Artists and the War,” Valentine’s Manual of the City of New York, III (1919), 250–262.

Gallatin, A. E., Art and the Great War. New York, E. P. Dutton and Co., 1919.

Glass, C., “Practical Patriotism in American Art,” Art and Life, X (June 1919), 295–297.

Harding, Capt. G., “The American Artist at the Front,” American Magazine of Art, X (Oct. 1919), 451–456.

Malleterre, General, “How the War Was Won,” illustrated by L. G. Hornby, Harper’s Magazine, CXXXVIII (Mar. 1919), 433–445 (Apr. 1919), 598–612.

Parker, J. F., “Art and the Great War,” International Studio, LXIX (Nov. 1919), xli–xlvi.

Phillips, D., “The Allied War Salon,” American Magazine of Art, X (Jan. 1919), 115–123.

Rihani, A. F., “Artists in Wartime,” International Studio, LXVIII (July 1919), iii–ix.

United States Public Information Committee, Victory Dinner and Dance of the Division of Pictorial Publicity, Feb. 14, 1919, Hotel Commodore. New York, 1919.

1920. Hardie, M., and A. K. Sabin, War Posters Issued by Belligerent and Neutral Nations, 1913–1919. London, A. and C. Black, Ltd., 1920.

Special Exhibition of Sculpture: A Plastic History of the War, by Jo Davidson, Apr.–May 1920. New York, Henry Reinhardt and Son, 1920.

1921. National Art Committee, Exhibition of War Portraits; Signing of the Peace Treaty, 1919, and Portraits of Distinguished Leaders of America and of the Allied Nations Painted by Eminent American Artists for Presentation to the National Portrait Gallery. Washington, D.C., National Gallery of Art (c. 1921).

1922. Pag, H., “War and Art,” Art Review, I (Aug. 1922), 6, 25.

1931. Slosson, P. W., The Great Crusade—And After, 1913–1928. New York, Macmillan Co., 1931.

1944. Kirstein, L., American Battle Painting, 1776–1918. Washington, D.C., National Gallery of Art, 1944.

PSEUDO-SCIENTIFIC THEORY

1876. Bezold, W. von, Theory of Color in its Relation to Art and Art Industry, translated by S. R. Koehler. Boston, L. Prang and Co., 1876.

1905. Frackelton, S. S., “Our American Potteries: Maratta’s and Albert’s work at the Gates Potteries,” Sketch Book, V (Oct. 1905), 7380.

1907. Ross, D. W., A Theory of Pure Design. New York, Peter Smith, 1907.

1912. Rimington, A. W., Colour Music. London, Hutchinson and Co., 1912.

Ross, D. W., On Drawing and Painting. Boston, New York, Houghton Mifflin Co., 1912.

1913. Keller, H. G., and J. J. R. Macleod, “Application of the Physiology of Color Vision in Modern Art,” Popular Science, LXXXIII (Nov. 1913), 450–465.

1914. Maratta, H. G., “A Rediscovery of the Principles of Form Measurement,” Arts and Decoration, IV (Apr. 1914), 230–232.

1918. Luckiesh, M., The Language of Color. New York, Dodd, Mead and Co., 1918.

1919. Hambidge, J. (editor), The Diagonal, New Haven, Conn., Yale University Press, 1919–1920.

Hambidge, J., Dynamic Symmetry. Boston, n.p., 1919.

Hambidge, J., “Symmetry and Proportion in Greek Art,” American Architect, CXVI (1919), 597–605.

Ross, D. W., The Painter’s Palette; A Theory of Tone Relations; An Instrument of Expression. Boston, New York, Houghton Mifflin Co., 1919.

1920. Hambidge, J., Dynamic Symmetry: The Greek Vase. New Haven, Yale University Press (c. 1920).

Hambidge, J., “Greek Design,” Journal of the Royal Institute of British Architects, XXVII (1920), 213–223.

Maratta, H. G., “Colors and Paints,” Touchstone, VII (June 1920), 249–250.

1921. Armfield, M., “Dynamic Symmetry and its Practical Value Today,” International Studio, LXXIV (Nov. 1921), lxxvi–lxxxiv.

Blake, E. M., “Dynamic Symmetry: A Criticism,” Art Bulletin, III (Mar. 1921), 107–127.

Carpenter, R., “Dynamic Symmetry: A Criticism,” American Journal of Archaeology, XXV (1921), 18–36.

Winstanley, J., “The Modern Merlin and His Palette Recipes,” International Studio, LXXIII (Apr. 1921), lix–lxii.

1922. Caskey, L. D., Geometry of Greek Vases: Attic Vases in the Museum of Fine Arts Analyzed According to the Principles of Proportion Discovered by Jay Hambidge. Boston, Museum of Fine Arts, 1922.

Pope, A., Tone Relations in Painting. Cambridge, Harvard University Press, 1922.

Richter, G. M. A., “Dynamic Symmetry from the Designer’s Point of View,” American Journal of Archaeology, XXVI (1922), 59–73.

1923. Eisen, G. A., The Great Chalice of Antioch, on Which Are Depicted in Sculpture the Earliest Known Portraits of Christ, Apostles and Evangelists. New York, Kouchakji Frères, 1923, 2 vols.

Hambidge, J., Dynamic Symmetry in Composition, as Used by the Artists. New York, Brentano’s (c. 1923); Cambridge, Mass., The Author, 1923.

1924. Hambidge, J., The Parthenon and other Greek Temples: Their Dynamic Symmetry. New Haven, Yale University Press, 1924.

1925. Richter, G. M. A., Dynamic Symmetry as Applied to Pottery. Columbus, O., American Ceramic Society, 1925.

1926. Hambidge, J., The Elements of Dynamic Symmetry. New York, Brentano’s (c. 1926).

Jacobs, M., The Art of Composition; A Simple Application of Dynamic Symmetry. Garden City, N.Y., Doubleday, Page and Co., 1926.

1927. Sargent, F. L., A Working System of Colour. New York, Henry Holt and Co., 1927.

1929. Pope, A., An Introduction to the Language of Drawing and Painting. Cambridge, Mass., Harvard University Press, 1929, I: The Painter’s Terms.

1932. Hambidge, J., Practical Applications of Dynamic Symmetry, edited by M. Hambidge. New Haven, Yale University Press; London, H. Milford, Oxford University Press, 1932.

1936. Fletcher, F. M., Colour Control. London, Faber and Faber, Ltd., 1936.

III. PERSONALITIES

A. CRITICS

GENERAL

1911. Hyslop, T. B., “Post-Illusionism and Art in the Insane,” Nineteenth Century, LXIX (Feb. 1911), 270–281.

1913. “Art and Insanity in the Light of an Exhibition of Pictures by Lunatics,” Current Opinion, LV (Nov. 1913), 340.

1914. Blashfield, E. H., “The Painting of Today,” Century, LXXXVII (Apr. 1914), 837–840.

1915. du Bois, G. P., “Despotism and Anarchy in Art: The Symbolism Dedicated to the Future and the Realism of the Present,” Arts and Decoration, V (Jan 1915), 95–98, 114.

Dow, A. W., “Talks on Art Appreciation,” Delineator, LXXXVI (Jan. 1915), 15; LXXXVI (Apr. 1915), 13–15; LXXXVII (July 1915), 15; LXXXVIII (Feb. 1916), 15.

“Is it a Craze?” American Art News, XIII (Mar. 27, 1915), 4.

“The European Art-Invasion,” Literary Digest, LI (Nov. 27, 1915), 1224.

De Zayas, M., “Modern Art: Theories and Representations,” Forum, LIV (Aug. 1915), 221–230.

1916. Lippmann, W., “Lost Theme,” New Republic, V (Apr. 8, 1916), 258–260.

Pach, W., “Modern Art Today,” Harper’s Weekly, LXII (Apr. 29, 1916), 470–471.

De Zayas, M., “Cubism?” Arts and Decoration, VI (Apr. 1916), 283–286, 308.

1917. Beckwith, C., “Our Younger Brother in Art; An Open Letter,” American Magazine of Art, VIII (June 1917), 328.

Daingerfield, E., “A Criticism of the Ultra in Art,” American Magazine of Art, VIII (June 1917), 328–329.

Dow, A. W., “Modernism in Art,” American Magazine of Art, VIII (Jan. 1917), 113–116.

“Frightfulness in Art,” American Magazine of Art, VIII (Apr. 1917), 243–245.

Maxwell, E. C., “Nationalism and the Art of the Future,” International Studio, LXII (Sept. 1917), lxxvi–lxxviii.

1918. Borglum, G., “The Revolt in Art; Insurgency or the Modern Spirit in Aesthetics,” Lotus Magazine, IX (Feb. 1918), 215–217.

Hamilton, A. M., “Insane Art,” Scribner’s Magazine, LXIII (Apr. 1918), 483–492.

Hudnut, A. M., “Tendencies of Modern Art,” International Studio, LXIV (June 1918), cxviii–cxix.

Winans, W., “The Ugly Side of the Cubist-Futurist-Vorticist Craze,” Lotus Magazine, IX (Feb. 1918), 217–221.

1919. Dosch, R., “The Optimist and the Modern Art Movement,” International Studio, LXIX (Dec. 1919), lxi–lxv.

Whittemore, T., “The Bolshevist and the Cubist,” Touchstone, IV (Jan. 1919), 318–321.

1920. Rosenberg, J. N., “Ghosts—The Exhibition of the New Society,” International Studio, LXXII (Dec. 1920), lxi–lxii.

1924. Peets, O. H., “Paris and the Creation of an American Art,” American Magazine of Art, XV (Aug. 1924), 418–420.

1926. Adams, A., “Of Gains Tossed Aside,” American Magazine of Art, XVII (Sept. 1926), 488–490.

1929. Braum, J. F., “Why Nationalism in Art,” American Magazine of Art, XX (Oct. 1929), 569–570.

CHRISTIAN BRINTON

1900. St. Nicholas, Apr. 1900–June 1900.

Critic, 1900–1904.

1904. Century, 1903–1912.

1905. Bookman, 1905–1908.

Harper’s Monthly Magazine, 1905–1910.

International Studio, 1905–1923.

1906. Scribner’s Magazine, 1906–1917.

1907. Putnam’s Magazine, 1907–1909.

1909. Craftsman, 1909–1910.

1911. Woman’s Home Companion, Apr. 1911–Oct. 1911.

1913. “Evolution not Revolution in Art,” International Studio, XLIX (Apr. 1913), xxvii–xxxv.

“Fashions in Art—Modern Art,” International Studio, XLIX (Mar. 1913), ix–x.

1915. “American Painting at the Panama-Pacific Exposition,” International Studio, LVI (Aug. 1915), xxv–xxxii.

“Exhibition Defeating Itself,” Literary Digest, LI (Aug. 1915), 403–405.

“Foreign Painting at the Panama-Pacific Exposition,” International Studio, LVI (Sept. 1915), xlvii–liv (Oct. 1915), lxxxix–xcvi.

1916. Impressions of the Art at the Panama-Pacific Exposition and an Introductory Essay on the Modern Spirit in Contemporary Painting. New York, J. Lane Co., 1916.

1921. “Modernism in Museums,” Arts and Decoration, XVI (Dec. 1921), 146.

1926. Modern Art at the Sesqui-Centennial Exhibition. New York, Société Anonyme, Inc., Museum of Modern Art, 1926.

1930. “Plight of Painting,” Country Life, LVIII (May 1930), 35–39.

JAMES BRITTON

1913. American Art News, 1913–1919.

1919. Art Review International (editor), May 1919–Oct. 1919.

CHARLES H. CAFFIN

1897. Harper’s Weekly, 1897–1901, 1907–1909.

1900. Harper’s Monthly Magazine, 1900–1916.

1901. International Studio, 1901–1905, 1917.

The Sun, New York, 1901–1904.

World’s Work, 1901–1906.

1903. Critic, 1903–1905.

1904. St. Nicholas, 1903–1905, 1909.

1905. American Magazine, 1905–1906.

1907. “American Illustration,” Independent, LXIII (Nov. 21, 1907), 1217–1219.

Putnam’s Magazine, Nov. 1907–Dec. 1907.

The Story of American Painting. The Evolution of Painting in America from Colonial Times to the Present. New York, F. A. Stokes Co. (c. 1907).

1908. “Beginning and Growth of Mural Painting in America,” Bookman, XXVIII (Oct. 1908), 127–139.

Century, 1908, 1916–1919.

1910. “Certain Criticism of Art in America,” North American Review, CXCI (June 1, 1910), 785–794.

1913. New York American, 1913–1918.

1914. How to Study Modern Painters; By Means of a Series of Comparisons of Paintings and Painters from Watteau to Matisse, with Historical and Biographical Summaries and Appreciations of the Painter’s Motives and Methods. London, Hodder and Stoughton (c. 1914).

ROYAL CORTISSOZ

1892. The New York Tribune, 1892–1924.

1903. Atlantic Monthly, 1903–1906.

North American Review, 1903–1904.

Scribner’s Magazine, 1903–1912, 1922–1930.

1904. Lamp, Apr. 1903–Nov. 1904.

1905. Outlook, 1905–1907.

1911. Century, 1911–1913.

1913. Art and Common Sense. New York, Charles Scribner’s Sons, 1913.

“The Post-Impressionist Illusion,” Century Magazine, LXXXV (Apr. 1913), 805–815.

1923. American Artists. New York, London, Charles Scribner’s Sons, 1923.

1924. The New York Herald Tribune, New York, 1923–1948.

1925. Personalities in Art. New York, London, Charles Scribner’s Sons, 1925.

1928. International Studio, 1928–1929.

1930. The Painter’s Craft. New York, London, Charles Scribner’s Sons, 1930.

1931. Arthur B. Davies. New York, Whitney Museum of American Art, 1931, American Artists Series.

Guy Pène du Bois. New York, Whitney Museum of American Art, 1931, American Artists Series.

