Index

abstraction, xix, xxiv, 64, 65, 70, 84; of appearance, 28, 42; of beauty, 67; in children’s art, 114; of color, 38; emotionality and, 80; of experience of art, 52; of faith, 27; of form and sensations, 96; geometric, xxvii; of ideas, 25, 41; of language, 80; manifestation of, 82; of music, 53–54; of numbers, 97; of perfection, 71–72; pure, xxvii; of quantity and quality, 72, 79; of reality, 82; in Renaissance, 74; of shapes, 32, 41, 67; of subject matter, 28, 96; of symbols, 40; unity and, 110

academia, 49, 69

action: art as, 10, 11; art as escape from, 9–10; social, 10; true and realistic, 9. See also human action

Adams, Henry, 123

advertising, 12, 19, 20, 128

Aegean civilizations, 90, 105

Africa, 105; god images, 54

African art, 106, 107

African Negro art, 118

Alexandrian empire, 89

allegory, 93, 94, 104

amateur art, 113

American art, 15, 117; folk art, 116;

regionalism, 117–118, 119, 121, 122;

traditionalism, 118–122

American Indians, 105, 118

ancient art, 73; gods and men in, 94

ancient civilizations, 82, 87, 105; myths of, 32–33; philosophy, 24, 26; plasticity in, 92

anecdotes, 34, 76, 80, 82, 84, 86, 98; in art, 103; Greek, 94; of human action, 83; identity of, 103; illustrative, 95; mood and, 35; mythical, 95, 96, 102–103, 104; sexual, 99

Anglo-Saxon countries, 116

animals, 86; drawings of, 73; synthesized beasts, 68–69

animism, 116

Antioch, 17, 121

antique art, xx, xxiii, 71, 81, 82, 84; myth and, 82; sensuousness in, 99

antique civilizations, 87; myths of, 82, 84; subject matter and, 86–88

antiquity/antique civilizations, 105; artistic traditions of, 54; gods and demons, 54; myths of, 85–86, 91; plastic continuity and, 88–90; science and philosophy during, 26; unity in, 59, 98

Appalachia, 121

Apelles: Hero of the Palaestra, 21

applied art, 20, 23, 25

Arabic art, 106

Aretino, Pietro, 3

Aristotle, 24, 83; concept of perfection, 26; as differentiator, 26; Metaphysica, 22; scientific method, 98

art: as action, 10, 11, 28; anecdotal, 103; apperception of, 77; as biological fulfillment, 14; communicability of, 71–72; comparisons of, 21; decadence of, 11–13; as defiance, 16; definition of, 19; destruction of, 7, 125; duality with science, 30–31; as escape from action, 9–10; as expression of society, 102; expressive, 66–67; of the fifteenth century, 52; function of, xxvi, 11, 24–25, 30, 47, 98, 125, 127, 128, 129; as a function of the state, 12; generalization and, 25, 95, 129; heroic, 104; illusory, 32, 66; ineffectual, 80; laws of, 14, 16, 17, 30, 40, 52, 109, 129; line, form and color trinity, 19; linear elements of, 48; manifestation of, 80; moral attributes, 13; as natural biological function, 6–8; objective of, 40, 67, 79; plastic attributes, 13; plastic continuity of, 16, 128; public participation in, 125; qualitative discussion of, 62; reduction of, to subjective, 31; religion and, 27; representative, 111; rhythmic intervals of, 46–47, 48, 77; sensuality in, 30; as separate from science, 100–101; as social criticism, 11; spatial elements and movement, 23, 24, 43, 107; suffering by means of, 36; textures, 27, 43, 48, 50–51, 77, 99, 100; themes of, 127; vs. decorative arts, 19. See also painting; sculpture

art criticism, 45, 126

art education, 123–124

art for art’s sake, 66

art history, xxiii, 14, 16

artistic conscience, 4–5

artistic process, 8, 96

artistic tradition, 129

artist(s): as communicator, 63; criticism of, 2–3; demands on, 4–5; dual function of, 14; environment and, 2, 16, 23; as image makers, 7; intention of, 76; myths surrounding, 1, 2; notion of plasticity, 84; as poet, 27; popular conception of, xxiii, 1, 2; racial traits, 15; role of, 24–25; skills, xviii, xix, 20, 51, 52, 62, 63, 68; social assaults on, 2–3; during war, 89. See also reality: artist’s notion of

Asia Minor, 17

Assyria, 17

Assyrian art, 81

atmosphere, 95, 101; in painting, 56, 58, 59; perspective and, 38; tactility of, 31

atoms/atomicism, 25, 26, 28, 54, 70, 80, 96

Australian aborigine art, 118

automatism, 116

Aztec art and civilization, 104, 105, 107, 116, 118

B

Babylon and Babylonian art, 87, 107

back-to-the-land movement, 113–114

balance, 64, 83, 86–87

Baroque art, 11, 129

bas reliefs, 88

beauty, 87; abstract ideal of, 67, 68, 69; apperception of, 70–72; creation of, 67–70; definition and evaluation of, 62–65; element of pain in, 71; exaltation of, 63; functional or ordered, 64; ideal of, 65–66; illusory, 65–67; plasticity and, 63, 64, 65–67

