The second exhibition, held in the fall of the following year, brought the members into contact with a large number of outside artists, some of whom have become of great importance in the new art, and most of whom were, up to that time, unknown in Germany. These were the Germans, Hermann Haller, Bernhard Hoetger, Eugen Kahler, Adolf Nieder; the Frenchmen, Georges Bracque, André Derain, Kees Van Dongen, Francisco Durio, Pablo Picasso, Georges Rouault, and Maurice de Vlaminck; finally, the Russians, Mogilewsky, David and Wladimir Burljuk, and Seraphim Sudbinin. This was the first exhibition at which it was possible to rightly estimate the development and the international character of the new movement. The preparations for the exhibition in the year 1911 led to a split. Some of the members insisted that, as regarded their works, the custom of a jury should be dispensed with, while others were in favor of having the entries rigidly judged in order to insure proper selection. Kandinsky, Kubin, Marc, and Gabriele Münter in consequence announced their withdrawal from the federation. Thus a difference of opinion and convictions was openly vented that had existed in secret for quite a time. The members named, under the name of “Redaktion des Blauen Reiters,” opened a separate exhibition and have since continued to work under this banner. The New Artists’ Federation, since its third exhibition in 1912, has held a series of exhibits of the works of individual artists in its rooms at Munich, and its members are represented at nearly all important exhibitions in Germany and Switzerland.[45] * * * * * The key-note of the modern movement in art is _expression of self_; that is, the expression of one’s _inner self_ as distinguished from the representation of the outer world. * * * * * [Illustration: MATISSE Woman in Red Madras] I have before me six of Jawlensky’s heads, painted a year or so apart. They range from almost conventional portrait studies in strong impressionistic manner to heads very like Matisse’s “Madras Rouge,” thence to the head reproduced, which was the last painted. The series shows an interesting development of the painter’s _convictions_, his technic remains essentially the same, facile and competent, only the latest picture places a much greater stress upon his resources. It was apparent from things in his studio, canvases ten or twelve years old, that he could have made a commercial success as a painter of portraits. * * * * * To say that Jawlensky’s latest heads with their strange, expressive, exaggerated eyes are not wholly new one has only to turn to any work on Greek painting wherein are reproduced some of the encaustic and tempera portraits found in the Fayum some twenty-odd years ago.