KENYON COX

1903. Architectural Record, 1903–1909.

Nation, 1903–1917.

1904. Century, 1904, 1911–1913.

Scribner’s Magazine, 1903–1917.

1905. Old Masters and New. Essays in Art Criticism New York, Fox, Duffield and Co., 1905.

1907. Painters and Sculptors. A Second Series of Old Masters and New. New York, Duffield and Co., 1907.

1911. The Classic Point of View. New York, Charles Scribner’s Sons, 1911.

1913. “The ‘Modern’ Spirit in Art,” Harper’s Weekly, LVII (Mar. 15, 1913), 10.

“The New Art ‘Movement,’” American Art News, XI (Mar. 22, 1913), 6.

1914. “Artist and Public,” Scribner’s Magazine, LV (Apr. 1914), 512–520.

Artist and Public, and Other Essays on Art Subjects. New York, Charles Scribner’s Sons, 1914.

1916. Art World, 1916–1917.

1917. Concerning Painting, Considerations Theoretical and Historical. New York, Charles Scribner’s Sons, 1917.

J. N. LAURVIK

1908. Century, 1908, 1915–1916.

International Studio, 1908–1912.

1911. Woman’s Home Companion, 1911–1914.

1912. “The Water Colors of John Marin,” Camera Work, no. 39 (July 1912), 36–38.

1913. Is it Art? Post-Impressionism, Futurism, Cubism. New York, International Press, 1913.

1915. Laurvik, J. N., and J. E. D. Trask (editors), Catalogue De Luxe of the Department of Fine Arts, Panama-Pacific Exposition. San Francisco, Paul Elder and Co. (c. 1915).

“Collecting Art Exhibits in War-Ridden Europe,” Review of Reviews, LI (Apr. 1915), 462–464.

“Evolution of American Painting,” Century, XC (Sept. 1915), 772–786.

1918. Overland Monthly, Mar. 1918–Sept. 1918. “Contemporary Art in California,” Art World, IX (May 1918), 13–15.

FRANK J. MATHER, JR.

1902. Atlantic Monthly, 1902–1934.

Forum, 1902–1903.

Independent, 1902–1906, 1913, 1921.

1903. World’s Work, 1903–1922.

1907. Century, 1907–1910.

Nation, 1907–1917.

1908. Scribner’s Magazine, 1908–1923.

1912. The Collectors: Being Cases Mostly under the Ninth and Tenth Commandments. New York, Henry Holt and Co., 1912.

1913. “Newest Tendencies in Art,” Independent, LXXIV (Mar. 6, 1913), 503–512.

“Old and New Art,” Nation, XCVI (Mar. 6, 1913), 240–243.

1915. Unpopular Review, 1915–1916.

1916. Art and Archaeology, 1916, 1925.

Estimates in Art. New York, Charles Scribner’s Sons, 1916.

“Forum Exhibition,” Nation, CII (Mar. 23, 1916), 340.

“Some American Realists,” Arts and Decoration, VII (Nov. 1916) 13–16.

1919. Review, 1919–1921.

Unpartisan, 1919–1920.

1920. Arts and Decoration, June 1920–Dec. 1920.

1926. Saturday Review of Literature, 1926–1940.

1927. Mather, F. J., C. R. Morey, and W. J. Henderson, The American Spirit in Art. New Haven, Conn., Yale University Press, 1927, Pageant of America, no. 7.

Modern Painting, A Study of Tendencies. New York, Henry Holt and Co. (c. 1927).

1929. International Studio, 1929–1930.

1931. Estimates in Art. New York, Henry Holt and Co. (c. 1931), series II.

Eugene Speicher. New York, Whitney Museum of American Art, 1931, American Artists Series.

HENRY McBRIDE

1913. The Sun, New York, 1913–1950.

1920. Dial, 1920–1929.

“Modern Forms: Foreword,” Dial, LXIX (July 1920), 61–62.

1924. “Walkowitz and the Parks,” International Studio, LXXX (Nov. 1924), 156–159.

1925. “Water Colours by Charles Demuth,” Creative Art, V (Sept. 1925), 633–635.

1926. “Modern Art,” Dial, LXXXI (July 1926), 86–88.

1928. “Burchfield,” Creative Art, III (Sept. 1928), xxxii.

1930. Matisse. New York, A. A. Knopf, 1930.

1931. “Peggy Bacon,” Arts, XVII (May 1931), 583–585.

1939. “Collecting from a Critical Viewpoint,” Art News, XXXVII (1939 annual), 65–66, 178–180.

1946. Florine Stettheimer. New York, Museum of Modern Art, 1946.

1950. Art News, 1950 to date.

FREDERICK W. RUCKSTUHL (also RUCKSTULL)

1916. Art World, 1916–1918.

1921. “A Protest against the Present Exhibition of Degenerate ‘Modernistic’ Works in the Metropolitan Museum of Art,” unsigned article reprinted in American Art News, XIX (Sept. 17, 1921), 4.

1924. Veritas (F. W. Ruckstuhl?), Bolshevism in Art, and its Propagandists. New York, Veritas Publishing Co., 1924.

1925. Great Works of Art and What Makes Them Great. New York, London, G. P. Putnam’s Sons, 1925; Garden City, N.Y., Garden City Publishing Co., Inc. (c. 1934).

LEO STEIN

1914. “Panic in Art,” New Republic, I (Nov. 7, 1914), 20–21.

1916. New Republic, 1916–1926.

1917. “Art and Common Sense,” New Republic, XI (May 5, 1917), 13–15.

“Introductory to the Independent Show,” New Republic, X (Apr. 7, 1917), 288–290.

1925. “Tradition and Art,” Arts, VII (May 1925), 265–269.

1926. “Art and Society,” New Republic, XLVI (Apr. 14, 1926), 223–225.

1927. The A. B. C. of Aesthetics. New York, Boni and Liveright, 1927. Dial, July 1927–Sept. 1927.

1947. Appreciation: Painting, Poetry and Prose. New York, Crown Publishers, 1947.

WILLARD H. WRIGHT

1913. Forum, 1913–1916.

“Impressionism to Synchromism,” Forum, L (Dec. 1913), 757–770.

1915. International Studio, 1915–1917.

“Modern American Painters—and Winslow Homer,” Forum, LIV (Dec. 1915), 661–672. Modern Painting. New York, John Lane Co.; London, John Lane, 1915, 277–304.

“Synchromism,” International Studio, LVI (Oct. 1915), xcvii–c.

“The Truth about Painting,” Forum, LIV (Oct. 1915), 443–454.

1916. Tridon, A., “America’s First Aesthetician,” Forum, LV (Jan. 1916), 123–128.

“Abundance of Modern Art,” Forum, LV (Mar. 1916), 318–334.

“Aesthetic Struggle in America,” Forum, LV (Feb. 1916), 201–220.

“Art, Promise, and Failure,” Forum, LV (Jan. 1916), 29–42.

“Forum Exhibition at the Anderson Galleries,” Forum, LV (Apr. 1916), 457–471.

“Modern Art: The New Spirit in America,” International Studio, LX (Dec. 1916), lxiv–lxv.

“Morituri Salutamus,” Forum, LV (May 1916), 601–613.

The Creative Will: Studies in the Philosophy and Syntax of Aesthetics. New York, John Lane Co., 1916.

1917. “Modern Art: An American Painter of Promise,” International Studio, LXI (May 1917), xcv–xcvi.

“Modern Art: From Daumier to Marsden Hartley,” International Studio, LXI (Mar. 1917), xxx–xxxii.

“Modern Art: A Full Harvest of the New Painting,” International Studio, LXI (Apr. 1917), lxii–lxiv.

“The New Painting and American Snobbery,” Arts and Decoration, VII (Jan. 1917), 129–130, 152, 154.

1921. “Modern Art and isms,” Mentor, IX (Oct. 1921), 32–33.

1923. The Future of Painting. New York, B. W. Huebsch, Inc., 1923.

B. COLLECTORS

GENERAL

1912. Roberts, W., “Evolution of American Picture Collecting,” American Art News, XI (Oct. 19, 1912), 2.

1938. Brimo, R., L’Évolution du Goût aux États-Unis-d’après l’Histoire des Collections. Paris, J. Fortune (c. 1938).

1939. Lewisohn, S. A., “Personalities Past and Present,” Art News, XXXVII (1939 annual), 69–70, 153–156.

Kelekian, D. G., “The Old and the New,” Art News, XXXVII (1939 annual), 67–68, 153–154.

McBride, H., “Collecting from a Critical Viewpoint,” Art News, XXXVII (1939 annual), 65–66, 178–180.

1948. Kimball, F., “Discovery from America,” Art News, XLVII (Apr. 1948), 29–31, 54.

Pach, W., The Art Museum in America. New York, Pantheon, 1948.

WALTER C. ARENSBERG

1906. Mr. Pennell’s Etchings of London. New York, De Vinne Press, 1906.

1914. Poems. Boston, Houghton Mifflin Co., 1914.

1916. Idols. Boston, Houghton Mifflin Co., 1916, New Poetry Series.

1920. McBride, H., “Modern Forms: Foreword,” Dial, LXIX (July 1920), 61–62.

1921. The Cryptography of Dante. New York, A. A. Knopf, 1921.

1922. The Cryptography of Shakespeare, Part I. Los Angeles, H. Bowen, 1922.

1923. The Secret Grave of Francis Bacon at Lichfield. San Francisco, J. Howell, 1923.

1924. The Burial of Francis Bacon and his Mother in the Lichfield Chapter House; An Open Communication to the Dean and Chapter of Lichfield Concerning the Rosicrucians. Pittsburgh, 1924.

1929. Francis Bacon, William Butts, and the Pagets of Beaudesert. Pittsburgh, 1929.

1930. The Magic Ring of Francis Bacon. Pittsburgh, 1930.

1938. Rourke, C., Charles Sheeler, Artist in the American Tradition. New York, Harcourt, Brace and Co. (c. 1938), 45–49.

ALBERT C. BARNES

1916. “Cubism-Requiescat in Pace,” Arts and Decoration, VI (Jan. 1916), 121–124.

1925. The Art in Painting. Merion, Pa., Barnes Foundation Press, 1925.

Barnes Foundation Journal, 1925–1926.

1931. Barnes, A. C., and V. De Mazia, The French Primitives and their Forms; From their Origin to the End of the Fifteenth Century. Merion, Pa., Barnes Foundation Press (c. 1931).

1933. Barnes, A. C., and V. De Mazia, The Art of Matisse. New York, London, Charles Scribner’s Sons, 1933.

1935. Barnes, A. C., and V. De Mazia, The Art of Renoir. New York, Minton, Balch and Co., 1935.

1939. Barnes, A. C., and V. De Mazia, The Art of Cézanne. New York, Harcourt, Brace and Co. (c. 1939).

1942. McCardle, C. W., “The Terrible Tempered Dr. Barnes,” Saturday Evening Post, CCXIV (Mar. 21, 1942), 9–11ff.; (Mar. 28, 1942), 20–21ff.; (Apr. 4, 1942), 18–19ff.; (Apr. 11, 1942), 20–21ff.

How it Happened. Merion, Pa., A. C. Barnes (c. 1942).

LILLIE P. BLISS

1931. Museum of Modern Art, New York, Memorial Exhibition; The Collection of the Late Lizzie P. Bliss. New York, Museum of Modern Art, 1931.

1934. Museum of Modern Art, New York, The Lillie P. Bliss Collection. New York, Plantin Press, 1934.

ETTA CONE

1931. Baltimore Museum of Art, Baltimore, Cone Collection of Modern Paintings and Sculpture. Baltimore, Baltimore Museum of Art (c. 1931).

1934. The Cone Collection of Baltimore, Maryland: Catalogue of Paintings, Drawings, Sculpture of the Nineteenth and Twentieth Centuries. Baltimore, Etta Cone, 1934.

1941. Baltimore Museum of Art, Baltimore, A Century of Baltimore Collecting, 1840–1940. Baltimore, Baltimore Museum of Art, 1941.

1944. Rewald, J., “The Cone Collection in Baltimore,” Art in America, XXXII (Oct. 1944), 201–204.

1949. “Cone Bequest Number,” Baltimore Museum of Art News, XII (Oct. 1949).

1950. “Cone Memorial Issue,” Baltimore Museum of Art News, XII (Jan.–Feb. 1950).

1951. Bell, C., Modern French Painting; The Cone Collection. Baltimore, The Johns Hopkins Press, 1951.

KATHERINE S. DREIER

1913. Van Gogh, E. D., Personal Recollections of Vincent Van Gogh, translated by K. S. Dreier. Boston, Houghton Mifflin Co., 1913.

1920. Five Months in the Argentine; from a Woman’s Point of View, 1918 to 1919. New York, F. F. Sherman, 1920.

1923. Western Art and the New Era. New York, Brentano’s (c. 1923).

1926. Brinton, C., Modern Art at the Sesqui-Centennial Exhibition, foreword by K. S. Dreier. New York, Société Anonyme, Inc., Museum of Modern Art, 1926.

1933. Academy of Allied Arts, Katherine S. Dreier. New York, 1933.

Shawn the Dancer. London, J. M. Dent and Sons, Ltd., 1933.

1944. Burliuk. New York, Société Anonyme, Inc. and Color and Rhyme, 1944.

Dreier, K. S., and M. Echaurren, Duchamp’s Glass: La mariée mis a nu par ses célibataires, mêmes. Société Anonyme, Inc., 1944.

1949. “‘Intrinsic Significance’ in Modern Art,” Three Lectures on Modern Art. New York, Philosophical Library, 1949.

1950. Yale University Art Gallery, New Haven, Conn., Collection of the Société Anonyme: Museum of Modern Art 1920. New Haven, Conn., Yale University Art Gallery, 1950.

