7546414

              Index
Abandoned Treasures (Kuniyoshi),
2 3 9
Abduction of Europa (Bonnard), 2 4 8
A bell, Walter, 2 8 7 1 1
Abstract and Surrealist Art in America
(Janis), 3 5 - 3 6
Abstraction-C r é a t i o n g r o u p , 2 0 8
Accordion and Horse ( K u n i y o s h i ) , 2 3 9
Acquavella G a l l e r i e s , 1 3 4
A d m i r a l , V i r g i n i a , 1 5 1
Adoration of the Magi (Leonardo da
Vinci), in
Advancing American Art (exhibition),
1 1 4
Aeschylus, 2 5 7
Aesthetics and History in the Visual
Arts (Berenson), 2 6 3 - 6 5
Agony ( G o r k y ) , 2 1 5 n , 2 2 0
A l b e r s , J o s e f , 2 8 6
A l b r i g h t A r t G a l l e r y , 1 7 0 - 7 1
A l c o p l e y , Lewin, 1 9 0
Aleichem, Sholom, 1 8 6 , 1 8 7
A l i x , Y v e s , 1 3 0
A l l e g o r y ( S h a h n ) , 2 6 7
A l l Embarrassed ( S t e i g ) , ю-1 1
A l l i s o n ( H . V . ) a n d Company, 3 1 0
A l l s t o n , Washington, 1 6 0 - 6 1 ,
2 7 9 - 8 0
Altar (St a m o s ) , 2 6 6
Altdorfer, Albrecht, 50; Nativity,
2 5 1
Ambrogiani, Pierre, 1 3 0
Ambush ( K e n t ) , 3 1 2
American A b s t r a c t A r t i s t s , 1 7 ,
7 2 - 7 5 , 1 4 4 - 4 5
American-Britis h A r t C e n t e r , 7 2
Amerika (Kafka), too
An American P l a c e ( g a l l e r y ) , 2 6 9
A n a t o t ( A r d o n - B r o n s t e i n ) , 2 1 6
Angé l i c o , F r a , 5 0
A p o l l i n a i r e , Guillaume, 5 1 , 9 2 ,
í55, 2 0 5
Archaeological Treasure (Bloom), 5 3
Archipenko, Alexander, 3 1 7
A r c h i t e c t u r e , 1 9 5 , 3 2 2 - 2 5
A r d o n - B r o n s t e i n , Mordecai, 2 1 6 -
17, 224, 313; Anatot, 216; Beth­l
e h e m , 2 1 6 ; Kidron V a l l e y , 2 1 6 ;
Mount of Olives, 216; Yellow
Landscape, 216
Arensberg C o l l e c t i o n , 2 4 4
A r e n d t , Hannah, 1 8 6
Argent G a l l e r i e s , 1 4 5
A r i s t o t l e , 6 5 , 6 6 , 2 5 7
A r n o l d , Matthew, 1 7 2 , 1 9 2
Aronson, D a v i d , 1 1 3
A r p , Hans ( J e a n ) , 7 2 , 1 2 6 , 1 3 2 ,
1 6 7 , 2 0 5 , 2 0 8 , 2 1 2 , 2 1 4 , 2 2 6 ,
287, 295, 300, 317; in Collage
exhibition, 259, 262; crisis of,
212, 243—44; exhibition of,
282 — 84; a°d "new meta-morphosism,"
28, 29; On My
Way, 2 8 4
" A r t b r u t , " 2 8 9 - 9 1
A r t D i g e s t , 2 1 7 , 2 1 8 , 2 8 9
A r t i l l e r y , The (De l a F r e s n a y e ) , 4 0
A r t I n s t i t u t e o f C h i c a g o , 2 1 7 , 3 1 1
Artists on Art: From the XIV to the XX
Century (Goldwater and Treves),
75-76
A r t i s t ' s S t u d i o ( M a t i s s e ) , 2 0 9
A r t News, 9 1 , 2 8 9
A r t o f T h i s Century ( g a l l e r y ) , 1 6 ,
5 5 , 7 5 , 8 1 , 1 2 4 , 1 3 1 , 1 4 2 , 1 5 1
A r t s , T h e , 1 2 7
Ashes of Phoenix (Gottlieb), 2 8 5
"Aspects of Two Cultures" (Kem-enov),
2 3 3 - 3 5
Associated Amer i c a n A r t i s t s , 6 4 ,
6 4 П , 1 7 3
Associated American Artists Gal­l
e r i e s , 5 7 , 5 8
Assumption of the Virgin (Castagno),
2 5 1
Atget, Eugène, 6 0
335
Atlantic Monthly, 28g
Auden, W. H., 23j, 304n
Aujame, Jean, 130
Auschwitz, 186
"Authentic and False in the New
'Romanticism'" (Grigson),
230-33
Baldung-Grien, Hans, 50
Baldwin, Stanley, 115
Baila, Giacomo, 199
Ballet, 36-39
Balloon Ascension (Guardi), 251
Baltimore Museum of Art, 190
Balzac, Honoré de, 256-57, 268,
278
Barbizon School, 161
Barnett Newman (Hess), i88n
Barr, Alfred H., Jr., 287n
Barrer, Gertrude, 131, 132
Barrett, William, 304, 304 n
Barzun, Jacques, 287 n
Bassin de Fécamp, coucher de soleil, Le
(Boudin), 210
Bauchant, André, 289
Baudelaire, Charles, 95, 161; Eugène
Delacroix: His Life and Work,
r55-57
Bauhaus, 275, 286
Baur, Johnl. H., 287n
Bawden, Edward, 171-72
Bayer, Herbert: UnfoldingStratum, 17
Bazaine, Jean, 129, 130
Baziotes, William, 151, 266
Beach at Coney Island (Bellows), 310
Beaudoin, Kenneth Laurence, 131
Beckmann, Max, 80-81, 212, 266,
267, 309; Departure, 80
Beethoven, Ludwig van, 292
Bellini, Giovanni, 266; Resurrection,
251
Bellows, George Wesley, 122, 161,
309— 11 ; Beach at Coney Island,
310; Blue Morning, 310; Bull
and Cows, 310; In the Woods—
Waterfall, 311
Benton, Thomas Hart, 64
Berenson, Bernard: Aesthetics and
History in the Visual Arts,
263-65
Berezov, Maurice, 145
Bergson, Henri, 96
Berlin, 87-88, 134, 250, 259
Berlioz, Hector, 278
Berman, Eugene, 45
Bernini, Gian Lorenzo, 52
Berryman, John, 254n
Bertholle, Jean, 130
Besnard, Paul Albert, 182
Bethlehem (Ardon-Bronstein), 216
Betrothal I, The (Gorky), 215 n, 220
Betrothal II, The (Gorky), 220
Bignou Gallery, 119, 209
Birth of Isis (Trajan), 58-59
Black Beauty (Dubuffet), 124
Blackmur, R. P., 254 n
Blaine, Nell, 17,72, 131-32
Blakelock, Ralph Albert, 122, 160
Blanch, Arnold, 173
Blaue Reiter, 4, 16
Blavatsky, Helena Petrovna, 199
Bloom, Hyman, 52-53; Archaeo­logical
Treasure, 53; The Bride,
5 3 ; Corpse of Elderly Female, 5 3 ;
A Pot, 53
Blue Morning (Bellows), 310
Böcklin, Arnold, 134
Bohrod, Aaron, 173
Bollingen Prize, to Ezra Pound,
304-5
Bombois, Camille, 289
Bonnard, Pierre, 45, 76, 87, 89-
90, 129, 165, 191, 212, 214,
220, 281, 297, 301, 309; ex­hibitions
of, 119-22, 246-48;
Abduction of Europa, 248; Cannes,
the Harbor, 121; Checkered Table­cloth,
248; Corner of a Table, 248;
Grapes, 248; The Open Window,
121 ; Still Life with Fruit, 121
Borès, Francisco, 129
Bosch, Hieronymous, 32-34, 50,
275; St. John on Patmos, 251
Botticelli, Sandro, 50, no; Ma­donna
and Child with Singing An­gels,
251
Bouchard, François, 246-47
Bouché, René Robert, 173
Boucher, François, 42
Boudin, Eugène, 20, 121, 209—10;
Falaises de Villerville, 210; Le
Bassin de Fécamp, coucher de soleil,
210; La Plage de Villers, 210;
Port du Havre, 21 о
ЗЗ6
Bouguereau, Adolphe William, 9 3
Bouquet and S t o v e ( K u n i y o s h i ) , 2 3 9
Bouts, Dirck: Madonna in Adoration,
2 5 1
Bracquemond, Félix, 1 8 2
Brady, Matthew, 6 0
Brancusi, Constantin, 5 3 , 5 9 , 1 2 7 ,
1 4 0 , 1 6 5 , 1 6 7 , 2 0 5 , 2 2 5 ,
2 6 0 - 6 1 , 2 8 2 , 2 8 3 , 2 9 5 , 3 1 7
Brianchon, Maurice, 1 2 9
B r a q u e , G e o r g e s , 7 2 , 7 6 , 8 2 , 1 2 9 ,
1 4 1 , 1 9 0 , 1 9 1 , 1 9 7 , 2 0 2 , 2 0 6 ,
2 1 2 , 2 1 4 , 2 2 3 , 2 2 6 , 2 8 2 , 2 9 7 ,
298, 317; in Collage exhibition,
2 5 9 — 6 3 ; c o l o r u s e b y , 3 9 , 4 8 ,
2 0 9 ; c r i s i s o f , 8 3 , 2 1 2 , 2 1 5 ,
243-44, 305—9; exhibition of,
307; and Matisse compared,
292; Man with Guitar, 307; The
Portuguese, 307, 309; Still Life
with Violin and Pitcher, 307; The
S t o v e , 3 0 9
Brauner, Victor, 1 4 7 — 5 0
Breakfast (Gris), 2 6 1
Bresdin, Rudolphe, 1 8 2
Bride, The (Bloom), 5 3
Brod, Max, too, 1 0 3
B r o n z i n o , I I , 5 0 ; Portrait of a Young
Man, 2 5 1
Brook, Al e x a n d e r , 1 7 3 , 1 7 4
Brooklyn Museum, 4 4
B r o o k s , Van Wyck, 1 5
Browne, Byron, 1 3 7
Brown F i g u r e ( M o t h e r w e l l ) , 2 4 2
Brown F i g u r e ( R e z n i k o f f ) , 2 1 1
B r u e g h e l , P i e t e r , 3 2 — 3 4 , 4 4 - 4 5 ,
275
Bryant, William Cullen, 2 7 9
Buchholz G a l l e r y , 6 , 4 0 , 5 3 , 7 3 ,
8 0 , 2 1 0 , 2 8 3 , 2 9 8 - 9 9 , 3 2 1
B u h o t , J e a n , 1 8 2
B u l l and Cows ( B e l l o w s ) , 3 1 0
B u r c h f i e l d , C h a r l e s , 4 5
B u r l i n , P a u l : S o d a J e r k e r , 4 3
B u r r a , Edward, 1 7 1 — 7 3
Burroughs, Edgar R i c e , 2 5 8
B u s t ( P e v s n e r ) , 2 2 7
Caernavaron (Piper), 2 1 1
C a h i e r s d ' A r t , 3 6
Cahill, Holger, 287 n
C a i l l a r d , C h r i s t i a n , 1 2 9
Caillois, Roger, 7 1
C a l d e r , A l e x a n d e r , 4 0 — 4 2 , 5 9 ,
1 2 7 , 1 4 0 , 1 5 4 , 1 6 7 , 2 0 6 , 2 6 1 ,
2 9 5
Calendars, The (Gorky), 1 9 7 - 9 8 ,
2 2 0 , 2 6 7
Campigli, Massimo, 2 3 6
Cannes, t h e Harbor ( B o n n a r d ) , 1 2 1
C a r a v a g g i o , 5 0
Card P l a y e r ( P i c a s s o ) , 2 4 4
Caress ( M a l d a r e l l i ) , 5 9
C a r l y l e , Thomas, 2 6 3
Carnegie Annual ( E x h i b i t i o n ) , 1 1 7 ,
187
Carnival of Nice (Matisse), 2 0 9
C a r p a c c i o , V i t t o r e , 5 0
C a r r à , C a r l o , 1 9 9 , 2 3 6
C a r r a c i , A n n i b a l e , 4 4 - 4 5
C a r r i è r e , Eugène, 1 8 2
C a r t i e r - B r e s s o n , H e n r i , 1 3 9 — 4 0
Cartoon a n d c a r i c a t u r e , 1 0 — 1 1 ,
1 1 5 - 1 6
Cassatt , Mary, 1 8 2
Cassirer, Ernst: An Essay on Man,
26-28
Castagno, Andrea del: Assumption of
the Virgin, 2 5 1
Castl e , The ( K a f k a ) , 1 0 0
Cathedral ( P o l l o c k ) , 2 0 2 , 2 8 5
CatskillMountain House (Cole),
2 8 0 - 8 1
Cello Player, The (Cha g a l l ) , 8 4
C e r i a , Edmond, 1 2 9
Cézanne ( J e w e l l ) , 4 7
Cézanne, P a u l , 9 , 1 2 , 1 3 , 3 9 , 4 3 ,
45. 7б, 78, 93-94. 123. 134.
