Abduction, The (Cézanne), 56
L’Absinthe (Degas), 75
abstract art, pioneers of, 29–30, 88–89
Abstract Expressionism, 36–38
and age at which leading artists had their first exhibition, 81–82
and art history, place in, 85
automatism in, 50
benefit to from European artists escaping Fascism, 89
complexity of art within, 177
and conceptual successors, reaction to, 84
Monet as a forerunner of, 64
Smith and, 119–20
Ackerman, James, 101
Adams-Price, Carolyn, 172–73
aesthetically motivated experimentation. See experimental innovation/artists
age: artistic achievement and (see life cycle theory of creativity)
illustrations in textbooks and the artist’s, 26–27
inclusion in An Invitation to See and, 40–42
inclusion in “The Heroic Century” exhibition and, 43–45
innovation/quality of work and, 1, 14–15, 166–71
of novelists when writing their most important works, 148–49
premodern masters and, 109–10
prices at auction and the artist’s, 22–24
the problem of reacting constructively to advancing, 183–84
psychologists on creativity and, 171–77
quantitative measures of an artist’s best work and, 28–33
retrospective exhibitions and, 33–35
the young master, rise of, 80–82
Age and Achievement (Lehman), 172
Agee, James, 156
Alechinsky, Pierre, 14
Alpers, Svetlana, 95–96
Alvarez, A., 132–33
American Film Institute, 154–55
Ames-Lewis, Francis, 102
Anatomy Lesson of Dr. Tulp (Rembrandt), 109
Anderson, Sherwood, 146
Apollinaire, Guillaume, 32, 117
Archer, Michael, 91–93
Archilochus, 177
architects, 184
Ariel (Plath), 133
art/artists: conspiracy theories in, 3
experimental and conceptual, characteristics of, 177–84
experimental and conceptual, consideration of the distinction between, 162–66
globalization of, 86–93
implications of the theory for (see implications of the theory)
innovation as source of importance/lasting reputation in, 2–3
innovation in and age of the artist (see age; life cycle theory of creativity) measurement of quality of (see measurement)
motivations, comparison of artists and scholars regarding, 15–20
quality of, age and, 1, 14–15, 166–71
quality of, determinants of, 2–3
quality of, size of paintings and, 23
textbook illustrations as evidence regarding quality of, 25–27. See also names of artists; names of movements
art historians: and artists and scientists, ignoring of parallels between, 17
globalization of art and, 90–91
and masterpieces without masters, awareness of, 73
measurement of the quality of work and, 44
and textbooks, publishing of and illustrations in, 25–26
and types of artistic innovators and creative life cycles, recognition of, 19–20
Art since 1960 (Archer), 91–93
Aurier, Albert, 64
Austen, Jane, 169
Avery, Milton, 89
Bacon, Francis, 14
Balassi, William, 146
Balthus (Balthasar Klossowski de Rola), 13–14
Balzac, Honoré de, 114, 165–66
Bar at the Folies-Bergère, A (Manet), 57
Basquiat, Jean-Michel, 86
Bathers at La Grenouillère (Monet), 52–53
Battleship Potemkin (Eisenstein), 151–53
Baxandall, Michael, 16–17
Bazille, Frédéric, 67, 69, 71–72
Belting, Hans, 102–3
Berger, John, 9
Berlin, Isaiah, 177–78
Bernard, Émile, 5–8, 65, 166, 182
Berryman, John, 145
Bible, Geoffrey C., 33
Bidart, Frank, 131
Bird in Space (Brancusi), 113
Bishop, Elizabeth, 184
Black Square (Malevich), 88
Blanche, Jacques-Émile, 143
Bloom, Harold, 145
Boccioni, Umberto, 88, 111–13, 116–17, 122
Bogdanovich, Peter, 156
Bois d’Amour, Le (Sérusier), 74–75
Borges, Jorge Luis, 154
Bouguereau, William Adolphe, 2
Bourdieu, Pierre, 16
Bowness, Alan: on Cézanne’s approach to art, 6
and creation, question regarding, 4
on creativity through an artist’s career, 44
on museum collections, 40
and two types of artistic innovator, recognition of, 19
Brancusi, Constantin, 111–13, 115–16, 121–22
Braque, Georges: as conceptual innovator, evidence regarding, 28, 31–32
