| Volltext: | I N D E X Absence, 91, 118, 120, 143; in painting, 5I—52 131, 136-37, as whiteness, 126. See also Being; Light; Painting; Presence Absolute: as act, 128; in Byzantine art, 23; and color, 146; desire for, 143; and light, 154, 160; in Mondrian, 104; in object, 94; in painting, 45, 158; primacy of, 153; sign of, 105; in simple forms, 47; as transitory, 101. See also Art; Light; Unity Agliè, church of, 32 Agony of the Garden (Andrea Mantegna), 83 AJberti, Leone Batdsta, 56, 78 Angelico, Fra, 62-63, 78 Annunciation, 27, 155 Annunciation (Piero della Francesca), 57 Annunciation (Jacopo da Pontormo), 165-66 Archeology, 73-74, 75, 80 Architecture, 26, 32, 39, 41; Mansard style of, 145; and time, 54. See also Painting Aristotle, 56 Art: abandonment of, 123; absolute in, 36; and being, 42, 52, 53, 205-6; body in, 35-36; and chance, 183; as cosa mentale, i3ôn.4; as cryptic, 28; and death, 11, 118; distance in, 151; dream in, 82; and the ephemeral, 20; and exile, 27, 41, 89, 160; existential realities of, 8; failure of, 123-24; freed from mimesis, 4; humor in, 37; as icon, 165, 168; and illusion, 29, 74; and intellect, 78; and knowledge, 181; and language, xiii; and love, 25-26; materiality of, 12, 32; modern, 93-94; music of, 165; and nature, 77-78, 143; Northern, 94; as openness to world, 147; and poetry, xiii; production of, 62-63; reading of, 28; and reality, 51; and simplicity, 32-33; and spirituality, 59, 61-66; as subjective, 53; and thought, 9; and time, 48, 121; and transcendence, 47; vulnerability of, 43 ; and world, 4, 13, 14, 64. See also Being; Dream; Idea; Immediacy; Landscape; Light; Love; Painting; Place; Presence; Unity Art history, xii, xviii, 9-10, 28 Artist: as protagonist, 12 Athens (Henri Cartier-Bresson), 181-82, fig. 17 Axel (Villiers de l'lsle-Adam), 103 Bacchanal of the Andrians (Titian), 68-69 Bacchus and Ariadne (Titian), 69 Bach, Johann Sebastian, 102 Bacon, Francis, 141 Balthus (Balthasar Klossowski de Rola), xviii, 127-39, 167. Works: The Children, 132; The Farmyard, 138; Girl at a Window, 138; Girl in White, 138; The Goldfish, 138; The Guitar Lesson, 132, 133, 134; Italian Landscape, i33n.2; The King of Cats, 128-31, 133, 1350.4, fig. 13; Larchant, 132-33, I33n.2, 138; The Mountain, 134; Nude in Front of a Mantel, 135; Nude with a Cat, 135-36; Le Passage du Commerce Saint-André, 11, 13, 136-38; Portrait of André 2 1 8 I N D E X Balthus (Balthasar Klossowski de Rola), (cont.) Derain, 132; The Room, 139; The Street, 13, 131-32, 133, i35n.4, 136, 137, pl. 7; Thérèse Dreaming, 135; Three Sisters, 139 "Bamboccianti" 94 The Baptism of Christ (Piero della France-sca), 38, pi. 2 Baroque art, xviii, 31-33, 73, 75 Barthes, Roland, xviii, 191-92 Bashö, 179 "Le bateau ivre" (Arthur Rimbaud), 172 Baudelaire, Charles, 14, 72, 90, 94, 112, 120, 130, 131; and color, 170 Beauty, 101; as curse, 124. See also Unity Beethoven, Ludwig van, 102 Being (existence), 37, 46, 90, 104, 113; and absence, 126; and appearance, 128, 147; and art, 4, 11, nn.$, 12, 27; and concept, 52, 55; as contrary to essence, 41; and death, 115-20, 124; and doubt, 159; dwelling place of, 23, 123; experience of, in painting, 93, 132, 153; exteriority of, 91; as fini-tude, 40; and image, 92; and knowledge, xv; and lack, 167; mountain of, 115-17, 121; and nonbeing, 173; as opposite to having, 122; and place, 144; and plenitude, 108; precariousness of, 68-69, 92; and presence, 93, 116; relation to earth, 64; rejection of, 20; representation of, 55, 87; synthesis of, 143; and terror, 145; and time, 51; as world of signs, 112. See also Absolute; Art; Child; Color; Finitude; Form; Image; Light; Music; Poetry; Reality; Representation; Writing Bellini, Giovanni, 59-69, 78, 84. Works: Coronation of the Virgin (Pesaro altar-piece), 65-66; Death of St. Peter Martyr, 62; Feast of the Gods, 66-69, fig- 5J Orpheus, 68; Pietà, 59, 63, fig. 4; Sacred Allegory (Meditation on the Passion), 61; Transfiguration, 59 "Belliniani" 66 Bembo, Pietro, 68 Bernini, Giovanni Lorenzo, 32 Bodhisattva of Horyuji, xx Body, 