Beethoven, Ludwig van, 1, 21

Beistle, Mary Alice (Mell), xx

Bellows, George, 120

Benton, Thomas Hart, 12

Berenson, Bernard, 43–44, 45, 49; on reality in painting, 50–51

Bible myths, 36

biological principle, 78

biology, 23–24

Blake, William, 120

Blashfield, Edwin Howland, 44–45, 49, 50, 51, 52–53; Italian Cities, 44

Book of Job, 61

Botticelli, Sandro, 7, 16, 122

Boucher, François, 115

Braque, Georges, 112

Breslin, James, xvii

British art, 39, 118, 119, 120; folk art, 116

Browning, Robert, 20; “The Faultless Painter,” 63

Buddhist Chinese art, 91

Byzantium/Byzantine art, 6, 7, 121; depiction of lay subjects, 88; designated as primitive art, 113; embellishment in, 51; Hellenistic tradition and, 12–13; illusory devices, 58

C

calligraphy, 104

cartoons, xviii, 116, 118, 126

censorship, 11

Central American art, 118

Cézanne, Paul, 40, 41–42, 46, 69, 70, 78, 128

chaos theory, 26

Chardin, Jean-Baptiste Siméon, 78, 121

Chase, William Merritt, 120

chiaroscuro, 31–32, 48, 52, 106–107, 111

children’s art, 54, 57, 103–104; comparison with primitive art, 114

chimeras, 70, 107

China, 85, 105

Chinese art, 44, 54, 86, 88, 91; transition to modernism, 90

Christ, 94

Christian art, xx, 3, 13, 17, 60, 61, 74, 103, 112; depiction of emotion in, 88; designated as primitive, 113; figure of Christ in, 94; human figure in, 87; Italian, 121; medieval, 26; myth and, 91; psychological expression in, 88; representation of reality in, 97

Christianity, 6, 17, 32, 61, 77, 85, 89; individual responsibility and, 91; laws of, 7; myth and, 35, 40, 84, 93–94, 96; Neoplatonism of, 98; philosophy of, 83; piety in, 3; psychology and, 101; saints, 4, 54; sensualism and, 92–93; as synthesis, 59; unity and, 26–27, 29, 102; use of symbols and ritual, 26–27, 100

Cimabue (Cenni di Pepo), 78

Cinderella story, 125–126

classical art, xx, 17, 49, 73; decline of, 7; designated as primitive, 113; principles of, 13; representative, 95

classicism: Greek, 32; plastic unity of, 96

collective unconscious, xvii

color, 51, 59, 64, 66, 77; abstraction of, 38; mood, 37, 38; perspective and, 50; pigments, 19; reality expressed in, 98; sensuality of, 38, 39; space and, 40, 57–58; spectrum, 81; structural function of, 40; tactility and, 59; used to attain movement, 48, 56, 59; washes, 38–39

comic strips, 118, 126

commercial art, 19, 20

communal spirit, 103

communicability, xix, xxiv, 71–72

communication, 49, 122; through art, 39; art as, 10

Communists, 12

consciousness, 70, 78, 86, 94; death of, 40; subjective, 85

continuity: of time, 63. See also plastic continuity

controversial art, 49–50

Copley, John Singleton, 119, 122

Coptic art, 51, 111

Corot, Jean-Baptiste-Camille, 125

Correggio, 20

Courbet, Gustave, 125

Crete, 86, 121

criticism of art and artists, 3, 63; social, 11

Crusades, 121

cubism, 70, 106–107, 108, 128

cultural stances on art, xxii

Currier & Ives prints, 118, 127

D

Dadaism, 60

Dalí, Salvador, 111

Dante (Alighieri), 21, 93

David, Jacques-Louis, xxi, 95, 96, 119, 125

death, xxvi, 21; fear of, 35; human interaction, 36

decadence of art, 11–13

decoration, 19–20, 23, 128, 129

decorative arts, xix, 20, 66–67, 116

defacement of art works, xviii

Degas, Edgar, 2

Delacroix, Eugène, 37, 39, 115, 125

della Francesca, Piero, 70

Del Sarto, Andrea, 20

democracy, 119, 124, 125; myths of, 125–126

demonology, 24, 54, 59, 88

demons, 54, 59, 67

Derain, André Louis, 111

distortion, 41, 67, 70, 113; of sensuality, 69

dogma, 28, 29, 30, 85, 87, 90, 107, 123, 124

dogmatic societies, 4

Douanier (Henri Rousseau), 114

duality, 68, 83, 93; in art, 96–97; of art and science, 30–31; of form, 53; of general and particular, 94, 95, 97; between mind and senses, 93, 94; of objective and subjective worlds, 27, 108; between rationalism and pragmatism, 28; of truth, 28