and Cubism, contribution to, 15, 31–32
and Les Demoiselles d’Avignon, denunciation of, 9
and “The Heroic Century” exhibition, paintings included in, 44
and An Invitation to See, paintings included in, 41
Brown, Jonathan, 107
Brown, Royal, 159
Brunelleschi, Filippo, 98
Budgen, Frank, 142
Burt, Daniel, 136
Cabanne, Pierre, 9
Calder, Alexander, 76–77
Canaday, John, 25
Castelli, Leo, 90
Cavalcanti, Guido, 171
Cézanne, Paul: age-price profile of, 22–24
as experimental innovator, 5–8, 15, 182–84
and finishing a painting, difficulty of, 14
and Frenhofer in Balzac’s book, self-identification as, 166
and Godard, comparison to, 159
and “The Heroic Century” exhibition, paintings included in, 43
illustrations of work by in textbooks, 26–27, 74–75
and Impressionism, contribution to, 15
and Impressionism, experiments with, 28, 62
and An Invitation to See, paintings included in, 41
lists of top 10 paintings by French artists, absence of from, 67
and Paris, retreat from, 86
and Picasso, comparison to, 9–11, 14–15
and preliminary sketches, change regarding use of, 56
progress over his career, benefits and costs of, 182–83
on research, 185
retrospective exhibitions of, age and, 34–35
Chabrol, Claude, 158
Chesterton, G. K., 136
Chirico, Giorgio de: as conceptual innovator, evidence regarding, 27–28, 32–33
and “The Heroic Century” exhibition, paintings included in, 44
and An Invitation to See, paintings included in, 41
and Surrealism, inspiration for, 32–33
Citizen Kane (Welles), 151–54
City Square (Giacometti), 113
Clemens, Samuel. See Twain, Mark
Close, Chuck, 12
Clothespin (Oldenburg), 77
Clouzot, Henri-Georges, 156
conceptual execution. See conceptual innovation/artists
conceptual innovation/artists, 4–5, 185–86
age and innovation, relationship to, 14–15
age at which leading artists had their first exhibition, 81–82
archetype of, Picasso as, 5, 8–11
characteristics of, 177–84
Eisenstein, 150–52
Eliot, 124, 128–29, 133, 170, 174–76, 181
and experimental artists, conflict with, 82–86
and experimental artists, procedures of compared to, 11–14
experimental/conceptual distinction, artists on, 162–66
extreme practitioners of, 48–50
Fitzgerald, 144–49, 166, 175, 181–82
Gauguin, impact of on Sérusier, 74–75
group exhibitions and lists of top ten paintings by French artists, dominance of, 68–70
Hemingway, 146–49
masterpieces without masters as example of, 73–80
moderate practitioners of, 51, 53–54
movie directors, 149–51, 160–61
and numerical measurement, examples of, 27, 31–33, 38–39
Pound, 124, 127–28, 133, 170–71, 174, 180
transmission of ideas, ease/speed of, and the globalization of art, 87–93
Vermeer, 107–10
the young master as product of, 80–82. See also life cycle theory of creativity
Conrad, Joseph, 140
conspiracy theories in art, 3
Constructivism, 117
Corbusier, Le. See Jeanneret, Charles-Édouard
Courbet, Jean Désiré Gustave, 67–70
Cowley, Malcom, 129
Csikszentmihalyi, Mihaly, 172–73
Cubi XVIII (Smith), 113
Cubism: and art history, place in, 85
Braque’s contribution to, 15, 31–32
Les Demoiselles d’Avignon as announcing the beginning of, 9
Godard’s approach to film technique compared to, 158–59
Gris’s contribution to, 32
origins of, 87
Picasso’s contribution to, 15
Cummings, E. E., 124, 129–30, 133
Danae (Titian), 105
“Dance, The” (Williams), 174
Danto, Arthur, 85
Degas, Edgar: Cassatt and, 87
as experimental innovator, evidence regarding, 28–29
illustrations of work by in text books, 74–75
and the Impressionists’ exhibitions, paintings exhibited at, 72–73
and An Invitation to See, paintings included in, 40–41
lists of top 10 paintings by French artists, absence of from, 67
Déjeuner en fourrure, Le (Oppenheim), 76–77
Déjeuner sur l’herbe (Manet), 80–81
Déjeuner sur l’herbe (Monet), 71–72
de Kooning, Elaine, 37
