Abstract
Through five decades, he was sovereign of those who believed in a new architecture for America. To them he was a genius although his demagogic, often ruthless tactics alienated other architects and well-meaning clients. He gloried in playing the lead in the drama of contemporary architecture's awakening. When his sonorous voice boomed, “Stupid!” lesser men called him a demon. “I have pleaded the case for an organic architecture and education,” he told his followers, “not in a whimpering voice of an apprentice, but in the demand of an artist!” Yet when Louis Henri Sullivan died in 1924, few were present and even fewer cared. But before many years scholars and students were rediscovering his years of active leadership in architecture and also in art theory.1
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