Our own Morgan Meis in The Smart Set:
Human history is written from the perspective of the winners. But it is also the case that the winners are, more often than not, assholes. Looking back over the wreckage of past ages, losers can come off looking pretty good in comparison. The story of what-could-have-been sometimes beats the story of what-actually-was.
One scenario for meditations upon history's winners and losers took place in New York City, 1913 when a group of painters decided to put on a show at the Armory building. The idea behind the show was simple. One of the organizers, John Quinn, expressed it in his opening address, “The members of this association have shown you that American artists — young American artists, that is — do not dread, and have no need to dread, the ideas or the culture of Europe.”
America was ready to confront the big boys (and a couple of girls) of European art. American art would no longer be perceived as the mostly provincial, second-order stuff of a colonial backwater. The Armory exhibit would display American artists like Oscar Bluemner, Patrick H. Bruce, James Earle Fraser, and Henry Twachtman alongside Cezanne, Redon, Gauguin, Van Gogh, Matisse, Picasso, Kandinsky, and Duchamp. Likewise, art enthusiasts in the U.S. would get their first glimpse of Continental art movements: Neo-Impressionism, Futurism, Fauvism, Abstraction, and Cubism.
Viewers of the exhibit were also going to see the newest creations of those American artists who had come to be known as The Ashcan School. Painters like William Glackens, Robert Henri, George Luks, Everett Shinn, and a young Edward Hopper.