Index

Clark, T. J.

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Index

T. J. Clark

Farewell to an Idea: Episodes from a History of Modernism

Index

Author

T. J. Clark

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00048.012

Stable URL: https://aaeportal.com/?id=-13753

Index

Abramovich, Raphael, 244, 290

absence: in Cézanne’s Bathers, 144, 164; in David’s Marat, 37, 45–48, 331; dependence of presence on, 204; in Pollock’s drip paintings, 331–32, 347

Abstract Expressionism, 304, 371–403, 441n9, 442n14, n19; and death, 384–87, 401; and question of class, 388–89, 403; social attitudes of, 400–401; vulgarity of, 375–79, 382–84, 387, 389–97, 401; see also specific artists

abstraction, 233, 253–54, 282, 363, 366–69; composition and, 278; Pollock and, 314, 324, 330, 332–33, 343–45, 351, 358, 365; text and, 250

Adorno, Theodor, 263, 337, 388, 389

Affirmers of New Forms in Art, see UNOVIS

agitprop, 246, 261

Ajalbert, Jean, 100

Aksionov, Ivan, 181, 183, 206

All-Russia Propaganda Conference, 265, 292, 293

American Artists Congress, First Closed Session of, 366

Ami du Peuple, L’, 25, 26

anarchism, 9, 12, 118–21, 123; and opposition to Bolsheviks, 239, 244, 257, 286, 290; peasants and, 70; Pissarro and, 61, 62, 72, 77, 81–83, 96–107, 135; Puvis and, 83; Seurat and, 109–10

Anarkhiya, 286, 435n152

Antonioni, Michelangelo, 405

Apollinaire, Guillaume, 217, 426n31

Anarchie, journal de l’ordre, L’, 105

Arnold, Matthew, 377

Art français, L’, 111, 115

Art moderne, L’, 123

Art News, 225

Artforum, 175

Audouin, Pierre-Jean, 32, 36

Aurier, Albert, 79, 80, 129

Austen, Jane, 377

Babel, Isaac, 406

Baker, Oliver, 193

Bakhtin, Mikhail, 229, 265, 294, 296, 316, 438n40; “Art and Answerability,” 261–63; “Discourse in the Novel,” 305, 314

Balzac, Honoré de, 191

Barr, Alfred H., 382–83, 388, 395

Barrés, Maurice, 94, 95

Baudelaire, Charles, 62, 371, 418n78; Une Charogne, 164; Les Fleurs du Mal, 15; “Obsession,” 169, 219

Bauhaus, 288

Baziotes, William, 316

Beaton, Cecil, 302, 304, 308, 330, 342, 356, 394, 437n7; Vogue photographs, 177, 178

Beaudouin, François-Pierre, 52

Beckett, Samuel, 407

Bednota, 238, 242

Beethoven, Ludwig van, 52, 371, 373, 388

Beham, Hans Sebald, 122

Bellini, Giovanni, 39

Benjamin, Walter, 9, 30, 34, 35, 40

Benton, Thomas Hart, 316

Bernard, Claude, 12

Bernard, Émile, 134, 135, 139, 143, 147, 148, 164, 423n27; photographs of Cézanne in front of The Large Bathers, 84, 85

Bernheim-Jeune, 58, 419n123, 425n25

Bibliothèque Sainte-Geneviève, 367

Bing, Siegfried, 130

Bismarck, Otto von, 120

Black Square, 255, 256, 259, 264, 267, 268, 277, 279, 285, 295, 297, 369, 372, 373

Blake, Peter, 343

Boccioni, Umberto, Dusk (Outskirts of the City), 252

Bogdanov, Alexander, 259

Boiffard, Jacques-André, 307, 308; Untitled, 179

Bolsheviks, 225, 238–40, 260, 263, 289–91, 293–95; economics of, 257–58; French Revolution as influence on, 10; Lissitzky and, 283, 431n47, 435n143; Malevich and, 286, 293; peasants and, 242–43, 433n78, 436n164; policy toward Jews of, 229, 430n17; repression of opposition by, 229, 244; utopianism of, 237, 240, 242, 259

Bonnard, Pierre, 79, 129, 139, 319, 372; Countryside, 131, 68; Dusk, 131, 39

Bosch, Hieronymus, 165, 388

Bouguereau, William, 202

Boulanger, Georges Ernest, 120

Bouquier, Gabriel, 19, 410–11n14

bourgeois culture, 12; anarchist response to, 102–3; collectivity in, 221; contesting hegemony of, 306–8; philosophy of life in, 124; Pissarro and, 82, 101, 104; Seurat and, 108–9; uses of abstract art in, 363

bourgeoisie, 299–300, 389; expropriation of wealth of, 258; and French Revolution, 50, 52; petty bourgeoisie and, 441n11; post-war American, 374; socialists and, 97

Boussod et Valadon, 80, 86, 113, 114, 419n123

Braque, Georges, 169, 175–76, 178, 192, 199, 425n19, n23; Cézanne and, 201; Picasso’s correspondence with, 183, 186; sequential nature of works of, 191; similarity of paintings by Picasso and, 221–23; WORKS: Landscape with Houses, 117; Woman Reading, 218, 220, 133

Breton, Jules, 88; June, 87, 115, 121, 45

Brett, John, 383, 384, 386

Brissot de Warville, Jacques Pierre, 19

Brochet (sans-culotte), 23–24, 27, 28, 31

Brousse, Paul, 96

Brueghel, Pieter, 122, 124, 388

Budennyi, Gen. Semen, 229, 238

Bukharin, Nikolai Ivanovich, 241–42, 244–45, 158, 291

Burckhardt, Rudy, 326, 194, 195, 204

Burke, Edmund, 50, 413n75

Burns, John, 98

Byron, George Gordon, Lord, 377

Calder, Alexander, 334

Calvino, Italo, 405–6

Camera Work, 185

canon, modernist, 128, 164, 176

capitalism, 7–8, 365; anarchist versus Marxist modes of opposing, 97–98; Bolshevik vision of, 242, 259; contingency and, 11; cultural order of, see bourgeois culture; French, fin de siècle, 119–21; idealization of, 306; symbolic production under, 260; War Communism and, 245–46

Caravaggio, 48; Saint Matthew and the Angel, 44, 17

Carles, Arthur B., 322–23

Carr, E. H., 257, 258

Carrière, Eugène, 114

Cassatt, Mary, 111, 114

castration anxiety, 149

Catholicism, 72, 80, 129

Centrifuge, 181

Cézanne, Paul, 10–12, 139–67, 206, 423n27, 425n25; Cubism and, 193, 199, 201, 211, 219, 221; and dreaming, 140–42, 144, 150, 160–62; Lecomte on, 76–77, 84; Pissaro and, 80, 105, 107, 113, 134–35, 137; Pissarro’s portrait of, 73; Pollock and, 338; retrospectives of, 139–40, 147, 152; technique of, 143–44, 146, 148–49, 152–53; WORKS: Bather with Outstretched Arms, 139, 157, 77; Bathers, 80; Bathers at Rest, 139, 140, 144, 150, 422n4, 78; The Large Bathers (Barnes), 139, 140, 142–43, 146, 147, 149–53, 158–61, 164, 167, 361, 76, 81; The Large Bathers (London), 154, 162, 167, 92, 93; The Large Bathers (Philadelphia), 152–54, 158–60, 164, 166, 167, 88; Scene by the Seaside, 140, 157–58, 79; Still Life with Plaster Cupid, 203, 120; Temptation of Saint Anthony, 150, 87

