In 1915, Stanton's brother, by that time a respected editor and critic in the New York literary world, published one of the first and most comprehensive surveys of advanced art to appear in the United States. Secretly co-authored by Stanton, "Modern Painting: Its Tendency and Meaning" reviews the major art movements of the previous century from Manet to Cubism, praises the work of Cézanne (still largely unknown in the United States), and predicts a time, soon to come, when an abstract art of pure color will supplant realism. Synchromism itself, the subject of a lengthy, adulatory chapter, is presented as that desired end-point, the culmination of the modernist struggle, surpassing the work of "lesser Moderns" like Kandinsky and the Futurists; at no time does the author acknowledge his own brother as one of the two originators of that school of art.