1 6 5 , 1 7 3 , 1 8 2 , 1 9 0 - 9 1 ,
1 9 9 — 2 0 0 , 2 2 2 , 2 3 4 , 2 4 9 , 2 5 8 ,
266, 272, 293, 297, 303; and
i m p r e s s i o n i s m , 2 0 , 2 2 , 4 8 , 1 7 7 ;
Loran on, 46—49; Mont Sainte-
V i c t o i r e , 2 7 7
Cezanne's Composition ( L o r a n ) , 4 6 - 4 9
C h a g a l l , Marc, 4 , 3 5 , 3 9 , 5 3 , 1 9 5 ,
2 1 2 , 2 8 1 ; e x h i b i t i o n s o f , 8 1 —
85, 143—44; The Cello Player,
8 4 ; Madonna o f t h e V i l l a g e , 1 4 4 ;
The Red Rooster, 144; Resurrec­tion,
144; Revolution, 84; A
Thousand and One N i g h t s , 1 4 4 ;
The Wedding, 82; W hite Crucifix­ion,
8Ą
ЪЪ1
Chamberlain, Neville, 115
Chardin, Jean-Baptiste-Simćon, 50,
136,247,277
Chase, Edward T. : The Etchings of the
French Impressionists and Their
Contemporaries, 181—82
Chateau de Chillón (Courbet), 279
Chaucer, Geoffrey, 256
Checkered Tablecloth (Bonnard), 248
Chernowitz, Maurice: Proust and
Painting, 95-97
Chimera No. 1 (Mirko), 143
Chirico, Giorgio de, 84, 134-37,
143, 173, 207, 236; Departure,
136; The Folly of Horses, 136;
Still Life, 136
Choses vues (Valéry), 231
Christ in the Garden of Gethsemane
(Gossart), 251
Circular Relief (Gabo), 227
Clark, Sir Kenneth, 234
Claude Lorrain, 45, 50, 279-81
Cliffs at Etretat (Courbet), 279
Cockfight—Variation (Smith), 58
Cocteau, Jean, 240
Coldstteam, William, 171
Cole, Thomas, 122, 160, 161, 279-
8t; Catskill Mountain House,
280-81; The Pass Which is Called
'the Notch of the White Mountains, '
280-81
Collage (exhibition), 259-63
Collier, Oscar, 131
Colquhoun, Robert, 171-72
Concert (Ter Borch), 252
Congdon, William, 312 — 13
Conquest of the Air (De la Fresnaye), 40
Constable, John, 45, 176, 177, 276
Construction (Motherwell), 152
Construction (Pevsner), 228
Construction in a Niche (Gabo), 227
Construction with Alabaster Carving
(Gabo), 227
Conversation Lags I, The (Steig), 11
Coomeraswamy, Ananda Kentish,
230
Cooper, Douglas, 271
Cooper, James Fenimore, 279
Corbusier, Le, 240-41; Deux Bou­teilles
et Livre, 241 ; Syphon et
Gants, 241
Corner of a Table (Bonnard), 248
Corot, Jean-Baptiste-Camille, 20,
45, 121, 176-78, 179, 182,
278
Corpse of Elderly Female (Bloom), 53
Correggio, 50
Cossa, Francesco del: Harvest Alle­gory,
251
Country Tenement (Kallem), 175 •
Courbet, Gustave, 20, 22, 32, 45,
74,88, 121, 134-36, 157,
161, 2Ï8, 272, 297; exhibition
of, 275 —79; Venturi on, 176-
78; Château de Chillón, 279; Cliffs
at Etretat, 279; Demoiselles du
Village, 278; Forest, 279; The
Fringe of the Forest, 279; The Iso­lated
Pock, 279; Low Tide, 279;
The Mediterranean, 279; Moun­tain
Cliffs at Omans, 279; Sea
Cliffs, 279; Seascape, 279; Toilette
de la Mariée, 278; Two Boats on a
Beach, 279; The Wave, 279
Courmes, Louis-Alfred, 130
Coutaud, Lucien, 130
Cowdrey, Bartlett (with Hermann
Warner Williams, Jr.): William
Sidney Mount, 3
Cowles, Russell, 45
Craig, Martin: Lilith, 59
Cranach, Lucas, the Elder, 50; Frau
Reuss, 251
Crane, Hart, 314
C r i t i c s Show a t t h e Armory, 4 4
Croce, Benedetto, 125
Cronos (Noguchi), 296
Crucifixion (Monaco), 44
Crucifixion (Rouault), 25
Crucifixion (Witz), 252
Cubism, 13, 16-17, 25> 29> 72'
73, 120, 126, 130, 132-37,
142, 145, 149-53. 157. l64.
194, 199, 205, 229, 269, 277,
281, 287-88, 295, 297, 298,
323, 325; and abstract art, rela­tionship
between, 243-45;
criticisms of and reactions to,
23, 29, 35, 85-86, 119, 231-
32, 264; ofBraque, 306—9; and
Chagall, 82 — 83, 143; collage
in, 259—63, 282 — 84; of Le Cor­busier,
240-41; of Davis, 41;
decline of, 211 — 15 ; and De la
Fresnaye, 39—40; and Dubuffet,
91, 123, 290—91 ; and Giaco-
ЗЗ8
metti, ">5-56, 205-6; and Kan-dinsky,
4; of Knaths, 196—97;
and Matisse, 209, 293; of
Maurer, 190; and nature, 271-
75; and new sculpture, 317; and
Pollock, 74-75, 202; poly­phonic
painting after, 223; as
positivistic art, 88, 164, 165;
and Schwitters, 207 — 8; and
Smith, 141, 167
Culwell, Ben L., 113
Cummings, е. е., 240, 314
Cuyp, Aelbert, to
Dada, 92, 205, 208, 262, 264, 284
Dali, Salvador, 135, 171,234
Dances (Reznikoff), 2ti
Dany (Lartique), 130
Daumier, Honoré, 24, 46, 50, 116,
'76-79, 182, 250
David, Jacques-Louis, 67, 176, 177
Davidson, J. Leroy, 114
David with the Head of Goliath (Pol-laiuolo),
251
Davis, Robert Gorham, 254 n, 304n
Davis, Stuart, 40-42, 127, 154,
167, 198; EggbeaterNo. 3, 41;
Gloucester Street, 41; Gloucester
Terrace, 41
Day, Worden, 200-201 ; Strata at
Broken-Moon Cut, 200-201
Dead Christ (painting), 25 1
Debussy, Claude, 20
Decamps, Alexandre Gabriel, 121
Degas, Edgar, 6, 24, 181-82,
301—4; Lady with Umbrella,
302; Man in a Blouse, 302; Race
Horses, 303
Déjeuner sur l'Herbe (Manet), 77
De Kooning, Willem, 222 n, 228-
30, 287; Mail Box, 267
Delacroix, Eugène, 23, 88, 95,
120, 133, 135, 136, 161, 181,
218, 266, 276, 288, 297; Bau­delaire
on, 155-57; Venturi on,
176, 177
De la Fresnaye, Roger, 39-42; The
Artillery, 40; Conquest of the Air,
40; IM Diabolo, 40; Still Life with
Cylinders, 40
Delaunay, Robert, 39, 281-82; Les
Fenêtres, 281
Delicate Game (Gorky), 79
Demoiselles du Village (Courbet), 278
De Niro, Robert, 81, 151,287;
Fruits and F lowers, 81; Ubi Roi,
81
Departure (Beckmann), 80
Departure (Chirico), 136
Derain, André, 39, 45, 83, 129,
197. 238,306
Descartes, René, 65
Deserted Garden (Smith), 141
Desnoyer, François, 129
Despiau, Charles, 126
Deux Bouteilles et Livre (Le Corbusier),
241
Devoluy, John, 287 n
Diabolo, La (De la Fresnaye), 40
Dickens, Charles, 256-57
Dickinson, Emily, 117, 166
Dietrich, Marlene, 38
Diller, Burgoyne, 319
Dim Luster (Tudor), 36— 39
Dodd, Lamar, 173
Doesburg, Theo van, 150—51, 208
Dómela, César, 243
Dórival, Bernard, 130, 307 — 8
Dostoyevsky, Fyodor, 256-57
Dove, Arthur, 86
Downes, Bruce, 67, 67n
Drawings of Leonardo da Vinci, The
(Popham), 108-12
Drouin, Galerie, 223
Dryden, John, 256
Dubuffet, Jean, 87, 90, 130-31,
148, 150, 194, 214—15, 223,
245; and "art brut," 289-91 ;
exhibition of, 122 — 25; 124; and
French existentialism, 91-92;
Black Beauty, 124; Grand Paysage,
124; L'Homme à la cravate rouge,
124; Minerve, 124; Mouleuse de
café, 124; Promeneuse au parapluie,
90, 92, 124; Vue de Paris,
123-24
Duchamp-Villon, Raymond, 317
Dufy, Raoul, 123, 129
Dungeness Beach (Piper), 211
Dunoyer de Segonzac, André, 39,
45. 83. 238
Durand-Ruel Gallery, 201, 209-10
Dürer, Albrecht, 50; Portrait of a
Young Wonian, 251
Dürkheim, Emile, 27
Durlacher Brothers, 52, 300
339
Dutch painting, 8 -ю, 7 6 , 2 7 7
Eakins, Thomas, 3 , 4 5 , 9 4 , 1 2 2 ,
1 6 0 , 1 6 1 , 1 7 8 , 2 7 9 - 8 0
E a r t h C r u s t ( S e l i g e r ) , 2 6 7
E a s t 1 2 t h S t r e e t ( S h a h n ) , 1 7 4
E c k s t e i n , F r a n c e s , 1 3 1 - 3 2
Egan G a l l e r y , 1 3 1 , 2 2 8 , 2 8 6 , 2 9 5 ,
3 2 1
Eggbeater No. 3 (Davis), 41
Eilshemius, Louis, 9 4 , 1 2 2
Einstein, Albert, 1 0 6
Elegy (Motherwell), 2 4 1
Eliot, T. S., 1 5 , 2 6 8
Elsheimer, Adam, 5 0 ; Noah's Thank
Offering, 2 5 1
Eist, Joseph van der: The Last F lower­i
n g o f t h e Middle A g e s , 3 2 - 3 3
Emergence of an American Art, The
(Mellquist), 3 1 0
Emers o n , P e t e r H e n r y , 6 0
Emerson, Ralph Waldo, 2 6 3
Enchanted Forest ( P o l l o c k ) , 2 0 2
End o f J u a n i t a ( K u n i y o s h i ) , 2 3 9
England, 164, 217; painting of,
1 4 8 , 1 9 3 , 2 1 0 , 2 4 6 , 2 7 9 , 2 9 9 ,
3°9
Enlightenment, 2 1 2
E r n s t , Max, 1 7 , 4 5 , 1 3 5