Dürer, Albrecht, 68, 69, 70, 72

Dutch art, 7, 39, 43, 74, 109, 118, 121, 127

Duveneck, Frank, 120

dynamic symmetry, 64

E

Eakins, Thomas, 120, 122

education, 123–124, 126, 127; art, 13

Egypt: Alexandrian empire, 88; animal worship, 86; procreation rituals, 87

Egyptian art and artists, 3, 5, 6, 17, 44, 54, 57, 81, 121; Coptic tomb art, 111; depiction of the human figure, 58, 73–74, 86–87, 90, 110; immortality and, 7; myth and, 85, 91; subject matter, 90; use of color, 59; wall paintings, 57

El Greco, 37

embellishment, 19, 23, 51, 81

emotionality, 34, 62, 63, 67, 70, 77, 103; abstraction and, 80; conscious, 108; depicted in Christian art, 88; of excitement, 37; exploitation of, 36, 101; generalization of, 36; human, 96, 98; representation of, 36, 41; romantic, 42; universal, 35

environment, 24, 54, 61, 96, 121–122; for art and artists, xxvi, 16, 78–79, 120; forces in, 83; generalizations about, 129; intellectual, 112; man’s adjustment to, 111; perceptible, 8; photography of, 112; physical, 47; psychic, 47; relationships in, 78; representation of, 81; selected in art, 80

equilibrium, 71, 72

escapism, 9–10, 111–112

Eskimo art, 118

ethnology, 15

Eurocentrism, xxx

European art, xvii, 60, 118

evil, 36, 71, 99, 129; beast as symbol of, 86

exaltation, 21, 62, 63, 66, 71; of beauty, 63, 64

excitement, 36, 37

existentialism, xxi

expressionism, 12, 69, 70, 115, 128

F

factionalism, 89

faith, 95, 109; abstraction of, 27

fantasy, 59, 103–104, 107; nature of, 1; reality and, 59

Faust, 92, 95

fauvists, 111

fear, 107; of death, 35

fertility, 87, 99, 100

Flanders, 74

Flemish art, 74, 121, 127

Florence, Italy, 123

Florentine art, 13, 30, 100, 101, 120, 122, 124–125

Florentine Painters of the Renaissance, The (Berenson), 43–44

folk art, 116; American, 119

force(s), 54, 110; of nature, 84, 86

form: representation of, 53

form(s), 19, 47; abstraction of, 96; duality of, 53; generalization of, 42; plastic, 107–108; primitive, 107; pure, 40

fourth dimension, 48

Fragonard, Jean-Honoré, 115

France, 11, 105, 123

Francis, Saint, 86

French art, 15, 39, 74, 115, 118, 119, 121, 129

fresco painting, 46, 88

Fuller, George, 120

function, 23, 82; mutuality of, 110; separation of, 30

functionalism, 28, 64, 92

G

generalization/generality, 23, 24, 25, 35, 42, 45, 72, 75, 82, 94, 95, 103, 127, 128; particular and, 33, 34, 94, 95, 97; relationship to plasticity, 115; social, 103; of truth, 78

genre art, 7

genre paintings, Dutch, 43

gentility, 86

geography, 117–118, 120, 121

George, Saint, 86

German art, 120

Germany, 74, 116, 124

Gérome, Jean-Léon, 115

Giotto, 13, 20, 43–45, 49, 52, 60, 61, 103, 116, 123; designated as a primitive, 113; force of form, 53; influences on, 121; movement in paintings, 58; pictorial truth in works, 51; reality in works, 50; symbols of, 104; tactility in works, 50, 58, 59; use of color, 38, 59

God, 93

gods, 30, 35, 36, 83, 84; African, 54; in ancient art, 94; of antiquity, 54; Greek, 26, 59, 92; human attributes of, 94; of nature, 110; necessity for, 109; relation of man to, 85; representation of, in art, 97; self-dependence in relationship to, 94; as symbols for forces, 97

Golem, 23

Gothic art, 69

Gottlieb, Adolph, xxvi, xxvii

Goya, Francisco, 20

Greece, 105, 108, 123, 124; acceptance of the unknown as reality, 27; anecdotes of, 94; concept of fertility, 99; gods, 26, 59, 92; myths, 84, 89; rituals and customs, 87, 99, 100; synthesis in art of, 54; tragedy in, 36; unity in, 91, 92, 102

