The Armories of New York

photo of the 69th Regiment by wallyg on flickr

As we mentioned in our blog post last week, this past Sunday was the centennial of the 1913 Armory show, an important moment in the history of modern art. The exhibit--officially titled the International Exhibition of Modern Art--is known as the Armory show because it was housed in the 69th Regiment Armory on Lexington Avenue, an imposing Beaux-Arts fortress that had been completed just seven years earlier.

Walking the streets of New York, you are liable to come upon many such military structures; some, like the 69th Regiment, are still operating as National Guard posts. Others, including the famous arsenal in Central Park, have long since been decommissioned. Why does the city have such a proliferation of these buildings?

One answer is that before the Civil War, it was up to each town and city to provide for the nation's common defense. Volunteer militia companies were the backbone of the country's armed forces, and these militias required space to house munitions, drill, and fraternize. The most famous of the militias in New York was the Seventh Regiment, also known as the "Silk Stocking" regiment.

As we write in Inside the Apple:

First known as the Eleventh Regiment, it guarded New York harbor during [the War of 1812]. During the Marquis de Lafayette's farewell tour of America, the regiment acted as his honor guard and gave itself the name National Guard after Lafayette's Garde Nationale in Paris. When militia companies were reorganized later in the 19th century, this idea of having a National Guard stuck....

In 1880, the Seventh Regiment opened its new headquarters on Park Avenue. Designed by one of its own veterans, Charles Clinton, the massive structure...takes up the entire block between Park and Lexington avenues. The rear section was a drill hall--at the time, the largest interior drilling space ever created, spanned by a tremendous 300-foot barrel vault--and the front was three stories of meeting rooms for the various regimental companies.... Of particular note are the Veterans' Room and Library on the main floor, which were done by Louis Comfort Tiffany's Associated Artists, and remain today the most complete Tiffany interiors.

In 1884, recognizing the dearth of suitable drilling space for New York's military companies, an Armory Board of the City of New York was established with the purpose of building or renovating existing drill halls. Over the next forty years, armories proliferated around the city.

When the 69th Regiment opened in 1906, designed by the firm Hunt & Hunt, it was unique in its contemporary (though classically inspired) Beaux-Arts styling; most other armories tried to convey their function through the use of faux-Medieval architectural detail. Along with the Seventh Regiment (today known as the Park Avenue Armory), it is listed on the National Register of Historic Places, both for its role in the 1913 Armory Show and for being home to the "Fighting 69th," New York's famous Irish regiment, one of the first to volunteer for action in the Civil War.

Other famous armories around the city from this period include 94th Street armory (parts of which were integrated into the design of Hunter College High School), the First Battery armory, which became ABC television's first studio building, and the Fort Washington Armory at 168th Street, now a track and field center.

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Read more about aresenals and armories in NYC in 

Inside the Apple: A Streetwise History of New York City.

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The Armory Show at 100

This Sunday marks the centennial of the opening of the famed International Exhibition of Modern Art held at New York's 69th Regiment Armory and now generally known simply as "The Armory Show."

We are dedicating two posts to the show -- next week, we'll look at the history of the building that gave its name to the show and to numerous medieval-looking armory buildings that are scattered around New York.

For a history of the exhibit, these articles from the New Criterion and New York Times are a good place to start. Today, rather than try to summarize the show and importance, we thought we'd simply showcase some of the remarkable art that rocked America. (When the show moved to Chicago, the press there called it “profane,” “blasphemous,” “obscene,” and “vile.”) In all, there were over 1,250 works by over 150 artists. Some works, like Marcel Duchamp's Nude Descending a Staircase, were maligned at the time and have come to be seen as icons of American art. Other works and their artists have disappeared from public consciousness. Below, a tiny sampling of some of the works in the show:

A Centennial of Independence by Henri Rousseau (1892)
courtesy of the J. Paul Getty Trust

Georges Braque Violin and Candlestick (1910)
courtesy of the San Francisco Museum of Modern Art

Paul Gaugin Words of the Devil (1892)
courtesy of the National Gallery of Art 

Charles Sheeler Landscape (1913)

Marcel Duchamp Nude Descending a Staircase, No. 2 (1912)
courtesy of the Philadelphia Museum of Art

Henri Matisse The Blue Nude (Souvenir de Biskra) (1907)
courtesy of the Baltimore Museum of Art

Another fun artifact from the show is the list (now in the Archives of American Art) drawn up by Pablo Picasso of European artists he thought would be appropriate for the exhibit, including Duchamp (spelled wrong), Juan Gris, and -- seemingly as an afterthought -- Braque.

Courtesy of the Archives of American Art.

Picasso was in the exhibit himself, with Woman with Mustard Pot:

Pablo Picasso Woman with Mustard Pot (1910)
courtesy of the Geemente Museum

There will be two museum exhibition commemorating the Armory Show this year. One will be at the New-York Historical Society in the fall; the second opens this Sunday (on the exact centennial of the show's debut) at the Montclair Art Museum.

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Read more about art in NYC in 

Inside the Apple: A Streetwise History of New York City.

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