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Publisher’s Weekly, October 26, 1929, pp. 275-276—
…But the new art was on the threshold. [American painter James] Daugherty read C. Lewis Hind's The Post Impressionists [1911] and painting seemed to open up new life, new inspiration, new adventure, and he went modern with a vengeance. This artistic regeneration served him in good stead when the war broke. He went into service, in ship camouflage, and spent arduous days and nights in the shipyards and crowded harbors among all the craft of the world, superintending the drawing and painting of a cubist's picture all around a battered, gun-mounted freighter that was loading shells, food, autos, coal and iron rails, sinking lower in the water with every ton of freight and sailing in twelve hours.
Returning to New York was like starting all over again beginning at Greenwich Village. Before the war he had married, and the Daughertys now took a studio apartment at 59 Washington Square that looked across the park, through the arch and directly up Fifth Avenue. The camouflage painting came in handy in painting in an incredibly short time, vast murals in new movie theaters.
