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Index
Kenneth E. Silver
Description: Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War,...
Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War, 1914–1925
Index
Author
Kenneth E. Silver
PublisherPrinceton University Press
Copyright© 1989 by Kenneth E. Silver
Stable URL: https://aaeportal.com/?id=-32223
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Index
Abadie, Pierre, 38
Abbéma, Louise, 95, 285–87
affaire Rivera, l’, 166
Albert-Birot, Pierre, 26–28, 47, 74, 184, 346
Alexander the Great, 122
Alexandre, Arsène, 247, 263
Allard, Roger, 56, 225, 234, 244, 363
allegorical figures: during war, 94–97
analysis/synthesis, 345
Cubist artists and formulation of, 349
Léger on, 346
post-war period and, 347–48
pre-war/post-war Cubism and, 350
Purists and, 372
Severini on, 346
and Synthetic Cubism, 350, 357
use of terms, 349
war as affecting distinction between, 346
ancient Gallic warriors: and poilus, 96
Ansermet, Ernest, 144
anti-Cubism, 146–48
Delaunay’s acceptance of, 148
and neo-classicism of Picasso, attacks on, 148
antique deities; use of, during war, 95
antique sources, 276
Apollinaire, Guillaume, 11, 26, 38, 43, 55–56, 101–7, 122–23, 148, 165–67, 181, 200, 304
and classical direction of poetry, 238–39
death of, 227
“Les Saisons,” 139
Aragon, Louis, 252, 306, 311
architects and architecture: post-war preoccupation with, 323–25
representation of, at Exposition Internationale des Arts Décoratifs et Industriels Modernes, 356, 371
role of, as post-war issue in the arts, 189
social relevance of supremacy of, 189, 206
as symbols of order and control, 207
war imagery as metaphor for, 374–75
Armistice, 219
Arnoux, Guy, 38, 192
Artaud, Antonin, 392
artistic left and right, 125–26
Cocteau brings together, 115
Athenius, 95
Aurel, Madame, 11, 45, 61, 165, 184, 199, 265, 394
Auric, Georges, 300
avant-garde: changes in, 151–65
classicizing of, 270
French masters, interest in, 237
leaders of, after war declared, 43
and Picasso, 271
and post-war period, 227
predicament of, 59
and Léonce Rosenberg, 218
and Severini, 157, 264–66
and shift to past art, 164
Bach, Johann Sebastian, 45
Bakst, Léon, 114, 176, 245
Bal des Matières (1925), 309
ballet images: in Picasso, 243
Ballets Russes: Braque and, 300–301
and Cléopâtre settings by Delaunay, 150
Cubism and, 144
Gris and, 300–301
Parade, 115
Picasso and, 299–300
post-war, 299
pre-war culture and, 113
Ballets Suédois: Léger’s work for, 301–3
Banham, Reyner, 389
Barbier, Georges, 177
Baron, Hans, 270
Barr, Alfred H., Jr., 285, 343
Barrès, Maurice, 17–20, 27, 45, 92, 108, 198, 221, 281, 306
Baudelaire, Charles-Pierre, 209
Bauginet, Marcel, 348
Bayard, Emile, 55
Beaumont, Etienne de, 309
Beaunier, André, 27, 92, 109, 190, 230
Beethoven, Ludwig van, 45
Behrens, Peter, 371
Bellini, Giovanni, 154
Benda, Julien, 270
Bénédite, Léonce, 182, 245, 264
Benito, E. G., 96, 192
Bergson, Henri, 52, 209, 216–17, 282, 322
Bernard, Emile: and Cézanne, attacks on, 326–29, 366
Bernheim, Galerie, 9
Bismarck, Count Otto von, 15
Bissière, [Roger], 199, 205, 236–37, 246, 377
on Cubism’s demise, 185
on disappearance of Cubist art, 146
Blanc, Charles, 206, 383
Blanc, Louis, 193
Blanche, Jacques-Emile, 183
Bloch, Camille, 41
Blue Horizon (Chambre Bleu Horizon): origin of name, 227
