| Volltext: | Index Abstract Expressionism: early years of, 57-58; and the emotions, 60,86-88; philosophic background of, 58-65; and existentialism, 62-65; and alienation, 63- 65, 100-101 ; self-consciousness and, 64- 65; and spirituality, 73-75; and technology, 73; the subject matter of, 77, 86; the materials of, 79, 95-97; the use of myth in, 81-86, 172 n.51; the role of individualism in, 88-89, 98-99; and ethics, 89; the pictorial space of, 89-93;and action, 93-94;and finish, 97-98; and politics, 98-99; and the museum, 101-102; the heritage of, 103-105; the reaction against, 127-128, 134, 135, 137, 145-146;and the Happening, 180-181 n.57 Accident: in art of the sixties, 109-110, 149; Ad Reinhardt on, 140; and Jack-son Pollock, 171-172 n.50; in art of the late sixties, 149-150. See also Automatism; Chance Action: in art, 15; Leo Stein on, 19; John Marin on, 23, 162 n.87; Robert Henri on, 31; art as, 31-33; as a mixture of art and life, 34-36; John Dewey on, 60- 61; and Jackson Pollock, 71-87; as subject matter, 86-87; Harold Rosenberg on, 93-94; and Abstract Expressionism, 94; and the Happening, 104 Albers, Josef: John Dewey's influence on, 58, 128-129; and Black Mountain College, 112;on alienation, 125; teaching career of, 127-128, 128-129; on reason, 130, 130-131 ; on the spiritual in art, 129-130; on seeing, 130, 182-183 n.7 ; on color, 130-131 ; Homage to the Square, 132 Alienation, of the artist: in World War One, 13-14; in existentialism, 63-64; Abstract Expressionist attitudes toward, 100-101 ; and the artist, 125; Harold Rosenberg on, 125 ; in the Formalist tradition, 133 ; Ad Reinhardt on, 139-140;in art of the sixties, 181-182 n.83; Robert Rauschenberg on, 181-182 n.85 American Abstract Artists, 40-42; between 1945 and 1960, 127-128 American Artist's Congress fiahts Fascism, 28 American art theory, 15-16 Anonymity, in early 20th ccnturv artists, 13 Apollinaire, Guillaume, on imitation, 4 Armory Show, 18-19; as revolt against museums, 25 Arp, Hans: attacks World War One. 7-8, 14 Art and life: Robert Henri on, 17-18, as viewed by John Dewey, 34-36, 59-60; George Morris on, 4142; Piet Mondrian on, 43-44; Surrealist opinion of, 55; Abstract Expressionist attitudes toward, 93; in context of the museum, 119-121; John Cage on, 110-112; in art of the sixties, 117-118; Josef Albers on, 128- 129; Ad Reinhardt on, 140; in art of the late sixties, 150; Jim Dine on, 179- 180 n.51 Art and nature: distinctions between, criticized, 11 ; American artists' attitudes toward, 31. See also Nature Art criticism, attack upon, 9-10 Art Front, and John Dewey, 58 Artists' Union, during depression, 27 Art of This Century. See Guggenheim. Peggy Association of American Painters and Sculptors, and the Armory Show, 18-19 Automatism: Surrealist, 50-51;and Abstract Expressionism, 77-80; and Abstract Expressionist sculpture. 79; Josef Albers on, 130-131. See also Accident, Chance Baudelaire. Charles, on the status of the artist, 12 Bauhaus: and the Gesamtkunstwcrk, 10; as a community of artists. 12; and artistic anonymity, 13; ideas of, at Black Mountain College. 112-114; tradition in U.S. after World War Two. 206 Index 127, 128-130,131-133;in America, 163 n.2 Bauhaus, New. See New Bauhaus, Chicago Baziotes, William: and Surrealism, 57-58; on Surrealist automatism, 79-80; on materials, 80 Beauty: as seen by American artists, 31; the Abstract Expressionists' attack on, 73; Abstract Expressionist ideas about, 88; John Cage's attacks on, 110-111; and materials of the sixties, 121-122; Robert Henri on, 162 n.82 Beckmann, Max: flight from Nazi Germany, 8; and World War One, 14 Benton, Thomas H.: rebellion against