exhibition

Second Post-Impressionist Exhibition. British, French and Russian Artists


ID: 489, Status: completed
Exhibition period:
Oct 5‒Dec 31, 1912
Type:
group
Organizing Bodies:
Currency:
s (Great Britain Pound (in Shilling))
Quickstats
Catalogue Entries: 261
Artists: 45
Gender: female: 6, male: 38
Nationalities: 9
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Date Title City Venue Type
Date Title City Venue # of common Artists
Jan 1914 The Grafton Group. Vanessa Bell, Roger Fry, Duncan Grant. Second Exhibition London Galleries of the Alpine Club 11 artists
Feb‒Mar 1910 XXXI. výstava S. V. U. Manes. Les indépendants [XXXI. Exhibition of the Union of Fine Artists Manes. Les Indépendants] Prague [Pavilion in Kinsky Garden] 10 artists
Nov 8, 1910‒Jan 15, 1911 Manet and the Post-Impressionists London Grafton Galleries 11 artists
Oct 12, 1913‒Jan 16, 1914 Post-Impressionist and Futurist Exhibition London Doré Gallery 16 artists
Jan 9‒Feb 1913 Die Neue Kunst Vienna Galerie Miethke 11 artists
May 1‒15, 1912 Exposition de Quelques Indépendants Anglais Paris Galerie H. Barbazanges 7 artists
May 1‒15, 1912 Salon de Mai 1912, Première Exposition Marseille Ateliers du Quai Rive-Neuve 10 artists
Oct 6‒Nov 5, 1911 Internationale Tentoonstelling van Moderne Kunst. Moderne Kunst Kring Amsterdam Stedelijk Museum 9 artists
Apr 28‒May 19, 1913 International Exhibition of Modern Art [Armory Show] Boston Copley Hall 12 artists
Oct 1‒Nov 1, 1908 VIII. Serie Französische Impressionisten Zurich Zurich (exact location unknown) 11 artists
Aug‒Sep 1913 Neue Kunst. II.Gesamtausstellung Munich Hans Goltz 12 artists
Mar 12‒Apr 10, 1912 Der Sturm. Erste Ausstellung. Der Blaue Reiter. Franz Flaum. Oskar Kokoschka. Expressionisten Berlin Gilka-Villa 7 artists
Oct 1912 Neue Kunst. Erste Gesamt-Ausstellung Munich Hans Goltz 10 artists
Jul 16‒Oct 9, 1910 Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler Dusseldorf Städtischer Kunstpalast 10 artists
Oct‒Nov 1913 Erste Ausstellung Berlin Neue Galerie 7 artists
Nov 13‒Dec 4, 1909 Natures Mortes et Fleurs (Peintures) Paris Galerie Eug. Blot 7 artists
Jan 21‒Feb 2, 1911 XIII. Jahrgang. Winter 1910/11. VI. Ausstellung. Neue Künstler-Vereinigung München Berlin Paul Cassirer 6 artists
May 20‒22, 1911 Vente au bénéfice du Monument Cézanne Paris Hôtel Drouot 6 artists
Sep 1‒14, 1910 Neue Künstlervereinigung München E.V., Turnus 1910-1911. [II. Ausstellung] Munich Moderne Galerie (Heinrich Thannhauser) 6 artists
Dec 3‒17, 1911 I. Ausstellung des Modernen Bundes Luzern Grand Hotel du Lac 5 artists
Jun 7‒8, 1911 Collection Henry Bernstein Paris Hôtel Drouot 5 artists
Oct 6‒Nov 7, 1912 Moderne Kunst Kring (Cercle de l'art moderne). Ouvrages de Peinture, Sculpture, Dessin, Gravure Amsterdam Stedelijk Museum 6 artists
Dec 10‒31, 1907 Exposition de Cent Vingt Tableautins, Peintures, Aquarelles, Pastels et Dessins Paris Galerie Eug. Blot 7 artists
May 14‒16, 1914 Collection de M. Herbert Kullmann (de Manchester) Paris Hôtel Drouot 4 artists
Mar 24‒Apr 16, 1913 International Exhibition of Modern Art [Armory Show] Chicago The Art Institute of Chicago 15 artists
1913 XXVI. Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 9 artists
Dec 17, 1909‒Feb 6, 1910 Салон. Интернациональная выставка картин, скульптуры, гравюры и рисунков [Salon. Internaczionalʹnaya vy'stavka kartin, skulʹptury', gravyury' i risunkov : Salon. International Exhibition of Paintings, Sculpture, Prints and Drawings] Odessa Vladimir Izdebsky 12 artists
Jun 10, 1915 Vorticist Exhibition London Doré Gallery 4 artists
Mar‒Apr 1914 The First Exhibition of Works by Members of The London Group London Goupil Gallery 5 artists
Dec 21, 1908‒Jan 15, 1909 Catalogue des Œuvres Exposées Paris Galerie Notre-Dame-des-Champs 4 artists
May 2‒Jun 7, 1910 Салон. Интернациональная выставка картин, скульптуры, гравюры и графики [Salon. Internaczionalʹnaya vy'stavka kartin, skulʹptury', gravyury' i grafiki : Salon. International Exhibition of Paintings, Sculpture, Prints and Drawings] Saint Petersburg Vladimir Izdebsky 11 artists
Dec 1911 The Second Exhibition of the Camden Town Group London Carfax Gallery 4 artists
Jun 25‒Jul 20, 1910 Салон. Интернациональная выставка картин, скульптуры, гравюры и графики [Salon. Internaczionalʹnaya vy'stavka kartin, skulʹptury', gravyury' i grafiki : Salon. International Exhibition of Paintings, Sculpture, Prints and Drawings] Riga Vladimir Izdebsky 11 artists
Feb 26‒Mar 27, 1910 Салон. Интернациональная выстака картин, скульптуры, гравюры и рисунков [Salon. Internaczionalʹnaya vy'staka kartin, skulʹptury', gravyury' i risunkov : Salon. International Exhibition of Paintings, Sculpture, Prints and Drawings] Kiev Vladimir Izdebsky 12 artists
1913 Бубновый валет [Bubnovy'j valet : Jack of Diamonds] Saint Petersburg [Dom Shvedskoj Czerkvi] 5 artists
Dec 16, 1913‒Jan 14, 1914 Exhibition of the Camden Town Group and Others Brighton Public Art Galleries 5 artists
May 8‒Jun 20, 1914 Twentieth Century Art. A Review of Modern Movements London Whitechapel Art Gallery 11 artists
