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55-570: Landscape painter William Langson Lathrop (1859–1938) moved to New Hope in 1898, where he founded a summer art school. The mill town was located along the Delaware River , about forty miles from Philadelphia and seventy miles from Manhattan . The area's rolling hills were spectacular, and the river, its tributaries, and the Delaware Canal were picturesque. The natural beauty attracted the artist Edward Redfield (1869–1965), who settled north of

110-470: A Fan ), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif , a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at

165-501: A Staircase , painted the year before, in which he expressed motion with successive superimposed images, as in motion pictures. Julian Street , an art critic, wrote that the work resembled "an explosion in a shingle factory" (this quote is also attributed to Joel Spingarn ), and cartoonists satirized the piece. Gutzon Borglum , one of the early organizers of the show who for a variety of reasons withdrew both his organizational prowess and his work, labeled this piece A staircase descending

220-551: A Staircase, No. 2 . Only after Davies and Kuhn returned to New York in December did they issue an invitation for American artists to participate. Pach was the only American artist to be closely affiliated with the Section d'Or group of artists, including Albert Gleizes , Jean Metzinger , Duchamp brothers Marcel Duchamp , Raymond Duchamp-Villon , Jacques Villon and others. Pach was responsible for securing loans from these painters for

275-624: A catalyst for American artists, who became more independent and created their own "artistic language." "The origins of the show lie in the emergence of progressive groups and independent exhibitions in the early 20th century (with significant French precedents), which challenged the aesthetic ideals, exclusionary policies, and authority of the National Academy of Design, while expanding exhibition and sales opportunities, enhancing public knowledge, and enlarging audiences for contemporary art." On December 14, 1911, an early meeting of what would become

330-569: A documentary film about the Armory Show entitled, The Great Confusion: The 1913 Armory Show . The film premiered on September 26, 2013, at the New Britain Museum of American Art in New Britain, Connecticut . Below is a partial list of the artists in the show. These artists are all listed in the 50th anniversary catalog as having exhibited in the original 1913 Armory show. Women artists in

385-642: A key movement in American Impressionism, influenced major artists such as Walter Schofield (1867–1944), George Sotter (1879–1953) and Henry Snell (1858–1943). William Langson Lathrop purchased the Phillips Mill property to use as a venue to hold galleries and exhibitions. Modernist Lloyd R. Ney submitted a painting of the New Hope canal. Lathrop threatened to reject the painting because the colors were too disturbing. Charles Ramsey, Lloyd Ney's good friend,

440-641: A lack of space, all the work by American artists was removed. While in Chicago, the exhibition created a scandal that reached the governor's office. Several articles in the press recounted the issue. In one newspaper the headline read: Cubist Art Will be Investigated; Illinois Legislative Investigators to Probe the Moral Tone of the Much Touted Art : Chicago, April 2: Charges that the international exhibition of cubist and futurist pictures, now being displayed here at

495-637: A nude , while J. F. Griswold, a writer for the New York Evening Sun , entitled it The rude descending a staircase (Rush hour in the subway) . The painting was purchased from the Armory Show by Frederic C. Torrey of San Francisco. 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

550-525: A play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois , where paintings by Marcel Duchamp, Metzinger ( Woman with

605-477: A professional coalition: AAPS. They intended the organization to "lead the public taste in art, rather than follow it." Other founding AAPS members included D. Putnam Brinley , Gutzon Borglum , John Frederick Mowbray-Clarke , Leon Dabo , William J. Glackens , Ernest Lawson , Jonas Lie , George Luks , Karl Anderson, James E.Fraser , Allen Tucker , and J. Alden Weir . AAPS was to be dedicated to creating new exhibition opportunities for young artists outside of

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660-485: A series of performance art presentations that united artists and engineers. Ten artists worked with more than 30 engineers to produce art performances incorporating new technology. The performances were held in the 69th Regiment Armory , as an homage to the original and historical 1913 Armory show. In February 2009, the Art Dealers Association of America (ADAA) presented its 21st annual Art Show to benefit

