| Volltext: | INDEX Absolute, the, 88 Abstraction (made from visual appearances), 1,2,7, 8 Abstract art, 2, 45, 55, 59, 97, 143-150 Abstract ideas represented in mediaeval art, 75 Abstract Expressionism, see Abstract art Abu, fig. 74 Academic convention, 41, 97, 122; theories, 48f, 96,105 Addington, H., 121 AegeuSj 61 Aesop, 136 Aesthetic attitude, 35, 37 Aesthetics, 38, 56, 67, 70, 95f., 98, 145, 147, 149; see also Art criticism Aesthetic values, 74 ; relation to other values, isff. African art, 42,79 Akhnaton, 87 Alba, Duke of, 134 Alberti, L. В., i6ff., 22 Ali Baba, ru Alice in Wonderland, 151 Allegory, I23f. 138 Alternatives, see Choice situation Ambiguity: reciprocally effacing aspects of a form, 6,153ff. ; contradictory clues in pictures, 43,152f. American Indians, 7 Anagogical symbolism, isf. Andrea del Sarto, 37f., 42 Animal symbols, I2f., 136-138 AnthroposophistSj 67 Antigone, 83 Antisemitism, I39f. Appreciation of art, 85 Architectural orders, 49 Arch of Constantine, 112 Aristotle, 12,106,113 Arnheim, R., 163 Art criticism, 1,14,17, 31,48f.j 5if., 64, i oof., in, 155 Art as an institution, 11, 33, 36, 8if„ 91, X05 Art officiel, 37,41 Athene, 129 Attributes see Emblems Avoidance : of too complete illusion, 8 ; of anecdotal interest, 41 ; of false sentiment, pretti-ness and drama, 83, 101, 145; of obvious gratifications and splendour, i6ff., 23ff., of ornament, 19h ; of displays of emotion, 26f. ; of representation, 68,147 ; as distinct from mere absence, 17, 76.—See also Restraint, Seduction, Simplicity, and Taboos Baglioni Chapel (Spello), 102 Baidung Grien, Hans, 158, %• 135 Baldwin, S., 141 Bamberg Cathedral, Adam and Eve, 34, figs. 10, II Barbari, Jacopo de', 104, fig. 40 Barr, A. H. Jr., 167 Bauhaus, 68 Beauty, 16,79,108; and simplicity, 22 ; and Truth, 23t. Beerbohm, Max, 50 Beethoven, 54,64,73 Beholder's part in image-reading, see Reading images, Connoisseurship, and Perception Belisarius, 132 Bellini, Giovanni, 112 Bergson, H., 22 Bergström, I., 170 Berry, Duc de, 89 Bertoldo, 92 Besnard, Albert, 144h, fig. 124 Bevan, E., 16 Bing, Gertrud, 164 Biological responses, see Unlearned responses Bismarck, 132 Blake, W., 31,124 Bloch, Marc, io6f., 114 Boas, Franz, 163,168 Boas, George, 166 Boase, T. S. R., 171 Boccaccio, 17 Bode, W., 92 Bodonyi, J., 165 Body image, 34 Boethius, 23 Boisdeffre, Pierre de, 169 Bonnencontre, 40,43, fig. 18 Borenius, T., 110 Borghini, R., 91 Borsook, E., 103 Boswell, J., 50 Botticelli, S., 17, 34fi, 37 39, fig. 12 Bouguereau, A. W., 37, 38, 40,4if., figs. 16,17 Boydel, J., 121 Brancusi, C., i Br'er Rabbit, 133 Breton, André, 31 British Museum, 107,120 Brockmann, H. M., 131, fig. 73 Bronzino, 90 Browning,R., 38,115,116 Bruegel, P., 122 Bruner, J. S., 48 Bucher, F., 173 Bühler, К., 163-5 Burckhardt, J., 115 Burri, A., 52 Burtt, E. A., 