1 R. G. Collingwood, Speculum Mentis , or The Map of Knowledge. Oxford, 1924, p. 82.
2 Ibid., p. 236.
3 Conrad Fiedler, Uber den Ursprung der kunstlerischen Thatigkeit, 1887.
^ From a conversation with Cezanne reported by Emile Bernard, Mercure de France, cxlviii, no. 551,
1 June 1921. Cf. Gerstle Mack, Paul Cezanne, London, 1935, p. 315.
5 Letters, ed. John Rewald, London, 1941, p. 203.
6 Ibid., p. 228.
7 Ibid., p. 234.
8 Ibid., p. 239 (Letter to Emile Bernard, 25 July
I 9°4)
9 Cf. Letter to Bernard, 23 December 1904. Rewald, op. cit., p. 243.
10 Cf. Letter to Bernard, 23 October 1905, Rewald, op. cit., pp. 251-2.
1 1 Preface to Cezanne: son art — son ceuvre, 2 vols., Paris, 1936.
12 Ibid., p. 15: ‘L’artiste ne releve que de luimeme. II ne promet aux si£cles a venir que ses propres oeuvres; il ne cautionne que lui-meme. II meurt sans enfants. II a ete son roi, son pretre et son Dieu.’
13 Ibid., p. 45.
14 Nikolaus Pevsner, Pioneers of the Modem Movement, London, 1936, covers the ground for architecture and the applied arts.
15 Alfred H. Barr notes ( Picasso: Fifty Tears of his Art, New York, 1936, p. 17), that Joventut, the Catalan weekly to which Picasso contributed illustrations in 1900, ‘turned more towards England and Germany’ and reproduced Beardsley and Burne-Jones.
16 Cf. Camille Pissarro: Letters to his son Lucien, ed. John Rewald, London, 1943.
17 The actual print in this painting has been identified by Douglas Cooper: ‘Two Japanese Prints from Vincent van Gogh’s collection', Burlington Magazine, xcix (June 1957), p- 204. Van Gogh also made direct copies (in oil) of Japanese prints. Cf. J. B. dc la Faille, Vincent van Gogh, London, n.d., pi. II: 'Japonaiserie’: The Tree (after Hiroshige;, 1886.
18 Cf. John Rewald: Post Impressionism from van Gogh to Gauguin, New York, 1956, p. 224. But Mr
Rewald goes on to suggest that in spite of his use of these pens, van Gogh’s drawings ‘scarcely have an oriental flavour; they are in no way elegant, fluid or deft, nor do they have the decorative qualities found in Japanese brush* drawings’. It depends on which Japanese brush drawings one has in mind for comparison: van Gogh might have seen prints or drawings of landscapes by Hokusai or Kunoyoshi that are as forceful as any of his own pen drawings. Admittedly they are always more decorative than van Gogh’s drawings.
19 Further Letters to his Brother. London, 1929, no. 554, p. 234.
20 Cf. R. Rey, Gauguin, Paris, 1928, p. 25. Quoted by Rewald, op. cit., p. 308.
21 Cf. G. Kahn, ‘Seurat', L’Art Moderne, 5 April 1891. Quoted by Rewald, op. cit., p. 99.
22 Rewald, loc. cit.
23 Originally a letter to his friend Beaubourg, dated 28 August (1890).
24 Letters, ed. Rewald, p. 158.
1 First written as a thesis and circulated among a few people in 1906; then published in book form by the Piper Verlag, Munich, 1908. Between 1908 and 1951 there were eleven editions. An English translation by Michael Bullock did not appear until 1953, though Worringer’s main ideas had been introduced by T. E. Hulme (18831917) ( Speculations , edited by Herbert Read, 1924), and his second important book, Formprobleme der Gothik , appeared in an English translation in 1927 ( Form in Gothic, edited by Herbert Read).
2 First translated (by M. T. H. Sadler) as The Art of Spiritual Harmony (London, 1914). Retranslated (by Ralph Manheim) as Concerning the Spiritual in Art (New York, 1947).
