NEW YORK REALISTS

1 9 0 0 - 1 9 1 4

H U H ROBERT ENRI , GEORGE L KS , JO N SLOAN

$

W I LL I A M G LACKEN S , ERN ES T L AWS ON

V SHINN GEORGE BELLOWS , E ERETT f GLENN

O AND GUY P DU . COLEMAN ENE BOIS

FEBRU RY $I$ H TO R H 5TH 1 3 A Q MA C , 9 7

WH I TN EY MU SEU M O F AMER IC A N A RT TEN WES T E IG H T H S TREE T NEW YORK

F O R E WO R D

TH E title Realists is perhaps too confining a term under which to group such individualists as the nine artists whose work is represented in this exhibition . But considered in relation to the more academic school of the early years of

si nifi the century , the word might justly claim a special g cance . All these men had this in common $ that they turned directly to nature and did not scorn any phase of the

f r human scene as fit subjects o their art . Space does not allow the inclusion of other distinguished artists who also were associated with this group $ but the nine men in the present exhibition may be considered as representative of a Vital and significant phase of American art .

INTRODU CTION

E do not with sufficient plainness or sufficient profoundness address

circum f ourselves to life , nor dare we chant our times and social

a . ff M st nce Banks and tari s , the newspaper and the caucus , ethodism

U $at foun f and nitarianism , are and dull to dull people , but rest on the same

of of dations wonder as the town of Troy , and the temple Delphos , and are as swiftly passing away . More than half a century was to elapse before a group of artists appeared ’ f who were to embody Emerson s admonition in their work and aesthetic belie s .

True , individual artists had chanted their own times and circumstances M Wyant , Homer artin , Winslow Homer , and Thomas Eakins , to mention a few— of but it was not until the turn the century that a school appeared , dedicated to the ideal that the artist must paint the life he knew best if a genuine American art was to develop . of Six founder members this school , John Sloan , Robert Henri , William

Glackens , Everett Shinn , George Luks and Ernest Lawson , together with three of e du the younger men , George Bellows , Glenn Coleman and Guy P ne Bois , who as pupils of Robert Henri were soon to be associated with the move ment— are now represented at the Whitney Museum in the first compre hensive resume of their work assembled since they joined together , in the

f . decade be ore the war , as proselyters for a new day in American art Although of five the group continue to be active participants in the art world , the work exhibited is confined to the pre /war decade when to be a realist and paint the American scene was to be regarded as an iconoclastic radical .

Curiously enough , because of the war and the aesthetic innovations which

re f war of coincided with it , this p realism has become one those forgotten

l , periods which sometimes occur in the history of art , neg ected because con for temporary taste looks elsewhere inspiration , or because it has not as yet been invested with period patine . The generation which made the daring f experiments of the period a ter the Armory show , could not be expected to concede aesthetic trail /blazing to a group whose radicalism went no further

/ than the choosing of unorthodox subject matter . But as time gives perspective of to our judgments , it becomes increasingly evident that the moderns the first

Roosevelt era represented an historic chapter in American art , to which we For owe a great debt . not only did they prepare the way for the inquiring liberal spirit which made the modern movement an inevitable next step , but they implanted in our subconscious minds the belief that all significant art has its roots deep in the soil that produced the artist , and that we must link our s present with our past . And they also sowed the eeds for that integration of art and society that has become so vital an issue today . The first opportunity for revaluing the pre f war chapter comes at a singularly l auspicious moment . A quickened sense of social responsibi ity characterizes political and economic life , a responsibility which includes the obligation to

neces ' preserve the art spirit as an essential leaven in our society . It is scarcely “ sary to comment upon the going American trend of the past decade . A younger generation may recognize that many of the precepts by which they steer their course were charted by the group which rallied about Robert Henri in the decade before the war . For the Tolstoian precept that art should be a means of uniting men , was expressed by Henri with his characteristic mingling of pithy simi le and abstract “ idealism when he said $ To have an art in America will not be to sit like a pack rat on a pile of collected art of the past . It will be rather to build our own

constructivef projection on the art of the past , wherever it may be , and for this ness , the artist , the man of means , and the man on the street should go hand in l i hand . And to have art in America like this will mean greater iv ng , a greater humanity , a finer sense of relation through all things . Of n the nine artists in the present exhibition , six were members of the origi al The a group entitled Eight , who , as represent tives of the new evangel , held their first exhibition at the Macbeth Galleries in 1 908 . Arthur B . Davies and

