Visual music, 117 Vitality, a new art, 154 Vlaminck, 47, 112, 200 Wagner and Ruskin, 61; Ruskin’s ridicule, 60 Werefkin, 47, 111, 114 Whistler, 4, 11; as a Post-Impressionist, 18; as an Impressionist, 18; and Sargent and realistic Impressionism, 208; compared with Sargent, 193; forerunner of Post-Impressionism, 13; his literal moods, 17; master of technic, 14; on level with Chinese masters, 103; suit against Ruskin, 13 Whitman, ridicule of, 60 Wittenstein, 111 Young, 1 Youth, and new experiments, 66; radicalisms of, 61 Zak, 200 Zorach, 49 FOOTNOTES: [1] The names of the men who, in a spirit of disinterested devotion to art, organized this exhibition should not be forgotten. They were: Arthur B. Davies, J. Mowbray Clarke, Elmer L. McRae, Walt Kuhn, Karl Anderson, George Bellows, D. Putnam Brinley, Leon Dabo, Jo Davidson, Guy Pene DuBois, Sherry E. Fry, William J. Glackens, Robert Henri, E. A. Kramer, Ernest Lawson, Jonas Lie, George B. Luks, Jerome Myers, Frank A. Nankivell, Bruce Porter, Walter Pach, Maurice Prendergast, John Sloan, Henry Fitch Taylor, Allen Tucker, Mahonri Young. For detailed account of earlier exhibitions held by Mr. Alfred Stieglitz--the real pioneer--in the Photo-Secession Gallery, 291 Fifth Ave., New York, see Appendix.¹ [2] “Revolution in Art,” by Frank Rutter, pp. 14, 15. [3] Five short pieces of the music by Arnold Schoenberg were played for the first time in Chicago, December 31, 1913, by the Chicago Symphony Orchestra. “Had Mr. Richard Swiveller been present at the performance of the new Stravinsky-Nijinsky ballet, ‘Le Sacre du Printemps,’ at Drury Lane on Friday night he would certainly have pronounced it ‘a staggerer.’ Both the music of M. Stravinsky and the choreography of M. Nijinsky are more defiantly anarchical than anything we have ever had before, and the purport of it all was a dark mystery, even though Mr. Edwin Evans was deputed to throw light on it in a long explanatory prologue. As every one knows by this time, M. Nijinsky is the apostle of a sort of ‘post-impressionist’ or ‘Cubist’ revolution of the dance, in which mere gracefulness is ruthlessly sacrificed to significance and force of expression, and everything is stated in terms of symbolism, and in the new ballet he seems to have carried his theories into the most extreme practice.... M. Stravinsky seems as determined to make the hearer sit up as his colleague. Save that he condescends to regular rhythms, his music is the last word in emancipation from form and the cacophony of it is at times distressing.”--(London Sunday Times, July 13, 1913, from its article on the new Russian ballet, the sensation of the season.) [4] “Manet and the French Impressionists,” by Theodore Duret, Introduction. [5] Testimony of Whistler in suit of “Whistler v. Ruskin.”