3 Georges Duthuit, The Fauvist Painters, trans. Ralph Manheim, New York, 1930, p. 57.
4 Duthuit, op. cit., p. 59 n.
5 Ibid., pp. 22-3.
6 Cf. Alfred H. Barr. Jr. Matisse his Art and his Public. New York, 1951, p. 40.
7 Ibid., p. 119, trans. Margaret Scolari.
8 Ibid., p. 52.
9 Ibid., p. 561, trans. Esther Rowland Clifford
10 Ibid., p. 121.
370 Text References
11 Le Point , iv, no. 21, July 1939, pp. 99-142, 'Notes d’un peintre’. Quoted by Barr, op. cit., p. 42.
12 ‘Foreword to the New Impression’, 1948. Cf. Abstraction and Empathy: a Contribution to the Psychology of Style, trans. Michael Bullock, London and New York, 1953, p. vii.
13 Form in Gothic , trans. edited by Herbert Read, London, 1927, pp. 75-6.
14 Ibid., chapter xxii.
15 Das eigene Leben, 1913; Jakr der Kdmpfe, 1934; Briefe aus den Jahren 1894-1926, ed. Max Sauerlandt, 1927.
16 Ein selbsterzahltes Leben, 1928, 2nd edn 1948.
17 Alpha and Omega , published 1909.
18 Published in C. A. Loosli, F. Hodler: Leben, Werk und Nachlass, 4 vols., Berne, 1924.
19 An interesting anthology of ‘artists’ confessions’, which includes statements by most of the Expressionists, was made by Paul Westheim: Kimstler-Bekenntnisse , Berlin, 1925.
1 Answer to a questionnaire. Cf. Alfred H. Barr, Picasso: Fifty Tears of his Art, New York, 1946, P- 257
2 Cf. Christian Zervos, Pablo Picasso , vol. 11, Paris, 1942, p. 10.
3 John Golding, ‘The “Demoiselles d’Avignon”’, Burlington Magazine , c, no. 662, May 1958, PP- ! 55 “ 6 3 '
4 Cf. J. J. Sweeney, ‘Picasso and Iberian Sculpture’, Art Bulletin, xxiii, no. 3, 1914; cf. also Golding, loc. cit.
5 Cf. Golding, loc. cit., where they are illustrated (Figs. 21, 23, 24).
6 Cf. Venturi, op. cit., bibliography, items 89, 106, 107, 123. Also Ambroise Vollard, Paul Cezanne, Paris, 1914.
7 Cf. Zervos, op. cit., nos. 629, 632-44, with Venturi, op. cit., nos. 264-76, 542-3, 580-2, 719— 21, and especially 726 (much nearer than 542, the comparison given by Mr Golding).
8 Cf James Johnson Sweeney, Plastic Redirections in 20th Century Painting , Chicago, 1934, p. 17.
9 Originally an interview (in Spanish) translated by Forbes Watson and published in The Arts, May 1923. Cf. Barr, op. cit., 270—1.
10 Patrick Heron, The Changing Forms of Art, London, 1955, p. 81.
11 Phrases suggested to me by Jean Cassou, preface to ‘Le Cubisme’, catalogue of an exhibition held at the Musee National d’Art Moderne, Paris, 30 January —9 April 1953, p. 16. This catalogue includes a valuable documentation of the movement by Bernard Dorival.
12 Guillaume Apollinaire, The Cubist Painters: Aesthetic Meditations , trans. Lionel Abel, New York, 1944, p. 23.
13 This occurs in a letter of 15 April 1904, to Emile Bernard, which was published in the catalogue of the retrospective exhibition of Cezanne’s works which formed part of the Salon d’Automne in October 1907. Cezanne’s actual words were:
‘Permettez-moi de vous repeter ce que je vous disais ici:
traiter la nature par le cylindre, la sphere, le cone, le tout mis en perspective. . . . Les lignes paralleles a l’horizon donnent l’etendue, soit une section de la nature. Les lignes perpendiculaires a cet horizon donnent la profondeur. Or la nature, pour nous hommes, est plus en profondeur qu’en surface.’