715-468: A strong commercial bent. Many exhibitions in 2013 celebrated the 100th anniversary of the 1913 Armory Show, as well as a number of publications, virtual exhibitions, and programs. The first exhibition, "The New Spirit: American Art in the Armory Show, 1913," opened at the Montclair Art Museum on February 17, 2013, a hundred years to the day from the original. The second exhibition was organized by

770-558: 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

825-739: The Baum School of Art and the Allentown Art Museum , would serve to expand the influence of the movement out of Bucks County and into Lehigh County , specifically Allentown and the Lehigh Valley , where the movement continued to flourish into the 1940s and 1950s. Today, this group of artists is collectively known as the Baum Circle . Pennsylvania Impressionist painters include: William Langson Lathrop William Langson Lathrop (pronounced "LAY-throp") (March 29, 1859 – September 21, 1938)

880-593: The Delaware River in 1930. Lathrop, an able sailor, piloted the boat into the coastal waters of the enjoining Atlantic Ocean . He continued sailing for pleasure in his later years, and painted scenes of the Atlantic shoreline and once entertained Albert Einstein on board as a guest. On September 21, 1938, Lathrop was piloting his boat around eastern Mountauk Point in Long Island when word came of an approaching hurricane . Far from safe harbor, Lathrop chose to ride out

935-673: The Delaware River in Bucks County, Pennsylvania. Lathrop often invited his students to join him on his barge, which he called "Sunshine," offering the students an opportunity to sketch the passing landscape. Similar to William Merritt Chase 's classes in the Shinnecock Hills of Long Island and L. Birge Harrison 's landscape classes for the Art Students League in Woodstock, New York , Lathrop's outdoor landscape painting classes laid

990-681: The Henry Street Settlement , at the Seventh Regiment Armory , located between 66th and 67th Streets and Park and Lexington Avenues in New York City. The exhibition began as a historical homage to the original 1913 Armory Show. Starting with a small exhibition in 1994, by 2001 The Armory Show , now held at the Javits Center , evolved into a "hugely entertaining" ( The New York Times ) annual contemporary arts festival with

1045-655: The International Exhibition of Modern Art , was organized by the Association of American Painters and Sculptors. 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

1100-722: The Munson-Williams-Proctor Arts Institute in Utica, New York , organized the "1913 Armory Show 50th Anniversary Exhibition" sponsored by the Henry Street Settlement in New York, which included more than 300 works. Experiments in Art and Technology (E.A.T.) was officially launched by the engineers Billy Klüver and Fred Waldhauer and the artists Robert Rauschenberg and Robert Whitman when they collaborated in 1966 and together organized 9 Evenings: Theatre and Engineering ,

1155-677: The New-York Historical Society and titled "The Armory Show at 100," taking place from October 18, 2013, through February 23, 2014. The Smithsonian's Archives of American Art , which lent dozens of historic documents to both the New York Historical Society and Montclair for the exhibitions, created an online timeline of events, 1913 Armory Show: the Story in Primary Sources, to showcase the records and documents created by

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1210-714: The 1909 Payne–Aldrich Tariff Act , which retained the duty on foreign works of art less than 20 years old, discouraging Americans from collecting modern European art. Quinn opened the Armory Show exhibition with the words: ... it was time the American people had an opportunity to see and judge for themselves concerning the work of the Europeans who are creating a new art. The Armory Show displayed some 1,300 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist , Fauvist , and Cubist works were represented. The publicity that stormed

1265-562: The Armory Show includes those from the United States and from Europe. Approximately a fifth of the artists showing at the armory were women, many of whom have since been neglected. At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme" , written during

1320-595: The Armory Show. Most of the artists in Paris who sent works to the Armory Show knew Pach personally and entrusted their works to him. The Armory Show was the first, and ultimately the only exhibition mounted by the AAPS. In 1913, the art collector and lawyer John Quinn fought to overturn censorship laws restricting modern art and literature from entering the United States. He convinced the United States Congress to overturn