121, 155-57, 183; in painting, 64, 72-73, 154, 163-65, 167-68, 171. See also Art; Color; Gaze Bonnard, Pierre, 113, 126 Bor, Paulus, 94 Bosch, Hieronymus, 82 Botticelli, Sandro, 23, 26, 55, 80, 84. Works: La derelitta, 58 Bouge N (Claude Garache), 163, pi. 10 Bourdon, Sébastien, 94, 110 Bouts, Dirk, 64 Brandi, Cesare, 112 Breenbergh, Bartholomeus, 94 Brera altarpiece (Piero della Francesca), $8, 75, 80 Breton, André, 6 Brunelleschi, 53, 54, 71, 78, 135 Bryson, Norman, 9—10 Buddhism, 173, 178-80 Byzantine art, 19-24, 45; excess and moderation in, 23, 24; and eternity, 20, 21; and the sacred, 23 California Hills (Edward Hopper), 153 Callimachus, 47 Camera degli Sposi (Andrea Mantegna), 10, 75-77, 78 Cape Cod Morning (Edward Hopper), 154-55 Carolus-Duran, 141 Carravagio, xviii, 87, 90, 93, 166 Cartier-Bresson, Henri, 8, 175—86. Works: Athens, 181—82, fig. 17; Colette and Her Companion, 183; Funeral of a Kabuki Actor, 183-84, fig. 18; Place couverte de Simiane, 178; Place de l'Europe in the Rain, 175^77, fig- 16 Case del campiaro a Grizzana (Giorgio Mor-andi), no Castagno, Andrea del, 55-56, i35n.4. Works: The Last Supper, 55-56; Three Scenes from the Life of Christ, 55 I N D E X 2 1 9 "Celebration of Peace" (Friedrich Hölderlin), 95 Ceres: myth of, 87-92 Cézanne, Paul, no Chair Car (Edward Hopper), 150, 155, 157, 158 Chaldea, 126 Chance, 104-5 Chardin, Jean-Baptiste-Siméon, 109 Chase, William Merritt, 141 Chiaroscuro. See Light Child, 21, 137, 139, 172; and death, 138; and light, 199; as mode ofbeing, 138; representation of, 45; and world, 132, 179, 181 Childhood, 116, 117, 124, 131, 214 77ie Children (Balthus), 132 de Chirico, Giorgio, 39—41, 109. Works: The Mystery and Melancholy of a Street, 39-40, fig. 3 Christ: humanity of, 71—72; ofSopocani, 21 Christian art, 47, 63 Christianity, 21, 50, 92, 167; relation to humanism, 80 Cimabue, 47 Cimarosa, Domenico, 41-42 Circuit (Alberto Giacometti), 120 City: painting of, 153. See also Light; Place Classical art, 108 Clouds: representation of, 77-78, 83; as sign, 100-101, 104-5 Colette and Her Companion (Henri Cartier- Bresson), 183 Color, 7, 32-33, 73-^74, 77~78, 94, H9i and being, 5, 146; as beyond meaning, 169; blue, 170, 173; and body, 156- 57, 164; and darkness, 141-42, 148-49; and death, 117; in Garache, 163-65, 168-74; and harmony, I34n.3, 145-46; and image, 170; language of, 173; and light, 103, 159; as matter, 168; in modern painting, 142— 43, 163-65, 168, 169-74; in Mon-drian, 99—101, 102, 105; in Morandi, 108, 109; as mystery, 160; of objects, 50; painter's use of, 157-58; perception of, 2, 145; power of, 169—74; as presence, 126; red, xvii, 5, 33, 101-2, 122, 137, 141, 146, 163-64, 167-68, 170-72, 173; representation of, 137; as unity, 164, 173; as unknown, 122; values of, 156, 157, 173; and world, 146; yellow, 146, i46n.5. See also Absolute; Hope; Light Concept, 8; in criticism, xii-xiii, xvi; in language, xv; in painting, xvi, 130; and perception, 9; and perspective, 50-51. See also Being; Drawing Conference at Night (Edward Hopper), 157 Constable, John, 4, 147, 211-13 Corbin, Henry, 46 Corn Hill (Edward Hopper), 153 Coronation of the Virgin (Giovanni Bellini), 65—66 Corot, Jean-Baptiste Camille, I35n.4 Correggio, 76 Courbet, Gustave, I35n.4 The Creation of Adam (Michelangelo), 165 Criticism: in art, 13, 14; written by poets, 9-10; as mental process, xii-xiii; and poetry, xviii; as subjective, xviii-xix. See also Poetry Crivelli, Carlo, 78 Crucifixion (Andrea Mantegna), 77, 83 Cubism, 128, 159 Dante, 49 Death, 24, 32, 57-58, 115-20, 122-23; and poetry, 6; representation of, 178, 183-84. See also Absence; Art; Being; Child; Love; Nothingness; the Stranger; Time The Death ofEmpedocles (Salvatore Rosa), 94 Death of St. Peter Martyr (Fra Angelico), 62 Death of the Virgin (Andrea Mantegna), 65, 84, pi- 4 Degas, Edgar, 150-51, 165, 167, 171, 172, 185 2 2 0 I N D E X Delacroix, Eugène, xviii, xx, 100, 130, 147, 172, 173; and color, 170 Depth: in painting, 105, 183 De pulchritudine simulacrum (St. Augustine), 64 La derelitta (Sandro Botticelli), 58 Les déserts de l'amour (Arthur Rimbaud), 124 Desire: as eros, 139, 142, 156; as form, 33; and image, 102; mystery of, 91; in painting, 135. See also Love; Painting Donatello, 55, 59, 71, 72. 