171 Butterfield, R., 127 Callimachus, 95 Cambiaso, Luca, 112 Cambio (Perugia), 102 Camera obscura, 151 Capitalism, 88 Caravaggio, 100 Caricature, 36, 77, i2of., I23f., 132-137 Carlyle, T., 27 Carracci, Annibale, 134 Cartoons, 120-140 Casio, G., 102 Categorizing, if., 48, 50, 63, 65ff., 140 Cave painting, 5,7 Cellini, Benvenuto, 90 Cézanne, P., 41, 42, 99h, figs. 22,23 and 47 Chaplin, C., 7 Chardin, J. B. S., fig. 51 Cherry, C., 61,98 Child art, 8, 33,36,74 Chinese calligraphy, 101 Choice situation, 53k, 61-69, 97,111,151 Church of Santa Croce (Florence), 103 Church of Santa Maria Novella (Florence), 116 Church of Santa Trinitá (Florence), H5f. Churchill, Sir W., 136 Cicero, 16 Cimabue, 81 Civilization and sophistication, i8ff, 26, 39, 74; and social hierarchy, 2yf. ; and snobbery, 28 Class attitudes, 87-90, 105, 144 Classification see Categorizing Classifiers and Modifiers, 63, 65ff. Claude Lorraince, 34 Collen, L., 164 Code-signs, 12, 33, 57, 59, 6if., 68,74 I79 i8o Index Collective mind, 34, 79, 91, 105,114; see also Spirit of age Colley, T., fig. 64 Collingwood, R. G., 165 Colom, symbolic and expressive meaning of, 13, 14, 16, 18,58f.,6if., 67,85,98f. Communication: not necessary for representation, 5; of emotions 24ff., 53ff., 56-69, 96, 101 ; of artist's private meanings, 31, 32f., 43) 56; and aesthetic achievement, 39 ; presuppositions shared by sender and receiver, 53f., 6of., 63,67,68,96ÎÏ., ioof., HI, see also Expression and Information Theory Communication Research Centre, III Conceptual image, 8, 9, 33, 34, 36)74,76)164 Condensation, 130-132 Connoisseurship, 19, 35ff., 99, 102, iiof., 135 Contemporary art, see Modern art Content in painting see Subject matter Contradiction, 88ff. Control, subordinating part to whole 23,26,44 Cooke, D., 59 Cookery, 39,65,66,92 Coons, E., 168 Cosimo I, Duke of Florence, 90 Courbet, G., 67,100, fig. 50 Credi, Lorenzo da, 102 Crespi, Giuseppe Maria, fig. 43 Criticism, see Art criticism Crevalcore, Antonio da, 102 Croce, В., xi, 96f. 99,101, mf. Cruikshank, G., 120 Cubism, 33, 43, III, 152, 159 Cues, see Perception Cumberland, Duke of, 135 Curtius, E. R., 108,169 Dante, 81 Daumier, Honoré, 127, 129, 130,132,137f.) I4°f-, figs. 70, 7I) 77,79,105-108,116,117, 119 Decorum, 18, 20, 25, 54, 64, 67 De Keyser, P., 171 Delacroix, 100, fig. 49 Description of pictures, 99Ł Desportes, F. fig. 52 Dewey, J., 53L Dialectic, 88f. Dialectical Materialism, 86 Differentiation, 2,3,34,111,163 Dionysius the Areopagite, 16 Disney, Walt, 149 Donatello, 92f. Don Quixote, 66 Doodles, 4,70 Doré, G., 26 Dreams, 3, 13, 31, 34, 39, 106, 123,130,137 Dürer, A., 70 Dvorák, M., 79,81,90,164 Ebon Evangelist, 73, fig. 36 Eckstein, F., 170 Ego control, 44 Egyptian art, 3,74,87 Ehrenzweig, A., 1645. Eidetic images, 7, 70 Eidophusikon, 121 Eisenhower, D., i4of. Elias, Nobert, 