May 17‒28, 1910 Nus Paris MM. Bernheim-Jeune & Cie 5 artists
May‒Jun 1913 Skupina výtvarných umělců. III. výstava [Skupina výtvarných umělců. III. Exhibition] Prague Obecní dům 3 artists
May 25‒Sep 30, 1912 Internationale Kunstausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler zu Cöln Cologne Städtische Ausstellungshalle am Aachener Tor 12 artists
Nov 20‒Dec 16, 1911 Exposition d'Art Contemporain / Société Normande de Peinture Moderne 2me exposition Paris Galerie d'Art Ancien & d'Art Contemporain 5 artists
Feb 3‒15, 1913 Exposition Paris Galerie Druet 3 artists
Jul 3‒20, 1908 Exposition De Tableaux Modernes Paris Galerie Druet 4 artists
Oct 21‒Nov 20, 1905 Exposition de Peintures Paris Galerie B. Weill 4 artists
1911 XXII. Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 10 artists
Jan 23‒Feb 26, 1912 Выставка Картин Общества Художников "Бубновый Валет" [Vy'stavka Kartin Obshhestva Khudozhnikov "Bubnovy'j Valet" : Exhibition of Paintings by "Jack of Diamonds Association of Artists"] Moscow Moscow (exact location unknown) 5 artists
Jan‒Feb 1914 Выставка Картин Общества Художников "Бубновый Валет" [Vy'stavka Kartin Obshhestva Khudozhnikov "Bubnovy'j Valet" : Exhibition of Paintings of the "Jack of Diamonds Association"] Moscow [Dom Levisson : Levisson House] 4 artists
Oct 10‒30, 1912 Salon de la "Section d'Or" Paris Galerie La Boëtie 4 artists
Apr 24‒May 6, 1911 Exposition Annuelle, IIIme Groupe Paris Galerie Druet 3 artists
Apr 29‒May 11, 1912 Exposition Annuelle, IIIe Groupe Paris Galerie Druet 3 artists
Apr 20‒May 2, 1914 Exposition Annuelle, 3eme Groupe Paris Galerie Druet 3 artists
Mar 15‒Apr 28, 1907 Paul Gauguin [und französische Postimpressionisten] Vienna Galerie Miethke 3 artists
Apr‒May 1913 XXXXIII. výstava. S. V. U. Manes. Členská [XXXXIII. Exhibition. Union of Fine Artists Manes. Member's] Prague [Pavilion in Kinsky Garden] 4 artists
Apr 27‒Jun 19, 1910 Nemzetközi Impresszionista kiállítás [International Impressionist Exhibition] Budapest Művészház 6 artists
Mar 3‒Apr 3, 1907 La Libre Esthétique. Quatorzième Exposition Brussels Brussels (exact location unknown) 4 artists
Dec 1912 The Third Exhibition of the Camden Town Group London Carfax Gallery 3 artists
Jun 10‒13, 1908 Collection Thadée Natanson Paris Hôtel Drouot 3 artists
May‒Jun 1914 46. výstava S.V.U. Manes v Praze (členská) [46. (Member's) Exhibition of the Union of Fine Artists Manes in Prague] Prague [Pavilion in Kinsky Garden] 4 artists
Feb 17‒Mar 15, 1913 International Exhibition of Modern Art [Armory Show] New York Armory of the 69th Infantry 16 artists
Jun 1911 The First Exhibition of the Camden Town Group London Carfax Gallery 3 artists
Jun 26‒Jul 13, 1911 L'Eau Paris MM. Bernheim-Jeune & Cie 4 artists
Jun 20‒Jul 9, 1910 Les Artistes Russes, Décors et Costumes de théâtre et Tableaux Paris MM. Bernheim-Jeune & Cie 3 artists
Jul 20‒Aug 5, 1911 La Montagne Paris MM. Bernheim-Jeune & Cie 3 artists
Mar 8‒Apr 13, 1913 Interprétations du Midi Brussels Brussels (exact location unknown) 4 artists
Mar 15‒16, 1911 Tableaux Modernes. Aquarelles - Pastels - Dessins Paris Hôtel Drouot 5 artists
Sep 1913 A XIX. század nagy francia mesterei [The Great French Masters of the XIX. Century] Budapest Ernst Múzeum 4 artists
Dec 19‒30, 1910 La Faune Paris MM. Bernheim-Jeune & Cie 4 artists
Jun 8‒16, 1914 Le Paysage du Midi Paris MM. Bernheim-Jeune & Cie 3 artists
Apr 18‒30, 1910 D'après les maîtres Paris MM. Bernheim-Jeune & Cie 4 artists
Dec 16, 1907‒Jan 4, 1908 Portraits d'Hommes Paris MM. Bernheim-Jeune & Cie 6 artists
May 15‒16, 1908 Tableaux Modernes. Aquarelles, Dessins et Pastels Paris Hôtel Drouot 3 artists
Feb 1912 Die zweite Ausstellung der Redaktion. Der Blaue Reiter. Schwarz-Weiss Munich Hans Goltz 3 artists
Oct 24‒Nov 10, 1907 Exposition de sculptures nouvelles par Camille Claudel et de peintures par Manguin, Marquet, Puy Paris Galerie Eug. Blot 2 artists
Feb 22‒Mar 25, 1906 La Libre Esthétique. La treizième Exposition Brussels Brussels (exact location unknown) 3 artists
Oct 15‒Nov 8, 1908 XI. Jahrgang. Winter 1908/09. II. Ausstellung. [Kollektion Lovis Corinth. Ausstellung "Stilleben"] Berlin Paul Cassirer 3 artists
Sep 30‒Oct 18, 1907 X. Jahrgang. 1907/1908. I. Ausstellung. [Kollektionen Paul Cézanne, Curt Herrmann, Henri Matisse, Edvard Munch] Berlin Paul Cassirer 2 artists
Jun 15‒Jul 15, 1912 Société Normande de Peinture Moderne Rouen Société Normande de Peinture Moderne 3 artists
Jan‒Feb 1914 Ausstellung Preis-Konkurrenz C.R. [Carl Reininghaus]. Werke der Malerei Vienna Kunstsalon Pisko 3 artists
Jan‒Feb 1912 Мир искусства [Mir iskusstva : World of Art] Saint Petersburg Saint Petersburg (exact location unknown) 4 artists
Feb‒Mar 1914 45. výstava S. V. U. Manes v Praze. Moderní umění [45. Exhibition of the Union of Fine Artists Manes in Prague. Modern Art] Prague [Pavilion in Kinsky Garden] 3 artists
Nov 14‒30, 1907 Fleurs et Natures Mortes Paris MM. Bernheim-Jeune & Cie 3 artists
Nov 7‒Dec 8, 1913 Moderne Kunst Kring (Cercle de l'Art Moderne) Amsterdam Stedelijk Museum 3 artists
