_Substantial_ Impressionism leads naturally to substantial Post-Impressionism; or in other words, the _substance_ of things painted impressionistically (more or less imitatively) leads logically to the painting of the _substance_ of things _creatively_ = _Post_-Impressionistically. [Illustration: KROLL Still Life ] APPENDIX I EXHIBITIONS AT 291 FIFTH AVENUE During a number of years prior to 1913 Mr. Alfred Stieglitz gave exhibitions of extreme modern work in his Small Photo-Secession Gallery, 291 Fifth Avenue, New York, and the International was the outcome, the logical culmination of these earlier efforts. Mr. Stieglitz prepared the following chronological narrative: In the end of November, 1906, “291” (“Photo-Secession Gallery,” “Little Gallery,” etc., etc.) was opened with an exhibition of pictorial photography. The exhibition represented the best work of Steichen, Frank Eugene, Kasebier, Clarence White, Stieglitz, Coburn, Brigman, Herbert G. French, and about thirty others, all Americans. This exhibition was followed up by a series of exhibitions--usually one-man--of the picked work which had been done in pictorial photography the world over. In 1907 the first exhibition not devoted to photography was that of Miss Pamela Coleman Smith. This exhibition created a sensation. At the time it aroused the ire of most of the New York critics. Following this there were shown Willie Geiger’s (Munich) best etchings and Ex Libris. This was the first show of his in America. But the real beginning, I suppose, of the so-called _Modern_ work shown at “291” was the exhibition of about sixty of Rodin’s choicest drawings. These were selected by Rodin and Steichen for the special exhibition. The exhibition aroused intense indignation in New York amongst the critics and amongst most painters (men like Chase, Alexander, and others of this type feeling that such things were not meant for the public). April, 1908, Matisse was introduced to the American public for the first time. This exhibition of Matisse’s represented the complete evolution of Matisse from his academic period up to date. It included etchings, drawings, water colors, lithographs, and oil paintings. January, 1909, the work of Marius De Zayas was introduced for the first time. March, 1909, John Marin and Alfred Maurer (the “new” Maurer) were introduced. The work of these Americans seemed to upset the equilibrium of the academicians even more than the “jokes” of Rodin and Matisse. May, 1909, Marsden Hartley was introduced to the public for the first time. December, 1909, Toulouse Lautrec Exhibition. A very choice collection of his lithographs. First Lautrec Exhibition in America. February, 1910, second Marin Exhibition.