Appendix B

Stateside Modern
Marguerite Zorach and the American
Modernists
Erin Riggins
American Modernism
ARHI 6440
12/11/17

Exhibition Location: Frank Shay’s bookshop at 4 Christopher Street, Greenwich Village
“Frank Shay...is on good terms with all the prominent writers, artists, sculptors, etc., with all of
the mighty who live in or come to the Village on a visit. Most everyone visits his shop to have a
look at his queer door...”
—"Magazines are Published by Greenwich Artists," The Oregonian, March 26, 1922 (9)
Floor Plan of Building
at 4 Christopher St.
Frank Shay and his Book Mobile, 1920
Zorach signature on infamous door

Exhibition Layout
First Floor:
Room A: New York
Room B: The Modern Patriot
Room C: Music at Play &
Primitivism
Room D: Performance &
Spectacle

Exhibition Layout
Second Floor:
Room E: The Artist’s Writing
Room F: Maine
Room G: The Realm of the Spirit
Room H: Modern Gender
Room J: Portraiture Reinvented

New York: People of the City, The Cubist-
inspired City, Cyclopean City, City Electric, City
Delirious, Industry & Nocturnes
“We sketched all over the city—
Central Park, along the
waterfront, across the Hudson
on the Palisades…”
--Marguerite Zorach (4)

Alfred Stieglitz, The Rag Picker, 1892
Alfred Stieglitz, The Terminal, 1893 photogravure
New York: People of the City
Alfred Stieglitz, Winter, 5th Avenue, 1893 carbon print
9 ¼ x 7 ¼”
“An artist must get outside
himself, put himself in
sympathetic touch with the life
around him, if he would
reproduce it…[My students
have] gone out into NY and
discovered it, lived in touch
with it, studied it face to face,
…soaked into it until they know
it now, and can picture it.”
—Robert Henri (1)
“We have been told somewhere that a
work of art is a thing alive. You cannot
create a work of art unless the things
you behold respond to something
within you. Therefore if these
buildings move me they too must
have life. Thus the whole city is alive;
buildings; people, are all alive; and the
more they move me the more I feel
them to be alive.” –Alfred Stieglitz (1)

“Look at the subject, think about it
before photographing, look until it
becomes alive and looks back into
you” -Edward Steichen (1)
New York: People of the City
Paul Strand, Portrait, Washington
Square Park, 1916
Paul Strand, Sandwich Man, NY, 1916
Paul Strand, Man in a Derby Hat,
1916
“Nothing charms me so much as walking among the lower classes, studying
them carefully and making mental notes. They are interesting from every point
of view. I dislike the superficial and artificial, and I find it less among the lower
class. That is the reason that they are more sympathetic to me as subjects.”
-Alfred Stieglitz (1)

New York: The Cubist-inspired City
Alfred Stieglitz, The Old and New New York, 1910
Paul Strand, Hudson River Pier, New York, c. 1914
Georgia O’Keeffe, Shelton Hotel,
No. 1, 1926
"My New York is the New York of
transition.--The old gradually passing
into the New....The Spirit of that
something that endears New York to
one who really loves it--not for its
outer attractions--but for its deepest
worth--& significance.--The universal
thing in it.” --Alfred Stieglitz (1)
“In the twenties, huge buildings
sometimes seemed to be going up
overnight in New York…I saw a sky shape
near the Chatham Hotel where buildings
were going up. It was the building that
made this fine shape, so I sketched it and
then painted it. This was the early
twenties and was my first New York
painting.”—Georgia O’Keeffe (1)

Joseph Stella, The Voice of the City of New York Interpreted, 1920-22
“Not one in a hundred of its citizens
has ever seen New York…Even our
painter people are a little
bewildered by its ‘bigness.’ They do
scraps of color, odd buts along the
Harlem, a city square or street; but
with a few exceptions, they have
not risen to the vast new city.”
--John Van Dyke, The New New York,
1919 (10)
Max Weber, Blue New York, 1913
Joseph Stella, The Brooklyn Bridge, 1919
“New York is a resplendent
city. Its high white towers
are arrows of will: its
streets are the plowings of
passionate desire. A lofty
arrogant, lustful city,
beaten through by an iron
rhythm.”—Waldo Frank,
Our America, 1919 (1)
Alfred Stieglitz, The Flat
Iron Building, 1903/1909
Alfred Stieglitz, From the Back Window,
291, 1915-16

Max Weber, New York, The Liberty
Tower from the Singer Building
(Woolworth Building), 1912
Marguerite Zorach, Couple in a Cityscape, 1922
Max Weber, New York Rush Hour, 1915
“[Max Weber’s] work shows that he has done
much original thinking, and is remarkable for the
blending of emotional pictorial qualities with
rational construction. Form, with him, is not the
reproduction on canvas of an image formed on
the retina.”
--Alfred Stieglitz in Camera Work (17)
“I want to paint in terms of my own
thinking…One can’t paint New York as it
is, but rather as it is felt.”
--Georgia O’Keeffe (1)

