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Many exhibitions have been held in the vast spaces of U.S. National Guard armories, but ''the'' Armory Show refers to the 1913 International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors, the first large exhibition of modern art in America. The three-city exhibition started in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, from February 17 until March 15, 1913. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston,〔(International Exhibition of Modern Art ), Copley Society of Boston, Copley Hall, Boston, Mass., 1913〕 where, due to a lack of space, all the work by American artists was removed.〔Brown, Milton W., ''The Story of the Armory Show'', Joseph H Hirshhorn Foundation, New York, 1963, pp. 185–186〕 The show became an important event in the history of American art, introducing astonished Americans, who were accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The show served as a catalyst for American artists, who became more independent and created their own "artistic language." ==History== ] ] On 14 December 1911 an early meeting of what would become the Association of American Painters and Sculptors (AAPS) was organized at Madison Gallery in New York. Four artists met to discuss the contemporary art scene in the United States, and the possibilities of organizing exhibitions of progressive artworks by living American and foreign artists, favoring works ignored or rejected by current exhibitions. The meeting included Henry Fitch Taylor, Jerome Myers, Elmer Livingston MacRae and Walt Kuhn.〔(1913 Armory Show, The Story in Primary Sources (Timeline) )〕 In January 1912, Walt Kuhn, Walter Pach, and Arthur B. Davies joined together with some two dozen of their colleagues to reinforce a professional coalition: AAPS. They intended the organization to "lead the public taste in art, rather than follow it."〔(【引用サイトリンク】url=http://www.askart.com/askart/interest/new_york_armory_show_of_1913s_1.aspx?id=15 )〕 Other founding AAPS members included D. Putnam Brinley, Gutzon Borglum, John Frederick Mowbray-Clarke, Leon Dabo, William J. Glackens, Ernest Lawson, Jonas Lie, George Luks, Karl Anderson, James E.Fraser, Allen Tucker, and J. Alden Weir.〔 AAPS was to be dedicated to creating new exhibition opportunities for young artists outside of the existing academic boundaries, as well as to providing educational art experiences for the American public. Davies served as president of AAPS, with Kuhn acting as secretary. The AAPS members spent more than a year planning their first project: the International Exhibition of Modern Art, a show of giant proportions, unlike any New York had seen. The 69th Regiment Armory was settled on as the main site for the exhibition in the spring of 1912, rented for a fee of $5,000, plus an additional $500 for additional personnel. It was confirmed that the show would later travel to Chicago and Boston. Once the space had been secured, the most complicated planning task was selecting the art for the show, particularly after the decision was made to include a large proportion of vanguard European work, most of which had never been seen by an American audience.〔 In September 1912, Kuhn left for an extended collecting tour through Europe, including stops at cities in England, Germany, the Netherlands, and France, visiting galleries, collections and studios and contracting for loans as he went. While in Paris Kuhn met up with Pach, who knew the art scene there intimately, and was friends with Marcel Duchamp and Henri Matisse; Davies joined them there in November 1912.〔 Together they secured three paintings that would end up being among the Armory Show’s most famous and polarizing: Matisse’s “Blue Nude (Souvenir de Biskra)” and “Madras Rouge (Red Madras Headdress),”and Duchamp’s “Nude Descending a Staircase, No. 2.” Only after Davies and Kuhn returned to New York in December did they issue an invitation for American artists to participate.〔 Pach was the only American artist to be closely affiliated with the Section d'Or group of artists, including Albert Gleizes, Jean Metzinger, Duchamp brothers Marcel Duchamp, Raymond Duchamp-Villon, Jacques Villon and others. Pach was responsible for securing loans from these painters for the Armory Show. Most of the artists in Paris who sent works to the Armory Show knew Pach personally and entrusted their works to him.〔(Laurette E. McCarthy, Walter Pach, Walter Pach (1883-1958), ''The Armory Show and the Untold Story of Modern Art in America'', Penn State Press, 2011 )〕 The Armory Show was the first, and, ultimately, the only exhibition mounted by the AAPS. It displayed some 1,300 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented.〔McShea, Megan, ''(A Finding Aid to the Walt Kuhn Family Papers and Armory Show Records, 1859–1978 (bulk 1900–1949) )'', Archives of American Art, Smithsonian Institution.〕 News reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, former President Theodore Roosevelt declared, "That's not art!"〔Theodore Roosevelt's review of the Armory Show for ''The Outlook'', published on March 29, 1913, was entitled "A Layman's View of an Art Exhibition". See Edmund Morris, ''Colonel Roosevelt'' (Random House, New York, 2010; ISBN 978-0-375-50487-7), pages 267–272 and 660–663. According to Morris, Roosevelt's review looked with some favor upon the new American artists.〕 The civil authorities did not, however, close down, or otherwise interfere with, the show. Among the scandalously radical works of art, pride of place goes to Marcel Duchamp's cubist/futurist style ''Nude Descending a Staircase,'' painted the year before, in which he expressed motion with successive superimposed images, as in motion pictures. Julian Street, an art critic, wrote that the work resembled "an explosion in a shingle factory" (this quote is also attributed to Joel Spingarn〔Joel Spingarn, p. 110〕), and cartoonists satirized the piece. Gutzon Borglum, one of the early organizers of the show who for a variety of reasons withdrew both his organizational prowess and his work, labeled this piece ''A staircase descending a nude'', while J. F. Griswold, a writer for the ''New York Evening Sun'', entitled it ''The rude descending a staircase (Rush hour in the subway)''.〔Brown, Milton W., ''The Story of the Armory Show'', Joseph H Hirshhorn Foundation, New York, 1963, p. 110〕 The painting was purchased from the Armory Show by Fredric C. Torrey of San Francisco .〔(xroads. Univ. of Virginia )〕 The purchase of Paul Cézanne's (''Hill of the Poor (View of the Domaine Saint-Joseph)'' ) by the Metropolitan Museum of Art signaled an integration of modernism into the established New York museums, but among the younger artists represented, Cézanne was already an established master. Duchamp's brother, who went by the "nom de guerre" Jacques Villon, also exhibited, sold all his Cubist drypoint etchings, and struck a sympathetic chord with New York collectors who supported him in the following decades. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston,〔 where, due to a lack of space, all the work by American artists was removed.〔 While in Chicago, the exhibition created a scandal that reached the governors office. Several articles in the press recounted the issue. In one newspaper the headline read: ''Cubist Art Will be Investigated; Illinois Legislative Investigators to Probe the Moral Tone of the Much Touted Art'': Chicago, April 2: Charges that the international exhibition of cubist and futurist pictures, now being displayed here at the art institute, contains many indecent canvasses and sculptures will be investigated at once by the Illinois legislature white slave commission. A visit of an investigator to the show and his report on the pictures caused Lieutenant Governor Barratt O'Hara to order an immediate examination of the entire exhibition. Mr. O'Hara sent the investigator to look over the pictures after he had received many complaints of the character of the show. "We will not condemn the international exhibit without an impartial investigation," said the lieutenant governor today. "I have received many complaints, however, and we owe it to the public that the subject be looked into thoroughly." The investigator reported that a number of the pictures were "immoral and suggestive." Senators Woodward and Beall of the commission will visit the exhibition today. (Ottumwa Tri-Weekly Courier, Iowa, 3 April 1913)〔(''Cubist Art Will be Investigated; Illinois legislative Investigators to Probe the Moral Tone of the Much Touted Art'', Ottumwa Tri-Weekly Courier (Ottumwa, Iowa), 3 April 1913. Chronicling America: Historic American Newspapers. Lib. of Congress )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Armory Show」の詳細全文を読む スポンサード リンク
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