ARTHUR J. EDDY

1901. The Law of Combinations Embracing Monopolies, Trusts and Combinations of Labor and Capital. Chicago, Callaghan and Co., 1901.

1902. Delight the Soul of Art. Philadelphia, J. B. Lippincott Co., 1902.

Two Thousand Miles on an Automobile. Philadelphia, London, J. B. Lippincott Co., 1902.

1903. Recollections and Impressions of James A. McNeill Whistler. Philadelphia, J. B. Lippincott Co., 1903.

1907. Tales of a Small Town; By One Who Lived There. Philadelphia, London, J. B. Lippincott Co., 1907.

1908. Ganton and Co.; A Story of Chicago Commercial and Social Life. Chicago, A. C. McClurg and Co., 1908.

1912. The New Competition. New York, D. Appleton and Co., 1912.

1914. Cubists and Post-Impressionism. Chicago, A. C. McClurg and Co., 1914.

1921. Property. Chicago, A. C. McClurg and Co., 1921.

ALBERT E. GALLATIN

1904. Whistler’s Art Dicta; And Other Essays. Boston, C. E. Goodspeed, 1904.

“Ernest Lawson,” International Studio, LIX (July 1906), xiii–xv.

G(allatin), A. E., “Everett Shinn’s Decorative Paintings,” Scrip, I (Aug. 1906), 358–360.

“Studio Talk: Everett L. Shinn,” International Studio, XXX (Nov. 1906), 83–87.

1907. Whistler: Notes and Footnotes and Other Memoranda. New York, Collector and Art Critic Co., 1907.

1910. “Art of William J. Glackens,” International Studio, XL (May 1910), lxviii–lxxvi.

1912. Whistler’s Pastels and Other Modern Profiles. New York, J. Lane Co., 1912.

1913. The Portraits and Caricatures of James McNeill Whistler: An Iconography. London, J. Lane Co., 1913.

“Whistler: The Self-Portraits in Oils,” Art in America, I (July 1913), 151–158.

1916. Certain Contemporaries. New York, J. Lane Co., 1916.

“Etchings, Lithographs and Drawings of John Sloan,” International Studio, LVIII (Mar. 1916), xxv–xxviii.

Notes on Some Rare Portraits by Whistler. New York, J. Lane Co., 1916.

1918. Portraits of Whistler: A Critical Study and an Iconography. New York, J. Lane Co., 1918.

1922. American Water-Colorists. New York, E. P. Dutton and Co., 1922.

1925. John Sloan. New York, E. P. Dutton and Co., 1925.

1927. Charles Demuth. New York, William Edwin Rudge, 1927.

New York University, Museum of Living Art, Catalogue of Opening Exhibition. New York, 1927.

1940. New York University, Museum of Living Art, Museum of Living Art, A. E. Gallatin Collection. New York, New York University (c. 1940).

FERDINAND HOWALD

1925. Watson, F., “American Collections: no. 1, the Ferdinand Howald Collection,” Arts, VIII (Aug. 1925), 65–95.

1931. Bolander, K. S., “Ferdinand Howald and his Collection,” Bulletin of the Columbus Gallery of Fine Arts, I (Jan. 1931), 7–12.

1934. “Ferdinand Howald,” Bulletin of the Columbus Gallery of Fine Arts, IV (May 1934).

DUNCAN PHILLIPS

1912. “Revolutions and Reactions in Painting,” International Studio, LI (Dec. 1913), cxxiii–cxxix.

1913. The Enchantment of Art; As Part of the Enchantment of Experience. New York, J. Lane Co. (c. 1914).

1916. “The American Painter, Arthur B. Davies,” Art and Archaeology, IV (Sept. 1916), 169–177.

“Fallacies of the New Dogmatism in Art,” American Magazine of Art, IX (Dec. 1917), 43–48; (Jan. 1918), 101–106.

“Jerome Myers,” American Magazine of Art, VIII (Oct. 1917), 481–485.

“What Instruction in Art Should the College A.B. Course Offer the Future Writer on Art?” American Magazine of Art, VIII (Mar. 1917), 177–182.

1924. Phillips, D., and others, Arthur B. Davies, Cambridge, Mass., The Riverside Press (c. 1924), Phillips Memorial Art Gallery Publications, no. 3.

“Maurice Prendergast,” The Arts, V (Mar. 1924), 125–131.

Price, F. N., “Phillips Memorial Gallery,” International Studio, LXXX (Oct. 1924), 8–18.

1926. A Collection in the Making. New York, E. Weyhe; Washington, D.C., Phillips Memorial Art Gallery (c. 1926), Phillips Publications, no. 5.

1927. Bulletin of the Phillips Collection, 1927–1932 (1929–1930, Art and Understanding).

The Enchantment of Art; As Part of the Enchantment of Experience; Fifteen Years Later. Washington, D.C., Phillips Publications (c. 1927).

1928. “Contemporary American Painting,” Bulletin of the Phillips Collection (Feb.–May 1928), 37–51.

1931. The Artist Sees Differently. New York, E. Weyhe; Washington, D.C., Phillips Memorial Art Gallery (c. 1931).

1932. “Original American Painting Today,” Formes, XXI (Jan. 1932), 197–201.

1944. “Marsden Hartley,” Magazine of Art, XXXVII (Mar. 1944), 83–87.

1947. “Arthur G. Dove, 1880–1946,” Magazine of Art, XL (May 1947), 193–197.

1952. Phillips Collection, Washington, D.C., The Phillips Collection: A Museum of Modern Art and its Sources: Catalogue. Washington, 1952.

JOHN QUINN

1913. A Plea for Untaxed Contemporary Art: Memorandum in Regard to the Art Provisions of the Impending Tariff Bill. New York, Association of American Painters and Sculptors, Inc., 1913.

“Modern Art from the Layman’s Point of View,” Arts and Decoration, III (Mar. 1913), 155–158, 176.

1924. Walsh, J. J., “John Quinn: Lawyer, Booklover, Art Amateur,” Catholic World, CXX (Nov. 1924), 176–184.

1926. John Quinn, 1870–1925; Collection of Paintings, Water Colors, Drawings, and Sculpture, foreword by F. Watson. Huntington, N.Y., Pidgeon Hill Press (c. 1926).

Memorial Exhibition of Representative Works Selected from the John Quinn Collection, Jan. 7–30, 1926. New York, Art Center, 1926.

Watson, F., “The John Quinn Collection,” Arts, IX (Jan. 1926), 5–22; (Feb. 1926), 77–92.

1927. “Sale of the Quinn Collection is Completed,” Art News, XXV (Feb. 19, 1927), 1, 6–8, 10–11.

C. ARTISTS

GEORGE AULT

1949. A. R., “Ault of Woodstock,” Art News, XLVIII (Sept. 1949), 46.

Lowengrund, M., “George Ault—1891–1948,” Art Digest, XXIII (Sept. 15, 1949), 20.

PEGGY BACON

1922. Murrell, W., Peggy Bacon. Woodstock, N.Y., W. M. Fisher, 1922.

1923. Brook, A., “Peggy Bacon,” Arts, III (Jan. 1923), 68–69.

1925. Kirk, E. B., “Peggy Bacon,” New Republic, XLIV (Aug. 26, 1925), 16–17.

Bacon, P., Funerealities. New York, Aldergate Press, 1925.

1928. Demuth, C., Peggy Bacon. New York, Intimate Gallery, 1928.

1931. Cary, E. L., “Peggy Bacon and Wanda Gag, Artists,” Prints, I (Mar. 1931), 13–24.

McBride, H., “Peggy Bacon,” Arts, XVII (May 1931), 583–585.

Rosenfeld, P., “Caricature and Peggy Bacon,” Nation, CXXXII (June 3, 1931), 617–618.

Sweeney, J. J., “Caricatures in Pastel,” Creative Art, VIII (June 1931), 443–445.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 1, 12–15, no. 12, ii–iii; III, no. 11–12, vi.

GEORGE W. BELLOWS

1912. McIntyre, R. G., “George Bellows—An Appreciation,” Art and Progress, III (Aug. 1912), 679–682.

1914. Buchanan, C. L., “George Bellows: Painter of Democracy,” Arts and Decoration, IV (Aug. 1914), 370–373.

1917. Bellows, G., “The Big Idea: George Bellows Talks about Patriotism for Beauty,” Touchstone, I (July 1917), 269–275.

1919. “Bellows in Chicago,” Arts and Decoration, XII (Nov. 1919), 10.

1920. Rihani, A., “Luks and Bellows: American Painting, Part III,” International Studio, LXXI (Aug. 1920), xxi–xxvii.

1921. Ries, E. H., “The Relation of Art to Everyday Things,” Arts and Decoration, XV (July 1921), 158–159, 202.

1924. Frohman, L. H., “Bellows as an Illustrator,” International Studio, LXXVIII (Feb. 1924), 421–425.

1925. Flint, R., “Bellows and His Art,” International Studio, LXXXI (May 1925), 79–88.

Metropolitan Museum of Art, New York, Memorial Exhibition of the Work of George Bellows. New York, Metropolitan Museum of Art, 1925.

Roberts, M. F., “George Bellows, An Appreciation,” Arts and Decoration, XXIII (Oct. 1925), 38–40, 76.

Watson, F., “George Bellows,” Arts, VII (Jan. 1925), 4.

1927. Bellows, E. S., and T. Beer, George W. Bellows: His Lithographs. New York, London, A. A. Knopf, 1927; revised edition, 1928.

1929. Bellows, E. S., The Paintings of George Bellows. New York, A. A. Knopf, 1929.

Brown, R. W., Lonely Americans. New York, Coward-McCann, Inc., 1929.

E(ggers), G. W., “George Bellows’ Painting ‘The White Horse,’” Bulletin of the Worcester Art Museum, XX (Oct. 1929), 72–79.

Gutman, W., “George Bellows,” Art in America, XVII (Feb. 1929), 103–111.

1931. Bolander, K. S., “The George Bellows Exhibition,” Bulletin of the Columbus Gallery of Fine Arts, I (Jan. 1931), 15.

Eggers, G. W., George Bellows, New York, Whitney Museum of American Art, 1931, American Artist Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 6, 81–94, no. 12, i; II, no. 12, iii; III, no. 11–12, v.

1940. Wheelock, W., “George Bellows: Most American of Our Painters,” American Artist, IV (Feb. 1940), 5–9.

1942. Boswell, P., Jr., George Bellows. New York, Crown Publishers (c. 1942).

1946. Art Institute of Chicago, Chicago, George Bellows: Paintings, Drawings and Prints, Jan. 1 through Mar. 10. Chicago, Art Institute of Chicago, 1946.

Rich, D. C., “Bellows Revalued,” Magazine of Art, XXXIX (Apr. 1946), 139–142.

Sweet, F. A., “23 Years after Dempsey-Firpo,” Art News, XLIV (Jan. 15, 1946), 12–13, 27–28.

1952. Paris, W. F., “George Bellows: Painter of the American Scene,” The Hall of American Artists, VII. New York, New York University, 1952, 87–98.

THOMAS H. BENTON

1917. Wright, W. H., “Modern Art; An American Painter of Promise,” International Studio, LXI (May 1917), xcv–xcvi.

1924. Benton, T. H., “Form and the Subject,” Arts, V (June 1924), 303–308.

1925. Craven, T., “An American Painter,” Nation, CXX (Jan. 7, 1925), 22.

1926. Benton, T. H., “Mechanics of Form Organization in Painting,” Arts, X (Nov. 1926), 285–289; (Dec. 1926), 340–342; XI (Jan. 1927), 43–44; (Feb. 1927), 95–96; (Mar. 1927), 145–148.

1928. Benton, T. H., “My American Epic in Paint,” Creative Art, III (Dec. 1928), xxxi–xxxvi.

1931. Glassgold, C., “Thomas Benton’s Murals at the New School for Social Research,” Atelier, I (Apr. 1931), 285–287.

Goodrich, L., “The Murals of the New School,” Arts, XVII (Mar. 1931), 399–403.

1932. Benton, T. H., The Arts of Life in America; A Series of Murals by Thomas Benton. New York, Whitney Museum of American Art (c. 1932).

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 7, 97–100, no. 12, i; in, no. 11–12, v.

Rosenfeld, P., “Ex Reading Room,” New Republic, LXXIV (Apr. 12, 1933) 245–246.

1934. Lieban, H., “Thomas Benton, American Mural Painter,” Design, XXXVI (Dec. 1934), 26, 31–35.

1937. Benton, T. H., Tom Benton’s America; An Artist in America. New York, R. M. McBride and Co. (c. 1937).

1939. Craven, T., Thomas Hart Benton: A Descriptive Catalogue of the Works of Thomas Hart Benton. New York, Associated American Artists, 1939.

1945. Thomas Hart Benton. New York, American Artists Group, 1945.

1946. Benton, T. H., Introduction to The Rape of La Belle by Harry Hahn. Kansas City, Frank Glenn Publishing Co., 1946, xvii–xxvi.

Janson, H. W., “Benton and Wood, Champions of Regionalism,” Magazine of Art, XXXIX (May 1946), 183–186, 198–200.

OSCAR BLUEMNER

1926. McBride, H., “Modern Art,” Dial, LXXXI (July 1926), 86–88.

1934. Beer, R., “As They Are,” Art News, XXXII (Feb. 24, 1934), 11.

1935. “Abstract,” Art Digest, IX (Mar. 15, 1935), 9.

1938. “Obituary,” Art Digest, XII (Jan. 15, 1938), 19.

1939. “Exhibition, Co-operative Gallery, Newark,” Art Digest, XIII (Feb. 1, 1939), 14.

“Newark: Bluemner and Weingaertner at the Co-operative Gallery,” Art News, XXXVII (Feb. 4, 1939), 18.