74 Don Giovanni (Wolfgang Amadeus Mozart), 42 The Dormition of the Virgin, 21-23, fig. 1 Drawing, 8, 85-86; and immediacy, 20412.29; and presence, 126, 185-86; as surpassing concept, 171-72 Dream, 23; in art, 100, 101; figures in, 136; and the imaginary, 191-92; and meaning, 108, 113; and poetry, 196; and reality, 177, 183. Sec also Art; Image; Imaginary; Painter Duccio di Buoninsegna, 46 Dürer, Albrecht, 63, 66 Early Sunday Morning (Edward Hopper), i$3 Earth: as epiphany, 94; as matter, 38; renewal of, 113; representation of, 65- 66, 87, 93, 94, ioo. See also Finitude East Side Interior (Edward Hopper), 148, 149 Egypt. See Place Elegance: and sorrow, 23 Elsheimer, Adam, 85-95, 166. Works: The Mocking of Ceres, 87-93, fig. 9; Waldrand, 85-86, fig. 8 Ephemeral. See Art; World d'Este, Alfonso, 69 d'Este, Isabella, 67, 68, 83 Etching, 148-49 Eternity: and instant, 102, 167, 179. See also Time Evening Wind (Edward Hopper), 148 Excursion into Philosophy (Edward Hopper), 142 Expressionism, 144, 146-47 Eyck, Jan van, 64 The Fall (Michelangelo), 165 The Farmyard (Balthus), 138 Fauvism, 142, 159 Fayum, 126 Feast of the Gods (Giovanni Bellini), 66- 69, fig- 5 Feast of the Rose Garlands (Albrecht Dürer), 66 The Finding of the Body of St. Mark (Tintoretto), 46 The Finding of Moses (Nicolas Poussin), 5 Finitude: in art, xii, 42, 104; and being, 105; and earth, 92; as time, 48 The Flagellation of Christ (Piero della Fran-cesca), 26, 57, 77 Flaubert, Gustave, 177 Focillon, Henri, 44 Form, 7, 56; and anxiety, 134, 136; in art, 38, 46, 180-81, 183; as being, 24, 32; cult of, 103; as incarnation, 19; as Intelligible, xx, 65, 92, 108, 180; as matter, 23; and reality, 42; spatial, 62; as writing, 23. See also the Intelligible; Painting French art, 142-44 Freud, Sigmund, 104 Fromentin, Eugène, 160 Funeral of a Kabuki Actor (Henri Cartier- Bresson), 183-84, fig. 18 Garache, Claude, 5, 163-68; 171-74; 210-11. Works: Bouge N, 163, pi. 10 Gaze: as affirmation of world, 180, 181, 183; artist's, 12, 13, 143, 155; in painting, 57, too, 137-38 Géricault, Théodore, 173 Gandhi, Mahatma, 179 Giacometti, Alberto, xviii, 80, 115-26, 166-67, 185; concern with being, Ï05-67; funeral of, 115—17, 118, 122; studio of, 165. Works: Circuit, 120; Head of a Man (Diego), 124-25, fig. 12; The Hour of the Traces, 120; The Invisible Object, 11, 118-20, fig. 11; Vue de l'atelier à Stampa, 126, pl. 6 Giorgione, 63, 66, 67. Works: Pastoral Symphony, 66, 68 Giotto, 49-50, 53, 54, 128. Works: Lamentation, 49; Nativity, 49; Noli me längere, 49 Girl at Sewing Machine (Edward Hopper), 149, 154, 155 Girl at a Window (Balthus), 138 Girlie Show (Edward Hopper), 142 Girl in Wltite (Balthus), 138 Giverny, 159 The Goldfish (Balthus), 138 Gonzaga family, 75 Gothic art, 31, 48-49, 54, 61, 78 Goya y Lucientes, Francisco José de, 76, 166 Grabar, André, 47 Grace: notion of, 77, 80, 109, 128, 135 Greco, El, 27, 41, 44, 53, 101 Greek art, 20, 21, 23, 32, 42, 46-48, 57-58 The Guitar Lesson (Balthus), 132, 133, 134 Hamlet (William Shakespeare), 82, 84, 109, 130 Harmony, xix, 26, 47; in art, 35; in painting, 71, 87, 138; universal, 52; in world, 102-3. See also Color; Symmetry Head of a Man (Diego) (Alberto Giaco-metti), 124-25, fig. 12 Henri, Robert, 141-42, 147 Herrigel, Eugene, 178-79 High Noon (Edward Hopper), 154 Hills South Truro (Edward Hopper), 153 History, 51; and painting, 72-74, 75, 76, 78, 83; as ruin, 82 Hohenzollern, Barbara von, 75 Hölderlin, Friedrich, xv, 6, 42, 95 Hope, 41, 92, 100, 102, 112; absence of, no, 112; in art, 151; and color, 173; meaning of, 113 ; as new beginning, I N D E X 2 2 1 113; power of, 123; as word, 118. See also Light; Painting Hopper, Edward, xviii, 141-60, 166. Works: California Hills, 153; Cape Cod Morning, 154-5$; Chair Car, 150, 155, 157, 158; Conference at Night, 157; Corn Hill, 153; Early