de Kooning, Willem: Abstract Expressionism of, 37–38, 177
as experimental innovator, evidence regarding, 36
first New York exhibition, his age at, 81–82
and “The Heroic Century” exhibition, paintings included in, 45
and An Invitation to See, paintings included in, 42
retrospective exhibition of work of, 35
Delacroix, Eugène, 55
Demoiselles d’Avignon, Les (Picasso), 9, 15, 22, 70
Denis, Maurice, 74–75
Derain, André: as conceptual innovator, evidence regarding, 28, 31
and Fauvism, invention and practice of, 31
and “The Heroic Century” exhibition, paintings included in, 44
and An Invitation to See, paintings included in, 41
Dickens, Charles, 135–36, 147–49
Diebenkorn, Richard, 14
Dine, Jim, 82
directors of movies, 149–61, 165
Dolce Vita, La (Fellini), 151
Dostoevsky, Fyodor, 184
Doyno, Victor, 139
Duchamp, Marcel, 12, 45–46, 67–69, 83
Dufy, Raoul, 86
Durand-Ruel, Paul, 58
Duret, Theodore, 51
Eakins, Thomas, 54–55
Earth art movement, 121
economists: conceptual and experimental, 178
theorists and empiricists, distinction between, 47–48
Eisenstein, Sergei, 150–52, 160–61
Eliot, George, 135
Eliot, T. S., 122
on age and writing, 170–71
as conceptual poet, 124, 128–31, 133, 174–76
and Fellini, comparison to, 160
on Fitzgerald, 144–45
on Pound, 127
Williams’s objections to the poetry of, 126
Ellison, Ralph, 140
Elsen, Albert, 114
experimental innovation/artists, 4, 185–86
age and innovation, relationship to, 14–15
age at which leading artists had their first exhibition, 81–82
archetype of, Cézanne as, 5–8
characteristics of, 177–84
and conceptual artists, conflict with, 82–86
conceptual/experimental distinction, artists on, 162–66
extreme practitioners of, 50–51
Faulkner, 163–64
Frost, 123–25, 133–34, 174–76, 180
the Impressionists’ exhibitions and, 71–73
moderate practitioners of, 51–54
movie directors, 150–51, 160–61
and numerical measurements, examples of, 28–30, 36–38
poets, 123
procedures of compared to conceptual approach, 11–14
Rembrandt, 94–97, 105–6, 108–10
Renoir, 151–53
Stevens, 124–26, 133–34, 164–65, 174
and transmission of ideas, relative disadvantages in, 87–91
Velézquez, 107–10
Williams, 124, 126–27, 174;Woolf, 142–44, 147–49, 169, 180–81. See also life cycle theory of creativity
Expressionism, 65
Exter, Alexandra, 88
Farber, Manny, 159
Farrell, James, 147
Faulkner, William, 163–64
Feast, The (Cézanne), 56
Fellini, Federico, 151, 155, 159–61
Femme-Fleur, La (Picasso), 60
Féneon, Félix, 58
Fitzgerald, F. Scott, 144–49, 166, 175, 181–82
Flack, Audrey, 12–13
Flag (Johns), 79
Ford, John, 151, 154–57, 160–61, 184
Forster, E. M., 143
Frankenthaler, Helen, 14
Freedberg, S. J., 100–101
Frost, Robert, 122–25, 133–34, 174–76, 180
Fry, Roger: on Cézanne’s approach to art, 6, 8
and creative life cycles, recognition of differences in, 19–20
and systematic study, need for, 171
on Titian and Rembrandt, 106
Gardner, Howard, 172–73
Garrido, Carmen, 107
Gasquet, Joachim, 7
Gauguin, Paul: and Impressionism, experiments with, 28, 62
lists of top 10 paintings by French artists, presence of on, 68–69
as moderate conceptual artist, 53–54
and Munch, impact on, 31
neglect of by contemporaries, 2
on the process of painting, 12
and quality of artistic work, the life cycle and, 1, 3
and The Talisman, influence on the painting of, 74–75, 87
van Gogh and, 65
Gehry, Frank, 184
Geist, Sidney, 115–16
Ghiselin, Brewster, 16, 178, 181
Giacometti, Alberto: as an experimental sculptor, 118–19, 122
Oppenheim and, 75
on the process of painting, 13
ranking of as a sculptor, 76–77, 111–13
Gilot, Françoise, 10, 14, 59–60
Giotto, 98
globalization of art, 86–93
Godard, Jean-Luc, 151, 158–59, 160–61
Golding, John: on Boccioni, 117
on Cubism, 9
on Gris, 32
and Malevich, impact of published articles on, 88
on the pioneers of abstract art, 29–30
