Page numbers in italics indicate illustrations.
abstract art, 6, 8, 11, 21, 24, 31, 103, 106, 109, 115–16, 125, 153, 155
academic philosophers and communicative idea, 41–44
Adorno, Theodor, 87
Advisory Committee on Education in the Colonies, 133–34, 135
aesthetic
“purely practical”, 51
reintroduction of, by Berenson and Fry, 27–30
aesthetic beauty, Fry on, 32, 104–5, 109
aesthetic criticism, 54–57
aesthetic education, 132–38, 140, 148
aesthetic failure, 150–51
aestheticism
British, 6
formalism and, 11–12, 23, 32, 56
mass culture and, 74–75
as social criticism, 92–97
twentieth-century critics of, 80–84
See also Morris, William; Pater, Walter; Ruskin, John
aestheticist formalism, 12
See also “Picasso-manqué” judgments
aesthetics
as discipline, 68–69
history of, 13–14
Read and, 61–62
“re-creation” and, 81–92
Richards on, 40–41
use of term, 14
aesthetic traditions, 157–58
Africa, aesthetic education in, 133–38
AIA (Artists’ International Association), 114, 116, 119–20, 125
Ainslie, Douglas, 41
Alexander, Samuel, 43–44
Alloway, Lawrence, 112
American Society of Aesthetics, 68, 69
Anand, Mulk Raj, Hindu View of Art, 141
See also Read, Herbert
Anstruther-Thomson, Clementine, 50
Antal, Frederick, 115
anti-aesthetic stance, 8
antiessentialist modernism, 155–57
Archer, W. G., India and Modern Art, 138
art as such, concept of, 6
art criticism
disinterested critical attitude in, 51–53
modern, 35
use of form in, 22–23
See also art writing; connoisseurship; critics
art for art’s sake, 6, 81–82, 92–93, 95, 115–16
art-historical formalism, 53
art history, 27, 61, 62–63, 65–69
artistic creativity, as universal in nature, 133
artistic personality, 27, 29–31, 37, 57–61, 66
artists
attribution of works of, 26, 27–30, 33–34, 63–65
communion between critics, viewers, and, 3–5
Artists’ International Association (AIA), 114, 116, 119–20, 125
Arts and Crafts Exhibition Society, 108
Arts Council of Great Britain, 128
art writing
aesthetic theories and, 3
Fry on, 55
Marxist, 113–20
metaphors used in, 11
as pointer to significant forms of works, 23
use of term, 14
See also art criticism; critics
Ashbee, C. R., 109
Association of Artists of Revolutionary Russia, 116
attributions of authorship, 26, 27–30, 33–34, 63–65
authenticity
Fry and, 35
in India, 138–45
logic of high formalist universality and, 150–51
machine production and, 100
Marxist art writing and, 118
rise of mass culture and, 101–2
routes to, 130
signifiers of, 150
See also attributions of authorship
Axis (journal), 106
Baldovinetti, Alesso, Portrait of a Lady, 33, 34
Balfour, Arthur, 41
Barnes, Albert, 128
Barr, Alfred, 128
Barron, Phyllis, 108
Baxandall, Michael, 53–54, 67, 85, 169n62
BBC (British Broadcasting Council), 77, 78
Bell, Clive
on aesthetic criticism, 54
Fry and, 20–21
philistines and, 78
on prevailing critical theory, 46–47
significant form and, 5, 21–23
Benjamin, Walter, 87
Berenson, Bernard, 27–30, 43, 57, 63
Bertram, Anthony, 78, 111, 119
Black, Misha, 125
Blessed, George, Whippets, 119, 149
Bloomsbury group, 5, 20–21, 77, 84, 94, 101, 109
Blunt, Anthony, 65, 66, 102, 115–16, 118–19, 121–22, 124
Bombay School of Art, 142
Bomberg, David, In the Hold, 24, 25
Bosanquet, Bernard, 21, 32, 44
Breuer, Marcel, 108
British Broadcasting Council (BBC), 77, 78
British Institute of Adult Education, 77, 78–79, 148
British Institute of Industrial Art, 107
British Society of Aesthetics, 128
Brueghel, Pieter, The Fall of Icarus, 58–60, 59
Buermeyer, Laurence, 93
Bulley, Margaret, 44–46, 62, 110
Bullough, Edward, 62
Burlington Magazine
Ainslie articles in, 41
Bulley and, 44
connoisseurship and, 32
Constable and, 85