Apr 6‒29, 1905 Exposition de Peintures, Pastels & Sculptures Paris Galerie B. Weill 2 artists
Feb 17‒Mar 1, 1913 Exposition Annuelle, 2me Groupe Paris Galerie Druet 2 artists
Feb 9‒21, 1914 Exposition Annuelle, 2me Groupe Paris Galerie Druet 2 artists
Apr 20‒May 15, 1910 Prima Mostra italiana dell'Impressionismo, opere di Paul Cézanne, Edgar Degas, Jean-Louis Forain, Paul Gauguin, Henri Matisse, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, Medardo Rosso, Henri Toulouse-Lautrec, Vincent Van Gogh Florence Lyceum Club 2 artists
Apr 14‒26, 1913 Exposition Annuelle. 3e Groupe Paris Galerie Druet 2 artists
1912 Выставка сто лет французской живописи (1812-1912) [Vy'stavka sto let franczuzskoj zhivopisi (1812-1912) : Exhibition 100 Years of French Painting (1812-1912)] Saint Petersburg Institut Francais de St. Pétersbourg 9 artists
Feb 1‒Mar 31, 1914 Internationale Ausstellung in der Kunsthalle Bremen Bremen Kunsthalle Bremen 8 artists
May‒Oct 1909 Internationale Kunstschau Wien Vienna Gebäude der Kunstschau Wien 5 artists
Jan 12‒Feb 10, 1906 Peintures & Aquarelles Paris Galerie B. Weill 2 artists
May 26‒Jun 7, 1913 Exposition de quelques œuvres Paris Galerie M. Marseille 2 artists
Apr 15‒27, 1912 Exposition de Dix Peintres Paris Galerie Druet 2 artists
Mar 13‒25, 1911 Exposition Annuelle. 2me Groupe Paris Galerie Druet 2 artists
Feb 5‒17, 1912 Exposition Annuelle, 2me Groupe Paris Galerie Druet 2 artists
Oct‒Nov 1907 Třiadvacátá výstava Spolku výtvarných umělců Manes v Praze 1907. Francouzští impressionisté [Twenty-third Exhibition of the Union of Fine Artists Manes in Prague 1907. French Impressionists] Prague [Pavilion in Kinsky Garden] 3 artists
Mar 7‒Apr 12, 1909 La Libre Esthétique. Seizième Exposition Brussels Brussels (exact location unknown) 3 artists
May 1912 [Der Sturm]. Dritte Ausstellung. Graphik Berlin Der Sturm [venues] 2 artists
1908‒1909 Салон 1909 [Salon 1909 : Salon 1909] Saint Petersburg [In the rooms of the museum and "Menshikov's apartments"] 4 artists
Mar 1, 1913 Französische Impressionisten Vienna Galerie Miethke 2 artists
Oct 1911 Kunst unserer Zeit in Cölner Privatbesitz Cologne Wallraf-Richartz-Museum 4 artists
1911 Мир Искусства [Mir Iskusstva : World of Art] Moscow Moscow (exact location unknown) 3 artists
1910 Выставка Картин Союза Русских Художников [Vy'stavka Kartin Soyuza Russkikh Khudozhnikov : Exhibition of Paintings of the Association of Russian Artists] Kiev [Gorodskoj muzej] 3 artists
Nov 1913 Мир Искусства. Выставка картин [Mir Iskusstva. Vy'stavka kartin : World of Art. Exhibition of paintings] Saint Petersburg Dom Obshestva Pooshrfenija hudozhestv 3 artists
1912 XXIV. Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 6 artists
Mar 12‒Apr 17, 1910 La Libre Esthétique. L'Évolution du Paysage Brussels Brussels (exact location unknown) 3 artists
Oct 6‒Nov 15, 1906 Salon d'Automne. 4e Exposition Paris Grand Palais des Champs Elysées 16 artists
Sep‒Nov 1912 II. výstava Skupiny výtvarných umělců [II. Exhibition of the Skupina výtvarných umělců] Prague Obecní dům 2 artists
Feb 10‒25, 1905 Première exposition d'Ensemble d'Intimistes (Peintres d'Intérieurs) Paris Galeries Henry Graves and Co Ltd. 2 artists
May 4‒Jun 25, 1913 A Művészház nemzetközi Postimpresszionista kiállitása [International Post-Impressionist Exhibition in the Művészház] Budapest Művészház 3 artists
Jan‒Feb 1913 Мир Искусства [Mir Iskusstva : World of Art] Saint Petersburg [Dom Shvedskoj Czerkvi] 3 artists
Mar‒Apr 1912 XL. výstava. S. V. U. Manes. Mir iskusstva. Sdružení ruských umělců v Petrohradě [XL. Exhibition of the Union of Fine Arts Manes. Mir Iskusstva. Association of Russian Artists in Saint Petersburg] Prague [Pavilion in Kinsky Garden] 2 artists
Mar 9‒Apr 14, 1912 La Libre Esthétique. La dix-neuvième Exposition à Bruxelles Brussels Brussels (exact location unknown) 2 artists
Apr 1909 Achtzehnte Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 5 artists
Oct 18‒Nov 25, 1905 Salon d'Automne. 3e Exposition Paris Grand Palais des Champs Elysées 15 artists
Mar 18‒Apr 23, 1911 La Libre Esthétique, dix-huitième Exposition à Bruxelles Brussels Brussels (exact location unknown) 2 artists
Mar 1915 The Second Exhibition of Works by Members of the London Group London Goupil Gallery 2 artists
Nov‒Dec 1906 Thirty-Seventh Exhibition of Modern Pictures. New English Art Club London Galleries in Dering Yard 3 artists
Jun‒Jul 1906 Thirty-Sixth Exhibition of Modern Pictures. New English Art Club London Galleries in Dering Yard 3 artists
Oct‒Nov 1910 Ausstellung französischer Kunst des 18., 19. und 20. Jahrhunderts Leipzig Museum der bildenden Künste 4 artists
Oct 1‒Nov 8, 1908 Salon d'Automne. 6e Exposition Paris Grand Palais des Champs Elysées 6 artists
1908 Fünfzehnte Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 4 artists
Feb 1913 Мир искусства [Mir iskusstva : World of Art] Kiev Kiev (exact location unknown) 2 artists
Dec 1913 Мир Искусства [Mir Iskusstva : World of Art] Moscow [Bolʹshaya Dmitrovka 11 : Bolshaya Dmitrovka Street 11] 3 artists
