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Description: What Art Is
Index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00174.011
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Index
absolute spirit, 148, 149
“Abstract and Representational” (Greenberg), 108
Abstract Expressionism, 11, 14, 18, 155; high point of, 34; painting dominant in, 99; Pop Art vs., 43
abstraction, 30, 31, 35, 117; Formalism and, 129; types of, 11–13
Abuse of Beauty, The (Danto), 149
acrylic, 18
action, philosophy of, 76–77
aerial photography, 110
African art, 4, 86, 126, 127
Alberti, Leon Battista, 1, 4
Albright-Knox Art Gallery, 101
American Academy of Design, 104
American Society for Aesthetics, 135–36
Analytical Philosophy of Action (Danto), 77
Angelico, Fra, 86
Animal Locomotion (Muybridge), 3
animals, 3, 96, 132
anti-essentialism, 35
Appropriationism, 18, 49, 148
Arensberg, Walter, 25, 28, 33
Aristotle, xi, 75, 90–91, 154
Armory show, 17
Art (Bell), 127
Art and Illusion (Gombrich), 2
artificial intelligence, 96
Augustine of Hippo, 74
automatism, 13–14, 16
Autumn Salon (1905), 7
Avedon, Richard, 106
background, 111
backlighting, 112–13
Balzac, Honoré de, 122
Bankowsky, Jack, 131–36
Barnes, Alfred, 129
Barney, Matthew, 79
Baryshnikov, Mikhail, 51
Beck, James, 53
Bed (Rauschenberg), 21
Before and After (Warhol), 54–55
Being and Time (Heidegger), 153–54
Bell, Clive, 127, 129
Belting, Hans, 103, 150
Bentham, Jeremy, 132
Berlin, Isaiah, 106
Beuys, Joseph, 19–20, 129
Bidlo, Mike, 49–50
Bild und Kunst (Belting), 103, 150
Black Mountain College, 21
Black Square (Malevich), 11
Blind Man, The (publication), 28
Body/Body Problem, The (Danto), 78, 97
Bolognese school, 119–20
Brancusi, Constantin, 17, 24
Braque, Georges, 8
Breton, André, 13–14
Brillo Box (Warhol), 28–29, 36–37, 41–47, 49–50, 114–15, 145–49
bronze, 18
Brown, William Mason, 104
Buonarroti, Michelangelo, xii, 52, 61, 63–75; curvatures exploited by, 62; divining intentions of, 53, 54, 58, 59; Mannerist influence on, 56, 60, 69; sculpture viewed by, 57
Cabanne, Pierre, 144, 150
Cage, John, 20–21, 51
Cahiers d’art, 16
camera obscura, 99, 109
Campbell’s Soup Cans (Warhol), 133–34
Carracci, Agostino, 120
Carracci family, 119
Cauman, John, 9
Cézanne, Paul, 10, 111
Chef d’oeuvre inconnu, Le (Balzac), 122
chiaroscuro, 2, 63, 133
Chicago, Judy, 79
Chinese painting, 4
Christianity, 80, 85, 89, 94, 128, 150
Cimabue, xii, 30
cinematography, 3–4
clay, 18
Coatmellec, Josette, 127–28
Cocteau, Jean, 52
Colalucci, Gianluigi, 59–61, 66, 70, 72, 75
collage, 100, 111
color: Condivi’s disregard of, 63; Descartes’s view of, 68; Mannerist, 56; Matisse’s use of, 9–10; Michelangelo’s use of, 60, 66; Renaissance painters’ use of, 8; Vasari’s disregard of, 68
color-field painting, 18
comedy, xi
comic strips, 44
commercial art, 43, 44, 150
Communism, 18
Conceptual Art, xii, 18, 34, 115, 116, 148
Condivi, Ascanio, 63, 67
connoisseurship, 5
copper plates, 18
Corday, Charlotte, 38, 39
Council of Trent, 119
Courbet, Gustave, 25, 108
Critique of Judgment, The (Kant), x, 76, 116, 117, 121, 126
Cubism, xi, 6, 7, 8, 12, 90; collages and, 111; movement disfavored by, 17
Cubo-Futurism, 18
Cunningham, Merce, 21
Dada, 18, 23–24, 25, 26
Daguerre, Louis, 101, 103–4, 113
daguerreotypes, 100, 101, 102
Dalí, Salvador, 13, 15, 143
dance, 51
Daumier, Honoré, 52, 110
David, Jacques-Louis, xii, 38–40
deconstruction, 137–38, 141
Degas, Edgar, 105