Golding, Robert, 136
Gombrich, E. H., 99–102
Goncharova, Natalia, 88
Goncourt, Edmond de, 114
Gorky, Arshile: Abstract Expressionism of, 37
as experimental innovator, evidence regarding, 36
first New York exhibition, his age at, 81–82
and “The Heroic Century” exhibition, paintings included in, 45
and An Invitation to See, paintings included in, 42
Grand Illusion, The (Renoir), 151, 153
Great Gatsby, The (Fitzgerald), 144–45
Green, Christopher, 32
Greenberg, Clement, 25, 45, 65
Greene, Stephen, 90
Gris, Juan: as conceptual innovator, evidence regarding, 28, 32
and Cubism, contribution to, 32
and “The Heroic Century” exhibition, paintings included in, 44
and An Invitation to See, paintings included in, 41
Gropius, Walter, 184
Guide Mayer, Le, 22
Guston, Philip, 82
Haftmann, Werner, 91
Hall, Donald, 132
Hamilton, George Heard, 25, 31, 68–69, 113
Hawks, Howard, 151, 155–58, 160–61, 184
Hawthorne, Nathaniel, 137
Heaney, Seamus, 162
Hemingway, Ernest, 145–49, 163–64
“Heroic Century, The” exhibition, 42–45
Herrmann, Bernard, 153
His Girl Friday (Hawks), 151
Hitchcock, Alfred: and age and creativity, 184
as experimental move director, 151, 156–57, 160–61
on Ford, 155
on movies as visual art, 149
Hodgkin, Howard, 13
Holzer, Jenny, 76–77
Howe, Irving, 147
Howells, William Dean, 138
Huckleberry Finn (Twain), 138–39, 175
Hughes, Ted, 133
Ibsen, Henrik, 184
Imagism, 127–28
implications of the theory: conflicts between experimental and conceptual artists, 82–86
contrasting careers and the rise of the young master, 80–82
the globalization of art, 86–93
the Impressionists’ alternative to the Salon, 71–73
masterpieces without masters, 73–80
masters and masterpieces among French artists, 67–70
Impressionism: and art history, place in, 85
Cézanne’s contribution to, 15
and conceptual successors, reaction to, 83–84
exhibitions for as alternative to the Salon, 71–73
Monet’s contribution to, 62–63
Pissarro’s working process and, 53
study of, 87
van Gogh and, 64–66
“In a Station of the Metro” (Pound), 174
Independent Group, the, 77
innovation: conceptual (see conceptual innovation/artists)
experimental (see experimental innovation/artists)
Invitation to See, An (Museum of Modern Art), 40–42, 45–46
Ivan the Terrible (Eisenstein), 151
Jacobsen, Josephine, 169–70
James, Henry: and age and creativity, advancing of, 184
on Dickens, 135
as experimental writer, 140–41, 147–49
and life cycles of creativity, recognition of, 171
on Sargent, 167–68
Jarrell, Randall: on Cummings, 130
on Frost, 124
on Lowell, 132
on Stevens, 126
on Williams, 126–27
Jeanneret, Charles-Édouard (Le Corbusier), 184
Johns, Jasper: on Abstract Expressionism, 38, 82
and collaboration, importance of, 18
complexity of art by, 177
as conceptual innovator, evidence regarding, 36
first New York exhibition, his age at, 82
and “The Heroic Century” exhibition, paintings included in, 45
illustrations in textbooks of works by, 78–79
and An Invitation to See, paintings included in, 42
retrospective exhibition of work of, 33, 35
Stella, influence of on, 90
Joyce, James, 134, 141–42, 146–49, 181
Joy of Life (Matisse), 70
Julius II, 100
Just what is it that makes today’s homes so different, so appealing? (Hamilton), 77–79
Kahn, Louis, 184
Kahnweiler, Daniel-Henry, 17, 32, 60
Kandinsky, Wassily: as experimental innovator, evidence regarding, 28–30
and “The Heroic Century” exhibition, paintings included in, 44
and An Invitation to See, paintings included in, 40–41
and Paris, time spent in working and studying, 88
on the process of painting, 13
Kaprow, Allan, 65
Kaufman, James, 171
Kazan, Elia, 155
Kenner, Hugh, 127–28
Kettle, Arnold, 136
Klee, Paul, 13
Kline, Franz, 82
Krasner, Lee, 38
Krause, Sydney, 139
Kubler, George: and artists and nonartists, comparison of activities of, 16