Boccioni, Umberto, 11
Boiffard, J. A., 392
Boileau, Louis, 365
Boissy, Gabriel, 28, 30, 105, 193, 230
Bonfils, Robert, 38, 363
Bongard, Germaine, 88, 199
Bonnard, Pierre, 47
Bornecque, Henri, 226–27
Botticelli, Sandro, 238
Boulenger, Marcel, 305–6
Bourdelle, Antoine, 41, 293, 363–66
Bourget, Paul, 198
Boussingault, Jean-Louis, 370
Boutroux, Emile, 93, 180, 193, 281
Brandt, Edgar, 366
Braque, Georges, 34, 56, 144, 163–65, 187, 197, 215, 229, 237, 280, 360
on artistic enterprise, 105–7
Ballets Russes, his work for, 300–301
and neo-classicism, 291–93
Picasso and, 291
and traditional notion of the past, 164
Brasini, Armando, 371
Breton, André, 306, 311, 390–91
La Révolution Surréaliste, 390–99
Camoin, Charles, 5
Canudo, Riccioto, 111–12
Cappiello, Leonetto, 261
Caravaggio, Michelangelo da, 320
Carco, Francis, 61, 146
Carpeaux, Jean-Baptiste, 96
Carrà, Carlo, 385
Carrière, Eugène, 365
Cendrars, Blaise, 302, 321–22
cenotaph for the war dead, 222
German influence on, 224
Cézanne, Paul, 57–71, 161–64, 236–57, 325–78
and Bernard, attacks by, 326–29
Cubism, and, 325–26
and Juan Gris, his influence on, 161–64
and origin of modern movement, 331
prewar Cubists and, 163
and Severini, criticism of, 330
Chabrillon, Comtesse de, 116
Chalupt, René, 215
Chambre Bleu Horizon. See Blue Horizon
Chareau, Pierre, 365, 372
Chevigné, Comtesse de, 116
Chirico, Giorgio de, 311, 384, 395
classicism: and Picasso’s works, 280
post-war, 270
and Royalist party, 103
values denoted by, 98
Clemenceau, Georges, 17–18, 47, 206, 223–36
Cocteau, Jean, 43–58, 93–96, 113–31, 150, 156, 185, 208, 223, 307–8
“left and right,” 109, 115
and Parade, 117, 122, 127
and Picasso, 107–8
theatrical ventures of, 308
collective nature of wartime and post-war art: artists on, 200
culinary arts and, 193–94
and individualism, repudiation of, 199
and rebuilding, 190
and revolution as possibility during wartime, 196
scope of, 193
and victory parades in Paris, 194
colonialism, 259, 263
commedia dell’ arte: and Gris, 158–59
and Picasso, 158–59
postwar preference for, 268
and Severini, 158–59
Corot, Jean-Baptiste-Camille, 133–46, 157, 161, 215, 244, 377
Courbet, Gustave, 66–71, 210, 326
Cousin, Victor, 215
Cubism, 47
and analytic/synthetic formulation, 349
Après le Cubisme, 227–32
attacks on, 12, 36
Aurel’s feelings on, 61
and Ballets Russes, 114
boche, labeled as, 118
Cézanne and, 325–28
and changes in enclave, 146
and Gustave Courbet, 68
Cubist-Futurist, 77, 86
Dada’s impact on, 310, 312
demise of, in Bissière’s view, 185
flourishes in post-war, 299
formal revision of, 387
illness and, 57
L’Italienne, 135
Latin Cubism, 157
and Le Mot, 48–49
and origin of modern movement, 331
and Ozenfant, 88
post-war attitudes toward, 228, 299, 314
post-war changes in, 319–21
pre-Cubist themes and compositions, 65
Le Purisme critique of, 387
and purity/purification concept, 330
and Reverdy-Rivera affair, 166
and Léonce Rosenberg, 218, 322
and vitality in the trenches, 84
wartime notion of, 211–12
and World War I, 10–12
Dada and Dadaism: appearance of, in France, 304
background of, 304
critique offered by, 305
Cubism, its impact on, and conflicts with, 310–12
Le Gaulois’s attack on, 305
and Gleizes, attacks by, 312
influence of, 306
and matinee of the arts sponsored by Littérature, 311