PETER BLUME

1932. Godsoe, R. U., “Peter Blume, A New Vision,” Creative Art, IX (Sept. 1932), 10–11.

Soupault, P., “Un Peintre d’Amerique, Peter Blume,” La Renaissance, XV (Oct. 1932), 157–160.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 8, 285–286, no. 11–12, i.

1934. Blume, P., “After Superrealism,” New Republic, LXXX (Oct. 3, 1934), 338–340.

1943. Rothenstein, J., “State Patronage of Wall Painting in America,” The Studio, CXXVI (July 1943), 1–10.

Soby, J. T., “History of a Picture: South of Scranton,” Saturday Review of Literature, XXX (Apr. 26, 1943), 30–32.

Soby, J. T., “Peter Blume’s Eternal City,” Museum of Modern Art Bulletin, X (Apr. 1943), 1–6.

1948. Soby, J. T., Contemporary Painters. New York, Museum of Modern Art, 1948, 51–55.

1949. Hunningher, B., “De amerikaanse schilder Peter Blume,” Kronick van Kunst en Kultur, X (May 1949), 172–174.

GUY PÉNE DU BOIS

1913. McCormick, W. B., “Guy Pène du Bois—Social Historian: The Similarity of the Spirit Animating the Paintings of du Bois and Daumier,” Arts and Decoration, IV (Nov. 1913), 13–16.

1918. Gutman, W., “Guy Pène du Bois,” Creative Art, III (Sept. 1918), 203–205.

1922. “Guy Pène du Bois by Guy Pène du Bois,” International Studio, LXXV (June 1922), 242–246.

1925. Ely, C. B., The Modern Tendency in American Painting. New York, F. F. Sherman, 1925, 72–77.

1929. Gutman, W., “Guy Pène du Bois,” Art in America, XVIII (Dec. 1929), 25–28.

1931. Cortissoz, R., Guy Pène du Bois. New York, Whitney Museum of American Art, 1931, American Artists Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 2, 28–32, no. 12, ii; III, no. 11–12, v.

1935. Watson, F., “Guy Pène du Bois,” American Magazine of Art, XXVIII (Feb. 1935), 116–117.

1939. O’Connor, J., Jr., “Thirty Years of Guy Pène du Bois,” Carnegie Magazine, XII (Jan. 1939), 237–239.

1940. du Bois, G. P., Artists Say the Silliest Things. New York, American Artists Group, Inc., Duell, Sloan and Pearce, Inc. (c. 1940).

Medford, R. C., Guy Pène du Bois. Hagerstown, Md., Washington County Museum of Fine Arts, 1940.

ALEXANDER BROOK

1922. Murrell, W., Alexander Brook. Woodstock, N.Y., W. M. Fisher, 1922, Younger Artists Series, no. 2.

1923. Brook, A., articles in Arts, 1923–1924.

1929. Brook, A., “Alexander Brook, Painter,” Creative Art, V (Oct. 1929), 713–718.

1930. Watson, F., Alexander Brook. New York, Art Publishing Corp., 1930, The Art Portfolio Series.

1931. Jewell, E. A., Alexander Brook. New York, Whitney Museum of American Art, 1931, American Artists Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 5, 77–80, no. 12, ii; II, no. 12, iv; III, no. 11–12, vii.

1934. Brace, E., “Alexander Brook,” American Magazine of Art, XXVII (Oct. 1934), 520–529.

“Paintings by Alexander Brook,” Carnegie Magazine, VIII (Apr. 1934), 16–18.

1945. Alexander Brook. New York, American Artists Group, 1945.

CHARLES BURCHFIELD

1922. “‘Discovers’ an Ohio Artist in London,” American Art News, XXI (Oct. 28, 1922), 2.

1925. McCormick, W. B., “A Small Town in Paint,” International Studio, LXXX (Mar. 1925), 466–470.

1928. Burchfield, C., “On the Middle Border,” Creative Art, III (Sept. 1928), xxv–xxxii.

Hopper, E., “Charles Burchfield, American,” Arts, XIV (July 1928), 5–12.

McBride, H., “Burchfield,” Creative Art, III (Sept. 1928), xxxii.

1930. Museum of Modern Art, New York, Charles Burchfield: Early Water Colors (1916–1918). New York, Museum of Modern Art, 1930.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 3, 37–40, no. 12, i–ii; III, no. 11–12, v.

1935. Henry, H. M. L., “Charles Burchfield, American,” The Proceedings of the Cheraka Club, Columbia University, VIII (1935), 135–139

1942. “Charles Burchfield,” American Artist, VI (May 1942), 3–11.

Watson, E. W., Color and Method in Painting as Seen in the Work of 12 American Painters. New York, Watson-Guptill Publications, Inc., 1942, 1–11.

1944. Buffalo Fine Arts Academy, Buffalo, Charles Burchfield: A Retrospective Exhibition of Water Colors and Oils, 1916–1943, Apr. 13–May 15, 1944. Buffalo, Buffalo Fine Arts Academy, Albright Art Gallery, 1944.

“Burchfield’s Buffalo,” Art News, XLIII (May 1–14, 1944), 12–13.

Richardson, E. P., “Charles Burchfield,” Magazine of Art, XXXVII (Oct. 1944), 208–212.

1945. Charles Burchfield. New York, American Artists Group, 1945.

Goodrich, L., American Watercolor and Winslow Homer. Minneapolis, The Walker Art Center (c. 1945), 79–86.

1946. Rowland, B., Jr., “Burchfield’s Seasons,” Bulletin of the Fogg Museum of Art, X (Nov. 1946), 155–161.

1948. Soby, J. T., Contemporary Painters. New York, Museum of Modern Art, 1948, 21–27.

GLENN O. COLEMAN

1909. “Undercurrents of New York Life Sympathetically Depicted in the Drawings of Glenn O. Coleman,” Craftsman, XVII (Nov. 1909), 142–149.

1910. “An Artist of the New York Underworld,” Current Literature, XLVIII (Mar. 1910), 326–330.

1923. Davis, S., “A Painter of City Streets,” Shadowland, VIII (Aug. 1923), 11, 75.

1928. Goodrich, L., “Glenn Coleman’s Lithographs of New York,” Arts, XIV (Nov. 1928), 261–265.

Mannes, M., “Glenn Coleman,” Creative Art, II (Mar. 1928), xxxvi–xli.

1930. du Bois, G. P., “Glenn O. Coleman,” Arts, XVII (Dec. 1930), 155–160.

1932. Glassgold, C. A., Glenn O. Coleman. New York, Whitney Museum of American Art, 1932, American Artists Series.

Whitney Museum of American Art, New York, Glenn O. Coleman Memorial Exhibition. New York, Whitney Museum of American Art, 1932.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 3, 205–208, no. 11–12, i.

JOHN COVERT

1952. Hamilton, G. H., “John Covert, Early American Modern,” College Art Journal, XII (Fall 1952), 37–42.

ANDREW DASBURG

1923. Dasburg, A., “Cubism—Its Rise and Influence,” Arts, IV (Nov. 1923), 279–284.

1924. Brook, A., “Andrew Dasburg,” Arts, VI (July 1924), 19–26.

1931. “Andrew Dasburg,” Art News, XXIX (Mar. 28, 1931), 13.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 8, 289–290, no. 11–12, ii.

1936. Dasburg, A., “Coming of Age,” Art Digest, X (Apr. 1, 1936), 16–17, 21.

ARTHUR B. DAVIES

1913. Huneker, J. G., The Pathos of Distance. New York, Charles Scribner’s Sons, 1913, 103–124.

1916. Phillips, D., “The American Painter, Arthur B. Davies,” Art and Archaeology, IV (Sept. 1916), 169–177.

1918. Loan Exhibition of Paintings, Watercolors, Drawings, Etchings, and Sculpture by Arthur B. Davies. New York, Macbeth Galleries, 1918.

Sherman, F. F., “The Early and the Later Work of Arthur B. Davies,” Art in America, VI (Oct. 1918), 295–299.

1919. Sherman, F. F., American Painters of Yesterday and Today. New York, privately printed, 1919, 47–51.

1920. Hartley, M., “The Poetry of Arthur B. Davies’ Art,” Touchstone, VI (Feb. 1920), 277–284.

1921. Hind, C. L., Art and I. New York, John Lane Co.; London, John Lane, The Bodley Head, 1921, 126–130.

1922. Price, F. N., “Davies the Absolute,” International Studio, LXXV (June 1922), 213–219.

1923. Burroughs, A., The Art of Arthur B. Davies. New York, E. Weyhe, 1923.

1924. Phillips, D., D. Williams, R. Cortissoz, F. J. Mather, Jr., E. W. Root, G. A. Eisen, Arthur B. Davies; Essays on the Man and His Art. Cambridge, Mass., Riverside Press (c. 1924), Phillips Publications, no. 3.

1928. Eisen, G. A., “Arthur B. Davies (Obituary),” Art News, XXVII (Dec. 22, 1928), 12.

1929. Burroughs, B., “Arthur B. Davies,” Arts, XV (Feb. 1929), 79–93.

Clark, E., “Arthur B. Davies,” Art in America, XVII (Aug. 1929), 233–242.

E(ggers), G. W., “A Painting by Davies,” Bulletin of Worcester Art Museum, XIX (Jan. 1929), 78–85.

Price, F. N., The Etchings and Lithographs of Arthur B. Davies. New York, M. Kennerley. London, M. & M. Kennerley, Jr., 1929.

1930. Metropolitan Museum of Art, New York, Catalogue of a Memorial Exhibition of the Works of Arthur B. Davies. New York, Metropolitan Museum of Art, 1930.

1931. Cortissoz, R., Arthur B. Davies. New York, Whitney Museum of American Art, 1931, American Artists Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, IV, no. 5, 385–400.

1952. Watson, F., “Arthur Bowen Davies,” Magazine of Art, XLV (Dec. 1952), 362–368.

STUART DAVIS

1912. “Shadow,” Harper’s Bazaar, XLVI (May 1912), 226–228.

1931. “Self-interview,” Creative Art, IX (Sept. 1931), 208–211.

“Stuart Davis, A. Gorky,” Creative Art, IX (Sept. 1931), 212–217.

1932. “Stuart Davis, the Difficult,” Art Digest, VI (Apr. 1, 1932), 2.

1935. “Artist Today,” American Magazine of Art, XXVIII (Aug. 1935), 476–478.

1945. Cahill, H., “Stuart Davis: In Retrospect 1945–1910,” Art News, XLIV (Oct. 15, 1945), 23–25, 32.

Stuart Davis. New York, American Artists Group, 1945.

Sweeney, J. J., Stuart Davis. New York, Museum of Modern Art, 1945.

ADOLF DEHN

1923. Burroughs, A., “Young America—Adolf Dehn,” Arts, III (Apr. 1923), 270–271.

1931. du Bois, G. P., “Adolf Dehn,” Creative Art, IX (July 1931), 32–36.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 7, 269–270, no. 11–12, i–ii.

1934. “Biographical Note,” London Studio, VII (Feb. 1934), 59.

1936. Brace, E., “Adolf Dehn,” American Magazine of Art, XXIX (Feb. 1936), 92–99.

Loran, E., “Artists from Minnesota,” American Magazine of Art, XXIX (Jan, 1936), 25–27.

1945. Goodrich, L., American Watercolor and Winslow Homer. Minneapolis, The Walker Art Center (c. 1945), 87–93.

CHARLES DEMUTH

1923. Watson, F., “Charles Demuth,” Arts, III (Jan. 1923), 73–80.

1924. Kenton, E., “Henry James to the Ruminant Reader: The Turn of the Screw with Drawings by Charles Demuth,” Arts, VI (Nov. 1924), 245–255.

1927. Gallatin, A. E., Charles Demuth. New York, William Edwin Rudge, 1927.

1929. Demuth, C., “Across a Greco is Written,” Creative Art, V (Sept. 1929), 629–634.

McBride, H., “Water Colours by Charles Demuth,” Creative Art, V (Sept. 1929), 633–635.

1931. Murrell, W., Charles Demuth. New York, Whitney Museum of American Art, 1931, American Artists Series.

Rosenfeld, P., “Charles Demuth,” Nation, CXXXIII (Oct. 7, 1931), 371–373.

Wellman, R., “Pen Portraits: Charles Demuth: Artist,” Creative Art, IX (Dec. 1931), 483–484.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 10, 147–150, no. 12, i; III, no. 11–12, iii.

1936. Lane, J. W., “Charles Demuth,” Parnassus, VIII (Mar. 1936), 8–9.

1937. Whitney Museum of American Art, New York, Charles Demuth Memorial Exhibition, Dec. 15, 1937 to Jan. 16, 1938. New York, Whitney Museum of American Art (c. 1937).

1942. Lee S. S., “The Illustrative and Landscape Water Colors of Charles Demuth,” Art Quarterly, V (Spring 1942), 158–175.

1948. Malone, Mrs. J. E., “Charles Demuth,” Papers of the Lancaster County Historical Society, LII (1948), 1–18.

Soby, J. T., Contemporary Painters. New York, Museum of Modern Art, 1948, 9–15.

1950. Faison, S. L., Jr., “Fact and Art in Charles Demuth,” Magazine of Art, XLIII (Apr. 1950), 123–128.

McBride, H., “Demuth: phantoms from literature,” Art News, XLIX (Mar. 1950), 18–21.

Ritchie, A. C., Charles Demuth. New York, Museum of Modern Art, 1950.

PRESTON DICKINSON

1924. Watson, F., “Preston Dickinson,” Arts, V (May 1924), 283–288.

1930. “Preston Dickinson,” Art News, XXIX (Dec. 20, 1930), 16.

1931. Kootz, S., “Preston Dickinson,” Creative Art, VIII (May 1931), 339–340.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 4, 217–218, no. 11–12, i.