and artists and scientists, comparison of, 17
on humanists and measurement, 21
and individual artists and the history of art, relationship of, 61, 63
Kunitz, Stanley, 131
“Lady Lazarus” (Plath), 133
Laforgue, Jules, 128
Langlois, Henri, 157
Large Bathers, The (Cézanne), 75
Larionov, Mikhail, 88
Last Supper, The (Leonardo), 99, 109
Lawrence, D. H., 137
Léger, Fernand, 88
Lehman, David, 122–23
Lehman, Harvey, 14, 171–73, 175–76
Lensing, George, 125–26
Leonardo da Vinci, 98–103, 108–10
LeWitt, Sol: as conceptual artist, 49
first New York exhibition, his age at, 82
on the process of painting, 12, 47
Raphael’s anticipation of procedures by, 103
Lichtenstein, Roy: and Abstract Expressionism, reaction to, 38–39
as an apparent anomaly, 65–66
as conceptual innovator, 36, 39, 177
first New York exhibition, his age at, 82
and “The Heroic Century” exhibition, paintings included in, 45
illustrations in textbooks of works by, 78–79
and An Invitation to See, paintings included in, 42
Polke, influence of on, 90
retrospective exhibition of work of, 35
life cycle theory of creativity: age and innovation/quality of work, question regarding the relationship of, 1, 14–15, 166–71
anomalies and, 61–66
change in approach/type, possibility of, 56–61
implications of (see implications of the theory)
measuring quality to generate evidence for (see measurement)
motivations of artists and scholars, comparison of, 15–20
movie directors, application of to, 149–61
novelists, application of to, 134–49
poets, application of to, 122–34
premodern artists, application of to, 94–110
psychologists and, 171–77
sculptors, application of to, 111–22
spectrum of approaches, from binary distinction to, 47–55
the two types of artist, 4–5, 185–86 (see also conceptual innovation/artists; experimental innovation/artists)
the two types of artist, archetypes of, 5–11
the two types of artist, artists on, 162–66
the two types of artist, characteristics of, 177–84
the two types of artist, differing procedures of, 11–14
Life Studies (Lowell), 131
Lin, Maya, 79–80
Litz, A. Walton, 141–42
Lobster Trap and Fish Tail (Calder), 77
Longley, Michael, 162
“Love Song of J. Alfred Prufrock, The” (Eliot), 128, 174, 176
Lowell, Robert: as experimental poet, 124, 131–33, 174
on Plath, 132
and Plath, comparison to, 132–33
on Williams, 127
Lueg, Konrad, 18
Luxe, calme, et volupté (Matisse), 50
Maar, Dora, 75
MacLeod, Glen, 125
Maillol, Aristide, 169
Malanga, Gerard, 48–49
Manet, Edouard: change in approach by, 57
and Impressionism, experiments with, 28, 62
lists of top 10 paintings by French artists, multiple entries of in, 67–69
as a moderate conceptual innovator, 51
and the Salon, continued exhibition at after development of Impressionists’ exhibitions, 72
young age, attention attracted by at a, 80–81
Man Pointing (Giacometti), 77, 113
Man Who Shot Liberty Valance, The (Ford), 151, 155
Marc, Franz, 88
Marilyn Diptych (Warhol), 79
Marinetti, F. T., 116
Martindale, Colin, 172–73
Marzio, Peter, 42
Masaccio. See Tommaso di Giovanni di Simone Guidi
Masson, André, 50
Mast, Gerald, 151–52, 155, 157
Matisse, Henri: and Les Demoiselles d’Avignon, denunciation of, 9
Dufy on understanding Luxe, calme, et volupté, 86
as extreme conceptual artist, 50
and Fauvism, invention and practice of, 31
Gauguin, influence of on, 84
and group exhibitions, planning of large works for, 70
lists of top 10 paintings by French artists, presence of on, 68
Luxe, calme, et volupté, execution of, 50
Pissarro and, 87
Matta, Roberta, 89
measurement: examples of using prices and textbook illustrations, 27–33
examples of using prices, textbook illustrations, and retrospective exhibitions, 35–39
and “The Heroic Century” exhibition, 42–15
multiple methods for, 21, 44–46
and museum collections, 40–42
and prices, 21–24