de Kooning, Willem, 11, 82, 84
Delaroche, Paul, 8, 101–2, 103–4, 112, 113
Del Roscio, Nicola, 54
Demoiselles d’Avignon, Les (Picasso), 4, 6–8, 32
Demuth, Charles, 27
Denis, Maurice, 61, 62, 64, 67
Derain, André, 8
Derrida, Jacques, 139, 141–42
Descartes, René, 45–46, 86, 87; color viewed by, 68; mind/body problem viewed by, 88–89, 90–91, 92–93, 94–96
De Stijl, 129
Dewey, John, xi, 141
Diamonstein, Barbaralee, 15
Dickie, George, 33, 145–46
Dine, Jim, 136
dioramas, 103
Discourse on Method (Descartes), 45–46
Doesburg, Theo van, 12
Domenichino, 118–20
Donatello, 8
doodling, 13, 15
Dove, Arthur, 11
dreams, 13, 45–46, 47–49, 51–52
Duchamp, Marcel, xii, 100, 113, 150, 155; Cubism reconfigured by, 17; as Dadaist, 23–24, 25; eroticism in works of, 27, 33; readymades of, 24–25, 26–28, 33, 143–44; retinal art disdained by, 25, 144
Eakins, Thomas, 105
Elderfield, John, 107
Eliminativism, 75, 97
Eliot, George, 131
embodied meaning, 37–38, 39, 47, 48, 154–55
End of Art, 49
Enlightenment, 116, 118, 121, 122
Enwezor, Okwui, 131
Epeus, 48
epistemology, 5, 14, 30, 114–15, 145
Étant donnés (Duchamp), 155
Euripides, 91
Euthyphro (Plato), 34
Execution of Lady Jane Grey (Delaroche), 8, 102, 112
Execution of the Emperor Maximilian (Manet), 107, 109, 111
Fascism, 17
Fauvism, xi, 6, 8
feminism, 22, 139, 142
film making, 3–4
Fischli and Weiss, 19
flatness, 62, 109–10, 112
Florentine culture, 75
Fluxus, xii, 115, 116
folk psychology, 97
foreground, 111
foreshortening, 63, 68
forgery, 50
Formalism, 126–27, 129, 139
Foti, Veronique, 68
Foucault, Michel, 139, 141–42
Fountain (Duchamp), 26–27, 100
“4′33″” (Cage), 20, 51
“free beauty,” 117
Frege, Gottlob, 137
fresco, 58
Freud, Sigmund, 13
Fry, Roger, 80, 126, 127–28, 129
Futurism, 17, 24, 105
games, 31–32
Gare Saint Lazare (Manet), 110
Gauguin, Paul, 111
gay liberation, 139
gender, 79, 99–100, 140
Geometric Abstraction, 18
geometrization, 12
Giacometti, Alberto, 111
Giotto, 1, 2, 4, 30, 108
Goethe, Johann Wolfgang von, 67
Gogh, Vincent van, 111
Gombrich, Ernst, 2
Gorky, Arshile, 14, 16–17, 18
Goya, Francisco, 109, 121
Greek art, 35
Greenberg, Clement, 11, 18, 22, 108–9, 110, 111, 126, 127; Kant admired by, 116–17, 129
Gregory the Great, Pope, 155
Guercino, 103
Guggenheim Museum, 19
Gursky, Andreas, 101
Gutai (artistic movement), 18
Hammons, David, 131, 132, 134
Harrison, Frederic, 131
Hart, Frederick, 74
Hartley, Marsden, 27
Harvey, James, 36, 41, 42, 43, 44, 115, 147, 149
Hegel, G. W. F., xi, 23, 118, 123, 124, 148–49, 156
Heidegger, Martin, xi, 153–54
Henning, Edward, 15, 16
Hesse, Eva, 34
Hibbard, Howard, 70, 72–73
Hill, John William, 104
Hirst, Damien, 18
historical painting, 2, 101–2, 112
Hofmann, Hans, 12–13
Hogarth, William, 26
Holy Family, The (Poussin), 86, 90, 95
Homer, 91
Hopper, Edward, 18
Hultén, Pontus, 50, 146
humanism, 75
Hume, David, x–xi, 26
Huygens, Christian, 99
Idealism, 142
identity politics, 139
Iliad, x, 90
imitation, ix, 30, 35, 51
Impressionism, 110, 113
installations, 100
Institutional Theory, 33–34
Irwin (artistic collective), 18
Islam, 89
Italian Hours (James), 118
James, Henry, 118, 119
James, William, 152, 153
Japanese art, 4, 111
Johns, Jasper, 21–22, 111
Joyce, James, 85
Judd, Donald, 40, 47
Judson Dance Theater, 51
Julius II, Pope, 62
kalliphobia, 116
Kant, Immanuel, x, 26, 76, 127, 130–34; art and experience viewed by, 124; Formalism indebted to, 116–17, 126, 129; heavens contemplated by, 62, 154; rational beings viewed by, 96; Romanticism and, 121, 122–23; two conceptions of art of, 117–18, 120–21, 129