Chagall, Marc, 226, 229, 266, 286, 292, 430n14, 436n156; Peace to the Huts, War on the Stately Homes, 170

Champaigne, Philippe de, 30

Charcot, Jean, 165

Chardin, Jean-Baptiste-Siméon, 48; Grapes and Pomegranates, 44, 18

Chashnik, Il’ia, 266, 268, 276, 277, 286

Cheka, 229, 239, 243, 244, 290

Chomsky, Noam, 292–93

Chronique de Paris, 39

Cimabue, 194

Citoyennes républicaines révolutionnaires, 410n9

civilizing process, 296–97

Clemenceau, Georges, 115

Clément-Janin, 66, 115–16

closeness/proximity: in Cézanne’s Bathers, 159; in David’s Marat, 34, 40, 43; in Pissarro’s Two Young Peasant Women, 87

Cold War, 366, 371, 374

Coleridge, Samuel Taylor, 378

collectivity, 310; Cubism and, 221–23; Malevich on, 264, 265, 267, 272, 429n5; of UNOVIS, 226, 237, 264, 276

Comintern, 241, 263, 292, 435n143

Committee for Labor Conscription, 243

Committee for the Fight against Desertion on the Railroads, 261

Committee of General Security, 21, 31, 39, 49, 50, 409n4

Committee of Public Safety, 21, 31, 39, 43, 131, 409n4

Communist Manifesto, 100

Communist Party, 242, 245, 285, 286, 291, 293, 296, 430n10, 435n153, 441n124; British, 294; Central Committee, 436n164; destruction of relationship to proletariat of, 290; Factory equals, for Malevich, 237–38, 266; French, 308; Ninth Congress, 229, 237, 244, 431n35; production propaganda of, 228; Seventh Congress, 241; Tenth Congress, 258

community, discourse of, 122

Congrès Socialiste International de Bruxelles, 97, 417n76, 418n83

Congress of Committees on Peasant Poverty, 247

Congress of Trade Unions, 431n35

Constructivists, 139, 264

context, 305

contingency, 7, 10–11, 21, 47, 137, 329; in David’s Marat, 18, 34–35, 38; in Pollock’s Number 1, 1948, 313

convexity, 203, 204

Corday, Charlotte, 18, 25, 35, 38–40, 42–44, 48, 410n9

Cordeliers, Club des, 20, 23–24, 26, 28, 32

Corot, Camille, 12, 22, 88, 107, 133

Courbet, Gustave, 12, 15, 21, 22, 84, 130, 135, 137, 331, 388; handling in paintings by, 331; Picasso and, 193; Pissarro and, 84, 107, 137

Crane, Walter, 81, 98, 123, 130; The Triumph of Labour, 53

Craven, Thomas, 316

criticism, modernist, 46, 382; and Cubism, 176–79, 220, 221; on Pollock, 329–30, 336; see also specific critics

Cubism, 7, 10, 48, 169–223, 248, 309, 425n24, 426n31, 428n42, 434n131; as act of signification, 181, 183; cognitive ambitions of, 427n39; and collectivity, 221–23; critical responses to, 176–79, 425n19, n20, 428n44; decision making in, 170; flatness in, 203–5; illusionism in 178–81, 192–94, 197–99, 101–4, 211, 215, 307; ironies of, 174; Malevich and, 251, 287; metaphor and, 178–79, 215–17, 219, 221; pictorial field of, 330; rhetoric of, 186; sequence of, 191–92; totalizing will of, 175

Dante, 408

Darwin, Charles, 94, 96, 420n136

David, Jean-Louis, 7, 10, 15–28, 32–53, 202, 364, 410n4, n9, 411n14, 413n73; and bourgeoisie, 52; and contingency, 34–35, 38; ceremony of 25; Vendémiaire organized by, 16–20, 27–29; and cult of Marat, 27–28, 32; discursiveness of, 33–34; and the People, 46–48; technique of, 35, 48, 53; WORKS: The Army of Jugs, 232, 140; Coronation of Napoleon, 225; Death of Marat, 15, 17, 20–23, 32–49, 52–53, 232, 305, 331, 361, 7, 15; Intervention of the Sabine Women, 33–34, 52, 13; Le Peletier, 17, 20; Marie-Antoinette on her Way to the Scaffold, 16, 8; Oath of the Horatii, 225

De Chirico, Giorgio, Politics, 42, 16

decorative, the, 63, 130–32, 160

de Kooning, Willem, 323, 330, 377, 391, 441n11; Woman, Wind, and Window II, 375, 230; Merritt Parkway, 243; Suburb in Havana, 395; Woman, 376, 393, 233

Delacroix, Eugène, 164, 403, 423n27; Liberty Guiding the People, 21, 22

de Man, Paul, 166, 219–20, 255, 438n40

Denis, Maurice, 79, 91–93, 128–31, 202, 235, 421n164; Easter Mystery, 91, 30; Eurydice, 91, 49; Mystère Catholique, 72, 34; Sketch of Maeterlinck’s The Intruder, 66

Derain, André, 22

Desbarreaux (commissaire), 36, 412n75

Deschanel, Paul, 120

De Stijl, 368

Deutscher, Isaac, 289

Diderot, Denis, 139, 270; Rameau’s Nephew, 329

disenchantment of the world, 7, 31, 372, 373

dissonance, 336–40

Dostoevsky, Fyodor, 62, 94, 110

dreaming, 154, 156, 160; and Cézanne’s Bathers, 140–42, 144, 150, 160–62; Matisse and, 23, 110

Dreyfus affair, 23, 102, 129

Dubuffet, Jean, 318–19, 321, 346

Duchamp, Marcel, 167, 314; Étant Donné, 283; Readymade, 372

Durand-Ruel Gallery, 55, 56, 58, 59, 63, 76, 84, 90, 111, 113–14, 416n40, 419n113, n121, n123, 425n25

Dzerzhinsky, Felix, 239

easel painting: idea of, 160; qualities of, 132

Écho de Paris, L’, 72, 119

economy, 8; of Russian Revolution, 226, 227, 236–37, 241–46, 257–59; see also capitalism; market

Einstein, Carl, 186, 223

Elias, Norbert, 296, 297

Eliot, George, 377, 379

empathy, 157, 158

empiricism, 154; see also materialism

Enlightenment, the, 105, 130, 166

enragés, 21, 26, 27, 410n4

Ensor, James, 21

Entretiens Politiques et littéraires, 100

Erfurt program, 95

Ermolaeva, Vera, 229, 430n14, 436n115; set design for Victory over the Sun, 265, 152

