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| Volltext: | Index The numbers in boldface indicate pages where words are first defined; numbers in italics refer to pages on which illustrations appear; s.a. is the abbreviation for structural analysis. abstract art (nonobjective, nonfigura-tive), 9, 15, 23, 34, 35, 45, 56, 60, 61, 80, 81, 104, 113, 115; forms of, 65; metalanguage systems of, 61; photography as, 45 Abstract Expressionism, 9, 53, 65, 102, 105, 106, 107, 120, 121, 139, 146, 147 Albers, Joseph, 50, 51, 53, 54, 55, 56, 127; Study for Homage to the Square: Closing, 50, 53, 54; s.a., 51 analysis, art, 2, 3, 20, 21, 24, 25, 29, 49, 53, 56; anthropological, 48; consolidation of formal, 35; descriptive, 36, 37; as first form of knowing, 93; iconographie, 37; lin-guistical, 48; semiological, 48; sociopolitical, 37; structural, 4, 27, 28, 29, 47, 48, 50, 55, 56, 58, 59, 77; techniques of, 34 Andre, Carl, 129, 131, 133, 134-35; Lock, 135; Reef, 135; Spill Scatter Piece, The 134, Fig. 34; s.a., 134 anthropocentricism, 5 antienvironmental, 49, 54 Arnheim, Rudolf, 45; Art and Visual Perception, 45 Art Ideal, 3, 32, 33 avant-garde, 2, 19, 24, 27, 31, 42, 45, 46, 47, 55, 175; art, 59, 69, 147, 152, 154, 161, 174, 179; demise of, 44; historical, 61; as historical imperative, 47; ideology, 57; present American, 56 Barthes, Roland, 4, 7, 11, 19-27, 46, 48, 49, 50, 51, 53, 59, 83, 157, 159, 176; Elements of Semiology, 20, 59; Système de la mode, 20, 27, 53; Writing Degree Zero, 19 Baudelaire, Charles, 166; "Salon of 1846, The, " 166 Behaviorism, 28, 37 Berenson, Bernard, 36 Bergson, Henri, 93; Introduction to Metaphysics, 93 Boccioni, Umberto, 78; Development of a Bottle in Space, 78 Brancusi, Constantin, 92-93; Leda, 92, Fig. 14; s.a., 92 Braque, Georges, 76-77, 161; Le Courrier, 76, Fig. 8, 77 bricoleur, 10, 103, 111 Buren, Daniel, 47, 152, 156-57; "Beware!", 157; Photographic Souvenir of One of the Pieces Executed in Kyoto, Japan, 156, Fig. 43; s.a., 156 Burnham, Jack, Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century, 5, 24, 30 Calder, Alexander, 125; mobiles, 125 catalysis (in linguistics), 24 Cézanne, Paul, 45, 46, 72—73; Basket of Apples, The, 73, Fig. 6; s.a., 72 Chomsky, Noam, 4, 7, 27-29, 77; Language and Mind, 28 churinga, 14 Classicism, 5, 19, 33, 34, 72, 180, 181 classification, 9, 11, 13, 28, 39, 153, 181 Communication Theory, 8 commutation test, 24 Conceptual Art, 26, 38, 47, 57, 137, 138, 150, 180 Conceptualism, Linguistic, 47, 153 connotative system, 25-26, 50, 52, 53, 154 Constructivism, 94, 95 content (of art), 3, 10, 13, 20, 24, 26, 46, 52, 60, 63, 66, 74, 80, 86, 88, 94, 98, 99, 100, 102, 106, 107, 109, 112, 120, 121, 130, 134, 136, 141, 146, 151, 153, 162, 181 context, 9, 14, 16, 17, 22, 25, 60, 135, 154, 157, 159, 170; of art, 60, 83, 121, 131, 154; of art history, 43, 113, 157; cultural, 135, 143; esthetic, 65; man-made, 143; mythic, 125, 170; spatial, 84; of words, 160 Courbet, Gustave, 46, 47 Cubism, 74, 75, 77, 79, 162, 164; Analytic, 77; Hermetic, Synthetic, 69, 77 "culinary triangle" (of