Sunday Morning, 153; East Side Interior, 148, 149; Evening Wind, 148; Excursion into Philosophy, 142; Girl at Sewing Machine, 149, I54, 155; Girlie Show, 142; High Noon, 154; Hills South Truro, 153; The House by the Railroad, 145; The Lighthouse at Two Lights, 153; Man Drinking, 141; Morning Sun, 155-57, p'- 9', On the Quai, 148; Night in the Park, 148; Night on the El Train, 148; Night Shadows, 148; Le Parc de Saint-Cloud, 143; Pennsylvania Coal Town, 155; Road and Trees, 149-50, 158; Room in Brooklyn, 154; Room in New York, 151-153, fig. 14; Rooms by the Sea, 158; Second Story Sunlight, 151; Self-Portrait, 151; Seven A.M., 149-50; Skyline, Near Washington Square, 153; South Truro Church, 153; Squam Light, 11, 144-47, 150, 153, 155, pi. 8; Summer in the City, 142; Summertime, 153-55, fig- 15; Sunday, 149; Sun in an Empty Room, 158-59; Sun on Prospect Street, 153; The Two Comedians, 158; Vermont Sugar House, 153; A Woman in the Sun, 155 The Hour of Traces (Alberto Giacometti), 120 The House by the Railroad (Edward Hopper), 145 Hudson River School, 145 Hugo, Victor, 183 Hyperion (Friedrich Hölderlin), 42 Idea, 40; in art, 27, 36, 44, 90, 92; as distance from the world, 26; negation of, 38; as pure form, 46; and sensory experience, 133; and timelessness, 50; and world, 56-57 2 2 2 I N D E X Illusion: in art, 42. See also Art; Image; the Intelligible; Perspective Image, xvi, 20; in art, 10, 51; attraction of, 7; and being, 100, 122; definition of xvii; and faith, 64; hegemony of 4; idolatry and iconoclasm of I9I-97J and illusion, 93, 191-97; and immediacy, 171; as lure, 13-14; and meaning, 172-73; as timeless, 45; unreality of 101; and world, 127. See also Being; Desire; Imaginary Imaginary, 7, 29, 55; as liberation, 93; and reality, 177; and world, 15. See also Dream; Reality Immanence, 123. See dise Painting; Place; Presence Immediacy: in art, 86, 170-72, 173-74. See also Image Impressionism, 100, 142, 143, 147, 150, 159 Incarnation: and object, 102. See also Time Intelligible, the, 8, 11, 27, 39, 54; in art, 36, 38-42; and being, 61; as illusion, 41; quest for, 62; as unity, 57. See also Form The Invisible Object (Alberto Giacometti), 11, 118-20, fig. 11 l'lsle-Adam, Villiers de, 103 Italian art, 26-29, 35-42, 43-58, 59-69, 71-84, 87, 94, 107-13 Italian Landscape (Balthus), I33n.2 Judith (Andrea Mantegna), 75 Kafka, Franz, 167 Kertész, André, 185 Kierkegaard, Soren, 33, 57 The King of Cats (Balthus), 128-31, 133, l35n-4, fig- 13 Knowledge, 52; in art, 56. See also Art; Being; Painting; World Lamentation (Giotto), 49 Landino, Cristoforo, 55 Landscape, 64, 65; in art, 110-12; imaginary, 164; Italian, 116; and painting, 100, 133, 133112., 134, 138 Language, 173; as element in painting, xvi; English, 130; Italian, 116; and poet's need to fragment, xix; and reality, 120; rejection of 108, 109, no, 112, 113; and self, xviii-xix; as sign, xiv; as sound, xiv-xvii; and unity, 108. See also Art; Poetry; Unity; Word; Writing Larchant (Balthus), 132-33, I33n.2, 138 Last Supper, 94 Last Supper (Andrea del Castagno), 55-56, 13 5n-4 Last Supper (Leonardo da Vinci), 51 La Tour, Georges de, 45, 89, 94 Legend of the True Cross (Piero della Fran-cesca), 35-39, 43, %• 2 Le Nain, 94 Leonardo da Vinci, 51, 53, 55, 94 Lettre du voyant (Arthur Rimbaud), 54 Light, 92, 111-13; and absence, 145; as absolute, 154; and being, 148, 203-4, 213-15; and body, 156-57; character of 5; and chiaroscuro, 90; and city, 149; and darkness, 38, 87-89, 117, 139, 148, 172, 173, 200-204; as epiphany, 101, 181; and essence, 109; in history of art, 40-42; as hope, 155; as matter, 99, 146; in nature, 143; in painting, xvii, 133; poetics of, 188-91, 197-204, 214-15; in poetry, 201-4; as presence, 155, 204; and self 145-46; and shadow, 24, 32, 39—42, 64, 89, 109, 142-44, 156, 157; as signifier, 153—59' and sun, 40-42, 121, 147, I55_59 190-91; and transcendence, 149; as unique reality, 166; unrepresentability of, 202-4; and unity, 147; and world, 185 The Lighthouse at Two Lights (Edward Hop-per), 153 Loneliness, 154-55; tàez