Albert Pinkham Ryder
Moving forward from Gallery A, one would find the loosely assembled historical section of the show, which focused primarily on French Impressionists and Post-Impressionists. American, English, and a few Swiss (Fernand Hodler) and Dutch (Matthew Maris) paintings were distributed in Galleries P and R along with the French paintings. One of the remarkable features of the Armory Show was the collection of works by Albert Pinkham Ryder, who in his later reclusive years reworked many of his earlier paintings to establish a simplicity of vision that was admired by both Arthur B. Davies and Marsden Hartley. Ryder's paintings showed an appreciation of evocation rather than technical proficiency within American art. With ten paintings, his works outnumbered any of the French Impressionists. Moonlit Cove (above) and Moonlight Marine gave visitors a glimpse of Ryder's luminescent seascapes.
French, English, Dutch and American Paintings
Another painter shown in the Armory Show as a prototypical American modern was James McNeill Whistler, famously accused by John Ruskin of "flinging a pot of paint in the public's face" (McCoubrey 181), which made him a hero for the next generation of artists hearing critics' cries for verisimilitude. Though Whistler was applauded much more during his lifetime than Ryder, his acceptance did not come as quickly or as easily as that of two American artists who were noticeably absent from the Armory Show, William Meritt Chase and John Singer Sargent. Theodore Robinson and John Twachtman, who, unlike the other American Impressionists in the exhibition, were included posthumously, rounded out the American historical section.