Lévi-Strauss), 59, 60, 61 culturalization of the natural, 48, 50, 53, 63, 65, 84, 85, 97, 109, 113, 115, 118, 121, 123, 129, 133, 135, 137, 141, 176. See nature culture, 1, 7, 11, 12, 13, 21, 23, 41, 46, 60, 61, 63, 181 190 Index 191 Dada, 57 de Kooning, Willem, 104-05 De Stijl, 87, 90, 94 "deep structure, " 4, 28 Degas, Edgar, 45 Delacroix, Eugène, 45, 47 Delaunay, Robert, 79 denotation, 49, 52, 80, 105, 179 diachrony, 14, 15, 18, 27, 39-40, 181 dialectic, 16, 21, 22, 23, 41, 47, 107, 131, 139, 145, 152, 169, 174, 178. See Hegelian dialectics disequilibrium: of human life, 90; conceptual, 97 Douglas, Mary, 16, 179; Natural Symbols, 179 Duchamp, Marcel, 18, 47, 57, 60, 61, 79, 81-85, 113, 137, 152, 155, 158-70, 173, 181, 182; Rose Sélavy as alter-ego, 166; Bottle Rack, 113, 159; Box in a Suitcase or Valise (Boite-en-valise), 85, Fig. 11, 86, 175; Bride Stripped Bare by Her Bachelors, Even, The (The Large Glass), 60, 159-61, 163, Fig. 44, 164-70, 171, 174, 175; Given: 1. The Waterfall/ 2. The Illuminating Gas, 60, 170; Fountain (a ready-made), 84; s.a., 83; Green Box, The, 84, 160, 161, 164, 169, 181; L. H. O. O. Q„ 147; L'Opposition et les Cases conjuguées sont reconciliées (Opposition and Sister Squares are Reconciled), 158; 3 Standard Stops, The, 84; To Have the Apprentice in the Sun, 159; Tu M\ 65 Duchamp-Villon, Raymond, 78-79; Great Horse, The, 78, Fig. 9, 79; s.a., 78 Earth Art, 146, 147, 180 Empirical, Esthetic (or Mythical) (in Real System), 54, 55, 63, 66, 67, 69, 71, 73, 75, 79, 81, 83, 87, 91, 93, 97, 99, 101, 105, 107, 109, 111, 118, 121, 123, 127, 131, 133, 135, 141, 143, 145, 150, 152, 155 environmental, 50, 54, 133, 135 equilibrium, 41, 90, 97, 125 esthetics, 3, 7, 14, 21, 23, 25, 43, 151, 173; classical, collapse of, 34, 37; as cul-de-sac, 115; of 1890's, 34; early nonobjective, 81; formalist, 130; law-giving, 33; "literalist, " 87; Malevich's, 87; modernist, 165; normalizing, 36; normative, 34; procedures of, 55; Process Art, 136, 140, 141; psychologists of, 45; response, 84; Tatlin's, 95 event, 9, 11, 14, 18, 21, 38, 39, 40, 41, 42; mythic, 44, 47 Expressionism, 33, 65 Fauves, 56, 69 Fiedler, Conrad (doctrine of "pure visibility"), 34 Flaubert, Gustave, 19 Flavin, Dan, 131, 132-33, 135; the nominal three (To William of Ock-ham), 132, Fig. 33, 133; s.a., 132 Focillon, Henri, 43 Formalism, 19, 23, 34, 37, 45, 46, 79, 113, 115, 137, 147 Frankenthaler, Helen, 113 Freud, Sigmund, 171, 173; Totem and Taboo, 171 Fried, Michael, 36 functional rationality, 5 Futurism, 78, 79 Gabo, Naum, 94-95; Column, 94, Fig. 15, 95; s.a., 94 Gauguin, Paul, 70-71; Spirit of the Dead Watching, The, 70, Fig. 5, 71; s.a., 70 Geist, Sidney, 92, 93 "generative grammar, " 27, 31 "genetic epistemology, " 31 "genre" concept, 39 Gestalt psychology, 35, 37, 86, 87 Goya, Francisco, 64; Tauromaquin series, 64 Greenberg, Clement, 36, 102, 113 Haacke, Hans, 142-43; Chickens Hatching, 142, Fig. 37, 143; s.a., 142; Spray of Ithaca Falls: Freezing and Melting on Rope, s.a., 143 Halberstadt, Vitaly, 158 Hamilton, George Heard, 66 Hamilton, Richard, 