E r v i n , Ken, 1 3 1 - 3 2
Essay o n Man, An ( C a s s i r e r ) , 2 6 - 2 8
Essay o n M o r a l s , A t z ( W y l i e ) , 1 5 8 - 6 0
E s t è v e , M a u r i c e , 9 0 , 1 3 1
Etchings of the French Impressionists and
Their Contemporaries, The (Chase),
1 8 1 - 8 2
Eugène Delacroix: His Life and Work
(Baudelaire), 155-57
European Artists in America (exhibi­t
i o n ) , 1 7 - 1 8
E u t e r p e and T e r p s i c h o r e ( S m i t h ) , 1 4 1
E v a n s , Walker, 6 3 , 1 1 8 , 1 3 9
Evening C a r n i v a l ( R o u s s e a u ) , 9 3
E x i s t e n t i a l i s m , 9 1 - 9 2
E x p r e s s i o n i s m , 5 2 , 5 3 , 1 8 9 - 9 0 ,
1 9 9 , 2 1 3 , 2 1 6 , 2 2 3 , 3 1 6 ;
French, 2 7 1 ¡German, 4 ,
8 0 - 8 2 , 8 5 - 8 6 , 1 3 0 , 1 9 0 , 2 7 1 ,
2 8 7
Eyck, Jan van, 31— 3 3 , 5 0 ; Giovanni
A m o l f n i , 2 5 1
Fabritius, Barent, 1 0
Falaises de V i l l e r v i l l e ( B o u d i n ) , 2 1 0
F a l l e n Angel ( T r a j a n ) , 1 3 8
Famine ( L i p t o n ) , 1 3 8
Fantin-Latour, Ignace-Henri-
Joseph-Théodore, 1 8 2
F a u l k n e r , W i l l i a m , 1 6 6
F a u r e , E l i e , 3 6
Fauves, 3 9 , 1 1 9 , 1 3 0 , 2 1 3 , 2 2 2 ,
2 2 9 , 2 6 9 , 2 7 1
Feinin g e r , L y o n e l , 4 6
F e n ê t r e s , L e s ( D e l a u n a y ) , 2 8 1
F e r b e r , H e r b e r t , 3 1 9
F e r r o , A . , 2 5 3
Fiedler, Leslie A., 254 n
F i g u r e ( M i r k o ) , 1 4 3
F i g u r e ( N o g u c h i ) , 5 9
F i n e , P e r l , 1 3 7 , 1 4 4
F i n k e l s t e i n , L o u i s , 2 0 4 П , 2 0 4—5
Finnegans Wake ( J o y c e ) , 2 2 4
F i s c h e r , I d a , 1 3 1 — 3 2
Fisherman ( H a r e ) , 1 4 2
F i s h e s , The ( T a i l l e u x ) , 1 3 0
Flambeau, L e ( H o l t y ) , 2 0 1
F l a n n a g a n , J o h n В . , 1 4 0
F l a u b e r t , G u s t a v e , 2 5 7
Flemish p a i n t i n g , 3 0 - 3 4 , 6 2 - 6 3 ,
3 1 9
Flores, Angel, 1 0 4 n
Flowers in Black Vase (Kuniyoshi),
239
Folly of Horses, The I Chirico), 1 3 6
F o r e s t ( C o u r b e t ) , 2 7 9
Forest of Arden, The( Ryder), i79>
1 8 0
Fougeron, André, 1 2 9 , 1 3 0
Fourteen Americans (exhibition),
1 1 3 - 1 4
Fragonard, Jean-Honoré, 4 2 , 4 5 ,
2 4 6 - 4 7
France, 3 0 , 3 9 , 9 5 , 1 1 7 , 1 19> M**.
1 9 3 , 1 9 4 , 2 4 2 , 2 4 6 , 2 5 8 , 2 7 8 ,
287, 297-98, 309; existen­tialism
in, 91-92; nature in
painting of, 271-72; print me­dium
in, 181—82; Whitney ex­h
i b i t i o n o f p a i n t i n g i n , 1 2 8 - 3 1
See also Paris
F r a n c o , F r a n c i s c o , 1 1 5 , 1 1 6
Frankenstein, Alfred, 287 n
Franz Kafka Today (Flores and Swan-d
e r ) , 1 0 4 П
З40
Frau Reuss (Cranach), 251
Fresco (Pevsner), 228
Freud, Sigmund, 106
Friedman, Arnold, 11 —12,45,
121-22, 161, 216, 223 — 24,
240
Friedman, Martin, 266
Fringe of the Forest, The (Courbet),
279
Fruits and Flowers (De Niro), 81
Fry, Roger, 18, 156
Full Fathom Five (Pollock), 202
Fustel de Coulanges, Numa-Denis,
235
Futurism, 199, 288
Gabo, Naum, 59, 208, 225 — 28,
317; Circular Relief, 227; Con­struction
in a Niche, 227; Con­struction
with Alabaster Carving,
227; Plastic Bust, 226
Gaillard, Claude-Ferdinand, 182
Gale, Toni, 64n
Gallery Neuf, 131, 132
Gambler, The (Kent), 312
Garbari, Tullio, 236
García, Joaqúin Torres, 223
Gauguin, Paul, 39, 41, 43, 76, 95,
119, 182, 222, 303; exhibition
of, 76-78
Gautier, Théophile, 95
Geertgen Tot Sintjans: John the Bap­tist
in the Wilderness, 251
Generation of Vipers (Wylie), 158
Geoffrey, William, 231
George, Stefan, 71, 140, 314
George Gisze (Holbein), 251
Géricault, Théodore, 136, 157, 181
Germany, 87-88, 102, 164, 201,
309; aesthetics in, 64, 66; art
from, in National Gallery, 50—
51 ; expressionism in, 4, 80-82,
85-86, 130, 190, 271, 287; ro­manticism
in, 64, 66, 71
Gérôme, Jean-Léon, 93
Giacometti, Alberto, 53, 59, 113,
140, 167, 208-9, 212, 214,
225, 226, 261, 287, 317; ex­hibition
of, 205-7; Hare and in­fluence
of, 55-56; Tall Figure,
Half Size, 207
Gide, André, 219, 230, 232
Gignoux, Regis, 45
Giorgione, 45, 50, 251
Giotto, 30-31, 50, 135
Giovanni Arnolfini (van Eyck), 251
Giovanni di Paolo, 50, 251
Gischia, Leon, 90, 129, 130
Glackens, William James, 12, 161
Gleizes, Albert, 130
Gloucester Street (Davis), 41
Gloucester Terrace (Davis), 41
Goebbels, Joseph, 116
Goerg, Edouard, 129
Goes, Hugo van der, 32, 33
Gogh, Vincent van, 39, 41, 45, 76,
78. 93-95. 222, 303
Golden Unicorn, The(Holty), 201
Goldfish (Matisse), 247—48
Goldwater, Robert, 287 n; Artists on
Art: from the XIV to the XX Cen­tury
(with Marco Treves), 75-76
Golubov, Maurice, 73, 144-45
Goncourt, Edmond de and Jules de,
231
Gonzalez, Julio, 59, 140, 167, 205,
225, 226, 261
Goodrich, Lloyd, 178, 239, 287n
Gorky, Arshile, 28, 46, 113, 215,
229, 230, 267-68, 287; exhibi­tions
of, 13-14, 78-80, 218 —
21; Agony, 215 n, 220; The Be­trothal
I, 215 n, 220; The Be­trothal
II, 220; The Calendars,
197-98, 220, 267; Delicate
Game, 79; Hugging, 79; Island,
79; Pastoral, 220; PlowandSong,
220; Soft Night, 220; They Will
Take My Island, 14
Gossart, Jan: Christ in the Garden of
Gethsemane, 251
Gothic (Pollock), 202
Gottlieb, Adolph, 28, 46, 123,
229, 267, 285, 287, 321; ex­hibitions
of, 187—89, 285;
Ashes of Phoenix, 285; Horned
Figure, 230 n; Hunterand Hunted,
285; The Oracle, 188; Pictograph,
230 n; Pursuer and Pursued, 188;
Recurrent Apparition, 285; Totem,
197; Totemie Fission, 285; Vigil of
Cyclops, 188; Water, Air, Fire,
188
Goya, 31, 46, 176, 177, 302
341
Goyen, Jan van, 9 ; View of Rynland,
44
Grand Déjeuner, Le (Léger), 8 3
Grand Paysage ( D u b u f f e t ) , 1 2 4
Grapes ( B o n n a r d ) , 2 4 8
Grass Roots of Art, 7Ae(Read),
1 4 6 - 4 7
Graves, Morris, 7 - 8 , 1 4 8 , 1 5 0 ,
1 6 5 - 6 6 , 2 6 9
Gray Woman (M o t h e r w e l l ) , 2 4 1
"Great Wall of China, The" (Kafka),
9 9 - 1 0 4
Greuze, Jean-Bap t i s t e , 2 4 6
Grey Center (Pollock), 192 n
Grigson, Geoffrey: "Authentic and
False in the New 'Romanti­c
i s m ' , " 2 3 0 - 3 3
G r i p p e , P e t e r , 3 1 9
G r i s , J u a n , 7 2 , 8 2 - 8 4 , 1 6 5 , 1 6 6 ,
2 0 6 , 2 2 4 , 2 6 1 - 6 2 , 2 7 1 , 2 7 4 -
7 5 , 3 0 6 ; B r e a k f a s t , 2 6 1
Guardi, Francesco, 50; Balloon As­c
e n s i o n , 2 5 1 ; View o f M e s t r e , 4 4
Guggenheim, Peggy, 81, 151; Out of
This Century, 9 7 — 9 9
G u i d i , V i r g i l i o , 2 3 6
G u i l d s , 3 3
Guston, Philip, 2 6 6 - 6 7 ; Tormen­t
o r s , 2 6 6 - 6 7
Haggin, B. H., 3 6
Haida a r t , 1 3 2
H a l s , F r a n s , 5 0
Hamilton, George Heard, 2 8 7 n
Handball ( S h a h n ) , 1 7 4
H a r e , D a v i d , 5 5 - 5 6 , 5 9 , 1 1 3 ,
142, 151, 206, 319; Fisherman,
1 4 2 ; Red K n i g h t , 1 3 8
H a r p e r ' s B a z a a r , 5 7 , 1 6 2 , 2 0 0 , 2 8 9
H a r t l e y , Marsden, 3 - 5 , 8 0 , 8 6 ,
1 2 2 , 1 7 5 , 2 3 8 , 2 6 9
H ä r t u n g , H a n s , 2 4 3
H a r v e s t A l l e g o r y ( C o s s a ) , 2 5 1
Haydon, Benjamin, 2 7 9
Haystack ( M o n e t ) , 2 1
H a y t e r , W i l l i a m , 2 0 1
Head ( S m i t h ) , 1 4 1
Headless Horse ( K u n i y o s h i ) , 2 3 9
H e i d e g g e r , M a r t i n , 9 2
H e l i k e r , J o h n , 2 6 6
H e l m e t , The ( M o o r e ) , 1 2 7
Helmholtzian Landscape ( S m i t h ) , 1 4 1
Hemingway, E r n e s t , 2 5 5 , 2 8 9 - 9 0
Henri, Robert, 3 1 0
Heron, Patrick, 287 n
H e s s , Thomas B . , i 8 8 n
H i l l , David O c t a v i u s , 6 0
H i l l s m i t h , F a n n i e , 1 7 , 7 2 — 7 3 ,
1 4 4 - 4 5