1938. “Reviving a Memory,” Art Digest, XII (Apr. 15, 1938), 20.

ARTHUR G. DOVE

1924. Rosenfeld, P., Port of New York. New York, Harcourt, Brace and Co. (c. 1924), 167–174.

1926. Frank, W., “Art of Arthur Dove,” New Republic, XLV (Jan. 27, 1926), 269–270.

1932. Phillips, D., “Original American Painting of Today,” Formes, XXI (Jan. 1932), 198.

Rosenfeld, P., “The World of Arthur G. Dove,” Creative Art, X (June 1932), 427–430.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 4, 219–220, no. 11–12, i.

1940. Rosenfeld, P., “Dove and the Independents,” Nation, CL (Apr. 27, 1940), 549.

1947. Phillips, D., “Arthur G. Dove, 1880–1946,” Magazine of Art, XL (May 1947), 193–197.

MARCEL DUCHAMP

1915. “A Complete Reversal of Art Opinions by Marcel Duchamp, Iconoclast,” Arts and Decoration, V (Sept. 1915), 427–428, 442.

“Iconoclastic Opinions of M. Marcel Duchamp Concerning Art and America,” Current Opinion, LIX (Nov. 1915), 346–347.

1920. McBride, H., “Modern Forms: Foreword,” Dial, LXIX (July 1920), 61–62.

1934. La Mariée Mise à Nu par Ses Célibataires Même, Paris, Édition Rrose Sélavy (c. 1934).

“Notice Historique sur Dada et le Surréalisme,” L’Amour de l’Art, XV (1934), 343.

1937. Kiesler, F. J., “Design-Correlation,” Architectural Record, LXXXI (May 1937), 53–60.

1938. “Marcel Duchamp’s Frankenstein,” Art Digest, XII (Jan. 1, 1938), 22.

1938. Breton, A., “Some Passages from the Lighthouse of the Bride,” London Bulletin, no. 3–5 (July 1938), 17–19.

1944. Dreier, K. S., and M. Echaurren, Duchamp’s Glass: La mariée mise à nu par ses célibataires, même, Société Anonyme, Inc., 1944.

1945. Ford, C. H., and others, (Marcel Duchamp Number), View, V, 1 (1945), 1–54.

Hamilton, G. H., “Duchamp, Duchamp-Villon, Villon,” Bulletin of the Associates in Fine Arts at Yale University, XIII (Mar. 1945), 1–7.

1949. Kuh, K., “Four Versions of ‘Nude Descending a Staircase,’” Magazine of Art, XLII (Nov. 1949), 263–265.

WILLIAM J. GLACKENS

1910. Gallatin, A. E., “The Art of William J. Glackens,” International Studio, XL (May 1910), lxviii–lxxi.

1914. du Bois, G. P., “William Glackens, Normal Man; The Best Eyes in American Art,” Arts and Decoration, IV (Sept. 1914), 403–406.

1916. Gallatin, A. E., Certain Contemporaries. New York, J. Lane Co., 1916, 3–10.

1920. Watson, F., “William Glackens: An Artist Who Seizes the Colorful and Interesting Aspects of Life,” Arts and Decoration, XIV (Dec. 1920), 103, 152.

1923. Watson, F., “William Glackens,” Arts, III (Apr. 1923), 246–261.

Watson, F., William Glackens. New York, Duffield and Co., 1923, The Arts Monographs.

1931. du Bois, G. P., William Glackens. New York, Whitney Museum of American Art, 1931, American Artist Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 4, 61–64, no. 12, ii; in, no. 11–12, iv.

1938. Whitney Museum of American Art, New York, William Glackens Memorial Exhibition. New York, Whitney Museum of American Art, 1938.

1939. Carnegie Institute, Department of Fine Arts, Pittsburgh, Memorial Exhibition of Works by William J. Glackens, Feb. 1–Mar. 15, 1939. Pittsburgh, Carnegie Institute, 1939.

1945. Shinn, E., “William Glackens as an Illustrator,” American Artist, IX (Nov. 1945), 22–27, 37.

WILLIAM GROPPER

1923. De Fornaro, C., “Groping of Gropper,” Arts and Decoration, XVIII (Mar. 1923), 13–15.

1932. Lozowick, L., “Art,” Nation, CXXXIV (Feb. 10, 1932), 176–177.

1936. Benson, E. M., “Two Proletarian Artists: Joe Jones and Gropper,” American Magazine of Art, XXIX (Mar. 1936), 188–189.

“Fellow Citizens; Four Drawings of Contemporaries,” Forum, XCV (May 1936), 288–289.

“Portrait,” Newsweek, VII (Feb. 22, 1936), 288–289.

1937. Brace, E., “William Gropper,” Magazine of Art, XXX (Aug. 1937), 467–471.

1940. Pearson, R. M., “His First Twenty Years as Cartoonist and Painter,” Forum, CIII (May 1940), 288.

“Twenty Years of Gropper,” Time, XXXV (Feb. 19, 1940), 41.

SAMUEL HALPERT

1922. Comstock, H., “S. Halpert, Post-Impressionist,” International Studio, LXXV (Apr. 1922), cxlv–cl.

1930. “Obituary,” Art News, XXVIII (Apr. 12, 1930), 14.

Obituary,” Art Digest, IV (Apr. 15, 1930), 7.

1935. “Pioneer Modernist,” Art Digest, IX (Jan. 1, 1935), 16.

Watson, F., “Armory Show,” American Magazine of Art, XXVIII (Feb. 1935), 113.

MARSDEN HARTLEY

1921. Hartley, M., Adventures in the Arts. New York, Boni and Liveright (c. 1921).

Seligmann, H. J., “The Elegance of Marsden Hartley, Craftsman,” International Studio, LXXIV (Oct. 1921), li–liii.

1924. Rosenfeld, P., Port of New York. New York, Harcourt, Brace and Co. (c. 1924), 83–101.

1925. Rosenfeld, P., Men Seen; Twenty-four Modern Authors. New York, L. MacVeagh, Dial Press, 1925, 177–188.

1928. Hartley, M., “Art and the Personal Life,” Creative Art, II (June 1928), xxxi–xxxiv.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 4, 221–223, no. 11–12, i.

1940. Hartley, M., Androscoggin. Portland, Me., Falmouth Publishing House, 1940.

1941. Hartley, M., Sea Burial. Portland, Me., Leon Tebbetts Editions, 1941.

1944. Museum of Modern Art, New York, Lyonel Feininger, Marsden Hartley. New York, Museum of Modern Art, 1944, 53–96.

Phillips, D., “Marsden Hartley,” Magazine of Art, XXXVII (Mar. 1944), 83–87.

1945. Wells, H. W., “The Pictures and Poems of Marsden Hartley,” Magazine of Art, XXXVIII (Jan. 1945), 26–30, 32.

Hartley, M., Selected Poems, New York, Viking Press, 1945.

1948. Gallup, D., “The Weaving of a Pattern: Marsden Hartley and Gertrude Stein,” Magazine of Art, XLI (Nov. 1948), 256–261.

1952. McCausland, E., Marsden Hartley. Minneapolis, University of Minnesota Press, 1952.

ROBERT HENRI

1909. Henri, R., “Progress in Our National Art Must Spring from the Development of Individuality of Ideas and Freedom of Expression: A Suggestion for a New Art School,” Craftsman, XV (Jan. 1909), 386–401.

1910. Henri, R., “The New York Exhibition of Independent Artists,” Craftsman, XVIII (May 1910), 160–172.

1912. du Bois, G. P., “Living American Painters: 13, Robert Henri, Realist and Idealist,” Arts and Decoration, II (Apr. 1912), 213–215, 230.

1914. Henri, R., “The Ideal Exhibition Scheme: The Official One’s Failure,” Arts and Decoration, V (Dec. 1914), 49–52, 76.

1915. Henri, R., “My People,” Craftsman, XXVII (Feb. 1915), 459–469.

“Who’s Who in American Art—Robert Henri,” Arts and Decoration, VI (Nov. 1915), 33.

1921. Yarrow, W., and L. Bouche (editors), Robert Henri: His Life and Works. New York, Boni and Liveright, 1921.

1922. Poussette-Dart, N., Robert Henri. New York, F. A. Stokes Co. (c. 1922).

1923. Henri, R., The Art Spirit, compiled by M. Ryerson. Philadelphia, London, J. B. Lippincott Co., 1923.

1931. Metropolitan Museum of Art, New York, Catalogue of a Memorial Exhibition of the Work of Robert Henri. New York, Metropolitan Museum of Art, 1931.

Read, H. A., Robert Henri. New York, Whitney Museum of American Art, 1931, American Artists Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 4, 49–60, no. 12, i; III, no. 11–12, iii.

1949. Paris, W. F., “Robert Henri: Pioneer of Modernism in American Art,” The Hall of American Artists, iv. New York, New York University, 1949, n.p.

EUGENE HIGGINS

1907. Spargo, J., “Eugene Higgins: An American Artist Whose Work upon Canvas Depicts the Derelicts of Civilization as Do the Tales of Maxim Gorky in Literature,” Craftsman, XII (May 1907), 135–145.

1915. De Kay, C., “Eugene Higgins; His Etchings,” Arts and Decoration, V (Feb. 1915), 133–135, 163–165.

1919. Roberts, M. F., “Eugene Higgins; A Painter of the Shadow-World,” Touchstone, V (Aug. 1919), 360–369.

1930. Narodny, I., American Artists. New York, Roerich Museum Press, 1930, 50–60.

EDWARD HOPPER

1924. Barker, V., “The Etchings of Edward Hopper,” Arts, V (June 1924), 323–325.

1927. Goodrich, L., “The Paintings of Edward Hopper,” Arts, XI (Apr. 1927), 168–178.

1931. du Bois, G. P., “The American Paintings of Edward Hopper,” Creative Art, VIII (Mar. 1931), 187, 191.

du Bois, G. P., Edward Hopper. New York, Whitney Museum of American Art, 1931, American Artists Series.

Watson, F., Edward Hopper. New York, The Arts Publishing Co. (c. 1931), The Arts Portfolio Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 10, 157–160, no. 12, i–ii; II, no. 12, iii; in, no. 11–12, ii.

Museum of Modern Art, New York, Edward Hopper Retrospective Exhibition. New York, Museum of Modern Art, 1933.

1945. Edward Hopper. New York, American Artists Group, 1945.

Goodrich, L., American Watercolor and Winslow Homer. Minneapolis, The Walker Art Center (c. 1945), 69–78.

1948. Soby, J. T., Contemporary Painters. New York, Museum of Modern Art, 1948, 33–39.

Tyler, P., “Edward Hopper: Alienation by Light,” Magazine of Art, XLI (Dec. 1948), 290–295.

1949. Goodrich, L., Edward Hopper. Harmondsworth, Middlesex, Penguin Books, 1949.

1950. Burchfield, C., “Hopper: Career of Silent Poetry: Retrospective at Whitney Museum,” Art News, XLIX (Mar. 1950), 13–17, 62–64.

Whitney Museum of American Art, New York, Edward Hopper Retrospective Exhibition, Feb. 11–Mar. 26, 1950. New York, Whitney Museum of American Art, 1950.

MORRIS KANTOR

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 3, 46–48, no. 12, i; II, no. 12, v; III, no. 11–12, vii.

1935. E. L., “Morris Kantor,” Art News, XXXIII (Jan. 26, 1935), 9.

Watson, F., “Morris Kantor,” American Magazine of Art, XXVIII (Feb. 1935), 113.

1940. Kantor, M., “Ends and Means; Autobiography,” Magazine of Art, XXXIII (Mar. 1940), 138–147.

1946. Shepherd, R., “M. Kantor 1946,” Art News, XLV (July 1946), 38–41, 57–58.

BERNARD KARFIOL

1923. Lockett, E., Exhibition of Paintings and Drawings by Bernard Karfiol. New York, Brummer Gallery, 1923.

1924. Slusser, J. P., “Bernard Karfiol,” Arts, VI (Aug. 1924), 76–82.

1925. Soyer, M., “Me Description: sbar

trovič, Zuloaga, Karfiol,” Guardian, I (Mar. 1925), 217–218.

1930. Slusser, J. P., Bernard Karfiol. New York, Arts Publishing Corp., 1930, Arts Portfolio Series.

1931. Slusser, J. P., Bernard Karfiol. New York, Whitney Museum of American Art, 1931, American Artists Series.

1932. Cahill, H., “Bernard Karfiol,” Creative Art, X (Mar. 1932), 181–189.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 6, 93–96, no. 12, ii; II, no. 12, iv; III, no. 11–12, v–vi.

1934. “One Form of French Influence—Karfiol,” Art Digest, VIII (June 1, 1934), 12.

1939. Carnegie Institute, Department of Fine Arts, Pittsburgh, An Exhibition of Paintings, Water Colors and Drawings by Bernard Karfiol, May 9–June 4, 1939. Pittsburgh, Carnegie Institute, 1939.

ROCKWELL KENT

1917. “Spiritual Adventures of an American Artist in Newfoundland,” Current Opinion, LXII (Apr. 1917), 277–278.

1921. Freund, F. E. W., “Amerikanische Künstler-profil: in Rockwell Kent,” Jahrbuch der jungen Kunst, n.v. (1921), 313–318.

1924. Price, F. N., “Rockwell Kent, Voyager,” International Studio, LXXIX (July 1924), 272–276.

1930. Narodny, I., American Artists. New York, Roerich Museum Press, 1930, 70–82.

1932. Armitage, M., Rockwell Kent. New York, A. A. Knopf, 1932.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 7, 103–110, no. 12, i–ii; II, no. 12, iv; III, no. 11–12, v–vi.

Kent, R., Rockwellkentiana; A Few Words and Many Pictures by R. K. and, by Carl Zigrosser, a Bibliography and List of Prints. New York, Harcourt, Brace and Co., 1933.

