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| Katkey: | 7161950 |
| Volltext: | I N D E X absolute spirit, 148, 14g "Abstract and Representational" (Greenberg), 108 Abstract Expressionism, 11, 14, 18, 155; high point of, 34; painting dominant in, 99; Pop Art vs., 43 abstraction, 30, 31, 35, 117; Formalism and, 129; types of, 11-13 Abuse of Beauty, The (Danto), 149 acrylic, 18 action, philosophy o f , 76-77 aerial photography, no African art, 4, 86, 126, 127 Alberti, Leon Battista, 1, 4 Albright-Knox Art Gallery, 101 American Academy of Design, 104 American Society for Aesthetics, 135-36 Analytical Philosophy of Action (Danto), 77 Angélico, Fra, 86 Animal Locomotion (Muybridge), 3 animals, 3, 96, 132 anti-essentialism, 35 Appropriationism, 18, 49, 148 Arensberg, Walter, 25, 28, 33 Aristotle, xi, 75, 90-91, 154 Armory show, 17 Art (Bell), 127 Art and Illusion (Gombrich), 2 165 I N D E X artificial intelligence, 96 Augustine of Hippo, 74 automatism, 13-14, 16 Autumn Salon (1905), 7 Avedon, Richard, 106 background, HI backlighting, 112-13 Balzac, Honoré, 122 Bankowsky, Jack, 131-36 Barnes, Alfred, 129 Barney, Matthew, 79 Baryshnikov, Mikhail, 51 Beck, James, 53 Bed (Rauschenberg), 21 Before and After (Warhol), 54-55 Being and Time (Heidegger), 153-54 Bell, Clive, 127, 129 Belting, Hans, 103, 150 Bentham, Jeremy, 132 Berlin, Isaiah, 106 Beuys, Joseph, 19-20, 129 Bidlo, Mike, 49-50 Bild und Kunst (Belting), 103, 150 Black Mountain College, 21 Black Square (Malevich), 11 Blind Man, The (publication), 28 Body/Body Problem, The (Danto), 78, 97 Bolognese school, 119-20 Brancusi, Constantin, 17, 24 Braque, Georges, 8 Breton, André, 13-14 Brillo Box (Warhol), 28-29, 36-37, 41-47, 49-50, 114-15, 145-49 bronze, 18 Brown, William Mason, 104 Buonarroti, Michelangelo, xii, 52, 61, 63-75; curvatures exploited by, 62; divining intentions of, 53, 54, 58, 59; Mannerist influence on, 56, 60, 69; sculpture viewed by, 57 Cabanne, Pierre, 144, 150 Cage, John, 20-21, 51 Cahiers d'art, 16 camera obscura, 99, 109 Campbell's Soup Cans (Warhol), 133-34 Carracci, Agostino, 120 Carracci family, 119 Cauman, John, 9 Cézanne, Paul, 10, III Chef d'oeuvre inconnu, Le (Balzac), 122 chiaroscuro, 2, 63, 133 Chicago, Judy, 79 Chínese painting, 4 Christianity, 80, 85, 89, 94, 128, 150 Cimabue, xii, 30 cinematography, 3-4 clay, 18 Coatmellec, Josette, 127-28 Cocteau, Jean, 52 i66 I N D E X Colalucci, Gianluigi, 59-61, 66, 70.72.75 collage, ioo, III color Condivîs disregard of, 63; Descartes's view of, 68; Mannerist, 56; Matisse's use of, 9-10; Michelangelo's use of, 60, 66; Renaissance painters' use of, 8; Vasarfs disregard of, 68 color-field painting, 18 comedy, a comic strips, 44 commercial art, 43, 44, 150 Communism, 18 Conceptual Art, xii, 18, 34, 115, 116, 148 Condivi, Ascanio, 63, 67 connoisseurship, 5 copper plates, 18 Corday, Charlotte, 38, 39 Council of Trent, 1x9 Courbet, Gustave, 25, i°8 Critique of Judgment, The (Kant), X, 76, 116, 117, 121, 126 Cubism, xi, 6, 7, 8, 12, 90; collages and, III; movement disfavored by, 17 Cubo-Futurism, 18 Cunningham, Merce, 21 Dada, 18, 23-24, 25.26 Daguerre, Louis, i°i, I03 4- 3 daguerreotypes, 10°, 101 '1 Dalí, Salvador, 13, 15, 143 dance, 51 Daumier, Honoré, 52, по David, Jacques-Louis, xii, 38-40 deconstruction, 137-38, 141 Degas, Edgar, 105 de Kooning, Willem, 11, 82, 84 Delaroche, Paul, 8, 101-2, 103-4, 112, 113 Del Roscio, Nicola, 54 Demoiselles