167 Hauser, Arnold, 37 Hawkins, Gerald S., 176-78; Stonehenge Decoded, 176 Hegelian dialectics, 8, 37 Hesse, Hermann, 1; Glass Bead Game, The (Magister Ludi), 1, 2, 178 historian, art, 2, 3, 4, 21, 22, 32, 34, 35, 36, 37, 39, 43, 58; relationship with artist, 37, 42, 164, 176; support of "against interpretation" doctrine, 32. See also history, art history, 14, 15, 20, 21, 40, 173, 181; as myth, 14, 33, 38, 47; as social philosophy, 39 history, art, 2, 3, 4, 5, 9, 13, 14, 18, 20, 21, 22, 23, 47-48, 162, 173, 179; crisis of, 157; documents of, 168; methods, 59; as mediator, 42; as mythic form, 32-43 192 Index Huebler, Douglas, 148-50; Duration Piece No. 15—Global, 149, Fig. 40, 150; s.a., 148; Location Piece No. 23—Los Angeles-Cape Cod, s.a., 150 humanization of the natural, 181 humanization of natural law, 93 icon, 14, 20, 44, 109, 116, 118, 119, 180 iconography, 22, 23, 71, 161, 164, 169 illusion of historical progress, 5-6 Impressionism, 33, 40, 47, 56, 63, 65, 66, 69 intellectualization (of the unmotivated), 23 Jakobson, Roman, 28 Johns, Jasper, 108-10, 165; alphabet paintings, 110, 165; first flag painting (1954), 109; number paintings, 110, 165; Gray Numbers, 110; Painted Bronze, 108, Fig. 22, 109; s.a., 108; Target with Four Faces, 109 Judd, Donald, 111, 113; Untitled (Eight Boxes), 130, Fig. 32; s.a., 130-131 Jura-Paris road, 161, 162, 164 Kandinsky, Wassily, 35, 80-81; Black Lines, 81, Fig. 10; s.a., 80; Concerning the Spiritual in Art, 81; "Reminiscences, " 81 Kelly, Ellsworth, 128-29; joined panels of late 1960's, 129; Red Yellow Black White Blue, 129; Spectrum, 111, 128, Fig. 31; s.a., 128 Kinetic Art, 36, 38, 125, 133 Klee, Paul, 31, 35, 96-97; Dance Monster to My Soft Song, 96, Fig. 16; s.a., 96; Thinking Eye, The, 97 Kline, Franz, 106-07; Mahoning, 107, Fig. 21; s.a., 106 Kosuth, Joseph, 153-55; One and Three Chairs, 154; Synopsis of Categories, 153, Fig. 42, 154; s.a., 153 Kubier, George, 36, 42—43; Shape of Time, The, 42 Kunstwollen (artistic volition), 5, 34 Land, Edwin, 90 language, 3, 7, 8, 9, 17, 18, 19, 20, 21, 22, 23, 24, 26, 27, 28, 49, 57, 58, 154, 157, 159, 169, 174, 176; art as, 48; equated with art, Eros, 162; essence of, 43; as point of view, 42; standardized product or image as, 119 Leach, Edmund, on Lévi-Strauss, 16, 59, 174 Lebel, Robert, on Duchamp, 159; on The Large Glass, 160, 164, 174 Leonardo da Vinci, 170 Levine, Les, 47, 146—47; Systems Burn-off X Residual Software, 146, Fig. 39, 147; s.a., 146 Lévi-Strauss, Claude, 3, 4, 7, 8-17, 18, 20, 21, 26, 28, 32, 35, 39, 42, 46, 48, 49, 50, 54, 55, 56, 58, 59, 61, 71, 93, 103, 111, 125, 157, 160, 164, 170, 172, 173, 181; Raw and the Cooked, The (Le cru et le cuit), 8, 15, 16, 59; Savage Mind, The (La pensée sauvage), 7, 9, 10- 11, 28, 59; Structural Anthropology, 172 Lichtenstein, Roy, 26, 120-21; Little Big Painting, 120, Fig. 27, 121; s.a., 120 Light Art, 133 Linde, Ulf, 166 linguistics, 4, 18, 20, 24, 27, 154, 169; diachronic, 18; synchronic, 18 Literalism. See Process Art logic, 3, 9, 18, 29, 43, 44, 51, 55, 57, 151, 154, 155, 157; behind