1. David Smith, letter to Jean Xceron, April 22, 1977. Jean Xceron Papers, Archives of American Art, reel D294.

2. This is a commonly accepted division between the generations of American abstraction. For comments of Jean Xceron=s place see Stuart Preston, A Salute to a Pioneer Abstractionist, New York Times (September 12, 1965): n.p.

3. Ilya Bolotowsky, Adventures with Bolotowsky, interview by Paul Cummings, Archives of American Art Journal (January 1982): 22.

4. Carl Emil Willers. Between Mondrian and Minimalism: Neo-Plasticism in America. (Exhibition Pamphlet. New York Whitney Museum of American Art, 1991): 3.

5. The Corcoran School of Art, Student Radicals at the Corcoran School of Art in 1916, Corcoran School of Art News (Spring 1977): 1, 18-19.

6. Ibid., 18.

7. Theo Chios telephone interview with the author, October 1996, New York.

8. Theodorros Dorros. Stou Glytomou to Hazi (France: De Vaugirard, M.L. Motti, Dir. Impasse Ronsin, 1930).

9. Theodorros Dorros, Iridanos No. 4. (February-March 1976).

10. John Xceron, Who's Who Abroad, Chicago Tribune (European edition): 4.

11. Kristian Zervos Tetradia Tis Technis, Thanasis Th. Niarchos, (Athens, Greece: Ekdosis Kastanioty, 1990): 153

12. Cahiers d'Art. Issues 5-8, 1934, Xceron files, Archives of American Art, reel 294.

13. Thalia Trezos-Vrachopoulos. Jean Xceron: Rediscovered American Modernist Pioneer Life and Works, 1912-1949 (The City University of New York Graduate School. 1999). For discussion of critical errors see pp. 192-194, ff 11, 12,13, 14.

14. Ibid. For a thorough discussion of Xceron's Garland Gallery Exhibition and its
impact on American artists see Chapter 3

15. Ibid. For discussion and comparative images see pp 116-117 and Figs. 46 A, B, and 55, 56, 57.

16. Russel C. Parr to John Xceron, 17 December 1935, Xceron files, Archives of American Art, reel 294.

17. Ibram Lassaw, et al., Art Front, vol. 3, no. 7 (October 1937).

18. For a thorough discussion of the origins and definition of the term see: Rose Carol Washton-Long, Non-Objective, in Nancy Spector, ed., The Guggenheim Museum A-Z (New York: Rizzoli, 1992): 200.

19. Charles Robbins, Now the Baroness Can Test her Anti-Worry Art, American Weekly, January 9, 1944.

20. ARadar: Non-Objective Painter Tries to Marry Science and Art on Canvas. Life, vol. 24, no. 5 (February 2, 1948): 69.