M exhi f aurice Prendergast , the other members , are not included in the present bition , for although they were subscribers to the same principles , the romantic quality of their work sets them apart from the others . Ernest Lawson , for all his lyric impressionism , is included because he was among the first to sense the of New Y beauty ork , and to recognize that it rested on the same foundations

of wonder as the town of Troy . f The act that Henri , Luks , Glackens , Shinn and Sloan came from Philadelphia is perhaps not so curious when one remembers that Philadelphia produced

Thomas Eakins , whose life and work embodied the principles which were to of become the fighting slogans of his younger fellow townsmen . All them ’ studied at the Pennsylvania Academy school under Thomas Anschutz , Eakins

6 ’

pupil and colleague , who transmitted something of Eakins philosophy . But that each of them chose to cast his lot finally and unregretfully with the United States when the tendency was to imitate European art and to spend long periods of of study there , was due not so much to their training as to the clairvoyance the creative temperament which so frequently has access to the mood of a time f be ore that mood is recognized . of With the single exception Henri , the Philadelphians commenced their

r es s careers as pictorial reporters for the Philadelphia P , an apprenticeship which f has so requently served as a training school for American painters , notably

Homer . All of them , however , with the exception of John Sloan , had some New Y European experience . When they moved to ork , which was to become

/ the battle ground for their radical ideas , they enraged a public which had accepted William Dean Howells ’ dictum that “ the smiling aspects of life were of a the more American , by depicting it with the ironic realism a D umier or

a Lautrec .

of , The exhibition , however , disposes the misconception that these first prose l yters for a native school pictured American themes in the style ofa Manet or a f Daumier . It is obvious that they derived inspiration rom them , that the great European historians of manners opened their eyes to the possibilities of using — inf native material for similar purposes that Everett Shinn , for example , was

spired by Degas to observe the theatre and the circus in America , and that Henri f M owed a debt to the impressionism o anet . But the point of view remained $ personal and American . John Sloan , with no such appreciable in uences saw

i f ew f . o N Y the l fe around him with a resh , true eye His chronicles ork carry

with them no reminiscences of other versions of the human comedy . Luks was

' always inimitably himself, with his deep humanity , his ability to convey emo tional subtleties and with all his gusto and bravura . f In order to understand , from the evidence o fered by their pictures , why ff these artists were considered revolutionaries , why they o ended taste and i for of morals , it is necessary to rev ew a moment the point view which prevailed “ of of in the art world at that time . Translated into terms art , smiling aspects $ f / li e signified posed studio models , sweet impressionistic landscapes , or senti “ ’ $ a enr ment l g e. When John Sloan painted McSorl ey s Bar and George Luks pictured street children dancing to a hand organ and George Bellows found for material art on the East River waterfront , this complacency was disturbed . The pictures vaguely suggested a questioning of the rightness of the social order and they showed a dangerous unaccustomed mingling of art and life .

“ $ “ $ / The group was variously nicknamed the Black Gang , the Ash can School

“ $ and Apostles of Ugliness .

This effort to break through the sweetnes s /and f light attitude which prevailed a in the arts had its parallel in the social and politic l world . Theodore Roosevelt

of was wielding the big stick against graft and privilege , the cause the common $ $ man against organized corporate power was re ected in muckraking articles , and novels of the When Knighthood wa s in F l ower type were being superseded ’ by Dreiser s social documents . And Robert Henri was preaching his radical doctrine that the artist too must go to the life about him for his material and that he had the right to choose from life whatever aspect stirred him to creative

“ ’ impulse . It isn t the subject that counts but what you feel about it . This was a heady theory for the youth of a generation taught that technique