mythic structure, 42; Christian, 41; mechanisms of, 165; structure, 59, 136, 137, 153 Louis, Morris, 112-13; Saraband, 112, Fig. 24, 113; s.a., 112 Liischer, Max: personality test, 160 magic, 9-10, 44, 48, 55, 181; as inseparable from religion, 48 Magritte, René, 98-99; Song of Love, 99, Fig. 17, 99; s.a., 98 Malevich, Kasimir, 35, 86-87; Suprematist Composition (Airplane Flying), 86, Fig. 12; s.a., 86; White on White, 87 Manet, Edouard, 45, 46, 47, 64, 65, 75, 87; Mlle. Victorine in the Costume of an Espada, 64, Fig. 2, 65; s.a., 64 Mannerism, 33, 38-39 Matisse, Henri, 15, 46 McLuhan, Marshall, 26, 180 meaning (in art), 13, 19, 25, 26, 49, 57, 60, 113, 150; contextual, 153; icon-ographical, 56; multiple levels of, 77 mediation, 3, 12, 13, 15, 33, 39, 55, 56, 60, 61, 63, 124, 133, 172, 178; art as, like myth, 48, 57, 71; art history as, 42, 48; artist's, 127; failure of artists at, 55; esthetic, 60; cultural, 61; myth as, 173; partial, 127; rules of, 125; universal approach to, 59 Merleau-Ponty, Maurice, 29 messianic technology, S metalanguage system, 25, 26, 50, 52, 53, 61, 75, 104 metaphysics (of art), 4, 33 Index 193 Mimeticism, 60, 61, 65 Minimal Art, Minimalism, 16, 31, 36, 56, 111, 113, 115, 130, 131, 134, 138 Mondrian, Piet, 31, 35, 46, 53, 56, 88- 91; Composition 2, 89, Fig. 13; s.a., 88 Monet, Claude, 46, 66-67; Haystack, Winter, Giverny, 67, Fig. 3; s.a., 66 Moore, Henry, 100-01; Reclining Figure, II (Two Parts), 101, Fig. 18; s.a., 100 morpheme, 49 Morris, Robert, 111, 113, 131, 136-39; Earthwork, 139; Untitled, 137, Fig. 35, 137; s.a., 136; Untitled (Cor-nerpiece), 138—39; s.a., 138 motivated terms, 19, 22-23, 24, 49, 50, 53, 57, 95, 121 myth, 3, 5, 12, 14, 16, 17, 19, 20, 26, 27, 33, 36, 38, 43, 44, 45, 48, 55, 70, 93, 98, 125, 169, 170, 171, 176, 179, 180; art, 33, 47, 180; as basis of Western art, 7; belief essential to, 15; as collective thought, 8; contrasted with science, 10-11; death of, 11; dissolution of, 15; dualities of, 15; forms of, 44; historical, of art, 36, 43, 47, 180; incorporation of, 39; "language of, " 16; as logical system, 71, 172; as mirror of social structure, 179; objective of, 33, 34; of Oedipus, 171- 76; operation of in art history, 39; as reconciliation of poetry and science, 16; "sense of, " 182; structure of, 36; synchronic, 36; temporal, of art, 47; time inversion as a necessary feature of, 141 mythology, 5, 26, 31, 42, 44; of art, 143; science of, 59; subject matter of, used by Turner, 63 Nabis, 69 Natural-Cultural dichotomy, opposition, 12, 17, 18, 20, 33, 48, 55, 56, 57, 59, 63, 95, 97, 99, 100, 113, 143, 164. See "Real System" Naturalism, 33, 36 naturalization of the cultural, 48, 50, 53, 54, 65, 83, 84, 95, 97, 109, 110, 113, 115, 121, 123, 125, 129, 133, 137, 141, 147, 176, 181 naturalization of human actions, 48, 93 naturalization of the motivated, 12, 23 Nature, 8, 9, 11, 12, 13, 19, 32, 33, 60, 61, 62, 71, 72, 73, 101, 171, 175, 181; anthropomorphism of, 48; distinctions in, for Monet, 66; man's separation from, 176; visual effects of, 63 Neoclassicism, 38 Neo-Impressionism, 