Greek art, 5, 60, 81, 86, 121; artist’s notion of reality, 99; depiction of the human figure, 73, 87; designated as primitive art, 113; Hellenistic period, 7, 11, 13, 26, 82, 88–89, 91, 106, 121; influences of, 89; myth and, 91; plastic unity in, 98; pottery, 129; representation of gods in, 59, 97; representation of reality in, 85, 97; sculpture, 7, 32, 59, 88, 106; sensuousness in, 65, 99–100; subject matter, 90; Tanagra statuettes, 73; tombstone monuments, 17; transition to modernism, 89–90; vitality of, 13

H

harmony, 21, 24, 27, 48, 62, 84, 99

Hebraic tradition, 99

heroic/heroic quest, 36, 94–95, 103, 104, 109, 110, 112, 119; art, 74, 84

Hesiod, 26

Hindu art, 73, 81; myth and, 91; representation of reality in, 97

Holland, 125. See also Dutch art

Homer, 1

Homer, Winslow, 120, 127–128

human action, 21, 35, 82, 85; anecdotes of, 80, 83; ritual and, 27; sources of, 107; tragedy in, 36

human conduct, 24, 26, 27, 83, 84, 98

human experience, 92–93

human figure, 63, 84, 85; abstract proportion of, 45; depicted in art, 73–74, 86–87, 88, 90; with head of an animal, 86; nude as subject matter, 87, 99; perfection in, 68–69

human interaction, 36, 37

human needs, 64

human relationships, 103

human shapes, 63

humor, 35, 115

hunger and starvation, 3, 6, 9

I

idealism, xxii, 10, 28, 40, 123

ideas, 25, 40, 42, 47; reality of, 70; verbal, 21

idolatry, 107

ignorance, 73

illusion: faith and, 60; in painting, 55; plasticity and, 30; of power, 53; sensation of atmosphere and, 56–57

illustration, xix, 11, 12, 19, 20, 23, 35, 74, 120, 126, 127; plastic arts and, 129

imaginary organisms, 68–69

imagination, 6, 30, 31, 59, 60, 65; as escape from reality, 9

immortality, 6–8

impasto, 41

impressionism, xxx, 31, 35, 38, 41, 46, 56–57, 70, 112, 128; emotional, 36; French, 39, 40; laws of, 40; objective, 38–42; unity and, 34; weight differences in paintings, 41, 56

India, 85, 105; procreation rituals, 87

Indian art (India), 5, 88, 97

Indian tribes of the Americas, 105

indigenous art, xxviii, 117–129; education and, 123–124

individualism, 82, 103, 123

infinity, 35, 65, 94, 95

Ingres, Jean-August-Dominique, 96, 119, 125

inorganic art, 82

inspiration, 1, 116

intelligence, 26, 85–86; visual, 39

intuition, 24

Isaiah, 7

Islam/Islamic art, 93, 105

isolationism, 121

Italian art, 89, 121

Italy, 17; Renaissance, 74; wars, 89

J

Jefferson, Thomas, 126

Jehovah, 91

Jews/Jewish tradition, 6, 17, 85, 93, 99

Jones, Joe, 12

journalism, 12, 118

K

knowledge, 24, 48, 73, 108–109; of self, 89, 123

L

language: abstract, 80; of art and music, 48; plastic, 22, 23, 49, 97–98; truth of, 21

Law of Authority, 4

laws, 21, 83, 84; of art, 14, 16, 17, 30, 40, 52, 109, 129; of biology, 23–24; of Christianity, 7; of mechanics, 23; physical, 23; Truth of the Law, 4; visual, 50

lay art, 17

Leonardo da Vinci, 20, 32, 52, 68, 69, 72; as artist and scientist, 31; plastic romanticism of, 31; sensuality in work of, 101; subjective quality of works, 31; unity in works, 33

liberalism, 93, 124

Life of Michel Angelo Buonarroti, 2

light, 31, 34, 101; agency of, 41; as instrument of unity, 33; interplay with shadow in painting, 31, 52; mood of, 37, 70; objective participation in, 35; in painting, 32, 38; representation of, 39, 50; subjective quality of, 31; used to show emotion, 34

Lincoln, Abraham, 126

Lindsay, Lord, 45

line, 19, 48, 95

linear perspective, 23, 30, 52

logic, 21, 24, 27, 100

M

magic, 24, 110

Manet, Edouard, 125

Mantegna, Andrea, 52, 103

manuscript illustration, 74

markets for art, 3, 19, 113, 114, 128

Masaccio, 52, 124–125

masks, 88

masochism, 72

mass production market, 128

materialism, xxx, 62, 84, 102, 112

mathematics, 23, 24, 64, 97–98

Matisse, Henri, 106, 115

mechanical principle, 35, 40, 92, 96

mechanics of vision, 42

medieval art, 26

Megara statuettes, 129

memory, 55, 67, 85, 86; of myth, 85; visual, 97

Mesopotamia/Mesopotamian art, 17, 97, 121

metalwork, 46

Mexico/Mexican art, 104, 116, 118

Michelangelo, 2, 3, 16, 32, 69, 100, 122; force of form, 53; influence of, 30; The Last Judgement, 3, 21, 75; Pietá, 75; sensuality in works of, 31; statue of David, 74

