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| Katkey: | 7313552 |
| Volltext: | Name Index Abrams, H. M., 48 Alberti, Leone Battista, 28, 46, 112, 269; on color reflection, 58; on istoria, 82; on line and color, 324 Apollinaire, Guillaume, 276, 278, 279, 281; on subject matter in modern painting, 310-311 Aristotle, 109; on line and color, 323 Armenini, Giovanni Battista, 51 Arnheim, Rudolf, 84, 91 Bachofen, 217 Baldinucci, Filippo, 354 Bäsch, Victor, on sentiments sympathyques, 114 Baudelaire, Charles, 47, 54 Benjamin, Walter, 282 Bergson, Henri, 25-33 Berkeley, George, 135 Bernini, Gianlorenzo, 89 Blavatsky, Helena Petrovna, 300-304; on Wisdom religion, 359-360 Borinski, Karl, 75 Canova, 89 Carrière, Eugène, 20 Carus, Carl Gustav, 3 Castagnary, Jules, 49 Caylus, Count of, 245 Child, Theodore, 52-53 Condivi, Ascanio, 76 Constant, Benjamin, 21 Corot, 60 Darwin, Charles, 93-98, 99-100, 220, 221; attitude to art, 96; on beauty, 97 David, Jacques-Louis, 52, 269 da Vinci, Leonardo, 34, 36, 97, 110; on color and line, 324; eye as organ of cognition, 17; power of the image, 82; publication of his notes, 17 Degas, Edgar, 53 Delaroche, Achille, 264-265 Derain, André, 279 Descartes, Traité des passions, 94 Diderot, Denis, 3, 151 Dilthey, Wilhelm, 116-121 Durand-Ruel, 50, 60 Duran ty, Edmond, 53, 57 Dürer, Albrecht, 161 Duret, Theodore, 47, 50, 51, 56, 60-61, 63, 64, 65 Dürkheim, Émile, 226 Einstein, A., 35 Einstein, Cari, 282-287 Ermann, Adolf, 255-256 Fechner, Gustav, 55, 84-92 Ficino, Marsilio, 244-245; on artistic creativity, 123; on sense of touch, 126-127 Fiedler, Conrad, 122-132; follows Leonardo, 124 Frazer, James George, 224-225 Freud, Sigmund, 139, 175 Gauguin, Paul, 262-271 Gauthier, Théophile, 19 Goethe, Johann Wolfgang, 206; on color theory, 322-323; Farbenlehre, 335-337; on Generalbass, 317, 332; influence on Kandinsky, 322 Goldwater, Robert, 274 Gombrich, Ernst, 231 Goncourt, Edmond and Jules, 14-23; Journal, 14, 19 383 384 I Name Index Haeckel, Ernst, 221 Hegel, G. W. F., 72, 152, 153, 154, 155, 156 Helmholtz, Hermann von, 38-43, 55, 100, 295, 362; popular lectures of, 39 Herder, Johann Gottfried, 151, 152 Hildebrand, Adolf, 133-142; on Egyptian sculpture, 137; on expressive types, 140; on relief, 138 Hirn, Yrjö, 226-228 Hoelzel, Adolf, 331 Hogarth, William, 89 Homer, 21 Hunt, Helman, 65-66 Huizinga, Johan, 184 Husserl, Edmund, 126 James, Henry, 51 James, William, 42-43, 239 Jung, Carl Gustav, 175 Justi, Carl, 75 Kandinsky, Wassily, 7, 113, 274, 293-369; on arabesque, 346; introduction to Neue Künstler-Vereinigung, 316; On Stage Composition, 329; Point and Line to Plane, 359; on psychological effect of color, 322; Rückblicke, 296; on Russian icons, 306; on "touching the human soul, " 317; vision of history, 345-346; on Richard Wagner, 333 Kant, Immanuel, 31, 161; Critique of Judgment, 30; "disinterested" reflection, 119; on space, 181 Kircher, Ernst Ludwig, 245, 274, 275 Klaatsch, Hermann, 219, 234 Klages, Ludwig, 347-348 Klee, Paul, 267-268 Klimt, Gustav, 147 Laforgue, Jules, 55, 56-57, 59, 65 LeBrun, Charles, 94-95 Lessing, G. E., Laocoön, 97 Liebermann, Max, 53, 160 Lipps, Theodor, 110, 111, 139, 174 Löwenfeld, Victor, 150 Löwy, Emanuel, 257-260 Mach, Ernst, 37-39 Mallarmé, Stephane, 58, 74 Manet, Edouard, 11, 48, 50, 60 Marc, Franz, 274 Marcus Aurelius, quoted by Riegl, 166 Maspero, Gaston, 246-251 