’ (brush work we called it in the Chase class) was a painter s end and aim . The

Henri class became the rallying ground for eager youth . Because Henri was the spokesman for the movement , and because he was a great teacher , the events of this period are so largely associated with his name . When we packed our paint boxes and journeyed north from the then conservative classes of the

a League to the new Henri School in the Lincoln Arcade , it was equiv lent to throwing our gauntlets in the face of the old order . And the ingenuous belief did exist among the students that we were mildly socialistic because of our f e forts to paint reality . Slum subjects were preferable to the more smiling aspects of' life f , for somehow life seemed to low richer and freer in Bowery bars and

’ $ o p houses than at Sherry s or the Waldorf, and the mother who wrapped her baby in a tattered shawl seemed a more poignant symbol of maternity than her

more fortunate sister who could afford to buy a layette at the Lilliputian Bazaar . In the Henri School we also learned that art was only another medium for

interpreting life , and we were taught that all the arts are kindred and relevant i m to painting . Isadora Duncan , Wagner , Dostoievsk , Whitman , and E erson

M . were discussed with anet , Daumier , Eakins and Courbet Henri widened M N artistic horizons , at a time when Corot and illet stood for the ineteenth

M . Century , and onet was regarded as the supreme exponent of impressionism

F . urthermore , the average American knew little or nothing of American art Henri was the first teacher to mention Eakins $ rugged integrity and Ryder ’ s romanticism as being distinctively American . The embodiment of many of Henri ’s ideas was found in the early work of George Bellows . Born of pioneer American stock , taught in American schools ,

f of learning his first art philosophy rom Henri , Bellows was the apotheosis the In one hundred per cent American artist . his early canvases there is evidenced not only his boundless zest for life and his unerring sense ofthe dramatic instant of f li e (to borrow a phrase from Eugene Speicher) , but there is also an indication of that quality which characterized his later work— the ability to relate his material , however realistic or contemporary it might be , to some universal truth . His work also had definite social implications . Bellows believed that painting was not meant for the few but should be an interpretation of common experience possible of being shared by all . His belief in the social function of “ art is expressed in the following quotation $ All civilization and culture are the results of the creative imagination or artist quality in man . The artist is i f a the man who makes l fe more interesting or beauti ul , more underst ndable or mysterious , or probably more beautiful in the best sense . His trade is to deal

f of dis f in illimitable experience . It is there ore only importance that the artist cover whether he be an artist , and it is for society to discover what return it

$ can make to its artists . f Today when every artist has opportunities to exhibit his work , it is di ficult to understand the situation which confronted the painter with independent

. O ideas nly one exhibition medium was open to him , the academies , where if he did not pass the academic standard he was rejected . Thus Henri and the other members of the group early became propagandists for the independent

a Not ff f f re res f ide in art . that they themselves su ered particularly rom o ficial p f f f sion . It is significant o the power of their work that in spite o the uror it occasioned it passed the academic juries . The Eight were represented in official exhibitions from the outset and awards came early . A Henri landscape was bought by the Luxembourg in 1 899 and in 1 9 04 he was awarded a medal at

1 0 the Chicago Art Institute . In 9 4 Ernest Lawson received a silver medal at u . 1 0 . St Lo is , and John Sloan was given honorable mention at Pittsburgh in 9 5

1 08 1 0 In 9 , George Bellows received the Hallgarten Prize , in 9 9 he was elected

of N 1 1 ful l /fled ed an associate the ational Academy , and in 9 3 was made a g

Academician , the youngest member to have been so honored . If But academic honors did not interest the group . art in America was to of f play the part which they envisioned , the path the artist must be made ree f of e rom official Obstacles . The group became the nucleus the fight for the ind

1 1 0 th pendent idea . The first independent exhibition took place in 9 in a 34 K Street loft building . Walt uhn , Ben Ali Haggin , George Bellows , Homer Boss , K a a a D Walter Pach , Rockwell ent , Glenn Coleman , Rand ll D vey , Stu rt avis , F Dorothy Rice , Clara Tice , James raser , as well as all the members of the

Eight , were represented . The excoriations heaped upon some of the exhibits , ’ “ ohnson /Dem se F h notably George Bellows J p y ig t , depleted the vocabulary of anathema to the extent that the Armory Show three years later received , on the whole , a better press . This first independent exhibition contained the germ of many later developments $ its members were responsible for the Armory

Show , and it was the forerunner of the Society of Independent Artists , founded in 1 9 1 7 .

