DOI issue:
Nr. 193 (März 1913)
DOI article:Brinton, Christian: Fashions in art
DOI Page / Citation link:https://doi.org/10.11588/diglit.43452#0362
Fashions in Art
work of these same anarchists and outcasts.
Mr. Stieglitz enjoys the distinction of having been
the initial sponsor for these restless radicals, his
discreetly arranged little exhibitions at the Photo-
Secession Galleries serving to introduce many
pioneer painters, draughtsmen, and sculptors to
a rarely puzzled press and public. In due course
he was followed with no little sagacity and
enthusiasm by Mr. Birnbaum of the Berlin
Photographic Company, while only a few weeks
back the seal of fashion was set upon the cause
by a somewhat sporadic though courageously
progressive exhibition of so-called Post-Impres-
sionist work within the precints of the Colony
Club.
MODERN PAINTING
It matters little or naught what particular
motives have actuated those who have thus far
seen fit to extend their hospitality private or
professional to the movement in question.
Whether they be zealous fanatics or brainless
faddists is not the chief question at issue, the all
important point being that the public has at
last been aroused to the fact that art is again alive
with the splendid, invigorating thrill of fresh and
virile aims and achievement. After the struggle
VINCENT VAN GOGH BY HIMSELF
Courtesy of the Folsom Galleries
IN THE VINEYARD BY ALFRED MAURER
for vibrant tone and broken surface, after in short,
the hard-fought battle for Impressionism had been
gained, we settle down once more to the com-
parative quietude of good, earnest, well-balanced
effort. The conquest of light was carried further
than ever before in the history of painting but
the artists were no longer on the defensive. The
spirit of militancy lay dormant for a space.
Impressionism had, however, scarcely blended
into Neo-Impressionism when there were signs
of a decided reaction. Seemingly full armed for
the conflict the Fauves dashed into the arena, and,
hot on the heels of the Fauves, who were headed
by Henri-Matisse and Van Dongen, came in rapid
succession the Cubists and the Futurists. Yet
it did not all happen so quickly as it seemed, for
beneath the surface stirred, as always, those deep-
rooted factors and influences without which
revolutions in art or in any field of activity are
impossible.
The trinity of modern painting is comprised
of Cezanne, Gauguin, and Van Gogh. It is they
who have initiated the great and far reaching
movement which bids fair to change the com-
plexion of latter-day pictorial expression. They
are the real pathfinders, the veritable heralds of
all that has come after, and in their footsteps
I-X
work of these same anarchists and outcasts.
Mr. Stieglitz enjoys the distinction of having been
the initial sponsor for these restless radicals, his
discreetly arranged little exhibitions at the Photo-
Secession Galleries serving to introduce many
pioneer painters, draughtsmen, and sculptors to
a rarely puzzled press and public. In due course
he was followed with no little sagacity and
enthusiasm by Mr. Birnbaum of the Berlin
Photographic Company, while only a few weeks
back the seal of fashion was set upon the cause
by a somewhat sporadic though courageously
progressive exhibition of so-called Post-Impres-
sionist work within the precints of the Colony
Club.
MODERN PAINTING
It matters little or naught what particular
motives have actuated those who have thus far
seen fit to extend their hospitality private or
professional to the movement in question.
Whether they be zealous fanatics or brainless
faddists is not the chief question at issue, the all
important point being that the public has at
last been aroused to the fact that art is again alive
with the splendid, invigorating thrill of fresh and
virile aims and achievement. After the struggle
VINCENT VAN GOGH BY HIMSELF
Courtesy of the Folsom Galleries
IN THE VINEYARD BY ALFRED MAURER
for vibrant tone and broken surface, after in short,
the hard-fought battle for Impressionism had been
gained, we settle down once more to the com-
parative quietude of good, earnest, well-balanced
effort. The conquest of light was carried further
than ever before in the history of painting but
the artists were no longer on the defensive. The
spirit of militancy lay dormant for a space.
Impressionism had, however, scarcely blended
into Neo-Impressionism when there were signs
of a decided reaction. Seemingly full armed for
the conflict the Fauves dashed into the arena, and,
hot on the heels of the Fauves, who were headed
by Henri-Matisse and Van Dongen, came in rapid
succession the Cubists and the Futurists. Yet
it did not all happen so quickly as it seemed, for
beneath the surface stirred, as always, those deep-
rooted factors and influences without which
revolutions in art or in any field of activity are
impossible.
The trinity of modern painting is comprised
of Cezanne, Gauguin, and Van Gogh. It is they
who have initiated the great and far reaching
movement which bids fair to change the com-
plexion of latter-day pictorial expression. They
are the real pathfinders, the veritable heralds of
all that has come after, and in their footsteps
I-X