18,21 Emblems, 12,57,104,123f., 151 Emotions, see Communication and Expression Enlightenment, the, 124,138 Eroticism in art, 7, 21, 36ff., 42, 146 Escher, M.C., 154-157) *59) figs. 132-4 Eskimo art, 112 Este, Isabella d', 102 Ettlinger, L. D., 67 Etty, W., 115 Exclusion as aspea of meaning, 17, 60, 97 j see also Avoidance Expeaancies and subsequent experience, 17, 60, 98, 101, HI, 149; see also Hypotheses in perception, Information Theory, Perception, and Physiognomic perception Experiments in art as compared to science, 146 if. Expression: ix; art identified with, 53, 56,96ÍF. ; communication and understanding of, 25ff.) 45) 51) 53ff.) 56-69, 72, 75ff., 80, 84, 96IÏ; and sincerity, 24f., 38; dependence on tradition and context, 34, 66ff., 85, 96f., 99, 100, HI; facial, 25, 71, 98, 134; gestures, 25, 73, 98; of artist's personality, 25f., 97ff., 105,119; of emotions in art, 24ÍF., 56-69 ; of private meaning, 3if., 43f., 54; of unconscious images, 3f.; Expression of the age see Spirit of the age, see also Communication Expressionism, 49, 61, 67, 76, 78-85 Expressive forms, see Physiognomic Perception and Syn-aesthesia Expressive player, 65 Eye-movements, I55f. Facility, 38,42,166 Fairchild, H. N., 164 Faison, S. Lane Jr., 169 Far Eastern art, 72,79 Fashion, 19,104,143 Fauves, 42 Fein, Otto, 167 Fiedler, K., 164 'Figure' and 'Ground', I53Í. Filippino Lippi, 92 Fitzpatrick, D. R., 137, fig. 103 Fletcher, Jennifer, 170 Flörcke, H., 92 Focillon, H., 169 Fontio, В., 170 Food, 7, 39, I04f., see also Cookery Formal values, 74,147ff. Formniveau, 22,72 Fox, Charles James, 121,135 Fiänger, К., 172 Frances, R., 168 Frankfurt, H., 169 Franklin, Benjamin, fig. 80 Freemasons, 129 Freud, S., 7, 13, 3°) 3r 37 13°) 137) 166 Fry, Roger, ix, 53 56,59 Fumagalli, Giuseppina, 166 Functional design, 20 Fuseli, H., 3D 12if., 124, fig- 57 Gaddi, Taddeo, i03f., fig. 39 Galileo, 94,113 Games, 68 Gamuts, see Ranges of possibility open to artist Garger, E. von, xi, 7°~77 Gauguin, P., 41 Generalized Form, 2,6 Genoa, painting in, 112 Genres, 66f., 95-105 George III, 132,142 George, M.D., i2of., 124,172 Gestalt Psychology, 67 Gheerbrant, A., 84 Gheerhardts, M., fig. 81 Gheyn, Jacques de, 136, fig- 96 Ghezzi, Pierleone, i35 fig- 5 Ghirlandajo, Domenico, 17, Giambologna, 90 Gibbon, E., 78 Gibbons, G., 95 Gibson, J. J., 157 Giedion-Welcker, C., 168 Index l8i Gillray, J., i2of., 123,124,13s, 142, figs. 53, 90, 92-4, 121 Giorgione, 112 Giotto, 9,17, 94,104, I I I , 114, 118, fig. 5 Glover, E., 40 Goethe, 47,50,52,139 Gold: as symbol, i5f.; value rejected in art, 16, 18, 21, 26 Goldberg, Rube, 131, fig. 72 Goya, F., 31, I24ff., 127, 136, figs. 48,60,61,62,97 Gozzoli, В., io8 Graphology, 22, 50, 72f., 149 Grassi, E., 163 Greco, 79,114 Greuze, J. В., 26 Groenwegen-Frankfort, H. A., 163 