1915 Sammlung Walden. Gemälde, Zeichnungen, Plastiken Berlin Der Sturm [venues] 2 artists
Nov 22‒23, 1910 Collection de M. Albert Bernier Paris Hôtel Drouot 2 artists
Oct 24‒Dec 2, 1912 XV. Jahrgang. 1912-13. Erste Ausstellung. [Galerie-Ausstellung] Berlin Paul Cassirer 2 artists
May 1907 Tavaszi kiállitás. Gauguin, Cézanne stb. művei [Spring Exhibition. Works of Gauguin, Cézanne etc.] Budapest Nemzeti Szalon 3 artists
Jul 18‒Sep 30, 1912 Die klassische Malerei Frankreichs im 19. Jahrhundert Frankfurt am Main Gebäude des Frankfurter Kunstvereins 2 artists
Jan 1911 Мир искусства [Mir iskusstva : World of Art] Saint Petersburg Saint Petersburg (exact location unknown) 2 artists
1909‒1910 VII Выставка Картин Союза Русских Художников [VII Vy'stavka Kartin Soyuza Russkikh Khudozhnikov : VII Exhibition of Paintings of the Union of Russian Artists] Moscow [Literaturno-Khudozhestvenny'j Kruzhok : Literature and art salon] 2 artists
1907 Выставка Картин Союза Русских Художников [Vy'stavka Kartin Soyuza Russkikh Khudozhnikov : Exhibition of Painting "Union of Russian Artists"] Saint Petersburg Saint Petersburg (exact location unknown) 2 artists
Oct‒Nov 1905 Thirty-fifth Exhibition of Modern Pictures. New English Art Club London Galleries of the Alpine Club 2 artists
1915 Выставка Картин "Мир Искусства" [Vy'stavka Kartin "Mir Iskusstva" : Exhibition of Paintings "The World of Art"] Moscow Moscow (exact location unknown) 2 artists
May 22, 1909 Forty-First Exhibition of Modern Pictures. New English Art Club London Galleries of the Royal Society of British Artists 3 artists
Winter 1910 Forty-Fourth Exhibition of Modern Pictures by the New English Art Club London Galleries of the Royal Society of British Artists 4 artists
Mar‒Jun 1913 Prima Esposizione Internazionale d'Arte della "Secessione" Rome Palazzo dell'Esposizone 4 artists
Apr 1910 Zwanzigste Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 3 artists
winter/1909 Forty-Second Exhibition of Modern Pictures. New English Art Club London Galleries of the Royal Society of British Artists 3 artists
May‒Jun 1907 Thirty-eighth Exhibition of Modern Pictures. New English Art Club London Galleries in Dering Yard 2 artists
summer/1910 Forty-Third Exhibition of Modern Pictures. New English Art Club London Galleries of the Royal Society of British Artists 3 artists
May 16‒Oct 31, 1911 Internationale Kunstausstellung der Münchener Secession Munich Königliches Kunstausstellungsgebäude am Königsplatz 3 artists
Feb‒Jun 1915 Terza esposizione Internazionale d'Arte della "Secessione" Rome Palazzo dell'Esposizone 4 artists
Jun‒Jul 1914 Fifty-first Exhibition of Modern Pictures. New English Art Club London Galleries of the Royal Society of British Artists 3 artists
Dec 1908 Sechzehnte Ausstellung der Berliner Secession. Zeichnende Künste Berlin Ausstellungshaus am Kurfürstendamm 208/9 3 artists
Oct 28, 1913 Постоянная Выставка Современнаго Искусства [Postoyannaya Vy'stavka Sovremennago Iskusstva : Permanent Exhibition of Modern Art] Saint Petersburg [Khudozhestvennoe Byuro Doby'chinoj : Dobychina's Art Bureau] 2 artists
Apr 12‒Sep 30, 1914 Erste Ausstellung der Freien Secession Berlin Berlin Ausstellungshaus am Kurfürstendamm 208/9 3 artists
Nov 15, 1906 Russische Kunstausstellung 1906 Berlin Eduard Schulte, Kunsthandlung 2 artists
Summer 1911 Forty-fifth Exhibition of Modern Pictures. New English Art Club London Galleries of the Royal Society of British Artists 2 artists
Feb‒Jun 1914 Seconda Esposizione Internazionale d'Arte "della Secessione". Rome Palazzo dell'Esposizone 3 artists
summer/1913 Forty-ninth Exhibition of Modern Pictures. New English Art Club London Galleries of the Royal Society of British Artists 2 artists
Winter 1911 Forty-Sixth Exhibition of Modern Pictures by the New English Art Club London Galleries of the Royal Society of British Artists 2 artists
1913 Exposition Universelle et Internationale de Gand en 1913: Groupe II. Beaux-Arts: Œuvres modernes. Ghent Exposition universelle de Gand 5 artists
May 9‒Nov 2, 1914 Exposition Générale des Beaux-Arts / Salon Triennale Brussels Palais du Cinquantenaire 2 artists
Jul‒Aug 8, 1908 The London Salon of the Allied Artists' Association. 1st year London Royal Albert Hall 2 artists
Organizing Committee
"HONORARY COMMITTEE*
The Rt. Hon. The Earl of Plymouth, P.C., C.B.; The Rt. Hon. The Earl Curzon of Kedleston, P.C.; The Rt. Hon. Lord Ribblesdale, P.C.; The Lord Henry Cavendish-Bentinck, M.P.; Sir Edgar Vincent, K.C.M.G.; Sir Louis Mallet. K.C.B.; The Rt. Hon. Lewis Harcourt, M.P., P.C.; Charles Aitken, Esq.; M. Gustave Bernheim; M. Octave Mirbeau; M. Alphonse Kann; M. Théodore Duret; M. Paul Gallimard; M. Frantz-Jourdain; M. Maurice Gangnat; Clive Bell, Esq.; Robert Dell, Esq.; Roger Fry, Esq.; W. M. Wade, Esq.
''* The gentlemen on the Honorary Committee, though they are not responsible for the choice of the pictures, by lending their names have been kind enough to give this project their general support.''", n.p. [p. 15]