Claire Briggs, March 20, 1913
John T. McCutcheon, April 3, 1913
“It is difficult to write of these atrocities with moderation, for they are
positively an insult to ordinary intelligence, and presuppose, most of
all, on the part both of maker and spectator an utter lack of humor—
the one unforgivable sin…At any rate, by the side of these offerings by
Max Weber, the Matisses seem academic, conventional,
commonplace, and we are sure before long the French innovator will
be relegated to the back seat.” –Arthur Hoeber, New York Globe (17)
Criticism of the Cubist showing at the
Armory Show, 1913
“…the chamber of horrors.”
“an explosion at a shingle factory…”
-Julian Street (18)

John Marin, Woolworth Building No. 29, 1912
New York: Cyclopean City
“It is one immense kaleidoscope—everything is hyperbolic, cyclopic, fantastic.
From the domes of your temples dedicated to commerce one is treated to a new
view, a prospect stretching out into the infinite. The searchlights that plow your
leaden sky in the evening awaken and stimulate the multicolored lights of the
billboards create at night a hymn of praise.”--Joseph Stella, “New York” (10)
Abraham Walkowitz, New York
Skyline, 1913 (GMOA collection)
Max Weber, Abstraction, New York, 1913
Alfred Stieglitz, City of Ambition, 1910
“This is one fierce, relentless,
cruel, beautiful, fascinating,
hellish, and all other ‘ishes’
place.”
—John Marin on New York
City (1)

Abraham Walkowitz, Times Square,
New York, 1914
New York: The City Electric
Joseph Stella, Battle of Lights, Coney Island, 1913
“I have watched
The city from a distance at night
And wondered why I wrote no poem.
Come! Yes,
The city is ablaze for you
And you stand and look at it.”
--William Carlos Williams, excerpt
from “To a Friend Concerning Several
Ladies,” 1921 (8)
“…Can you explain the melancholy beauty of the falling rain, or
tell why the slushy pavements, reflecting the glaring lights of
Fifth Avenue stores, reminds us of the golden dreams of the
poet’s dream?”
--Sadakichi Hartmann (1)
John Sloan, Movies, 1913
“With their way illuminated by spasmodic flashes, as bright and
sharp and brief as those of the lightning itself, a mysterious
party has lately been startling the town o’ nights. Somnolent
policeman on the street, denizens of the dives in their dens,
tramps and bummers in the so-called lodgings, and all the
people of the wild and wonderful variety of New York life
have…marveled at…the phenomenon.”
-Jacob Riis (8)
John Sloan, Picture Show Window, 1907

New York: The City Delirious
“I loathed the dirty streets, yet I
was fascinated…Wherever I looked
there was a picture that moved
me—the derelicts, the second hand
clothing shops, the rag pickers, the
tattered and the torn.”
—Alfred Stieglitz (1)Abraham Walkowitz,
Cityscape, 1913 (GMOA
collection)
George Bellows, The Cliff Dwellers, 1913
Everett Shinn, Cross Streets of New York, 1899
Charles Sheeler and Paul Strand, Manhatta, film still, 1921
“I see great forces at work; great movements; the large
buildings and the small; influences of one mass on
another greater or smaller mass. Feelings are roused
which give me the desire to express the reaction of these
"pull forces," those influences which play with one
another; great masses pulling smaller masses, each
subject in some degree to the other's power...While
these powers are at work pushing, pulling sideways,
downwards, upwards, I can hear the sound of their strife
and there is great music being played. And so I try to
express graphically what a great city is doing.“
---John Marin (1)
John Marin, Movement, 5th
Avenue, 1912

New York: Industry
George Bellows, The Lone Tenement, 1910
Alfred Stieglitz, Excavating New York, 1911
”Machinery is the soul of the
modern world, & since the
genius of machinery attains its
highest expression in America,
why is it not reasonable to
believe that in America the art
of the future will flower most
brilliantly.“
--Frances Picabia (1)
Alfred Stieglitz, The Hand of Man, 1902
“The one uses his brain to fashion a thing of steel girders, a
spider’s web of beauty to glisten in the sun, the other blends
chemistry and optics with personality in such a way as to
produce a lasting impression of a beautiful fragment of
nature. The work of both, the bridge-builder and the
photographer, owes its existence to man’s conquest over
nature.”--Alvin Langdon Coburn (8)
Georgia O’Keeffe, Brooklyn Bridge, 1949

New York: Nocturnes
Joseph Pennell, 42nd Street with the
‘Times’ Building, 1908-09 (GMOA
collection)
Edward Steichen, Flat Iron Building,
1902-03, 1906
“Every time one looks at the harbor and the NY skyline across the
river it is quite different, and the range of atmospheric effects is
endless. But at twilight on a foggy evening…it is beyond description.
Gradually the lights in the enormously tall buildings begin to flicker
through the mist…”
--Edward Steichen (8) Alfred Stieglitz, The Glow of the Night, New York, 1897
“The first time that I saw America, I mean New
York, at seven o’clock in the evening, this gold and
black block in the night, reflected in the water, I
was in complete ecstasy.” -Henri Matisse (8)
George Bellows, Excavation at Night, 1908
Georgia O’Keeffe, New
York, Night, 1928-29