debate over technical analysis in, 63
Fry and, 33
history and influence of, 161n28
pottery in, 103
Cameron, Julia Margaret, Juliet Stephen (née Jackson), 99, 99
Cardew, Michael, 108
Carr, Herbert Wildon, 41
Carrington, Noel, 110
Casson, Stanley, 78
Caudwell, Christopher, 115
Cavalcaselle, Giovanni Battista, 27
Cavell, Stanley, 152, 155, 177n2
Cézanne, Paul
Bell and, 21
Collingwood on, 42–43
House and Farm at Jas de Bouffan, diagram of, 22
Kubler on, 9
“Post-Impressionism”, 78
as postimpressionist, 48
P. Smith on, 146
Still Life with Apples, 49
child art, 131
Clark, Kenneth, 44, 66, 82, 175n106
Clark, T. J., 9, 81, 87, 94–95, 97
Clutton-Brock, Arthur, 41, 82–83, 113
Coleridge, Samuel Taylor, 6
Collingwood, R. G., 41, 42–44, 79, 92–93
communicative theory
academic philosophers and, 41–44
Bell and, 46–47
as broadly embraced, 39–40
Constable and, 85
formalism of Fry and, 33–39
popularizing writers and, 44–46
Richards and, 40–41
connoisseurship, 14, 25–31, 33–38, 50–52, 57, 62–65, 68, 85, 161n28
Constable, W. G., 64, 65, 85, 148
contingency and form, 151–58
Coomaraswamy, Ananda Kentish, 139–40, 141
Courbet, Gustave, La femme au podoscaphe, 113
Courtauld Institute, 63, 64, 65
Cousin, Victor, 6
Coxon, Raymond, Art, 77
critics
communion between viewers, artists, and, 3–5
connoisseurship and, 26–31
See also art writing; specific critics
Croce, Benedetto, 41–42, 43–44
Crowe, Joseph Arthur, 27
cubism, 138
culture, high and low, 73–74
Damisch, Hubert, 153
Danto, Arthur, 69
Daumier, Honoré, 35
Davis, Whitney, 157
See also postformalism
Day-Lewis, Cecil, 114, 115, 122, 123
decorative qualities of art, 28, 32, 93–94, 103
Deineka, Aleksandr, 116
Denis, Maurice, 26
design
industrial, and art, 106–13
mass culture and, 84
Omega Workshops and, 100–101
role of, 46
utopian social aims of, 104, 107
Design and Industries Association (DIA), 106–7, 108, 110, 125
disinterested critical attitude, 51–53
Dismorr, Jessica, 24
documentary movement, 117
Duchamp, Marcel, 12
Duve, Thierry de, 153
Duveen, Joseph, 64
Eliot, T. S., 76
Empire Art Exhibition, Royal British Colonial Society of Artists, 148
engagement
active/passive binary of, 85–87
with external world, 10–12
Enwonwu, Ben, 136
escapism, art as, 80, 82, 84, 87, 91–92, 95
ethical ideal of formalism, 80, 97
Euston Road school realists, 119
Evans, Myfanwy, 106
Exhibition of British Industrial Art, Dorland Hall, 108
Exhibition of Old Masters, Grafton Galleries, 25–26
expression
Carritt and, 44
individualized, 147
representation and, 18–19, 23–24
film, Fry on, 75
Finberg, A. J., 83
Flam, Jack, 150–51
form. See significant form
formalism/formalist modernism
art-historical, 53
attacks on, 92–95
definition of, 6–10
as ethically and politically motivated, 11–12
formalist modernism and, 6–13, 80–81
global modernism and, 152–58
Greenberg and, 8
high, 5
illustration of, 7
literary and visual, 76–77
Marxist art writing against, 113–20
new formalism and, 160n27
nonhuman, 160n29
photography and, 98–100
politics of high and low culture and, 74–75
Read and, 128
realism and, 113–14
re-creation and, 83–92
Richards and, 85
simplified and dogmatic view of, 6–8, 20–25
tendencies toward, 32
traditional view of, 6–8, 10–11, 80–81
See also connoisseurship; Fry, Roger; Read, Herbert
Frankfurt School, 22
French impressionism, 38
French symbolism, 6
Fried, Michael, 11, 87, 129, 155
Frith, William Powell, Railway Station, 21
Fry, Roger
aesthetic criticism and, 54–55, 56–57
aesthetic education and, 134
aestheticist attitude and, 93–94
on art-historical formalism, 53
on art history, 65–66
arts and crafts movement and, 102
attribution of authorship by, 33–34