Milton, John, 21

mind, 28, 29, 65, 83; mental life, 40

modern art, xix, 20, 43, 45, 49, 51, 81, 99, 106; as affirmation, 61; distortion in, 67; escapism and, 111–112; fantasy in, 107; lack of unity in, 60; plasticity in, 44, 54–55; as reassessment of art experience, 109–110

modernism, 89–90

Mohammedans, 6, 7, 17

Monet, Claude, 38, 40, 42, 128

mood, 54, 78; anecdotes and, 35; color, 37, 38; of light, 37, 70; in paintings, 35, 38, 42, 76

morality: artists and, 3, 4, 40; logic of art and, 4; social criticism of art and artists, 11; unified, 98

moral systems, 92

moral transgression, 86

Morse, Samuel, 120

motivation, 6, 7, 20, 51; artistic, 20; for expression in art, 113; unity of, 87

murals, 117, 118

Murillo, Bartolomé Esteban, 121

music, 48, 98; abstraction, 53–54; folk art and, 116

mutation, 17–18

mysticism, 11, 12, 17, 31, 92, 108; unity and, 93

myth, 83; abandonment/destruction of, 102–103, 109, 119; allegory and, 94; ancient, 32–33, 84, 85; anecdotal, 95, 104; of antique civilizations, 82, 84; of antiquity, 26, 97; Biblical, 36; Christian, 35, 84, 93–94, 95, 96; classical, xxi; communal, 104; democratic, 125–126; Egyptian, 85; Greek, 84, 89; human, 40; memory of, 85; of Midwest as representation of America, 118; need for, 37; nostalgia and, 34, 36, 37; pagan, 95; presentation of, in the plastic language, 97–98; progenitors of, 97; reality and, 35; realms, xvii; relationship to painting, 82; of the Renaissance, 91–95, 102–103; since the Renaissance, 95–101; representation of, 95, 97; sensuality and, 34, 98–101; subject matter and, 82–86; symbols of, 83, 97, 105; Syrian, 85; unity and, 82–83, 94

mythology, 36, 95

N

natural forces, 84, 86, 91, 97

naturalism, 55, 73–75, 102–103, 105, 113, 115; in painting, 50

natural laws, 63

nature, 36, 65, 68, 69, 85, 86; perfection of, 75; studies, 74

Negroes, 105; artistic portrayal of, 12

neoclassicism, xxi, 95, 96

Neoplatonism, 98

Nietzsche, Friedrich, 36; Birth of Tragedy, xxiii

Nile civilizations, 105, 108

nonplastic objectives, 11

non-Western art, xxx

nostalgia, xx, xxi, 57, 95, 110, 124; for Greek unity, 33; myth and, 34, 36, 37; practice of, 124; as reality, 96; for unity, 33

O

objective impressionism, 38–42

objective world, 24, 59–60, 61, 63, 82, 84; sensuality and, 25; subjective world and, 27, 31, 35

objectivism, 55, 70

objectivity, 92, 108; literary, 119; of science, 100

occultism, 24

oil paint, 31, 32, 39

Old Testament, 7

oriental art, 113

Oriental Jews, 17

Oriental tradition, 93

Ozarks, 121

Ozenfant, Amedée, 66

P

Pach, Walter, 122

pagan art, 13, 74

paganism: myths, 95; nostalgic, 95

pain and suffering, xxvi, 35, 70–71, 72, 84, 88; Christian, 35–36; depicted in painting, 88; of evil, 99; individual, 103; registration of, 25

painting, 30–31, 59, 123; academic, 69; as artist’s notion of reality, 25; atmosphere in, 56, 58, 59; characteristics of, 51–52; color washes as last step in, 38–39; decorative details in, 116; definition of, 22; depiction of emotion in, 88; design of, 76; effect of relief in, 46; equilibrium in, 41; European, 34; history of, 74; illusory, 5, 54, 55, 65, 67, 110; interplay of light and shadow in, 31, 52; language of, 24; laws of, 16; light in, 32, 38; mood in, 35, 38, 42; myth and, 58, 82; naturalism in, 50; objective of, 55, 76, 77, 79, 113; organic life of, 96; planes in, 38; plasticity and, 43, 54; public response to, 126; quality of greyness in, 38, 39; reality in, 50–51; representation of light in, 50; rhythmic intervals, 48; sense of movement in (recession and advancement), 19, 24, 32, 35, 38, 46, 47, 48, 55, 56, 58, 59, 77, 107; sensuality in, 38; structural reconstruction of, 42; tactility in, 56, 58, 65, 67; time and space in, 49; titles of works, 103; unity in, 30; weight differences in, 40, 56

pantheism, 85, 86

paradise, 88, 93

Paris school, 122

Parrish, Maxfield, xviii, 10, 126

particular, 94, 95, 97; appearance and, 34; general and, 33, 34; objects and, 41

particularization, 103, 127; of appearances, 25

patronage of the arts, xxi, 3, 128

perceptible environment concept, xix, 8, 24

perfection, 69; abstraction of, 71; appearance of, 68; of Aristotle, 26; conscious understanding of, 70; formal, 84; idealized, 71, 75; mechanical, 87; prototypes of, 72; spiritual, 87