"EXECUTIVE COMMITTEE:
M. Boris van Anrep; Clive Bell, Esq.; Robert Dell, Esq.; Roger Fry, Esq.; W. Mercer Wade, Esq.
Secretary: Roger Fry, Esq.", p. 17

"The design for the Poster is the result of collaboration among several artists of the English group. It has been drawn by Mr. Duncan Grant. Examples can be purchased on application to the Secretary.”, p. 20
Opening Hours
10am - 6pm
Catalogue
Second Post-Impressionist Exhibition. British, French and Russian Artists. Ballantyne & Company Ltd. 1912.
Nr. of pages: 67.
Holding Institution: Victoria & Albert National Art Library
Preface
Fry, Roger: INTRODUCTION, p. 19-20

"THE scope of the present Exhibition differs somewhat from that of two years ago. Then the main idea was to show the work of the "Old Masters'' of the new movement, to which the somewhat negative label of Post-Impressionism was attached for the sake of convenience. Now the idea has been to show it in its contemporary development not only in France, its native place, but in England where it is of very recent growth, and in Russia where it has liberated and revived an old native tradition. It would of course have been possible to extend the geographical area immensely, Post-Impressionist schools are flourishing, one might almost say raging, in Switzerland, Austro-Hungary and most of all in Germany. But so far as I have discovered these have not yet added any positive element to the general stock of ideas.
In Italy the Futurists have succeeded in developing a whole system of aesthetics out of a misapprehension of some of Picasso's recondite and difficult works. England, France and Russia were therefore chosen to give a general summary of the results up to date.
Mr. Clive Bell is responsible for the selection of the [p. 19] English works and Count Boris von Anrep for the Russian. The selection of the French works fell to my lot. [p. 20]”