Endehors, L’, 101

Ernst, Max, 319

Estafette, L’, 66

everyday life: colonization of, 308; de-skilling of, 7

Evrard, Simone, 27, 410n9

Exposition Universelle, 15

Fal’k, Robert, 286

Fascists, 304, 407

Fauves, 91, 204

Fechner, Gustav Theodor, 142

Fénéon, Félix, 72–73, 77, 418n81; on Monet, 67, 68, 112, 375, 388; on Pissarro, 59, 61–63, 85, 107, 109, 129, 130, 420n128

Fergusson, Harvey, 334

Ferry, Jules, 120

Feuille de Salut public, 49–50

Field, Hamilton, 425n21, 427n39

Figaro, Le, 101, 111, 119

film, “neo-realist,” 405–7

First International, 96, 98, 99

flatness: in Cézanne, 159, 161; Cubism and, 203–5; in Lissitzky, 235, 251–52, 254–55; in Malevich, 285; in Manet, 382; in Pollock, 311–12, 323, 341

Flaubert, Gustave, 12–13, 126; Madame Bovary, 15, 299–300

Fliess, Wilhelm, 142

Formalism, Russian, 181

Foucault, Michel, 296, 306, 308, 363, 365

Fourmies massacre, 97, 99–102, 111, 119, 418n78

French Revolution, 15–43, 46–53, 55, 296; civic ceremonies during, 16–20, 27–29; cult of Marat in, 28–33

emergence of Terror, 10, 21, 25, 26, 40, 49; Hegel and, 105, 372; language in, 39–40; money in, 48–49, 258; symbolic investment in the People in, 46–47

Freud, Sigmund, 13, 142, 149–51, 154, 158, 162, 165, 334, 423n16; “Analysis of a Phobia in a Five-Year-Old Boy,” 150; Beyond the Pleasure Principle, 151, 359; Civilization and its Discontents, 361; The Interpretation of Dreams, 142, 151, 154, 156; Jokes and their Relation to the Unconscious, 142, 161; “On the Sexual Theories of Children,” 150; “Project for a Scientific Psychology,” 139, 147, 151, 166; Three Essays on the Theory of Sexuality, 142, 151

Fried, Michael, 12, 68, 175, 176, 268, 330–31, 336, 339, 351, 361, 363, 440n99

Fry, Roger, 166, 423n20

Furet, François, 21, 40, 46

Furness, Frank, 367

Futurism, 181, 263, 434n131

Galton, Francis, 154, 156

Gan, Alexeï, 284

Gastev, Alexeï, 229

Gauguin, Paul, 79–82, 103, 104, 110–11, 129, 134, 202, 425n25; Soyez amoureuses vous serez heureuses, 81, 40; Vision after the Sermon, 72, 80, 90, 33

Geffroy, Gustave, 56, 115

Géricault, Théodore, 12; Raft of the Medusa, 21, 22

Gérôme, Jean-Léon, 203

Giacometti, Alberto, 325

Gilot, Françoise, 222

Giotto, 194, 215

Girondins, 16, 19, 21, 25, 409n4

Gleizes, Albert, 219, 426n31, 428n42

Gogol, Nikolai, 261

GOSPLAN, 244

Gothic-ness, 316, 317, 320, 321, 325, 336, 353. 356, 358, 366

Gottlieb, Adolph, 319, 382, 392, 441n9, n11; Black, Blue, Red, 376, 235; Coalescence, 401, 249; Jagged, 392, 244; The Oracle, 376, 232; Under and Over, 392, 243

Gourmont, Remy de, 147

Grave, Jean, 101, 416n49

Greco, El, 215

Greenberg, Clement, 127–30, 175–76, 191, 362, 369, 388, 392, 397, 441n11, 442n12, n14; on de Kooning, 393; on Pissarro, 107; on Pollock, 146, 302, 305, 306, 314, 316–23, 330, 339–42, 344–47, 350, 358, 363, 394, 400, 438n35, 441n8; on Still, 395–96

Gsell, Paul, 133

Guesde, Jules, 97

Guesdists, 97, 417n67, 418n78, 420n136

Guggenheim, Peggy, 316, 342, 358

Guilbaut, Serge, 304

handling: in Cézanne, 166; in Hofmann, 397; metaphor and, 216; in Picasso, 185; in Pissarro, 59, 132; in Pollock, 331–32

Hardie, Keir, 98

Hardy, Thomas, 55

Hauptmann, Gerhart, 94

Haussmann, Georges Eugène, Baron, 12

Hayashi, Tadamasa, 113

Heartfield, John, 9, 409n4; A New Man – Master of a New World, 1, 2, 6, 3

Hébert, Jacques René, 15, 24, 26, 27, 410n4, 413n66

Hébertists, 20, 24

Hegel, Georg Wilhelm Friedrich, 79, 105, 176, 332, 371–73, 438n33; Phenomenology of Spirit, 310, 329

Heine, Heinrich, 1

Helmholtz, Hermann Ludwig Ferdinand von, 142, 165

Hofmann, Hans, 330, 374, 378, 382, 391, 397, 441n11; … And Out of the Caves, the Night Threw a Handful of Pale Tumbling Pigeons … into the Light, 248; … And Thunderclouds Pass, 397, 247; The Garden, 376, 234; Lent, 375, 229; Memoria in Aeternum, 401, 250

Homer, 141, 314

Hommes d’aujourd’hui, Les, 76, 77

Hugo, Victor, 403

Ibsen, Henrik, 94

idealism, 147

illusionism: in Cubism, 178–80, 192–94, 197–99, 201–4, 211, 215, 307; in David’s Marat, 33, 39, 42, 44, 46, 48

immediacy, see closeness/proximity

Impressionism, 68, 71, 104, 113, 140, 274, 371–72, 395; see also specific artists

Ingres, Jean-Auguste-Dominique, 12, 84; Odalisques, 193

INKhUK, 264

innocent (idiotic), 116, 127, 347, 377

Iudin, Lev, 264, 268

Izvestia, 6, 227

Jacobins, 9, 10, 17, 20, 36, 47, 409–10n4, 413n73; and Club des Cordeliers, 23; bourgeois, 52; and David’s Marat, 32, 35, 43, 410n9; independence of sections curtailed by, 21; Marat’s relationship to, 25–28, 411n16; and money, 49, 50, 258; and tutoiementlvousvoyement debate, 39, 50

Janis, Sidney, 325, 360, 388

Jefferson, Thomas, 49

Jerez uprising, 96, 417n63

Jews, Russian, 226, 229, 230, 238, 240, 296, 430n17, 431n47

Johns, Jasper, Tracings after Cézanne, 144, 82, 83

Joleaud-Barral (critic), 133

Jones, Ernest, 142

Jorn, Asger, 389–91, 397, 441n11; i>Paris by Night, 241; To Become, That is the Question: To Have Been, That is the Answer, 242