Pericles, 6, 123

Persia/Persian art, 17, 90, 91, 106

personality, 84, 111, 121

perspective, 32, 38, 58; atmospheric, 38, 56–57; color and, 50; laws of, 40; linear, 23, 30, 52

Perugino, 57

philosophy, 21, 22, 24, 26, 31, 91, 123; of ancient civilizations, 24; of Christianity, 83; Greek, 91; plasticity and, 40, 77; poetry and, 27; primitive art and, 113; rational unity theory, 91

photography, 20, 111–112

physical laws, 7, 23

physical science, xxi, 15

physical world, 95

picturesque, 113, 114, 115

Pissarro, Camille, 38

plastic continuity, 16, 77, 78, 79, 86, 88–90, 100, 128

plasticity, xxx, 7, 22, 54, 103, 109; of the ancient world, 92; applied, 25; of art as culture, 127; artist’s notion of, 34, 84; beauty and, 40, 63, 67; color and, 24; completeness of, 87; concept of reality and, 59; decadent art and, 12; definition of, 45–46, 50, 55; elements of, 14, 23, 77; emotionality and, 108; force of, 53; of forms, 107–108; function and, 16; generalization and, 115; history of, 81; illusory, 54, 56, 62, 65; illustration and, 129; invention and, 67; kinds of, 43–48; of language, 49; language and, 22, 23; laws of, 13, 14; line and, 24; manifestation of, 77, 78; in modern art, 44; myth and, 95; in painting, 43; in painting and sculpture, 46–47; philosophy and, 40, 77; primitive art and, 115; process, 11, 16, 49, 54–55; reality and, 95–96, 98; representation of, 61; rhythms and, 37; romanticism and, 31; skepticism and, 60; of space, 48–55, 57; space and, 33, 48–55; subject matter and, 78, 90; tactile, 54, 62, 65, 66, 97, 110; truth and, 75; unity and, 96, 99; used by artists, 43

plastic journey/movement, 48, 77, 85

plastic method, 34

plastic unity, 80

Plato, 17, 28; concept of abstract ideas, 41; concept of beauty, 64, 67, 68, 71, 72; concept of essences, 32; concept of ideals, 28; concept of pure forms, 40; concept of reality, 40, 67–68; ideal of perfection, 68; Ion, 1; rejection of world of appearances, 32; shape principles of, 27–28, 70; skepticism of, 91; unified morality of, 98

pleasure, 63, 65, 70–71, 72, 103; registration of, 25; from sensations, 93, 99

poetry, 19, 57, 91, 109; of antiquity, 26; folk art and, 116; Greek, 26; philosophy and, 27

political movements, 119

Pompeii, 74, 89

popes, 89

popular art, xviii, 74, 119, 124–129

populism, xviii

portraits, 19, 20, 23, 43, 65–66, 67

post-Renaissance era, 128

Poussin, Nicolas, 95, 96

poverty. See hunger and starvation

pragmatism, 27, 40, 68, 69; rationalism and, 28–29

prehistoric art, 73

Pre-Raphaelites, 120

primitive art, 106; American, 119; folk art and, 116; as manifestation of terror, 67, 108; popular artists, 113–116; sculpture, 114; simplification in, 115

primitive races, xxvi, 24, 54, 61, 105, 106, 122; animistic realities, 69; unity with Christian world, 29

primitivism, 105

procreation, 87–88; sensuality and, 25

propaganda, 128

proportion, 45

prostitution, 15, 93

pseudo-primitive painters, xviii

psychiatry, 24, 54, 107

psychology, 14, 24, 40, 44, 50, 63, 83, 88, 99, 101, 107

purgatory, 88

purism, 99

puritanism, 116

R

race, 15, 16

Raphael, 20, 60, 101; School of Athens, 21

rationalism, 27, 28, 32, 100, 107; pragmatism and, 28–29; of thought, 29; unity and, 91

realism, 125

reality, 54, 60, 68; abstraction of, 82; of appearance, 42, 49; appearance and, 40, 69; artist’s notion of, xxiv, xxv–xxvi, 21, 22, 23, 25, 35, 39, 43, 44, 59, 63, 79, 81, 82, 87, 90, 94, 95, 97, 98, 115; aspects of, 85; Christian notion of, 40, 85; communication of, 49; determined through senses, 50–51; dissolution of, 40; fancy and, 59; Greek notion of, 26; of ideas, 70; infiniteness of, 65; manifestation of, 23; mythical, 35; nostalgia as, 96; objective, 25, 96–97; pictorial, 45; plastic, 59, 95–96; Plato’s concept of, 67–68; popular notions of, 25, 26, 28, 40, 82, 85; representation of, 96–97; sensorial, 72; sensuality and, 25; societal view of, 90; spatial, 115; subjective, 25, 96–97; symbolism and, 29, 96; synthesis of, 25; trinity of, 96; unified, 27; visual, 42, 43, 65, 67