d'Avignon, Les (Picasso), 4, 6-8, 32 Demuth, Charles, 27 Denis, Maurice, 61, 62, 64, 67 Derain, André, 8 Derrida, Jacques, 139, 141-42 Descartes, René, 45-46, 86, 87; color viewed by, 68; mind/ body problem viewed by, 88-89, 90-91, 92-93, 94-96 De Stijl, 129 Dewey, John, xi, 141 Diamonstein, Barbaralee, 15 Dickie, George, 33, 145-46 Dine, Jim, 136 dioramas, Г03 Discourse on Method (Descartes), 45-46 Doesburg, Theo van, 12 Domenichino, 118-20 Donatello, 8 doodling, 13, 15 Dove, Arthur, 11 dreams, 13, 45-46, 47-49, 51-52 167 I N D E X Duchamp, Marcel, xii, 100, 113, 150, 155; Cubism reconfigured by, 17; as Dadaist, 23-24, 25; eroticism in works of, 27, 33; readymades of, 24-25, 26-28, 33, 143-44; retinal art disdained by, 25, 144 Eakins, Thomas, 105 Elderfield, John, 107 Eliminativism, 75, 97 Eliot, George, 131 embodied meaning, 37-38, 39, 47, 48, 154-55 End of Art, 49 Enlightenment, 116, 118, 121, 122 Enwezor, Okwui, 131 Epeus, 48 epistemology, 5, 14, 30, 114-15, 45 Étant donnés (Duchamp), 155 Euripides, 91 Euthyphro (Plato), 34 Execution of Lady Jane Grey (Delaroche), 8, 102, 112 Execution of the Emperor Maximilian (Manet), 107, 109, III Fascism, 17 Fauvism, xi, 6, 8 feminism, 22, 139, 142 film making, 3-4 Fischli and Weiss, 19 flatness, 62, 109-10, 112 Florentine culture, 75 Fluxus, xii, 115, 116 folk psychology, 97 foreground, ш foreshortening, 63, 68 forgery, 50 Formalism, 126-27, 129, 139 Foti, Véronique, 68 Foucault, Michel, 139, 141-42 Fountain (Duchamp), 26-27, 100 4'33" (Cage), 20, 51 "free beauty, " 117 Frege, Gottlob, 137 fresco, 58 Freud, Sigmund, 13 Fry, Roger, 80, 126, 127-28, 129 Futurism, 17, 24, 105 games, 31-32 Gare Saint Lazare (Manet), no Gauguin, Paul, III gay liberation, 139 gender, 79, 99-100, 140 Geometric Abstraction, 18 geometrization, 12 Giacometti, Alberto, III Giotto, i, 2, 4, 30, 108 Goethe, Johann Wolfgang von, 67 Gogh, Vincent van, III Gombrich, Ernst, 2 Gorky, Arshile, 14, 16-17, *8 Goya, Francisco, 109, 121 Greek art, 35 168 I N D E X Greenberg, Clement, 11, 18, 22, 108-9, no, III, 126, 127; Kant admired by, 116-17, 129 Gregory the Great, Pope, 155 Guercino, 103 Guggenheim Museum, 19 Gursky, Andreas, 101 Gutai (artistic movement), 18 Hammons, David, 131, 132, 134 Harrison, Frederic, 131 Hart, Frederick, 74 Hartley, Marsden, 27 Harvey, James, 36, 41, 42, 43, 44, 115, 147, 149 Hegel, G. W. F., xi, 23, 118, 123, 124, 148-49, 156 Heidegger, Martin, xi, 153-54 Henning, Edward, 15, 16 Hesse, Eva, 34 Hibbard, Howard, 70, 72-73 Hill, John William, 104 Hirst, Damien, 18 historical painting, 2, 101-2, 112 Hofmann, Hans, 12-13 Hogarth, William, 26 Holy Family, The (Poussin), 86, 90, 95 Homer, 91 Hopper, Edward, 18 Hultén, Pontus, 50, 146 humanism, 75 Hume, David, x-xi, 26 Huygens, Christian, 99 Idealism, 142 identity politics, 139 Iliad, X, 90 imitation, ix, 30, 35, 51 Impressionism, no, 113 installations, 100 Institutional Theory, 33-34 Irwin (artistic collective), 18 Islam, 89 Italian Hours (James), ri8 ¡ames, Henry, 118, ng James, William, 152, 153 Japanese art, 4, in Johns, Jasper, 21-22, m Joyce, James, 85 Judd, Donald, 40, 47 Judson Dance Theater, 51 Julius II, Pope, 62 kalliphobia, 116 Kant, Immanuel, x, 26, 76, 127, 130-34; art and experience viewed by, 124; Formalism indebted to, 116-17, 126, 129; heavens contemplated by, 62, 154; rational beings viewed by, 96; Romanticism and, 121, 122-23; two conceptions of art of, 117-18, 120-21, 129 