Judd, Don, 339

Jung, Carl, 358

Justice, La, 115, 133

Kadar, Janos, 294

Kahn, Gustave, 76, 94

Kahnweiler, Daniel-Henry, 169, 179, 181, 183, 186, 188, 192, 194, 211, 212

Kalophile l’Ermite (Alphonse Germain), 115

Kandinsky, Vassily, 281; In Gray, 272

Kerensky, Aleksandr, 286

Khidekel, Lazar, 228, 229, 268, 276, 286, 434n131

kitsch, 396

Klee, Paul, 347

Kleist, Heinrich von, 166–67

Kline, Franz, 377–78, 384–85, 441n11; Requiem, 237

Klutsis, Gustav, 154

Kogan, Nina, 229, 266, 276

Krasner, Lee, 300, 322, 324, 325, 327, 351, 353, 438n56

Krauss, Rosalind, 325, 326, 439n72

Kritsman, Lev, 240–42, 245

Kronstadt uprising, 239, 431n46

Kropotkin, Peter, 94, 98, 99, 110, 124, 125, 127, 418n91, 421n157; The Conquest of Bread, 83, 100, 101, 103, 118, 119, 416n29; Mutual Aid, 96; Paroles d’un Révolté, 417

Kruchenykh, Alexei, 247

Kubler, George, 15, 175, 409n2

Kudriashev, Ivan, 436n164, 154

Kun, Béla, 291

Kunin, M., 228, 430n10

Labour Party, British, 98

Labrouste, Henri, 367, 368

Lacombe, Claire, 20, 410n4

Lafargue, Paul, 97

Laforgue, Jules, 68

Larguier, Léon, 164

Laurencin, Marie, 188, 190

Lazare, Bernard, 100

Leavis, F. R., 375

Le Corbusier, 288

Leclerc, Théophile, 26, 27

Lecomte, Georges, 76, 77, 84–85, 129, 130, 415–16n40, 420n128

Le Fauconnier, Henri, 217

Léger, Fernand, 222

Leja, Michael, 334

Lenau, Nikolaus, 397

Lenin, V. I., 229, 230, 238, 244, 259, 286, 291–93, 295, 296, 433n78; and Hungarian Soviet, 263; “Left-Wing Communism”–An Infantile Disorder, 290; monument for, 225, 285; on production propaganda, 227–28, 241, 433n77; peasant revolts denounced by, 239, 431n46

Leninism, 96, 245, 285, 286, 294, 430n10, 435n143

Leonardo da Vinci, 359

Le Peletier de Saint-Fargeau, Michel, 17–20, 29, 10

Levi, Primo, 407

Libertaire, Le, 417n65

Liebknecht, Karl, 164

Life magazine, 304, 315, 325

Ligue Républicaine de la Petite Propriété, 120

Lissitzky, El, 13, 130, 225–40, 242, 246–57, 264–65, 268, 286, 290–97, 429n3, 433n81, 435n143; and answerability, 263; and architecture, 232–34, 260, 276–78, 282–83, 287–88; axonometrics of, 431n31; ekskartina (“ex-pictures”) of, 226, 231; in INKhUK, 264; Jewish background of, 226, 240, 296, 431n47; textuality of, 252–55; typography of, 246–47; WORKS: Backcloth for Vitebsk Committee for the Struggle against Unemployment, 248, 145; Beat the Whites with the Red Wedge, 232, 431n35, 138; Communication Workers, Remember the Year 1905, 139; Lenin Tribune, 287, 288, 171; Pressa exhibit, 21, 250, 282, 283, 146, 168; propaganda board (Stanki depo), 228–35, 237–38, 241, 242, 246–50, 253–56, 261–63, 290, 291, 293–95, 297, 369, 436n164, 134; Proun 19D, 277, 141; Proun 2C, 277, 135; Prouns, 160, 235, 276, 282, 252; sketch for Proun 1E: Town, 231, 234, 255, 282, 137; Story of Two Squares, 392; Town, 231, 233–34, 136; Untitled (Rosa Luxemburg), 42, 232, 251–53, 255, 256, 282, 1, 147

literature: nineteenth-century, 371; post-war Italian, 405–7; see also specific authors

Lockroy, Edouard, 420n146

Longinus, 314, 408

Lukács, Georg, 290–91, 441n124

Lunacharsky, Anatoly, 263, 290, 436n164

Luxemburg, Rosa, 232, 251–53, 255, 256, 282

lyric, equation of Art with, 401, 403

MacAgy, Douglas, 316

McCarthy, Joseph, 375, 389, 400

Maeterlinck, Maurice, 130, 418n81, 421n164

Magazine of Art, 236

Mahler, Gustav, 397

Makhno, Nestor, 239, 257, 258

Malatesta, Errico, 110

Malato, Charles, 418n83

Malevich, Kasimir, 7, 22, 130, 167, 226, 229, 232, 234, 237, 246–54, 263–88, 292, 296, 338, 368, 434n134, 435n147, 436n156; architectural experiments of, 287–88; as colorist, 271–76; and crisis of confidence in the sign, 10, 259; God and Factory for, 237–38; government purchases of paintings by, 231; in his coffin, 369, 226; on collectivity, 264, 265, 267, 272, 429n5; and implications of new symbolic order, 12; installations of, 279–80, 284, 165–67; and Lenin monument, 225; materialism of, 139, 238, 267, 278; nihilism of, 233, 252, 254, 257, 274, 286, 433n85; orientation in paintings of, 283–85; and pathos, 314; politics of, 239, 285–86, 293, 435n152; under Stalinism, 344, 436n155; and totalization, 235, 267, 270, 272; typography of, 247; and War Communism, 238, 242; WORKS: Aeroplane Flying, 278; Architectons, 276, 287, 288, 172; Backcloth for Vitebsk Committee for the Struggle against Unemployment, 248, 143; Black Square, 254, 149; Complex Presentiment (Half-Figure in Yellow Shirt), 1, 2, 4; cover for Portfolio of Congress of Committees on Peasant Poverty, 247–50, 144; design for Speaker’s rostrum, 276; Dynamic Suprematism, 278; From Cézanne to Suprematism, 264; God Is Not Cast Down, 237, 263, 266, 269, 270, 281, 286, 435n142; House under Construction, 278, 163; On New Systems in Art, 226, 264, 429n3; Painterly Realism of a Football Player, 278; The Question of Imitative Art, 264; Sensation of Dissolution (Non-existence), 278; Suprematism: 34; Drawings, 264; Suprematism: Self-Portrait in Two Dimensions, 271, 278, 137; The Suprematist Mirror, 264; Suprematist Painting (Amsterdam), 268, 155; Suprematist Painting (Amsterdam), 271, 278, 281, 284, 158; Suprematist Painting (Amsterdam), 273–74, 161; Suprematist Painting (New York), 271, 281, 160; Supremus no. 50, 271, 272, 284–85, 159; Supremus no. 56, 271, 272, 281, 156; Supremus no. 58, 278, 164; Untitled, 284, 169; White on White, 268, 273, 279, 289, 330; Zeta, 276, 287, 288, 172

Mallarmé, Stéphane, 79, 123, 128, 187

Manet, Édouard, 12, 21, 22, 135, 175, 382, 400; and annihilation of “history,” 105; Fifer, 203, 119; Picasso and, 193; and utopianism, 130