European tradition, 15; conservatism of, 15- 16; on American subjects, 21; on primitive art, 23; on intellectualism, 23; on museums, 25 ; and socialism, 27; and mural painting, 29-30, 34, 161 n.74; and the social purpose of art, 30-31; on American urban life, 3Ą\History of Missouri, 35; and John Dewey, 61-62; on Jackson Pollock, 94-95 Bergson, Henri: and intuition, 1; on the importance of artists, 12 Black Mountain College, 112-115; and Robert Rauschenberg, 103-104; the association of John Cage with, 110; Josef Albers at, 125, 128-129; poetry at, 179 n.35 ; and John Dewey, 182 n.l Boccioni, Umberto: and the art of environment, 10-11 ; and new materials, 11 Braque, Georges: and hermetic Cubism, 2; and public recognition, 12; and artistic anonymity, 13 Breton, Andre: Second Surrealist Manifesto, 6, 50-51; on art criticism, 9; on automatism, 51 ; on Surrealist use of myth, 51-52; and the Abstract Expressionists, 57 Brooks, James, on the unknown in painting, 79-80 die Brücke, as an artists' community, 12 Brutism, as return to nature, 6 Burchfield, Charles: and the Dada spirit, 24-25 ; on politics, 27 ; and individualism, 30; on art education, 157 n.10 Cage, John: and the ‘Club', 62; the aesthetic theories of, 109-112; and Robert Motherwell, 109-110;and Black Mountain College, 112, 114-115;and the Happening, 116; on art and life, 117; on beauty, 121-122; on objects, 122, 181 n.68 Cahill, Holger, tolerance of subject matter, 28-29 Calas. Nicholas, on Surrealist space, 54 Camera Work, and Wassily Kandinsky, 16 Canvas, monumental, 15-16, 103, 105; 1920-40, 33-34; Thomas H. Benton on, 34; in Abstract Expressionism, 90-93; Mark Rothko on, 174 n.90; Jackson Pollock on, 174 Channing, William Henry, "On National Literature" 16 Chance: John Cage on, 111 ; Josef Albers on, 131. See also Accident; Automatism Children's art: and return to simplicity, 6-7; and Max Weber, 23 ‘Club': the, 62-63, 168 n.20; and Hans Hofmann, 38; and John Cage, 109-110 Collage: in Cubism, 11 ; in United States, 24; Robert Motherwell on, 69; Jackson Pollock's use of, 96 ; use of, in art of the sixties, 108; American artist's use of, 160n.56 Communities, artists': in the early twentieth century, 12; Abstract Expressionist ideas about, 89, 100-101; at Black Mountain College, 112-115,129 Comte, Auguste, materialism of, 1 Conceptual art, 149-150 Constructivism, and Abstract Expressionism, 68, 75-76 Courbet, Gustave, exponent of realism, 1 Cox, Kenyon, on the Armory Show, 19 Cubism: the unintelligibility of, 2, 12-13; the eternalizing nature of, 3;and World War One, 8; exhibitions of, 9; materials of, 11 ; and Abstract Expressionism, 67-68; and the criticism of Clement Greenberg, 145-146 Cunningham, Merce: at Black Mountain College, 112, 114; role in ‘first Happening', 115 Dada: the anti-spiritual attitude of, 3;rejec-tion of art, 3; and anti-rationalism, 5-6; reaction to World War One, 8, 101; and artists' communities, 12; and the absurd, 14, 157 n.65; influence in America, 24-25, 37, 160 n.56, 163 n.l; in post-fifties art, 108 Dada Painters and Poets, 108, 109 David, Jacques Louis, and the French Revolution, 7 Davies, Arthur B., and Armory Show, 18 Davis, Stuart: on Robert Henri, 16-17; on art education, 17 ; on importance of abstraction, 21 ; on realism and Index 207 abstraction, 22; on museums, 25; on the Artists5 Union, 28; attacks on regionalism, 30; on ‘color-space5, 33-34; on American pictorial rhythms, 33-34; and American Abstract Artists, 40; on influence of Fernand Léger, 47; and Arshile Gorky, 75; Ad Reinhardt on, 139-140; on symbols, 159 n.44 Decalcomania, Max Ernst's use of, 47-50 de Casscres, Benjamin: introduction