56, 68, 69 Neo-Plasticism, 88 Newman, Barnett, 133 Nietzsche, Friedrich, 41, 42 Noland, Kenneth, 113, 127; circle paintings, 127 nonobjective art. See abstract art Object Art, 38, 105, 113 O'Doherty, Brian, 38 Oedipus myth, 171-76 Oldenburg, Claes, 122-23; Dormeyer Mixer, 122, Fig. 28, 123; s.a., 122 Oppenheim, Dennis, 144—45; Arm and Wire, s.a., 145; Maze, 144, Fig. 38; s.a., 144 Optical Art, 36, 50, 51, 127 "organic art, " 35 organicism, 35, 37, 43 Orphism, 79 Outdoor Environmentalism, 36 Panofsky, Erwin, 32, 33 Paz, Octavio, 162 perception, 9, 10, 25, 29, 30, 35, 49, 54, 55, 56, 57, 87, 95, 130, 139, 184; of art, 61, 170; beginnings of, 30, 3 1 ; h a b i t s o f , 3 1 , 4 6 ; p a t t e r n s o f , development of, 87; priorities of, 81 periodology, 43 phoneme, 49 phonology, structuralist, 28 Piaget, Jean, 7, 29-31 Picabia, Francis, 161 Picasso, Pablo, 5, 15, 46, 74-75, 77, 87, 159, 162; Daniel-Henry Kahn-weiler, 75, Fig. 7; s.a., 74; Les Demoiselles d'Avignon, 5, 162 plane of association, 23 plane of content, 23, 26, 49 plane of expression, 23, 26, 49 Pointillism, 69 Pollock, Jackson, 5, 46, 56, 65, 77, 102- 03, 107, 111, 113, 114, 130, 131, 134, 135, 137, 138, 140, 141; first drip painting, 1947, 5; drip paintings, 56; Cathedral, 103, Fig. 19; s.a., 102 Poons, Larry, 127; early dot paintings, 127 Pop Art, 26, 36, 109, 119, 121, 123 Post-Impressionism, 65 Poussin, Nicolas, 68 Process Art, 36, 38, 60, 111, 113, 115, 134, 136, 137, 140, 141, 145, 147 Ramsden, Mel, 154; Six Negatives, 154 194 Index Rauschenberg, Robert, 65, 109 Read, Herbert, 100 ready-made, 47, 57, 60, 61, 83, 84, 111, 113, 115, 138, 143, 154, 155, 159, 164, 167, 170 "Real System, " 25, 52, 53, 54, 57, 107 Rembrandt, 45, 81 Renaissance, 30, 33, 38, 44, 55, 176; conventions of, decline of, 45; Early, 32; form and space in, 74; realism in, 56, 88, 91, 170; space in, 87 Rewald, John, 66 Riegl, Alois, 5, 34 Riley, Bridget, 126-27; Current, 126, Fig. 30, 127; s.a., 126 ritual, 3, 4, 12, 59, 176, 179 Rodin, Auguste, 15, 46 Romanticism, 38, 105 Rose, Barbara, 105 Rosenquist, James, 121 Roussel, Raymond, 159, 169; Impressions d Afrique, 159 Rubin, William, 113 rules of art, 7, 13, 23, 25, 33, 42, 47, 57, 69, 80, 84, 90, 154 rules of behavior, 11 rules of language, 17, 18, 19, 21, 28; observed by art, 60 Salmon, André, 74 Saret, Alan, 141 Saussure, Ferdinand de, 4, 7, 17-19, 20, 23, 27, 28, 39, 77; Course in General Linguistics, 17 Schapiro, Meyer, 39 Schwarz, Arturo, 158, 159, 160, 164- 69; "A New Society and a New Language, " 159 science, 5, 6, 13, 16, 21, 24, 35, 43, 170, 176, 179; contrasted with myth, 9- 11 Segal, George, 123 segmentation, 28 Semiology, 11, 17, 19, 20, 22, 23, 24, 25, 26, 27, 34, 58, 59; as segment of linguistics, 20; techniques of, 58 Serra, Richard, 131, 134, 140-41; Casting, s.a., 141; One Ton Prop (House of Cards), 140, Fig. 36; s.a., 140; Stonehenge, 177, Fig. 45, 177, 178 Seurat, Georges, 68-69; Evening, Hon-fleur, 68, Fig. 4; 69 sign, 3, 10, 13, 17, 20, 21, 22, 23, 24, 26, 27, 30, 42, 48, 63, 79, 95, 154, 159, 161, 176 sign of equivalency, 