Michelangelo, 75-76 Mondrian, Piet, 298-369; on abandoning emotions, 314; on composition, 355; Dialogue on the New Plastic, 329; on "inner necessity, " 316; against "traditional harmony, " 364 Monet, Claude, 60 Moore, G., 61, 65 Müller, Max, 220 Munroe, Thomas, 273 Nolde, Emil 274 Panofsky, Erwin, 231; on Kunstwollen, 165-166 Pater, Walter, 13 Plato, on Egyptian art, 244; Timaeus, 362 Propp, Vladimir, 145 Proudhon, Pierre-Joseph, 47-48 Raphael, Sanzio, 269; on idea, 316 Reinach, Salomon, 213-216, 277 Richardson, J., 3 Riegl, Alois, 143-170, 178, 180, 185, 199, 346; considered "formalist, " 167 Riehl, Alois, 100 Rodin, Auguste, 71-76, 286 Rorschach, R., 110-111 Rosencrantz, Carl, 147-148 Rude, Francois, 71 Runge, Philip Otto, 46 Sainte-Beuve, 21-22 Schäfer, Heinrich, 251-257 Schelling, as quoted by Fechner, 90-91 Schiller, Friedrich, 72 Schoenberg, A., 364 Semper, Gottfried, 199-209; attitude to workshop, 200 Seneca, 94 Steiner, Rudolf, 300-304, 315, 367; on geometrical space, 349-350; Theosophie, 336 Sylvestre, Armand, 50, 61 Thomas Aquinas, superiority of line over color, 324 Thore, Théophile, 62 Name Index | 385 Titchener, E. В., 104, 109 Tolstoy, L., 48 Tyler, Edward В., 204 Valéry, Paul, 72-73, 74 Varnedoe, Kirk, 263 Vasari, Giogio, 76 Verworn, Max, 216, 222-223, 232-233, 235-239 Vischer, Friedrich Theodor, 101 Vischer, Robert, 99-108, 174 Vlaminck, Maurice, 273, 275 Volkelt, Johannes, 113 Wagner, Richard, 333 Wickhoff, Franz, 146-148 Woelfflin, Heinrich, 102 Woermann, Karl, 216-217 Worringer, Wilhelm, 171-186 Wundt, Wilhelm, 41-42 Zuccari, Federico, 248 Subject Index Abbild, 38 Abstract art, 11, 293-369; religious heritage in, 304-307 Abstract as crystalline, 176 Abstraction, Worringer on, 179-180 Abstract painting, subject matter of, 309-319 Abstraktion und Einfühlung, 171-172 Accozamento, Baldinucci on, 354 "Aesthetic culture, " 20 "Aestheticism, " 18 Aesthetic laws, 86 Aesthetics "from below, " 85; as applied psychology (Jung), 175; empirical (Fechner), 85; as science (Fechner), 88 African art, 272-289; discovery of, 272-273 African masks, 273-274, 280, 281, 285 Alienation, 183 Altamira, 211; reception of the wall paintings, 211-212 Anatomy, 4 Animatio; Fechner, 90; Vischer, 104 "Antedeluvian, " 205, 206 Anthropology, 295 Arabesque, 346 Archaic art (Löwy), 258 Archetypes, 140 Architecture, origin of (Semper), 208 Art and magic (Reinach), 213-214 Art and nature: Bergson on, 31; Fiedler on, 129 Art criticism, 3 Art of drawing, 251 Associationism, 326-327 autonomous fragment, 70-73 Beauty (Darwin on), 97 Benin, 276 Blaue Reiter, 274-275, 329 Body, in occult doctrines, 303 Bozzetti, in Renaissance, 70-71 Brightness and darkness, 40 Brücke, Die, 274-275 Brushwork, 62-66 Carving, Hildebrand on, 137, 141 Cave painting, 213 Character, 94 "Charm of imperfection" (Nietzsche), 72 Chiaroscuro, 57 Children's drawings, 254 Color, 54-61; in abstract painting, 320-340; aesthetics of, 59-61; affects spectator directly, 326; Byzantine approach to, 337; evokes moods, 325; in Greek art, 259; without mimetic function, 325; power of, 322; scientific aspects of, 55-57 Color experience, levels of, 320-323 Color and line, 323-327 Color perception, 321-323 Color scale, 338-339 Color symbolism, 335 Composition, 342, 352-369; definition of, 354-357; in Impressionism, 51-54; spiritual origin of, 357-360 "Confusing promiscuity" (Concourt), 