1375-584: The Association of American Painters and Sculptors (AAPS) was organized at Madison Gallery in New York. Four artists met to discuss the contemporary art scene in the United States, and the possibilities of organizing exhibitions of progressive artworks by living American and foreign artists, favoring works ignored or rejected by current exhibitions. The meeting included Henry Fitch Taylor , Jerome Myers , Elmer Livingston MacRae and Walt Kuhn . In January 1912, Walt Kuhn , Walter Pach , and Arthur B. Davies joined with some two dozen of their colleagues to reinforce

1430-857: The Delaware River. The group exhibited their work together and were representative of the influential Pennsylvania Impressionism school of landscape painting. The New Hope Group only exhibited from 1916 to 1917. With the exception of Redfield, however, they formed the early core of this school, exhibiting at Cincinnati Art Museum in Cincinnati , Detroit Art Institute in Detroit , Corcoran Gallery in Washington, D.C. , Carnegie Museums in Pittsburgh , Arlington Gallery in New York City , and other places. Lathrop

1485-689: The Netherlands, and France, visiting galleries, collections and studios and contracting for loans as he went. While in Paris Kuhn met up with Pach, who knew the art scene there intimately, and was friends with Marcel Duchamp and Henri Matisse ; Davies joined them there in November 1912. Together they secured three paintings that would end up being among the Armory Show's most famous and polarizing: Matisse's Blue Nude (Souvenir de Biskra) and Madras Rouge ( Red Madras Headdress ), and Duchamp's Nude Descending

1540-594: The Pennsylvania Impressionism movement. Similar to the French impressionist movement, Pennsylvania Impressionist art was characterized by an interest in the quality of color, light, and the time of day. This group of artists usually painted en plein air (outdoors) to capture the moment. According to the James A. Michener Art Museum ’s senior curator Brian Peterson, “what most characterized Pennsylvania impressionism

1595-657: The area after the initial arrivals were Josef Zenk (1904–2000), Bror Julius Olsson Nordfeldt (1878–1955), Swiss–born Joseph Meierhans (1890–1980), Clarence Carter (1904–2000), and Richard Peter Hoffman (1911–1997). Finally, there were the “Last Ten." These ten women artists consisted of Fern Coppedge (1883–1951) and Mary Elizabeth Price (1877–1965) from New Hope, as well as Nancy Maybin Ferguson (1869–1967), Emma Fordyce MacRae (1887–1974), Eleanor Abrams (1885–1967), Constance Cochrane (1888–1962), and Theresa Bernstein (1890–2002). These women influenced many other women to join

1650-722: The area was Daniel Garber (1880–1958), who came to New Hope in 1907. Garber hated painting winter scenes and applied his paint lightly. He was an instructor at the Pennsylvania Academy of the Fine Arts in Philadelphia and popularized rain paintings. As more artists came to the colony, the artists formed art groups with different ideas. The two main groups were the Impressionists and the Modernists . The Pennsylvania Impressionists,

1705-470: The art institute, contains many indecent canvasses and sculptures will be investigated at once by the Illinois legislature white slave commission. A visit of an investigator to the show and his report on the pictures caused Lieutenant Governor Barratt O'Hara to order an immediate examination of the entire exhibition. Mr. O'Hara sent the investigator to look over the pictures after he had received many complaints of

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1760-478: The assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room , from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy

1815-406: The character of the show. "We will not condemn the international exhibit without an impartial investigation," said the lieutenant governor today. "I have received many complaints, however, and we owe it to the public that the subject be looked into thoroughly." The investigator reported that a number of the pictures were "immoral and suggestive." Senators Woodward and Beall of the commission will visit

1870-484: The established New York museums, but among the younger artists represented, Cézanne was already an established master. Duchamp's brother, who went by the " nom de guerre " Jacques Villon , also exhibited, sold all his Cubist drypoint etchings, and struck a sympathetic chord with New York collectors who supported him in the following decades. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston, where, due to

