Endnotes

¹ Emily Kendall, “bohemianism,” inEncyclopedia Britannica, last updated August 21, 2025, https://www.britannica.com/topic/bohemianism.

² Charles Demuth, Bruce Kellner, and Demuth Foundation, Letters of Charles Demuth, American Artist, 1883–1935 (Temple University Press, 2000), xxii.

³ Barnes Foundation and Richard J. Wattenmaker, American Paintings and Works on Paper in the Barnes Foundation (Barnes Foundation in association with Yale University Press, 2010), 259–60. Established in 1770, the Demuth Tobacco Shop is said to be the oldest tobacco shop in the United States. The building still stands at its original address, 114 East King Street, in Lancaster. Although the shop is no longer in operation, the Demuth Foundation sometimes uses the space to host special events. See “Demuth Tobacco Shop,” Demuth Foundation, accessed Nov. 3, 2025, https://www.demuth.org/tobacco-shop.

⁴ Ibid, 259–60.

⁵ Demuth, Kellner, and Demuth Foundation, Letters of Charles Demuth, xxii.

⁶ For more on Vaudeville in America, see “About Vaudeville,” Vaudeville: An American Masters Special, PBS, effective October 8, 1999, https://www.pbs.org/wnet/americanmasters/vaudeville-about-vaudeville/721/.

⁷ Demuth, Kellner, and Demuth Foundation, Letters of Charles Demuth, xvi.

⁸ Ibid, xvi.

⁹ Jeffery Kennedy, Staging America: The Artistic Legacy of the Provincetown Players (University Alabama Press, 2023), 4, https://research-ebsco-com.libproxy.temple.edu/linkprocessor/plink?id=91a804b1-608c-36aa-85be-c67ad7008627.

¹⁰ For more on Demuth’s involvement in the Provincetown Players, see Erin Pauwels, “The Backdrop of East Lynne: Charles Demuth’s Dramatic Abstractions,” American Art 32, no. 3 (2018): 86–103.

¹¹ Demuth visited Paris for five months from 1907 to 1908 and for a year and a half from 1912 to 1914. See Demuth, Kellner, and Demuth Foundation, Letters of Charles Demuth, xv.

¹² For more on the Ballet Russes, see Juliet Bellow, Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde (London, UK: Routledge, 2013), https://www.taylorfrancis.com/books/e/9781315091082.

¹³ Georges Seurat, Edgar Degas, and Henri Toulouse-Lautrec, among other artists working in the late 19th century, sourced the circus and cabaret for material.

¹⁴ Barnes Foundation and Wattenmaker, American Paintings, 260.

¹⁵ As Paris’s population rose with industrialization, traditional moral codes relaxed. Acknowledged by law, an increasing percentage of society saw sex work as a necessary (although not celebrated) outlet for the working-class population. See Andrew Israel Ross, “Urban Desires: Practicing Pleasure in the City of Light, 1848–1900” (PhD diss., University of Michigan, 2011), 29–36, https://hdl.handle.net/2027.42/89671.

¹⁶ For more on sex work in 19th-century Paris, see Jill Harsin, Policing Prostitution In Nineteenth-Century Paris, (Princeton University Press, 1985), https://hdl-handle-net.libproxy.temple.edu/2027/heb04506.0001.001. For perspectives on sex work in 19th-century United Kingdom, see Katie Hickman, Courtesans: Money, Sex, and Fame in the Nineteenth Century, (New York: Morrow, 2003). For more on artwork using 19th- and 20th-century prostitution in Europe (mostly France) as subject matter, see Splendour and Misery. Pictures of Prostitution, 1850–1910, an exhibition presented at Museé d’Orsay, September 2015–January 2016, https://www.musee-orsay.fr/en/whats-on/exhibitions/presentation/splendour-and-misery-pictures-prostitution-1850-1910.

¹⁷ The Barnes Foundation has eight of the eleven. See Barnes Foundation and Wattenmaker, American Paintings, 271.

¹⁸ For more on bohemian Greenwich Village, see Rick Beard, Leslie Berlowitz, and Museum of the City of New York, Greenwich Village: Culture and Counterculture (Museum of the City of New York by Rutgers University Press, 1993). Also see Becoming Bohemia: Greenwich Village, 1912–23, an exhibition presented at the New York Public Library, Stephen A. Schwarzman Building, October 12, 2024–February 1, 2025, https://www.nypl.org/events/exhibitions/becoming-bohemia-greenwich-village-1912-1923. During the early 20th century, there was a great deal of artistic exchange between Paris and New York. French artists immigrated to New York to flee the First World War. See Barnes Foundation and Wattenmaker, American Paintings, 260. During prohibition, Americans found liberation in Paris.

¹⁹ Demuth, Kellner, and Demuth Foundation, Letters of Charles Demuth, xv.

²⁰ Ibid, 3.

²¹ Ibid, xiii.

²² For more on Stein and her contribution to the modern art community, see: Gertrude Stein, The Autobiography of Alice B. Toklas (Penguin Books, 1966). For images of Stein’s residence and the Salon de Fleurus, see Salon de Fleurus, a traveling art exhibition arranged by Salon de Fleurus and presented at Independent Curators International (ICI), New York, March 18, 2016–August 26, 2018, https://curatorsintl.org/exhibitions/9616-salon-de-fleurus.

²³ In his letter to Henry McBride, Demuth tells the critic that Duchamp’s A Fountain was rejected from the Independent Exhibition in New York’s Grand Central Palace. Demuth advocates that the work be shown and asks his ally, McBride, if he might write of this rejection in his New York Sun column. See Demuth, Kellner, and Demuth Foundation, Letters of Charles Demuth, 5–6; for the letter to Stein, 21.

²⁴ The saloon was located at the corner of West Fourth Street and Sixth Avenue but no longer exists today. It was demolished in 1928 to build the Sixth Avenue Subway. The NYC Parks Service gained jurisdiction over the land in 1934, and a playground was constructed in 1938. Today, the small park is called the Golden Swan Garden. See: “West 4th Street Courts, Golden Swan Garden,” NYC Parks, accessed July 4, 2024, https://www.nycgovparks.org/parks/west-4th-street-courts/highlights/10766; Demuth, Kellner, and Demuth Foundation, Letters of Charles Demuth, xv.

²⁵ Barnes Foundation and Wattenmaker, American Paintings and Works on Paper, 300.

²⁶ For more on Demuth’s idiosyncratic artwork titles, see Jonathan Frederick Walz, “Charles Demuth’s Dubious Titles,” American Art 32, no.3 (2018): 96–103, https://doi.org/10.1086/701618.

²⁷ Barnes Foundation and Wattenmaker, American Paintings and Works on Paper, 300.

²⁸ Demuth, Kellner, and Demuth Foundation, Letters of Charles Demuth, 37.

²⁹ Ibid, 38.