| Volltext: | 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 |