1925-581: The exhibition seriously in his published cartoon, "A slight attack of third dimentia brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York". About the modern works, former President Theodore Roosevelt declared, "That's not art!" The civil authorities did not, however, close down or otherwise interfere with the show. Among the scandalously radical works of art, pride of place goes to Marcel Duchamp 's cubist / futurist style Nude Descending

1980-467: The exhibition today. The following shows the content of each gallery: The original exhibition was an overwhelming success. There have been several exhibitions that were celebrations of its legacy throughout the 20th century. In 1944 the Cincinnati Art Museum mounted a smaller version, in 1958 Amherst College held an exhibition of 62 works, 41 of which were in the original show, and in 1963

2035-399: The existing academic boundaries, as well as to providing educational art experiences for the American public. Davies served as president of AAPS, with Kuhn acting as secretary. The AAPS members spent more than a year planning their first project: the International Exhibition of Modern Art, a show of giant proportions, unlike any New York had seen. The 69th Regiment Armory was settled on as

2090-479: The items drawn from the museum's modern collection that were displayed in the original 1913 exhibition. The DePaul Art Museum in Chicago, Illinois presented For and Against Modern Art: The Armory Show +100 , from April 4 to June 16, 2013. The International Print Center in New York held an exhibition, "1913 Armory Show Revisited: the Artists and their Prints," of prints from the show or by artists whose work in other media

2145-604: The late 1870s as an illustrator and part-time etcher , but neither earned him much money. After traveling to Europe in the 1880s, Lathrop returned to the United States, where he endured financial difficulty and briefly turned away from art before friends convinced him to enter his watercolors in a prestigious New York City show. Lathrop received the top prize and a glowing review in The New York Times , which launched his career. In 1899, Lathrop and several art students studying under him relocated to New Hope, Pennsylvania along

2200-646: The main site for the exhibition in the spring of 1912, rented for a fee of $ 5,000, plus an additional $ 500 for additional personnel. It was confirmed that the show would later travel to Chicago and Boston. Once the space had been secured, the most complicated planning task was selecting the art for the show, particularly after the decision was made to include a large proportion of vanguard European work, most of which had never been seen by an American audience. In September 1912, Kuhn left for an extended collecting tour through Europe, including stops at cities in England, Germany,

2255-566: The major American artists of the time. Lathrop's paintings are now on display in multiple museums, including the Metropolitan Museum of Art in New York City and the Smithsonian American Art Museum in Washington, D.C. Lathrop was born in Painesville, Ohio and grew up on his family's farm. He spent his childhood along the shores of Lake Erie , where he learned to sail. Lathrop began his art career in New York City in

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2310-435: The mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism   ...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating

2365-633: The movement as the Late Pennsylvania School , those artists that "came to prominence in Bucks County after 1915 or after the Armory Show and the Panama–Pacific International Exposition ." According to Folk, the three most notable artists in this group were John Fulton Folinsbee , Walter Emerson Baum and George Sotter . One of the artists, Walter Emerson Baum, worked as a teacher and educator and through his founding of

2420-607: The seeds for the development of an American art colony. For more than thirty years, Lathrop pursued landscape painting in New Hope, exhibiting his works in galleries across the nation. During this time Lathrop's painting style evolved from tonalist , characterized by darker colors and an emphasis on mood, to the brighter impressionist paintings for which he is best remembered today. In 1916, six local artists formed "The New Hope Group," including Lathrop, Charles Rosen , Daniel Garber , Morgan Colt , Rae Sloan Bredin , and Robert Spencer . All lived in close proximity to each other near

2475-404: The show had been well sought, with the publication of half-tone postcards of 57 works, including the Duchamp nude that would become its most infamous. News reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels, and mock exhibitions. Some responded with laughter, as the artist John French Sloan seemed to not take

2530-533: The show's organizers. Showing contemporary work, a third exhibition, The Fountain Art Fair, was held at the 69th Regiment Armory itself during the 100th anniversary during March 8–10, 2013. The ethos of Fountain Art Fair was inspired by Duchamp's famous "Fountain" which was the symbol of the Fair. The Art Institute of Chicago , which was the only museum to host the 1913 Armory Show, presented works February 20 – May 12, 2013,