of, 151; in painting, 148, 149, 150, 157; Loss, 15, 92, 151. See also Death; Painting Love, 21, 23, 62; and death, 123; as eros, 66; for works of art, xviii, 12. See also Art; Desire; Reality Lovejoy, Arthur, 64 Lysippus, 46 Madonna, 27, 44, 45, 58, 62, 64. See also Rucellai Madonna; Senigallia Madonna Madonna del Parto (Piero della Francesca), 3^38 Madonna of the Stonecutters (Andrea Man-tegna), 82-83 Madonna of Victory (Andrea Mantegna), 78, 80, fig. 6 Mahler, Gustav, 102, 103 Mallarmé, Stéphane, 105, 109, 123, 126, 177, 179 Man Drinking (Edward Hopper), 141 Manet, Edouard, 27, 142, 170 Mannerism, 53, 56, 87, I35n.4 Mantegna, Andrea, 59, 61, 62, 64-65, 66, 68, 71-84; frescoes in Ovetari chapel, 72, 73, 74, 76; painting of dead Christ, 75, of St. Luke, 75. Works: Agony in the Garden, 83; Camera degli Sposi, 10, 75-77, 78; Crucifixion, 77, 83; Death of the Virgin, 65, 84, pi. 4; Judith, 75; Madonna of the Stonecutters, 82—83; Madonna of Victory, 78, 80, fig. 6; Parnassus, 83; St. Bernardino, 80; St. James Led to Martyrdom, 73; St. Sebastian (Louvre), 80-83, fig. 7; St. Sebastian (Vienna), 82-83; Triumph of Caesar, 75, 80, 84; Triumph of Scipio, 75, 80, 84 Marquet, Albert, 143 Masaccio, 54-56, 128 Mason, Raymond, 5, 166 Matisse, Henri, 177 Meaning: the loss of, xiv, xv Melancholy, 33, 40-41, 47, 58, 68, 80, 131, 134, 135, 139, 145. 148; in Hopper, 149; in Mondrian, iox, 102, 105. See also Loneliness; Mourning; World Melville, Herman, 112 Memory, 137 Merleau-Ponty, Maurice, 5, 188, 215-16 I N D E X Messina, Antonello da, 61, 62 Metamorphoses (Ovid), 91, 93 Metaphor, 38 Michelangelo, 27, 136, 165 Millet, Jean-François, 164, 166 Mistra, 20 The Mocking of Ceres (Adam Elsheimer), " 87-93, fig- 9 Mondrian, Piet, 5, 7, 99-106; New York paintings of, 106; use of grid in, 103-4, 105. Works: The Red Cloud, 99-102, 104-6, 159, pi. i. See also Color Monet, Claude, 144, 147, 159 Monroe, Marilyn, 120, 166 Morandi, Giorgio, 107-113, 166; objects in, 108-9, 111-12, 113. Works: Case del campiaro a Grizzana, 110; Still Life, 108, pi. 5; Strada Bianca, uo-n, fig. 10 Morning Sun (Edward Hopper), 155-57, pi. 9 Die Mountain (Balthus), 134 Mourning, 122, 153; representation of, 183-84. See also Death; Loss; Melancholy Mozart, Wolfgang Amadeus, xx, 23, 42, 102 Munkacsi, Martin, 185 Murano, 45 Museum: open space of, 122. See also Place Music: and being, 102-3. See also Art; Painting Die Mystery and Melancholy of a Street, 39- 4°. fig- 3 Myth, 89-93 Nativity (Giotto), 49 Nativity (Piero della Francesca), 38 Nature, 21, 130; as Arcadian, 116, 118-20; in art, 92; and being, 66; and material world, 72W3! in painting, 63, 65, 69, 100. See also Art; Landscape Neoclassical art, 41, 42 Nerval, Gérard de, 42, 89, 95, 120 2 2 4 I N D E X Night on the El Train (Edward Hopper), 148 Night in the Park (Edward Hopper), 148 Night Shadows (Edward Hopper), 148 Noli me tangere (Giotto), 49 Nothingness, 105, 106, 109, 112, 117; in painting, 137; and representation, 164, 165, 166, 167. See also Absence; Death; the Stranger Nude with a Cat (Balthus), 135-36. Nude in Front of a Mantel (Balthus), 135 Number. See Symmetry Object, 108, 109, 112-13, 124; materiality of, 128; painter's relation to, 126; as residue of symbol, 120; strangeness of, 118-20. See also Absolute; Color; Painting O'KeefFe, Georgia, 142 On the Intellectual Beauty, (Plotinus), 44 On the Quai (Edward Hopper), 148 Orpheus (Giovanni Bellini), 68 Or'San Michele, church of 54 Ortega y Gasset, José, I33n.2 Ovetari, chapel of 72, 73, 74, 76 Ovid, 91, 93 Painter, dreams and sensations of 2, 145; as poet, 211—13; task of 128 Painting: and absence, 26; absolute in, 27; architecture in, 77-78, 82; artist's model in, 156; as battleground for language and being, 128; composition in, 61, 65, 73, 103, 136, 150, 165; and concept, 170; as copy, 28; as cosa men-tale, 153; and death, 122; depth in, 46, 51, 55; and the divine, 52; dream in, 4; and earth, 138; the erotic in, 131-32; and existential stituations, 76- 77. 