Picabia and, 304, 307, 313
391 (magazine), 304
Tzara and, 307, 310
Dalai-Lama, 393
Dalcroze, Jacques, 270
d’Angel, Léo, 7
d’Annunzio, Gabriele, 93
Dante, 209
Daudet, Alphonse, 22
Daudet, Léon, 22–28, 33, 45–55, 101–8, 122, 131, 168, 179, 204, 208, 265–67, 312, 374
d’Aunet, Béard, 190
David, Jacques-Louis, 98, 131, 206
Degas, Edgar, 236–47
Delacroix, Eugène, 210, 249, 258
Delard, Eugène, 182
Delaunay, Robert, 5, 147–51, 217, 252, 318, 332–35, 360
Delaunay, Sonia, 150, 252, 333
Delfour, Abbé, 180
Denis, Maurice, 197, 242, 305
Derain, André, 2, 30, 38, 99, 161, 165, 182, 197, 245
Dermée, Paul, 89, 101–5, 209, 216, 230, 312
article by, in Nord-Sud, 209
Déroulède, Paul, 17
Dervaux, Adolphe, 175, 189, 357, 363
Desnos, Robert, 393–94
Diaghilev, Serge, 113–18, 126, 150, 243, 252, 299
Diaghilev’s Ballets Russes. See Ballets Russes
d’Indy, Vincent, 198
Doucet, Jacques, 166
Dreyfus, Alfred, 17, 48, 207
Dreyfus, Mathieu, 17
Driault, Edouard, 23, 97
Droit, Jean, 267
Drouilly, Germain, 226–27
Drumont, Edouard, 17
Duchamp, Marcel, 5
Duchamp-Villon, Raymond, 5, 41, 79, 88, 227, 313, 369
Duchartre, Pierre, 159, 161
Dufy, Raoul, 41–42, 50–52, 79, 182, 199, 308
Dukelsky, Vladimir, 300
Dunand, Jean, 41–42, 365
Dunoyer de Segonzac, André, 5, 43, 53–56, 183, 370
Elan, L’, final issue of, 88
militancy of, 53
Le Mot as model for, 51
nationalist tone of, 74
Nurse (Metzinger) in, 54
and Ozenfant, role of, 52–53
patriotic nature of, 55
pre-war audacity, embrace of, 57
Elias, Felin, 147
Eluard, Paul, 311, 392
Ernst, Max, 397
Errazuriz, Eugenia, 139–43, 309
Picasso’s friendship with, 139
Escholier, Raymond, 367–68
esprit nouveau, 92
its link with politics, 214
visual campaign of, 95
Esprit Nouveau, L’, 373–74
final issue of, 390
humorous character of, 374
“The Illusion of Plans” (Le Corbusier), 374
and Parade, 122
progressivism of, 374
and “le Purisme,” 378–79
and Severini, his attack on Cézanne in, 378
Exposition de la Mère et de l’Enfant, 174
Exposition International des Arts Décoratifs et Industriels Modernes, 362
architects, role in, 365, 371
architectural and interior design at, 368–69
Compagnie des Arts Français, role in, 370
cultural chauvinism at, 371
decorators represented at, 368–69
La France d’Outremer as key image of, 365
French colonies, representation at, 365
Great War, influence on, 362–63
and major commercial structures, 366
1925 opening of, 367
participation in, 364
and reactionary taste, evidence of, 371
and regionalist spirit, 364
regressive character of, 366
Soviet pavilion at, 372
Exposition Universelle 1900, 174
Falcou, M. R., 182
Falla, Manuel de, 299
Fauconnet, Guy-Pierre, 183, 307
Fauvism, 60
Fels, Florent, 312
Férat, Serge, 166
Fernandez, Jeanne Ramon, 181
“First Futurist Exhibition of the Plastic Art of War” (Gino Severini), 74, 87
Foch, Ferdinand, 219, 221, 291, 322–23
Focillon, Henri, 61, 235
Fokine, Michel, 114
Fontaine, Fernand, 392
Fort, Paul, 86
Fouqueray, Charles, 85
Fournez, R., 365
France, Anatole, 17, 26, 95
Fraye, André, 80
French culture, 27–29
French vs. German arts, 171–85
and art munichois, 204
Léon Daudet on, 179–80
economic competition and, 174
oriental influences and, 174–75
Friesz, Othon, 96, 199, 219
Futurist paintings: Manifesto of the Futurist Painters (1910), 155. See also specific subject headings