Hirsch, J o s e p h , 2 6 7
History o f A r t C r i t i c i s m ( V e n t u r i ) , 1 7 5
History of Impressionism, The( Re-wald),
2 3 5 - 3 6
Hi t c h e n s , I v o r , 1 7 2
H i t l e r , A d o l f , 6 5 , 1 1 6 , 1 5 0 , 1 6 0 ,
2 3 4
Hobbema, Meindert, 5 0 , 2 7 9
Hodgkins, F r a n c e s , 1 7 1 - 7 2
Hofmann, H a n s , 5 , 2 8 , 1 3 1 , 1 5 3 ,
i66n, 169-70, 172, 198; ex­h
i b i t i o n o f , 1 8 - 1 9
Holbein, Hans, 50; George Gisze,
2 5 1
Hölderlin, Friedrich, 2 5 6
Holty, Carl, 201; Cup of theSea,
201; Le Flambeau, 201; The
Golden Unicorn, 201; With Dim
E y e s , 2 0 1
Holtzman, H a r r y , 1 6
Homely Protestant, The (Motherwell),
2 4 2
Homer, Winslow, 3 , 1 2 2 , 1 6 0 , 1 6 1 ,
1 7 8 , 2 6 9 , 2 7 9 - 8 0
Homme à la cravate rouge, L' (Du­b
u f f e t ) , 1 2 4
Hooch, P i e t e r d e , 9 , 1 0
Hopper, Edward, 1 1 8
H o r i z o n , 2 3 0 , 2 4 3
Horned F i g u r e ( G o t t l i e b ) , 2 3 0 П
H o r s e , The ( T a l C o a t ) , 1 2 9 - 3 0
Horse Mackerel ( K n a t h s ) , 1 9 7
Howe, Irving, 304 n
Hudson R i v e r S c h o o l , 1 6 1 , 2 7 9
Hugging ( G o r k y ) , 7 9
Hugh Selwyn Mauberley ( P o u n d ) , 3 0 5
Hugo G a l l e r y , 1 4 2
Huizinga, Jan: The Waningofthe Mid­d
l e A g e s , 3 3
Hume, D a v i d , 2 1 4
Hunter and Hunted ( G o t t l i e b ) , 2 8 5
H u s s e r l , Edmund, 2 5
Iconograph, 1 3 1
Impa t i e n c e ( G o r k y ) , 7 9
I m p r e s s i o n i s m , 4 , 9 , 1 2 , 1 4 > 8 5 ,
94, 119, 123, 134, 157. I71'
342
1 7 6 , 177. I99-20O> 204> 2io>
213, 234, 249, 301; in Ameri­can
art, 161, 162, 310; and
bourgeois culture, 164, 165; and
Cézanne, 20, 22, 48, 179; Cour-bet's
influence on, 276, 277; and
Degas, 302-4; ofDelaunay,
281-82; easel painting crisis
since, 221—23; and Gauguin,
76 — 78; Monet and development
of, 20—22; nature in, 272; and
the print, 181—82; and Proust,
9 5 — 9 7 ; Rewald o n , 2 3 5 - 3 6 ;
a n d w r i t i n g b y a r t i s t s , 7 6
Ingres, Jean-Auguste-Dominique,
1 5 7 , 1 8 1 , 2 5 1 , 2 5 8 , 2 7 6 , 2 8 8 ;
drawings of, 236—37; Venturi
o n , 1 7 6 , 1 7 7
I n n e s s , George, 2 7 9 — 8 0
Institute of Contemporary Art (Bos­t
o n ) , 2 1 7 — 1 8
In the Woods—Waterfall (Bellows),
311
Introduction to Modern Architecture
(Richards and Mock), 3 2 4
I n t r u s i o n ( S t e i g ) , 1 1
I n Y e l l o w B l a c k ( M o t h e r w e l l ) , 1 5 2
I r i s h Country Houses ( P i p e r ) , 2 1 1
I s l a n d ( G o r k y ) , 7 9
I s o l a t e d R o c k , The ( C o u r b e t ) , 2 7 9
I t a l y , 1 0 8 , 2 6 3 , 2 6 4 , 3 1 9
Jabotinsky, Vladimir, 1 0 6
J a m e s , H e n r y , 2 5 7
J a n e S t r e e t G a l l e r y , 1 3 1 , 3 0 1 , 3 2 1
J a n e S t r e e t Group, 1 3 1 — 3 2
Janis, Sidney, 321 ; Abstract and Sur­r
e a l i s t A r t i n America, 3 5 - 3 6
J a n i s ( S i d n e y ) G a l l e r y , 2 8 1 , 2 8 6
Janson, H. W., 287 n
J e w e l l , Edward A l d e n : Cézanne, 4 7
J e w i s h Museum, 2 1 6
J o b ( M e s t r o v i c ) , 1 4 5 — 4 6
John the Baptist in the Wilderness
(Geertgen Tot Sint Jans), 2 5 1
J o n e s , D a v i d , 1 7 1 , 1 7 2
J o n g k i n d , Johan B a r t h o l d , 1 8 2
J o y c e , J a m e s , 1 5 , 9 6 , 9 9 , 2 1 9 , 2 5 7 ,
3 1 4 , 3 1 5 ; Finnegans Wake, 2 2 4
Juan Gris: His Life and Work (Kahn-weiler),
2 7 1
J u g e n d s t i l , 4 , 5
J u n g , C . G . , 1 5 9
Kafka, Franz, 6 9 , 7 0 ; Amerika, 1 0 0 ;
The Castle, 100; "The Great Wall
of China," 99— 104; The Trial,
1 0 0
Kahnweiler, Daniel-Henry, 2 2 4 ;
Juan Gris: His Life and Work, 2 7 1
K a i s e r F r i e d r i c h Museum, 2 4 9
Kalf, Willem, 10
Kallem, Henry: Country Tenement,
175
Kandinsky, Wassily, 1 3 - 1 4 , 1 8 , 8 6 ,
!37> ИЗ. !53> l6°. l65.
1 6 6 , 1 9 8 , 2 1 5 , 2 8 1 - 8 2 , 2 8 7 ;
exhibition of, 3 — 6; importance
o f , 1 6 , 2 4 5 , 2 7 1 , 2 7 5
Kane, J o h n , 2 8 9
Kant, Immanuel, 2 6 - 2 9 , 6 6 , 6 8 ,
159.253
Kaz, Nathanial: St. Christopher, 5 9
Kemenov, Vladimir: "Aspects of
Two Cultures," 2 3 3 - 3 5
K e n s e t t , J o h n , 1 6 1
Kent, Adaline, 311 —13, 319; Am­b
u s h , 3 1 2 ; The Gambler, 3 1 2
Kenyon R e v i e w , 1 4 5 , 2 3 1
Kermadec, Eugène d e , 1 3 0 — 3 1 ,
2 1 4 - 1 5
Kidron Valley (Ardon-Bronstein) , 2 i 6
Kierkegaard, Spren, 9 2
Klee, Paul, 5 — 8 , 1 1 , 7 2 - 7 3 , 1 1 3 ,
!3C 132. !37 . 43. !44> 194.
2 0 5 , 2 1 0 , 2 1 4 , 2 1 5 , 2 2 3 , 2 5 1 ,
2 6 6 , 2 6 9 , 2 7 1 , 2 7 4 , 2 8 1 , 2 8 4 ,
287, 3i2;Dubuffet and influ­ence
of, 90, 91, 122 —24; and
contemporary p a i n t i n g , 1 4 7 —
50, 160, 165; and Miró com­p
a r e d , 1 5 3 - 5 5
K l e i s t , H e i n r i c h v o n , 2 5 6
Knaths, Karl, 46, 196—97; Horse
M a c k e r e l , 1 9 7 ; T e a P o t , 1 9 7 ;
Tidewash, 1 9 7
Knoedler G a l l e r i e s , 9 , 1 2 5 , 1 2 8 ,
1 4 2 , 2 1 1
Koestler, Arthur: Thieves in the
Night, 1 0 4 - 7
Koll w i t z , K ä t h e , 4 5 - 4 6
Köninck, P h i l i p s , 2 5 2
Kooning, Willem de. See De Koon­ing,
Willem
K o o t z , Samuel, 3 2 1
Kootz G a l l e r y , 5 4 , 1 2 3 , 1 5 2 , 1 8 7 ,
2 0 1 , 3 2 1
343
Krasner, Lee, 2 8
K r e s c h , A l b e r t , 1 3 1 - 3 2
K r i s e l , H a r o l d , 1 4 5
Kuniyoshi, Yasuo, 238—40; Aban­doned
Treasures, 239; Accordion
andHorse, 239; Bouquet and Stove,
239; End ofJuanita, 239; Flow­ers
in Black Vase, 239; Headless
H o r s e , 2 3 9 ; M i l k T r a i n , 2 3 9 ;
Picketing a Horse, 239; Room 110,
2 3 9 ; W i l d H o r s e s , 2 3 9
Labisse, Félix, 1 3 0
L a c h a i s e , G a s t o n , 1 2 5 - 2 8 , 1 4 0
Lady with a Parrot (Mieris), 1 о
Lady w i t h Umbrella ( D e g a s ) , 3 0 2
L a i r e s s e , Gé r a r d d e , 9
L a i t t r e , E l e a n o r d e , 1 7 , 1 4 5
Lake Narraguadis ( M a r i n ) , 2 7 0
Lam, W i l f r e d o , 3 1 8 П
La More, C h e t , 1 3 7
Landscape ( e x h i b i t i o n ) , 4 4—45
Landscape, P o n t o i s e ( R o u s s e a u ) , 9 3
Landscape w i t h S t r a t a ( S m i t h ) , 1 4 1
L a p i c q u e , C h a r l e s , 9 0 , 1 3 1 , 2 4 3
Large I n t e r i o r i n Red ( M a t i s s e ) , 2 9 3 ,
2 9 4
Lassaw, Ibram, 3 1 9
Last Flowering of the Middle Ages, The
(van der Eist), 3 2 - 3 3
Las t Romantic ( R o u a u l t ) , 2 5
L a u r e n s , H e n r i , 1 4 0 , 2 0 5 - 6 , 3 1 7
Lawrence, J a c o b , 1 3 7
League o f P r e s e n t Day A r t i s t s , 1 4 5
L e b r u n , R i c o , 2 6 6
L é g e r , F e r n a n d , 1 7 — 1 8 , 4 6 , 1 3 0 ,
1 6 5 , 2 0 6 , 2 1 2 , 2 1 4 , 2 4 0 - 4 1 ,
2 6 6 , 2 7 1 , 2 8 1 - 8 2 , 2 8 4 , 2 8 7 ,
309; Le Grand Déjeuner, 83; La
V i l l e , 8 3
L e g r o s , Alphonse, 1 8 2
Lehman, I r v i n g , 1 4 5
Lehmbruck, Wilhelm, 1 2 6 , 3 1 6
L e i b o w i t z , R e n é , 2 2 4
L e i r i s , M i c h a e l , 2 3 8
L e M o a l , J e a n , 2 1 4 - 1 5
Lemons on a Pewter Plate (Matisse),
243
Leonardo da Vinci, 1 0 8 - 1 2 ; Adora­t
i o n o f t h e Magi, 1 1 1
L e s s i n g , G o t t h o l d Ephraim, 9 5 , 3 1 4
Levy ( J u l i e n ) G a l l e r y , 1 3 , 7 9 , 1 4 8 ,
2 1 9 - 2 1
Lewknor (Piper), 2 1 1
Leyden, Lucas v a n , 5 0
L h o t e , A n d r é , 1 8 , 1 2 9
L i f e , 1 6 2 , 2 8 9
L i l i t h ( C r a i g ) , 5 9
Lipchitz, Jacques, 5 2 , 5 9 , 1 2 6 , 1 4 0 ,
1 6 5 , 1 6 7 , 2 0 5 — 6 , 2 1 2 , 2 2 5 ,
234, 260-61, 282, 317; exhibi­t
i o n o f , 7 3 — 7 4 ; The P r a y e r , 7 4 ;
The Rescue, 74; Return of the
C h i l d , 1 7
L i p p i , F i l i p p i n o , 5 0
Lippi, FraLippo, 50; Madonna Ador­i