Manheim, Mary, 300

Manheim, Ralph, 300

Mannheim, Karl, 260, 262

Marat, Jean Paul, 17, 18, 23–32, 50, 52, 203, 410n4, n12, n14, 413n66, n70; burning of Girondin’s charges against, 16, 19; cult of, 20, 23, 28–32; David’s painting of, see Death of Marat under David, Jacques-Louis; engraving of, 9; funeral of, 23–24, 34; home life of, 37, 410n9; obelisk with cameo of, 11; relationship to Jacobins, 25–28, 411n16

Marie-Antoinette, Queen of France, 15–17, 410n12, 8

market, 10, 12; Bolsheviks and, 243–45, 258; Pissarro and, 56, 58, 71, 111–14; see also capitalism

Martov, Yuli, 290

Marx, Karl, 53, 98–99, 294, 297, 420n136; Capital, 96

Marxism, 102, 215, 241, 245, 261, 294–96; dream of totality in, 238; Malevich’s view of, 266, 267, 279, 435n142; Pissarro and, 96–97; as secular messianism, 7; and substitute for exchange value, 258–59; van de Velde and, 123; and War Communism, 240, 294

Marxist Quarterly, 441n124

materialism, 107, 129, 130, 197; of Cézanne, 139, 147, 154, 158, 165; of Courbet, 193; of Malevich, 139, 238, 267, 278; mechanistic, 166, 167; of Picasso, 179, 206

Matisse, Henri, 12, 22, 77, 175, 187, 302, 397; death of, 372; Denis and, 91–93, 131; dreamworld of, 23; Picasso and, 197; “Pleasure” in paintings by, 48, 413n70; WORKS: Bonheur de Vivre, 91; Decorative Figure on Ornamental Ground, 382, 236; Harmony in Red, 91, 272; Luxe, calme et volupté, 91, 48; Seated Nude, 382; The Woman with the Hat, 91, 128, 51

Matter, Herbert, 322

Medvedev, Pavel, 261

Méline, Jules, 120

Mensheviks, 229, 241, 244, 290

Menzel, Adolph, 21; Moltke’s Binoculars, 1, 2, 6, 7, 2

Mercure de France, 79

metaphor: and Cubism, 178–79, 215–17, 219, 221; and Pollock, 336, 338–40

Metzinger, Jean, 187, 217, 205–6, 425n20, 426n31

Meyerhold, Vsevolod, 263

Michelangelo, 135

Michelet, Jules, 15, 25

Mies van der Rohe, Ludwig, 343

Millet, Jean-François, 88, 115–17, 121, 125, 126; Angelus, 61, 87, 116, 27; Man with a Hoe, 126, 60; Man with Spade, 62; Seated Shepherdess, 61

Milton, John, 338, 375

Mirabeau, Honoré Gabriel Riquetti, comte de, 15

Mirbeau, Octave, 60–61, 72, 84, 103, 112, 114, 118, 418n81, 420 n128

Miró, Joan, 175, 344, 359, 360, 442n12

modernity, 7, 8; arrival of, 3; Hegel on, 329

Modotti, Tina, Men Reading “El Machete,” 6, 6

Mondrian, Piet, 139, 191, 365, 369; Paris studio of, 225

Monet, Claude, 12, 22, 34, 55, 65, 77, 105, 107, 110–11, 116, 129, 135, 175, 419n106; Fénéon on, 67, 68, 112, 375, 388; Greenberg on relation of Abstract Expression to, 295; Haystacks, 76, 111–14, 122, 57, 58, 111; presence equals salience in universe of, 202

money, 10; of French Revolution, 42–43, 48–49; of Russian Revolution, 257–58; see also market

Montjoie!, 222

Morris, William, 21, 123, 295, 296; News from Nowhere, 94

Morisot, Berthe, 425n25

Mozart, Wolfgang Amadeus, 371

Mugabe, Robert, 294

mural painting; and Cézanne’s Bathers, 160; by Puvis, 84, 90

Musée du Luxembourg, 114

Museum of Modern Art (MoMA), 11, 175, 176, 382

music, nineteenth-century, 371; temporality in, 52

Mussolini, Benito, 304

Nabis, 204

Nadar (Gaspard Tournachon), 100

Nakov, Andrei, 285

Namuth, Hans, 322, 324, 327, 342, 347, 351, 394; photographs of Pollock and his studio by, 192, 202, 210, 214, 216

Napoleon, Emperor of the French, 373

NARKOMPROS, 264

Naturalism, 71

Nature: Cézanne and, 152; Hofmann and, 397; Malevich on, 271; Pissarro and, 61, 63, 72, 84, 109, 112, 133; Pollock and, 314, 335, 340, 342, 365

neo-Platonism, 91

Neoclassicism, 147

Nerval, Gérard de, 12

Newman, Arnold, 322

Newman, Barnett, 304, 319, 387, 396, 442n14

New York School, 394; see also specific artists

Nietzsche, Friedrich, 8, 94–96, 109, 116, 123, 124, 126, 152

nihilism, 12, 296; answerability and, 297; of Malevich, 233, 252, 254, 257, 274, 286, 433n85; of Seurat, 109, 167

oedipus complex, 149

O’Hara, Frank, 13, 371, 394

Olivier, Fernande, 197, 199, 201, 203, 211

Olminskii, Mikhail, 245

opticality: of Pissarro, 67–68, 134–35; of Pollock, 330–31, 339

Orozco, José, 344

Ossorio, Alfonso, 304, 341, 394

Paris Commune, 96, 99

Parsons, Betty, 302, 304, 334, 344, 345, 385, 441n9

Partisan Review, 350, 395, 396

Pasolini, Pier Paolo, 407, 408

pastoral, 65, 70, 116, 124; and anti-pastoral, 88, 121

pathos, 397; in Cézanne, 158; cult of, 314; in David, 34, 39; in Flaubert, 299; in Pissarro, 66; in Pollock, 311, 314, 362

Pavese, Cesare, 405

peasants, 70–71; anarchist view of, 70, 118–19; capitalism and, 119–21; Gauguin and, 80, 90117; Pissarro’s pictures of, 59, 61, 86, 88, 115–18, 122 (see also titles of specific works under Pissarro, Camille); in Puvis’s murals, 84; and Russian Revolution, 238–40, 242–43; van de Velde and, 123–28; Wordsworth on, 71; in World War I, 70