and retrospective exhibitions, 33–35
and textbooks, illustrations in, 25–27
Meissonier, Ernest, 2
Melville, Herman, 137–38, 147–19
Mencken, H. L., 145
“Mending Wall” (Frost), 174
Meninas, Las (Velázquez), 107, 109
Mepham, John, 142
Mépris, Le (Godard), 151
Metz, Christian, 160
Meyers, Jeffrey, 146
Michelangelo, 94, 100–103, 108–10
Mies van der Rohe, Ludwig, 184
Milner, John, 118
Minimalism, 85
Mitchell, Joan, 14
Moby-Dick (Melville), 137
Mona Lisa (Leonardo), 100
Monet, Claude: anomaly, his contribution to Impressionism as apparent, 62–64, 66
illustrations in textbooks of paintings by, 63–64
and Impressionism, contribution to, 28, 57
the Impressionists’ exhibitions and, 71–73
as a moderate experimental artist, 51–53
and Pissarro, break with, 58
on the process of painting, 13
Monogram (Rauschenberg), 79
Monument to Balzac (Rodin), 113–15
Monument to the Third International (Tatlin), 113, 117–18
Moore, George, 29
Moore, Marianne, 127
Moravia, Alberto, 147
Morisot, Berthe, 73
Mortimer, Raymond, 144
Motherwell, Robert: first New York exhibition, his age at, 82
on the process of painting, 13
and Stella, criticism of, 84
and Stevens’s poetry, comparison with, 125
and Surrealist automatism, introduction to, 89
Moulin de la Galette (Renoir), 75
Mozart, Wolfgang Amadeus, 163
Mrs. Dalloway (Woolf), 143–44
Munch, Edvard: as conceptual innovator, evidence regarding, 28, 31
and “The Heroic Century” exhibition, paintings included in, 44
and An Invitation to See, paintings included in, 41
The Scream, 31
Museum of Fine Arts (Houston), “The Heroic Century” exhibition, 42–45
Museum of Modern Art (New York): “The Heroic Century” exhibition, 42–45
An Invitation to See, 40–42
Newman, Barnett: Abstract Expressionism of, 36–38
and Avery, study with, 89
as experimental innovator, evidence regarding, 36
first New York exhibition, his age at, 81–82
and “The Heroic Century” exhibition, paintings included in, 45
and An Invitation to See, paintings included in, 42
Night Watch (Rembrandt), 109
novelists, application of the life cycle theory of creativity to, 134–49
O’Brien, Edna, 142
O’Keeffe, Georgia, 28, 30, 40–41, 44
On the Seine at Bennecourt (Monet), 52
Oppenheim, Meret, 75–77
Ortega y Gasset, José, 107
Ozenfant, Amedée, 10
Painting in the Twentieth Century (Haftmann), 91
Pasolini, Pier Paolo, 165
Passage from Virgin to Bride, The (Duchamp), 46
Patterns of Intention (Baxandall), 16–17
Pei, I. M., 184
Pelli, Cesar, 184
Père Tanguy (van Gogh), 75
Perkins, David, 129–30, 130–31
Pesaro Family Altarpiece (Titian), 104–5, 109
Picasso, Pablo: age-price profile of, 22, 24
Baxandall on the artistic motivations of, 17
and Cézanne, comparison to, 9–11, 14–15
as conceptual innovator, 5, 8–11, 15, 182
and Cubism, contribution to, 15
Les Demoiselles d’Avignon, 9, 15, 22, 70
early success, impact of on, 86
Fellini’s approach to film structure, comparison to art of, 160
and finishing a painting, certainty regarding, 14
Gauguin, influence of on, 84
and “The Heroic Century” exhibition, paintings included in, 43
illustrations of work by in textbooks, 26–27
and An Invitation to See, paintings included in, 41
lists of top 10 paintings by French artists, multiple entries of in, 67–70
Matisse as perceived rival of, 70
Oppenheim and, 75
preconceive a painting, his ability to, 59–60
on research, 185
and retrospective exhibitions, age and, 34–35
vision, death of his, 110
Pissarro, Camille: Cézanne and, 56
as experimental innovator, 28–29, 53–54
failed attempt to change approach by, 57–59
on Gauguin, 83–84
and Impressionism, contribution to, 28, 57, 87
and the Impressionists’ exhibitions, paintings exhibited at, 72–73
and An Invitation to See, paintings included in, 41
lists of top 10 paintings by French artists, absence of from, 67