n g t h e C h r i s t C h i l d , 2 5 1
L i p p o l d , R i c h a r d , 3 1 9
Lipton, Seymour, 287, 319; Famine,
138
Lissitzky, El, 2 0 8
L i s t , K u r t , 5 7 , 2 2 4
London, 1 3 4 , 1 7 0 , 1 9 3
Loran, Earle: Cezanne's Composition,
4 6 - 4 9
Lorjou, Ber n a r d , 1 3 0
Louchheim, A l i n e В . , 9 1 , 2 1 7 , 2 1 8
Low, David: YearsofWrath: A Cartoon
History, 1931-1945, 1 1 5 - 1 6
Low T i d e ( C o u r b e t ) , 2 7 9
Mabuse, Jan. See Gossart, Jan
MacAgy, Douglas, 287 n
Macbeth and t h e W i t c h e s ( R y d e r ) , 1 7 9
M a c l v e r , L o r e n , 1 1 3
McKee, J o h n , 1 5 1
McKinney, R o l a n d , 1 7 4
McMahon, A. Philip: Prefacetoan
American Philosophy of Art,
6 4—66
Madonna Adoring the Christ Child
(Lippi), 2 5 1
Madonna and Child with Singing An­g
e l s ( B o t t i c e l l i ) , 2 5 1
Madonna i n Adoration ( B o u t s ) , 2 5 1
Madonna of the Village (Chagall), 144
Magazine of Art, 287 n
Magic L a n t e r n ( P o l l o c k ) , 2 0 2
Magnasco, A l e s s a n d r o , 1 2 0
M a g n e l l i , A l b e r t o , 2 4 3
Magny, Claude-Edmonde: Les San-dales
d'Empédocle: sur les limites de
l a l i t t é r a t u r e , 6 8 — 7 2
M a i l Box ( d e Kooning), 2 6 7
M a i l l o l , A r i s t i d e , 5 3 , 7 6 , 1 2 6 , 3 1 6
M a l d a r e l l i , O r o n z i o : C a r e s s , 5 9
344
Malevich, Kasimir, 4 , 2 4 5
Mallarmé, S t é p h a n e , 2 2 , 5 1 , 2 1 9 ,
зч, 315
Malraux, André, 1 0 5
Man ( M o t h e r w e l l ) , 2 4 2
M a n e s s i e r , A l f r e d , 2 1 4 - 1 5
Manet, Edouard, 2 0 , 2 1 , 4 3 , 5 0 ,
5 1 , 1 2 1 , 1 3 5 , 1 3 9 , 1 8 2 , 2 0 9 ,
2 2 9 , 2 5 0 , 2 5 9 , 2 6 2 , 2 7 4 , 2 7 6 ,
297, 310; Degas and influence
of, 302; and easel picture crisis,
2 2 1 — 2 3 ; Déjeuner s u r l ' H e r b e , 7 7
Man i n a B l o u s e ( D e g a s ) , 3 0 2
Mann, Thomas, 9 9
Mantegna, Andrea, 5 0 , 1 0 8 , 3 1 8 П
Man with Golden Helmet (Rem­b
r a n d t ) , 2 5 1 — 5 2
Man w i t h G u i t a r ( B r a q u e ) , 3 0 7
Man with Long White Beard (Tin­t
o r e t t o ) , 2 5 2
Marc, F r a n z , 1 4 5
Marc Chagall ( V e n t u r i ) , 3 5
Marchand, A n d r é , 8 7 , 9 0
M a r i n , J o h n , 1 2 , 4 6 , 1 6 1 , 1 9 8 , 2 0 3 ,
215, 267, 268—70; LakeNarra-guadis,
270; Sea and Figures in
Umber and Red—Versions Nos. 1
and 2, 270; Sea in Red—Version
No. 2, 270; Sea with Boat in
G r a y s , G r e e n s , and R e d s , 2 7 0 ;
S u n s e t S e r i e s , 2 7 0
M a r i n e t t i , F i l i p p o Tommaso, 1 9 9
M a r i s , J a c o b , 1 7 9
Marmion, Simon, 2 5 1
Marquand, J o h n , 6 9 , 2 5 8
Marquet, A l b e r t , 1 2 9
Marquié G a l l e r y , 1 1 , 2 4 0
Marsh, R e g i n a l d , 2 6 7
M a r t i n e l l i , E z i o , 1 3 7
M a r u s s i g , P i e r o , 2 3 6
Marx, K a r l , 1 9 , 1 0 6 , 2 5 3 , 2 7 8 , 2 9 1
Masaccio, 5 0
Masks ( R e z n i k o f f ) , 2 1 1
Masson, A n d r é , 2 8 , 5 6
Massys, Q u i n t e n , 3 2
Matisse: A Social Critique (Romm),
2 0 3 - 4
Matisse, Henri, xix, 4 , 2 4 , 2 5 , 3 9 .
7 6 , 7 7 , 8 1 , 8 5 — 8 6 , 9 0 , 9 4 , 1 1 3 ,
1 2 9 - 3 2 , 1 3 4 , 1 4 4 , 1 4 7 - 4 8 ,
1 5 3 , 1 6 5 , 1 9 1 , 1 9 4 , 1 9 5 , 1 9 9 -
2 0 0 , 2 2 2 , 2 2 9 , 2 3 2 , 2 4 9 ,
2 5 1 , 2 5 2 , 2 7 1 , 2 8 4 , 2 8 7 , 2 8 8 ,
2 9 0 , 2 9 7 — 9 8 , 3 0 9 ; and Bon-n
a r d compared, 1 1 9 , 1 2 0 , 2 1 4 ,
2 4 6 - 4 8 ; and Chagall compared,
82—84; and Dubuffet compared,
1 2 3 , 1 2 4 ; e x h i b i t i o n s o f , 2 0 9 ,
2 9 2 - 9 4 ; hedonism o f , 8 8 , 8 9 ,
1 5 5 ; importance o f , 1 1 9 , 1 5 5 ,
205, 212, 243-45; Komm on,
203—4; Artist's Studio, 209; Car­nival
of Nice, 209; Goldfish,
2 4 7 - 4 8 ; Large Interior in Red,
293, 294; Lemons on a Pewter
Plate, 243; Paysage du Montalban,
44; Piano Player, 209; Place du
Château, 2 0 9 ; S e a t e d Nude, 2 0 9 ;
Woman b e f o r e a n Aquarium, 2 4 3
Matisse (Pierre) Gallery, 8 7 - 9 0 ,
1 2 2 , 1 4 4 , 1 5 3 , 2 0 7 , 2 9 2 — 9 3 ,
3 2 1
Matta (Echaurren), Roberto, 1 3 , 1 4 ,
2 8 , 5 5 , 1 9 7 , 2 0 5 , 2 2 0 , 3 1 8 П
M a t t s o n , Henry E l l i s , 4 5
Maugham, S o m e r s e t , 7 7
Maurer, A l f r e d , 1 9 0 - 9 1 , 2 3 8
Medieval C a s t l e ( R o u s s e a u ) , 9 3
Mediterranean, The ( C o u r b e t ) , 2 7 9
Mellquist, Jerome: The Emergence of
an American Art, 3 1 0
M e l v i l l e , Herman, 1 6 6
Memlinc, H a n s , 3 2 , 5 0
Mencken, H. L., 254n
Mendele, MokherSefarim, 1 8 6 , 1 8 7
M e s s i n a , A n t o n e l l o d a , 2 5 1
Mestrovic, Ivan, 145— ą(>;Job,
1 4 5 - 4 6
Metropolitan Museum of Art, 3 6 ,
218,251, 278, 311. Exhibi­t
i o n s : B r i t i s h a r t , 1 7 1 - 7 3 ;
Davidson, 1 1 4 ; M e s t r o v i c , 1 4 5
Metsu, G a b r i e l , 1 0
M i c h e l a n g e l o , 2 3 , I I I —1 2 , 1 3 5 ,
1 8 1 , 3 1 6
Middl e A g e s , 3 1 , 2 2 6 , 2 4 9 ,
313-И
Mieris, Ftans van: Lady with a Par­r
o t , 1 0
Milk 'Train (Kuniyoshi), 2 3 9
M i l l e r , H e n r y , 1 4 5 , 2 5 5
M i l l e t , J e a n - F r a n ç o i s , 1 8 2
M i l t o n , J o h n , 8 , 2 4 9 , 2 5 6 , 2 9 2
Minerve ( D u b u f f e t ) , 1 2 4
Mirko, 1 4 2 - 4 3 ; ChimeraNo. 1 , 1 4 3 ;
F i g u r e , 1 4 3 ; P e g a s u s , 1 4 3
345
Miró, Joan, и, 1 3 , 1 6 , 5 6 , 7 6 , 7 9 ,
8 8 - 8 9 , 9 1 , 1 2 3 , 1 3 0 , 1 3 1 ,
1 4 7 - 4 9 ' 1 ( э 5 , i 6 6 , 1 9 4 , 1 9 5 ,
2 0 5 , 2 1 2 , 2 1 4 , 2 1 9 , 2 2 9 , 2 6 2 ,
287, 292, 295; exhibition of,
15 3 — 5 5 ; Gorky and influence
of, 197, 198, 220; lithographs
of, 237 — 38; and "new meta-morphosism,"
28, 29; Woman
and B i r d i n S u n , 1 5 4
Misunderstanding ( S t e i g ) , 1 1
Mitcham, Howard: Tropical Sub­m
a r i n e , 1 9 0
Mock, Elizabeth (with J. M. Rich­ards):
Introduction to Modern
A r c h i t e c t u r e , 3 2 4
Modern I t a l i a n P a i n t e r s , 2 3 6
Modern P a i n t e r s ( V e n t u r i ) , 1 7 5 -7 8
M o d i g l i a n i , Amedeo, 3 9 , 9 9 , 2 3 6
M o l l e r , H a n s , 1 3 7
Monaco, Lorenzo: C r u c i f i x i o n , 4 4
Mona Lisa's Mustache: A Dissection
of Modern Art (Robsjohn-
G i b b i n g s ) , 1 9 9 - 2 0 0
Mondrian, P i e t , 5 , 1 7 , i 8 , 2 1 — 2 2 ,
3 6 , 5 1 , 5 4 , 7 3 , 8 8 , 1 2 4 , 1 3 2 ,
1 3 5 , 1 4 3 , 1 5 3 , 1 6 0 , 1 9 4 , 2 0 1 ,
2 0 8 , 2 1 2 , 2 1 4 , 2 1 8 , 2 1 9 , 2 2 5 ,
2 2 9 , 2 3 2 , 2 4 3 , 2 4 5 , 2 4 7 - 4 8 ,
250, 272, 275, 299, 315; and
Van Doesburg compared, 150—
51; exhibition of, 15-16; im­p
o r t a n c e o f , 1 5 — 1 6 , 1 9 , 2 1 7 ,
2 2 3 , 2 2 4 , 3 1 5
Monet, Claude, 20-23, 77.89,
120, 222, 302, 303; Haystack,
2 1 ; Vase d e Capucines, 2 1
M o n t i c e l l i , Adolphe, 1 6 1 , 1 7 9
Mont S a i n t e - V i c t o i r e ( C e z a n n e ) , 2 7 7
Moonlight o n t h e S e a ( R y d e r ) , 1 7 9 ,
1 8 0
Moonlit Cove (Ryder), 1 7 9
Moore, H e n r y , 1 2 5 - 2 8 , 1 4 0 , 1 7 1 ,
300; The Helmet, 127; Reclining
F i g u r e , 1 2 7
Moore, Marianne, 1 6 6 , 2 6 8 , 2 6 9
Moran, Thomas, 4 5
Morandi, G i o r g i o , 2 3 6
Moreau, G u s t a v e , 2 4
Morgan, C h a r l e s , 6 9 , 7 0
M o r i s o t , B e r t h e , 1 8 2
M o r r i s , GeorgeL. K . , i 6 6 n , 2 4 2 П ,
2 4 2 - 4 5 , 2 9 2
Motherwell, Robert, 1 6 , 1 1 3 , 1 5 1 ,
266,287, 321 ; exhibitions of,
54-55, 152, 241-42; Brown
F i g u r e , 2 4 2 ; C o n s t r u c t i o n , 1 5 2 ;
E l e g y , 2 4 1 ; Gray Woman, 2 4 1 ;
The Homely Protestant, 242; In
Y e l l o w B l a c k , 1 5 2 ; Man, 2 4 2 ;
Painter, 242; Yellow Still Life,