1940. Kent, R., This is My Own. New York, Duell, Sloan and Pearce (c. 1940).

1945. Rockwell Kent. New York, American Artists Group, 1945.

BENJAMIN KOPMAN

1928. Tofel, J., B. Kopman. Paris, Éditions “Le Triangle” (c. 1928), Les Artistes Juifs.

1930. Ignatoff, D., Kopman. New York, E. Weyhe, 1930.

LEON KROLL

1930. Gutman, W., “Leon Kroll,” Art in America, XVIII (Oct. 1930), 299–303.

Narodny, I., American Artists. New York, Roerich Museum Press, 1930, 83–88.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 4, 59–64, no. 12, ii; II, no. 12, iv; III, no. 11–12, vi.

Kroll, L., “Art Chronicle,” Hound and Horn, VI (Apr.–June 1933), 472–474.

1942. “Leon Kroll; An Interview,” American Artist, VI (May 1942), 3–11.

Watson, E. W., Color and Method in Painting as Seen in the Work of 12 American Painters. New York, Watson-Guptill Publications, Inc., 1942, 85–95.

1946. Leon Kroll. New York, American Artists Group, 1946.

WALT KUHN

1923. Matthias, B., “Walt Kuhn,” Prairie, I (Mar.–Apr. 1923), 37–38.

1928. Exhibition of Drawings by Walt Kuhn, introduction by A. Burroughs. New York, M. Knoedler and Co., 1928.

1930. Exhibition of Paintings by Walt Kuhn, introduction by A. Burroughs. New York, Marie Harriman Gallery, 1930.

1931. Landscape Drawings by Walt Kuhn, introduction by G. Taggard. New York, Marie Harriman Gallery, 1931.

Strawn, A., “Walt Kuhn,” Outlook and Independent, CLVII (Mar. 4, 1931), 350.

1932. Freund, F. E. W., “Walt Kuhn,” Creative Art, X (May 1932), 347–349.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, IV, no. 2, 345–348.

1938. Kuhn, W., The Story of the Armory Show. New York (c. 1938).

1940. Bird, P., Fifty Paintings by Walt Kuhn. New York, London, Studio Publications, Inc. (c. 1940).

1941. “Walt Kuhn’s Philosophy,” Newsweek, XVII (Apr. 14, 1941), 78.

1943. Frost, R., “Clowns in a Great Tradition,” Art News, XLII (May 1, 1943), 11.

Hanna, M., “Nude no. 3000,” Collier’s, CXI (May 8, 1943), 26–27.

1949. Adams, P. R., “Walt Kuhn,” College Art Journal, IX (Autumn 1949), 37–38.

YASUO KUNIYOSHI

1922. Murrell, W., Yasuo Kuniyoshi. Woodstock, N.Y., William M. Fisher, 1922, Younger American Artists Series, no. 4.

1924. Brook, A., “Yasuo Kuniyoshi,” Arts, V (Jan. 1924), 23–27.

1932. Brace, E., “Yasuo Kuniyoshi,” Creative Art, XI (Nov. 1932), 183–188.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 7, 110–112, no. 12, ii; II, no. 12, iv; III, no. 11–12, vi.

1940. Kuniyoshi, Y., “East to West,” Magazine of Art, XXXIII (Feb. 1940), 72–83.

1940. Yasuo Kuniyoshi. New York, American Artists Group, 1945.

1948. Louchheim, A. B., “Kuniyoshi: Look My Past,” Art News, XLVII (Apr. 1948), 46–48ff.

Whitney Museum of American Art, New York, Yasuo Kuniyoshi Retrospective Exhibition, Mar. 27 to May 9, 1948. New York, Whitney Museum of American Art, 1948.

ERNEST LAWSON

1916. du Bois, G. P., “Ernest Lawson, Optimist,” Arts and Decoration, VI (Sept. 1916), 505–507.

Gallatin, A. E., “Ernest Lawson,” International Studio, LIX (July 1916), xiii–xv.

Gallatin, A. E., Certain Contemporaries. New York, London, J. Lane Co., 1916, 13–19.

1919. “Jerome Meyers, Ernest Lawson,” Arts and Decoration, X (Mar. 1919), 257–259.

Sherman, F. F., “The Landscape of Ernest Lawson,” Art in America, VIII (Dec. 1919), 32–39.

“Sketch,” Arts and Decoration, X (Mar. 1919), 257–258.

1921. Rihani, A., “Landscape Painting in America: Ernest Lawson,” International Studio, LXXII (Feb. 1921), cxiv–cxvii.

1922. Ely, C. B., “The Modern Tendency in Lawson, Lever, and Glackens,” Art in America, X (Dec. 1921), 31–37.

1924. Price, F. N., “Lawson of the ‘Crushed Jewels,’” International Studio, LXXVIII (Feb. 1924), 366–370.

1931. Strawn, A., “Ernest Lawson,” Outlook, CLVII (Apr. 22, 1931), 573.

1932. du Bois, G. P., Ernest Lawson. New York, Whitney Museum of American Art (c. 1932), American Artists Series.

LOUIS LOZOWICK

1923. Reimann, B., “Louis Lozowick,” Jahrbuch der jungen Kunst, n.v. (1923), 312–315.

1924. Garfield, J., “Louis Lozowick,” Das Zelt, I (1924), 330–331.

1926. Wolf, R., “Louis Lozowick,” Nation, CXXII (Feb. 17, 1926), 186.

1927. Gaer, Y., “Louis Lozowick,” B’nai B’rith Magazine, XLI (June 1927), 378–379.

1928. Gosudarstvennyi Muzei Novogo Zapadnogo Iskusstva, Moscow, Exhibition of Drawings by Louis Lozowick (Rus.). Moscow, 1928.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 7, 275–277; no. 11–12, iii–iv.

1934. Potamkin, H. A., “Louis Lozowick,” Young Israel, XXVI (Jan. 1934), 3–4.

1936. Cary, E. L., “Reflections on Modern Prints,” Parnassus, VIII (Apr. 1936), 14.

GEORGE B. LUKS

1900. Armstrong, R., “The New Leaders in American Illustration, Part IV, The Typists: McCarter, Yohn, Glackens, Shinn, and Luks,” Bookman, XI (May 1900), 250–251.

1907. Spargo, J., “George Luks: An American Painter of Great Originality and Force, Whose Art Relates to All the Experiences and Interests of Life,” Craftsman, XII (Sept. 1907), 599–607.

1911. Baury, L., “The Message of Proletaire,” Bookman, XXXIV (Dec. 1911), 400–404.

1914. McCormick, W. B., “George Luks, Agitator,” Arts and Decoration, IV (July 1914), 335–337, 358.

1915. Cournos, J., “Three Painters of the New York School,” International Studio, LVI (Oct. 1915), 241–242.

“Who’s Who in American Art—George Luks,” Arts and Decoration, V (Mar. 1915), 189.

1916. Mather, F. J., Jr., “Some American Realists,” Arts and Decoration, VII (Nov. 1916), 1316.

1920. Huneker, J., Bedouins. New York, Charles Scribner’s Sons, 1920, 106–117.

Rihani, A., “Luks and Bellows: American Painting, Part III,” International Studio, LXXI (Aug. 1920), xxi–xxvii.

Roberts, M. F., “‘Painting Real People’ Is the Purpose of George Luks’ Art,” Touchstone, VIII (Oct. 1920), 32–38.

1923. Cary, E. L., “George Luks,” American Magazine of Art, XIV (Feb. 1923), 73–80.

du Bois, G. P., “George Luks and Flamboyance,” Arts, III (Feb. 1923), 107–118.

1931. Cary, E. L., George Luks. New York, Whitney Museum of American Art, 1931, American Artists Series.

du Bois, G. P., George B. Luks. New York, Arts Publishing Corp., 1931, Arts Portfolio Series.

du Bois, G. P., “Exhibitions—George B. Luks,” Arts, XVII (Feb. 1931), 345–349.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 7, 97–104, no. 12, i; II, no. 12, iii; III, no. 11–12, v.

1934. Newark Museum Association, Newark, N.J., Catalog of an Exhibition of the Work of George Benjamin Luks, Oct. 30, 1933 to Jan. 6, 1934. Newark, N.J., Newark Museum, 1933.

1950. Paintings, Watercolors and Drawings by George B. Luks: Public Auction Sale Apr. 5 at 8 P. M. New York, Parke-Bernet Galleries, Inc., 1950.

STANTON MACDONALD-WRIGHT

1915. Wright, W. H., Modern Painting. New York, J. Lane Co.; London, J. Lane, 1915, 277–304.

Wright, W. H., “Synchromism,” International Studio, LVI (Oct. 1915), xcvii–c.

1921. “Modern Art and isms,” Mentor, IX (Oct. 1921), 32–33.

JOHN MARIN

1909. Caffin, C. H., “Maurers and Marins at the Photo Secession Gallery,” Camera Work, no. 27 (July 1909), 41.

1910. Mac Coll, W. D., “Exhibition of Water Colors, Pastels and Etchings of John Marin,” Camera Work, no. 30 (Apr. 1910), 41–47.

1912. Laurvik, J. N., “The Water Colors of John Marin,” Camera Work, no. 39 (July 1912), 36–38.

1913. “Notes on ‘291’—Water Colors by John Marin,” Camera Work, no. 42–43 (Apr.–July 1913), 18.

1921. Hartley, M., Adventures in the Arts. New York, Boni and Liveright, 1921, 96–101.

Hind, C. L., Art and I. New York, John Lane Co.; London, John Lane, The Bodley Head, 1921, 175–179.

Seligmann, H. J., “American Water Colors in Brooklyn,” International Studio, LXXIV (Dec. 1921), clix–clx.

1922. Gallatin, A. E., American Water-Colorists. New York, E. P. Dutton and Co., 1922, 17–22.

Haskell, E., “John Marin,” Arts, II (Jan. 1922), 201–202.

Rosenfeld, P., “The Water-Colours of John Marin,” Vanity Fair, XVIII (Apr. 1922), 48ff.

Strand, P., “John Marin,” Art Review, I (Jan. 22, 1922), 22–23.

1924. Barker, V., “The Water Colors of John Marin,” Arts, V (Feb. 1924), 65–83.

Craven, T., “John Marin,” Nation, CVIII (Mar. 19, 1924), 321.

Eglington, G., “John Marin, Colorist and Painter of Sea Moods,” Arts and Decoration, XXI (Aug. 1924), 31–34, 65.

Rosenfeld, P., Port of New York. New York, Harcourt, Brace and Co. (c. 1924), 153–166.

1926. Mumford, L., “Brancusi and Marin,” New Republic, XLIX (Dec. 15, 1926), 112–113.

Phillips, D., A Collection in the Making. New York, E. Weyhe; Washington, D.C., Phillips Memorial Art Gallery, 1926, 59.

1927. Frank, W., “The American Art of John Marin,” McCall’s Magazine, LIV (June 1927), 27, 61–62.

Mather, F. J., Jr., The American Spirit in Art. New Haven, Conn., Yale University Press, 1927, Pageant of America, XII, 164, 267ff.

1928. “John Marin, by Himself,” Creative Art, III (Oct. 1928), xxxv–xxxix.

Kalonyme, L., “John Marin, Promethean,” Creative Art, III (Oct. 1928), xl–xli.

Meier-Graefe, J., “A Few Conclusions on American Art,” Vanity Fair, XXXI (Nov. 1928), 83ff.

Strand, P., “Marin not an Escapist,” New Republic, LV (July 25, 1928), 253–255.

1929. Barker, V., “John Marin,” Art and Understanding, I (Nov. 1929), 106–109.

McBride, H., “Modern Art,” Dial, LXXXVI (Feb. 1929), 173–175.

1930. Goodrich, L., “November Exhibitions: Marin,” Arts, XVII (Nov. 1930), 120–121.

Kootz, S. M., Modern American Painters. New York, Brewer and Warren, 1930, 45–47.

Rosenfeld, P., “Marin Show,” New Republic, LXII (Feb. 26, 1930), 48–50.

1931. Seligmann, H. J. (editor), Letters of John Marin. New York, privately printed for An American Place, 1931.

1932. Rosenfeld, P., “Essay on Marin,” Nation, CXXXIV (Jan. 27, 1932), 122–124.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 1, 12–16, no. 12, iii; II, no. 12, iv; III, no. 11–12, vi–vii.

1934. Benson, E. M., “The American Scene,” American Magazine of Art, XXVII (Feb. 1934), 57–58.

1935. Benson, E. M., John Marin: The Man and His Work. Washington, D. C., American Federation of Arts, 1935.

1936. Flint, R., John Marin. New York, Raymond and Raymond, 1936, American Art Portfolios.

Museum of Modern Art, New York, John Marin; Watercolors, Oil Paintings, Etchings. New York, Museum of Modern Art (c. 1936).

1937. Rosenfeld, P., “John Marin’s Career,” New Republic, XC (Apr. 14, 1947), 289–292.

1939. Marin, J., “A Few Notes,” Twice a Year, II (Spring-Summer 1939), 176–180.

Marin, J., “Some Unpublished Letters,” Twice a Year, II (Spring-Summer 1939), 181–199.

1942. Josephson, M., “Leprechaun on the Palisades,” New Yorker, XVIII (Mar. 14, 1942), 26–35.

1945. Goodrich, L., American Watercolor and Winslow Homer. Minneapolis, The Walker Art Center (c. 1945), 57–67.

Mellquist, J., “John Marin: Painter from the Palisades,” Tricolor, III (May 1945), 58–64.

1947. Institute of Modern Art, Boston, John Marin: A Retrospective Exhibition: 1947. Boston, Institute of Modern Art, 1947.