Galtier-Boissière, Jean, 221
Gampert, Jean-Louis, 252
Gance, Abel, 267
Garnier, Tony, 364, 371
Garros, Rolland, 109
Gennaro, G. de, 96
genre scenes: by artists at the front, 78
George, Waldemar, 365
Gerda-Wegener, 178
Géricault, Théodore, 65
German culture: Wilhelm Uhde’s exposition of Picasso’s debt to, 144–45
Germany: and accusations of barbarism, 6–7, 92
feelings against, 8–11
Gide, André, 26, 47, 171
Gleizes, Albert, 5, 11, 43, 47, 57, 68, 108, 212, 253, 282, 325, 382
his attack on Dadaism, 312
and Le Mot, 48, 51
return of, 78
Gloeden, Wilhelm von, 278
Goethe, Johann Wolfgang von, 10
Goldwater, Robert, 287
Goll, Clair, 252
Goll, Ivan, 252
Goujon, Jean, 293
Gourmont, Rémy de, 3–4
Goya, Francisco, 238
Granié, Joseph, 55
Green, Christopher, 270, 339
Gris, Josette, 156–57, 229
Gris, Juan, 2–8, 29–37, 43, 74, 84, 107, 144, 156–65, 181, 235–37, 249, 300, 310–12, 347, 354
Ballets Russes, his work for, 300–301
and Cézanne, influence of, 161, 163–64
Cubism, his association with, 164
illness and death of, 359
Matisse, befriended by, 156
and Picasso-Ingres style, 157
Groult, André, 365
Harlequins, 127–30
Haydn, Franz Josef, 203
Hébert, Georges, 270
Hegel, Georg Wilhelm Friedrich, 52
Hoffmann, Josef, 170, 371
Honegger, Arthur, 300
Horta, Victor, 371
Huard, Charles, 203
Hugo, Valentine, 111
Hugo, Victor, 96
Humbert, Marcelle, 107, 126, 315
image d’Epinal, 124–55
and propagandistic appeals, 41
renaissance of, 38
Impressionism: and color, use of, 132
distaste for, 211
Léger and, 211
Picasso’s definition of, 211
Ingres, Jean-Auguste Dominique, 63, 71–79, 87, 99, 139–46, 235–36, 245–19, 271, 318, 377
influence of, on Picasso, 139–40
and Henri Lapauze, 246
Matisse, tribute paid to by, 258
and post-war Picasso works, 244–46
Iribe, Paul, 43–55, 96
Italy: effect of its entrance into the war, 93
Jacob, Max, 63, 144, 157, 166, 182, 249, 253, 314
Jaeger, Karl, 172
Janniot, Alfred-Auguste, 366
Jaulmes, Gustave, 222, 363, 370
Jaurès, Jean, 17, 26, 226
Jeanneret, Charles-Edouard (Le Corbusier), 228–29, 321–38, 372–90
Joan of Arc, 96
Joffre, Joseph-Jacques-Césaire, 96, 221–22
Jourdain, Frantz, 365
Kahnweiler, Daniel-Henry, 4–10, 145, 249–50, 310, 314, 326, 357
Kandinsky, Wassily, 147
Kant, Emmanuel, 52
Kisling, Moise, 5, 184
Kluck, Alexander von, 25
Knoblock, Madeleine, 338
Kochno, Boris, 252, 300
Koklova, Olga, 138–43, 243, 273
marriage to Picasso, 139
Portrait of Olga, 138–40
Kupka, Frantisek, 5
La Fresnaye, Roger de, 5, 41–50, 56, 108, 133, 165, 199, 237–38, 252, 283, 294, 353, 360
Lalique, René, 362
Lapauze, Henri, 168–79, 194, 246, 263, 368
Larbaud, Valéry, 47
“Latinizing” campaign: effects of, 136
Picasso’s journey to Italy and, 136
Laurencin, Marie, 199, 369
Lavedan, Henri, 213
Léandre, Charles-Lucien, 287
Lebasque, Henri, 184, 282, 325
Le Corbusier. See Jeanneret, Charles-Edouard
Léger, Fernand, 5, 56, 165, 178, 199, 211, 339, 364
ballet, his work for, 301–3
and the post-war, 339
and Seurat, influence of, 339–44
Legrain, Pierre, 366
Léka, 11, 23, 45
Le Nain, Louis, 239–43, 281, 320, 377
Léon, Paul, 372
Le Sueur, Eustache, 237
Lettenhove, Baron Kervyn de, 6
Le Vieil, Charles, 191–92
Lévy-Dhurmer, Lucien: patriotic images by, produced during the war, 191
Lewitzka, Sonia, 53
Lhote, André, 57–58, 146, 166–67, 199, 210, 246, 314, 337