to Max Weber's Primitives, 23; on modern art, 24 de Kooning, Willem: and American Abstract Artists, 40; figurative subjects of, 71; on the spiritual in art, 73; on geometry, 75-76; Women, 82-84; the subject matter of, 86; and the monumental canvas, 93; and materials, 95-96; and finish; and Robert Rauschenberg, 103 Delaunay, Robert: spiritual attitudes of, 2; Windows, 153 n.6 Denis, Maurice, on pictorial space, 69 Depression, artists' response to, 27-29 Dewey, John: and Thomas H. Benton, 34, 61-62; Art as Experience, 58-62; and Abstract Expressionism, 58-62; on experience, 58-59;defines aesthetic experience, 59; on the emotions, 60; and Black Mountain College, 128-129, 182 n.l ; and earth sculpture, 150 de Zayas, Marius, and American Dada, 24 Dine, Jim, on art and life, 180 n.51 Dove, Arthur: on working from nature, 21-22; use of collage, 24\Hand Sewing Machine, 26; on politics, 27 Dream, role of, in Abstract Expressionist art, 67-68 Drip technique: Pollock's use of, 96; Max Ernst and, 96; Mark Tobey and, 96; Joan Miro and, 96 Duchamp, Marcel: in United States, 24; Roberto Matta on, 54; influence in fifties, 108-109; and art of the sixties, 123; the ready-mades of, 123-124; exhibitions of, 178 n.14 Earth sculpture, 149-150 Echaurren, Roberto Matta. See Matta, Roberto "Elevens Europeans in America" interviews of European emigre artists, 44-50 Emerson, Ralph Waldo, "The American Scholar,55 16 Emotion: as replacement for imitation, 5; and nonobjective art, 5 ; Piet Mondrian on, 42-43; John Dewey on, 60; in Abstract Expressionism, 67, 82, 85-88, 103, 104; post-fifties attitude toward, 106; Josef Albers on, 130-131 ; Barnett Newman on, 137; Ad Reinhardt on, 141-142; and reason, 148-151 Environment, art of, Pict Mondrian and, 44 Ernst, Max: on artist's role in creation, 13; on the American landscape, 47-50; Napoleon in the Wilderness, 49 Ethics, the Abstract Expressionists' concern for, 89 Exhibition of Independent Artists (1910), and Armory Show, 18 Existentialism: and Abstract Expressionism, 62-65; and Abstract Expressionist pictorial space, 90 Expressionism, exhibitions of, 9; influence on Abstract Expressionism, 73 Fauvism, in reaction to World War One, 14. See also Salon d'Automnc Federal Art Project, 28-29 Ferren, John, on art as discovery, 64 Finish: American attitudes toward, 24-25; Abstract Expressionist conception of, 95,97-98 Frame: Piet Mondrian and, 43, 165 n.28; Surrealist attitude toward, 54-55 ; in Abstract Expressionism, 90-91,93; in work after Jackson Pollock, 105; concept of, in the sixties, 120 Fried, Michael, "Art and Objecthood,55 147 Gabo, Naum: and Marxism, 8; on nature. 154 n.18 Geometry, in Abstract Expressionism, 75-76 Gesamtkunstwerk, 10-11 ; at Black Mountain College, 114-115; in the sixties, 115-116. See also Happening Glackens, William, reaction to Armory Show, 18-19 Gleizes, Albert, on public recognition, 12- 13 Goldwater, Robert, on Clement Grcenbere. 146 Gorky, Arshile: and American Abstract Artists, 40;and André Breton. 57; on spirituality, 75; as Abstract Expressionist, 74-75;and Stuart Davis. 75,90; and Surrealism, 171 n.39 Gottlieb, Adolph: and early Abstract Expressionism, 58; the "pictographs" of,. 84; on pictorial space. 