Haddon, A. C., 170 Hamerton, P. G., I47ff. Hamlet, 84 Handwriting, see Graphology Hartmann, H., 165 f. Hauser A., x, 86-94 Hawkesbury, Baron, 121 Haydn, J., 62 Haydon, В., 121 Hegel, G. W. F., x, 79, 88, "5 Hera, 129 Herzfeld, Marie, 166 Heyerdahl, Thor, 84 Hierarchical Structure of works of art, 44, 63, 65fr. ; see also Structure Hill R.,i33f., fig. 76 Hillary, Sir E., 84 Himmelheber, H., 1x2 Hindemith, P., 23 History of Art as a discipline, 30ff., 44, 51, 67, 70, 76f„ 78fr., 82, 86, 95,108-118; see also Myth and History History Painting, 2 Hitler, A., 139,142 Hobbema, M., 31 Hobby horse, iff., 14 Hogarth, W., 49, i22f, 124 Holmes, Oliver Wendell, 163 Honesty in art, see Sincerity Hooghe, Romeyn de, 123 Hope, Donald, 167 Horace, 25, 56 Horovitz, В., xi Huizinga, J., 108 Human face, 6 Humanism, 16,86, xoiff. Hussey, C., 165 Huth, H., 92 Huxley, J., 170 Hypotheses in perception, 50, 153-8 Iconology, ix, Il6f. Illusion, see Representation and Trompe-l'oeil Imitation, I Impressionism, 10, 41, 82, 87, 94,15 if., 167 Information theory, 53, 6of., 64f., 97, I I I Innocent eye, 9,82 Intarsia, I03f. Intentions in art, 70,85 Intersensory equivalences, see Synaesthesia Introspective experiment, 19, 49 James 1,138 Johnson, S., 50 Jones, Ernest, 30, 32ff., 37h Jonson, Ben, 163 Jung, C. G., 13 Kahnweiler, D. H., 167 Kandinsky, W., 67, 148, fig. 34 Kaplan, A., 164 Katz, D., 166 Kaufman, H., 170 Kaulbach, H., 41, fig. 24 Keats, J., 23f. Kemble, E. W., 137, fig. 101 Kepes, G., 45,145 Kepler, J., 94 Klages, L., 22 Klee, P., 3,54,68,149, fig. 33 Klingender, F. D., 124 Kömstedt, R., 168 Köninck, J., 31 Kraehenbuehl, D., 168 Krauss, Reinhard, 168 Kris, E., 35,36,130,134,165 Kunstwissenschaft, ix, 112, 114 Kunstwollen, 114 Kurz, O., i63f. Kuyk, J. V., 171 La Fontaine, 136,138 Lafuente Ferrari, E., 172 Landscape painting, 19, 34, 52, 102,147f. Langer, S., 56L Language, analogies with visual art; origins 5; for expressing emotions, 56, and style, 75h, 112; relation, to visual imagery, I2f., 77, 100, x 19, I22ff., 127-133,135,138ff. Laocoon, 25 Late antique art, 36, 74, 76, 81 Lavater, J. C., 45,49 Le Brun, 89,94 Lenin, 107 Leonardo da Vinci, 3, 7,10, 31, 71 Leonora No. 3, Overture, 64 Lewis, C. S., 165 Lewis, Wyndham, 106,118 Lichtenberg, G. С., 45ff., 49, 52 Linguistics, compared to study of art, 5, I I Lion of Lucerne, 12 Locquin, J., 92 Löwenfeld, V., 168 Loewenstein, R. M., 165 Löwy, E., 163,165 Longinus, 166 Lorant, S, 127 Lorenz, К., 32,48 Lorenzetti, Ambrogio, 94 Louis XVI, 153 Loutherbourg, 121 Low, Sir David, 141, 142, figs. 118,120, 123 Luquet, G. H., 163Í. McCarthy, J., 140 Macbeth, 121 Magic, 3,19,56,134f. Mâle, E., 169 Malraux, A., x, 51, 78-85, 108,145 Manet, E., IO, fig. 6 Mannerism, 90,91,109 Manning, R., 137, fig. 100 Manzù, G., 95fr., 99, 103, fig. 38 Marx К., 78,107 Marxism, 