ABSTRACT

The painters considered in this book show us a multinational, multivalent array of reactions to the Parisian moment, and they are typical in their variety. Robert Rosenblum, Maryanne Stevens, and Ann Dumas in 1900: Art at the Crossroads note that the Exposition Universelle of 1900 represented a bewildering array of opposing and jostling ideologies and techniques. 1 Love of art and Paris did not undo the forces hurtling the world toward the Great War, but it prompted many young people, reared during years of nationalistic antagonism, to open their hearts instead.