90; on New York, 95; on Abstract Expressionist 208 Index subject matter, 99 Greenberg, Clement: on Abstract Expressionism and existentialism, 63; on beauty and Jackson Pollock, 87-88, 95 ; on the size of Jackson Pollock's canvases, 91-93, on the artist and society, 99; at Black Mountain College, 128; on Pop Art, 147-148; and the development of Formalism, 145; reacts against Abstract Expressionism, 145-146; as defender of Formalism, 145-147 Greene, Balcomb, on Fernand Léger, 41 Gregg, F.I., on the Armory Show, 19 Grooms, Red, and the Happening, 116 Gris, Juan, and primitive art, 6 Gropius, Walter: and the ‘complete building,' 10; as founder of the Bauhaus, 35; and artistic anonymity, 13 Guggenheim, Peggy: and Art of This Century, 55, 57, 102; and Max Ernst, 47-50; and Jackson Pollock, 91, 96 Guston, Philip: on finish, 97-98; on pathos, 100 Gutái Group, shown at Martha Jackson Gallery, 108-109 Happening, the, 115-116; and Jackson Pollock, 104; origins of, 109, 179 n.42; as formulated by Allan Kaprów, 117 118, 177 n.4; and sculpture, 118-119; and the museum, 120; use of materials in, 121 ; and seeing, 122-123; and Pop Art, 147; consequences of, 148-149; and Abstract Expressionism, 180 n.57 Hare, David, on loneliness, 100-101 Hartley, Marsden: and Wassily Kandinsky, 20; on spirituality, 20; on the return to naturalism, 22; and Albert P. Ryder, 22; and Tristan Tzara, 24; on role of art criticism, 25; defines painting as action, 36 Hayakawa, S.I., and the philosophy of language, 183 n.23 Heidegger, Martin, and Abstract Expressionism, 62 Heizer, Michael, and earth sculpture, 150 Helion, Jean: in America, 40-41;on naturalism, 44-45 Henri, Robert: students of, 16-17; and transcendentalism, 16-18, and Emerson, 17-18; and Walt Whitman, 17; on art education, 17; The Art Spirit, 17-18; and Baroque art, 17-18; on imitation, 21 ; on working from memory, 21-22, 159 n.34; on materials, 23; on finish, 24-25; and Armory Show, 25; on museums, 25; on political involvement, 27; and individualism, 25, 30, 157 n.5, 157 n.7; on beauty, 31, 162 n.82; on action, 31, 34-36; on art and life, 34-36 Hofmann, Hans: teaching in America, 38; and German Expressionism, 38-40; Isle and Couch, 39; on the pictorial plane, 38-40; on pictorial motion, 40; students of, 163 n.3 Holmes, Oliver Wendell, and Ralph Waldo Emerson, 16 Holtzman, Harry, and Piet Mondrian, 40-41 Hopper, Edward: and individualism, 30-31; on pictorial space, 83; on American scene painting, 33 Hülsenbeck, Richard: attack on Expressionism, 3, 153 n.10; and brutism, 6; and F.T. Marinetti, 154 n.23; on politics, 155 n.34 Illumination, American, European responses to, 45 Imitation, theories of: in early twentieth century art, 3-5; and withdrawal from the world, 4-5; Piet Mondrian on, 42; in Abstract Expressionist art, 67-73; John Cage on, 110-111. See also Emotions Impressionism: subjective nature of, 1; apolitical attitude of, 7 ; and revolt against the Salon, 9; relationship to Armory Show, 18 Indian art, Surrealist use of, 52 Individualism: American, 17; and the American artist, 17-18, 30-31 ; and the ‘Club', 62; and Abstract Expressionism, 64, 88-89, 98-99; Josef Albers on, 129; and Robert Henri, 157 n.5, 157 n.7 Institute of Design, Chicago. See New Bauhaus, Chicago Janis, Sidney: on Surrealist automatism, 77; 1953 exhibition of Dada, 108-109 Johns, Jasper: on Marcel Duchamp, 108, 119; on seeing, 122;on objects, 123- 124, 181 n.82 Jung, C.G.: and Surrealism, 52-53; the psychology of, in Abstract Expressionism, 82-86; and the unconscious, 166 n.52 Kahnweiler, Daniel-Henry, and Zeitgeist of Cubism, 2 Kandinsky, Wassily: and materialism, 1, and Zeitgeist, 1 ; Über das Geistige in der Index 209 Kunst, 1-2, 20; role of nature in art, 3-4; and mystical vision, 4; and Der Gelke Klange, 10; and synesthesia, 10; response to World War One, 13; and music, 13; and Hans Hofmann, 38-40; and Abstract Expressionism, 67; and the ideas of Josef Albers, 129; the influence of, in New York, 168 n.l Kaprów, Allan: the theatrical art of, 104; "Legacy of Jackson Pollock" 104; the influence of Jackson Pollock on, 