Bell and, 20–21
Buermeyer on, 93
career and writings of, 18
Cézanne, 60–61
on Cézanne, 48–49
connoisseurship and, 27, 28, 30
consequence of aesthetics of, 70
Constable and, 85
on Courbet, 113
Courtauld Institute and, 63
design activity of, 102
Exhibition of Old Masters, 25–26
on expression, 22–23, 40, 46, 127
on The Fall of Icarus, 58–60
on film, 75
formalism of, 32–39
on form and communication, 19
on French impressionism, 38
machine production and, 103, 104–5
Manet and the Post-Impressionists exhibition and, 18–19, 20, 35
as modernist, 5–6
naturalism and, 38–39, 130–31, 136
notes on Leonardo da Vinci, 28
Omega Workshops and, 100–101, 103
painting of, 150
on photography, 99–100
postimpressionism and, 130–31, 137–38
on “purely practical” aesthetic, 51
reproduction of Klee by, 104, 105
“Retrospect”, 48
on sculpted figure, 3–5
“The Seicento”, 72
Sickert and, 35–36
Slade Lectures of, 62
on A. Tagore, 142
universalism and, 136
Vision and Design, 36
Fuller, Peter, 171n107
Garman, Douglas, 123
Gaudier-Brzeska, Henri, 24
global modernism, 15, 129, 149, 152–58
global postimpressionism, 147–48
Goldwater, Robert, 128
Gombrich, Ernst, Story of Art, 66
Goodman, Nelson, 69
Greenberg, Clement
aesthetic judgment and, 158
commentators on, 155
conventions and, 154
defense of modernist culture by, 81
essays of, 128–29
essentialism and, 156
ethical value of visual arts and, 77
formalist modernism and, 8
high formalism and, 5
influence of, 67
on intention, 31
on Manet, 38
mass culture and, 124
on postimpressionism, 147–48
rejection of passive and, 87
Grigson, Geoffrey, 94, 102, 110
Gropius, Walter, 108–9
Guys, Constantin, 35
Hahn Leonardo court case, 64
Hastings, Jack, 116, 117, 121, 124
Hauser, Arnold, 115
Havell, Ernest Binfield, 139–40, 141, 142
Hélion, Jean, 109
high culture, 77–78, 103, 113, 126–27
high formalism, rejuvenation of, 5
high formalist universality, 149–51
Hind, Arthur, 24
historians, modernist, 66
historical production of objects, 9–10
Hoggart, Richard, 124
Holme, C. G., 112
Horne, Herbert, on Birth of Venus, 55–56
Hulme, T. E., 24–25
imagination, political valence of appeal to, 90–92
impartiality, claims to, 51–52
inauthenticity, 153
India, authenticity and early modernism in, 138–45
India Society, 139
individual, 90–92
inference by beholders, 3
“inner eye” doctrine, 140–41
intelligence of artworks, 3
intention
in action, 147
introspection, as critical tool, 50–51, 57
intuition, 3
Jamin, Paul Joseph, The Vandal with His Share of the Spoils, 87–88, 89
Johnston, Edward, 108
Khullar, Sonal, 145
Klee, Paul, Der Beladene, 104, 105
Klingender, Francis, 102, 114, 115–16, 120, 124–25
Krauss, Rosalind, 87, 129, 154–56
Larcher, Dorothy, 108
Laurie, A. P., 64
Leach, Bernard, 108
Leavis, F. R., 67, 76, 77, 81–82, 122–23
Lee, Vernon, 50
Lenin, Vladimir, 124–25
liberalism, socialized, 90
Lippi, Filippino, Three Archangels with Tobias, 29
Listowel, William Francis Hare, 42, 52–53, 69, 85
literary criticism, social task of, 76–77
low culture, 75–80, 85–87, 94, 98, 100
See also escapism, art as
MacCarthy, Desmond, 18–19
MacColl, D. S., 24
machine production
acceptance of, 109–10
fitness for purpose and, 110–11
politics of, 111–12
Read on, 105–6, 109, 110–11, 112
Mairet, Ethel, 108
makers. See artists
making contact, form and, 9
Mallarmé, Stéphane, 55
Manet, Édouard, 18, 35, 38, 39, 88–90
Manet and the Post-Impressionists exhibition, Grafton Galleries, 18–19, 20, 35
Marcuse, Herbert, 122
Marxism
in art writing, 113–20
mass culture and, 120–27
mass culture and Marxism, 120–27
Mathur, Saloni, 145
Matisse, Henri, Marguerite, 132
Mauron, Charles, 165n15