151-53; forms in, 57; goal of, 132; as hope, 153; human presence in, 150; and illusion, 15; and immanence, 58; and immediacy, xvii, 13, 127, 169-74; as investigation of reality, xvii; and knowledge, 27; as lost, 27; as lure, 8, 14-15; mental nature of, 128, 133, 134, 136, 137, 138, 139, 157; as metaphysical, 158, 160; music of, 100, 102, 107; and narration, 153, 160; objects in, 108-9; ornamental motifs in, 77-80; and poetry, xvi, xvii, xviii, 3, 11, 13; differences between, 210-11; as place, too, 105; of encounter, 12; and the real, 147; and reference, 159, 160; and religion, 78, too; silence in, 107, 109; spirituality in, 77; and subjectivity, 132; task of 160; technique of 99, 105, 120-21, 123, 177; and time, 44-55; as truth, 14-15; universal in, 107; and unreality, 131; and the visible, 61; and world, 26, 27, 173, 198-99; as writing, 102, 124-25. See also Absence; Body; Depth; Gaze; History; Landscape; Perspective; Place; Poetry; Presence; Space; Symmetry Le Parc de Saint-Cloud (Edward Hopper), 143 Paris sansfn (Alberto Giacometti), 166 Parmenides (Plato), 36, 37 Parmigianino, 28, 41 Parmigiano. See Parmigianino Parnassus (Andrea Mantegna), 83 Le Passage du Commerce Saint-André (Balthus), 11, 136-38 Pastoral Symphony (Giorgione), 66, 68 Pennsylvania Coal Toum, (Edward Hopper), 155 Perception, 50-51; in art, 44, 126; and color, 171; and world, 178-80. See also Concept Perspective, 26, 65, 128; and illusion, 53; in painting, 46, 50-57, 61, 67-68, 71, 73. 75. 77- See also Concept Pesaro altarpiece. See Bellini, Giovanni Phidias, 167 Photography, 8-9, 175-86; composition in, 180-83, 184; as epiphany, 186; and painting, 185; and the real, 177 "The Piazza" (Herman Melville), 112 Piero della Francesca, 26, 35-42, 43-44 54, 56-58, 61-64, 77, 107, 128, 134, I34n.3, 135, I35n.4, 173; and Balthus, 134-35; hats in, 35-37, 39; lost paintings at Ferrara, 72. Works: Annunciation (Perugia), 57; The Baptism of Christ, 38, pi. 2; Brera altarpiece, 58; The Flagellation of Christ, 57, 77; Legend of the True Cross, 35-39, fig. 2; Madonna del Parto, 37-38; Nativity, 38; Resurrection, 57; Senigallia Madonna, 58 Pietà (Giovanni Bellini), 59, 63, fig. 4 Pippo Spatio (Andrea del Castagno), 13 5n-4 Pissarro, Camille, 144 Place, 7, 115-16; in America, 144-45; and being, 105; as city, 153; as distance, HI, 112, 132, 133; as Egypt, 118, 122, 123, 124, 138; and emptiness, 108; in France, 144, 159; as habitable, HI, 112-13; here-and-now of, 20, 61, 172; as home, 138-39; as house, 144-45; and location of artworks, 26, 27-28; and museums, 25- 26, 27, 28; otherness of, 145; in painting, 25-29; as passage, 136-37; and plenitude, 133; as room, 156-58; speech as, 112; as threshold, 20; and time, 40-41; as transcendence, 23, 165; as true country (le vrai lieu), 20, in, 210; as world's center, 144-45. See also Painting; Time; Unity; World Place couverte de Simiane, (FLenri Cartier- Bresson), 178 Place de l'Europe in the Rain (FFenri Cartier-Bresson), 175-77, fig. 16 Plato, 36, 37, 40-41. Works: Parmenides, 36, 37; Sophist, 37; Timeas, 36 Platonism, 41 Plenitude, 157; and lack, 131; in painting, 134. See also Flarmony; Place; Presence; Symmetry Plotinus, 44, 47. 5T 57 Poe, Edgar Allan, 109, 142, 148 Poelenburgh, Cornelis van, 95 Poetry, xiv, 92; and being, 6, 93; and criticism, xvi; difference from painting, 169^74; as haiku, 179; as lucidity, 89; in painting, 58, 66; poetic reading of, I N D E X xvi, xix; as presence, xix, 124; as sound, xv; as struggle, xv; as supreme reality, 109; traces of, III; and transgression of self, xix; as unity, xvi; and world, 169^70. See also Art; Death; Dream; Light; Painting; Representation Polycletes, 48 Pontormo, Jacopo da, 41, 165-66 Portrait of André Derain (Balthus), 132 Portraiture, 124-25, 128-31, 150, 183 Pound, Ezra, 177 Poussin, Nicolas, xviii, xx, 7, 27, 93, no; color in, 170. Works: The Finding of Moses, 5 Presence, xx, 6, 11, 23, 95, 171; and absence, 7, 23, 116, 138, 181, the mystery of, 160; in art, 8, 27, 68; and artist, xii; and being, 100, 137; as beyond representation, 13; and body, 150; description of, 5, 194-95, !9ö, 