14 Quoted and translated by Douglas Cooper: Fernand L'eger et le nouvel espace, Geneva and London, 1949, p. viii. The original French text, p. 76.
15 Ibid., pp. vii and 74.
16 William Roberts in England has been the most consistent of these.
17 Op. cit., p. 15.
18 Op. cit., p. 84.
19 The Cubist Painters, p. 33.
20 Cf. Ernst Cassirer, The Philosophy of the Enlightenment, Boston, 1955, chapter vii.
21 See my Art of Sculpture (New York and London, 1956) for a discussion of this question.
i If we recall Coleridge’s distinction between imagination and fantasy ( Biographia Litter aria, chapter iv), then strictly speaking most of these forms of art would be determined by fantasy, and ‘Fantastic Art’ is often the general name given to these developments (e.g. in Fantastic Art , Dada, Surrealism, a publication of the Museum of Modern Art, New York, edited by Alfred H. Barr, Jr, 1936). In my own critical theories (cf. Collected Essays in Literary Criticism — U.S.A. title
Text References 371
The Nature of Literature —London [1951] and New York [ 1956], p. 31) I have tried to relate imagination to what is known in psychoanalysis as the preconscious, fancy to the unconscious. This distinction seems to be well borne out in the varieties of plastic art to be discussed in this chapter and the next. I would suggest that in general the present chapter is concerned with works of imagination, the next chapter with works of fancy, but it is impossible to maintain the distinction because the boundaries themselves are vague and fluctuating. It should perhaps be noted that the degrees of depth which psychoanalysis finds in the human psyche do not imply any concepts of value for art: they merely provide different types of motif
2 F. T. Marinetti, Manifeste technique de la Literature futuriste (11 May 1912); LTmagination sans fils et les mots en liberie (11 May 1913); C. Carra, La pittura dei suoni, dei rumori, degli odori (11 August 1913); Z an g Tumb Tuuum: Parole in Liberta , Milan (1914); F. T. Marinetti, La Splendourgeometrique et mecanique de la nouvelle sensibilite numerique (18 March 1914); Antonio Sant’Elia, Manifesto delParchitettura (9 July 1914). Some of these details of the Futurist movement have been taken from a contribution by Marinetti’s widow, Benedetta Marinetti, to Collecting Modern Art: Paintings, Sculpture and Drawings from the Collection of Mr and .Mrs Harry Lewis Winston , The Detroit Institute of Arts, 1957 But see the next footnote.
3 Pittura , sculturafuturiste , Milan, 1914. For a complete documentation of the movement, see Archivi del Futurismo . Rome, 1955.
4 It was this word which gave a name to the English branch of the Futurist movement: the short-lived Vorticist movement led by Wyndham Lewis. William Roberts, Frederick Etchells, Edward Wadsworth. Jacob Epstein, C. R. W. Nevinson, and, for a short time before he was killed early in the war, the French artist Flenri Gaudier-Brzeska (1891 1915) were associated with this ‘Great English Vortex’.
5 Collection of the Societe Anonyme: Museum of Modern Art, ig20. New Haven, 1950, p. 148.
6 En avant Dada: die Geschichte des Dadaismus, trans. Ralph Manheim in The Dada Painters and Poets: an Anthology , ed. Robert Motherwell, New York. 1951, pp. 2! 47.
7 Ibid., p. 26.
8 For further precise details of the events of these years, sec Dada: Monograph of a Movement , ed. Willy Yerkauf, London, New York, etc., 1957.