20 sign group, 11 sign system, 3, 17, 21, 23, 27, 30, 31, 58, 63, 162, 169, 170, 176, 180 signification, 8, 9, 26, 30, 31, 166; forms of, 179; of change, 27; transcendency as basis of, 26 signifier, 17, 19, 20, 22, 23, 24, 25, 26, 28, 29, 35, 44, 46, 48, 49, 51, 52, 53, 55, 56, 57, 59, 61, 65, 71, 88, 90, 105, 115, 125, 129, 138, 140, 141, 154, 157, 161, 164, 169, 174 signified, 17, 20, 22, 23, 24, 25, 26, 28, 35, 46, 48, 49, 51, 52, 53, 57, 59, 61, 105, 113, 140, 141, 154, 157, 161, 164, 182 Smith, David, 110-11; Cubi XXV11, 111, Fig. 23; s.a., 110 Sophocles, 174; Oedipus Rex, 174 speech, 17, 18, 19, 20, 21, 24, 25, 27, 28, 49, 176 Stella, Frank, 65, 77, 90, 114-15, 131; early paintings, 90; series starting in 1967, 115; shaped canvases, 65, 115; Newstead Abbey, 114, Fig. 25; s.a., 114 Structural Anthropology, 3, 8, 16, 17, 59. See Lévi-Strauss Structural Linguistics, 3, 8, 10, 20 Structuralism, 3, 6, 16, 28, 58, 71, 77, 169, 174, 179, 180 structure, 3, 4, 8, 9, 11, 13, 16, 21, 26, 55, 138, 182, 183; approach of, toward art, 43-57; as basic, 60; as defining language, 28; historical-mythical, in art, 40, 56, 152; lin-guistical, 151; logical, of art, 60, 168, 169, 174 style, 3, 14, 19, 26, 27, 29, 40, 43, 50, 52, 71, 164, 173, 174; as bête noire of art history, 38-39; plurality of, 40, 53 Suprematism, 86, 87 Surrealism, 98 Symbolism, 35, 56, 70, 71 synchrony, 14, 15, 18, 21, 27, 39-40, 175, 181 syntagm, 18, 19, 24, 25, 28, 29, 46, 49, 137, 159, 161, 174 syntagm-system, 25, 44 system, 17, 21, 22, 24, 25, 27, 28, 46, 49, 51, 138, 154, 156, 159, 161, 166, 174, 179; natural, 143; semi-otic, 31, 162, 169, 176; signifying, 20, 65; staggered, 25-26; totemic, 170, 180 systematic (or associative) unit, 18, 19 taboo, 171, 173 Tachism, 9 Tatlin, Vladimir, 95 theory, art, 4, 33, 36, 37, 81, 157, 170 time, 10, 14, 17, 18, 19, 21, 26, 27, 32- 57 passim, 62, 66, 78, 79, 84, 95, 125, 133, 143, 145, 150, 168, 173, Index 195 180, 181; diachronic, 41, 49, 164; synchronie, 41, 49 Tinguely, Jean, 124-25; Motor Cocktail, 124, Fig. 29; s.a., 124 totem, 3, 11, 12, 34, 176; works of art as, 46, 110, 118, 129, 133 totemism, 11-12, 13, 14, 15, 22, 115; purpose of, 57; nature of, 131; ritual, 55; source of, social cohesion, 44; two main commandments of, 171 transformation, 3, 50, 60, 61, 99, 108, 109, 113, 135, 167 "transgression, " 46, 47, 84, 137; formal, 46, 47, 56, 65, 146; historical, 46-47, 146, 147 Troubetzkoy, N., 28 Turner, J. M. W., 47, 62, 63; Rain, Steam and Speed Great Western Railroad, 62, Fig. 1, 63; s.a., 62 unmotivated terms, 19, 22-23, 49, 50, 53, 54, 57, 121, 141 Van Gogh, Vincent, 22, 23, 46 value (of work of art), 22, 150, 161, 179 Venet, Bernar, 152-53; Logic of Decision and Action, The, 153, Fig. 41, 153; s.a., 153 Warhol, Andy, 116-19, 121, 131; early soup cans, 118; Portrait of 16 Jackies, 117, Fig. 26, 116-18; s.a., 116 Weitz, Morris, 38-39 Western art, 7, 40, 44, 131 Wittgenstein, Ludwig, 28 Wölfflin, Heinrich, 35 Worringer, Wilhelm, 34-35, 61; Abstraction and Empathy, 34 |
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