Bechtejeff, 47, 111 Bell, Mrs., 48 Bellows, 1 Berlin, new movement in, 47 Bernard, 36, 43 Blaue Reiters, organization of, 112 Blue Riders, 55 Boccioni, 179; exhibition in Paris, 184-185 Borghlum, 203 Borgmeyer, 21 Bossi, 111 Bourget, Paul, style obsolete, 170 Bracque, 47, 112 Brancusi, 182, 204; article on his sculpture, 183; “Sleeping Muse,” 182-183 Bloch, 115 Books in French and German, 107 Breton, protest against Cubist pictures, 51 Brinley, 1 Browning clubs, 108 Browning, ridicule of, 60 Burljuk, 47, 112 Cardoza, 200 Carter, 64 Cézanne and Cubism, 43, 81; and Gauguin, 42; leaders of Post-Impressionism, 28; a painter’s painter, 209; and substance of things, 35; a substantial Impressionist, 208-210; and the Impressionists, 35; career of, 36; compared with Monet, 195; method of work, 36-37; scientific theories, 43 Chabaud and Millet, 15 Charmy, 200 _Chicago Tribune_, article on London Exhibition, 55 Chicago Symphony Orchestra, 9 Chilton-Brock, 30, 31, 40 Chinanpin, 147-149 Chinese art, blue hair, 151; esoragoto, 147 Chinese painting, 30; four warnings, 153; perspective in, 78; principles of, 147-149 Cinematograph, secret of popularity, 170-171 Civilization, material and spiritual, 144 Clarke, 1 Color, compositions of, 91; effects in theater, 142-143; harmonies, 12, 95, 146; in offices, 162; music, 140-146 (see Music); notes of in still lifes, 145 Colors used arbitrarily, 151-152; used constructively, 37-38, 42; used decoratively, 93, 144-5; used imitatively, 93, 146 Color waves, 143 Columbian Exposition, 1, 3 Compenetration of planes in Futurism, 185-186 Compositionalists, 13 Compositional painting, 124-128; no radical departure, 137 Conservative and radical tendencies in exhibitions, 57, 58 Convictions, the courage of, 7-8 Corot, ridiculed in France, 8 Courbet and followers, 11-12, 17 Cramer, 49 Creative art, 30 Critic, the ideal art critic, 134 Criticism of great masters, 155-156; rage against great painters, 11, 12; two comments, 214-220; violent, 61 Cubism, and broad technic, 80; and Futurism, 173-174; and geometrical figures, 80-81; a misleading term, 82; and sincerity, 158; and the substance of things, 98; attitude of observer, 32; derivation of name, 67; development and exhibitions of, 67-68; drawings by first year art students, 73; effect on American art, 109; explanation of by Picabia, 95-98; explained by music, 106; Gleizes and Metzinger’s book, 103; is it art? 86-87; its technical side, 72; largely esoragoto, 158; no object to help out picture, 159; not a plea for, 65; “Nude Descending the Stairs,” 164; one form of prevailing reaction, 31; significance of new movement, 66; the different tendencies described, 68-70; the elemental in, 78; the theory of, 90; transparency of objects, 180-182; two extremes, 69; what is it? 60; when a puzzle, 69; will pass away,67