The works of the artists represented in the present exhibition , divested of the issues which gave them their revolutionary quality , are nevertheless not a i dated , because they continue to have that enduring vit lity wh ch can only derive from personal experience and genuinely felt emotion . The beliefs which united the artists and the causes which they fought for , are now taken for granted .

r New issues and causes confront the artist of today . His mission is now inte ral l g y related to a new ordering of society , but he can only serve this cause by continuing his immemorial role of interpreting life and of stirring the imagination U of men through an expression of his beliefs . It is no topian dream to believe Van that the artist can fulfill such a mission . As Wyck Brooks has true social revolution will ever be possible in America until a race of artists profound and sincere has brought us face to face with our experience and set working in that experience the leaven of the highest culture .

HELEN APP LETON READ LENDERS TO THE E$ HIBITION

The Whitney Museum of American Art wishes to make grateful acknowledgment to the ex ' hibiting artists and to the following museums and collectors who have generously lent works to

this exhibition $

A OF ART . DDISON GALLERY AMERICAN Andover , Mass

THE ART OF a . INSTITUTE CHICAGO Chic go , Ill

$/EMMA S . BELLOWS New York /I$ HE S OF ART CLEVELAND MU EUM Cleveland , Ohio

TH F ART . E O . CORCORAN GALLERY Washington , D C V T HE CHESTER DALE COLLECTION New York THE DOWNTOWN GALLERY New York

E. . MRS . RICHARD DWIGHT New York l / MR F . a . . ARTHUR EGNER South Or nge , N . J V EERARGIL GALLERIES New York

AND MRS . Y MR. GEORGE OTIS HAMLIN New York VMR . EDWARD HANLEY Bradford , Pa . W F ART O a . HICH MUSEUM Atl nta , Ga 1/ MR. W. . JOHN JAMES Brooklyn , N . Y V FREDERICK KEPPEL AND COMPANY New York “MISS JEAN KING New York

W. ART C. KRAUSHAAR GALLERIES New York

R . F . a . . MI WILLIAM LAPORTE Pass ic , N J / I MACBETH GALLERY New York TH E METROPOLITAN MUSEUM OF ART New York USEUM OF a . FINE ARTS Boston , M ss MISS ELI$ ABETH OLDS New York ISS VIOLET ORGAN New York

MISS JULIA E. PECK New York P HILLIPS MEMORIAL GALLERY Washington , D . C .

’ x RANDOLPH MACON Va WOMAN S COLLEGE Lynchburg ,

RANK K. M . REHN GALLERY New York

TH E OF ART o TOLEDO MUSEUM Toledo , Ohi

E . Fl a. MISS AMELIA WHITE Miami , C ATALO G U E

P A I N T I N G S

G allery I

GEORGE BELLOWS (1882—1925)

1 13 BOAT LANDING , 9

Lent by Emma S . Bellows , New York

’ R 1 0 THE B IDGE , BLACKWELL S ISLAND , 9 9 by Lent The Toledo Museum of Art , Toledo , O .

CROSS/ EYED 1 06 BOY , 9

Lent by Emma S . Bellows , New York

$ 191 3 FRESH BREE E ,

Lent by Emma S . Bellows , New York $

19 12 MEN OF THE DOCKS , ’ l h / Rando Macon a . Lent by the p Wom n s College , Lynchburg , Va

1 0 PORTRAIT OF LAUGHING BOY , 9 7

a . Lent by Emm S Bellows , New York

T $ $ 1 0 PORTRAI OF PROSPER INVERNI I , 9 7

b a . Lent y Emm S Bellows , New York

SHARKEY’ S 1909 STAG AT ,

a . . From the Hinm n B Hurlbut Collection , The Cleveland Museum Cleveland O

1908 STEAMING STREETS ,

Lent by Emma S . Bellows , New York

EVERETT SHINN (Born 1876)

