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| Katkey: | 7533696 |
| Volltext: | Index Page numbers in boldface indicate illustrations. Agamben, Giorgio, 234 Agon, art as, 26, 51, 137 Albers, Josef, 32 All-over, 16-17, 24, 44-45, 50, 55, 157, 168 Alpers, Svetlana, 180 Amacker, René, 88 Apollinaire, Guillaume, 67, 97 Apriority, xviii-xix, xxiii, 3, 20, 28-29, 50, 87, 136 and geometry, 199 grid as, 107 and ground, 105-106, 107, 110, 139 and image, 136, 192 and subject matter, 188-190, 192 Arbitrariness, 126, 131, 136, 138-140, 143- 144, 154-155, 224, 226 of composition, 106-107, 136-139 of the sign, 82-91 Arche-drawing, 22-23, 59-62 Architecture anthropological conception of, 134, 146 and painting, 113-114, 116-117 Aristotle, xix, 3, 20, 61 Arp, Hans (Jean), 101, 131-132, 138, 170 Asymbolia, xxiv-xxix Atom, color as, 44, 47-48, 174, 180 Bakhtin, Mikhail, xviii-xxii Balzac, Honoré de, 251, 253 Barr, Alfred, 9, 29, 36 Barthes, Roland, xii, xiv, xx-xxiii, 224, 229- 230, 243 Bataille, Georges, 253 Baudelaire, Charles, 6, 121, 126, 233-236, 239, 246 Baudin, Antoine, 125 Baudrillard, Jean, 229-230, 242-243 Baxandall, Michael, 136 Benjamin, Roger, 55 Benjamin, Walter, 178-180, 225, 231, 233- 235, 241 Bergson, Henri, 67 Berkeley, George, 68 Bernard, Emile, 49-50 Bleckner, Ross, 243 Bock, Catherine, 8, 11-12, 16-18 Bonnefoi, Christian, 177 Braque, Georges, 66, 69, 74, 82, 86, 91, 93, 94, 97, 167. See also Cubism and Picasso, 285-287nn46-47 Buchloh, Benjamin, 237 Buren, Daniel, 237 Canova, Antonio, 75, 76, 91 Cassirer, Ernst, 253 Cassou, Jean, 46-47 Cézanne, Paul, 6-10, 12-14, 20, 28, 35-38, 48-50, 63, 82, 128, 168, 170, 173, 251, 255 Champa, Kermit, 181 Index 322 Chess, 16, 241-242, 252, 254-256 Chiaroscuro, 81-82, 256 Chronology, as critical tool, 77-79, 250 Clay, Jean, xv, xx, xxx, 173-174, 224, 313n9 Color achromatic, 175 autonomy of, 8 as construction material, 116 contrast, 12, 28 dominant, 16-17, 44, 47, 58 inseparable from drawing (Matisse), 17, 21, 23, 52-53, 62-63 and local tone, 44 monochrome, 47, 139, 143, 173, 181, 238, 240, 299n53, 311n24 as supplement, 20, 61 virtual, 23, 26, 60 Composition. See also Arbitrariness and-, 123, 136-139 and Matisse, 47 and Mondrian, 106, 300n58 Control, visual, loss of, 162, 164, 199, 201, 206, 210-211. See also Perception Courbet, Gustave, 6, 231, 234 Cross, Henri-Edmond, 8, 14, 16-18 Cubism, 65-97, 179, 192. See also Illusion; Picasso, Pablo analytic, 73, 90, 287n47 synthetic, 69, 79, 90 Daix, Pierre, 69 Damisch, Hubert, xxx, 163, 241-242, 245- 257 Deductive structure, 141 Degas, Edgar, 253-254 Delaroche, Paul, 231 Delectorskaya, Lydia, 50-51, 59 Denis, Maurice, 14, 40 Depth, fictive versus real (thickness), 160, 162, 165, 174, 178, 250-251. See also Illusion Derain, André, 5, 18, 34-35 Derrida, Jacques, 22-23, 