Père Duchesne, Le, 24, 26

Père Peinard, Le, 83, 99, 101

Peretz, I. L., 229

Pericles, 28

petty bourgeoisie, 299, 300, 310, 376, 388–89, 396, 400, 403

phallic stage, 149

phantasy, 143, 149–51, 153, 158, 159, 162; sexual, 356

Picasso, Pablo, 7, 11, 169–223, 302, 344, 360, 406, 425n23, n24, 426n31; correspondence with Braque, 183, 186; decorative projects of, 427n39; illusionism of, 178–81, 192–94, 197–99, 201–4, 211, 215; decorative projects of materialism of, 179, 206; modernist criticism of, 177–79; painting “as if” by, 212–13, 215; and pathos, 314, 397; photograph of Laurencin in studio of, 188, 190, 103; similarity of paintings by Braque and, 221–23; Sorgues photograph of paintings by, 169, 172, 174, 175, 225, 94; technique of, 186–87, 190; WORKS: Aficionado, 169, 170, 95; Apple, 209, 211, 128; The Architect’s Table, 176, 181, 183–86, 219, 100; Bottle of Anis del Mono, 206, 121; Bust of a Woman, 197, 110; Demoiselles d’Avignon, 192; The Dryad, 194, 108; Fruitbowl and Fruit, 102; Glass of Absinthe, 212, 130; Glass with Straws, 101; Guernica, 21; The Guitarist, 207–8, 123; Harlequin, 199, 113; Head, 209, 211, 127; Head of a Young Girl, 209, 124; Italian Woman, 1, 4; Man with a Guitar, 169, 170, 173, 179, 180, 204, 220, 97; Man with a Pipe, 190, 212, 215–17, 219, 131; Man’s Head (Berne), 194, 106; Man’s Head (Paris), 194, 107; The Model, 169, 170; Monk with a Mandolin, 209; Nude Woman (Philadelphia), 211, 129; Nude Woman (Washington), 207, 122; The Poet, 169, 174, 181, 96; Portrait of Kahnweiler, 211; The Reservoir, Horta, 202–3, 118; Seated Nude Woman, 199, 115; Soldier and Girl, 209, 126; Still Life “Le Torero,” 176; Table, 209; Temptation of Saint Anthony, 201, 116; Two Nude Women, 199, 114; Violinist, 209; Wo(man) with a Mandolin (Cologne), 192, 105; Wo(man) with a Mandolin (Paris), 188, 190, 191, 425n21, 427n36, 104; Woman with Pears (Fernande), 197, 198, 201, 203, 112; Woman Playing a Guitar, 209, 125; Woman Sitting in an Armchair, 427n36; Woman with a Zither (“Ma Jolie”), 170, 172, 176, 178–81, 186, 191, 218–20, 99; Young Girl with an Accordion, 170, 172, 186–88, 212, 218, 98; Young Girl with a Mandolin (Fanny Tellier), 427n36

Piero della Francesca, 198, 215

Pilsudski, Joseph, 239, 431n35

Pissarro, Camille, 7, 13, 55–73, 79–90, 96–118, 121–30, 132–37, 158, 164, 416n40, n41, 417n63, n65, n66, 418n81, n100, 419n106, n122, 420 n128, 421n152, n164; belief in Art of, 128; and the decorative, 130, 132; 1892 retrospective of, 55–56, 71, 113, 114; epistemology of, 166; Eragny studio of, 63, 64, 137, 75; Gauguin and, 80–81, 90; Lecomte and, 77; and market, 10, 12, 56, 58, 71, 111–14; materialism of, 107; Monet and, 110–13; and mural painting of, 160; politics of, 61–62, 80–83, 94–107, 109, 110, 118, 119, 135, 400; scale as issue for, 58–59; Seurat and, 76, 107–11; on signification, 79–80; technique of, 66–67, 84–85, 87–88, 118; van de Velde and, 122–28; vision problems of, 59, 111–12; WORKS: The Apple Eaters, 85, 86, 125, 44; Applepickers at Eragny, 125, 65; Appletrees, 63, 29; Banks of the Oise, 56, 21; Church at Sydenham, 58; Climbing Path at the Hermitage, 54; Cowherd (Vachère), 59–61, 85, 86, 25; Flock of Sheep, Sunset, 59; Harvest, 132, 70; La Mère Presle, 137, 74; The Oise on the Outskirts of Pontoise, 56, 22; Peasant Woman Picking Grass, 132, 71; Peasant Woman Planting Peasticks, 133; Peasant Woman Sitting: Sunset, 59, 61, 65, 133, 24; Peasant Woman Sitting and Peasant Woman Kneeling, 63, 28; Peasant Women Chatting, Sunset at Eragny, 61, 26; Peasant Women Minding Cows, 56, 61, 23; Portrait of Cézanne, 73; Soleil couchant rouge avec brouillard, 112; Two Young Peasant Women, 55, 56, 58–59, 61–64, 66–68, 70, 71, 82, 85–88, 90, 99, 104, 105, 107, 112, 114–15, 121–22, 128, 132, 414n6, 20, 31, 46; Weeding the Vines, Pontoise, 63, 30; Woman Breaking Wood, 85

Pissarro, Georges, 117

Pissarro, Julie, 115

Pissarro, Lucien, 76, 80–83, 96, 101, 107, 112, 114, 117, 130, 416n41; Capital and Charity, 83, 42; Figure with a Crown, 82, 83, 41

Poe, Edgar Allan, 49, 306, 316

pointillism, 67, 76, 123; see also Seurat, Georges; Signac, Paul

Pollock, Jackson, 7, 10, 11, 160, 223, 299–366, 369, 374, 385–86, 388, 394, 395, 406, 407, 441n11; color in, 331, 340; contraries of, 314; figurative in, 344–55; Greenberg’s relationship with, 316–20; handling in, 331–32; and implications of new symbolic order, 12; installation of Janis Gallery Show, 193; line in, 330–31; and metaphor, 336, 338–40; mode of experience in, 334–35; Mondrian and, 139; psychoanalytic views of, 333–34; repetition compulsion of, 384–85; scale of canvases of, 310; and sexuality, 320, 356, 358–63; Stalinism of, 400; technique of, 310–12, 321–29, 339–40, 438n56; titles given to paintings by, 300, 321, 333, 334, 341, 342, 358, 376; Vogue photographs using paintings by, 302, 304–6, 308, 363, 365, 366, 437n7, 177, 178; vulgarity of, 375–76, 378, 382, 391; wildness of, 306, 309, 316; WORKS: Alchemy, 302, 317, 322, 327, 334, 337, 341, 176; Autumn Rhythm: Number 30, 1950, 302, 304, 342, 365, 178; Black and White Painting, 351, 215; Blue Unconscious, 300; Cathedral, 304, 317, 321, 186; Circumcision, 300, 358; Constellation, 325, 333; Cut Out, 347, 348, 351, 353, 356, 209; Cut-Out Figure, 349, 211; Earth Worms, 319, 320; Enchanted Forest, 300; Eyes in the Heat, 318, 320, 189; Full Fathom Five, 300, 305, 322, 337, 376, 175; Galaxy, 300, 317, 320, 327, 376, 187; Gothic, 317, 359, 185; Grey Center, 346; Guardians of the Secret, 359–61, 223; High Priestess, 317; Lavender Mist, 302, 310, 330, 332, 339, 341, 356, 365, 182; The Little King, 358; Lucifer, 300, 317, 321, 337, 338, 340, 201; Magic Lantern, 300; Male and Female, 356, 358–61, 2/9; Male and Female in Search of a Symbol, 360, 222; The Moon-Woman, 300, 317, 360, 361, 221; Mural, 342, 358, 359; The Nest, 334; Number 1, 1948, 309–14, 316, 322, 330–33, 336, 339–41, 356, 358, 362, 440 n99, 441n9, 180, 184; Number 1, 1949, 312, 334, 337, 340, 342, 356, 183; Number 1, 1950, 340, 177; Number 2, 1950, 337; Number 3, 1950, 326; Number 10, 1950, 353, 217; Number 14, 1951, 344, 205; Number 15, 1949, 440 n99; Number 32, 1950, 331, 337, 342, 358, 198; Number 34, 1949, 440 n99; Ocean Greyness, 331; One: Number 31, 1950, 146, 310–14, 337, 342, 356, 358, 363, 365, 369, 181; Out of the Web: Number 7, 1949, 350, 356, 213; Pasiphae, 333, 359, 360; Phosphorescence, 300, 327, 331, 337, 376, 197; Reflection of the Big Dipper, 300, 304, 325, 327, 376; Sea Change, 300, 302, 376, 174; Shadows: Number 2, 1948, 346, 356, 206; She-Wolf, 300; Shimmering Substance, 335; Silver Plaques (Number 9, 1950), 326, 327; Something of the Fast, 300, 321, 322, 327, 336, 346, 361, 190; Stenographic Figure, 360, 361; Tea Cup, 319; Totem Lesson 1, 300, 360, 361; Triad, 350, 212; Troubled Queen, 300; Two, 318, 320, 356, 360, 361, 188; Unformed Figure, 334; Untitled (ca. 1939–42), 358, 220; Untitled (1948), 346, 208; Untitled (Rhythmical Dance), 346, 207; Vortex, 321, 334, 339, 375, 376, 372; Watery Paths, 335, 376; White Cockatoo, 325, 439n72, 193; The Wooden Horse: Number 10A, 1948, 353, 363, 218