88f. Masaccio, I I I Massachusetts Institute of Technology, 145 Masolino, HI Masson, André, I45f. Mauldin, Bill, 142, fig. 122 Mechanization, reaction against, 49,52 Mediaeval Art, 70-77, 81, 89, 102,122,130 Medici e Speciali, Guild of, 92 Medici (family), 90,108 Cosimo di, 90,169 Lorenzo di, 92,115L Piero di (il Guttoso), 93, 170 Piero di Lorenzo, 93 Memling, 101 Memory image, 8 Messages, see Symbolism and Communication Messerschmidt, F. X., 167 Index Metaphors, of value, 12-29, I38f.; of light, isf., 138; of space, 16, 27 j of scale, 14И.; of social hierarchy, 18, 27; metaphor in language, 12, 47f., i oof. ; see also Language and visual imagery, and Synaesthesia Metsu, G., 71 Meyer, Leonard В., i68 Michelangelo, 38m 106,109 Miller, H., xii Minimum image, to serve psychological or biological functions, 5,6,8,137 Misunderstanding works of art, 66,84 Mitelli, G. M., fig. 2 Modern Art, ix, 33, 52, 63, 71, 83,143-150 Modes, 48f. Moliere, 28,113 Momigliano, A., 116 Mondrian, P., 20 Monroy, E. V., 170 Moore, H., 20 Moral values and art, I2ff., 38, I38ff. Morris, Charles, 163,169 Moynihan, W. T., 168 Mozart, W. A., 149 Müller, Max, 107 Müller, W. J., 170 Münz, L., 76 Music, compared with the visual arts, 22f., 24, 28, 48, 54, 56, 58f., 62ff., 73, 84, 98, 100,108, in, i48f. Myths and history, 79, 80, 84f., io6ff., 114, 119, 126, I28f., 131,138if., 142 Napoleon, i24f., 135,142 Napoleon III, 137,141 Narcissism, 40 Nast, J., 136, fig. 98 Natural responses, see Unlearned responses Naturalism, 116; as opposed to Primitive art, 9, 33, 87; see also Representation Nazi Germany, 29, io6f., 139L Negation, negative rules, see Avoidance, Simplicity and Taboos Nero's Golden House, 103 Neoplatonism, 16,24 Nicholas of Verdun, 72 Nietzsche, F., 18 Noble Simplicity, 16-18,51 Nollekens, J., 135, fig. 91 Nominalism, 86,128 North Carolina, I27f. Obscurity, 65 Oderisi da Gubbio, 81 Oedipal wish, 32 Olympians, 129 O'Malley, G., 168 Oral gratification, 39fr. ; see also Food Originality in art, 97 Origin of Art, 5 Ornament, 95,114; rejection of, i9f., 26; fashion in, 19; primitive, 74 Osgood, C. E., 48, 50, 58, 60, 140L Oxford Dictionary, 1 Pach, Walter, 144,149 Palladio, 117 Panofsky, E., 15, 16, 168, 171 'Parcel post' model of communication, 33,54,56 Parthenon, 83 Pasteur, L., 20 Patch, Thomas, fig. 87 Pathetic fallacy, 47, 58,62 Pattern, meanings given to, 7; and representation, 35, 41, 159 Peacock, T. L., 121 Peninsular War, 125 Penrose, L. S. and R., 172 Perception, role of attitudes and expectations, 7, 16, 33h, 47, 50, 62, 66, 97-101, III; use of cues, 35, 43, 50, 155-9; see also Hypotheses in Perception; Reading images; Representation and Space Personifications, 12,129,141 Perspective, 10,157f. Perugino, 17,91,102, fig. 46 Peruzzi, В., 83 Pevsner, A., 20 Phantasmagoria, i2of. Phidias, 17 Philip