Reformation, 7

relationship(s), 110; in environment, 78; formal, 113; laws of, 100; symbols of, 98, 105

relativity, 63, 72

religion/religionists, 7, 103; of antiquity, 26, 87; art and, 27; puritanism of, 99

religious art, 17. See also Christian art

Rembrandt, 96, 103, 121, 124, 125; emotionality in works, 35; The Night Watch, 36, 128

Renaissance, xx, 6, 59, 60, 68, 84, 89, 104, 108, 122; abstraction in, 70, 74; art, 112, 118, 121; artist’s desire for unity, 30; awakening of the spirit in, 89; classical principles of, 13; colorfulness of painting during, 38; control over forces of nature, 86; development of naturalism during, 102–103; divergence of expression during, 82; fantasies of, 107; influences on artists during, 106; Italian, 50; myth of, 91–95, 102–103; painting of appearances, 23; plasticity of art and, 30; rejection of Plato during, 40; romanticism, 113; specialization during, 101; status of artists in, xxi; symbolism, 88; transition to modernism, 89–90; world of appearances and, 32

representation, 54; departure from, xxvii; of emotionality, 36, 40; of the environment, 81; of form, 53; of human interaction, 37; of light, 39, 50; physical, 85; pictorial, 30; of recognizable objects, 78, 79, 113; of sensuality, 32; of sentiment, 35; of space, 57

responsibility: individual, 91; social, 102

rhythms, 37, 48, 98

Rio, Alexis François, 45

ritual, 87, 125; Christian use of symbols and ritual, 26–27, 100; Greek, 87, 99, 100

Rivera, Diego, 122

Roman art, 91, 121

romanticism, 12, 41, 42, 70, 107, 113, 115; plastic, 31

Rothko, Mark: abstractions, xix; attitude toward the public, xviii–xix; criticism of, xix–xx; criticism of artistic skill of others, xviii, xix; desire to paint the truth, xviii, xxi; exhibitions, xviii–xix; figure work, xvii, xix; government control over works, xxi; lack of recognition as an artist, xvii–xviii, xxiii; media, xvii; in New York, 1940s, xvii–xxv; as painter and writer, xxv–xxvii; personal life, xvii, xix, xx; plasticity and, xix, xxv; political affiliations, xxii; realist period, xix; Renaissance artists and, xxi; search for unity, xx, xxi; style and process of writing, xxii–xxiii, xxiv; style of painting, xvii, xxiv, xxv, xxvii; style of writing, xxix–xxx; subject matter, xvii; as teacher of art, xxii; Works: Bathers, or, Beach Scene, Plate 3; Oedipus, Plate 7; Portrait of Mary, Plate 8; Slow Swirl at the Edge of the Sea (Mell-ecstatic), xx, Plate 5; “The Romantics Were Prompted,” xxviii; Untitled 1941/42, Plate 6; Untitled, 1943, Plate 9; Untitled, 1945, Plate 4

Rousseau, Henri, 105, 114, 115

Rousseau, Jean-Jacques, 113, 116

Rubens, Peter Paul, 121

Ruskin, John, 45, 113

Russia, 12, 105

Ryder, Albert Pinkham, 120, 122

S

Sachar, Edith, xvii

salvation, 94; through human acts, 94; individual, 92; suffering as instrument of, 35

Sargent, John Singer, 20, 128–129

Savonarola, 7, 125

science, xxi, 23, 24, 30, 49, 57, 60, 73, 74, 83, 98, 106, 110; of antique civilizations, 26; art and, 30–31, 100–101; definition of, 22; materialistic, 112; objectivity of, 100

sculpture, 46, 51, 52, 59; influences of, 106–107; plasticity in, 46–47; primitive, 88, 106, 114; sculptural relief, 41; terror depicted in, 88