The Modern Patriot: Citizen Kane, The
American Artist & The Great War
“America has the great advantage of not
being tied to the past as is the rest of the
world—but she doesn’t seem to realize her
advantage and tries since she has but little
past of her own to hamper her, to acquire all
the past of Europe and make it her own.”
Geoffrey Clements, Marguerite
Zorach, 1960

Edward Steichen, JP Morgan, 1903
Orson Welles, Citizen Kane, film still, 1941
“I’m an American. I’ve
always been an
American.”
-Charles Foster Kane (11)
The Modern Patriot
Georgia O’Keeffe, Flag, 1918
“I wanted to stay in Waco—I didn’t
want to come home—but I feel as
though I have lots to do—lots—and
one thing to paint—it’s the flag as I
see it floating—a dark red flag—
trembling in the wind like my lips
when I’m about to cry—there is a
strong firm line in it too—teeth set—
under the lips.”
“The motive power of democracy is
love.”
--Henri Bergson (3)

Snow Globe, Citizen Kane, 1941,
Sled (Rosebud), Citizen Kane, 1941
Sled (Rosebud), Citizen Kane, 1941
The Modern Patriot: Citizen Kane
“Few private lives were more
public.”-Citizen Kane (11)
“I always gagged on
the silver spoon.”
--Charles Foster Kane (11)
“That’s all he ever wanted out of life...was love.
That's the tragedy of Charles Foster Kane. You see,
he just didn't have any to give.”
-Mr. Leland, Citizen Kane (11)

The Modern Patriot: The American Artist
Georgia O’Keeffe, Cow’s Skull: Red, White and Blue, 1931
Charles Sheeler, American Landscape, 1930
“Our day of dependence, our long apprenticeship to the
learning of other lands, draws to a close. The millions, that
around us are rushing into life, cannot always be fed on the
sere remains of foreign harvests. Events, actions arise, that
must be sung, that will sing themselves.”
-Ralph Waldo Emerson on the importance of creating an American art
and literature, address at Phi Beta Kappa Society, 1837 (12)
“I’m going back to America and show the
people there that I’ve got something that’s
going to do them lots of good. Also, I’m going to
let them know that they’re way behind the
times. That they’ve got a wonderful opportunity
to create an entirely new and individual
art…That they’re a new country and why not
have a fresh and new and American start.”
-William Zorach (4)
William Glackens, Patriots in
the Making, 1907
"I feel the place for an
American to work is
in America and I am
going to stay there.”
– John Marin (1)John Marin, Lower Manhattan from the Tip End, 1931

“And now the oil is burning low and missus is asleep and they are fighting,
fighting, fighting over in Europe, Curse those who started them. Still they
fight. What is it all about? Still they fight. When will they stop? Still they
fight. Stop it, let’s have peace.
--John Marin (7)
“I should think going to War would be a great relief from
this everlasting reading about it—thinking about it—
hearing talk about it—whether one believed in it or not—it
is a state that exists and experiencing it in reality seems
preferable to the way we are all being soaked with it second
hand—it is everywhere.”
Childe Hassam, Avenue of the Allies, Great
Britain, 1918, 1918
The Modern Patriot: The Great War
George Bellows, The Barricade, 1918
Man Ray, War AD, 1914
Right: Edward Steichen,
Frontline trenches
(Apremont), May 15, 1918

Music at Play
”[My paintings are] like
symphonies that move and
develop and change and contain a
lifetime of growth, of power, and
tenderness; of sharp contrasts and
delicate nuance. They are
creations that satisfy the artistic
desire.”
Letter from Marguerite Thompson
(Zorach) to William Finkelstein
(Zorach), July 15, 1912

John Marin, Movement, 5th Avenue, 1912
Music at Play
Georgia O’Keeffe, Blue and Green Music,
1917
“An idea that I was very interested
to follow--the idea that music could
be translated for the eye.”
-Georgia O’Keeffe (1)
Alfred Stieglitz, Song of the Sky No. 1, 1923
“Without music, life would be a mistake.”
--Fredrick Nietzsche (14)
"Swiftly put down--obeying impulses of a
willful intoxicating mustness--of the
nearness--nay--of the being in it--of being a
part of it--of that--which my Eye went on --of
the rhythmic movements of people on
Streets--of buildings a rearing up from
sidewalk--of a mad wonder dancing to away
up there aloft--for Everything became alive
each a playing with and into each other like a
series of wonder music instruments---" –John
Marin (1)