60-62, 95, 154— 155, 229-230, 266-267n48 De Stijl, 101-122 Desvallières, Georges, 54-55 Disjunction, 149, 151 Divisionism and abstraction, 6, 8, 11, 40 and all-over, 16, 44 and dynamogeny, 12, 40 and flatness, 12 and Gauguin, 39-41 and technique, 12, 16-17 Doesburg, Theo van, 101-119 (with ills.), 180, 231 Drawing, versus painting, 59-60, 178—179- See also Matisse, Henri Dualism, xix, 137 Dubuffet, Jean, 249, 251, 254, 257 Duchamp, Marcel, 233, 236-241 Duranty, Edmond, 37-38 Duve, Thierry de, 232 Eesteren, Cornelis van, 102, 113, 114, 116, 118, 120 Einstein, Carl, 66-67, 69, 75-77, 79, 82 Eisenstein, Sergei M., xxi-xxii Elementarism, 107, 110, 113, 189 Elementarization, 103- See also Essentialism Engels, Friedrich, xxi Engler, Rudolf, 89 Ensor, James, 72 Epistémé, xxiii Epstein, Jacob, 72 Equilibrium, dynamic, 48-50, 57, 276nll9 versus static, 174-175 Essentialism, 102-103, 126-129, 223-224, 230, 233, 255 Evenepoël, Henri, 9 Evolutionism and Mondrian, 110 and Strzeminski, 130 Expressionism, 72, 130 Fénéon, Felix, xvi Fiedler, Konrad, xviii, 67, 69 Field, painting as, 254-256 Figure/ground relation, 104-105, 110, 141, 148, 159, 172, 178, 201, 203-204, 206, 248-251 Flatness, 167, 182 as common denominator, 111 as fiction, 127, 169 Index 323 Form as content, xviii-xxii as ideology, xxi-xxii as morphology, xvii, xix, 72-73, 79-81 as structure, xvii-xviii, xxvi, 72 as supplement, xxvi Formalism, xv-xxiv Foster, Hal, 242-243 Foucault, Michel, xxiii, 229-230 Fourcade, Dominique, 26 Frame, 103, 111, 171-172. See also Limit Freud, Sigmund, 85, 95 Fried, Michael, 249, 285n4l, 312n32 Fry, Edward, 77, 285-286n46 Functionalism, 133-135 and-, 114, 119 Gabo, Naum, 168, 172 Gauguin, Paul, 14, 48, 236 and Matisse, 35-41 and primitivism, 72-73 Geometry, 106-107, 138, 190, 199, 247, 253 Giacometti, Alberto, 194, 305-306n44 Gorin.Jean, 171 Greenberg, Clement, xv—xix, 69, 126-128, 137, 171-172, 182, 194, 224, 233, 24l, 249, 256 and cubism, 77-79, 91, 167-168 and Mondrian, 169, 176 Grid, 106-107, 294n7 Gris, Juan, 66, 68-69 Haacke, Hans, xv-xx Halley, Peter, 242 Henry, Charles, 12 Hess, Thomas B., 187, 199 Hildebrand, Adolf von, xviii, 67, 75-77, 81, 91, 291-292n87 Historicism, 102-103, 123-124, 126-129, 230, 235, 239 and-, 256 History, structural conception of, 69 Hoff, Robert van't, 101-102, 116 Holty, Carl, 163-164, 174, 176, 183 Holtzman, Harry, 172 Horizontalization, 179-182, 253-254 Huszar, Vilmos, 101-102, 104-105, 10", 111, 114, 115, 119 Iconologv, xxv-xxix Idealism, xviii-xix, xxiii, 189. See also Apriority; Dualism Ideology, xix as form, xxi-xxiii stratified level of, xxiii Illusion, 104-105, 110, 159, 1~"-1"8, 192, 247, 256. See also Depth; Opticality and cubism, 77, 81, 167-168, 192 Image, 136, 192, 246-248 Index (sign theory), 193, 212 deictic, 201 Instrumentalism, xii-xiii, 133 Integration of the arts (De Stijl ). 