105; and the Happening, 109, 115-116, 177 n.4; and John Cage, 110; on art and life, 117-118; 18 Happenings in 6 Parts, 115-116, 120-121 ; on use of materials, 120-121; on seeing, 122-123; on politics, 125-126 ; and conceptual art, 150 Kepes, György: in the United States, 131, 133-135 ; Metaphor, 136; on reason, 135; on technology, 135, 183-184 n.23 Kierkegaard, Soren, and Abstract Expressionism, 62-63 Kiesler, Frederick, J., on Art of This Century, 55 Klee, Paul, on artistic anonymity, 13 Kosuth, Joseph, on Clement Greenberg, 147 Kozloff, Max, and Clement Greenberg, 146 Kramer, Hilton, on Clement Greenberg, 146 Kwakiutl Indians, and Abstract Expressionist use of myth, 81 Lassaw, Ibram, on mysticism, 74 Leger, Fernand: in America, 40-41; on light in America, 45; on urban America, 45- 47; Three Musicians, 48, on American space, 47 LcWitt, Sol, on reason, 149 Levy, Julian, as proponent of Surrealism, 50 Lippold, Richard: and John Cage, 111-112; on seeing, 111-112; on imitation, 111- 112; Variation Number 7, Full Moon, 113 Lipton, Seymour: on automatism in sculpture, 79; the subject matter of, 82; Sanctuary, 83 Louis, Morris, at Black Mountain College, 128 Macbeth, William, shows works of 'The Eight,' 25 Macdonald-Wright, Stanton, and nonobjective painting, 21-22 Malevich, Kasimir, and imitation, 4 Marin, John: on reason, 23; on large canvases, 33; on motion in art, 33; and use of line, 36; on art education, 157 n.10; on symbols, 159 n.44; on action, 160 n.51, 162 n.87 Marinetti, F.T.: poetry of, 3;and reason, 91; glorifies war, 7; and Mussolini, 7-8; and destruction of museums, 9-10; and Richard Hülsenbeck, 153-154 n.23 Masson, André: on American space, 47; and automatism, 51 ; cover design for Minotaure, 53; and myth, 53 Materialism: philosophy of, 1-2; and origins of abstraction, 2; American artists' attitudes toward, 20; Hans Hofmann attacks, 38 Materials, new: artists' use of, 1 1,23-25; John Marin on, 23; Abstract Expressionist use of, 79-80, 95-97; sculpture and, 79, 96-97; of the art of environment, 106; the impermanence of, 120; use of in the sixties, 121-122, 149-150; and David Smith's use of steel, 137-139; in Formalism, 146; Grant Wood on, 160 n.57 Mather, F.J., on the Armory Show, 19 Matisse, Henri, and World War One, 7-8 Matta, Roberto: and Surrealism, 53-54; "Psychological Morphologies" of, 53-54', Duchamp's Glass, 54; on pictorial space, 53-54; and early Abstract Expressionism, 57; and John Dewey, 58; on automatism, 79 Mcidner, Ludwig, An Alle Künstler, 8 Memory, working from, 21-22 Metzinger, Jean, and public recognition, 12-13 Minimal art, Ad Reinhardt and, 141 Minotaure, and Surrealism, 52-53 Miro, Joan, and different materials, 11 Modern Artists in America: on finish, 97-98;on loneliness, 100-101 Modernism, defined, 146. See also Formalism Moholy-Nagy, Laszlo: teaching career of, 127-128; in the United States, 131-133; Light-Space Modulator, 134 Mondrian, Piet: and structure of art, 4; and abstracting from nature, 5; and environmental art, 11 ; and public response, 13; and American Abstract Artists, 4041, 42; Plastic Art and Pure Plastic Art, 42; the art theory of, 4244; on the emotions, 4243; on reason, 4243; on science, 4243; on pictorial space, 43; on painting as object, 43; and Abstract 210 Index Expressionism, 75-77, 86-87; and purity, 75-77 ; Broadway Boogie Woogie, 76; the principles of, Ad Reinhardt's treatment of, 141-142; on the frame, 165 n.28 Morris, George L.K.: as editor of Partisan Review, 28, 41-42; political views of, 41-42; on Piet Mondrian's frames, 43-44 Morris, Robert, and earth sculpture, 150 Morris, William, on artist's status, 12 Motherwell, Robert: and Surrealism, 57-58, 167 n.l ; and ideas of John Dewey, 58; the existentialism of, 62; on the role of nature in art, 69; on use of symbols, 71 ; Spanish Elegies, 71 ; Pancho Villa, Dead or A live, 71 ; on German Expressionism, 73; and reason, 7b\Spanish Prison (Window/, 78; on Piet Mondrian, 86-87,170 n.36; on the ethics of painting, 89; on action, 94; on American qualities in art, 94-95 ; and use of collage, 96; on politics, 98-99;on individualism, 99; as editor of Dada Painters and Poets, 108-109; on accident, 109-110; and John Cage, 109- 110; and de Chirico, 170 n.36 Munch, Edvard: on art and nature, 4 Mural painting, during W.P.A., 28-29 Museum: criticism of, 9-11 ; at turn of century in America, 24-27; Surrealist attitude toward, 54-55 ; John Dewey on, 60-61; the Abstract Expressionist regard for, 101-102; John Cage on, 111-112; Richard Lippold on, 111-112; in the art of the sixties, 119-121, 149- 150;Claes Oldenburg and, 124; Ad Reinhardt on, 140; the reaction against, 179 n.33 Music: and abstract art, 13,21;and Abstract Expressionism, 71-73 Myers, Jerome, on Arthur B. Davies, 18 Mysticism, and Abstract Expressionism, 74 Myth: and Surrealism, 51-53; and Abstract Expressionism, 80-86, 172 n.51 ; Mark Rothko on, 84; in work of Clyfford Still, 172 n.52;and Barnett Newman, 172 n.54; Jackson Pollock's use of, 173 n.64 National Academy of Design: and Armory Show, 18; and exhibitions, 25 Nature: as inspiration, 69; the role of in Abstract Expressionism, 73-74, 82. See also Art and nature New Bauhaus, Chicago, 131-135 Newman, Barnett: defines ‘Thought- Complex,' Euclidian Abyss, 70; and geometry, 75-76; and influence of primitive art on, 81, 100; on American qualities in art, 94-95; on artistic community, 100; the post-Abstract Expressionist ideas of, 135-1 39; on myth, 172 n.54 Newton, Sir Isaac, and absolute time and space, 5-6 New York Dada, 23 Nietzsche, Friedrich: and intuition, l;on the importance of artists, 12 Noguchi, Isamu, on contemporary sculpture, 150 Noland, Kenneth: at Black Mountain College, 128; and Clement Greenberg, 146 Nolde, Emil: religious attitudes of, 2-3; and artistic freedom, 7 ; and peasants, 12 Novembergruppe: political hostility of, 8; and anxiety of World War One, 13-14 Object, painting as, 43, 68,125, 164 n.27; use of, in the sixties, 104, 105-106, 122, 123-125, 181 n.76; Surrealism and, 166 n.48; John Cage on, 181 n.68; Jasper Johns on, 181 n.82 Oldenburg, Claes, on pictorial space, 105 ; the use of objects by, 109-110, 123- 124; and the Happening, 116; conception of pictorial space of, 119; on the museum, 120; the soft sculptures of, 121 ; Th e Store, 124 Olson, Charles, at Black Mountain College, 114-115, 179 n.35 Orozco, Jose Clemente, murals for the New School, 29-30 Paalen, Wolfgang: and the Surrealist unconscious, 52; and John Dewey, 58 Participation, audience: and Duchamp, 54; in the Happening, 120; in sculpture of the late sixties, 148-149 Partisan Review, 28 Pavia, Philip, and the ‘Club', 62 Pechstein, Max, An Alle Künstler, 8 Péret, Benjamin, use of pre-Columbian sources, 52 Photo-Secession Gallery, attitudes stimulated by, 19-27 Picabia, Francis, in United States, 24 Picasso, Pablo: and hermetic Cubism, 2; and abstract art, 3-4; and primitive art, 6; and communism, 8-9; and the Index 211 museum, 11 ; new materials in, 11; and public recognition, 12; and artistic anonymity, 13 Politics: and the artist, 9-11 ; and the American Abstract Artists, 41-42; of the Abstract Expressionists, 98-99 Pollock, Jackson: shown at Art of This Century, 57, 10; on the experience of painting, 59; and ideas of John Dewey, 59, 61-62; on the self as subject matter, 