Kelly, Ellsworth, 42, 63
Kennick, William, 101
Kiss, The (Lichtenstein), 44–45
Kramer, Hilton, 155
landscape, 2
Lanfranco, Giovanni, 119–20
Lanzi, Luigi, 120
Last Communion of Saint Jerome (Poussin), 119
Lectures of Aesthetics (Hegel), 118, 123
Léger, Fernand, 24
Leibniz, Gottfried Wilhelm, 93
Leonardo da Vinci, 99
LeWitt, Sol, 34
Lichtenstein, Roy, 43, 44–45
Linich, Billy, 146
Lisanby, Charles, 133
lithography, 18
Locke, John, 82
Lumière brothers, 3, 4
machines, 89, 93, 96–97
Mademoiselle Pogany (Brancusi), 17
Magruder, Agnes, 16
Malanga, Gerard, 36, 114, 146, 147
Malevich, Kazimir, 11
Manet, Edouard, 9, 32, 64, 107, 108–10, 111
Mannerism, 56, 60, 69
Mantegna, Andrea, 80, 84
“Man with the Blue Guitar, The” (Stevens), 10
Mapplethorpe, Robert, 78
Marat assassiné (David), 38–40
Marcel Duchamp: Artist of the Century (Kuenzli and Naumann), 24
Marden, Brice, 111
Maria de Medici, queen of France, 122
Marie l’Egyptienne (Pourbus), 130
Marin, John, 27
Matisse, Henri, 8, 9–10, 129
Matta, Roberto, 14–15, 16
Matta-Clark, Gordon, 34
McDarrah, Fred, 36
Meditations (Descartes), 45–46, 86, 87–88, 92, 96
Merleau-Ponty, Maurice, xi
Metropolitan Museum of Art, 4
Meurant, Victorine, 9
Michelangelo, xii, 52, 61, 63–75; curvatures exploited by, 62; divining intentions of, 53, 54, 58, 59; Mannerist influence on, 56, 60, 69; sculpture viewed by, 57
mimesis, 30, 35, 47–48
mind/body problem, 78, 93, 94
minimal criteria, 145
Minimalism, xii, 18, 22, 34, 115, 116
mirror images, x, xi
Modernism: abstraction and, 11; American introduction to, 17; Greenberg on, 108–9, 110, 111, 116; mirror images eschewed by, xi; money and, 10; Motherwell on, 15–16
Modern Painters (Ruskin), 119
Monadology (Leibniz), 93
Monet, Claude, 9, 64
Morris, William, 43
Motherwell, Robert, 13, 14–15
motion pictures, 3–4
movement, 2–3
multiculturalism, 22
Museum of Modern Art, 25, 27, 101, 107
Muybridge, Eadweard, 2–3, 105–6
Nabis, 61, 111
Nadar, 2, 110
Napoléon III, emperor of the French, 9
National Gallery of Art, 4
Newman, Barnett, 34
Newton, Isaac, 38
New York School, 11, 17
Nietzsche, Friedrich, xi
99 Cent II, Diptychon (Gursky), 101
Nude Descending a Staircase, No. 2 (Duchamp), 17, 24–25
objective spirit, 148–49
Odyssey, 90
Ofili, Chris, 129
oil painting, 18
O’Keeffe, Georgia, 27
Olympia (Manet), 9
On Painting (Alberti), 1
ontology, 5, 115, 130, 145
pain, 81, 92, 94, 95, 96
painting: Chinese and Japanese, 4; dominance of, 99; genres of, 2; historical, 2, 101–2, 112; media, 18; motion pictures vs., 3–4; photography vs., 100, 104–5, 112
Painting as an Art (Wollheim), 82–84
paragone, 99–100
pastel, 18
patination, 57
Pattern and Decoration, 22
Peach Robinson, Henry, 112
Peirce, Charles Sanders, 152–53, 154
performance art, 98, 100
Perry, Lilla Cabot, 64
perspective, 63, 68
phenomenology, 141
Phenomenology of Spirit, The (Hegel), 23
Philosophical Investigations (Wittgenstein), 29
photography, xi, xii, 27, 30; aerial, 110; Impressionist influence on, 113; invention of, 2; Modernism abetted by, 109, 110; painting vs., 100, 104–5, 112; for portraiture, 106–7; by women, 100
physiognomy, 2
Picasso, Pablo, 4, 6, 8, 32, 53, 90; Gorky’s adulation of, 16; Rose period of, 7
Piero della Francesca, xii, 64, 125
Pietrangeli, Carlo, 54
Plato, ix–x, xi, 29–30, 33–34; cave analogy of, 56
Platonism, 75
Pollock, Jackson, 11, 13, 14, 50