1 5 2 ; Young G i r l , 2 4 2
Mouleuse d e c a f é ( D u b u f f e t ) , 1 2 4
Mount, William S i d n e y , 3
Mountain Cliffs at Omans (Courbet),
2 7 9
Mount of Olives (Ardon-Bronstein),
2 1 6
Muit, Edwin, 1 0 3
Munch, E d v a r d , 4 5 , 8 2 , 1 7 9
M u r i l l o , Bartolomé E s t e b a n , 2 4 6
Museum o f Modern A r t , 7 3 , 8 0 ,
1 1 7 , 1 5 5 , 1 6 9 , 1 9 1 , 2 0 9 , 2 1 7 ,
218, 244, 288. Exhibitions:
American painting collection,
2 9 6 - 9 7 ; Bonnard, 2 4 6 - 4 8 ;
Braque, 307 — 9; Carder-Bresson,
1 3 9 ; C h a g a l l , 8 1 ; C o l l a g e , 2 5 9 ,
262; Davis, 40-41; Fourteen
Americans, 113-14; Mondrian,
1 5 ; Moore, 1 2 5 ; O ' K e e f f e , 8 5 ,
8 7 ; Pevsner/Gabo, 2 2 5 , 2 2 6 ;
P i c a s s o , 1 3 8 ; R o u a u l t , 2 3 ;
Shahn, 1 7 3
Museum of Non-Objective Paint­i
n g , 1 6
Music, 4 , 1 6 , 1 6 4 , 2 1 9 , 2 3 1 , 2 5 7 ,
314; and Proust, 95, 96; twelve-t
o n e , 2 2 4
M u s s o l i n i , B e n i t o , 1 1 6
Nader, 6 0
Nation, The, 3 П , 6 4 , 6 7 , i 8 8 n , 2 0 4
N a t i o n a l Academy o f D e s i g n , 1 5 ,
4 4 , 1 1 2 , 1 7 4 - 7 5
Nationalga l e r i e ( B e r l i n ) , 2 5 0
National Gallery, Washington D.C.,
5 0 - 5 i,2 5 2
Nativity (A l t d o r f e r ) , 2 5 1
Nausée, La (Sartre), 69-71, 91
Neo-Romanticism, 5 2 , 8 3 — 8 4 , 8 8 -
8 9 , 2 1 4 , 2 8 8
Nether Worton Chu r c h ( P i p e r ) , 2 1 1
Neue S a c h l i c h k e i t , 2 8 8
Neumann, J . В . , 3 2 1
Newman, B a r n e t t B e n e d i c t , 1 8 8
346
Newman, Robert, i6o
New Provincetown '47 (exhibition),
172-73
New York, 168-70, 194, 249;
American art market in, 319 — 22
New Yorker, 57, 162
Nicholson, Ben, 73, 299-301
Nierendorf Gallery, 6
Nietzsche, Friedrich, 65, 158, 168
Noah's Thank Offering (Elsheimer),
251
Noguchi, Isamu, 113, 294 — 96,
319; Cronos, 296; Figure, 59;
Open Window, 295
Novotny, Fritz, 47
Number Eighteen (Pollock), 286
Number Nineteen (Pollock), 286
Number One (Pollock), 285 — 86
Number Seven (Pollock), 286
Number Six (Pollock), 286
Number Two (Pollock), 286
Ochtervelt, Jacob, to
Ohio Magic (Shahn), 174
O'Keeffe, Georgia, 85-87
Olsvanger, Immanuel: Rà'yte Pomer-antzen,
182—87
On My Way (Arp), 284
Open Window (Noguchi), 295
Open Window, The (Bonnard), 12 1
Oracle, The (Gottlieb), 188
Orchard Landscape (Smith), 141
Organism and Environment (Steig), 11
Orphism, 281
Orwell, George, 304 n
Oudot, Roland, 129
Outline of European Architecture, An
(Pevsner), 322, 324
Out of This Century (Guggenheim),
97-99
Ozenfant, Amédée, 18, 241
Painter (Motherwell), 242
Painting and Painters: How to Look at
a Picture: From Giotto to Chagall
(Venturi), 34 — 35
Painting in France, 1939 —1946 (ex­hibition),
128-31
Paintings of the Year (exhibition),
112-13
Palestine, 105—7, 2I6
Palmer, William, 266
Paris, 3, 4, 97, 99, 114, 134, 170,
176, 193. !94. 243> 249. 253-
55, 281, 289, 290, 306
Paris, School of, 16-17,41, 43, 81,
91, 119, 124,129, 137, 151,
164,165, 191, 196, 295,309;
and American modernism, 85 -
86, 160; and Chagall, 82 —85,
160; and cubism in decline,
211 —15; and Hofmann, 169;
and Kandinsky, 4-6; Matisse
Gallery exhibition of, 87 — 90;
writings of, 76
Parsons (Betty) Gallery, 131, 187,
201, 285, 311, 312, 32 i
Partisan Review, xix, 28, 166 n,
222 n, 242П, 254П, 292, 304П
Party in the Evening (Reznikoff), 2 i1
Pascin, Jules, 99
Pasmore, Victor, 121, 172
Pass Which Is Called 'the Notch of the
White Mountains, ' The (Cole),
280-81
Pastoral (Gorky), 220
Patchen, Kenneth, 145
Patinir,Joachim, 50; Restonthe
Flight to Egypt, 25 i
Paysage du Montalban (Matisse), 44
Pearl Necklace (Vermeer), 252
Pegasus (Mirko), 143
Pellew, John C., 197
Pêne du Bois, 173
Pepsi-Cola Company, Paintings of the
Year exhibitions, 42-44, 57,
112-13, "7. 173-75. 187
Pereira, I. Rice, 113
Peridot Gallery, 321
Perseus Frees Andromeda (Rubens), 251
Personage from Stove City (Smith), 141
Pevsner, Antoine, 59, 167, 225-28,
261, 317; Bust, 227; Construc­tion,
228; Fresco, 228; Portrait of
Marcel Duchamp, 227; Projection
into Space, 227; Spiral Construc­tion,
228
Pevsner, Nikolaus: An Outline of Eu­ropean
Architecture, 322, 324
Philadelphia Museum of Art, 243,
245, 252, 277, 292
Phillips Memorial Gallery, 248
Phosphorescence (Pollock), 202
Photography, 118, 173; ofCartier-
Bresson, i 39-40; of Weston,
60-63
347
Piano Player (Matisse), 209
Picasso, Pablo, 5,8, 11, 13, 15,
25, 28, 35, 36, 39, 48, 52, 54,
56, 59, 72, 76, 78, 79, 82,
85.-87, 90, 94, 113, 119, 120,
124, 125, 129-31, 133, 141,
153, 165, 166, 190, 191, 194,
J95> !97> 200, 202, 206, 212,
223, 226, 229, 232, 234, 237,
246-49, 251, 282, 284, 287,
290, 300, 317; and Braque com­pared,
305-9; in Collage exhibi­tion,
259-63; color use by, 39,
48; crisis of, 83, 84, 89, 212,
214, 215, 243-45, 308; exhibi­tions
of, 138-39, 297-99; and
Matisse compared, 243-45,
292; nature in work of, 271-75;
Verve issue on, 258-59; Card
Player, 244; Still Life, 244
Pickens, Alton, 113
Picketing a Horse (Kuniyoshi), 239
Pickett, Joseph, 289
Pictograph (Gottlieb), 230 n
Piero della Francesca, 108
Piero di Cosimo, 50
Pignon, Edouard, 90, 129, 130,
148, 214-15
Pinacotheca (gallery), 207-8, 321
Pinhas of Koretz, 182
Pioneers of Modern Art in America (ex­hibition),
85
Piper, John, 171, 210-11; Caer-navaron,
211; DungenessBeach,
211 ; Irish Country Houses, 211;
Lewknor, 211 ; Nether Worton
Church, 211
Pisan Cantos, The (Pound), 304 — 5
Pisis, Filippode, 236
Pissarro, Camille, 12, 20, 21, 45,
76-78, 181-82, 155, 222, 303
Pitchforth, Vivian, 171—72
Place du Chateau, Nice (Matisse), 209
Plage de Villers, Le (Boudin), 210
Plato,"146
Plow and the Song (Gorky), 220
Plutarch, 67
Poetry, 51, 61, 75, 94, 155, 164;
abstraction in, 314, 3i5;audi-ence
for, 256
Poindexter, Sterling, 131-32
Pollaiuolo, Antonio: David with the
Head of Goliath, 251
Pollock, Jackson, 6-7, 28, 79, 149,
151, 153 — 54, 166, i66n, 170,
190, 198, 204 — 5, 215, 223-
24, 229, 230, 266, 287, 313;
exhibitions of, 16-17,74—75,
124—25, 201 — 3, 285-86; Ca­thedral,
202, 285; Enchanted For­est,
202; Full Fathom Five, 202;
Gothic, 202; Grey Center, 192 n;
Magic Lantern, 202; Number
Eighteen, 286; Number Nineteen,
286; Number One, 285-86;
Number Seven, 286; Number Six,
286; Number Two, 286; Phos­phorescence,
202; Sea Change, 202;
Shooting Star, 202; Totem Lesson I,
17, 75; Totem Lesson II, 17, 75,
192 n; Two, 118
Poor, Henry Varnum, 45
Popham, A. E.: The Drawings of
Leonardo da Vinci, 108-12
Popular Photography, 67 n
Port du Havre (Boudin), 2 to
Portrait of America (exhibition), 42-
44. 46
Portrait of a Young Man (Bronzino),
251
Portrait of a Young Woman (Dürer),
251
Portrait of Henri Lebasque (Rouault),
25
Portrait of Marcel Duchamp (Pevsner),
227
Portuguese, The (Braque), 307, 309
Post-Impressionism, 4, 94
Pot, A (Bloom), 53
Pound, Ezra: The Pisan Cantos,
304-5
Pousette-Dart, Richard, 6-7, 28,
266
Poussin, Nicolas, 50
Prague, 99—103
Prassinos, Mario, 130
Prayer, The(Lipchitz), 74
Preface to an American Philosophy of
Art (McMahon), 64—66
Prendergast, Maurice, 161
Pre-Raphaelites, 99, 139-40, 199
Preston, Stuart, 312
Price, Clayton S., 113
Primitive art, 78, 93
Problem for Critics, A (exhibition),
28-30
348
Projection into Space (Pevsner), 2 2 7
Promeneuse au parapluie (Dubuffet),
9 0 , 9 2 , 1 2 4
Proudhon, Pie r r e - J o s e p h , 2 7 5 - 7 6