positivism, 71, 129, 130, 156, 165, 319, 323, 325, 336

Pouget, Emile, 101

Pound, Ezra, 405, 407–8

Poussin, Nicolas, 93, 159, 160; Bacchanalian Revel before a Term of Pan, 90

Pravda, 227, 228, 242, 243

Preobrazhensky, E. A., 258

presence in painting, 48, 201–4, 332; equation with salience of, 201–2, 207, 211

primitivism, 307

Princet, Maurice, 206, 208

Prolétaire, Le, 96

PROLETKULT, 265, 286

proletariat, dictatorship of, 240, 241, 289, 291

propaganda, 291–94; by the deed, 98–102; production, 227–28, 241, 245; see also Pressa exhibit and propaganda board under Lissitzky, El, works

Proudhon, Pierre-Joseph, 82, 121

proximity, see closeness/proximity

Publiciste, Le, 43

Puni, Ivan, 286, 292, 436n156

Puvis de Chavannes, Pierre-Cécile, 62, 83–84, 90, 93, 107, 130, 193, 367, 368; Sacred Wood, 84, 43; Summer, 72, 84, 367, 32; The Shepherd’s Song, 90, 47

Quinet, Edgar, 47

Rabelais, François, 124

Rakitin, Vasilii, 285–86

Ratner, Lazar, 229, 290

Ravachol, Francois-Claudius, 99–103, 416n41, 417n63

Raynal, Maurice, 426n31

Read, Herbert, 175

Reboul, Jacques, 429n48

Reclus, Élisée, 70, 100, 115, 119, 124, 127, 418n83

Red Army, 238, 239, 243

Redon, Odilon, 425n25

Reff, Theodore, 150

Rembrandt van Rijn, 178, 179, 220, 237

Renoir, Auguste, 22, 88, 113, 387–88, 400, 425n25

representation, 47, 332, 363; and Abstract Expressionism, 401; alternative systems of, 165; of bodies, 157; and bourgeois consciousness, 307; and presence in painting, 48; process of, as Cubist subject, 179, 184, 187, 201, 223; propaganda and, 292–93

Retté, Adolphe, 128

Reverdy, Pierre, 426n31

revivalism, 367

Révolte, La, 96, 97, 99–102, 108, 118, 119, 417n66

Revolutionary Military Council of the Western Front, Literary Publications Section of the Political Directorate of, 231–32

revolutions: age of, 295; see also French Revolution; Russian Revolution

Revue blanche, La, 100, 425n25

Revue bleue, La 133

Revue encyclopédique, La 165

Revue indépendante, La, 76

Rietveld, Gerrit, 369; Schroeder House, 367, 224

Rimbaud, Arthur, 8, 371, 373

Rivière, Jacques, 205, 206, 427n33, 428n44

Robespierre, Maximilien, 20, 25–28, 31, 32, 39, 49, 50, 409n4, 413n66, 9

Robinson, James Harvey, 334

Rockefeller, Nelson, 375

Rodin, Auguste, 112

Romanticism, 95, 371, 430n10

Roques, Joseph, Death of Marat, 35–36, 42, 14

Rosenberg, Harold, 311

Rosselini, Roberto, 405, 407

Rothko, Mark, 304, 319, 387–88, 400–401; Number 12, 240; White Center, 239

Rousseau, Henri (Le Douanier), 194, 198, 199, 219; The Unpleasant Surprise, 109

Rousseau, Théodore, 22

Roux, Jacques, 20, 21, 24, 26, 27, 410 n4

Rubens, Peter Paul, 22, 159, 165; Horrors of War, 91

Rubin, William, 176, 178–79

Rude, François, 21

Ruskin, John, 378–79, 383, 386

Russian Revolution, 238–40; Bolshevik attempt to export, 225, 239; deindustrialization in, 240–41; economy of, 226, 227, 236–37, 241–46, 257–59; of 1905, 232; propaganda of, 227–35; see also War Communism

Sade, Marquis de, 18, 20, 316, 410 n9

Saint-Gaudens, Augustus, 21

Saint-Just, Louis de, 24, 28, 49, 50, 409n4; Esprit de la Révolution, 36–37

salience, 199; equation of presence with, 201–2, 207, 211

Salon, Paris, 55, 56, 84, 111, 115, 121

Salon de l’Art nouveau, 130

Salon d’Automne, 193, 425n25

Salon des Indépendants, 72–73, 76, 77, 425n25

Salon des Refusés, 15

sans-culottes, 9, 20, 21, 23, 29, 31, 39, 52

Saussure, Ferdinand de, 259–60

Say, Léon, 119

Schapiro, Meyer, 166, 366, 423n20, n31, 440–41n124

Schieder, Theodor, 295

Schiller, Friedrich von, 7

Scholem, Gershom, 433n85

Schwitters, Kurt, Merzbau, 283

secularization, 7, 12

semiotics, 179, 183, 259, 375

Senkin, Sergei, 168

sensation, 129–30; in Puvis, 84; Pissarro on, 79–80, 83, 104, 117, 134

Serge, Victor, 238–40, 243

Sérusier, Paul, 79, 130–31; Dish with Apples, 76–77, 37; Sketch of Maeterlinck’s The Intruder, 67

Seurat, Georges, 11, 12, 129–30, 175, 220, 425n25; and annihilation of “history,” 105; Cézanne and, 139; death of, 76; nihilism of, 109, 167; Picasso and, 187; Pissarro and, 67, 107–11, 113, 418n100; Puvis de Chavannes and, 83, 90; WORKS: Chahut, 72, 110, 35; Channel at Gravelines, 109; Circus, 73, 110, 36; Woman with Monkey, 108

sex/sexuality: in Cézanne’s Bathers, 144, 147, 149–51, 160, 162; in Pollock, 320, 356, 358–63; and vulgarity, 394