Pop Art, xii, 18, 23–24, 34, 44, 115, 116, 148, 150
portraiture, 2, 106–7
positivism, 141
Postmodernism, 129, 155
Pourbus, Frans, 122, 130
Poussin, Nicolas, 86, 90–91, 95, 97, 119, 122
Pragmatism, 141, 152
Pre-Raphaelites, 43, 104, 111
prints, 18, 113–14
Protetch, Max, 91
Quinn, Marc, 129
Ranke, Leopold von, 101–2
Raphael, 104, 119
Rauschenberg, Robert, 20, 21
readymades, 24–25, 26–28, 30, 31, 33, 34, 143–44
Realism, 18
Reformation, 119
Rembrandt van Rijn, 117
Republic (Plato), x, 29–30, 48
restoration, 53–75
Resurrection (Piero della Francesca), 64, 125
Rhetoric (Aristotle), 154
Rococo, 133
Roger Fry, Art and Life (Spalding), 127–28
“Role of Theory in Aesthetics, The” (Weitz), 32
Romanesque art, 35
Romanticism, 121, 122–23
Rorty, Richard, 141
Rose, Tom, x
Rosenberg, Harold, 11
Rubens, Peter Paul, 122
Ruskin, John, 104, 119
Salon des refusés, 9
Sartre, Jean-Paul, 154
Schapiro, Meyer, 72
sculpture, xii, 4, 18; in early seventies, 34–35; by Warhol, 28–29, 36–37, 41–47, 49–50, 114–15, 145–49; by women, 100
semantics, 37–38
Serra, Richard, 34
Sexuality of Christ, The (Steinberg), 80–81
Sherman, Cindy, 2
Shroud of Turin, 103
Sienese primitives, 5
Silas Marner (Eliot), 131
silkscreen, 113–14, 147
Silver Factory, 29, 114
Simonds, Charles, 34–35
Sistine Chapel, xii, 52, 66, 68; architectural illusions in, 62, 69; cleansing of, 53–54, 56–59; dimensions of, 61; Eve narrative in, 69–70, 72–73; Jonah narrative in, 62–65, 67; Noah narrative in, 70–73; nudity in, 74–75; sequence of images in, 60–61, 70, 72–73; wartime damage to, 55
Smith, Leon Polk, 42
Smithson, Robert, 34
Social Realism, 17–18
Society of Independent Artists, 26–27, 100
Socrates, x, xi, 29–30, 31, 34, 40, 47–48
sound recording, 3–4
Spalding, Frances, 127–28
Spindler, Amy, 148
Stable Gallery, 29, 35–36, 114, 133, 147
Statesman, The (Plato), 48
Steichen, Edward, 101
Stein, Leo, 9, 10
Steinberg, Leo, 80–81
Steinberg, Saul, 46, 120, 136–37
Stella, Frank, 115
Stevens, Wallace, 10
Stieglitz, Alfred, 26, 27, 100–101, 113
still life, 2
Sturgis, Russell, 104
Suprematism, 18
Surrealism, 13–14, 16, 18
Surrealist Manifesto (Breton), 13–14
Talbot, William Henry Fox, 2, 102
tattooing, 126
technology, 90, 93
Theaetetus (Plato), 30, 40
Theory, 137, 139–40
Tractatus Logico-Philosophicus (Wittgenstein), 37–38, 154
tragedy, xi
Traité de l’homme (Descartes), 89, 92, 95, 96
Transfiguration (Raphael), 119
Transfiguration of the Commonplace, The (Danto), 29, 130
Tris de Mayo, El (Goya), 109
Trojan horse, 48
trompe l’oeil, 111
Tudor, David, 20
Twombly, Cy, 22, 52
291 gallery, 26–27, 101
Ulysses (Joyce), 85
unconscious system, 13, 14
van Gogh, Vincent, 111
Varnedoe, Kirk, 129–30
Vasari, Giorgio, 63, 67–68, 85
Vauxcelles, Louis, 8
Victorian era, 1, 4, 126
Wall, Jeff, 113
Warhol, Andy, xii, 23–24, 35; Before and After, 54–55; Brillo Box, 28–29, 36–37, 41–47, 49–50, 114–15, 145–49; Campbell’s Soup Cans, 133–34; silkscreens viewed by, 113–14
watercolor, 18
Weitz, Morris, 32, 34, 35
Westman, Barbara, 50
Whitney Biennial, 22–23
Whitney Museum, 18, 29
Wittgenstein, Ludwig, xii, 32, 35, 145, 154; definitions attacked by, 29, 31; philosophy viewed skeptically by, 141; sentences viewed as pictures by, 37–38
Wittkower, Rudolf, 119
Wollheim, Richard, 82–84, 87, 92, 145
Woman paintings (de Kooning), 11
Woman with a Hat (Matisse), 9
woodblocks, 18, 111
wood carving, 18
Woolf, Virginia, 127
Zakanitch, Robert Rahway, 22
Zola, Émile, 64