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The Impact from Abroad: Foreign Guests and Visitors

1. Francis M. Naumann, ''Frederick C. Torrey and Duchamp's Nude Descending a Staircase, " in West Coast Duchamp , ed. Bonnie C. Clearwater (Miami Beach, Fla.: Grassfield Press, 1991). This essay by Naumann corrects previous accounts of the provenance of this painting. [BACK]

2. Naumann, 21. [BACK]

3. Official catalogue of the Department of Fine Art, Panama-Pacific International Exposition (San Francisco: Wahlgreen Co., 1915). [BACK]

4. Gottardo Piazzoni, quoted in Painting and Sculpture in California: The Modern Era , ed. Henry Hopkins (San Francisco Museum of Art, 1977), 22. [BACK]

5. Paul J. Karlstrom, "San Francisco," Archives of American Art Journal 16, no. 2 (1976): 24-25, and "West Coast," Archives of American Art Journal 24, no. 4 (1984): 39-40. [BACK]

6. Hassel Smith, Chronology, written December 10, 1987, quoted in Hassel Smith (Belmont, Calif.: College of Notre Dame, Weigand Art Gallery, 1988), 27. [BACK]

7. Galka Scheyer, collective letter to the Blue Four, October 19, 1925, in Galka Scheyer Blue Four Archive, Oakland Museum. [BACK]

8. William Clapp, letter to Galka Scheyer, June 23, 1935, in Galka Scheyer Blue Four Archive. [BACK]

9. Howard Putzel, in Galka Scheyer Blue Four Archive. [BACK]

10. Diego Rivera, statement in The Blue Four , exh. cat. (San Francisco: California Palace of the Legion of Honor, 1931), n.p. [BACK]

11. Maynard Dixon, cited in Bertram D. Wolfe, The Fabulous Life of Diego Rivera (New York Stein and Day, 1963), 285. [BACK]

12. Kenneth Callahan, letter in the Town Crier (Seattle), May 21, 1932. [BACK]

13. George Biddle, letter to Franklin Delano Roosevelt, May 9, 1933, quoted in Biddle, An American Artist's Story (Boston: Little, Brown, 1939), 268. [BACK]

14. Shifra M. Goldman, "Siqueiros and Three Early Murals in Los Angeles," Art Journal 33, no. 4 (Summer 1974): 321-27. [BACK]

15. Glenn Wessels, in San Francisco Argonaut , July 13, 1934. [BACK]

16. In 1930 Matisse also visited San Francisco. The three artists did not meet in the City by the Bay, but it is interesting to speculate on the discourse that might have taken place if they had. [BACK]

17. Hans Hofmann offered to the University of California at Berkeley a donation of forty-seven paintings, selected by Erle Loran with my assistance. They represent the artist's work from 1935 to 1965. Hofmann also proffered a quarter of a million dollars on the condition that a proper art museum be constructed on the Berkeley campus; this gift was a major inducement to the establishment of the University Art Museum. [BACK]

18. Alfred Neumeyer, letter to Pierre Matisse, September 17, 1940, Mills College Archive. [BACK]

19. Lyonel Feininger, letter to Alois J. Schardt, February 5, 1942, Mills College Archive. [BACK]

20. Neumeyer, press release, Mills College, Oakland, California, summer 1937, Mills College Archive. [BACK]

21. Feininger, letter to Alfred Frankenstein, October 15, 1937, Mills College Archive. [BACK]

22. Karl Schmidt-Rottluff, letter to Alfred Neumeyer, April 4, 1938, Mills College Archive. [BACK]

23. Alice Schoelkopf, letter to Alfred Neumeyer, October 14, 1940, Mills College Archive. [BACK]

24. Sybil Moholy-Nagy, Moholy-Nagy: An Experiment in Totality (New York: Harper, 1950), 180-82. [BACK]

25. Fernand Léger, quoted in André Warnod, "America Isn't a Country—It's a World," Architectural Forum (April 1946): 54. [BACK]

26. Léger, quoted in Warnod, 62. [BACK]

27. Léger, quoted in Charlotte Kotik, "Léger and America," in Léger (Buffalo, N.Y.: Albright-Knox Art Gallery, 198z), 52. [BACK]

28. James Grote Van Derpool, letter to Alfred Neumeyer, November 5, 1941, Mills College Archive. [BACK]

29. Peter Selz, "The Years in America," in Carla Schulz-Hoffman and Judith C. Weiss, Max Beckmann Retrospective (Saint Louis, Mo.: Saint Louis Art Museum; and Munich: Prestel Verlag, 1948), 167. [BACK]

30. Nathan Oliveira, afterword to Peter Selz, Max Beckmann Portrait of the Artist (New York: Rizzoli, 1992), 108. [BACK]

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