Kelly, Ellsworth, 42, 63 Kennidc, William, 101 Kiss, The (Lichtenstein), 44-45 Kramer, Hilton, 155 169 I N D E X landscape, 2 Lanfranco, Giovanni, 119-20 Lanzi, Luigi, 120 Last Communion of Saint Jerome (Poussin), 119 Lectures of Aesthetics (Hegel), 118, 123 Léger, Fernand, 24 Leibniz, Gottfried Wilhelm, 93 Leonardo da Vinci, 99 LeWitt, Sol, 34 Lichtenstein, Roy, 43, 44-45 Linich, Billy, 146 Lisanby, Charles, 133 lithography, 18 Locke, John, 82 Lumière brothers, 3, 4 machines, 89, 93, 96-97 Mademoiselle Pogány (Brancusi), 17 Magruder, Agnes, 16 Malanga, Gerard, 36, 114, 146, 147 Malevich, Kazimir, 11 Manet, Edouard, 9, 32, 64, 107, 108-10, in Mannerism, 56, 60, 69 Mantegna, Andrea, 80, 84 "Man with the Blue Guitar, The" (Stevens), 10 Mapplethorpe, Robert, 78 Marat assassiné (David), 38-40 Marcel Duchamp: Artist of the Century (Kuenzli and Naumann), 24 Marden, Brice, in Maria de Medici, queen of France, 122 Marie l'Egyptienne (Pourbus), 130 Marin, John, 27 Matisse, Henri, 8, 9-10, 129 Matta, Roberto, 14-15, 16 Matta-Clark, Gordon, 34 McDarrah, Fred, 36 Meditations (Descartes), 45-46, 86, 87-88, 92, 96 Merlau-Ponty, Maurice, xi Metropolitan Museum of Art, 4 Meurant, Victorine, 9 Michelangelo, xii, 52, 61, 63-75; curvatures exploited by, 62; divining intentions of, 53, 54 58, 59; Mannerist influence on, 56, 60, 69; sculpture viewed by, 57 mimesis, 30, 35, 47-48 mind/body problem, 78, 93, 94 minimal criteria, 145 Minimalism, xii, 18, 22, 34, 115. 116 mirror images, x, xi Modernism: abstraction and, 11; American introduction to, 17; Greenberg on, 108-9, no, III, 116; mirror images eschewed by, xi; money and, 10; Motherwell on, 15-16 Modem Painters (Ruskin), 119 170 I N D E X Monadology (Leibniz), 93 Monet, Claude, 9, 64 Morris, William, 43 Motherwell, Robert, 13, 14-15 motion pictures, 3-4 movement, 2-3 multiculturalism, 22 Museum of Modern Art, 25, 27, 101, 107 Muybridge, Eadweard, 2-3, 105-6 Nabis, 61, in Nadar, 2, 110 Napoléon III, emperor of the French, 9 National Gallery of Art, 4 Newman, Barnett, 34 Newton, Isaac, 38 New York School, 11, 17 Nietzsche, Friedrich, xi 99 Cent II, Diptychon (Gursky), 101 Nude Descending a Staircase, No. 2 (Duchamp), 17, 24-25 objective spirit, 148-49 Odyssey, 90 Ofili, Chris, 129 oil painting, 18 O'Keeffe, Georgia, 27 Olympia (Manet), 9 On Painting (Alberti), 1 ontology, 5, H5, 13° r45 pain, 81, 92, 94, 95, 96 painting: Chinese and Japanese, 4; dominance of, 99; genres of, 2; historical, 2, 101-2, 112; media, 18; motion pictures vs., 3-4; photography vs., 100, 104-5, 112 Painting as an Art (Wollheim), 82-84 paragone, 99-100 pastel, x8 patination, 57 Pattern and Decoration, 22 Peach Robinson, Henry, 112 Peirce, Charles Sanders, 152-53, 154 performance art, 98, 100 Perry, Lila Cabot, 64 perspective, 63, 68 phenomenology, 141 Phenomenology of Spirit, The (Hegel), 23 Philosophical investigations (Wittgenstein), 29 photography, xi, xii, 27, 30; aerial, no; Impressionist influence on, 113; invention of, 2; Modernism abetted by, 109, no; painting vs., 100, 104-5, X12; for portraimre, гоб-7; by women, 100 physiognomy, 2 Picasso, Pablo, 4, 6, 8, 32, 53, 90; Gorky's adulation of, 16; Rose period of, 7 7 ' I N D E X Piero delia Francesca, xii, 64, 125 Pietrangeli, Carlo, 54 Plato, ix-x, xi, 29-30, 33-34; cave analogy of, 56 Platonism, 75 Pollock, Jackson, 11, 13, 14, 50 Pop Art, xii, 18, 23-24, 34, 44, 115, 116, 148, 150 portraiture, 2, 106-7 positivism, 