T 190 BALLE DANCER , 7 Lent by the artist

1905 EARLY MORNING , Lent by the artist

’ AND 1 0 HARLEQUIN DANCING GIRL , 9 7 Lent by the artist

1902 LONDON HIPPODROME ,

a . Lent by The Art Institute of Chicago , Chic go Ill

190 LONDON MUSIC HALL , 7 b a Lent y The Metropolit n Museum of Art , New York

12 1908 REVUE , Collection of the Whitney Muse um of American

1908 THEATRE , Collection of the Whitney Museum of American

BO$ 1906 THEATRE ,

b . . Lent y Mr Edward Hanley , Bradford , Pa

$ 1903 TRAPE E PERFORMER , Lent by the artist

1 0 WINTER GARDEN , 9 7 a Lent by Miss Je n King , New York

G a llery II

ROBERT HENRI (1865— 1929)

1902 THE BREAKER ,

Lent by Miss Violet Organ , New York

E 1899 CAF TERRACE ,

Lent by Miss Violet Organ , New York

1 EVA GREEN , 907 b a Lent y Miss Violet Org n , New York

1902 EVENING , NORTH RIVER , e a L nt by Miss Violet Org n , New York

FIFTY/SEVENTH 1 02 STREET , 9 b Lent y Miss Violet Organ , New York

1904 LADY IN BLACK , b Lent y Miss Violet Organ , New York NEW YORK STREET IN WINTER t From the Chester Dale Collec ion , New York

18 ON THE MARNE , 99 b Lent y Miss Violet Organ , New York

1903 STORM TIDE , Collection of the Whitney Museum of American Art

19 10 WORKING MAN ,

Lent by Miss Violet Organ , New York

— 1904 YOUNG WOMAN IN WHITE PROFILE , a Lent by Miss Violet Org n , New York

13 C O L O R E D D R AW I N G S

Wes t Hallway Between G a l lery II and G allery III

E WILLIAM J . GLACK NS BALL PARK Lent by the artist CHRISTMAS HOLIDAYS Lent by the artist EAST SIDE Lent by the artist FOURTH OF JULY Lent by the Artist GEORGE LUKS FULTON PLACE MARKET Lent by the Macbeth Gallery New York

G allery III

GUY PENE DU BOIS (Born 1884) BAR

Lent by C . W . Kraushaar Art Galleries , New York BLOND AND BRUNETTE Collection of the Whitney Museum of AmericanArt

19 14 CIRCUS TENT ,

From the Chester Dale Collection , New York

19 14 CONFIDENCE MAN , a From the Chester D le Collection , New York

1 14 COSTUME DANCE , 9

From the Chester Dale Collection , New York THE DINERS

Lent by Mr . Arthur F . Egner , South Orange , N . J .

19 12 GIRL WITH FAN ,

l . a . . Lent by Mr . Wil iam F Laporte , Pass ic , N J NEWSSTAND

b . . a a Lent y C W Kr ushaar Art G lleries , New York

14 POLITICIAN 19 12 From the Chester Dale Collection , New York ,

i 19 10 WAITER ,

e . . . . L nt by Mr William F Laporte , Passaic , N J GEORGE LUKS (1867— 19 33)

$ 19 10 CABBY AT THE PLA A , Ferar il Lent by g Galleries , New York

1908 THE GUITAR ,

$

b . F . t . . Lent y Mr Arthur Egner , Sou h Orange , N J I 1905 L TTLE MADONNA , b t Lent y he Addison Gallery of American Art , Andover Mass .

1 05 THE LITTLE MILLINER , 9

b . . . . Lent y Mr Arthur F Egner , South Oran ge , N J BUS 1889 LONDON DRIVER , b i z Lent y Miss El abeth Olds , New York

1905 THE OLD DUCHESS , Lent by The Metropolitan Museum of Art New York

1905 THE SAND ARTIST , b i Lent y Miss Jul a Peck , New York

1905 THE SPIELERS , b Lent y the Addison Gallery of American Art Andover , Mass .

1902 WEST SIDE DOCKS ,

b . . Lent y Mr Arthur F Egner , South Orange , N . J . 190 WOMAN WITH GOOSE , 7 Collection of the Whitney Museum of American Art

1 0 WOMAN WITH MACAWS , 9 7 b Lent y Miss Julia Peck , New York

1905 THE WRESTLERS ,

Le nt by C . W . Kraushaar Art Galleries New York

G a l lery I V

WILLIAM J . GLACKENS

$ MOU UIN 1905 CHE Q , t t a Lent by The Art Ins i ute of Chic go , Chicago, Ill .