198; as divine, 102, 149; as elusive, 90; as epiphany, 101-2; as essence, 120; as experience of real, 133; and finitude, 24; and image, 105, 192; as immanence, 31; and intellect, 128; as light, 166; as physical, 47; as plenitude, xv; within instant, 126; questioning of 166; as reality, xv; rejection of 92; and representation, xvii; and sign, 160; tangibility of, 32, 63; and world, 157, 166, 173. See also Color; Drawing; Light; Painting; Poetry; Representation; Writing Profanation of the Host (Paolo Uccello), 26 Proportion: in art, 32 Prose (Stéphane Mallarmé), 109 Proserpine, myth of, 90-92 Protestantism, 95, 159 Proust, Marcel, 58, 146, i46n.5 Pythagoras, 102 Quattrocento art, 26, 43-58, 108 Racine, Jean, 105 Raphael, 41 2 2 6 I N D E X Ravenna, 23, 48 Reading: and the work of art, 44-45 Realism, 100, 134, 135, 138; American, 147-48; and the improbable, 128 Reality: and appearance, 167; as being, 38; as beyond representation, 15; as centered space, 123; and eros, 131-32; nature of, 174; painting of, 160; precedence over imaginary, 147; representation of, 133; and sacred, 63; signs of, 157. See also Art; Imaginary; Time; Unity; Word The Red Cloud (Piet Mondrian), 99-102, 104-106, 159, pi. i Rembrandt, 44, 93, 94 Renard, Jules, 177 The Repentant Magdalen (Georges de la Tour), 45 Representation, xv; and being, 4, 5, 7, 133, 172, 180-82; dialectics with presence, xviii; as fractured, xvii; illusion in, i in.5, 145; as mimesis, 181; mise-en- question of, 205-9; mythical and metaphorical, 50; perspective in, 52; and photography, 178; and theology, 62; and unreality, 74. See also Art; Dream; Earth; Nothingness; Presence; Reality; Ut pictura poesis Resurrection (Piero della Francesca), 57 Rimbaud, Arthur, 38, 54, 120, 123, 124, 172 Road and Trees (Edward Hopper), 149-50, 158 Romanesque art, 32, 46, 100 Romanticism, 95 Rome, 73, 74, 82, 95 The Room (Balthus), 139 Room in Brooklyn (Edward Hopper), 154 Room in New York (Edward Hopper), 151-53, % H Rooms by the Sea (Edward Hopper), 158 Rosa, Salvatore, 94 The Rout of San Romano (Paolo Uccello), 13511.4 Rubens, Peter Paul, 23, 173 Rucellai Madonna (Ducio di Buoninsegna), 46 Sacred: precariousness of, 90; and profane, 36, 46, 66. See also Reality Sacred Allegory (Meditation on the Passion) (Giovanni Bellini), 61 St. Antonio, basilica of, 72 St. Augustine, 64 St. Bernardino (Andrea Mantegna), 80 St. James Led to Martyrdom (Andrea Mantegna), 73 Saint Lawrence, 86 St. Maria dei Miracoli, church of, 59 Saint-Savin, church of, 46 St. Sebastian (Louvre) (Andrea Mantegna), 80-83, fig- 7 St. Sebastian (Vienna) (Andrea Mantegna), 82—83 St. Zaccaria, church of, 66 San Francesco, church of, 35, 43, 78 San Giacomo della Marche (Cosimo Tura), 58 San Marco, convent of, 63 Santa Croce, church of, 71; museum of, 27 Sant'Apollonia, church of, i35n.4 Santo'Ivo della Sapienza, church of, 32 San Zeno, altarpiece of, 74, 77, 80 Sargent, John Singer, 141 Schiavone, Andrea, 78 Schoenberg, Arnold, 103 Sculpture, 26, 118-23, I2^' and betng 166 Second Story Sunlight (Edward Hopper), 151 Seghers, Hercules, 94, no, 166 Self: hesitations of, 101; in painting, affirmation of, 84, alienation of, 151_ 52, awareness of, 158, effacement of, 132, mastery of, 130, 133, 138; and place, 145; questioning of, 118; representation of, xv; and world, 145- See also Language; Light; Poetry; Unity Self-Portrait (Edward Hopper), 151 Senigallia Madonna (Piero délia Francesca), 58, I37n.5 Seurat, Georges, 164, 166 Seven A.M. (Edward Hopper), 149—50 Shadow. See Light Shakespeare, 6, 102. Works: The Winter's Tale, iin.5 Signs: in art, 10, 100-101, 104-5, 151 160; autonomy of, xix; and being, 172, 173-74. See also Absolute; Clouds; Light; World Silence: in painting, 152 Skyline, Near Washington Square (Edward Hopper), 153 The Song of the Earth (Gustav Mahler), 102 Sophist (Plato), 37 Sopocani, Church of the Trinity at, 20- 23, fig- I Sound: in painting, xvii South Truro Church (Edward Hopper), 153 Space: as conceptual, 51; as dissolution of real, 136; as empty, 126; in painting, 46, 