P r o u s t , M a r c e l , 9 5 - 9 7 , 9 9 , 2 5 7
Proust and Painting (Chernowitz),
95-97
Pursuer and Pursued (Gottlieb), 1 8 8
P u t z e l , Howard, 2 7 - 2 9
Pyramid Group, 1 8 9 - 9 0 , 2 0 4 П ,
2 0 5
Quizet, Léon-Alphonse, 1 2 9
Race Horses (Degas), 3 0 3
Ransom, John Crowe, 2 5 4 П , 2 5 5
Raphael, 5 0 , 1 8 1
Raven (Roszak), 1 3 8
Ravilious, Eric, 1 7 1 - 7 2
Ray, Man, 1 5 1
Ray, Rudolf, 2 2 3 — 2 4
Read, Herbert, 2 8 7 ; The Grass Roots
of Art, 1 4 6 — 4 7
Reclining Figure)Moore), 1 2 7
R e c u r r e n t A p p a r i t i o n ( G o t t l i e b ) , 2 8 5
Red K n i g h t ( H a r e ) , 1 3 8
Redon, O d i l o n , 1 4 , 7 6 , 1 8 2
Red R o o s t e r , T i e ( C h a g a l l ) , 1 4 4
Reflections of the World Today (Valéry),
2 5 2 - 5 4
Régnier, Hen r i d e , 2 0
R e i n h a r d t , Ad, 1 3 7 , 1 4 5
Rembrandt, 8 - 1 0 , 4 5 , 5 0 , 2 7 4 ;
Man with Golden Helmet,
2 5 1 — 5 2 ; Still Life with Dead
Game, 9; Young Girl Standing
i n a Room, 9
R e n a i s s a n c e , 5 , 8 , 2 2 , 3 1 , 4 4 , 9 6 ,
1 0 8 - 1 2 , 1 3 5 , 2 1 2 , 2 5 0 , 2 6 3 ,
2 6 6 , 2 7 3 , 2 9 4 , 3 1 2 , 3 1 3 - 1 4 ,
3 1 6
Renéville, Roland de, 7 1
R e n o i r , P i e r r e - A u g u s t e , 2 1 , 2 2 , 4 5 ,
7 7 , 9 0 , 1 2 0 , 1 2 1 , 1 8 2 , 2 0 9 ,
2 4 7 , 2 9 2 , 3 0 2 , 3 0 3
R e s c u e , The ( L i p c h i t z ) , 7 4
R e s t o n t h e F l i g h t t o Egypt ( P a t i n i r ) , 2 5 1
R e s u r r e c t i o n ) B e l l i n i ) , 2 5 1
R e s u r r e c t i o n ( C h a g a l l ) , 1 4 4
R e t u r n o f t h e C h i l d ( L i p c h i t z ) , 1 7
R e v o l u t i o n ( C h a g a l l ) , 8 4
Rewald,John: The History of Impres­s
i o n i s m , 2 3 5 — 3 6
Reznikoff, Mischa, 2 1 1 ; Brown Fig­ure,
211 ; Dances, 211; Masks,
2 1 1 ; P a r t y i n t h e E v e n i n g , 2 1 1
Rich, Daniel Cotton, 287 n
Richards, J. M. (with Elizabeth
Mock): Introduction to Modern Ar­c
h i t e c t u r e , 3 2 4
R i l k e , R a i n e r M a r i a , 7 1 , 1 4 0
Rimbaud, A r t h u r , 7 0 , 9 4 , 1 6 4 — 6 5 ,
2 1 9
Rivers, Larry, 3 0 1
R i v e r s i d e Museum, 1 7 , 1 8 9
R i v i è r e , H e n r i , 1 8 2
Robsjohn-Gibbings, T. H.: Mona
Lisa's Mustache: A Dissection of
Modern A r t , 1 9 9 — 2 0 0
Rockwell, Norman, 2 1 8
R o d i n , A u g u s t e , 1 2 6 , 1 8 2 , 3 1 6
Romanticism, 75 — 76, 96; German,
6 4 , 6 6 , 7 1 ; n e o - , 5 2 , 8 3 — 8 4 ,
8 8 - 8 9 , 2 I 4 > 2 8 8
Romm, Alexander: Matisse: A Social
Critique, 2 0 3 — 4
Room 110 ( K u n i y o s h i ) , 2 3 9
R o o s e v e l t , F r a n k l i n , 1 1 6
R o o s t e r , The ( T a l C o a t ) , 1 2 9 — 3 0
R o p s , F é l i c i e n , 1 8 2
R o s a , S a l v a t o r , 2 7 9
Rosenberg ( P a u l ) G a l l e r y , 1 8 7 , 2 4 0 ,
3 2 1
Rosenborg, Ralph, 2 2 3 — 2 4
Roszak, Theodore, 5 9 , 1 1 3 , 2 0 6 ,
287, 319; Raven, 138; Transi­t
i o n , 5 8
Rothko, Mark, 2 8 , 1 5 1 , 1 8 8
R o t h s c h i l d , J u d i t h , 1 3 1 — 3 2 , 1 4 4
R o u a r t , H e n r i a n d A l e x i s , 3 0 3 , 3 0 4
R o u a u l t , G e o r g e s , 2 3 - 2 5 , 5 3 , 8 0 -
81, 87, 90, 129, 145, 266; Cru­c
i f i x i o n , 2 5 ; L a s t Romantic, 2 5 ;
Portrait of Henri Lebasque, 2 5 ; Self
P o r t r a i t , 2 5 ; Three Clowns, 2 5 ;
Wounded Clown, 2 5
Rousseau, H e n r i , 4 5 , 9 3 - 9 5 , 2 8 9 ;
Evening Carnival, 93; Landscape,
P o n t o i s e , 9 3 ; Medieval C a s t l e , 9 3 ;
Storm i n t h e J u n g l e , 9 3
Roy te Pomerantzen (Olsvanger),
1 8 2 — 8 7
Rubens, Peter Paul, 5 0 , 1 3 6 , 2 5 2 ,
258, 276; Perseus Frees Androm­e
d a , 2 5 1
R u s k i n , J o h n , 2 6 3
349
Ruysdael, Salomon van, 9 , 1 0 , 4 5 ,
5 0 , 2 5 2 , 2 7 9
Ryder, Alber t Pinkham, 1 2 2 , 1 6 0 ,
1 6 1 , 1 7 8 - 8 0 , 1 9 0 , 2 7 9 - 8 0 ;
Th e Forest o f Arden, 1 7 9 , 1 8 0 ;
Macbeth and t h e Witches, 1 7 9 ;
Moonlight o n t h e S e a , 1 7 9 , 1 8 0 ;
Moonlit Cove, 179; Sunset Hour,
1 7 9 ; Under a C l o u d , 1 7 9
Sabartès, Jaime, 2 5 8
St . C h r i s t o p h e r ( K a z ) , 5 9
S t . E t i e n n e , G a l e r i e , 4 5
S t . John o n Patmos ( B o s c h ) , 2 5 1
S a l a z a r , Antonio d e O l i v e i r a , 2 5 3
Sandales d'Empédocle: sur les limites
de la littérature, Les (Magny),
6 8 - 7 2
S a r o y a n , W i l l i a m , 2 5 8
S a r t o , A n d r e a d e l , 2 4 6
S a r t r e , J e a n - P a u l , 6 9 - 7 1 , 2 3 2 ;
La Nausée, 6 9 - 7 1 , 9 1
S a s s e t t a , 4 4 - 4 5 , 5 0 , 2 5 2
S c h a e f f e r ( B e r t h a ) G a l l e r y , 1 9 0 ,
2 0 0 - 2 0 1
Schanker, L o u i s , 1 3 7
S c h a p i r o , Meyer, 3 2 — 3 3
S c h e l l i n g , F r i e d r i c h , 7 1
Scheuch (American p a i n t e r ) , 1 9 7
Schoenberg (Schönberg), Arnold,
2 1 9 , 2 2 4
Schongauer, M a r t i n , 5 0
Schopenhauer, A r t h u r , 1 5 8
S c h w i t t e r s , K u r t , 2 0 5 , 2 0 7 — 9 ,
2 1 2 , 2 5 9 , 2 6 2 , 3 1 7
Sea and Figures in Umber and Red—
Versions Nos. i and2 (Marin),
2 7 0
Sea Change (Pollock), 2 0 2
S e a C l i f f s ( C o u r b e t ) , 2 7 9
Sea in Red—Version No. 2 (Marin),
2 7 0
Seascape (Courbet), 2 7 9
Seated Nude (Matisse), 2 0 9
Sea with Boat in Grays, Greens, and
Reds (Marin), 2 7 0
S e g h e r s , H e r c u l e s , 4 5 , 5 0
Segonzac, André Dunoyer de. See
Dunoyer de Segonzac, André
S e l f P o r t r a i t ( R o u a u l t ) , 2 5
S e l f - P o r t r a i t ( T i t i a n ) , 2 5 2
Self-Portrait among Churchgoers
( S h a h n ) , 1 7 4
Seliger, Charles, 2 8 ; Earth Crust,
2 6 7
Seligmann (Jacques) Gallery, 1 7 2 ,
2 8 5 , 3 2 i
Seurat, G e o r g e s , 1 3 , 2 1 , 6 0 , 2 2 2
S e v e r i n i , G i n o , 1 9 9
Sewanee R e v i e w , 1 4 5
Shahn, Ben, 45, 173-74; Allegory,
267; East 12th Street, 174; Hand­ball,
174; Ohio Magic, 174; Self-
P o r t r a i t among Churchgoers, 1 7 4 ;
Walker G reels the Mother ofM ooney,
ИЗ
Shakespeare, William, 2 4 9
Shapiro, Karl, 304n
S h a r r e r , Honoré D . , 1 1 3
Sherwood, B l a n c h e , 1 9 0
S h o o t i n g S t a r ( P o l l o c k ) , 2 0 2
S i c k e r t , W a l t e r , 3 0 9
S i g n a c , P a u l , 7 6
S i g n o r e l l i , L u c a , 5 0
Simenon, G e o r g e s , 6 9
S i r o n i , M a r i o , 2 3 6
S i s l e y , A l f r e d , 2 0 , 4 5 , 1 5 5 , 3 0 3
S i s t i n e C h a p e l , 1 1 1 — 1 2
6 7 G a l l e r y , 1 8 , 2 8 , 3 0
S l o a n , J o h n , I I , 1 2 , 1 6 1 , 3 0 9 - 1 0
S m a l l , Hannah, 1 3 8
S m i t h , D a v i d , 5 3 - 5 4 , 1 3 8 , 1 4 0 —
42, i66n, 166-67, 2°6, 2I5,
226, 261, 287, 319; exhibitions
of, 53-54, 140-42; Cockfight—
Variation, 58; Deserted Garden,
1 4 1 ; E u t e r p e and T e r p s i c h o r e , 1 4 1 ;
Head, 141; Helmholtzian land­scape,
141; Landscape with Strata,
1 4 1 ; Orchard Landscape, 1 4 1 ;
Personage f r o m S t o v e C i t y , 1 4 1 ;
Specter of Mother, 141; Specter
Race f o r S u r v i v a l , 14 1
S m i t h , Matthew, 1 7 2
Smith C o l l e g e Museum, 2 7 8
S o b e l , J a n e t , 2 2 3 — 2 4 , 3 1 3
S o b y , James T h r a l l , 2 4 - 2 5 , 2 8 7 П
Society for Cultural Relations with
F o r e i g n C o u n t r i e s (USSR), 2 3 3
SodaJerker(B u r l i n ) , 4 3
S o f t N i g h t ( G o r k y ) , 2 2 0
Solomon, Hyde, 1 3 1 — 3 2
Solomon, Simeon, 9 9
S o p h o c l e s , 2 5 7
Soutine, Chaim, 5 3 , 9 9 , 2 1 6 , 2 8 8 ,
3°9
350
Souverbie, Jean, 1 2 9
S o v i e t Union, 1 6 3 , 2 0 3 - 4 , 2 3 3 — 3 5
Spanking B r e e z e , A ( p a i n t i n g ) , 1 8 0
S p e c t e r o f Mother ( S m i t h ) , 1 4 1