103 Jakobson, Roman, xv-xvi, xxii-xxiii. 86. 288-289n61 Jameson, Fredric, 2-43 Janis, Sidney, 177 Jedryka, Pierre-Maxime, 125 Judd, Donald, 194, 31 On 15 Kahnweiler, Daniel-Henry, 65-9". 239 on cubism and African an, 69-~5. 89-91 and neo-Kantianism, 67-69. 94 and painting as writing, 66, 94-9" Kandinsky, Wassili, 57, 130 Kant, Immanuel, xiv, 61, 67-68. 94, 138. 229. 281nl6 Klee, Paul, 45, 249, 251, 253 Klein, Yves, 123 Kobro, Katarzyna, 123-155 (with ills.) Koyré, Alexandre, 68 Kraus, Karl, 215-216, 225-226 Krauss, Rosalind, xxx, 146, 15-r, 182, 289n67 Lacan, Jacques, 46. 195, 23". 246. 253 Laude, Jean, 72, 284n30 Lebensztejn, Jean-Claude, 1, 44. 5". 61 L e e k , B a r t v a n d e r , 1 0 2 - 1 0 5. 1 0 4 , 1 0 ". I l l , 159 Le Corbusier, 135 Léger, Fernand. 102 Lehning. Arthur, 240 Index 324 Lessing, Gotthold Ephraim, 137, 169 Levine, Sherrie, 229, 237, 242 Lévi-Strauss, Claude, xiii-xiv, 182, 195, 254- 255 Limit, 111, 176, 210-211 frame as, 24, 55 Lissitzky, Lazare (El), 101, 130, 238 Malevich, Kasimir, 86, 126-127, 129, 138, 230, 247 Mallarmé, Stéphane, 56, 154-155, 235-236, 293nn99 Markov, Vladimir, 82-86 Marx, Karl, 233-324, 236-237 Marxism, xxi-xxiii Masheck, Joseph, 157, 159-160, 162-164, 181 Mass production, 231, 233-236 Materialism, xix Matisse, Henri, 6-63 (with ills.), 168, 236, 274 and all-over, 16-17, 24, 45, 50, 55 and apriority, 3, 20, 28-29, 50 Bonheur de vivre, 18-20, 19, 29, 34, 39- 40, 42-44, 52-54 cartoon, use of, 20-21, 53 and Cézanne, 6-9, 12-14, 20, 28, 35, 48- 50, 57, 264n25, 265n31 color transposition, 16, 36-37, 40-41, 50, 57-58, 265n35 and divisionism, 6-63 (first phase, 8-13; second phase, 13-17) drawing, 21-29, 52-53, 58-60 economy of means, 42, 55 and fauvism, 4-8, 51-54 and frame, 24, 55 and Gauguin, 35-41 line, 41-44 lithographs, 42-43 Luxe, calme et volupté, 14, 15, 17-18, 62-63 "Modernism and Tradition, " 3-8, 26, 41, 47, 50-52, 63, 263nl7 modulation, 23, 26, 30-32 "Notes of a Painter, " 3, 7, 18, 28, 53-58 quantity as quality, 22-29, 45-46, 52-58, 278nl37 scale, 24-26, 55 and Signac, 14, 18, 20, 39, 42, 62 {see also Divisionism) and theory, 7, 14, 39-40, 52, 55, 57 and Van Gogh, 34-35 woodcuts, 29-34, 41-42 Mauss, Marcel, 236 Meaning, xxi-xxiv, 248 confused with referent, xxiv-xxv, xxvi-xxvii, 95 positivist conception of, xxix Saussurian conception of, 87 structure of, xxvi Medvedev, P. N., xviii-xxii Merleau-Ponty, Maurice, 46, 194-195 Metaphor, 83, 85, 89 Modeling and Matisse, 11, 13, 26 and Picasso, 79-81 Modernism, 102, 125-127, 223-225, 230, 232-233, 235, 297n4. See also Essentialism; Historicism crisis of, 125, 143 and tradition, 5-6, 129 Moholy-Nagy, Laszlo, 231 Mondrian, Piet, 49, 101-106, 107, 110-111, 112, 119, 126-128, 138, 157-183, 160, 166, 