Armory Show
From The Art and Popular Culture Encyclopedia
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| - | Many exhibitions have been held in the vast spaces of U.S. [[United States National Guard|National Guard]] [[Armory (military)|armories]], but ''' ''the'' Armory Show''' refers to the "International Exhibition of Modern Art" that opened in [[New York City]]'s [[69th Regiment Armory]], on Lexington Avenue between 25th and 26th Streets, on [[February 17]], [[1913]], ran to [[March 15]], and became a legendary [[watershed]] date in the history of [[visual arts of the United States|American art]], introducing astonished New Yorkers, accustomed to [[Realism (visual arts)|realistic]] art, to [[modern art]]. The show served as a catalyst for American artists, who became more independent and created their own "[[artistic language]]". | ||
| - | The Armory Show, organized by [[Walter Pach]], [[Arthur B. Davies]] and [[Walt Kuhn]], displayed some 1,250 paintings, sculptures, and decorative works by over 300 [[avant-garde]] European and American artists. [[Impressionism|Impressionist]], [[Fauvism|Fauvist]], and [[Cubist]] works were represented. | + | The 1913 '''Armory Show''', also known as the '''International Exhibition of Modern Art''', was a show organized by the Association of American Painters and Sculptors in 1913. It was the first large exhibition of [[modern art]] in America, as well as one of the many exhibitions that have been held in the vast spaces of U.S. National Guard armories. |
| + | The three-city exhibition started in New York City's 69th Regiment Armory, on [[Lexington Avenue]] between 25th and 26th Streets, from February 17 until March 15, 1913. The exhibition went on to the [[Art Institute of Chicago]] and then to [[Copley Society of Art|The Copley Society of Art]] in Boston, where, due to a lack of space, all the work by American artists was removed. | ||
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| + | The show became an important event in the history of [[visual arts of the United States|American art]], introducing Americans, who were accustomed to [[Realism (visual arts)|realistic]] art, to the experimental styles of the European avant garde, including [[Fauvism]] and [[Cubism]]. The show served as a catalyst for American artists, who became more independent and created their own "artistic language." | ||
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| + | ==Reception== | ||
| News reports and reviews were filled with accusations of [[quackery]], [[insanity]], [[immorality]], and [[anarchy]], as well as [[parodies]], [[caricature]]s, [[doggerel]]s and [[mock]] exhibitions. About the modern works, President [[Theodore Roosevelt]] declared, "That's not art!!!" | News reports and reviews were filled with accusations of [[quackery]], [[insanity]], [[immorality]], and [[anarchy]], as well as [[parodies]], [[caricature]]s, [[doggerel]]s and [[mock]] exhibitions. About the modern works, President [[Theodore Roosevelt]] declared, "That's not art!!!" | ||
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| Duchamp's brother, who went by the "nom de guerre" [[Jacques Villon]], also exhibited, sold all his [[Cubist]] paintings and struck a sympathetic chord with New York collectors who supported him in the following decades. | Duchamp's brother, who went by the "nom de guerre" [[Jacques Villon]], also exhibited, sold all his [[Cubist]] paintings and struck a sympathetic chord with New York collectors who supported him in the following decades. | ||
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| - | The exhibition went on to show in Chicago and Boston. | ||
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| - | ==Legacy== | ||
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| - | Starting with a small exhibition in [[1994]], by [[2001]] the "New" New York Armory Show, held in piers on the Hudson River, evolved into a "hugely entertaining" ''([[New York Times]])'' annual contemporary arts festival with a strong commercial bent. | ||
| ==See also== | ==See also== | ||
| - | *[[American modernism]] | + | * [[American modernism]] |
| - | *[[Culture of New York City]] | + | * [[List of artists in the Armory Show]] |
| + | * [[List of women artists in the Armory Show]] | ||
| + | * [[Experiments in Art and Technology]] | ||
| + | * [[American modernism]] | ||
| + | * [[American realism]] | ||
| + | * [[Ashcan school]] | ||
| + | * [[Culture of New York City]] | ||
| + | * [[The Armory Show (art fair)]] | ||
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"Because of their subject matter, which shocked the academic painters and the public as well, the whole group associated with Sloan and Bellows was contemptuously dubbed the ashcan school. Of all the group Bellows perhaps plunged most wholeheartedly into the contemporary scene, and because of his forceful personality frequently selected vigorous and dramatic subjects, such as A Stag at Sharkey’s, in which one sees the vigor of his brushwork, a technical use of pigment consistent with the energy of his personality, strongly contrasting values, and accomplished composition. It was members of this group who were responsible for bringing to the United States the International Exhibition of Modern Art (known as the Armory Show) of 1913, a show which was a definite landmark in the modern movement on this side of the Atlantic." --Gardner's Art Through the Ages (1926) by Helen Gardner |
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The 1913 Armory Show, also known as the International Exhibition of Modern Art, was a show organized by the Association of American Painters and Sculptors in 1913. It was the first large exhibition of modern art in America, as well as one of the many exhibitions that have been held in the vast spaces of U.S. National Guard armories.
The three-city exhibition started in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, from February 17 until March 15, 1913. The exhibition went on to the Art Institute of Chicago and then to The Copley Society of Art in Boston, where, due to a lack of space, all the work by American artists was removed.
The show became an important event in the history of American art, introducing Americans, who were accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism and Cubism. The show served as a catalyst for American artists, who became more independent and created their own "artistic language."
Reception
News reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, President Theodore Roosevelt declared, "That's not art!!!"
Among the scandalously radical works of art, pride of place goes to Marcel Duchamp's Cubist/Futurist style Nude Descending a Staircase, painted the year before, in which he expressed motion with successive superimposed images, as in motion pictures. An art critic for the New York Times wrote that the work resembled "an explosion in a shingle factory," and cartoonists satirized the piece.
However, the purchase of Paul Cézanne's Hill of the Poor (View of the Domaine Saint-Joseph) by the Metropolitan Museum of Art signaled an integration of modernism into the established New York museums, but among the younger artists represented, Cézanne was already an established master.
Duchamp's brother, who went by the "nom de guerre" Jacques Villon, also exhibited, sold all his Cubist paintings and struck a sympathetic chord with New York collectors who supported him in the following decades.
See also
- American modernism
- List of artists in the Armory Show
- List of women artists in the Armory Show
- Experiments in Art and Technology
- American modernism
- American realism
- Ashcan school
- Culture of New York City
- The Armory Show (art fair)
