Jonathan Fineberg – The Postman Did It – Children’s Art and the Avant-garde

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and Theory (Ann Arbor: U.M.I. Research Press, 1986), 49. 36 . Friedrich Nietzsche, The Birth of Tragedy and the Genealogy of Morals, Francis Golffing, trans. (New York: Doubleday, 1956), 79. 37 . Friedrich Nietzsche, The Birth of Tragedy and the Genealogy of Morals, Francis Golffing, trans. (New York: Doubleday, 1956), 90. More recently, Theodor Adorno observed that society has divided and reduced thinking to a hierarchical set of functions where reason - more evidently useful than memory, emotion, or fantasy but barren without them - had been given prominence to the detriment of thinking. See Theodor Adorno, Minima Moralia: Reflections from Damaged Life (London: Verso, 1978 [1951]), 123. 38 . Kirk Varnedoe, “Gauguin,” in William Rubin, editor, “Primitivism” in 20th Century Art (New York: Museum of Modern Art, 1984), 181-182. 39 . Paul Gauguin, L’Echo, August 15, 1895; cited in Oviri, écrits d’un sauvage, edited by Daniel Guérin (Paris: Gallimard, 1974), 111. 40 . Paul Gauguin, Intimate Journals, translated by Van Wyck Brooks, preface by Emil Gauguin (New York: Crown Publishers, 1936), 41. Vincent van Gogh reported in a letter to Theo that Gauguin and Bernard talked of “painting like children”; in Vincent van Gogh, The Complete Letters of Vincent van Gogh (Greenwich, Conn.: New York Graphic Society, 1958), III, letter 527, 20. Also Dr. Marc Gerstein of the Toledo Museum of Art pointed out to me that Gauguin may have taken inspiration for the geese in the background of his 1886 Breton Women from Caldecott’s illustrations for children. See A. S. Hartrick, A Painter’s Pilgrimage Through Fifty Years (Cambridge, England: The University Press, 1939), 33, for Gauguin’s remarks to Hatrick about Caldecott. Nevertheless, child art itself seems not to have influenced him particularly. 41 . There is a concise history of the general idea that children resemble primitive peoples in their thought and recapitulate the evolution of the human race in George Boas, The Cult of Childhood (London: Studies of the Warburg Institute, vol. 29, 1966), 60-67. 42 . Franz Cižek, quoted in Wilhelm Viola, Child Art (Peoria: Chas. A. Bennett Co., 1944), 34. 43 . Georg Kerschensteiner, Die Entwicklung der Zeichnerischen Begabung (München: Verlag Carl Gerber, 1905). 44 . Anonymous review, “Some Remarkable Work by Very Young Artists,” The Evening Sun (New York, Saturday, April 27, 1912): 9; reproduced as a plate in Dorothy Norman, Alfred Stieglitz, An American Seer (New York: Random House, 1960), 116. 45 . Noted in John MacGregor, The Discovery of the Art of the Insane (Princeton, N.J.: Princeton University Press, 1989), 279. 46 . Noted by Pierre Georgel, “L’Enfant au Bonhomme,” in Klaus Gallwitz and Klaus Herding, editors, Malerei und Theorie: Das Courbet-Colloquium 1979 (Frankfurt am Main: Städelschen Kunstinstitut, 1980), 109. In addition, Girodet’s own childhood drawing of a giraffe survives today in the drawing collection of the Louvre, presumably saved by the artist who, we must conclude, found it interesting enough to save. 156