Lipchitz, Jacques, 311
Lippi, Fra Lippo, 238
Loubet, Emile, 18
Luther, Martin, 9
Lyautey, Marshal, 261
MacDonald, William, 187
Macke, Auguste, 147
magazines. See individual titles
Magrou, Jean, 270
Maillol, Aristide, 99
Mainssieux, Lucien, 54
Mallet-Stevens, Robert, 365, 372
Malraux, André, 267, 270
Mandel, Madame, 333
Manfredi, Bartolomeo, 320
Man Ray, 397
Marc, Franz, 147
Marchand, Jean, 203
Marcoussis, Louis, 41
Mare, André, 79, 214–16, 222–26, 252, 266, 368–71
Maré, Rolf de. See Ballets Suédois
Marianne, 13–24, 93–94, 180, 234, 283
Marinetti, F. T., 348
Marinot, Maurice, 369
Marx, Karl, 193
Massine, Léonide, 115, 150, 300
Massis, Henri, 393
Masson, Frédéric, 172
Matisse, Henri, 30
and Bohain series, 60, 63
changes in, 201–2
Cubism and, 36, 202
Fauvism and, 60
Ingres, tribute paid to, 258
as orientalist, 259
his pre-war work, 34–35
and Renoir, influence of, 258
Severini, his relationship to, 86
Triennale, his exhibit at, 31
uselessness, his feeling of, 34
victory bouquet painted by, 226
Matisse, Jean, 202–3
Matisse, Madame, 203
Matisse, Pierre, 35, 202–3
Mauclair, Camille, 11, 45, 60, 98, 199, 210, 324
Maurras, Charles, 17, 22, 103–4, 207, 267, 393
Melnikov, Konstantin, 372, 390
Mercure de France, 3
Métivet, Lucien, 13–24, 180, 217, 228, 321
Metzinger, Jean, 5, 16, 54, 68, 82, 89, 167, 181, 184, 203, 268, 313, 325, 348
Michel, André, 198–99, 206, 241, 329, 383
Michelangelo, 238
Millerand, Alexandre, 260
Millet, Jean-François, 243
Miró, Joan, 397
Molière, Jean-Baptiste, 300
Monet, Claude, 210, 236
Moreau, Luc-Albert, 56, 199, 370
Morice, Charles, 33–34, 171, 189
Mot, Le, Cubist painters championed by, 48–49
eclectic nature of, 47
editorial position espoused, 51
L’Elan as model for, 51
Italy’s entrance into war, noted by, 93
nationalist tone of, 74
publication of, 44
“Munich taste,” 171
described, 172
and economic competition, 174
Musset, Alfred de, 209
Mussolini, Benito, 267
Muthesius, Hermann, 170
mutilés de guerre: their entry into Paris, 219
Nam, Jacques, 11
neo-classicism, 283, 291–93, 295
neo-traditionalism, movement toward: Gris and, 157
Picasso, his attacks on, 148
new classicism, 89
visual campaign of, 95
Nietzsche, Friedrich Wilhelm, 9, 52
Nijinsky, Vaslav, 114, 115, 175
Noailles, Comtesse de, 47
Nochlin, Linda, 287
Noël, Guy, 118
oriental influence (Orientalists), 174
pernicious nature of, 177
and Shéhérazade, 174–75
Surrealists and, 393
and Turkey, effect of its entry into war on German side, 177–80
Ozenfant, Amédée, 43, 56, 74, 85, 88, 97, 113, 128, 215, 227–28, 338, 371–74
anti-Cubist statement of, 88
Après le Cubisme, 227–30. See also Elan, L’
Pach, Walter, 211
Parade: Jean Poueigh’s review of, and Satie’s response, 165
Pasteur, Louis, 325
Patout, Pierre, 366
Paul, Bruno, 170
Paulhan, Jean, 264
Péguy, Charles, 17, 49
Péladan, Sar, 197
Perret, August, 293, 371
Pétain, Philippe, 222, 268
Picabia, Francis, 304–7, 313, 391
Picasso, Pablo: antique sources affecting, 276
Apollinaire’s poetry and, 238–39
ballet images and, 243
and birth of his son, 281–82
Braque, effect of wound suffered by, 107
Cézanne and, 68
classical endeavors of, 273, 278–80
Cocteau, his friendship with, 107–8
and commedia dell’arte, his involvement in, 130
Corot and, 133
Diaghilev, his work for, 299
distancing from old crowd, 144