71 ; figurative subjects of, 71 ; Portrait and a Dream, 72; on the role of music in art, 71-72; on the role of nature in art, 73-74; the experiments in technique of, 79; on accident in painting, 79, 80, 171-172 n.50; Totem Lesson II, 85; and myth, 84, 173 n.64; and Jungian analysis, 84-86; and action, 87; and reason, 88;Mural, 92; on pictorial space, 90-93,174 n.92; use of materials, 95-97; on previous American painting, 94-95 ; the influence of, 104-105;and the role of the unconscious, 171 n.42 Pop art, 147-148; the use of objects in, 124; the development of, 145 Positivism: Comte as father of, 1 ; and reason, 5-6 Post Painterly Abstraction, exhibition of, 146 Primitive art: as vehicle of anti-rationalism, 6; Surrealist use of, 52; in a museum context, 61 ; influence on Abstract Expressionism, 68, 81-86; and Arshile Gorky, 75 ; Barnett Newman's use of, 100 Purity: Piet Mondrian on, 45; in Abstract Expressionism, 75-77; in the art of the sixties, 121-122,137, 146; and Ad Reinhardt, 141-143 Rauschenberg, Robert: Erased de Kooning, 103; on objects, 104; on chance, 111 ; and Josef Albers, 114; role in‘first Happening,' 115, on John Cage, 115; on art and life, 118; on materials, 121; on seeing, 122, 123; on alienation, 125, 182 n.85 Reason: Piet Mondrian on, 42-43, 76; Surrealist rejection of, 52, and Abstract Expressionism, 71, 73-74, 79-80, 87, 88-89; Robert Motherwell on, 87; in the art of Josef Albers, 129-130, 131 ; György Kepes on, 135 ; in the work of Barnett Newman and Richard Lippold, 137-139; Ad Reinhardt on, 140-141; and emotion, 148-151 Reed Club, John, and sponsorship of Socialist art, 27-28 Regionalism: attacks on, 41; and John Dewey, 61-62; in the forties, 94-95 Reinhardt, Ad: rejects Abstract Expressionism, 135-137; the ideas of, 139-144; on Stuart Davis, 139-140;on art and life, 140;on the museum, 140;on reason, 140-141 ; Abstract Painting, 142 Representational art, 44-45 Romanticism, contemporary, 150-151 Rosenberg, Harold: and Partisan Review, 28; and Surrealist myth, 51-52; and Marxism, 52;on art and life, 60,117, and existentialism, 63-64; on Abstract Expressionist mysticism, 74; and Surrealist automatism, 76; on the existential space of Abstract Expressionism, 90; on‘action painting,' 93-94; on politics and Abstract Expressionism, 98;on alienation, 125 Rothko, Mark: and early Abstract Expressionism, 58; and the tragic, 63; on mythology, 84;on pictorial space, 89- 90; and the museum, 101-102; on the monumental canvas, 174 n.90 Roszak, Theodore, on primitive art, 82 Rowan, Edward B., on American scene painting, 28-29 Ryder, Albert P., influence on Marsden Hartley, 22 Ryerson, Margery, and Robert Henri's Art Spirit, 17-18 Salon, revolt against the, 8-9 Salon dAutomne: and the Fauves, 9; and the Armory Show, 18 Salon des Indépendants: exhibits Neo-Im-pressionists, 9; and the Armorv Show, 18 Salon des Refuses, 9 Sartre, Jean-Paul, and Abstract Expressionism, 63-64 Satie, Erik, The Rise of Medusa, 114 Schlegel, Friedrich, and the Gesamikunst-werk, 10 Schwainsky, Xanti, at Black Mountain College, 114 Schwitters, Kurt: and artistic freedom, 8; use of new materials, 11. 121 ; and artistic anonymity, 13; environments of, 108-109; on art and life, 117 Science, and Piet Mondrian, 42-43 Seeing: importance of, 22; John Cage on, 110-122; in art of the sixties. 