Specter—Race f o r S u r v i v a l ( S m i t h ) , 1 4 1
S p e n c e t , S t a n l e y , 1 7 1
S p e n s e r , Edmund, 2 4 9 , 2 5 6
S p i r a l C o n s t r u c t i o n ( P e v s n e r ) , 2 2 8
S p i v a k , Max, 1 4 5
S t a l i n , J o s e p h , 1 1 5 , 1 1 6 , 2 3 4 - 3 5
Stamos, Theodoras: A l t a r , 2 6 6
S t e e n , J a n , 1 0 , 5 0
Steig, William: All Embarrassed,
10- i i
Stein, Gertrude, 9 7 — 9 8 , 2 2 4 , 3 1 4 ,
3 1 5
Steinberg, Saul, 1 1 3
S t e n d h a l , 2 5 6
Sterne, Hedda, 1 7 3 , 1 8 7 , 1 8 8
S t e r n e , M a u r i c e , 1 9 7
Stevens, Wallace, 51, 219, 254 n,
2 6 8 , 2 6 9
Stieglitz, A l f r e d , 6 0 , 8 6 , 1 3 9 , 1 6 9 ,
2 6 9
Still, Clyfford, 1 8 8
Still Life (Ch'mco), 1 3 6
Still Life (Picasso), 2 4 4
Still Life with Cylinders (De la Fres-naye),
4 0
Still Life with Dead Game (Rem­b
r a n d t ) , 9
S t i l l L i f e w i t h F r u i t ( B o n n a r d ) , 1 2 1
Still Life with Violin and Pitcher
(Braque), 3 0 7
Storm in the Jungl e ( R o u s s e a u ) , 9 3
S t o v e , The ( B r a q u e ) , 3 0 9
Strata at Broken-Moon Cut (Day),
2 0 0 — 2 0 1
Strauss, R i c h a r d , 3 7
S t u e m p f i g , W a l t e r , J r . , 4 5
S u n s e t S e r i e s ( M a r i n ) , 2 7 0
S u r r e a l i s m , 1 7 , 3 6 , 7 1 , 8 6 , 9 1 , 1 3 0 ,
1 3 4 , 1 4 8 , 1 6 6 , 1 9 9 , 2 0 0 , 2 8 4 ,
288; Berenson on, 264; bio-morphismin,
29—30; and col­lage,
262; and cubism in decline,
214; andGiacometti, 205; and
Gorky, 7 8 - 8 0 ; o f H a r e , 5 5 - 5 6 ,
1 4 2 ; hedonism o f , 8 3 - 8 4 , 8 8 —
8 9 , 9 2 ; p a s t o r a l mood i n , 5 2
S u r v a g e , L e o p o l d , 1 2 9
S u t h e r l a n d , Graham, 1 2 7 , 1 4 8 ,
1 7 1 - 7 2 , 3 1 8 П
S wander, Homer, 1 0 4 П
Sweeney, James J o h n s o n , 2 8
Symbolism i n p a i n t i n g , 1 8 8 - 8 9
Syphon e t Gants ( L e C o r b u s i e r ) , 2 4 1
Taeuber-Arp, Sophie, 2 8 4
T a i l l e u x , F r a n c i s , 1 2 9 , 1 3 0 , 2 1 4 —
1 5 ; The Fishes, 1 3 0
T a l C o a t , P i e r r e , 1 2 9 — 3 1 , 2 1 4 — 1 5 ;
TheHorse, 129-30; The Rooster,
1 2 9 — 3 0
Tall Figure, Half Size (Giacometti),
2 0 7
Tamayo, Rufino, 2 8 , 1 3 2 — 3 4
Tanguy, Y v e s , 4 5 , 1 3 5
Tate, Allen, 304n
T a t l i n , V l a d i m i r , 3 1 7
T c h e l i t c h e w , P a v e l , 1 4 , 4 5
Tea P o t ( K n a t h s ) , 1 9 7
TerBorch, Gerard, 10, 50; Concert,
2 5 2
They Will Take My Island (Gorky), 1 4
T h i e v e s i n t h e N i g h t ( K o e s t l e r ) , 1 0 4 - 7
Thomas, D y l a n , 3 1 4
Thon, W i l l i a m , 1 9 7
Thousand and One Nights, A (Cha­g
a l l ) , 1 4 4
Three Clowns ( R o u a u l t ) , 2 5
Tidewash ( K n a t h s ) , 1 9 7
T i e p o l o , Giovanni B a t t i s t a , 5 0 , 1 5 5 ,
2 5 0 , 2 7 1
Time, i66n
Tintoretto, 2 3 , 5 0 , 1 2 1 ; Man with
Long White Beard, 2 5 2
Titian, 15, 50, 292-, Self-Portrait,
2 5 2
Tobey, Mark, 6 - 7 , 1 1 3 , 1 1 8 , 1 4 8 ,
1 5 0 , 1 6 5 — 6 6 , 2 2 3 — 2 4 , 2 6 9 ,
.ИЗ
Toilette de la Mariée (Courbet), 2 7 8
Tomiin, B r a d l e y Walker, 2 6 7
T o o k e r , George, 1 1 3
Tormentors ( G u s t o n ) , 2 6 6 — 6 7
T o r r e s - G a r c í a , J o a q u i n , 1 2 3
Totem ( G o t t l i e b ) , 1 9 7
Totemie F i s s i o n ( G o t t l i e b ) , 2 8 5
Totem Lesson 1 ( P o l l o c k ) , 1 7 , 7 5
Totem Lesson 1 1 ( P o l l o c k ) , 1 7 , 7 5 ,
1 9 2 n
Toulouse-Lautrec, Henri de, 1 1 9 ,
1 8 2
Trajan, Turku: Birth of Isis, 5 8 - 5 9 ;
F a l l e n A n g e l , 1 3 8
351
Transition (Roszak), 5 8
Treves, Marco (with Robert Gold-water):
Artists on Art: from the
XIV t o t h e XX C e n t u r y , 7 5 - 7 6
T r i a l , The ( K a f k a ) , 1 0 0
T r i b u n e Book a n d A r t C e n t e r , 4 5
Trilling, Lionel, 254П, 287 n
T r i s m e g i s t u s , Hermes, 2 1 4
T r o p i c a l Submarine (Mitcham), 1 9 0
T u d o r , Anthony: Dim L u s t e r , 3 6 - 3 9
Tunnard, J o h n , 1 7 1
T u r a , Cosimo, 5 0
T u r n e r , J . M. W . , 2 7 9 , 2 8 0
Two ( P o l l o c k ) , 1 1 8
Two B o a t s o n a Beach ( C o u r b e t ) , 2 7 9
Ubi Roi (De Niro), 8 1
U c c e l l o , P a o l o , 1 0 8
Under a Cloud ( R y d e r ) , 1 7 9
Unfolding S t r a t u m ( B a y e t ) , 1 7
U t r i l l o , M a u r i c e , 4 3 , 4 5 , 8 3 , 1 2 3 ,
1 2 9
Valentin, Curt, 2 3 7
V a l e n t i n e G a l l e r y , 1 3 2 — 3 3
Valéry, Paul, 92, 219, 231, 314; Re­flections
of the World Today,
2 5 2 - 5 4
Vasari, Gi o r g i o , 1 1 1
Vase d e Capucines ( M o n e t ) , 2 1
V e l a s q u e z , D i e g o , 5 0 , 2 5 2 , 2 5 8 ,
2 7 6
Velde, Willem van der, 1 0
Venard, C l a u d e , 1 2 9
Venturi, Lionello: History of Art-
C r i t i c i s m , 1 7 5 ; Marc C h a g a l l , 3 5 ;
Modern Painters, 175—78; Paint­ing
and Painters: How to Look at a
Picture: From Giotto to Chagall,
34-35
V e r l a i n e , P a u l , 5 1
Vermeer, Jan, 9, 50; Pearl Necklace,
2 5 2
Veronese, Paolo, 4 4 - 4 5 , 1 2 1
V e r r o c h i o , Andrea d e l , 5 0
V e r v e , 2 5 8 - 5 9
V i c t o r s , J a n , 1 0
V i e w , 3 2 - 3 3
View of Mettre (Guardi), 4 4
View o f Rynland ( v a n Goyen), 4 4
V i g i l o f Cyclops ( G o t t l i e b ) , 1 8 8
V i l l e , La ( L é g e r ) , 8 3
V i l l o n , J a c q u e s , 1 2 9
Vivin, Louis, 2 8 9
Vlaminck, Maurice de, 2 1 , 3 9 , 4 5 ,
83, 145' 173. 175. 197. 238
Vogue, 2 0 0
VOKS Bulletin, 2 3 3
Vue de Paris (Dubuffet), 1 2 3 — 2 4
Vuillard, Edouard, 2 1 2 , 2 4 6 , 3 0 9
Wagner, Richard, 9 5 , 2 5 7
Walker Greets the Mother ofMooney
(Shahn), 1 7 3
Wal l i s , A l f r e d , 2 8 9
Waning of the Middle Ages, The (Hui-zinga),
3 3
Water, Air, Fire ( G o t t l i e b ) , 1 8 8
W a t t e a u , A n t o i n e , 5 0 , 2 5 0 , 2 5 2 ,
2 7 1
Wave, 'The (Courbet), 2 7 9
Weber, Max(artist), 43—44,48,
1 9 0 , 2 3 8
Wedding, The (Ch a g a l l ) , 8 2
Weegee, 1 1 8
W e i s s , Harvey S . , 1 4 5
W e s t , P e n n e r t o n , 1 4 5
Weston, Edward, 60—63, 67, 139
Weyden, R o g i e r v a n d e r , 3 3 , 5 0 , 2 5 2
Wheeler, S t e v e , 1 3 2
W h i s t l e r , James A . M c N e i l l , 7 6 ,
1 6 0
White, Clarence, 6 0
White Cru c i f i x i o n ( C h a g a l l ) , 8 4
Whitney Museum, 1 7 , 8 5 , 1 2 8 ,
178, 238, 239, 280 — 81; Annual
Exhibitions of Contemporary
American Art, 44,46, 57 — 59'
1 1 7 - 1 8 , 1 2 8 - 2 9 , 1 3 7 — 3 8 '
1 4 5 , 1 7 1 - 7 3 , 1 8 7 , 1 9 7 - 9 8 '
2 1 7 , 2 6 5 - 6 8
Wiegand, Charmion v o n , 1 6
W i l d e n s t e i n G a l l e r y , 2 0 — 2 2 , 7 7 —
7 8 , 2 7 8 - 7 9 , 3 0 1 - 4
Wild Ho r s e s ( K u n i y o s h i ) , 2 3 9
W i l l a r d , M a r i a n , 3 2 1
Willard Gallery, 6, 7, 53, i4°
Williams, Hermann Warner, Jr.
(with Bartlett Cowdrey): William
S i d n e y Mount, 3
William Sidney Mount (Cowdrey and
Williams), 3
W i l s o n , S o l , 4 6
Wingate, A r l i n e , 1 3 8
W i t h Dim E y e s ( H o l t y ) , 2 0 1
W i t z , Konrad: C r u c i f i x i o n , 2 5 2
З52
Wölfflin, Heinrich, 51
Woman and Bird in Sun (Miró), 154
Woman before an Aquarium (Matisse),
24З
Wood, Grant, 64
Wordsworth, William, 249, 256
Wounded Clown ( Rouault), 25
Wright, Frank Lloyd, 324
Wyeth, Andrew, 44, 45, 197
Wylie, Philip: An Essay on Morals,
15 8—60 ; Generation of Vipers,
158
Years of Wrath: A Cartoon History,
1931 -1945 (Low), 115 —16
Yellow Landscape (Ardon-Bronstein),
216
Yellow Still Life (Motherwell), 152
Young Girl (Motherwell), 242
Young Girl Standing in a Room (Rem­brandt),
9
Zadkine, Ossip, 205 — 6
Zorn, Anders, 182
353