_Back of woman_ 206 METZINGER, _The taster_ 60 MÜNTER, _The boat ride_ 172 _The white wall_ 173 PICABIA, _Dance at the spring_ 68 PICASSO, _Woman with mandolin_ 74 _The poet_ 75 _Drawing_ 100 _Old woman_ 140 ROUSSEAU, _Portrait of self_ 12 _Landscape_ 13 RUSSOLO, _Rebellion_ 178 SEGONZAC, _Pasturage_ 182 _Forest_ 192 SEVERINI, _The milliner_ 80 VAN GOGH, _Portrait of self_ 40 _Cafe_ 56 _Woman with frying pan_ 120 _Chair with pipe_ 121 VAN REES, _Still life_ 89 _Maternity_ 168 VILLON, _Young girl_ 32 VLAMINCK, _Village_ 136 WEREFKIN, _The country road_ 52 ZAK, _The shepherd_ 8 CUBISTS AND POST-IMPRESSIONISM ALAS! ALAS!! “It is unlikely that any painters will ever again have to face the hostility which was manifested against the Impressionists. The repetition of such a phenomenon would be impossible. The case of the Impressionists, in which withering scorn yielded place to admiration, has put criticism on its guard. It will surely stand as a warning, and ought to prevent the recurrence of a similar outburst of indignation against the innovators and independents whom time may yet bring forth.” --“Manet and the French Impressionists,” by Theodore Duret, pp. 180, 181. Cubists and Post-Impressionism I A SENSATION Since the exhibit at the Columbian Exposition (1893) nothing has happened in the world of American art so stimulating as the recent INTERNATIONAL EXHIBITION OF MODERN ART. New York and Chicago, spring of 1913.[1]