47 . See Sasha M. Newman, “Nudes and Landscapes,” in Colta Ives, Helen Giambruni, and Sasha M. Newman, Pierre Bonnard: The Graphic Art (New York: The Metropolitan Museum of Art and Harry N. Abrams, 1989), 153. See also: Maurice Denis, “Aristide Maillol,” in Maurice Denis, Théories, 1890-1910, du symbolisme et de Gauguin vers un nouvel ordre classique, 4 e édition (Paris: L. Rouart et J. Watelin, 1920), 242.; cited in Helen Giambruni, “Domestic Scenes,” in Colta Ives, Helen Giambruni, and Sasha M. Newman, Pierre Bonnard: The Graphic Art (New York: The Metropolitan Museum of Art and Harry N. Abrams, 1989), 60: “J’appelle gaucherie cette sorte de maladroite affirmation par quoi se traduit, en dehors de formules admises, l’émotion personelle d’un artiste.” 48 . See Alfred H. Barr, Jr., Matisse, His Art and His Public (New York: The Museum of Modern Art, 1951), 42, 184. See also: John Elderfield, Matisse in the Collection of the Museum of Modern Art (New York: Museum of Modern Art, 1978), 92-4, and notes 202-3. 49 . Clara T. MacChesney, “A Talk with Matisse, Leader of Post-Impressionism,” The New York Times Magazine (9 March, 1913); in Jack Flam, editor, Matisse, A Retrospective (New York: Hugh Lanter Levin Associates, 1988), 132. 50 . Anonymous review, “The Last Phase of Impressionism,” Burlington Magazine, XII (February 1908), 272; cited in Alfred H. Barr, Jr., Matisse and His Public (Museum of Modern Art: New York, 1951), 110. 51 . Charles Caffin, How to Study the Modern Painters (New York: The Century Co., 1914), 210-11. 52 . M. O., “Matisse Ausstellung,” Kunstchronik, 20: 238-239, February 5, 1909; cited in Alfred H. Barr, Jr., Matisse and His Public (Museum of Modern Art: New York, 1951), 108-9. 53 . Guillaume Apollinaire, Chroniques d’Art (1902-18), ed. L.-C. Breunig (Paris: Gallimard, 1960), 393-394. Translated in Guillaume Apollinaire, Apollinaire on Art: Essays and Reviews, 1902-1918, edited by LeRoy C. Breunig, translated by Susan Suleiman (New York: Viking, The Documents of 20th Century Art, 1972), 403. 54 . Jack Flam, Matisse: The Man and His Art, 1869-1918 (Ithaca and London: Cornell University Press, 1986), 174. 55 . Gaston Diehl, Henri Matisse (Paris: Pierre Tisné, 1954), 32; cited in John Elderfield, Henri Matisse: A Retrospective (New York: The Museum of Modern Art, 1992), 52. 56 . Jack Flam, Matisse: The Man and His Art, 1869-1918 (Ithaca and London: Cornell University Press, 1986), 190. 57 . John Elderfield, Henri Matisse: A Retrospective (New York: The Museum of Modern Art, 1992), 52. 58 . Henri Matisse, “Looking at Life with the eyes of a child,” Art News and Review (London) February 6, 1954; reprinted in Jack D. Flam, Matisse on Art (Phaidon: London, 1973), 148-9. 59 . Pablo Picasso in Dore Ashton, ed., Picasso on Art (New York: Viking, 1972), 164. 60 . André Derain, Lettres à Vlaminck, Paris, 1955, 63. “Je voudrais étudier des 157
Page 2 and 3: A KID COULD DO THAT! galerie gmurzy
Page 4 and 5: Thus, for Friedrich art comes as a
Page 6 and 7: this childlike objectivity and intu
Page 8 and 9: Minds (1883), and Corrado Ricci’s
Page 10 and 11: drawings and the humbleness of the
Page 12 and 13: This “innocence of the eye” was
Page 14 and 15: the symbolist critic Albert Aurier
Page 16 and 17: liberty and the chance to work from
Page 18 and 19: untutored eyes and trying to give e
Page 20 and 21: which are also influenced by the si
Page 22 and 23: of children for their work before t
Page 24 and 25: Fig. 13 such material also reveals
Page 26 and 27: 150
Page 28 and 29: Notes This essay is reprinted and s
Page 30 and 31: Phaidon Press, 1964), 8; Oeuvres Co
Page 34 and 35: dessins de gosses. La vérité y es
Page 36: EDITORS Krystyna Gmurzynska Mathias

Jonathan Fineberg – The Postman Did It – Children’s Art and the Avant-garde

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