Arthur Dove, Primitive Music, 1944
Music at Play
Arthur Dove, George Gershwin-–
Rhapsody in Blue, Part I, 1927
Alfred Stieglitz, Music: A Sequence of Ten Cloud Photographs #1, 1922
Man Ray, Symphony Orchestra, 1916
“[Music is]…the
rhythms of life and
breath that are closer to
man than his innermost
feelings.”
--Henri Bergson (1)
“Everything became alive each a playing
with and into each other like a series of
wonder music instruments—
“The rhythmic flow in painting shows that
you have music aboard. Yes, I would have
it that the painter who has not music –is
not for me—Who has not the rhythmic
flow as had Mozart as had Bach is not for
me.” --John Marin (1)
”A painter, who finds no satisfaction in mere
representation, however artistic, in his longing to express
his inner life, cannot but envy the ease with which music,
the most non-material of the arts today, achieves this end.
He naturally seeks to apply the methods of music to his
own art. And from this results that modern desire for
rhythm in painting, for mathematical, abstract
construction, for repeated notes of color, for setting color
in motion.” --Wassily Kandinsky (14)

Primitivism
“The exquisite lines, the
simplicity and the quality—it
is more the expression of the
spirit of things idealized than
anything else I can think of.”
-
Marguerite Zorach, 1935

Arthur Wesley Dow, Bend in the RiverPrimitivism
Pamela Coleman Smith, The Blue Cat, 1907
Man Ray, Totem, 1913
“A painter’s defiance of academic form may lead him to the many-
headed gods of the East, the twisted limbs of Polynesian idols, the
grotesque carvings of Totem-poles, the over charged symbols of
Mexican reliefs, and the disturbing, incomprehensible, almost
shapeless figures of sanguinary divinities of some mysterious black
race…He must see the past and the present with fresh eyes and
translate these manifestations in a new, untrammeled fashion.”
--Sadakichi Hartmann in Camera Work (17)
Marsden Hartley, American Indian Symbols, 1914
“It is…the spirit of the lamp of
honesty…and when these pictures
of Miss Smith’s, conceived in this
spirit and no other, came to us…we
but tended the lamp in tendering
them hospitality.” –Stieglitz on
Pamela’s Coleman Smith’s drawings
(1)
Pamela Coleman
Smith, The Tempest,
1900

Marguerite Zorach, The Garden, 1914
Primitivism
Marguerite Zorach, Belted Pig (embroidered rug), 1944
Marguerite Zorach, Untitled Embroidery, 1925-28
“[I like to create] a picture
that expresses something
and is at the same time a
decoration.”
-Marguerite Zorach (4)
"The Japanese know of no such divisions as Representative
and Decorative. They conceive of paintings as the art of
two dimensions, an art in which roundness & nature
imitation are all subordinate to the flat relationship...The
Japanese loves nature and goes to her for his subjects, but
does not imitate."
-Arthur Wesley Dow (1)

Primitivism
Stieglitz, Exhibition of Picasso and Braque at
291, 1915
Alfred Stieglitz, Brancusi Exhibition at 291, 1915
Alfred Stieglitz, Kota figure on February
1916 issue of 291 magazine
“…almost unbelievable power, versatility and
imagination…”--Marguerite Zorach on African art shown at 291 (4)
"[It is] possibly the most
important show we have
ever had."
—Letter from Alfred
Stieglitz to Arthur Dove,
November 5, 1914 (1)
Statuary in Wood by African Savages—
The Root of Modern Art at 291, 1914
"The Negro artist has been to us a revelator and an innovator.
Negro sculpture has been the stepping stone for a fecund
evolution in our art."
—Marius de Zayas, African Negro Wood Sculpture, 1918 (19)

Performance & Spectacle: Dance & The
Illusionist
Marguerite Thompson (Zorach), 1912 Isadora Duncan
“What a different thing
dancing has become, it
has become real…It has
become a wonderful
live thing…”

John Sloan, Isadora Duncan, 1911
“There is nothing in Isadora Duncan’s dancing that you have ever seen before, yet it
is only the simple movements of childhood before we lose our freedom and
unconsciousness…It is the very spirit of poetry and music expressed in motion.”
Performance & Spectacle: Dance
Isadora Duncan at the Parthenon, 1920 Abraham Walkowitz, Isadora Duncan,
1927
John Sloan, Isadora Duncan, 1911
Isadora Duncan, 1915

George Bellows, Society Ball, 1907
Performance & Spectacle: Dance
Max Weber, Russian Ballet, 1916
Man Ray, The Rope Dancer Accompanies
Herself with Her Shadows, 1916
Man Ray, Spanish Dancers, 1918
“…dancing is the very spirit of grace and loveliness, a
succession of beautiful movements that interpret every line in
the music into living emotions.”
“And those who were seen
dancing were thought to be
insane by those who could
not hear the music.”
--Fredrick Nietzsche (15)