189-190, 192, 197, 199, 231, 238-239, 242, 247-249, 254-255 and apriority, 163, 174 Broadway Boogie-Woogie, 170-171, 175-177, 181-182 composition, 47 and cubism, 167 and destruction, 161, 167, 240, 247-248 and the end of art, 102, 239 equivalent oppositions, 161 and Greenberg, 169, 176 and illusion, 159, 162-163, 167-169, 171, 176 and line, 161 New York City, 157-183, 158 and Pollock, 168, 180-182, 249 and repetition, 157, 159, 161, 168 Index 325 and rhythm, 160-161 and Seurat, 173-176 space determination, 167, 173-174 and subjectivity, 161 Victory Boogie-Woogie, 160, 171, 182 Montage, 79, 82-83 Moreau, Gustave, 5-6, 9-10 Morris, George L. K., 169-171 Motivation of composition, 107 modernist strategies of, 126, 139-140, 154 relative, 89 Musil, Robert, 224 Naturalism, 153, 155, 302n90 Neoimpressionism. See Divisionism Newman, Barnett, xix, xxiv, xxvii, 25, 168, 187-213 (with ills.), 232, 242, 254, 260nl3 Abraham, 199, 200, 201, 203, 206, 208 Anna's Light, 210-216, 213 Moment, 190, 191, 192-193, 201 The Moment I, 204-206, 205 OnementI, 186, 187-190, 192-201, 206, 212 and subject matter, 187-189 symmetry, 190, 192-201, 206, 208, 210- 211 wholeness, 193-194, 196, 201, 213 Novalis (Friedrich von Hardenberg), 225 Objecthood and cubism, 79, 91, 169 and Mondrian, 169-172, 305n35 Oppler, Helen, 34-35 Opposition exclusive (either/or), xi, xvii structural, xviii, 220, 222, 255 in Western metaphysics, 22, 60-62, 136, 254, 267n48 Opticality, 79, 137, 149, 151, 162, 168, 170- 171, 174-176, 182, 259, 252 Organicity, 136-137, 144, 15A. See also Totality Oud.J.J. P., 102, 111-113, 116 Painting. See also Architecture; Drawing; Photography; Sculpture end of, 230-233, 237-244, 25" and language, 252-253 Panofsky, Erwin, xxv-xxix, 28, 177-P and abstract an, xxvii Pascal, Blaise, 195 Pavel, Thomas, xiii Perception, 195-213, 247-249 versus fixation 203-206, 212 Phenomenology, 154, 249. See also Merleau- Ponty, Maurice Photograph)', 231, 233 Picasso, Pablo, 66-97 (with ills.), 1~9, 236-237, 239, 248-249..See also Cubism and African art, 69-75, 79-82, 89-94 Demoiselles d'Aiignon, 68-69. "3, "9. 288n59 Guitar, 69, 70, 72-7-4, 77-79, 89-91. 9a, 97, 292n90 mû papiers collés, 77-79, 90-91. 9~, 167-168 Pictorialism, in sculpture, 75-77, "9, 82, 168, 304n28 Pissarro, Camille, 9, 277nl25 Plato, xix, 61 Poe, Edgar Allan, 225 Political demands on an, xx-xxiii, 131, 133, 135 Pollock, Jackson, xv-xvi, 46, 173-1 "4. 18". 231, 233, 242, 248-249, 250-252, 254-255 and Mondrian, 168, 180-182, 249 Positivism, xviii-xix, xxviii, 215-216, 2 i5, 259nl Process, 215-217, 220, 222 Productivism, 133, 238 Projection. See Apriority Puvis de Chavannes, Pierre, 14. 18, 20. 269n66 Rauschenberg, Roben, 182 Reading, interpretation as, 66. 