Bell, Clive: THE ENGLISH GROUP, p. 21-24

"FOR the Second Post-Impressionist Exhibition I have been asked to choose a few English pictures, and to say something about them. Happily, there is no need to be defensive. The battle is won. We all agree, now, that any form in which an artist can express himself is legitimate, and the more sensitive perceive that there are things worth expressing that could never have been expressed in traditional forms. We have ceased to ask, "What does this picture represent?" and ask instead, "What does it make us feel?" We expect a work of plastic art to have more in common with a piece of music than with a coloured photograph.
The first thing to be considered is the relation of these English artists to the movement. That such a revolutionary movement was needed is proved, I think, by the fact that every one of them has something to say which could not have been said in any other form. New wine abounded and the old bottles were found wanting. These artists are of the movement because, in choice of subject, they recognise no authority but the truth that is in them; in choice of form, none but the need of expressing it. That is Post-Impressionism.
Their debt to the French is enormous. I believe it could be computed and stated with some precision. For instance, it could be shown that each owes something, directly or indirectly, to Cezanne. But detective-work of this sort would be as profitless here as elsewhere. I [p. 21] am concerned only to discover in the work of these English painters some vestige of those qualities that distinguish Post-Impressionists from the mass – qualities that can be seen to advantage in the work of the French masters here exhibited, and to perfection in those of their master, Cézanne. These qualities I will call simplification and plastic design.
What I mean by “simplification” is obvious. A literary artist who wishes to express what he feels for a forest thinks himself under no obligation to give an account of its flora and fauna. The Post-Impressionist claims similar privileges; those facts that any one can observe for himself or discover in a text-book he leaves to the makers of Christmas-cards and diagrams. He simplifies, omits details, that is to say, to concentrate on something more important – on the significance of form.
We can regard an object solely as a means and feel emotion for it as such. It is possible to contemplate emotionally a coal-scuttle as the friend of man. We can consider it in relation to the toes of the family circle and the paws of the watch-dog. And, certainly, this emotion can be suggested in line and colour. But the artist who would do so can but describe the coal-scuttle and its patrons, trusting that his forms will remind the spectator of a moving situation. His description may interest, but, at best, it will move us far less than that of a capable writer. Yet most English painters have attempted nothing more serious. Their drawing and design have been merely descriptive; their art, at best, romantic.
How, then, does the Post-Impressionist regard a coalscuttle? He regards it as an end in itself, as a significant form related on term of equality with other significant forms. Thus have all great artists regarded objects. Forms and the relation of forms have been for them, not means of suggesting emotion but objects of emotion. It is this emotion they have expressed. Their drawing and design have been plastic and not descriptive. That [p. 22] is the supreme virtue of modern French art: of nothing does English stand in greater need.
If, bearing in mind the difference between the treatment of form as an object of emotion and the treatment of form as a means of description, we turn, now, to these pictures an important distinction will become apparent. We shall notice that the art of Mr. Wyndham Lewis, whatever else may be said of it, is certainly not descriptive. Hardly at all does it depends for its effect on association or suggestion. There is no reason why a mind sensitive to form and colour, though it inhabit another solar system, and a body altogether unlike our own, should fail to appreciate it. On the other hand, fully to appreciate some pictures by Mr. Fry or Mr. Duncan Grant it is necessary to be a human being, perhaps, even, an educated European of the twentieth century. "Fully," I say, because both Mr. Fry and Mr. Grant - and, for that matter, all the painters here represented - are true plastic artists; wherefore the most important qualities in their work are quite independent of place or time, or a particular civilisation or point of view. Theirs is an art that stands on its own feet instead of leaning upon life; and herein it differs from traditional English art, which, robbed of historical and literary interest, would cease to exist. It is just because these Englishmen have expelled or reduced to servitude those romantic and irrelevant qualities that for two centuries have made our art the laughing-stock of Europe, that they deserve as much respect and almost as much attention as superior French artists who have had no such traditional difficulties to surmount.
No one of understanding, I suppose, will deny the superiority of the Frenchmen. They, however, have no call to be ashamed of their allies. For the essential virtue is common to both. Looking at these pictures every visitor will be struck by the fact that they are neither pieces of handsome furniture, nor pretty knickknacks, nor tasteful souvenirs, but passionate attempts to express profound emotions. All are manifestation of a [p. 23] spiritual revolution which proclaims art a religion, and forbids its degradation to the level of a trade. They are intended neither to please, to flatter, nor to shock, but to express great emotions and to provoke them. [p. 24]”