22 Contemplation, 14, 19 Crafts, 145 Creatio ex nihilo, 130 Creative process: Fiedler on, 129; Hilde-brand on, 134 Crystalline, 162, 180 Crystallinism, 162 Cube, in Egyptian sculpture, 137 "Cubic space vision, " 285 Cubism, 313 Cumulative image, 258 Cycle, historical, 152-153 386 Subject Index | 387 Dada, 267 Decoration: Kandinsky and Mondrian on, 314; in prehistoric art, 222 Degrees of brightness, Helmholtz on, 39 Detachment, 21, 119-120 Disharmony, 364 Dissolution of atom, 296 Distant vision, 159 Drawing, in Egyptian art, 147-249 "Drive of imitation, " 127 Durée, 27-28 Dutch painting, 160 Ébauches, 73 Écorché, 215 Egyptian art, 153, 162-163, 243-261; "frozen, " 230; geometric construction of, 252-253; impact on modern spectator (Kandinsky), 356 Egyptian painting, 154 Egyptian sculpture, 137 Einfühlung, 109-115 Emotional expression, lack of, 163 "Emotional process, " Dilthey on, 119 Emotions, 94; projecting onto forms, 110, 175 Empathy: definition of, 109-115; of moods, 113; organic, 176; the term, 81-82; Wor-ringer on, 172-186 "Empirical art doctrine" (Semper), 201 "End of the world, " 298 Erlebnis, 116-120 "Error of Greek art, " 267 Etana myth, 253 Ethnology, 221 Eurhythmia, 86-87 Excavations, 211; of prehistoric sites, 5 Experience, 25, 42 Experiment (Fechner), 87-88 Expression, 15-16, 32, 94-98; spontaneity of (Dilthey), 119 Expression of Emotions in Man and Animal (Darwin), 93-97 Expressionists, 295 Expressive features, 95 "Expressive movement" (Fiedler), 123 Eye: education of, 18; full of soul, 105; joy of, 15; Leonardo on, 17; Vischer on, 102, 105 "Feeling, " 15 Female figures, in prehistoric art, 218-219 Fernbild (Hildebrand), 135 Fetish, 156 Finish, 62-66 Flächenschicht (Hildebrand), 136 Folk art, 144-145 Foreshortening, Riegl on, 150-151 "Fourth dimension, " 35 Fragment, 69-78 Frontality, 163 Gazing, Vischer on, 102 Geometric form, 182 Golden section, 87 Gothic art, Worringer on, 184-185 Graphology, 350 "Grasping into emptiness" (Fiedler), 125 Green, effects of, 337-338 "Handwriting" of painter, 64 "Haptic, " 151; and optic, 153, 155-156 Harmony, 59, 155-160, 352-369; definition of, 361; theory of, 364; variability of, 363 Harmony of spheres, 362 Hieroglyph. 344 High art, 146, 266 Human figure, in Egyptian art, 254-255; construction of, 256 Hunter, prehistoric, 223 idea, 52 Ideoplastic art, 233-240; emergence of, 237 Image, 33, 228; Bergson on, 25 Imagination, Dilthey on, 117-116 Imitation: Helmholtz on, 39; of music by painting, 331-333 Impressionism, 11-78; as historic caesura, 6; not a theory, 12 "Inner nature, " 313 "Inner necessity" (Mondrian), 316 Intuition, Bergson on, 29 Japanese prints, 19 Klimt affair, 147 Kunstindustrie, 202 Kunstwollen, 164-168 388 I Subject Index Language, Fiedler on, 123-124 "Laws of art": Fechner on, 91; and laws of nature, 172-173; Vischer on, 103 Leitmotiv, 332 Line: in abstract painting, 341-351; "clean, " 250; and color, in abstract painting, 323-327; contour of bodies, 342; in Egyptian art (Maspero), 247; freedom of, 346-347 Local color, 57-59 Memory, Bergson on, 25 Memory images, 27, 258; in creative process, 259; Dilthey on, 117-118 Mental image, 229-242 Mischform, 199 Model, 228 Mood, 155-159; abstract nature of, 159 Museum of arts and crafts, 145-146 Music, superior to other arts, 330-331 Mysticism, of Fechner, 90 Nahbild, 135 naiveté, 49 Natural object, 312 Nature, 