90, 94-9" Referent, 87, 95. See also Meaning Reinhardt, Ad, 230, 299n53 Index 32 6 Reise, Barbara, 217, 220 Rembert, Virginia, 169, 176 Repetition, 103, 113 Riegl, Alois, xviii, xxvi, xxviii, 67, 69, 255, 259nl, 290n73 Rietveld, Gerrit, 102, 111, 114, 116, 119, 121-122, 135 Rodchenko, Alexander M., 130, 238, 241, 298n26 Rodin, Auguste, 14, 28, 58 Rosenthal, Stephen, 226 Rothko, Mark, 247 Rouan, François, 246, 250-251 Rowell, Margit, 125 Rubin, William, 77, 286n46, 288n59 Russian avant-garde, xx, 86, 130, 135, 238- 239, 282-283n22 Russian formalism, xviii-xxiii, 86 Ryman, Robert, 215-226, 217-221, 231- 233, 314 Sartre, Jean-Paul, xv, 246-250 Saussure, Ferdinand de, xiii-xiv, 85-89, 54 Scale, 20, 24-26, 39, 55, 199, 206 Schapiro, Meyer, xxiv, 16, 177, 231-232 Schneider, Pierre, 9, 12, 53 Scholem, Gershom, 179 Sculpture and painting, 13, 79, 81, 169 Strzemiriski's and Kobro's théory of, 144-154 Seurat, Georges, 12, 14, 16, 39-40, 47, 55, 233, 236, 251 and Mondrian, 173-176 Shchukin, Sergei Mikhailovich, 54, 86 Sherman, Cindy, 237 Shklovsky, Viktor, xix, xxii, 86 Sign. See also Index; Motivation arbitrariness of, 82-91 differential, 87, 89 minimal, 82, 90 nonsubstantial, 74, 87, 90-91 value of, 87-91 Signac, Paul, 7-14, 18, 39, 42, 44, 47-48, 58, 62. See also Divisionism De Delacroix au néo-impressionnisme, 9-11, 18, 40, 45, 48 Signified. See also Meaning and signifier, 87-88 transcendental, xxiii-xxiv Simmel, Georg, 67, 69, 290n73 Smith, David, 151 Soffici, Ardengo, 97 Space fear of 75, 91 index of, 201 as sculptural material, 91, 127, 144-146 Spector, Naomi, 215 Spies, Werner, 85 Stein, Leo, 53, 90 Steinberg, Leo, 180, 182, 282nl8, 283n26, 290n67 Steinberg, Saul, 249, 254 Stella, Frank, 123, 181, 310nl5 Structure, 69, 103, 163. See also Form; Opposition; Totality Strzeminski, W-tadysfaw, 123-155 (with ills.), 172 Surrealism, 132, 250 Sweeney, James Johnson, 159, 167, 171 Symmetry, 113, 160-161, 181 and Newman, 190, 192-201, 206, 208, 210-211 Taaffe, Philip, 242-243 Tarabukin, Nikolai, 238 Tatlin, Vladimir, 91, 138 Theory, in study of art, xii—xv, 68, 246 Time modernist repression of, 137 and perception, 151 Titles, of works of art, 66, 192, 280n3 Totality, of a work, 45, 47-50, 55, 97, 193— 194, 196, 201, 213. See also Organicity; Structure Transparency, 74-75, 90-91, 146, 151, 154 Tynjanov, Jurij, xxii-xxiii Unism, 125-155, 174 Utopia, 103, 126-127, 131, 239 Valéry, Paul, 224, 253 Van Gogh, Vincent, 14, 173 and Matisse, 34-35 Index Vantongerloo, Georges, 101-102, 119 Verticality, 181 Vlaminck, Paul, 34, 72 Vuillard, Jean Edouard, 47-48, 236 Welsh, Robert, 163 Whitney, William D., 85, 87 Wiegand, Charmion von, 164-165, 175, 180 Wils, Jan, 101-102, 116 Wölfflin, Heinrich, xix, 67, 255 Worringer, Wilhelm, 67 Wright, Frank Lloyd, 113, 116 Writing, painting as, 66, 94-97 |
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