Fry, Roger: THE FRENCH GROUP, p. 25-29

"WHEN the first Post-Impressionist Exhibition was held in these Galleries two years ago the English public became for the first time fully aware of the existence of a new movement in art, a movement which was the more disconcerting in that it was no mere variation upon accepted themes but implied a reconsideration of the very purpose and aim as well as the methods of pictorial and plastic art. It was not surprising therefore that a public which had come to admire above everything in a picture the skill with which the artist produced illusion should have resented an art in which such skill was completely subordinated to the direct expression of feeling. Accusations of clumsiness and incapacity were freely made, even against so singularly accomplished an artist as Cézanne. Such darts, however, fall wide of the mark, since it is not the object of these artists to exhibit their skill or proclaim their knowledge, but only to attempt to express by pictorial and plastic form certain spiritual experiences; and in conveying these ostentation of skill is likely to be even more fatal than downright incapacity.
Indeed, one may fairly admit that the accusation of want of skill and knowledge, while ridiculous in the case of Cézanne is perfectly justified as regards one artist represented (for the first time in England) in the present Exhibition, namely, Rousseau. Rousseau was a customhouse officer who painted without any training in the art, His pretentions to paint made him the butt of a great [p. 25] deal of ironic wit, but scarcely any one now would deny the authentic quality of his inspiration or the certainty of his imaginative conviction. Here then is one case where want of skill and knowledge do not completely obscure, though they may mar, expression. And this is true of all perfectly naive and primitive art. But most of the art here seen is neither naive nor primitive. It is the work of highly civilised and modern men trying to find a pictorial language appropriate to the sensibilities of the modern outlook.
Another charge that is frequently made against these artists is that they allow what is merely capricious, or even what is extravagant and eccentric, in their work – that it is not serious, but an attempt to impose on the good-natured tolerance of the public. This charge of insincerity and extravagance is invariably made against any new manifestation of creative art. It does not of course follow that it is always wrong. The desire to impose by such means certainly occurs, and is sometimes temporarily successful. But the feeling on the part of the public may, and I think in this case does, arise from a simple misunderstanding of what these artists set out to do. The difficulty springs from a deep-rooted conviction, due to long-established custom, that the aim of painting is the descriptive imitation of natural forms. Now, these artists do not seek to give what can, after all, be but a pale reflex of actual appearance, but to arouse the conviction of a new and definite reality. They do not seek to imitate form, but to create form ; not to imitate life, but to find an equivalent for life. By that I mean that they wish to make images which by the clearness of their logical structure, and by their closely-knit unity of texture, shall appeal to our disinterested and contemplative imagination with something of the same vividness as the things of actual life appeal to our practical activities. In fact, they aim not at illusion but at reality.
The logical extreme of such a method would undoubtedly be the attempt to give up all resemblance [p. 26] to natural form, and to create a purely abstract language of form - a visual music; and the later works of Picasso show this clearly enough. They may or may not be successful in their attempt. It is too early to be dogmatic on the point, which can only be decided when our sensibilities to such abstract form have been more practised than they are at present. But I would suggest that there is nothing ridiculous in the attempt to do this. Such a picture as Picasso's "Head of a Man," wouId undoubtedly be ridiculous if, having set out to make a direct; imitation of the actual model, he had been incapable of getting a better likeness. But Picasso did nothing of the sort. He has shown in his "Portrait of Mlle. L. B. that he could do so at least as well as any one if he wished, but he is here attempting to do something quite different.
No such extreme abstraction marks the work of Matisse. The actual objects which stimulated his creative invention are recognisable enough. But here, too, it ill an equivalence, not a likeness, of nature that is sought, In opposition to Picasso, who is pre-eminently plastic, Matisse aims at convincing us of the reality of his forms by the continuity and flow of his rythmic line, by the logic of his space relations, and, above all, by an entirely new use of colour. In this, as in his markedly rythmic design, he approaches more than any other European to the ideals of Chinese art. His work has to an extraordinary degree that decorative unity of design which distinguishes all the artists of this school.
Between these two extremes we may find ranged almost all the remaining artists. On the whole the influence of Picasso on the younger men is more evident than that of Matisse. With the exception of Braque none of them push their attempts at abstraction of form so far as Picasso, but simplification along these lines is apparent in the work of Derain, Herbin, Marchand and L'Hote. Other artists, such as Doucet and Asselin, are content with the idead of simpli- [p. 27] fication of form as existing in the general tradition of the Post-Impressionist movement, and instead of feeling for new methods of expression devote themselves to expressing what is most poignant and moving in contemporary life. But however various the directions in which different groups are exploring the newly-found regions of expressive form they all alike derive in some measure from the great originator of the whole idea, Cézanne. And since one must always refer to him to understand the origin of these ideas, it has been thought well to include a few examples of his work in the present Exhibition, although this year it is mainly the moderns, and not the old masters that are represented. To some extent, also, the absence of the earlier masters in the exhibition itself is made up for by the retrospective exhibition of Monsieur Druet's admirable photographs. Here Cézanne, Gauguin and Van Gogh can be studied at least in the main phases of their development.
Finally, I should like to call attention to a distinguishing characteristic of the French artists seen here, namely, the markedly Classic spirit of their work. This will be noted as distinguishing them to some extent from the English, even more perhaps from the Russians, and most of all from the great mass of modern painting in every country. I do not mean by Classic, dull, pedantic, traditional, reserved, or any of those similar things which the word is often made to imply. Still less do I mean by calling them Classic that they paint "Visits to Ӕsculapius" or "Nero at the Colosseum." I mean that they do not rely for their effect upon associated ideas, as I believe Romantic and Realistic artists invariably do.
All art depends upon cutting off the practical responses to sensations of ordinary life, thereby setting free a pure and as it were disembodied functioning of the spirit ; but in so far as the artist relies on the associated ideas of the objects which he represents, his work is not completely free and pure, since romantic associations imply at least an imagined practical activity. The disadvantage of such [p. 28] an art of associated ideas is that its effect really depends on what we bring with us : it adds no entirely new factor to our experience. Consequently, when the first shock of wonder or delight is exhausted the work produces an ever lessening reaction. Classic art, on the other hand, records a positive and disinterestedly passionate state of mind. It communicates a new and otherwise unattainable experience. Its effect, therefore, is likely to increase with familiarity. Such a classic spirit is common to the best French work of all periods from the twelfth century onwards, and though no one could find direct reminiscences of a Nicholas Pouissin here, his spirit seems to revive in the work of artists like Derain. It is natural enough that the intensity and singleness of aim with which these artists yield themselves to certain experiences in the face of nature may make their work appear odd to those who have not the habit of contemplative vision, but it would be rash for us, who as a nation are in the habit of treating our emotions, especially our aesthetic emotions, with a certain levity, to accuse them of caprice or insincerity. It is because of this classic concentration of feeling (which by no means implies abandonment) that the French merit our serious attention. It is this that makes their art so difficult on a first approach but gives it its lasting hold on the imagination. [p. 29]"