1948. Helm, M., John Marin. Boston, Pellegrini and Cudahy in association with the Institute of Contemporary Art, 1948.

“John Marin: From: Writings,” Art and Action (10th Anniversary Issue of Twice a Year), (1948), 307–322.

Soby, J. T., Contemporary Painters. New York, Museum of Modern Art, 1948, 16–21.

1949. Mellquist, J., “John Marin: Painter of Specimen Days,” American Artist, XIII (Sept. 1949), 56–59, 67–69.

Norman, D. (editor), The Selected Writings of John Marin. New York, Pellegrini and Cudahy, 1949.

1950. John Marin: Drawings and Water Colors. New York, The Twin Editions, 1950.

REGINALD MARSH

1923. Burroughs, A., “Young America—Reginald Marsh,” Arts, III (Feb. 1923), 138–139.

1931. Burroughs, A., “Reginald Marsh,” Creative Art, IX (Oct. 1931), 301–305.

1933. Blossom, F. A., “Reginald Marsh as a Painter,” Creative Art, XII (Apr. 1933), 257–265.

College Art Association, Index of Twentieth Century Artists, New York, College Art Association, 1933–1937, III, no. 2, 193–195; no. 11–12, ii.

1935. Watson, F., “Reginald Marsh,” American Magazine of Art, XXVIII (Jan. 1935), 62.

1944. Marsh, R., “Let’s Get Back to Painting,” Magazine of Art, XXXVII (Dec. 1944), 293–296.

1945. Goodrich, L., American Watercolor and Winslow Homer. Minneapolis, The Walker Art Center (c. 1945), 95–103.

ALFRED H. MAURER

1934. Godsoe, R. U., Memorial Exhibition; Works of the Late Alfred Maurer; Oils and Gouaches Covering Work of Thirty-five Years. New York, Uptown Gallery, Continental Club, 1934.

1943. McCausland, E., Alfred H. Maurer, 1868–1932. New York, Buchholz Gallery: Curt Valentin (c. 1943).

1949. McCausland, E., A. H. Maurer 1868–1932. Minneapolis, Walker Art Center, 1949.

1951. McCausland, E., A. H. Maurer. New York, A. A. Wyn, 1951.

HENRY L. McFEE

1923. Brook, A., “Henry Lee McFee,” Arts, IV (Nov. 1923), 251–261.

1929. Cary, E. L., “Henry Lee McFee,” Creative Art, IV (Mar. 1929), xxxiii.

McFee, H. L., “My Painting and Its Development,” Creative Art, IV (Mar. 1929), 29–31.

1931. Barker, V., Henry Lee McFee. New York, Whitney Museum of American Art, 1931, American Artist Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 3, 41–44, no. 12, ii; III, no. 11–12, vi.

1934. Brace, E., “Henry Lee McFee,” American Magazine of Art, XXVII (July 1934), 375–382.

1950. Henry Lee McFee: Twenty-eight Reproductions of Paintings. Claremont, Cal., Fine Arts Foundation of Scripps College, 1950.

KENNETH H. MILLER

1921. Garret, G., “The Painting of Kenneth Hayes Miller,” New Republic, XXVII (July 27, 1921), 243–245.

1923. Cahill, E., “Kenneth Hayes Miller,” Shadowland, VIII (Apr. 1923), 11, 71.

1924. Rosenfeld, P., Port of New York. New York, Harcourt, Brace and Co., 1924, 135–152.

1928. Burroughs, A., “Kenneth Hayes Miller,” Arts, XIV (Dec. 1928), 300–307.

1930. Goodrich, L., Kenneth Hayes Miller. New York, Arts Publishing Corp., 1930.

Gutman, W., “Kenneth Hayes Miller,” Art in America, XVIII (Feb. 1930), 86–92.

1931. Burroughs, A., Kenneth Hayes Miller. New York, Whitney Museum of American Art, 1931, American Artists Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 2, 197–200; no. 11–12, iii.

1952. Bishop, I., and R. Marsh, “Kenneth Hayes Miller,” Magazine of Art, XLV (Apr. 1952), 168–171.

JEROME MYERS

1914. du Bois, G. P., “Jerome Myers,” Art and Progress, V (Jan. 1914), 89–94.

1915. “Jerome Myers, as an Etcher and a Student of Human Nature,” Craftsman, XXIX (Oct. 1915), 25–32.

1916. Morris, L. R., “The Gospel of Jerome Myers,” International Studio, LVII (Feb. 1916), cxxv–cxxviii.

1917. Phillips, D., “Jerome Myers,” American Magazine of Art, VIII (Oct. 1917), 481–485.

1919. “Jerome Myers; Ernest Lawson,” Arts and Decoration, X (Mar. 1919), 257–259.

Roberts, M. F., “Summertime in New York Shown in Etchings by Jerome Myers,” Touchstone, V (Aug. 1919), 396–399.

1928. Exhibition of Portrait Drawings by Jerome Myers, Apr. 9–21, 1928. New York, Babcock Galleries, 1928.

1940. Myers, J., Artist in Manhattan. New York, American Artists Group, Inc. (c. 1940).

1941. Whitney Museum of American Art, New York, Jerome Myers Memorial Exhibition, Apr. 22 to May 29, 1941. New York, Plantin Press, 1941.

1942. Virginia Museum of Fine Arts, Richmond, A Memorial Exhibition of the Work of Jerome Myers, Virginia-born Master, Jan. 26–Feb. 27, 1942. Richmond, Virginia Museum of Fine Arts, 1942.

GEORGIA O’KEEFFE

1917. Murrell, W., “The Georgia O’Keeffe Drawings and Paintings at ‘291,’” Camera Work, no. 49–50 (June 1917), 5.

1921. Hartley, M., Adventures in the Arts. New York, Boni and Liveright, 1921, 116–119.

1922. Rosenfeld, P., “The Paintings of Georgia O’Keeffe,” Vanity Fair, XIX (Oct. 1922), 56, 112.

1924. Rosenfeld, P., Port of New York. New York, Harcourt, Brace and Co., 1924, 199–210.

1926. Frank, W. D., Time Exposures. New York, Boni and Liveright, 1926, 31–35.

1927. Mumford, L., “O’Keeffe and Matisse,” New Republic, L (Mar. 2, 1927), 41–42.

O’Brien, F., “Americans We Like,” Nation, CXXV (Oct. 12, 1927), 361–362.

1928. Kalonyme, L., “Georgia O’Keeffe; A Woman in Painting,” Creative Art, II (Jan. 1928), xxv–xl.

1931. Luhan, M. D., “Georgia O’Keeffe in Taos,” Creative Art, VIII (June 1931), 407–410.

“Paintings of Georgia O’Keeffe in Taos,” Atelier, I (June 1931), 438–440.

Rosenfeld, P., “After the O’Keeffe Show,” Nation, CXXXII (Apr. 8, 1931), 388–389.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 4, 225–228; no. 11–12, ii.

1939. A Portfolio of Paintings by Georgia O’Keeffe. New York, Dial Press (c. 1939).

1943. Rich, D. C., Georgia O’Keeffe. Chicago, Art Institute of Chicago, 1943.

1944. Rich, D. C., “The New O’Keeffes,” Magazine of Art, XXXVII (Mar. 1944), 110–111.

1950. Pollitzer, A., “‘That’s Georgia,’” Saturday Review of Literature, XXXIII (Nov. 1950), 41–43.

JULES PASCIN

1911. Holitscher, A., “Julius Pascin,” Kunst und Künstler, IX (1911), 290–294.

1914. Scheffler, K., “Julius Pascin,” Kunst und Künstler, XII (1914), 585–589.

1919. Birnbaum, M., Introductions: Painters, Sculptors, and Graphic Artists. New York, F. F. Sherman, 1919.

19—. Ein Sommer: Skizzenbuch von Pascin. Berlin, Bruno Cassirer (c. 1920).

1920. Scheffler, K., “Ein Sommer: Ein Skizzenbuch von Julius Pascin,” Kunst und Künstler, XIX (Dec. 1920), 103–107.

1922. George, W., “Pascin,” L’Amour de l’Art, III (June 1922), 176–178.

1925. Fels, F., Propos d’Artistes. Paris, La Renaissance du Livre, 1925, 131–136.

1926. Warnod, A., “Pascin,” L’Art Aujourd’hui, III (Summer 1926), 17–20.

1928. Charensol, G., Jules Pascin. Paris, Éditions “Le Triangle,” 1928, Les Artistes Juifs.

1929. Goll, I., Pascin. Paris, Les Éditions G. Cres et Cie. (c. 1929), Les Artistes Nouveaux.

1930. Lievre, P., “Pascin,” L’Amour de l’Art, XI (Apr. 1930), 177–181.

MacOrlan, P., “Pascin,” L’Art Vivant, XVI (July 1, 1930), 513–514.

1931. Morand, P. (preface), Pascin. Paris, Éditions des Chroniques du Jour (c. 1931).

1934. Guenne, J., “Pascin,” L’Art Vivant, CLXXXI (Feb. 1934), 62–63.

1944. Seoane, L., Jules Pascin. Buenos Aires, Editorial Poseidon, 1944.

1946. Brodsky, H., Pascin. London, Nicholson and Watson, 1946.

MAURICE B. PRENDERGAST

1924. Phillips, D., “Maurice Prendergast,” Arts, V (Mar. 1924), 125–131.

1926. Milliken, W. M., “Maurice Prendergast, American Artist,” Arts, IX (Apr. 1926), 181–192.

1931. Breuning, M., Maurice Prendergast. New York, Whitney Museum of American Art, 1931, American Artists Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 6, 93–96, no. 12, i; III, no. 11–12, iii.

1934. Whitney Museum of American Art, New York, Maurice Prendergast Memorial Exhibition, Feb. 21 to Mar. 22, 1934. New York, Whitney Museum of American Art, 1934.

1938. Phillips Academy, Andover, Mass., Addison Gallery of American Art, The Prendergasts; Retrospective Exhibition of the Work of Maurice and Charles Prendergast. Andover, Mass., Addison Gallery of American Art, Phillips Academy, 1938.

1945. Goodrich, L., American Watercolor and Winslow Homer. Minneapolis, The Walker Art Center (c. 1945), 51–55.

1946. Basso, H., “Glimpse of Heaven,” New Yorker, XXII (July 27, 1946), 23–30; (Aug. 3, 1946), 28–37.

MAN RAY

1921. Hind, C. L., Art and I. New York, John Lane Co.; London, John Lane, The Bodley Head, 1921, 180–185.

1924. Ribemont-Dessaignes, G., Man Ray. Paris, Librairie Gallimard, 1924, Peintres Nouveaux, no. 37.

1925. Ribemont-Dessaignes, G., “Man Ray,” Les Feuilles Libres, no. 40 (May–June 1925), 267–269.

1926. Ray, M., Revolving Doors 1916–1917. Paris, Éditions Surréalistes, 1926.

1929. Desnos, R., “The Work of Man Ray,” transition, no. 15 (Feb. 1929), 263–266.

1934. Photographs by Man Ray: Paris 1920–1934. Hartford, Conn., James Thrall Soby (c. 1934).

1948. Ray, M., To be continued unnoticed: Some papers by Man Ray in connection with his exposition, December 1948. Beverly Hills, Copley Galleries, 1948.

1951. Motherwell, R. (editor), The Dada Painters and Poets: An Anthology. New York, Wittenborn, Schultz, Inc., 1951.

1953. Wechser, P., “Man Ray as Painter,” Magazine of Art, XLVI (Jan. 1953), 31–37.

BOARDMAN ROBINSON

1915. Robinson, B., Cartoons on the War. New York, E. P. Dutton and Co., 1915.

1916. Gallatin, A. E., Certain Contemporaries. New York, J. Lane Co., 1916, 61–63.

1919. “Design in Cartoons: An Interview with Boardman Robinson,” Touchstone, VI (Oct. 1919), 78.

1920. “Boardman Robinson, Artist and Student of Humanity,” Touchstone, VI (Jan. 1920), 207–211.

1930. Goodrich, L., “Mural Paintings of Boardman Robinson,” Arts, XVI (Feb. 1930), 390–393, 438.

1932. Metzer, C. H., “An Appreciation of Vigor and Imagination in Art,” Arts and Decoration, XV (Aug. 1932), 228–229.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, II, no. 7, 106–108, no. 12, iii; in, no. 11–12, viii.

1937. Biddle, G., Boardman Robinson: Ninety-three Drawings. Colorado Springs, Col., Colorado Springs Fine Arts Center (c. 1937).

1946. Christ-Janer, A., Boardman Robinson. Chicago, University of Chicago Press, 1946.

MORGAN RUSSELL

1915. Wright, W. H., Modern Painting. New York, John Lane Co.; London, J. Lane, 1915, 277–304.

Wright, W. H., “Synchromism,” International Studio, LVI (Oct. 1915), xcvii–c.

1921. Wright, W. H., “Modern Art and isms,” Mentor, IX (Oct. 1921), 32–33.

MORTON SCHAMBERG

1919. Pach, W., “The Schamberg Exhibition,” Dial, LXVI (May 17, 1919), 505–506.

CHARLES SHEELER

1923. Craven, T., “Charles Sheeler,” Shadowland, VIII (Mar. 1923), 11, 71.

Watson, F., “Charles Sheeler,” Arts, III (May 1923), 335–344.

1926. “An American in the Classic Tradition,” Literary Digest, LXXXIX (June 26, 1926), 23–25.

Parker, R. A., “The Classical Vision of Charles Sheeler,” International Studio, LXXXIV (May 1926), 68–72.

1932. Brace, E., “Charles Sheeler,” Creative Art, XI (Oct. 1932), 97–104.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, III, no. 4, 229–231; no. 11–12, ii.