and Monet and Renoir, impact of, 62
on Seurat, 56
and van Gogh, guidance provided for, 65
Pissarro, Lucien, 57–59
Plath, Sylvia, 124, 132–34, 174–75
poets, application of the life cycle theory of creativity to, 122–34, 169–71, 173–74
Pollock, Jackson: Abstract Expressionism of, 36–38, 177
as experimental innovator, 36, 39, 50–51
first New York exhibition, his age at, 81–82
and foreign artists, exposure to, 89
and “The Heroic Century” exhibition, paintings included in, 45
and An Invitation to See, paintings included in, 42
on the process of painting, 13
retrospective exhibition of work of, 35
Smithson and, 121
Pope-Hennessy, John, 103
Portrait of Achille Emperaire (Cézanne), 56
Pound, Ezra: on age and writing, 170–71
as conceptual poet, 124, 127–28, 133, 174, 180
on Williams, 127
Williams’s objections to the poetry of, 126
prices, 21–24
Psycho (Hitchcock), 151
psychology: life cycles of creativity and, 171–77
Rauschenberg, Robert: and collaboration, importance of, 18
complexity of art by, 177
as conceptual innovator, evidence regarding, 36
first New York exhibition, his age at, 82
and “The Heroic Century” exhibition, paintings included in, 45
illustrations in textbooks of works by, 78–79
retrospective exhibition of work of, 35
Reclining Figure (Moore), 77
“Red Wheelbarrow, The” (Williams), 174
Regentesses of the Old Men’s Home (Hals), 109
Reinhardt, Ad, 12
Rembrandt, 94–97, 105–6, 108–10, 114–15
Renoir, Auguste: illustrations of work by in textbooks, 74–75
and Impressionism, contribution to, 28, 57, 62
and the Impressionists’ exhibitions, paintings exhibited at, 72–73
lists of top 10 paintings by French artists, absence of from, 67
on the process of painting, 13
Renoir, Jean, 151–53, 156, 161
retrospective exhibitions, 33–35
Reynolds, Sir Joshua, 106
Reynolds, Michael, 146–47
Richardson, Robert, 160
Riley, Bridget, 13
Rilke, Rainer Maria, 113
Rio Bravo (Hawks), 151
“River-Merchant’s Wife, The: A Letter” (Pound), 174
Rivers, Larry, 82
Rogers, Franklin, 138–39
Rohmer, Eric, 158
Rosenberg, Harold, 3, 21, 80–81
Rosenberg, Jakob, 97, 106, 109–10
Rosenquist, James, 82
Rothenberg, Susan, 14
Rothko, Mark: Abstract Expressionism of, 36–37, 177
and Avery, study with, 89
as experimental innovator, evidence regarding, 36
first New York exhibition, his age at, 82
and “The Heroic Century” exhibition, paintings included in, 45
and An Invitation to See, paintings included in, 42
on Johns’s first one-man show, 82
on the process of painting, 13
retrospective exhibition of work of, 35
Rousseau, Henri, 69
Rubens, Peter Paul, 95–96
Rubin, William, 9
Rules of the Game, The (Renoir), 151–52
Ruscha, Ed, 13
Salon, the: its dominance of the art market in nineteenth-century France, 68–70
the Impressionists’ alternative to, 71–73
Santayana, George, 135
Sargent, John Singer, 167–68
Sarris, Andrew, 155–57
Sartre, Jean-Paul, 16, 119, 152
Schlemmer, Oskar, 10
Schnabel, Julian, 86
scholars, motivations of compared to artists’, 15–20
School of Athens, The (Raphael), 103, 109
Schuffenecker, Émile
Scream, The (Munch), 31
sculpture and sculptors: application of the life cycle theory of creativity to, 111–22
Oppenheim’s Déjeuner en fourrure as example of masterpiece without a master, 75–77
sculptors, ranking of by textbook illustrations, 76, 112
sculptures, ranking of by most frequently illustrated, 77, 113
Searchers, The (Ford), 151, 155
Serra, Richard, 79
Seurat, Georges: Duchamp on, 83
as extreme conceptual artist, 49–50
and group exhibitions, planning of large works for, 70
lists of top 10 paintings by French artists, presence of on, 68–69
Pissarro, influence of on, 58–59
Pissarro on, 56
on the process of painting, 12
Signac, influence on of, 56
Sunday Afternoon on the Island of the Grande Jatte, execution of, 49–50
young age, attention gained by at a, 81, 85–86