Performance & Spectacle: The Illusionist
Harry Houdini
“It was all high melodrama, and the audience responded with claustrophobic gasps
and heart-wrenching shrieks. And then, a little over two minutes later, just as the
axes were raised for the impending moment of truth, the curtains parted and a wet
and smiling Houdini came out to the erupting roar of the German audience. The
Chinese water torture cell with all its padlocks was still intact, minus Houdini.”
--The Amazing Randi recounting Houdini’s Chinese Water Torture Cell (5)
Der Weltheruhmte, Houdini. c. 1912

The Artist’s Writing: Poetry & Publications
“In the very early days the
young poets used to gather at
our house and plan their books
and discuss poetry and what to
do about it. Kreymborg,
Bodenheim, Lola Ridge,
Marianne Moore, Wallace
Stevens, William Carlos
Williams—we had lots of
fruitful gay sessions…It was an
exciting time!”
Marguerite Zorach in her Greenwich Village
apartment, 1913

”Intense loneness is necessary for
creation
Those whose lives are full of lives
Of their fellows
Plant few flowers in their gardens;
One or two rare blossoms plucked from
The soul in some long moment
When deprived of outlet into the
Lives of its fellows
Flowers singularly frail and hung on
Threadlike stems–
But for the solitary one in whose
Spirit is the ever unsatisfied
Hunger for their fellows
Grow round orange blossoms on solid
Stems squeezed up from the
Hard earth”
The Artist’s Writing: Poetry “…The fragility of the flower
unbruised
penetrates space.”
--William Carlos Williams, excerpt from
“The Rose” (5)
Georgia O’Keeffe, Series no. 1, 1917
“These are the hieroglyphics of
a new speech between those of
us who find all the spoken
languages too clumsy.”
--Egmont Arens (5)

The Great Figure
Among the rain
and lights
I saw the figure 5
in gold
on a red
firetruck
moving
tense
unheeded
to gong clangs
siren howls
and wheels rumbling
through the dark city.
--William Carlos Williams (5)
The Artist’s Writing: Poetry
Charles Demuth, I Saw the Figure 5 in Gold, 1928
Marsden Hartley
He lived curiously within himself
All beautiful flowers were in the world
Sometimes he saw a flower
And that flower no longer belong to the
world, but to him.
Marsden Hartley, Self-Portrait, 1908
“Marcel, Marcel, I love you like hell, Marcel.”
--Baroness Else von Freytag Loringhoven

Alfred Stieglitz’s Camera Work,
in print from 1903-1917
The Artist’s Writing: Publications
Marius de Zayas, 291 Throws Back its
Forelock, 291 issue 1, 1915
“Art must change and develop just as it always has done,
just as everything does. The ideas and ideals, the great
impulses and movements…must necessarily through new
ways.”
Alfred Stieglitz and Marcel Duchamp, The
Blind Man, May 1917
“The Dada philosophy is the sickest, most
paralyzing and most destructive thing that has
ever originated in the brain of man.”
-- American Art News (1)
Woodcuts by Marguerite Zorach
in Playboy: A Portfolio of Art and
Satire 2.1 (1923)

Arthur Wesley Dow, Composition: A Series
of Exercises in Art Structure for the Use of
Students and Teachers, first edition 1899
“Art is the most useful thing in the world, and the most
valued thing. The most useful is always that which is made as
finely as possible and completely adapted to its purpose; the
most valued because it is the expression of the highest form
of human energy, the creative power which is nearest to the
divine.”
Arthur Wesley Dow, The Lotos, 1896
The Artist’s Writing:
Publications
Arthur Wesley Dow, Composition, 1899
“The artist must realize that he’s got to
be a great man mentally, a philosopher
before there is any excuse for him to
practice art.”
--Robert Henri (1)

Maine
“There is the glory of the Maine autumn with
cerise laid over vermilion on the maples, and
pale yellows under chartreuse, and the rich
heavy reds, oranges, and purples of oaks,
becoming a wall of blackness in the deepening
evening…I stand at the window looking out
into the cold, set up my watercolors, and paint
the apple tree.”

Maine
John Marin, Maine Islands, 1922Marguerite Zorach, Woolwich Marshes, Maine, 1935
Marsden Hartley, Storm Clouds, Maine,
1906-07
“Hartley will have to go back to Maine. For it seems that flight
from Maine is in part flight from his deep feelings…There is the
particular landscape among which his decisive experiences
were gotten…It is to this soil…that he must return.”
-Paul Rosenfeld (12)
“My intention was…in an
imaginative manner, to use some
beautiful groupings of lines and
shapes, chosen from the scenery
of the old New England town.
--Arthur Wesley Dow (1)

Marguerite Zorach, Land and Development of
New England, 1935
Maine
Marsden Hartley, Cosmos,
1908-09
Marguerite Zorach, City of Bath, Maine, 1927
“Now I see the secret of the making of
the best persons. It is to grow in the
open air and to eat and sleep with the
earth.” –Walt Whitman (3)
“Climb the mountains and get their
good tidings. Nature’s peace will flow
into you as sunshine flows into trees.
The wind will blow their own
freshness into you, and the storms
their energy, while cares will drop off
like autumn leaves.”
-William Zorach (13)