1938. Rourke, C., Charles Sheeler, Artist in the American Tradition. New York, Harcourt, Brace and Co. (c. 1938).

1939. Museum of Modern Art, New York, Charles Sheeler: Paintings, Drawings, Photographs. New York, Museum of Modern Art, 1939.

EVERETT SHINN

1906. G(allatin), A. E., “Everett Shinn’s Decorative Paintings,” Scrip, I (Aug. 1906), 358–360.

Gallatin, A. E., “Studio-Talk: Everett L. Shinn,” International Studio, XXX (Nov. 1906), 83–87.

1907. Gallatin, A. E., Whistler: Notes and Footnotes. New York, Collector and Art Critic Co.; London, E. Mathews, 1907, 79–83.

1912. “Everett Shinn’s Paintings of Labor in the New City Hall at Trenton, N.J.,” Craftsman, XXI (Jan. 1912), 378–385.

1913. Gallatin, A. E., Whistler’s Pastels, and Other Modern Profiles. New York, J. Lane Co.; London, J. Lane, 1913, 59–63.

1914. Price, C. M., “A Revival of Eighteenth Century French Art,” International Studio, LI (Jan. 1914), clxviii–clxx.

1915. du Bois, G. P., “An Eighteenth Century Revival; The Work of Everett Shinn, Revivalist,” Arts and Decoration, VI (Dec. 1915), 77–80.

1916. Wilhelm, D., “Everett Shinn, Versatilist,” Independent, LXXXVIII (Dec. 4, 1916), 398.

1923. Frohman, L. H., “Everett Shinn, the Versatile,” International Studio, LXXVIII (Oct. 1923), 85–89.

1924. Edgerton, G., “Modern Murals Done in French Spirit of Decoration,” Arts and Decoration, XXII (Nov. 1924), 27–29.

1945. Kent, N., “The Versatile Art of Everett Shinn,” American Artist, IX (Oct. 1945), 8–13, 3537.

JOHN SLOAN

1897. Posters in Miniature, foreword by P. Pollard, introduction by E. Penfield. New York, R. H. Russell; London, J. Lane, 1897.

1909. Barrell, C. W., “The Real Drama of the Slums, as Told in John Sloan’s Etchings,” Craftsman, XV (Feb. 1909), 559–564.

1914. Pach, W., “L’Art de John Sloan,” L’Art et les Artistes, XVIII (Feb. 1914), 222–226.

1915. McCormick, W. B., “The Realism of John Sloan,” Arts and Decoration, V (Aug. 1915), 390–391.

1916. Gallatin, A. E., Certain Contemporaries. New York, J. Lane Co., 1916, 23–30.

Gallatin, A. E., “The Etchings, Lithographs, and Drawings of John Sloan,” International Studio, LVII (Mar. 1916), xxv–xxviii.

“Who’s Who in American Art—John Sloan,” Arts and Decoration, VI (Mar. 1916), 237.

1917. Yeats, J. B., “John Sloan’s Exhibition,” Seven Arts, II (June 1917), 257–259.

1925. Gallatin, A. E., John Sloan. New York, E. P. Dutton and Co., 1925.

1926. Pach, W., “The Etchings of John Sloan,” Studio, XCII (Aug. 1926), 102–105.

1927. Hopper, E., “John Sloan and the Philadelphians,” Arts, XI (Apr. 1927), 169–178.

Sloan, J., “The Independent, an Open Door,” Arts, XI (Apr. 1927), 187–188.

1929. Weitenkampf, F., “John Sloan in the Print Room,” American Magazine of Art, XX (Oct. 1929), 553–559.

1931. du Bois, G. P., John Sloan. New York, Whitney Museum of American Art, 1931, American Artists Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 11, 167–174, no. 12, i–ii; II, no. 12, iii; III, no. 11–12, v–vi.

1938. Phillips Academy, Andover, Mass., Addison Gallery of American Art, John Sloan; Retrospective Exhibition, 1938. Andover, Mass., The Andover Press, Ltd. (c. 1938).

1939. Sloan, J., Gist of Art; Principles and Practice Expounded in the Classroom and Studio, recorded with the assistance of H. Farr. New York, American Artists Group (c. 1939).

1945. John Sloan. New York, American Artists Group, 1945.

1949. Coates, R. M., “After Enough Years Have Passed,” New Yorker, XXV (May 7, 1949), 36–51.

1950. Bohrod, A., “On John Sloan,” College Art Journal, X (Autumn 1950), 3–9.

1952. Brown, M. W., “The Two John Sloans,” Art News, L (Jan. 1952), 25–27, 56–57.

Goodrich, L., John Sloan. New York, Macmillan Co., 1952.

Watson, F., “John Sloan,” Magazine of Art, XLV (Feb. 1952), 62–70.

Whitney Museum of American Art, New York, John Sloan 1871–1951, Jan. 10–Mar. 2. New York, Whitney Museum of American Art, 1952.

MOSES SOYER

1939. Soyer, M., “Three Brothers,” Magazine of Art, XXXII (Apr. 1939), 201–207.

1944. Smith, B., Moses Soyer. New York, A.C.A. Gallery Publication, 1944.

RAPHAEL SOYER

1930. Gutman, W., “Raphael Soyer,” Creative Art, VI (Apr. 1930), 258–260.

1934. Beer, R., “Soyer at Thirty-four,” Art News, XXXII (Jan. 13, 1934), 13.

1939. Soyer, M., “Three Brothers,” Magazine of Art, XXXII (Apr. 1939), 201–207.

1946. Raphael Soyer. New York, American Artists Group, 1946.

1948. Watson, E. W., “The Paintings of Raphael Soyer,” American Artist, XII (June 1948), 28–33, 64.

EUGENE SPEICHER

1912. Watson, F., “Eugene Speicher: A New Arrival,” International Studio, XLVI (Mar. 1912), xix–xxii.

1924. Barker, V., “Eugene Speicher: Painter and Artist,” Arts, VI (Dec. 1924), 313–327.

1930. Narodny, I., American Artists. New York, Roerich Museum Press, 1930, 99–110.

Palmer, M., Eugene Speicher. New York, Arts Publishing Corp., 1930, Arts Portfolio Series.

1931. Mather, F. J., Jr., Eugene Speicher. New York, Whitney Museum of American Art, 1931, American Artists Series.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 3, 37–42, no. 12, i; II, no. 12, iv; III, no. 11–12, vi.

1942. Watson, E. W., Color and Method in Painting as Seen in the Work of 12 American Painters. New York, Watson-Guptill Publications, Inc., 1942, 13–23.

1945. Eugene Speicher. New York, American Artists Group, 1945.

1950. Buffalo Fine Arts Academy, Buffalo, Eugene Speicher: A Retrospective Exhibition of Oils and Drawings: 1908–1949: Sept. 29–Oct. 26, 1950. Buffalo, Buffalo Fine Arts Academy, Albright Art Gallery, 1950.

NILES SPENCER

1925. Watson, F., “A Note on Niles Spencer,” Arts, VIII (Sept. 1925), 166–169.

1930. Mannes, M., “Niles Spencer, Painter of Simplicities,” Creative Art, VII (July 1930), 58–61.

1944. Watson, E. W., “Niles Spencer: Interview,” American Artist, VIII (Oct. 1944), 13–17.

1952. Cahill, H., “Niles Spencer,” Magazine of Art, XLV (Nov. 1952), 313–315.

JOSEPH STELLA

1918. “Joseph Stella: Painter of the American Melting Pot,” Current Opinion, LXIV (June 1918), 423–424.

1921. Field, H. E., “Joseph Stella,” Arts, II (Oct. 1921), 25–27.

1924. Freund, F. E. W., “Joseph Stella,” Jahrbuch der jungen Kunst, n.v. (1924), 310–318.

1926. Williams, H. L., “Joseph Stella’s Art in Retrospect,” International Studio, LXXXIV (July 1926), 76–80.

1930. Lancellotti, A., “Un Pittore di Avanguardia: Giuseppe Stella,” Emporium, LXXI (Feb. 1930), 67–76.

1939. Newark Museum, Newark, N.J., Joseph Stella: Catalog of Paintings and Drawings in a Retrospective Exhibition, Opened Apr. 22, 1939. Newark, N.J., Newark Museum, 1939.

1943. Stella-1943. New York, A.C.A. Gallery, 1943.

n.d. New York: Five Oils by Joseph Stella; The Brooklyn Bridge (A Page of My Life), copyright Joseph Stella, n.d.

MAURICE STERNE

1902. Bixby, A. C., “A Promising Young Painter-Etcher, Maurice H. Sterne,” Brush and Pencil, X (May 1902), 99–110.

1912. Birnbaum, M., “Maurice Sterne,” International Studio, XLVI (Mar. 1912), iii–xiii.

1915. “The Monumental Simplicity in the Pictorial Art of Maurice Sterne,” Current Opinion, LIX (Dec. 1915), 425–427.

1917. Defries, A. D., “Maurice Sterne at Bali,” International Studio, LXI (Apr. 1917), liii–lvii.

1919. Birnbaum, M., Introductions. New York, F. F. Sherman, 1919, 40–50.

1921. Freund, F. E. W., “Amerikanische Künstlerprofil: I. Maurice Sterne,” Jahrbuch der jungen Kunst, n.v. (1921), 305–309.

1922. Exhibition of Paintings, Drawings and Sculptures by Maurice Sterne, Apr. 1 to Apr. 22, 1922. New York, Bourgeois Galleries, 1922.

1925. Stein, L., “Tradition and Art,” Arts, VII (May 1925), 265–269.

Tavolato, I., Maurice Sterne. Rome, Valori Plastici Pub., 1925.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, I, no. 5, 72–77, no. 12, i–ii; II, no. 12, iii–iv; III, no. 11–12, vi.

Museum of Modern Art, New York, Maurice Sterne: Retrospective Exhibition (1902–1932). Paintings, Sculpture, Drawings. New York, Museum of Modern Art, 1933.

1941. “An Hour in the Studio of Maurice Sterne,” American Artist, V (Dec. 1941), 5–9, 39.

ABRAHAM WALKOWITZ

1913. Bluemner, O., “Walkowitz,” Camera Work, XLIV (Oct. 1913), 25–38.

1917. Wright, W. H., “Modern Art: Walkowitz, Monet, and Burlin,” International Studio, LX (Feb. 1917), cxxxii–cxxxiii.

1924. McBride, H., “Walkowitz and the Parks,” International Studio, LXXX (NOV. 1924), 156–158.

1925. McBride, H., J. Weichsel, C. Vildrac, W. H. Wright, One Hundred Drawings by A. Walkowitz. New York, B. W. Huebsch, Inc., 1925.

1944. Brooklyn Institute of Arts and Sciences, One Hundred Artists and Walkowitz, Brooklyn Museum, Feb. 9 to Mar. 12, 1944. Brooklyn, N.Y., Brooklyn Museum, 1944.

1945. Walkowitz, A., A Demonstration of Objective, Abstract, and Non-Objective Art. Girard, Kan., Haldeman-Julius Publications, 1945.

Walkowitz, A., Isadora Duncan in her Dances. Girard, Kan., Haldeman-Julius Publications, 1945.

1947. Walkowitz, A., Barns and Coal Mines around Girard, Kansas. Girard, Kan., Haldeman-Julius Publications, 1947.

1948. Walkowitz, A., Improvisations of New York: A Symphony in Lines. Girard, Kan., Haldeman-Julius Publications, 1948.

1951. Walkowitz, A., Art From Life to Life. Girard, Kan., Haldeman-Julius Publications, 1951.

MAX WEBER

1914. Weber, M., Cubist Poems. London, Elkin Mathews, 1914.

1916. Weber, M., Essays on Art. New York, W. E. Rudge, 1916.

Wright, W. H., “Aesthetic Struggle in America,” Forum, LV (Feb. 1916), 216–218.

1921. Bridgman, C., “Modernist,” Touchstone, VIII (Jan. 1921), 319–322.

1924. Gilliam, F., “Max Weber: Humanist,” Menorah Journal, XI (Dec. 1925), 580–582.

1925. Weber, M., Primitives: Poems and Woodcuts. New York, Spiral Press, 1926.

1930. Cahill, H., Max Weber. New York, Downtown Galleries, 1930.

Museum of Modern Art, New York, Max Weber; Retrospective Exhibition (1907–1930), Mar. 13–Apr. 2. New York, Museum of Modern Art, 1930.

Strawn, A., “Rebel Triumphant,” Outlook, CLVI (Oct. 29, 1930), 351.

1933. College Art Association, Index of Twentieth Century Artists. New York, College Art Association, 1933–1937, IV, no. 2, 349–352.

1945. Max Weber. New York, American Artists Group, 1945.

1948. Johnson, U. E., “The Woodcuts and Lithographs of Max Weber,” Brooklyn Museum Bulletin, IX (Summer 1948), 7–12.

Soby, J. T., Contemporary Painters. New York, Museum of Modern Art, 1948, 28–34.

1949. Cahill, H., “Max Weber, A Reappraisal in Maturity,” Magazine of Art, XLII (Apr. 1949), 128–133.

Whitney Museum of American Art, New York, Max Weber: Retrospective Exhibition. New York, Whitney Museum of American Art, 1949.

1950. Riegner, H., “Der amerikanische Maler Max Weber,” Werk, XXXVII (Feb. 1950), 55–61.

ART YOUNG

1927. Young, A., Trees at Night. New York, Boni and Liveright, 1927.

1928. Young, A., On My Way: Being the Book of Art Young in Text and Picture. New York, H. Liveright, 1928.

1939. Beffel, J. N. (editor), Art Young, His Life and Times. New York, Sheridan House, 1939.

1944. Beffel, J. N., and others, “Art Young Number,” Direction, Darien, Conn., VII (Apr.–May 1944), 1–18.

Kent, R., and others, “Art Young, His Life and Times,” New Masses issue, L (Feb. 1,1944).

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