Merleau-Ponty, Maurice, 146
Mies van der Rohe, Ludwig, 108
Milton, Arthur, The Lure of the London Galleries, 77–78
Mitter, Partha, 138, 139, 144, 150, 153, 158
modernism
accounts and themes of, 8
antiessentialist, 155–57
in India, 138–45
in Nigeria, 135–38
principles of, 151–52
rejection of passive and, 87–90
See also formalism
modernity 8, 13, 76, 80, 109, 115, 122, 149, 152
Moholy-Nagy, László, 108
Monet, Claude, 38
Morelli, Giovanni, 27
Morris, William
aesthetic discontent and, 82–83
Clutton-Brock on, 113
ethical ideals of, 80
utopian ideal of, 96–97
mortar of Handroanthus chrysanthus wood, 2
Munro, Thomas, 128
Murray, William Staite, 103, 108
natural beauty, 23, 32, 104, 109
naturalism
civilization and, 131–32
Coomaraswamy and, 141
Havell on, 140
high culture and, 77–78
postimpressionism as turn from, 100
A. Tagore and, 143
new formalism, 160n27
New Liberalism, 90–91
Nigeria, aesthetic education in, 135–38
Nunn, Thomas Percy, 84, 85, 133, 134
objective criticism, 51–53
Ogbechie, Sylvester, 136
Oguibe, Olu, 136
Okeke-Agulu, Chika, 136
Oloidi, Ola, 136
Onabolu, Aina, 135–36, 137, 137–38
organization, form as, 9–10, 19
originality, 129
Osborne, Harold, 69
Panofsky, Erwin, 65–66
Partisan Review, 124
Pater, Walter
on aesthetic criticism, 54
art writing of, 11
criticism of, 49
The Renaissance, 54
“The School of Giorgione”, 82
Peach, Harry, 107
performative paradigm of work as invitation, 12
Pevsner, Nikolaus, 109–10
photography and formalism, 98–100
“Picasso-manqué” judgments, 138, 142–43, 150–51
pictorial “complexity”, 72–73, 87
pictorial organization, purposiveness of, 37–38, 39, 68
Piero della Francesca, The Baptism of Christ, 7
Piero di Cosimo, Hylas and the Nymphs, 33–34
Pimenov, Yuri, 116
Piper, John, 106
Pleydell-Bouverie, Katherine, 108
Podro, Michael, 67
political valence of appeal to imagination, 90–92
politics
of formalism, 11–12
of high and low culture, 74–75
of industrial design, 111–12
popular and commercial art
aestheticism and, 92–97
design theory and, 112–13
Fry on, 72
passivity and, 75–80
transparency of, 74
populism and Marxism, 120–27
postformalism, 10, 129, 156–57, 159n4
postimpressionism, 35–36, 38–39, 78, 130–31, 137–38, 147–48
Pound, Ezra, 24
Pre-Raphaelites, Fry on, 94
Price-Jones, Gwilym, 55
primitivism, 129–33, 144–51, 153–54
Primitivism exhibition, Museum of Modern Art, 151
process, form as product of, 9–10, 11
See also connoisseurship
psychology and art, 49–50, 62, 87, 133
public sphere, British, 75–76
Rancière, Jacques, 87
Read, Herbert
aesthetics of, 61–62
on appreciation of art, 51–52
Art and Industry, 79, 105–6, 108–9
British Society of Aesthetics and, 69
on Chinese painting, 130
Courtauld Institute and, 63
on Croce, 42
Education Through Art, 120
ethical value of visual arts and, 77
Euston Road school realists and, 119
formalism and, 128
on 40,000 Years of Modern Art exhibition, 129–30
The Grass Roots of Art, 125–26
on high culture, 126–27
on machine production, 109, 110–11, 112
mass design and, 101
philistines and, 78
Politics of the Unpolitical, 85–86
on popular culture, 79–80, 112
on re-creation, 83
Ruskin and, 83
social anarchism and, 91, 126, 132–33
realism
formalism and, 113–14
Klingender, Blunt, and, 116–20, 125, 126
socially motivated, 124
Western, appropriation of, 135–36, 138
“real primitives”, 146–47
re-creation
aestheticism and, 81–83
visual culture and, 80
See also connoisseurship
Reed, Christopher, 159n10
representation
Bell on, 21
conservative upholders of, 24
crisis of, 13
expression and, 18–19
Nash and, 106
Wollheim on, 68
See also naturalism
reverse appropriation, 130, 136–38
Richards, I. A.