T 1905 COAS ING , CENTRAL PARK , Lent by the artist 1 0 GIRL WITH YELLOW STOCKINGS , 9 9 Le nt by the artist

1 13 FAMILY GROUP , 9 Lent by the artist

1 12 THE GREEN CAR , 9

b . . a a Lent y C W Kr ushaar Art G lleries , New York

1 10 HEAD OF WOMAN , 9 Lent by the artist OUTSIDE THE GUTTENBURG RACE TRACK 1897 Lent by the artist

1 12 PARADE , WASHINGTON SQUARE , 9 Collection of the Whitney Museum of American Art

1 03 THE SUMMER HOUSE , 9 Lent bv the Artist

190 WEST HARTFORD , 7 Lent by the artist

JOHN SLOAN (Born 1871)

1909 JEFFERSON MARKET JAIL ,

Lent by Miss Julia Peck , New York

’ MCSORLEY S 1 13 BACK ROOM , 9 a Lent by Miss Juli Peck , New York

19 10 PIGEONS ,

b . Lent y the Museum of Fine Arts , Boston , Mass

RENGANESCHI ’ S 19 12 , SATURDAY NIGHT ,

Lent by The Art Institute of Chicago , Chicago , Ill .

’ SI$ 1 12 O CLOCK , WINTER , 9

t . Lent by he Phillips Memorial Gallery , Washington D C .

19 12 SUNDAY AFTERNOON IN UNION SQUARE , l . . a Lent by Mr and Mrs George Otis H m in , New York

19 13 SUNDAY , GIRLS DRYING THEIR HAIR ,

Lent by C . W . Kraushaar Art Galleries , New York

M . 1 . 09 THREE A , 9

Lent by C . W . Kraushaar Art Galleries , New York

. 190 WAKE OF THE FERRY , No I , 7

Fl a . Lent by Miss Amelia E . White , Miami ,

16

9 3 . 1 0 NEAR FORT GEORGE , 9 7

. R a . Lent by Mrs ich rd E Dwight , New York

94 . 1 13 SPRING EVENING , HARLEM RIVER , 9 b Lent y the Phillips Memorial Gallery , Washington , D . C .

95 . 1 1 SUBURBAN ROAD , 9 4

Lent by Mr . John W . James , Brooklyn , N . Y .

96 . 19 14 WASHINGTON BRIDGE ,

. . a . . Lent by Mr John W J mes , Brooklyn , N Y

9 1 0 7 WINTER ON THE RIVER , 9 7 Collection of the Whitney Museum of American Art

DR AW I N G S

G allery VI

GEORGE BELLOWS BILLY SUNDAY ° 69 Lent by Frederick Keppel Company , New York BUSINESS MEN ’ S CLASS ° b 89 Lent y Frederick Keppel Company , New York I WAS BEATI N ’ $ IS FACE $ ° 59 Lent by Frederick Keppel Company , New York SPLINTER BEACH ° 59 Lent by Frederick Keppel Company , New York

GLENN O . COLEMAN STREET ARREST n b Le t y The Downtown Gallery , New York STREET BATHERS Collection of the Whitney Museum of American STREET SCENE y Lent by The Downtown Galler , New York

GUY PENE DU BOIS

YOU 105 . CAN ACT Collecti on of the Whitney Museum of American Art

18 COME AND MEET MY BROTHER Collection of the Whitney Museum of American Art DO YOU THINK IT WILL BE COLD WHEN WE THERE$ Collection of the Whitney Museum of American Art A FASHION IN STRIPES Collection of the Whitney Museum of American Art THE LAW Collection of the Whitney Museum of American Art

WILLIAM J . GLACKENS BARABOO FATS

b . . Lent y C W Kraushaar Art Galleries , New York THE BOSS

b . . t Lent y C W Kraushaar Ar Galleries , New York CAFE Ne w t b . . Len y C W Kraushaar Art Galleries , York