The Realm of the Spirit: Theosophy, Nature &
Transcendentalism
“It’s the inner spirit of things that I seek to
express, the essential relation of forms and
colors to universal things. Each form and color
has a spiritual significance to me, and I try to
combine those forms and colors within my
space to express that inner feeling which
something in nature or life has given me.”
Marguerite Thompson (Zorach), 1912

The Realm of the Spirit: Theosophy
Arthur Dove, Abstraction, 1929
Georgia O’Keeffe, At the Rodeo, NM, 1929
“Color directly influences the
soul. Color is the keyboard, the
eyes are the hammers, the soul
is the piano with many strings.
The artist is the hand that plays,
touching one key or another
purposively, to cause vibrations
in the soul.”
--Wassily Kandinsky (14)
Arthur Dove, Movement No. 1, 1911
Georgia O’Keeffe, Special No. 8, 1915
“That is beautiful which springs
from inner need, which springs
from the soul.”
--Wassily Kandinsky (14) Arthur Dove, Abstraction II, 1910
“In theosophy vibration is the
formative agent behind all
material shapes, which are but
the manifestation of life
concealed by matter.”

"The unexplainable thing in nature that makes me feel the world is big
far beyond my understanding -- to understand maybe by trying to put it
into form. To find the feeling of infinity on the horizon line or just over
the next hill.”
—Georgia O’Keeffe (1)
The Realm of the Spirit: Nature
Arthur Dove, Field of Grain as Seen from
the Train, 1931
“…whenever that fearful
loneliness comes over me I
cannot bear the enclosure of
these four walls and I long for
the bigness of nature and the
infinite sky…[I pity] those poor
creatures who are fascinated by
the gay lights of the city…[for I
am] never so happy as when I
am way out of sight…walking on
nature’s plush carpet.”
-William Zorach (4)
Marguerite
Zorach, Man
Among the
Redwoods,
1912
Marguerite Zorach, Ancient Live Oak, 1912

Georgia O’Keeffe, Pink Mood, Blue Line, 1923
The Realm of the Spirit: Transcendentalism
Arthur Dove, Seagull Motif, 1928
“The thought of genius is spontaneous; but the power of picture or
expression, in the most enriched and flowing nature, implies a mixture of
will, a certain control over spontaneous states, without which no
production is possible. It is a conversion of all nature into the rhetoric of
thought, under the eye of judgment, with a strenuous exercise of choice.”
-Ralph Waldo Emerson (12)
“Intuition is a method of feeling one's
way intellectually into the inner heart
of a thing to locate what is unique
and inexpressible in it.”
--Henri Bergson (13)
Arthur Dove, Nature Symbolized, No. 2, 1912

Marsden Hartley, Portrait Arrangement, 1913
The Realm of the Spirit
Georgia O’Keeffe, Special No. 2, 1915Georgia O’Keeffe, From the Plains I, 1919
”…not form but formation. To set planes
in motion. Einstein.”
—Arthur Dove (1)
“Every now and then in life we have an experience that moves us
so deeply, that holds us with such sheer transcendent beauty, that
it takes us completely out of this world. It is this feeling that only
an artist can convey in his art. It is a journey into infinity.”
--William Zorach (13)

Modern Gender: The “New Woman”, the Crisis of
Masculinity, and Emergence of Androgyny
William Zorach, 1951
“Men have made things wonderful as the sun
When it rests on the ocean
And the world has bowed and marveled.
Men have made things beautiful as the wind
In the leaves at midnight.
And the world has never seen them.”
The Zorachs, 1919

Orson Welles, Susan in Citizen Kane, 1941
Modern Gender: The New Woman
John Sloan, Dolly with Black Bow, 1909
“I know more about women
than most people give me credit
for and I didn’t learn it the usual
way either.” –John Sloan (1)
Paul Strand, Untitled, NY, 1917
“A woman soul is on the road, going toward
the fulfillment of a destiny. The effulgent
art, like a seraphic visitor, comes with the
force of its life. In blaze of revelation it
demonstrates woman to the world and to
the woman. It summons a psychic capacity
toward new limits. It veers nature once
again to its great way.”
--Paul Rosenfeld (16)
Robert Henri, Edna Smith in a
Japanese Wrap, 1915
“…I have no definite idea what it should be --
but a woman who has lived many things and
who sees lines and colors as an expression of
living -- might say something that a man can't --
I feel that there is something unexplained about
women that only a woman can explore...”