9 It is significant that de Chirico also wrote a dream-novel, Hebdomeros I 1929).
10 Nostalgia of the Infinite is the title of a painting (19H).
11 Waldemar George, Giorgio de Chirico , Paris, 1928.
12 Walter Erben, Marc Chagall , London, 1957, p. 124.
13 Ibid., p. 149.
14 Andre Breton, Les pas per dus, Paris, 1924, trans. Ralph Manheim in Motherwell, op. cit., p. 204.
15 Cf. Georges Ribemont-Dessaignes, History of Dada , in Motherwell, op. cit., pp. 99-120. Originally published in La Nouvelle Revue Francaise, Paris, I93I
16 Andre Breton, ‘The Dada Spirit in Painting’. Cahiers d’Art, vn ix, Paris. 1932-4, trans. Ralph Manheim in Motherwell, op. cit., p. 187.
17 Andre Breton, Manifeste du Surrealisme — Poisson soluble, Paris, 1924, new edn, Paris, 1929, pp. 41 3, trans. in David Gascoyne, A Short Survey of Surrealism, London, 1935, pp. 46-7.
18 Ibid., pp. 45-6.
19 The first chapters of Champs Magnetiques, written by Breton by ‘automatic’ methods in collaboration with Philippe Soupault, appeared in the review Litterature.
20 What is Surrealism?, trans. David Gascoyne, London, 1936, pp. 50-1.
21 Georges Hugnet, Introduction to Petite Anthologie Poetique du Surrealisme , Paris, 1934, p. 41.
22 Litterature , Paris, October 1922, trans. Ralph Manheim in Motherwell, op. cit., pp. 209, 21 1.
23 ‘Genesis and Perspective of Surrealism’ in Art of this Century, ed. Peggy Guggenheim, New York, 1942, p. 16. This important survey of the Surrealist movement was subsequently published by Breton in Le. Surrealisme et la peinture , New York, I 945
24 Art of this Century, p. 21.
25 Ibid., p. 20.
26 Ibid., p. 24.
27 The final organized manifestation of the movement was the Exposition Internationale du Surrealisme. presented by Andre Breton and Marcel Duchamp at the Galerie Macght in Paris in 1947 Cf. Le Surrealisme en ig.f/, Paris, 1947.
28 Marcel Raymond, From Baudelaire to Surrealism, trans. G.M., New York, 1950, pp. 293 4.
29 Andre Breton, Manifeste (1924), p. 13. (Cf.
372 Text References
Situation du Surrealisme entre les deux Guerres , Paris, 1945: ‘Cette exaltation m’est restee’.)
30 Ibid., pp. 13-14.
1 VIntransigeant, Paris, ijjune 1932.
2 This list is based mainly on Alfred H. Barr, Picasso: Fifty Tears of his Art, 1946.
3 In the conversation with Teriade (see footnote 1).
4 Barr, op. cit., p. 143.
5 Indeed, ambiguity may be the essence of the method, ‘a means of approaching the truth’, as suggested by Roland Penrose, Picasso, his Life and Work, London, 1958, p. 270.
6 From an interview given to Jerome Seckler in 1945. Quoted from Barr, op. cit., p. 202.
7 London Bulletin, October 1938. Reprinted in A Coat of Many Colours, London, 1945, pp. 317-19.
8 Cf. Lorenz Eitner, Burlington Magazine, London, xcix, June 1957, pp. 193-9. Also Johannes Eichner, Kandinsky und Gabriele Miinter. Munich, n - d - (? 1 957 )
9 Eitner, loc. cit.
to Kandinsky, Concerning the Spiritual in Art, New York, 1947, pp. 23- 4 n.
11 Wassily Kandinsky, ed. Max Bill, with contributions from Jean Arp, Charles Estienne, Carola Giedion-Welcker, Will Grohmann, Ludwig Grote, Nina Kandinsky and Alberto Magnelli, Paris, 1951, p. 165.
12 Will Grohmann, Paul Klee, English edn, London, 1954. I have relied on this authoritative work for most of the facts recorded here.
13 'Quantitatively speaking, roughly half of Klee’s total ceuvre was produced during the years he taught.’ Grohmann, op. cit., p. 83.
14 Trans. Ralph Manheim.
15 ‘Le mouvement infini, le point qui remplit tout, le mouvement de repos: infini sans quantite, indivisible et infini.' (Pascal, fragment 425; Stewart 213.)