2585-409: The storm in a sheltered bay. While The Widge survived the storm, Lathrop's body was recovered along the shoreline a month later. Eyewitness accounts of Lathrop from occupants of nearby boats suggest he may have died of a heart attack during the storm, and been blown or washed from his boat. However, his last painting survived the hurricane. Armory Show The 1913 Armory Show , also known as

2640-455: The town. Redfield painted nature in bold and vibrant colors, and was a pioneer of the realistic painting of winter in America. Lathrop's thick layering distinguished him from his contemporaries, and he amassed more honors and awards than any other artist in the New Hope colony. His style is distinguished by its color, light, and usual time of day when painting. The third major artist to settle in

2695-548: Was an American Impressionist landscape painter and founder of the art colony in New Hope, Pennsylvania , where he was an influential founder of Pennsylvania Impressionism . Lathrop was a member of the National Academy of Design and served on numerous exhibition juries during his career. He received a gold medal at the Panama–Pacific International Exposition (1915) in San Francisco , which showcased works by many of

2750-747: Was disturbed by this comment and formed the “New Group.” This group rebelled against the traditional impressionists, hosting its inaugural show the day before the Phillips Mill Exhibition on May 16, 1930. Many years later, a flood of artists came to Pennsylvania because of Garber's influence. This group included artists such as Robert A. Darrah Miller (1905–1966), Peter Keenan (1896–1952), Charles Evans (1907–1992), Henry Baker (1900–1957), Richard Wedderspoon (1889–1976), Carl Lindborg (1903–1994), Frederick Harer (1879–1947), Faye Swengel Badura (1904–1991), Louis Stone (1902–1984), and Charles Ward (1900–1962). Other important modernist painters to later settle in

2805-487: Was hostess to large numbers of visitors at her Sunday afternoon teas, which included Margaret Fulton Spencer and other artists who eventually moved to the area to study under Lanthrop. Charles Rosen, Robert Spencer, Rae Sloan Bredin, Mary Elizabeth Price, and John Folinsbee were frequent visitors. In the late 1920s, Lathrop hand-built a wooden boat in his backyard and named it The Widge . Measuring over twenty feet in length, Lathrop and his friends launched The Widge into

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2860-652: Was included. In addition, the Greenwich Historical Society presented The New Spirit and the Cos Cob Art Colony: Before and After the Armory Show , from October 9, 2013, through January 12, 2014. The show focused on the effects of the Armory Show on the Cos Cob Art Colony , and highlighted the involvement of artists such as Elmer Livingston MacRae and Henry Fitch Taylor in producing the show. American filmmaker Michael Maglaras produced

2915-477: Was instrumental in the founding of Phillips Mill , an 18th-century stone mill that became the leading exhibition location for the New Hope Art Colony of Pennsylvania impressionists. The mill was located opposite Lathrop's home on River Road, north of New Hope. In October 1928, local artist William Taylor was appointed to head a subscription committee for the purchase of the mill as a community center. The mill

2970-418: Was not a single, unified style but rather the emergence of many mature, distinctive voices: Daniel Garber's luminous, poetic renditions of the Delaware River; Fern Coppedge's colorful village scenes; Robert Spencer 's lyrical views of mills and tenements; John Folinsbee's moody, expressionistic snowscapes; and William L. Lathrop's deeply felt, evocative Bucks County vistas." Art historian Thomas C. Folk defines

3025-430: Was purchased for $ 5,000.00, and Lathrop became the mill's first president. In the late 1880s, Lathrop traveled to Europe, where he met and married his wife, Annie. Their children included Julian W. Lanthrop, Joseoph Lanthrop, and Mrs. Rols Bauhan. In 1899, Lathrop and his family moved to New Hope, Pennsylvania , where they resided on River Road near the present-day Phillips Mill Historic District . Lanthrop's wife Annie

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