127-128 Neoimpressionism, 34, 56 Neoplatonism, 75 Netherlandish painting, 63 "New harmony, " 365 Non-objective painting, 310-311 Normalformen, 204, 205 Object empathy, 113 Objective and perceived reality, 37 Objectivity in art, 6 Occult doctrines, 299-304 Occultism, 299-300 Old and new in abstract art, 305 Old and New Testament, in abstract art, 305-306 "Optic, " 149-150 Optical Sense of Form (Vischer), 101 Optic illusion, 36, 125 Optique intellectuelle, 14 Organic and crystalline, 160-163 Origins of art, 220-228 Ornamental art, 237 "Painter's art, " Impressionism as, 11 Painting and music, 327-339, 366 Panpsychism, Fechner on, 91-92 Paragone, 136 Parallelism of music and painting, 330 "Participation" (Mitmachen), 112 Perception, 36 Perspective, 4, 252, 253 Philosophical culture, 24-32 "Physioplastic" art, 233-240 Pittore notomista, 34 "Play drive, " 224 Polynesian art, 207 "Power of color, " 322 Prehistoric art, 210-240; interpretations of, 216-218 Primitive art, 150; versus Greek art (Goncourt), 22 Primitive cultures, 5 "Primordial art" (Urkunst), 207 "Prismatic color, " 55 Problem der Form in den bildenden Künsten, Das (Hildebrand), 133-140 Psychoanalysis, 31, 143-144 Psychological effect of color, 321-322 Psychology, 4-5; as general science, 101; and study of art, 223-224 "Pure art, " 309-311 "Pure perception, " 26-27 "Pure shaping, " 314 "Pure vision, " 41, 122 Quälende des Kubischen, Das (Hildebrand), 138 Querelle des anciens et des modernes, 22 Reading color, 334-339 Redemption, and the theory of abstract art, 307 Regularity, of form, 182 Relief, Hildebrand on, 138 Religious heritage in abstract art, 304-307 Reliquaries, 70 Renaissance treatises, 2-3 "Reserve heads, " in Egyptian art, 69, 225 Romanticism, 48-49, 72 Rorschach test, 140 Subject Index | 389 Salon des refusés, 46 Schauen (gazing), 102 Science and art, 6, 34-44, 294-299 Scientific truth, 296 Sculptor and painter, Hildebrand on, 135-136 Sculpture, origin of, in drawing, 137 Seeing: pure, 133; ways of, 101-102 Sehen, 102 Self-alienation, 182-183 "Sensation": the Goncourts on, 18; Wundt on, 41 Sense perception, 8, 153 Sensual experience, ways of, 149-155 Sentir, 155 "Sincere works, " 11 "Sincerity, " 48 Sketch, 52 Soul-life of plants, Fechner on, 90 Space, 37-38, 177, 178; Kant on, 181 "Spiritual being, " Kandinsky on, 348-349 Style, 45-68, 174 Subject matter: in abstract painting, 309-319; in Impressionism, 47-50 Symbol, Vischer on, 107 Symbolic imagery, 353 Symbolism of delivery, Vischer on, 106 Symmetry, 103-104, 162 Sympathetic magic, 228 "Tactile, " 149-150 Taste, 88-89 Tattooing, 284 "Technical arts, " 202 Textiles, 145-146 Texture, 63 Theosophy, 298 "Touching the human soul, " Kandinsky on, 317 Tranquility, Gauguin on, 269 "Transcript" of nature, 40 Über das optische Formgefühl, 106-107 Ugly, the, 147-148 Unbehagen (unease), 156-157 Universals, struggle over, 314-315 "Universal science, " 174 Urform, 206 Urge of abstraction, 174 Urpflanze, 206 Venus of Willemsdorf, 217 Vienna, culture in, 143-144 Visibility, Fiedler on, 124, 126, 129 Visible and invisible, 130 Vision, 151-152 Visual experience, 37-38; qualities of, 125-126; reflected in painting, 26; Vischer on, 103 volition (Wollen), 165 Vorbild and Nachbild, Fiedler on, 128 Vorschule der Ästhetik, 84-85 Workshop, 2 World exhibition, 206, 276 |
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