John Sloan Yolande in a Large Hat (The Hawk) 1909-10
The Modern Gender: The New Woman
John Sloan, Return from Toil, The Masses,
July 1913
“There are so many lovely
women in New York and
they dress so very
charmingly I’d like to spend
hours watching them.”
–John Sloan (1)
“[She] discovers the female world for us by
cutting through the defensive veils of those
fashionable feminine sentiments which mask
those hectic heroines…”
--Louis Kalonyme on Georgia O’Keeffe, but may be
applied to notion of The New Woman (16)
Marguerite Zorach, Bea Ault
(Girl on a Balcony), 1925
John Sloan, 3AM, 1909
“She was independent
and outspoken, a
feminist ahead of her
time.”
-Dahlov Zorach
describing her mother
Marguerite Zorach (3)

Modern Gender: The Crisis of Masculinity
George Bellows, Patty Flannigan, 1908
George Bellows, Stag at Sharkey’s, 1909
“Art and manhood to be
compounded into one.”
—Robert Henri (1)
"I am not interested in the morality
of prize fighting. But let me say
that the atmosphere around the
fighters is a lot more immoral than
the fighters themselves.“
--George Bellows (1)
”Strong Man” Eugene Sandow
Marsden Hartley, Flaming American (Swim Champ), 1938
“Think like a man of action; act
like a man of thought.”
-Henri Bergson (3)

Modern Gender: The Crisis of Masculinity
Marsden Hartley, Swimmer, 1940
Marsden Hartley, Lobster Fisherman, 1940
“I believe in the flesh and the
appetites…
Divine am I inside and out, and I
make holy whatever I touch or am
touch’d from,
The scent of these arm-pits aroma
finer than prayer,
This head more than churches,
bibles, and all the creeds.
If I worship one thing more than
another it shall be the spread of my
own body, or any part of it…
Firm masculine colter it shall be
you!”
--Walt Whitman, excerpt from “Song
of Myself” (12)
“Strong Man” Eugen Sandow

Modern Gender: The Emergence of Androgyny
Constantin Brancusi
Princess X 1915-16
Man Ray, Man/Woman, 1918
Man Ray and Marcel Duchamp,
Rrose Sélavy, 1921
“The Androgyne is not
limited to any one
religion or philosophy.
The symbol is universal.
The Androgyne is above
philosophy. If one has
become the Androgyne
one no longer has a
need for philosophy.”
--Marcel Duchamp (18)
Marcel Duchamp, Nude Descending the
Staircase, No. 2, 1912
Alfred Stieglitz, Georgia
O’Keeffe: A Portrait, 1917
“I don’t see why we ever think of what
others think of what we do—isn’t it
enough to just express yourself?
Alfred Stieglitz, Georgia O’Keeffe: A Portrait, 1920

Portraiture Reinvented: The Artist’s Self-Portrait,
The Portrait of the Artist, The Friend of the Artist
"When I became a painter, in the days when
painters were reveling in color, I was fascinated
by the brilliancy of color in wools and the
extraordinary variety and life of these colors."
-- Marguerite Zorach (2)

Portraiture Reinvented: The Artist’s Self-Portrait
Stieglitz Self Portrait ,
Freienwalde a.O. 1886
“Photography must
become an inherent
part of oneself…My
photographs and I are
one”
—Alfred Stieglitz (1)
“His eye was in him, and he used it on
anything that was nearby Maybe that way
he was always photographing himself.”—
Georgia O’Keeffe on Stieglitz (1)
Edward Steichen, Self-Portrait, 1901
John Sloan, Self-Portrait, 1890
Stieglitz, photograph of collage of
photographic portraits of Stieglitz
by Erdmann Encke, 1883
“My photographs are a picture of the
chaos in the world, and of my
relationship to that chaos. My prints
show the constant upsetting of man’s
equilibrium and his eternal battle to
reestablish it.”
-Alfred Stieglitz (1)
Alfred Stieglitz, Self-Portrait, Cortina d’Ampezzo,
1890

Georgia O’Keeffe, Radiator Building at
Night NY, 1927
Portraiture Reinvented: The Artist’s Self-Portrait
Marsden Hartley, Sustained
Comedy—Portrait of an
Object, 1939
“Symbolism can never quite be
evaded in any work of art because
every form and movement that we
make symbolizes a condition in
ourselves.” –Marsden Hartley (1)
Man Ray, Self-Portrait, 1916
“I am not interested in art as
art, I am interested in life.”
—Robert Henri (1)
Frances Picabia, Self-Portrait, 1915

Alfred Stieglitz, John Marin at 291, 1912
Portraiture Reinvented: The Portrait of the Artist
“In art the dynamic is the result of the
contemplative.”
-Edward Steichen (1)
Edward Steichen, Rodin, The Thinker, 1902
Alfred Stieglitz, Georgia
O’Keeffe: A Portrait, 1917
Alfred Stieglitz, Marcel Duchamp, 1915
“Our age is retrospective. It builds up the sepulchers of the
fathers…The foregoing generations behold God and nature face
to face; we, through their eyes. Why should not we have a
poetry and philosophy of insight and not of tradition, and a
religion by revelation to us, and not the history of theirs?...Why
should we grope among the dry bones of the past…? There are
new ands, new men, new thoughts. Let us demand our own
works and laws and worship.”
--Ralph Waldo Emerson (3)