EAST SIDE PUSH /CART VENDOR t l Len by C . W . Kraushaar Art Gal eries , New York GLOVE COUNTER

b . . t Lent y C W Kraushaar Ar Galleries , New York THE IDEA $

e . t b . L nt y C W Kraushaar Ar Galleries , New York NEW YORK ’ S EAST SIDE

. . a Lent by C W Kr ushaar Art Galleries , New York

' ST . PATRICK S PARADE

b . . Lent y C W Kraushaar Art Galleries , New York THEN THERE WAS A LIVELY LITTLE FIGHT Collection of the Whitney Museum of American Art THEY SKIDDED HIM ON HIS HEELS

b . . t Lent y C W Kraushaar Ar Galleries , New York

ROBERT HENRI E 120. CAF SCENE b t Lent y Miss Viole Organ , New York

121 . FINAL TOUCHES

Lent by Miss Violet Organ , New York

19 GIRL READING

Lent by Miss Violet Organ , New York PORTRAIT SKETCH

Lent by Miss Violet Organ , New York STREET SCENE

Lent by Miss Violet Organ , New York STREET SCENE

Lent by Miss Violet Organ , New York

GEORGE LUKS ART STUDENT

Lent by Miss Elizabeth Olds , New York CAFE

b a . . R Lent y the Fr nk K M ehn Gallery , New York CAPTAIN z Lent by Miss Eli abeth Olds , New York CENTRAL PARK

. . R Lent by the Frank K M ehn Gallery , New York TENDERLOIN BUS a Lent by Miss Eliz beth Olds , New York

EVERETT SHINN

1 T 13 . VAUDEVILLE EAM Lent by the artist

JOHN SLOAN BEFORE HER MAKERS AND HER JUDGE Collection of the Whitney Museum of American Art HIS COUNTRY ’S FLAG a aa Lent by C . W . Kr ush r Art Galleries , New York INDIANS ON BROADWAY Lent by the artist PHILOSOPHIC ANARCHISTS a Lent by C . W . Krausha r Art Galleries , New York

PROFESSOR , PLEASE PLAY THE ROSARY

. . a Lent by C W Kr ushaar Art Galleries , New York 20 PUTTING THE BEST FOOT FORWARD

Lent by C . W . Kraushaar Art Galleries , New York STANDING WITH RELUCTANT FEET

b . Lent y C . W Kraushaar Art Galleries , New York THE STUDIO

Lent by C . W . Kraushaar Art Galleries , New York WHY DID HE DO IT$

. . a Lent by C W Kr ushaar Art Galleries , New York

THE PIELE BY E E L K S RS , G ORG U S

M . Y TH EE A. B OH L A R , J N S O N

CHE$ MOU U IN B WILLIAM LACKE Q , Y G NS

BL E AND B ETTE BY G Y PE E DU B IS OND RUN , U N O WAITERI BY PE E DU BOI , GUY N S WHITNEY MU SEU M PU BLICATIONS

The following volumes on artists represented in this exhibition are included in the American Artists Series published by the Whitney Museum of American

s are on a . Art . The e volumes sale at the Inform tion Desk

EORG E G GE RS GEORGE BELLOWS by G W . E

. DOLP H GLASSGO LD GLENN O . COLEMAN by C A

GUY PENE DU BOIS by ROYAL CORTIssoz

WILLIAM GLACKENS by G UY PENE DU BOIS

ROBERT HENRI by HELE N APPLETON READ

ERNEST LAWSON by GUY PENE DU BOIS

GEORGE LUKS by ELI$ AB ETH LUTHER CARY

JOHN SLOAN by GUY PENE DU BOIS

E ch vo um e conta ns cr t a es sa s hort b o ra h a l i a i ic l y, a i g p y,

r r n a bibliography and twenty fu ll page ep oductio s .

E 2 PE R VOL ME P RIC $ $ . U

NOTE

MOST O F THE WOR KS IN THIS E$ HIBITION ARE

F F OR SALE . F OR P RICES AND IN ORMATION VISITORS ARE REQUESTED TO ENQUIRE AT

C THE IN F ORMATION DESK . NO OMMISSION IS

C HARGED B Y THE MUSEUM ON SAL ES MADE .