16 Paul Klee, On Modem Art, p. 55. (Trans, revised.)
i Wassily Kandinsky, ‘Reflexions sur Tart abstrait’, Cahiers d’Art, no. 7-8, 1931.
2 An exhibition of Chinese, Japanese and Korean art was held in Munich in 1909, and one of Mohammedan art in 1910.
3 Wassily Kandinsky Memorial, New York (Solomon R. Guggenheim Foundation), 1945, p. 61.
5 Illustrated by Peter Selz in German Expressionist Painting . Berkeley and Los Angeles, 1957, pi. 82.
5 Leonce Rosenberg, Le Neo-plasticisme, Paris, 1920. But he had used the Dutch equivalent, Nieuwe Beelding , in De Stijl from 1917 onwards. A more accurate translation of the phrase in English would be ‘new configuration'.
6 From H. C. L. Jaffe, De Stijl: igiy-ji. The Dutch Contribution to Modem Art, Amsterdam, 1956, p. 56. The most complete and authoritative work on the De Stijl movement.
7 Ibid., pp, 55-6.
8 Ibid., p. 61.
9 Ibid., p. 30.
10 In the last number of De Stijl. Cf. Jaffe, op. cit., p. 89.
11 Piet Mondrian, Plastic Art and Pure Plastic Art ( I 937 )» New York > i 945 > P- 54
12 Georg Schmidt, ‘Piet Mondrian To-day’, preface to Michel Seuphor, Piet Mondrian: Life and Work , London, 1957.
13 He is not likely to have read Edward Bullough’s famous essays on ‘The “Perceptive Problem” in the Aesthetic Appreciation of Single Colours’, British Journal of Psychology , 11, 1906-8, 406 ff.; but Bullough was representative of much current discussion of such problems.
14 Kasimir Malevich, Die gegenstandslose Welt: Begrundung und Erkldrung des russischen Suprematismus. Munich, .1927 {Bauhausbucher //). A few paragraphs are translated in R. Goldwater and M. Treves, Artists on Art, New York, 1945, pp. 452-3, from which I quote.
15 Naum Gabo: Antoine Pevsner. New York, 1948, P- 53
16 Gabo: Constructions , Sculpture, Paintings, Drawings, Engravings. London and Cambridge (Mass.), ! 957 > P- 156.
17 Ibid., pp. 17-18.
18 ‘Russia and Constructivism’, interview, 1956, in Gabo {op. cit., 1957), p. 157.
19 Ibid., p. 158.
20 Quoted in Naum Gabo: Antoine Pevsner (p. 57), from Galerie Rene Drouin, Paris, Antoine Pevsner, Paris, 1947.
Text References 373
2i Bauhaus . igig-28, edited by Herbert Bayer, Walter Gropius, Ise Gropius, New York and London, 1939, p. 18.
•22 Paris. 1918.
1 English trans. Form in Gothic , (edited with an Introduction by Herbert Read), London, 1927.
2 Cf. the passage from Worringer’s Form in Gothic already quoted on p. 54.
3 I select these names deliberately: there is another element in modern architecture, represented by Mies van der Rohe and Gropius, which is more rational, serene and classical. Walter Gropius, significantly, is the architect of the new American Embassy in Athens.
4 Oddly enough, the word ‘expressionism’, as a name for the new movement, seems to have originated in Paris. It was used by Matisse, and Theodor Daubler, in his book Im Kampf um die moderne Kunst , Berlin. 1920, claims that a French critic, Louis Vauxcelles, was the first critic to give it currency. The term was taken up by the German (Berlin) periodical Der Sturm from 1911 onwards, first in relation to French painters who exhibited in the Berlin Secession of 1911, and then indiscriminately to describe German artists in s\ mpalhy with them. In an essay which appeared in Der Sturm in 1911 (11, pp. 597-8) Worringer gave the first clear definition of the term, at the same time relating its contemporary manifestations to manifestations of the same ‘will to form' in the past. Cf. Peter Selz, German Expressionist Fainting , Berkeley and Los Angeles, pp. 255-8.
