The New York skyline changed almost simultaneously with the opening of the show, and these two visual shifts coalesced into a change in the ways that Americans viewed art. Shortly after it opened, the Woolworth's building opened for business and stood as a symbol of sleek, stylized American commerce. Until the construction of the Empire State Building it was the tallest building in New York City (Roeder 1987, p.61). Another criticism of the show is that it merely inspired reverence for Europe, and connoisseurship of European tastes, but the artists, such as Max Weber, who were influenced by the show, fused a new sensibility with curiosity about the changing New York visual landscape. Although Weber had studied European art and Picasso before the show, only after the Armory did Weber fuse his style with his perceptions of the New York skyline.

This is evidenced in how Max Weber did a series of paintings of New York, spanning between 1912 and 1916, and after the show his canvases began to focus on angles, form, and light, and eschewed realistic depictions of buildings. Electricity...

Fauvist color and light, the cubism of the new Manhattan skyline -- uniquely American visual tropes we take for granted are the direct legacy of the 1913 Armory show.
Works Cited

Picasso's Influence on American Artists." CBS News. 18 Jan 2007. 26 Oct 2007. http://www.cbsnews.com/stories/2007/01/18/sunday/main2371451.shtml

Roeder, George H. "What Have Modernists Looked at? Experiential Roots of Twentieth-Century American Painting." American Quarterly. 1987.

Staples, Shelley. "As Avant-Garde as the Rest of Them." An Introduction to the 1913

Armory Show. 2001 26 Oct 2007. http://xroads.virginia.edu/~MUSEUM/Armory/intro.html

Staples, Shelley. "Marketing Modern Art in America." An Introduction to the 1913

Armory Show. 2001. 26 Oct…