141 Postmodernism, 129, 155 Pourbus, Frans, 122, 130 Poussin, Nicolas, 86, 90-91, 95, 97, 119, 122 Pragmatism, 141, 152 Pre-Raphaelites, 43, 104, m prints, 18, 113-14 Protetch, Max, 91 Quinn, Marc, 129 Ranke, Leopold von, 101-2 Raphael, 104, 119 Rauschenberg, Robert, 20, 21 readymades, 24-25, 26-28, 30, 31, 33- 34-143-44 Realism, 18 Reformation, 119 Rembrandt van Rijn, 117 Republic (Plato), x, 29-30, 48 restoration, 53-75 Resurrection (Piero della Francesca), 64, 125 Rhetoric (Aristotle), 154 Rococo, 133 Roger Fry, Art and Life (Spalding), 127-28 "Role of Theory in Aesthetics, The" (Weitz), 32 Romanesque art, 35 Romanticism, 121, 122-23 Rorty, Richard, 141 Rose, Tom, x Rosenberg, Harold, 11 Rubens, Peter Paul, 122 Ruskin, John, 104, 119 Salon des refusés, 9 Sartre, Jean-Paul, 154 Schapiro, Meyer, 72 sculpture, xii, 4, 18; in early seventies, 34-35; by Warhol, 28-29, 36-37, 41-47, 49-5°' ГЧ-Н' 145-49; by women, too semantics, 37-38 Serra, Richard, 34 Sexuality of Christ, The (Steinberg), 80-81 Sherman, Cindy, 2 Shroud of Turin, 103 Sienese primitives, 5 Silas Marner (Eliot), 131 silkscreen, 113-14, 147 Silver Factory, 29, 114 Simonds, Charles, 34-35 Sistine Chapel, xii, 52, 66, 68; architectural illusions in, 62, 69; cleansing of, 53-54, 56-59; 172 I N D E X dimensions of, 6i; Eve narrative in, 69-70, 72-73; Jonah narrative in, 62-65, 67; Noah narrative in, 70-73; nudity in, 74-75; sequence of images in, 60-61, 70, 72-73; wartime damage to, 55 Smith, Leon Polk, 42 Smithson, Robert, 34 Social Realism, 17-18 Society of Independent Artists, 26-27, too Socrates, x, xi, 29-30, 31, 34, 40, 47-48 sound recording, 3-4 Spalding, Frances, 127-28 Spindler, Amy, 148 Stable Gallery, 29, 35-36, 114, 133, 47 Statesman, The (Plato), 48 Steichen, Edward, 101 Stein, Leo, 9, xo Steinberg, Leo, 80-81 Steinberg, Saul, 46, 120, 136-37 Stella, Frank, 115 Stevens, Wallace, 10 Stieglitz, Alfred, 26, 27, 100-101, 113 still life, 2 Sturgis, Russell, 104 Suprematism, 18 Surrealism, 13-14г^' ^ Surrealist Manifesto (Breton), I3-X4 Talbot, William Henry Fox, 2, 102 tattooing, 126 technology, 90, 93 Theaetetus (Plato), 30, 40 Theory, 137, 139-40 Tractatus Logico-Philosophicus (Wittgenstein), 37-38, 154 tragedy, xi Traité de l'homme (Descartes), 89, 92, 95, 96 Transfiguration (Raphael), 119 Transfiguration of the Commonplace, The (Danto), 29, 130 Tris de Mayo, El (Goya), 109 Trojan horse, 48 trompe l'oeil, III Tudor, David, 20 Twombly, Су, 22, 52 291 gallery, 26-27, loi Ulysses (Joyce), 85 unconscious system, 13, 14 van Gogh, Vincent, ш Vamedoe, Kirk, 129-30 Vasari, Giorgio, 63, 67-68, 85 Vauxcelles, Louis, 8 Victorian era, 1, 4, 126 Wall, Jeff, 113 Warhol, Andy, xii, 23-24, 35; Before and After, 54-55; Brillo Box, 28-29, 36-37' 41-47. 49-50, 114-15 45-49; ' 7 3 I N D E X Warhol, Andy (continued) Campbell's Soup Cans, 133-34; silkscreens viewed by, 113-14 watercolor, 18 Weitz, Morris, 32, 34, 35 Westman, Barbara, 50 Whitney Biennial, 22-23 Whitney Museum, 18, 29 Wittgenstein, Ludwig, xii, 32, 35, 145, 154; definitions attacked by, 29, 31; philosophy viewed skeptically by, 141; sentences viewed as pictures by, 37-38 Wittkower, Rudolf, 119 Wollheim, Richard, 82-84, 87, 92, 145 Woman paintings (de Kooning), II Woman with a Hat (Matisse), 9 woodblocks, 18, HI wood carving, 18 Woolf, Virginia, 127 Zakanitch, Robert Rahway, 22 Zola, Émile, 64 174 |
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