Severini, Gino, 88
Shakespeare, William, 137
Shchukin, Sergei, 88
Sheeler, Charles, 12
Siegelaub, Seth, 91
Sight and Sound, 150, 153, 155, 160
Signac, Paul, 56
Simonton, Dean, 172–74
Siqueiros, David, 89
Sisley, Alfred, 28, 57, 62, 72–73
Sistine Chapel Ceiling (Michelangelo), 100–101, 109
Sistine Madonna (Raphael), 102–3
“Skunk Hour” (Lowell), 174
Smithson, Robert, 12, 111–13, 121–22
“Snow Man, The” (Stevens), 174
Soby, James Thrall, 32–33
Sontag, Susan, 158–59
Soulages, Pierre, 14
Spender, Stephen, 132, 142, 163
Spiral Jetty (Smithson), 113, 121–22
Stagecoach (Ford), 155
Stella, Frank: and Abstract Expressionism, reaction to, 38–39
as conceptual innovator, 36, 177
and experimental artists, disdain for, 83
on finishing a painting, 35
first New York exhibition, his age at, 81–82
and “The Heroic Century” exhibition, paintings included in, 45
and An Invitation to See, paintings included in, 42
Johns, influence of on, 90
Motherwell’s criticism of, 84
Stevens, Wallace, 122–27, 133–34, 164–65
Still, Clyfford, 81–82
“Stopping by Woods on a Snowy Evening” (Frost), 174–76
Sunday Afternoon on the Island of the Grande Jatte (Seurat), 49–50, 81
Suprematist Manifesto, 89
Suprematist movement, 88–89
Surrealism, 32–33, 75–77, 85, 118
Talisman, The (Sérusier), 74–75, 87
Tate, Allen, 146
Tatlin, Vladimir, 111–13, 117–18, 122
Taylor, Richard, 152
Thackeray, William Makepeace, 135
theory, life cycle theory of creativity. See life cycle theory of creativity
Thomson, David, 153
Tilted Arc (Serra), 79
Titian, 104–10
To Be Looked at (From the Other Side of the Glass) with One Eye, Close To, for Almost an Hour (Duchamp), 46
Toland, Gregg, 153
Tommaso di Giovanni di Simone Guidi (Masaccio), 97–98, 108–10
Touch of Evil (Welles), 151
Tribute Money (Masaccio), 109
Trilling, Lionel, 138–40, 141, 144–15
Trollope, Anthony, 135
Truffaut, François, 152, 155–56, 158
Twain, Mark, 138–39, 146–19, 175
Twombly, Cy, 82
Ulysses (Joyce), 134, 141–42, 181
Unique Forms of Continuity in Space (Boccioni), 113, 117
Unknown Masterpiece, The (Balzac), 165–66
van de Wetering, Ernst, 105
van Gogh, Theo, 64
van Gogh, Vincent: as an apparent anomaly, 64–66
illustrations of work by in textbooks, 74–75
and Impressionism, experiments with, 28, 62
neglect of by contemporaries, 2
Pissarro and, 87
on the process of painting, 12
Vasari, Giorgio, 94, 98, 102–3, 105
Velázquez, Diego de, 107–10
Vertigo (Hitchcock), 151
Vietnam Veterans Memorial, 79–80
View of Delft (Vermeer), 109
Vlaminck, Maurice de, 31
Vuillard, Édouard, 74
Warhol, Andy: and Abstract Expressionism, reaction to, 38–39
and artists and nonartists, comparison of activities of, 16
as conceptual innovator, 36, 48–49, 177
first New York exhibition, his age at, 82
and “The Heroic Century” exhibition, paintings included in, 45
illustrations in textbooks of works by, 78–79
and An Invitation to See, paintings included in, 42
Polke, influence on of, 90
on the process of painting, 12
Raphael’s anticipation of procedures by, 103
Waste Land, The (Eliot), 122, 127–29, 144, 160
Welles, Orson: as conceptual movie director, 151, 153–54, 160–61
on Ford, 155
on the importance of “the word” in film, 149
West, Rebecca, 143
Wetering, Ernst van de, 95
Whistler, James McNeill, 2
Williams, William Carlos: as an experimental poet, 124, 126–27, 133, 174
and Pound and Eliot, objections to the poetry of, 126, 128
on Stevens, 126
on The Waste Land, 129
Wilson, Angus, 135–36
Wilson, Edmund: on Cummings, 130
on Hemingway, 147
on Pound, 128
on Ulysses, 141
Wolfe, Thomas, 163–64
Women in the Garden (Monet), 72
Wood, Robin, 157
Woolf, Virginia, 134
on Austen, 169
on Dickens, 135–36
as an experimental writer, 142–14, 147–49
on James, 140–41
on Ulysses, 180–81
Wright, Frank Lloyd, 184
writers: novelists, 134–49
Zayas, Marius de, 8