Shakespeare, William: King Lear, 310, 356; The Tempest, 300

Shelley, Percy Bysshe, 6, 364

Shklovsky, Viktor, 180

sign: arbitrariness of, 130, 185; confidence in, 10, 257, 259, 289; theory of, 336

Signac, Paul, 67, 83, 108, 187, 209; Against the enamel of a background rhythmic with intervals and angles, with tones and tints, 73

signification: in Cubism, 181, 183; Malevich and, 249–50, 252, 253, 259; Pissarro on, 79–80; Pollock and, 335, 339, 344

Siqueiros, Alfonso, 340, 344

Smith, Adam, 8

Smolensk ROSTA, 173

Soboul, Albert, 16, 19–21, 24, 26, 28, 34, 411n16

Social Democracy, 95, 97, 99, 102

socialism, 123, 139, 294; Bolsheviks and, 244, 290; 1163">co-dependency of modernism and, 8–9; myth of, 408; Pissarro and, 61–62, 94–98, 101–3; Symbolism and, 124; see also anarchism

Social Revolutionaries, 244, 290

Socialismo, El, 98

Socialist Realism, 366

Société nouvelle, La, 94–96, 32

Société sectionnaire du Muséum, 20

Souriau, Paul, 156

SOVNARKOM, 244, 259

Spengler, Oswald, 237

Stalinism, 282, 286, 344, 366, 400, 435n143

state, anarchist view of, 97, 121

state-formation, 296; and French Revolution, 30; and Russian Revolution, 239, 240

Stein, Gertrude, 181, 184–86, 191

Stein, Leon, 197

Stevens, Wallace, 13

Harmonium, 299

Still, Clyfford, 358, 377, 387–88, 395–96, 400, 441n11, 441n13, n14

Strachey, James, 423n19

Strindberg, August, 420n136

Suetin, Nikolai, 265, 436n155

Suprematism, 247, 248, 250–52, 259, 264, 267, 268–84, 286, 288, 292, 293, 434n131, 435n136; see also Malevich, Kasimir

Surrealism, 307, 308, 317, 344, 356

Symbolism, 61, 72, 77, 79, 100, 115, 123, 124, 128–30, 147, 418n81

Tafuri, Manfredo, 306, 365

Taine, Hippolyte Adolphe, 92–93

Taylorism, 228, 229

Temps, Le, 97, 119

Temps modernes, Les, 319

Thiers, Adolphe, 137

Third Republic, French, 76, 82, 83, 101, 116, 119, 120, 137, 415n19

Thompson, Leonard, 70, 71, 122

Thuriot (Jacobin deputy), 39

Tiepolo, Giovanni Battista, 326

Tintoretto, Jacopo Robusti, 326

Titian: Diana and Actaeon, 150; Diana and Callisto, 150, 86

Tolstoy, Leo, 261

Tomlin, Bradley Walter, 441n11; All Souls’ Night, No. 2, 375, 231

totality: fantasies of, 296; Marxist dream of, 238

totalization, 6, 134, 153, 157, 282; in Cubism, 175, 179, 186, 206, 219, 220; Malevich and, 235, 267, 270, 272; petty bourgeoisie’s aspiration to, 389; Pollock and, 326; visual, 253, 256; War Communism and, 245

Toulouse-Lautrec, Henri de, 425n25

transcendence, 389; impossibility of, 22, 23

Trotsky, Leon, 229, 238, 241, 244, 245, 261–63, 290, 431n35

Tseitlin, Aleksandr, 242, 243; Ration Card, 142

Tseitlin, B. S., 290

Twenty, the, 72, 76, 123, 125, 130

Tyler, Parker, 335, 336, 356, 385, 386, 394

Ulbricht, Walter, 294

unfinishedness: in Cézanne’s Bathers, 152–53; and David’s Marat, 35

Unhappy Consciousness, 12, 329, 361, 438n33, n40, 441n124

UNOVIS (Affirmers of New Forms in Art), 7, 226, 229, 237, 258, 266–68, 2–77, 2.78, 290, 292–97, 305, 367, 369, 429n5, 430n10, 432n65, 434n131, 436n164; and Cubism, 251; architecture in, 260, 276264, 150; dispersal from Vitebsk of, 243; Economy as war cry of, 259; exhibits, 264, 151, 153, 154; government purchases of paintings by members of, 230; and Party, 285–86; and War Communism, 245, 257; see also Lissitzky, El; Malevich, Kasimir

Utamaro, 77

utopianism, 253, 306, 369; anarchist, 118–19, 124; Bolshevik, 237, 240, 242, 259; of Lissitzky and Malevich, 237, 257, 263, 291, 293; of Marx, 297; of Pollock, 316

Valéry, Paul, 7

van de Velde, Henry, 130; Continental Havana, 133; Du paysan en peinture, 122–28; Project for Ornamental Embroidery, 123, 131, 64; Village Facts VII: Girl Mending a Stocking, 123, 63

van Gogh, Theo, 80, 104, 113

van Gogh, Vincent, 12, 76, 93, 113, 130, 167, 216, 425n25; first public showings of paintings of, 72; Picasso and, 216, 222, 223; as Symbolist, 79

Venturi, Lionello, 61–63

Vergniaud, Pierre-Victurnien, 19

Verhaeren, Émile, 72, 76, 94

Vesnin brothers, 288

Vincent, François, 24, 410n4

violence, 137; anarchist, 98–102; in French Revolution, 21, 25; in Russian Revolution, 229, 240

Visconti, Luchino, 405, 251

Vitebsk All-Russian Union of Art Workers, 264

Vitebsk Committee for the Struggle against Unemployment, 247

Vitebsk District Committee for the Struggle against Desertion, 238

Vitebsk Free Art Workshops, 226

Vitebskii Listok, 229

VKhUTEMAS, 192

Vogüe, Count Melchior de, 84

Vogue magazine, 302, 304–6, 308, 363, 365, 366, 437n7, 177, 178

Volia Rossii, 290

Vollard, Ambroise, 139, 422n4

Vuillard, Édouard, 77, 79; Lady of Fashion, 77, 38

vulgarity, 375–79, 382–84, 387, 389–97, 401

Wagner, Richard, 52, 94

Wagnerism, 68

War Communism, 9, 10, 233, 235, 238, 240, 242, 244, 245, 257, 294

Watteau, Jean-Antoine, 330

Waugh, Evelyn, 401

Weber, Max, 7

Weinberg, Jonathan, 333

Weisman, Marcia Simon, residence of, 397, 227

Whitman, Walt, 395

Wilde, Oscar, 8

William IX of Aquitaine, 299, 314, 336, 362

Wilson, Havelock, 98

Wordsworth, William: Lyrical Ballads, 71; The Prelude, 295

World War I, 70, 102, 103, 131, 226

Wundt, Wilhelm Max, 156

Yellow Book, The, 83

Yevsektia, 229

Yidisher Folks Farlag, 240

Zinoviev, Grigori, 433n78

Zola, Émile, 12, 101

Zosimus, 302

Zurbaran, Francisco de, 39

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