54-55,135; the rationality of, 52; and time, 135; urban, 149. See also Perspective; Time Squam Light (Edward Hopper), I I , 144— 47, 150, 153, 155, pi. 8 Squarcione, Francesco, 72 Stampa, village of, 115-17, 120 Stein, Gertrude, 159 Still life, 108-10, 111-12 Still Life (Giorgio Morandi), 108, pi. 5 Stone: representation of, 72, 82-83 Strada Bianca (Giorgio Morandi), no—11, fig. 10 Stranger, the: as represented in Invisible Object, 116; as presence of death, 117- 20, 123—26. See also Death; Noth-ingness The Street (Balthus), 13, 13 J~32* 133 i35n-4 136, 137, pl- 7 Studio: artist's, 112, 121-22, 124, 165 Suffering: in art, 63, 82 Summer in the City (Edward Hopper), 142 I N D E X 2 2 7 Summertime (Edward Hopper), 153-55, %• 15 Sunday (Edward Hopper), 149 Sun in an Empty Room (Edward Hopper), 158-59 Sun on Prospect Street (Edward Hopper), 153 Surrealism, 6, 7 Symbol, 90; definition of, 120; in painting, 100; and symbolism, 94. See also Object Symmetry: and chance, 104; as expression of divine, 78; as "number" 48, 52-53, 56-57; in painting, 36, 40-41, 66, 77, 91-92, 102, 108, 136; perfection of, 87. See also Form; Harmony Testa, Pietro, 94 Theodora, 20 Thérèse Dreaming (Balthus), 135 Three Scenes from the Life of Christ (Andrea del Castagno), 55 Three Sisters (Balthus), 139 "Those Images" (William Butler Yeats), H Tiepolo, Giovanni Battista, 23 Time: and death, 48, 49; and disintegration, 47; and eternity, 48-49, 57; incarnation in, 49; as instant, 48-49, 51, 53-54, 74, 180-81; life in, 105; in painting, 135; and place, xii-xiii, xv, xviii, 102; and timelessness, 32, 37, 40, 44-58, 102, 136; and transparence, 102. See also Architecture; Eternity; Finitude; Image; Painting; Place Timeas (Plato), 36 Tintoretto, 26, 44, 46, 63 Titian, 63, 66, 167, 173. Works: Bacchanal of the Andrians, 68-69; Bacchus and Ariadne, 69; Worship of Venus, 69 Toast funèbre (Stéphane Mallarmé), 109 Transfiguration (Giovanni Bellini), 59 Triumph of Caesar (Andrea Mantegna), 75 80, 84 2 2 8 I N D E X Triumph of Scipio (Andrea Mantegna), 75, 80, 84 Tura, Cosimo, 58. Works: San Giacomo délia Marche, 5 8 The Two Comedians (Edward Hopper), 158 Ubac, Raoul, 7 Uccello, Paolo, 26, 45, 54-56, 75, 108, 128, I35n.4. Works: The Profanation of the Host, 45, 55 Unity (oneness), xix, 5, 52; and art, 26, 27, 40, 57, 65, 181; and beauty, 47; as beyond words, xiv; as ephemeral, no; as identity, 179; as impossibility, 32; and language, xvi; and life, 116, 133; loss of, 90, 132, through language, 172; ofopposites, 67-68; and place, 181; and reality, 77; of self, 146; and the sensory, 51; as source of all art, xvii; spatial, 64; in the world, xv, 183. See also Absolute; Harmony; Language; Perception; Poetry; Presence; World Utpicturapoesis, 170, 172^73. See also Representation Vallotton, Félix, 159 Van Gogh, Vincent, 172 Vasari, Giorgio, 73 Vecchietta, II (Lorenzo di Pietro), 26 Velazquez, Diego Rodriguez de Silva y, 76 Venetian art, 23 Veneziano, Domenico, 107 Verlaine, Paul, 143 Vermeer, Jan, 146, i46n.5, 148, 160 Vermont Sugar House (Edward Hopper), 153 Veronese, Paolo, 26 The View of Delft (Jan Vermeer), 146, 146t!. 5 Virgil, 116 Vitruvius, 71 Vue de l'atelier à Starnpa (Alberto Giaco-metti), 126, pl. 6 Waldrand (Adam Elsheimer), 85-86, fig. 8 Webern, Anton von, 103 Wind, Edgar, 68 The Winter's Tale (William Shakespeare), nn.5, 102 Wittgenstein, Ludwig, 5 A Woman in the Sun (Edward Hopper), 155 Word: as fragment of reality, xiv. See also Language; Poetry; Writing World, 102; contingency of, 121; disorder in, 120; as emptiness, 108-9, H3. 117. 157; as ephemeral, 15, 46, 54-55; as ineffable, xiv; and knowledge, 8, 9; physical, 66; presence in, 151, 160; return to, 148; as sign, 100; as tangible, 89; as unity, xiv. See also Art; Child; Idea; Painting; Place Worship of Venus (Titian), 69 Writing, 172; in art, 83, 184; and being, 103, 105; and presence, 105. See also Form; Language; Poetry; Painting Yeats, William Butler, 15, 19, 20, 23 Zen in the Art of Archery (Eugen Herrigel), 178-79 Zeuxis, myth of, 12, 204-209 Zoppo, Marco, 78 |