5 \ . . we both loved blue. Marc horses, I — riders. Thus the name arose by itself.' Statement of 1930 attributed to Kandinsky. Cf. Cicerone , no. 3. 1949. p- ill. Quoted from Bernard S. Myers, Expressionism. London and New York, 1957, p. 206, n. 124.
6 G. P\ Hartlaub in ‘The Arts’, January 1931. Myers, op. cit ., p. 280.
7 Quoted from Selz, op. cit., pp. 219 20
8 August Macke. Quoted from Selz. op. cit., p. 220.
9 By Dr Hartlaub. See footnote 6 above.
10 See p. 236 below.
11 From the open letter inviting all artists to join the November Group, sent out by the executive committee in December 1918. Cf. Myers, op. cit., p. 278.
12 Cf. Jean Ley marie: ‘Mcglio di qualsiasi altro artista, Soutine, secondo il detto di Millet, che sembra l’epigrafe dell’espressionismo moderno, “ha messo le propria pelle nella sua opera”.’ XXYI Biennale di Venezia 1 1952), Catalogo, P- 1 79
13 Edith Hoffman, Kokoschka: Life and Work , London, 1947, p. 33. This authoritative monograph contains several important statements by the artist himself.
14 Ibid., pp. 118-19.
15 Trans. E. Hoffman, op. cit., p. 147.
16 Cf. Hans Maria Wingler, Introduction to Kokoschka , London, 1958, p. 112.
17 ‘A Petition from a Foreign Artist to the Righteous People of Great Britain for a Secure and Present Peace’, humbly tendered and signed by Oskar Kokoschka, London. December 1945. Appendix to Hoffman, op. cit., pp. 247-84.
18 ‘On the Nature of Visions', trans. Hedi Medlinger and John Thwaitcs, in Hoffman, op. cit., pp. 285-7.
19 Wassily Kandinsky, Concerning the Spiritual in Art, New York, 1947, pp. 67-8.
20 In particular Anton Ehrenzweig, The Psychoanalysis of Artistic Vision and Hearing. An Introduction to a Theory of Unconscious Perception , London,
1 953 *
21 Henri Michaux, Un Bar bare en Asie, Paris, 1945.
22 In Fourteen Americans , ed. Dorothy C. Miller, New York, 1946, p. 70.
23 Magnificently demonstrated by Gyorgy Kcpes in The New Landscape in Art and Science , Chicago, * 95 6
24 Ibid., p. 173.
25 Paris, 1958.
26 But these fragments might equally well have come from Masson.
27 Introduction to the Catalogue of the Jackson Pollock Exhibition circulated under the auspices of the International Council at the Museum of Modern Art. New York, in 1958.
28 Jackson Pollock, ‘My painting'. Possibilities. New York. no. 1, 1947, p. 79- Quoted in the catalogue of the Jackson Pollock exhibition circulated by the International Council at the Museum of Modern Art, New York, in 1958.
29 From the answer to a questionnaire, written by Jackson Pollock and printed in Arts and Architecture, lxi, February 1944.
374 Text References I Bibliography
30 Hannah Arendt, The Human Condition , New York, 1958, p. 3230. But it is possible to argue that Action Painting is not ‘expressionistic’. Cf. Harold Rosenberg:
‘Action never perfects itself; but it tends toward perfection and away from the personal. This is the best argument for dropping the term “Abstract Expressionism”, with its associations of ego and personal Schmerz , as a name for the current American painting. Action Painting
has to do with seif-creation or self-definition or self-transcendence; but this dissociates it from self-expression, which assumes the acceptance of the ego as it is, with its wound and its magic. Action Painting is not “personal”, though its subject matter is the artist’s individual possibilities.’ From ‘A dialogue with Thomas B. Hess’, Catalogue of the Exhibition: Action Paintlug, 1958, The Dallas Museum for Contemporary Arts. Reprinted in The Tradition of the Mew, New York, 1959, p. 28n.