II, 36 Philipsthal, 121, 124 Philistine taste, 18,145f. Photography, 37,151 Physiognomic fallacy, 51, 75f., 108 Physiognomic perception: expressive forms, 45-55,58-69, 71, 98, 138fr; search for coherence, 50, 76; in historical thought, 51, 75f.; faces, 6, 134, 137; see also Caricature, Expression, Form-tiiveau, Synaesthesia Picasso, I I , 3iff., 4iff, 97, no, 111,149, figs. 8,9,25-32,41, 129 Piccolomini, Enea Silvio (Pius II), 106,119 Picturesque, 19,34 Pigtails, 45ÍF. Pinder, W., 90 Ping and Pong, 6if., 64, 65, 68 Pintoricchio, 102, figs. 44 and 45 Piper, J., 171 Pitt, W., the younger, I35f. Plato, 16,39,138 Platonic theory of ideas applied to art, 2,70 Pleasure principle, and repetition in design, 33 Pliny, the elder, 5,81,102f. Plutarch, 66 Podro, M., xi Political Satire, 120-140 Pompeii, 103 Pontormo, J., 109 Popper, K. R., 50, 114, 164-7, 169 Porta, G. B. della, fig. 84 Porter, R. K., 124, figs, 56, 58, 59 Portraits, 10,102 Postage stamp game, 69 Potter, P., 31 Pozzo, Andrea, 138, Fig. 109 Praz, M., 164 Pre-Raphaelites, 42 Primitive art, 74ff, 87; as conceptual 8, 33, 741 ornament as symbolic, 19, 75; compared with naturalistic, 9; taste for, in contrast to sophisticated, 21, 37, 76h, 79 ; as distinct from inept, 73 ; and Expressionism 27, 79. 81 ; elements in Modern Art, 4if. Private meaning of a work of art, 3if., 33,43h, 54 'Progressive' as evaluation, 29, 87,106,118,143-15° Prohibitions, see Avoidance and Taboos Projection of meaning on to shapes, 5, 7, 10, 35^, 53) 59) 7on., 153 Propaganda prints, 120-14° Psychoanalysis, 4, 14) 23 3° 3I) 33. 36, 38, 39) 4°. 44.13° Pygmalion, 2,3,10,34,43 Racial propaganda, 139h Raemaker, L., 138, fig. ni Random moves, 50,60,155 Index 183 Ranges of possibility open to artist, 62ff, 98, 99, 100, 149 Ranke L., von, 108 Raphael, 35, 37, 38, 42, 67,110, fig-13 Ravenna mosaics, 108 Reading images, 9f„, 35ff., 40f., 43, 152; compared with "reading into", 153fr.; compared with reading words, I55ff. see also Perception Reality principle, 33 Reference of an image to the world, 2, 3,53 Regression, 21, 37, 39, 41, 44, 4^j 52,55 Rembrandt, 10, 39, 61, 67, 70, 7Ь fig-7 Renaissance, 17fr., 86,91, ioif., 106,109, H4ff. Reni, G., 26 Renier, G. J., 107 Renoir, A., 41, fig. 21 Renunciation, see Avoidance Repetition in design and representation, 33,35,64 Representation, 1-11, 30, 33ff., 37, 62, 72, 74f„ 79, 10 if., 117,151-159; see also Pattern and representation, Perception, Reading images, Space, Substitutes and Trompe-l'oeil Resonance (emotional), 32, 43, 56ff., 62f., 67 Responses, see Unlearned responses and Expression Restraint, i6ff., 2iff., 62, 101; see also Avoidance and Taboos Révész, G., 9,163 Rewald, J., 167 Reynolds, Sir Joshua, 2, 2 if., 29 Rheims, 95 Rhetoric, 49,106,130 Richardson, Jonathan, 64 Riegl, A., 86,114,117,164 