Eva (Marcelle Humbert), death of, 107
Harlequins, 127–30
Ingres and, 71, 257
his journey to Rome, 136–37
and Olga Koklova, 139
Le Nain, influence on, 241–43
mother and child pictures of, 282
and neoclassicism, 291
non-Cubist styles, his use of, 134
patriotism and allegory in Woman in White, 287, 289
and post-war individualism, 211
and Paul Rosenberg as dealer, 143, 144
and post-war period, 244–46, 252, 261
and post-war traditionalism, 251
pre-1908 paintings of, 66
psychic alienation of, 64
Renoir and, 243
Rousseau and, 242
summer of 1921 at Fontainebleau, 273
Wilhelm Uhde on, 144–45
“Vive la France,” inclusion of, in painting, 36–38
World War I, effect on, 36. Works: The Dance, 397
Le Gitan, 332
L’Italienne, 135
Painter and His Model, 63, 69, 397
Parade, 119, 126
Portrait of Olga, 138, 140, 142
Three Musicians, 314–19, 352
Picasso, Paul, 282
Plato, 215–16
poilu, everyday life of: depiction, 78
Poincaré, Henri, 282
Poincaré, Raymond, 25, 189
Poiret, Martine, 169
Poiret, Paul, 88, 167, 226, 353, 368
Poiret affair, 167–70
and Raoul Dufy, 182
and letters in support of Poiret, 182–83
and pro-Poiret dossier in La Renaissance, 184
and pyrrhic victory won by Poiret, 181
political aspects of the Armistice, 226–27
Pollaiuolo, Antonio del, 238
Pompon, François, 366
post-war art: artificial aspects of, 360
classicism, 270–80
colonialism, 259–63
conservatism of Purists, 377
orientalism, 259, 263
traditionalism, 264
post-war Cubism; still-lifes, 351–57
post-war reconstruction: and analogies to antique past, 375
and architectural issues, 189
as collective endeavor, 190
requirements of, 187–90
social relevance of, 190
Poueigh, Jean, 165, 184
Pougni, Ivan, 374
Poussin, Nicolas, 98, 206, 209, 238, 276–77
pre-war art: condemnation of, 30–31
pre-war style: put to wartime use, 85
Proust, Marcel, 26
Puiforçat, Jean, 366
Punchinello, 127–31, 155–60
Purism: analysis/synthesis and, 372
Après le Cubisme and, 230
and conservative post-war artistic attitudes, 377
earth-tones and soft pastels of, 385
elitism inherent in, 389
first showing of works, 231–32
iconography of, 385
and new aesthetic views, 234
painting defined by, 383
Pavillon de L’Esprit Nouveau and, 390
“Le Purisme,” 378–79
reforms of, 383
social and political attitude in, 387–88
still-lifes, 386
Puvis de Chavannes, Pierre C., 96–99, 241, 276, 287, 318
Quesnel, Joseph, 90, 101
Quinn, John, 82
Race, La, 62
Racine, Jean, 209
Radiguet, Raymond, 270
Raphael, 238
Ravel, Maurice, 47
Raynal, Maurice, 29, 43, 113, 156, 165, 346
reconstruction: problems of, 323–24
Reff, Theodore, 314
Reims cathedral: destruction of, 7–8
Renaissance Politique, Littéraire, et Artistique, La: article in, 168–70
Renoir, Pierre-Auguste, 212, 243, 258, 272
Rétif, Maurice, 187
Reverdy, Pierre, 89, 166–67
Reverdy-Rivera incident, 166
revolutionaries: becoming classicists, 249
Révolution Surrealiste, La, 392–93. See also Surrealism
Rey, Augustin, 92, 95
Ribemont-Dessaignes, Georges, 304–5, 313
Richard, Jean, 91
Rimbaud, Arthur, 209
Rivera, Diego, 166
Rivière, Jacques, 270
Rodin, Auguste: his thoughts on German invasion, 100
Rolland, Romain, 7
Romanticism: dangers of, 208
linking with the past, 210
Maurras and, 208
qualities of, 209
Rosenberg, Léonce, 111, 166, 218, 252, 322–23, 348, 374
Rosenberg, Paul, 143–44, 244, 252