Marius de Zayas, L’
Accoucheur
d’Idees, 1912 Georgia O’Keeffe, The Old Maple, Lake
Georga, 1923
Marius de Zayas, Alfred Stieglitz, 1911
Frances Picabia, Ici, c’est
Stieglitz, 1915
Alvin Langdon Coburn
Alfred Stieglitz, 1908
“[Stieglitz stands for] the
perpetual affirmation of a faith
that there existed somewhere,
here in very New York, a spiritual
America.”
-Paul Rosenfeld (1)
“..the artist acts like a
mediumistic being who,
from the labyrinth
beyond time and space,
seeks his way out to a
clearing.”
--Marcel Duchamp (18)Gertrude Kasebier
Portrait of Alfred Stieglitz, 1902

Charles Demuth, Poster Portraits, 1923-29
Marguerite Zorach, Portrait of Bill, 1925
“The true work of art is born from the 'artist': a
mysterious, enigmatic, and mystical creation. It
detaches itself from him, it acquires an autonomous
life, becomes a personality, an independent subject,
animated with a spiritual breath, the living subject of a
real existence of being.”--Wassily Kandinsky (14)
Marguerite Zorach, William Zorach, 1914
“Art…describes only the
individual, it desires only
the unique.”
-Marcel Schwob, Camera
Work (17)
Charles Demuth, Poster Portrait:
Georgia O’Keeffe, 1924
Charles Demuth, Poster
Portrait: Arthur Dove, 1924

Portraiture Reinvented: The Friend of the Artist
Edward Steichen, Sadakichi Hartmann 1903
Marguerite Zorach, Marianne Moore
and Her Mother, 1925
Charles Demuth, Love, Love, Love, 1928
“Art is the imaginative expression of
human energy which, through technical
concretion of feeling and perception,
tends to reconcile the individual with the
universal…”
-John Galsworthy, Camera Work (17)
“The sense of pleasure given us by the impulsive
expressions of children’s observation or
imagination is certainly far greater than any
pleasure we have ever derived from the best
class-room drawings from the model which have
ever come under our notice.”
--Paul Haviland, Camera Work (17)
“A rose is a rose is a
rose.”
--Gertrude Stein

Portraiture Reinvented: The Friend of the Artist
Alfred Stieglitz, Frank Eugene, 1907
Alfred Stieglitz, Paul Rosenfeld, 1922-23
Arthur Dove, Portrait of Ralph
Dusenberry, 1924
Marsden Hartley, Portrait of One Woman, 1916
"If art is real it must come to affect every action in our
lives, every product, every necessary thing...Art cannot
be separated from life...we value art not because of its
skilled product, but because of its revelation of a life's
experience. The artists who produce the most
satisfactory art are in my mind those who are absorbed
in the civilization in which they are living.“
--Robert Henri (1)
“In the relation of lines to each other he may
learn the relation of lives to each other”

Bibliography(1) Class Lecture
(2) Bianco, Jane. Marguerite Zorach—An Art-Filled Life. Rockland: Farnsworth Art Museum, 2017.
(3) Burk, Efram L. Clever Fresno Girl: The Travel Writings of Marguerite Thompson Zorach (1908-1915). Newark: University of
Delaware Press, 2008.
(4) Skwire, Jessica. Marguerite and William Zorach: Harmonies and Contrasts. Portland: Portland Museum of Art, 2007.
(5) Rapaport, Brooke Kamin. Houdini: Art and Magic: New Haven: Yale University Press, 2011.
(6) Dijkstra, Bram. Cubism, Stieglitz, and the Early Poetry of William Carlos Williams. Princeton: Princeton University Press, 1969.
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(8) Sharpe, William Chapman. New York Nocturne: The City After Dark in Literature, Painting, and Photography, 1850-1950.
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(9) Schwartzburg, Molly. “The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920-1925.” Harry Ransom Center:
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Press, 1999.
(11) Orson Welles’ Citizen Kane, 1941
(12) Cassidy, David, Elizabeth Finch, and Randall R. Griffey. Marsden Hartley’s Maine. New York: The Metropolitan Museum of Art,
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(13) Tarbell, Roberta K. William and Marguerite Zorach : the Maine years. Rockland: Farnsworth Art Museum, 1979.
(14) Kandinsky, Wassily. Concerning the Spiritual in Art. Translated by M. T. H. Sadler. New York: Dover Publications, 1977.
(15) Nietzsche, Friedrich. A Nietzsche Reader, Edited by R.J. Hollingdale. New York: Penguin Classics, 2016.
(16) Lynes, Barbara Buhler. O’Keeffe, Stieglitz and the Critics, 1916-1929. Ann Arbor: UMI Research Press, 1989.
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(18) Lippard, Lucy R. Dadas on Art: Tzara, Arp, Duchamp and Others. New York: Dover Publications, 2007.
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Appendix B