von Anrep, Boris: THE RUSSIAN GROUP, p. 30-33
"RUSSIAN spiritual culture has formed itself on the basis of a mixture of its original Slavonic character with Byzantine culture and with the cultures of various Asiatic nations. In later times European influence has impressed itself on Russian life, but does not take hold of the Russian heart, that continues to stream the Eastern blood through the flesh of the Slavonic people. One of the peculiarities of Eastern art is a great disposition for decorative translations of life, an ideographical representation of it, and an imaginative design. Romanesque and Gothic art of Western-Europe had much of the same character, but European art inclined towards naturalism, the Russian persisted in its archaic traditions. The Bytantine influence was of the utmost importance to Russia, as from there came the light of Christianity. With the religious beliefs and rites were introduced the Byzantine symbolical representation of the Divinity as they were realised in the religious images, called “ikones,” made for devout purposes. The conventions of the ancient ikone-painters remained the only pictoral language till the end of the seventeenth century, the art being purely religious and under canonical regulations. In the eighteenth century the Russian pictoral forms undergo a strong European influence, and since then they follow European ideals. At the present day Western influence is regarded by the nationalists as incompatible with the deepest aspirations of the Russian soul. Artists filled with [p. 30] admiration before the beauty and expressivity of Russian ancient art aim to continue it, passing by the Western influence, which is considered foreign and noxious to the growth of the Eastern elements of the Russian art. The principal trait of their personal art is a decorative and symbolical treatment of nature combined with an imaginative colouring, that they feel answers the most to their Russian soul. Only during the last fifteen years artists of note worked for the revival of the national art. Mr. Stelletzky approaches the closest to the ancient forms. His works are not copies of the ikones but are the result of his extreme knowledge of all the possibilities that the ancient art gives ; he uses the archaic alphabet which he finds the best medium for the exercise of his pictorial imagination. Count Komarovsky is not less accomplished but his colouring and forms are more tender and sensitive. Mr. Roerich belongs to the same new Byzantine group though he does not appropriate entirely the forms of the ikones, he succeeds, may be, more than others, to translate in his own manner the essence of the Russian religious and fantastical spirit. His imagination carries him further to the dawn of the Russian life, and he gives an emotional feeling of the prehistoric Slavonian Pagans.
Madame Goncharova does not realise in her art the mastership and the decorative calligraphic qualities of the ikones, but she aims for a true representation of the ancient Russian God, who is her own, and His saints. That is why sweetness, joy, tenderness and voluptuousness are far from her art as they are far from the Russian conception of the Divinity. Her saints are stern, severe and austere, hard and bitter. The revival of the Russian national art brought forth the interest of some artists to the modern popular art, the art of the unlearned lads who find their sport in painting and show by that medium their simple-natured, fresh and naive spirit. Those artists assimilated themselves to the popular art and rejoice in its sincere directness. Their art is welcome as a counterweight to the over-refined [p. 31] and effeminate tastes of an influential group of aesthetical "gourmands" of St. Petersburg. Mr. Larionoff is at the head of those "rustical" artists. The naive and awkward russifications of European forms remain as a special epoch in the history of the Russian art. Some young artists aiming for the same emotions that those simple rural imitations give, chose to use their shapes as their pictorial language. Mr. Soudejkin for instance.
Another group of artists does not exploit the national forms ; their means seem to be more explicit to a modern European artist's mind: Petroff- Wodkin, Bogaevsky and Chourlianis being thoroughly different in their personalities possess the same valuable quality of keeping their art in close connection with their philosophical substance. Petroff-Wodkin gives a great spiritual meaning to the gestures of his figures, naturalistically comprehended, but coloured in a fantastical and decorative way, Bogaevsky is a landscape painter; but the ``morne`` cliffs, the dead cities, the desolate shores of a leaden sea are not earthly landscapes; they terrify the Russian soul as if they were terrible omens. The innermost recesses of the Russian heart are filled with mystical passions. The painter Chourlianis was overpowered by them, he was devoted to the mysteries of the Cosmos and to the music of the empyrean aether. "Rex" is one of his most important pictures. The fire, that burns in the centre of it, is surrounded by the horizon of an occult world, by the mounting spheres and by the shadows of angels. Chourlianis prematurely died last year.
As for the realistic art, the young gifted artists in Russia do not manifest any great energy in practising it, and there are but few interesting representatives of that art. Among the artists whose works are exhibited here, Mr. Sarian and Miss Joukova give the largest quantity of realistic sensations. Mr. Sarian is represented by his energetic illustrations of the Turkish life. Miss Joukova's portrait of an old woman shows a studious and sincere research for the characteristic of human nature. [p. 32]
It is to be noticed that both of them are still much inclined to a decorative interpretation of their feelings ; that is the dominant tendency of the most interesting part of the modern Russian art.
[Owing to delays in transport some of the Artists mentioned in Mr. von Anrep’s preface are not exhibited. [p. 33]”
Catalogue Structure
Roger Fry: "Introduction", p. 19-20
Clive Bell: "The English Group", p. 21-24
Roger Fry: "The French Group", p. 25-29
Boris von Anrep: "The Russian Group", p. 30-33
Additional Information
Catalogue Structure altered
Other Mediums listed
Note
"1 Shilling", title page (The price may refer to the ticket price or the catalogue price.)
"An Illustrated Catalogue of the Exhibition is in course of preparation.", p. 20
- "Nos. 194-201 are shown by courtesy The Cube Press, 275 Regent Street", p. 59 [typewritten addendum]

+Gender Distribution (Pie Chart)

+Artists’ Age at Exhibition Start(Bar Chart)

+Artists’ Nationality(Pie Chart)

+Exhibiting Cities of Artists(Pie Chart)

+Types of Work(Pie Chart)

+Catalogue Entries by Nationality(Pie Chart)

Name Date of Birth Date of Death Nationality # of Cat. Entries
Paul Cézanne 1839 1906 FR 11
Henri Matisse 1869 1954 FR 32
Duncan Grant 1885 1978 GB 6
Jean Marchand 1882 1941 FR 4
André Derain 1880 1954 FR 6
Maurice de Vlaminck 1876 1958 FR 8
André Lhote 1885 1962 FR 12
Pablo Picasso 1881 1973 ES 16
Othon Friesz 1879 1949 FR 4
Auguste-Elysée Chabaud 1882 1955 FR 5
Henri Doucet 1883 1915 FR 5
Kees van Dongen 1877 1968 NL 4
Jean Puy 1876 1960 FR 3
Pierre Bonnard 1867 1947 FR 3
Kuz'ma Petrov-Vodkin 1878 1939 RU 2
Auguste Herbin 1882 1960 FR 11
Jacqueline Marval 1866 1932 FR 2
Albert Marquet 1875 1947 FR 3
Jules Leon Flandrin 1871 1947 FR 6
Pierre Paul Girieud 1876 1948 FR 7
Georges Braque 1882 1963 FR 4
Frederick Etchells 1886 1973 GB 6
Vanessa Bell 1879 1961 GB 4
Jessie Etchells 1892 1933 GB 1
Maurice Asselin 1882 1947 FR 8
Roger Fry 1866 1934 GB 5
Henri Rousseau 1844 1910 FR 1
William Bernard Adeney 1878 1966 GB 4
Henry Lamb 1883 1960 GB 2
Reno Hassenberg 1884 1965 FR 3
Wyndham Lewis 1882 1957 GB 10
Charles Vilette 1885 1946 FR 2
Spencer Gore 1878 1914 GB 2
Henri Ottmann 1877 1927 FR 2
Dmitry Stelletsky 1875 1947 RU 9
Vera Joukoff 1
Nicholas Roerich 1874 1947 RU 9
M. K. Čiurlionis 1875 1911 LT 3
Eugène Zak 1884 1926 PL 2
Stanley Spencer 1891 1959 GB 3
Max Camis 1890 1985 FR 1
Sofija Levyc'ka 1874 1937 UA 2
Boris Anrep 1883 1969 RU 6
Vladimir Komarovsky 1883 1937 RU 3
anonymous: russian, 19th c. 1
Recommended Citation: "Second Post-Impressionist Exhibition. British, French and Russian Artists." In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Nov 25, 2019. https://exhibitions.univie.ac.at/exhibition/489