Rosenthal, Léon, 367
Rosso, Giovanni Battista, 273
Rothschild, Robert de, 369
Roure, Lucien, 62
Rousseau, Henri, 241–42
Rousseau, Jean-Jacques, 196, 210, 215
Roux-Spitz, Michel, 365
Royalist party, 103
Rubin, William, 319
Rude, François, 96, 192
Ruhlmann, Emile-Jacques, 365
Sabattier, Louis, 226, 283
Salmon, André, 89, 166, 234, 270, 312, 336
Saroléa, Charles, 26, 123, 212–16, 322
Sarraut, Albert Pierre, 263
Satie, Erik, 115, 119, 121, 130, 165, 215, 245, 270, 300
Saugnier, Baudry de, 193
Sauvage, Henri, 366, 372
Schlemmer, Oskar, 310
Schlieffen, Count von, 25, 52
Schneider, Pierre, 203
Schopenhauer, Arthur, 9
Schubert, Franz, 45
Segonzac, Dunoyer de, 165, 185
Seidel, Emmanuel von, 172
Selmersheim, Tony, 365
Sembat, Marcel, 33–34, 59
Seurat, Georges, 36, 240
analysis, his use of, 345
and prestige gained in 1920s, 336–39
Severini, Gino, 75–78
and analysis/synthesis theories, 346
changes in work of, 151
Cubist-Futurist aspects of, 86
dilemma of, 153
“First Futurist Exhibition of the Plastic War of Art,” 74, 86
guidelines of, 215
neo-classicism of, 151–54
1916 exhibition, 85
and post-war avant-garde, 264–66
pre-war style of, 85
Shéhérazade, 174
Signac, Paul, 247
Silverman, Debora, 214
Simplicissimus: cartoon in, 168
Sironi, Mario, 385
Socrates, 323, 357
Socratic dialogues: their relation to post-war art, 323
soldier-artists, 78–80
Sorel, Georges, 198
Soupault, Philippe, 252, 306, 311
Soviet pavilion (Exposition Internationale des Arts Décoratifs et Industriels Modernes), 372
Staal, J. F., 372
Stein, Gertrude, 126
Steinlen, Théophile Alexandre, 96
still-lifes, 351–55
Stravinsky, Igor, 47, 114–15, 131, 184, 300
Strozzi, Bernardo, 320
Süe, Louis, 222, 368–69
Surrealism: André Breton and, 390–95
defined, 391
orientalism and, 393
power source of, 395
and pre-war values, reclamation of, 396
represents first alternative to late Cubism or neo-traditionalism, 397
La Révolution Surréaliste, 392–93, 397
synthesis/analysis. See analysis/synthesis
Taylorism, 325
Tollet, Tony, 8, 45, 217
Triennale: Matisse exhibits in, 31
opening of, 31
theme of, introduction to, 56
Jacques Vernay’s criticism of, 72, 74
Tzara, Tristan, 252, 304, 307, 310
Uhde, Wilhelm, 10, 144–45
Valéry, Paul, 270, 323, 370, 393
Van Dongen, Kees, 184
Vaudoyer, Jean-Louis, 235
Vauxcelles, 171–74, 181, 185, 314, 363
Véra,Paul, 370
Vernay, Jacques, 72, 79, 89, 259
Versailles, Treaty of, 219
Vianelli, Achille, 120
victory gardens: in Paris, 194
Villain, Raoul, 226
Villon, Jacques, 78, 312, 369
Violier, Jean, 374
Vitrac, Roger, 392
Viviani, René, 26, 92, 281
Vlaminck, Maurice de, 5, 30
Vollard, Ambroise, 63, 157
Vouet, Simon, 237
Wagner, Richard, 22–23, 45, 131, 208
wartime losses: staggering effects of, 187
wartime preferences, 212
Watteau, Antoine, 120
Weill, Berthe, 9
Wharton, Edith, 25
Wildenstein, Galerie, 9
Willette, Adolphe Léon, 9–10, 22, 130
World War I, 28
artists’ mental states during, 3–4
and effect of 1870 defeat on the French, 25
end of, 187
nationalist ideology during, 42–43
new France to arise from, 27
and noncombatants’ guilt, 30
political coalition formed, effect of, 25
political right and left during, 26
and social changes, 375. See also specific subject headings
Zadkine, Ossip, 5
Zdanevich, Ilizaid, 252
Zervos, Christian, 133
Zola, Emile, 17, 26