Rilke, R. M., 42 Robinson, В., 138, fig. no Roman de la Rose, 84 Romanticism, 25, 27, 56, 62, 67,82,108,120-126 Roosevelt, F. D., 137 Roosevelt, Theodore, 137 Rorschach tests, 41,70П., 153 Rosenthal, L., 166 Rosselli, Cosimo, 17 Rossetti, D. G., 115 Rowlandson, T., 120,123 Royal Academy, 122 Rubens, P. P., 83,108,123,138 Ruiz, P., 32 Ruskin, J., 78,115 Russia, 29 Ruysdael, J., 31 Sabartés, J. 32 St. Anthony, 42 St. Luke, Confraternity of, 92 St. Paul, 150 St. Thomas Aquinas, 13 Sander, F., 163 Sangallo, Guiliano da, 92 Sapir, E., 112 Sassetti, F., ii5f. Satirical prints, 120-142 Savonarola, 90 Saxl, F., 116 Scale, see Range of possibilities Schaeffer, H., 74 Schapiro, M., 51,165,171 Schatzkammer Evangelists, 73, fig- 35 Schilder, 34 Schlosser, J. von, 71, 74, 81, 11 if. Schneider, Daniel, i66f. Scholarship, ioőff. Schweitzer, В., 92 Scientific explanation, Ii3f., I46ff. Sedlmayr, H., 169 Seduction, resistance to, 20, 27 37,39 Semantic space, 58, 60, 140; see also Synaesthesia Senses, appeal to, and gratification of, I7f., 20, 39ff., 83, I04f. Shakespeare, 36, 61, 67, 121 Shylock, 84 Sign, see Code-sign and Symbol Significant Form, 53, 56, 79 Simile,'j! Simplicity, as metaphor of value, 17, 21 Sincerity in art, 15, 24-27, 38 Sistine Chapel, 17 Sixtus IV, Pope, 17 Skill, 42, 7iff., 79, 99,104,117, n8f. Slade School of Fine Art, 119 Smith, Dormán, 137, fig. 99 Snijder, G.A.S., 70П., 163 Snijders, F., 100 Snobbery, 28 Social Hierarchy and art, 87 Social History, 86-94 Sophistication, i7ff, 39ff; as opposed to the Primitive, 21 ; excessive refinement, 23, 29 ; see also Connoisseurship and Reading of Images Southwell, 95,103 Space, representation of in pictures, 9, 10, 86, 91, 118, 154-159 Spanish Fury, 105 Spence, Lewis, 163 Spengler, О., 8o, 83,91 Spirit of the age, 34, 36, 43, 51, 75, 79®-, 87®-, "5, "8, I43f., 146 Stanford, W. Bedell, i64f. 'Statement', misuse of term, 53 Steinbrucker, С., 167 Sterling, С., xi, 95-105 Stevenson, A., I40f. Still Life, 95-105,151 Streamline, I9ff. Structure in works of art, 29, 35,43®, 54f-, 59Í-, 64®. Style: and fashion, 19; as available tradition, 2 5 , 4 3 , 7 2 , HI; development of, 33ff, 36, 37, 82, I09ff, 114, 117, 120; and social change, 87; as expression of age, 75, 79, 87ff., 108; comparison with language, 75®, 99, in, 112; see also Representation, Expression Stylization, 8 Subject matter in painting, 53, 64, 67, 73, 74,95®, 116,120, I46ff. Substitutes, representations as, 1-4, 9, 43; transference of attitudes to, 4, i4f, 3of, 34; responses set off by, 4ff. ; and metaphor, 14fr. Suci, George, J., i67f. Suger, Abbé, 15 Surrealism, 31,123 Swift, J., 1,142 Symbolism, 74,120-1241 linked with thing symbolised by common function, 4, 30, 34; as apposed to sign, 12, 32, 57f., 61; fixed meaning in dreams, etc, 13, 32; as opposed to symptoms, 