122-123: Josef Albers on, 130, 182-183 n.7 212 Index Segal, George: on figurative subject matter, 105-106; The Bar, 107; space in the works of, 119-120; the materials of 121- 122; and audience participation, 122- 123 Seligmann, Kurt: on American space, 47; on Surrealist space, 54 Severini, Gino, and artistic patriotism, 7 Sheeler, Charles, on the eternal, 20 "Silence,' John Cage on, 110-112 Sloan, John, connection with Masses, 27 Smith, David: on abstraction, 71-72; on iron and steel, 97, 137-139;on Surrealism, 137;Cubi XXVIII, 138 Smithson, Robert, on earth sculpture, 148-149 Space, pictorial: expansiveness of, 33-34; Hans Hofmann on, 38; Piet Mondrian on, 43; Surrealist attitudes toward, 53-55 ; in Abstract Expressionism, 68, 89-93; flatness of, 69; influence of Jackson Pollock upon later, 105; and the Happening, 118-119; in art of the sixties, 119, 148-149; Clement Greenberg on, 146 Space, American, 45-50; Max Ernst on, 45; Piet Mondrian on, 45; Surrealist reaction to, 47-50 Socialism, 27; and the American Abstract Artists, 41-42; and Surrealism, 50-51, 51-52 Société Anonyme, 25-27 Society of Independent Artists, role in Armory Show, 25 Spirituality: in art, 2-3; attacks upon, 3; in American twentieth century art, 20-21 ; and Hans Hofmann, 3840; and Abstract Expressionism, 67-68, 73-75 ; and Josef Albers, 129-130 Stankiewicz, Richard, on the mystery of objects, 106 Stein, Leo, on the mural tradition, 19; on action, 19 Stella, Joseph: on action, 31 ; Brooklyn Bridge, 31 Stieglitz, Alfred: and Photo-Secession Gallery artists, 20; and spirituality, 20; search for ‘equivalents' in photography, 21-22; on knowledge, 23; apoliticism of, 27; on action, 34-36 Still, Clyfford: on the role of nature in art, 69; attitude toward museums, 101- 102; on use of myth, 172n.52 Story, William Wetmore, on American subjects, 16 Structure, Piet Mondrian emphasizes, 43 Subject matter: American, 16-17,94-95; representational, 20-21,44-45,105-106, 147; conservative, 22; abstraction, 22; public works art project influence on, 28-29; urban American, 33-34; and regionalism, 61-62; artist's self as, 69; Abstract Expressionist, 60, 67-73, 77, 86, 99;and the emotions, 60,86-88; the object as, 123 Surrealism: anti-rational bias of, 5-6; in America, 38; attacks on, 41; and American space, 47-50; in the thirties, 50-55 ; automatic writing and painting, 51 ; uses of mythology in, 51-53; and dream imagery, 52; and Jung, 52-53; and Abstract Expressionism, 67-68; the iconography of, 77 ; automatism and, 77 ; and loneliness, 101 ; in the art of environment, 106; the objet trouvé of, 122; the influence of, on David Smith, 137; Ad Reinhardt attacks, 139-140 Symbolism: American antipathy toward, 60; de Kooning's use of, 82-84 Technology: and Abstract Expressionism, 73-74 ; Arshile Gorky on, 74-75; at the New Bauhaus, 131-135;Kepes on, 183- 184 n.23 "Ten" the, 80-81 Thoreau, Henry David, and American speech, 16 Tobey, Mark: and nature mysticism, 74; on twentieth century Romanticism and Classicism, 150-151 Transcendentalism, nineteenth century, 16-18 Tworkov, Jack: and the ‘Club', 62; defines Abstract Expressionism, 67-68; on automatism, 80; on spontaneity, 87-88 Urban life: Piet Mondrian on, 45; Fernand Léger on, 45-47 Van de Velde, Henry, and William Morris, 12 Wagner, Richard, the Gesamtkunstwerk of, 10 Weber, Max: Essays on Art, 20; and the spiritual, 20; on verbalizing, 22; on primitive art, 23 Weischel, Dr. John, founder of People's Art Guild, 27 Whitman, Walt: and American diction, 16- 17; and American individualism, 17 Wood, Grant, use of collage materials, 24, Index 213 160 n.57 Works Progress Administration: murals, 15- 16 ; attitude on subject matter, 28-29 World War One, anxieties resulting from, 13-14 World War Two, Piet Mondrian on, 42-43 Zeitgeist, artistic expressions of, 1 Zen Buddhism: in Abstract Expressionism, 73-74; and John Cage, 109-110;and the Happening, 109, 109-110 Żorach, William: on the spiritual, 20; on imitation, 21-22 |
