By Matthew Joseph Bruccoli
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Extra info for American Decades 1910-1919 (American Decades)
Other Cubist works, including those by Picasso and Picabia, were better received. Some conservative art critics defended the standards of the Na- A M E R I C A N D E C A D E S : 1910-1919 tional Academy of Design and dismissed the Armory Show. Kenyon Cox wrote, "I have no fear that this kind of art will prevail, or even that it can long endure," but overall public response to the show was enthusiastic. ili The Middle Years of the Decade. Later in the spring of 1913 the Armory Show traveled to Chicago, and a truncated version went to Boston.
Dozens of new galleries were founded to display the new art, and exhibitions were mounted not just in New York but also in Cleveland, Pittsburgh, Baltimore, and other cities. The Independents' Show of 1917 and Beyond. Internal dissension led to the breakup of the Association of American Painters and Sculptors in 1916. Later that year the Society of Independent Artists was founded with the same goal as the AAPS, discovering and advancing new styles and artists. Its first exhibition, in 1917, was bigger than the Armory Show.
Reviewers called the show an event not to be missed, and over the next month some seventy-five thousand viewers came to see it. The Shows at 291. Stieglitz's gallery was the first to exhibit the abstract paintings of Arthur Dove and the Cubist paintings of Marsden Hartley, Max Weber, and Charles Demuth — all Americans. Other American artists who had their first solo exhibits at 291 included painters Pamela Colman Smith, John Marin, and Georgia O'Keeffe and photographer Paul Strand. Between 1910 and 1913 the gallery also introduced to American audiences several important European artists, including sculptors Auguste Rodin and Constantin Brancusi and painters Henri Matisse, Marius De Zayas, Henri de Toulouse-Lautrec, Henri Rousseau, Paul Cézanne, Pablo Picasso, and Francis Picabia.