25ff, 44, 57®, 76, and 99f., and development of knowledge, 30; and representation, 30, 34® ; fusion with thing symbolized, 134-137; see also Emblems, Language and visual imagery, Personification, and Substitutes Symbolists, 87 Symmetry, 35,64 Symonds, J. A., 115 Symptom, relation to symbol, 25,44,57® Synaesthesia, 14, 15, 39, 47f., 58, 61, 64, 98, 138fr.; of Index values, 26, 138; see also Physiognomic perception Taboos, i9f., 26, 28f„ 36, 41, 146 ; see also Avoidance Tactile values, 152 Taft, R. A., i4of. Taine, H., 75,115 Tannenbaum, H., 167L Taste, 18ÍF., 39ff.,43 Tchehtchew, P., 153, fig. 131 Temperance motif, 104,151 Tenniel, Sir J., 132, fig. 75 Tenzing, Sherpa, 84 Theories of art, see Aesthetics Theosophists, 67 Theseus, 61, 63,65 Thiers, L.A., 140 ff. Thorwaldsen, В., I2f. Thrale, Mrs., 51 Tietze, H., 79 Tillyard, E. M. W., 165 Tintoretto, 112,114 Tirpitz, Admiral, 133 Titian, 35f., 37, 112, figs. 14 and 15 Tolstoy, L., 78 Torrentius, J. S., 151, fig. 126 Toscanini, 22f Tovey, Sir Donald, 166 Townshend, George, Marquess of, 135,figs. 86, 88-9 Toys, 3, 34, 105; see also Substitutes Traditions in the visual arts, 9f, 33f., 41, 54f., 67, 96f., 100-104,108,112,117,125f., 149 Transference, see Substitutes Translation, 100 Trompe-l'oeil, 98h, I02ff. Truman, H., 137 Truth in art, 24fr., 38 Turner, J. M. W., 67 Turner, V„ 170 Twenty questions, 60 Unconscious images, 3,34 Understanding works of art : as opposed to mere responding, 49, 75f.; need for historical context, 4if., 99; difficulty of different culture, 5 if., 80, 93; and Misunderstanding, 66, 84; see also Communication, Expression and History of Art as a discipline Unconscious mind, 31, 56 ; meaning of works of art, 33 Universale, 2,128 Unlearned responses, 4-6, 10, ..39 48, 57ff-i 62,98,105 Uxküll, Th. von, 163 Values, symbolized in art, 12- 29 Van Eyck, J. and H., 101,111 Van Gogh, 41,72,95f. Van Meckenem, I., fig. I Vanitas motif, 104 Vasari, G„ I7f, 36f., 81, 83, IO8-110, H2f., 117 Venice, painting in, 112 Venturi, A., 170 Venturi, L., 167 Verdi, G., 50 Vespasian, 129 Victorians, I9f., 26 Vischer, F. T., 164 Vitruvius, 95,103 Von den Steinen, С., i68 Vulgarity, 15, i8ff., 28, 37, 40, I45f. Wackernagel, W., 92 Warburg, Aby, usf., 164 Warburg Institute, xii, 114,119, 127,164 Webern, Anton, 149 Weltanschauung, see Spirit of the age Werner, H., 47 West, Benjamin, 124 Whistler, Laurence, 13 Whitehead, A. N., 27 Whiteley, W. T., 172 Whyte, L. L., i Wilberforce, W., 121 Wilhelm II, 132,133 William of Orange, I33f., 136, 139 Wilhams, С., 124, fig. 55 Wilson, E., 78 Winckelmann, J. J., 45, 51, 7 Wit, 37,43,122,130ff., 137 Wittkower, R., 117 Wizard of Oz, 133 Wölfflin, H., 9, 82,86,164 Woodward, G. M., 124, fig. 54 Wordsworth, W., 26,44 Worringer, W., 81,164 Wouverman, 31 Xenia, 103 Zeuxis, 6,102 Zervos, C., i66f. |