on arts and values, 84
on Bloomsbury, 94
formalism and, 85
Fry compared to, 77
practical criticism and, 40–41
psychology and, 50
Reid on, 42
teaching of English literature and, 76
Richardson, Marion, 44, 132, 133, 134
Ross, Denman, Theory of Pure Design, 33
Rothenstein, William, 24
Rowntree, Seebohm, 80
Royal College of Art, 108
Rubin, William, 151
Ruskin, John, 11, 55, 80, 82–83, 96
Russell, Bertrand, 165n9
Sadler, Michael, 102
Sargent, John Singer, Carnation, Lily, Lily, Rose, 45
science of art criticism, 50, 61–62
scientific criticism, 50–51, 57
Scruton, Roger, 98
Seated Musician sculpture, 3–5, 4
Second Post-Impressionist Exhibition, 25
self-development and liberalism, 90–92
Shiff, Richard, 150
Shklovsky, Viktor, 9
significant form, 5, 7, 20–25, 42
Smith, J. A., 41
Smith, Paul, 146–47
Smith, Tony, Die, 2
social criticism, aestheticism as, 92–97
socialism, ethical, 90–91
Society for Education through Art, 128, 132
Society of Easel Painters (OST), 116
Spencelayh, Charles, Why War?, 120–21, 123
Stevens, G. A., 135
Stokes, Adrian, 66, 95, 96, 97
structure, form as, 9–10, 19–20
Studio (magazine), 107, 108, 112
style, authentic, 147–50
Sully, James, “Aesthetics”, 32
Summers, David, 159n4
Sweeney, James Johnson, 128
synaesthesis, 40–41
Tagore, Abanindranath, 139–43, 143
Tagore, Gaganendranath, 138, 139
Tagore, Rabindranath, 144, 145
technique of originality, 150
Thompson, G. H., 124
Trowell, Margaret, 135
universalism, 129–30, 133, 135, 136, 141, 145–51
utopian social aims of modernist design, 104, 107
Valckenborch, Lucas van, Winter Landscape with Snowfall Near Antwerp, 87, 88
Vadde, Aarthi, 151
viewers
communion between critics, artists, and, 3–5
as creating works in contemplation, 12–13
as re-creators, 84–85
See also viewers
visual culture
engagement with, 10–13
high, 80–92
low, 75–80
mandating, 112
use of term, 5
Vlaminck, Maurice de, Bathers, 150–51
vorticist group, 24
Walpole, Hugh, 36
Warburg, Aby, 65
Waterhouse, Ellis, 64
Watteau, Jean-Antoine, 75
Webb, Sidney, 107
Weibel, Peter, 12
Wilde, Oscar, 54
Williams, Raymond, 124
Wollheim, Richard
analytic aesthetics and, 69
on art history, 67–68
on aesthetes, 95–96
on authentic style, 147
on socialism, 92
Socialism and Culture, 86, 124
on Stokes, 97
Woolf, Virginia, 19, 20, 36, 55, 102
working class culture, 120–27
world-making sense of form, 9–10, 12
Zola, Émile, 26