Second Council of Nicea, 3

security, 63, 83, 85

self: annihilation, 23; expression, 14; extension of, 87, 88; knowledge of, 89, 123

sensation, 25, 47, 59, 62, 82, 91, 92, 94; abstraction of, 96; illusory, 99; objects of, 39; principle of, 96; sexual, 93; tactile, 67, 99

senses, 35, 48; abstraction of, 32; duality with mind, 93, 94; equilibrium, 71; examination of, 39; hearing, 25, 39; objects of, 89; pleasure and, 93, 99; sight, 27, 45, 50, 51; smell, 39; study of, 100; touch, 25, 39, 45, 50–51, 56; vision, 25, 32, 34, 39, 41, 50, 52, 56, 65, 81, 95, 97, 101. See also tactility

sensibility, 86; individual, 91

sensualism, 27, 34, 72, 92, 116

sensuality, 24, 48, 70, 71, 87, 93, 99–100; in art, 30; of color, 38, 39; distortion of, 69; human, 30; illusory approach to, 101; as language for human experience, 25; laws of, 100; light in painting and, 38; myth and, 34, 98–101; plastic, 41; principle of, 96; procreation and, 25; reality and, 25, 26; representation of, 32, 100, 101; tactile, 101; truth and, 27

sensual perception, 26

sensuousness, 51, 62, 99

sentimentality, 12, 35, 62

separation of functions, 30

Shakespeare, William, 8, 35, 92, 105, 116

shape(s), 24, 77, 80, 118, 119; abstraction of, 32, 41, 67; principles, 28, 70; reality expressed in (recognizable), 67, 98; unity of, 41; weight of, 53

shroud paintings, 74

Signorelli, Luca, 21, 31, 69

Sisley, Alfred, 38

skepticism, 60, 83, 115; of Plato, 91; of Socrates, 83

skill, xviii, xix, 20, 51, 52, 62, 63, 68

socialism, xviii

socialist art, xxii

social moralism, 3

social responsibility, 102

social sciences, xxi, 14, 28

society, 10, 118, 123, 124

sociology, 83, 92

Socrates, 84; Phaedo, 93; skepticism of, 83

soldier-poets, 6

soul, 20, 54, 77, 83; function of, 95; of manifestation of, 114; nature of, 95

space, 42, 63, 80, 115; color and, 40; illusion of, 38, 56, 57; kinds of, 56–59; life, 21; in painting, 49; philosophical basis of, 59–61; plasticity and, 48–55, 57; reality expressed in, 98; representation of, 57; tactile, 56; use of, in paintings, 43, 48; vertical and horizontal planes, 47, 48, 57, 58

Spanish art, 121

specialization, 26, 27, 30, 39–40, 95–96; during the Renaissance, 101; of truth, 37

spectator/observer, xxv, 47, 49, 128, 129

Squarcione, Francesco, 52

still life painting, 13

Stuart, Gilbert, 119

style, 77–78

stylists, 19, 20

subject, 76–79, 80, 86

subjective world, 24, 33, 82, 83, 84, 85, 103, 108; art and, 31; objective world and, 27, 31, 35; sensuality and, 25; unity with objectivity, 35

subject matter, 37, 76, 77, 98; absence of, 80; abstraction of, 28, 96; in antique art, 86–88, 105; antiquity and, 86–88; artist’s reality and, 79–82; character of, 103; in children’s art, 103; deliberate choice of, 50; exotic, 115; human figure, 32, 36, 53, 86; in indigenous art, 119; lay, 88; in modern primitives, 115; mythical, 82–86, 97; notion of reality and, 85; nudes, 87, 99; plasticity and, 78; as result of plastic occurrences, 90; similarity of, 81; specialization of, 11

suffering. See pain and suffering

supernatural, 54, 107, 116; myths, 13

superstition, 24, 29, 70

surrealism, xvii, xxi, xxiv, xxvii, 12, 60, 108, 111, 128

symbolism and symbols, 12, 35, 54, 57, 84, 86, 107, 109; abstraction of, 40; of America, 118, 119; anecdotes as, 82; appearance and, 34; of the artist’s notion of reality, 95, 98; of emotion, 88; of evil, 86; of fertility, 87; French, 11; function of, 98; Greek, 26; light as, 33; of myths, 83, 97; of the nude, 87; ordering of, 108; pictorial, 102; of primitive races, 106; rational, 26; reality and, 29, 96; of relationships, 98; Renaissance, 88; of the unknown, 97

synthesis, xxvi, 61, 84, 90, 109, 124; of art of the Aegean, 90; Christianity as, 59; of imaginary animals, 68–69; impressionistic, 40; of reality, 25

Syria, 85, 121

T

tactile consciousness concept, 44, 101

tactile recession, 107

tactility, 25, 27, 42, 49, 50, 51, 54–55; of the atmosphere, 31; color and, 59; in painting, 56, 65; in paintings, 58; planes in the human body and, 63; plasticity and, 65, 110; representation of form and, 53; unity and, 32; in work of Giotto, 58

Tanagra statuettes, 73

technique, xxv, 65, 77

terror, 69, 70, 107; depicted in sculpture, 88; representation of, 104; of the unknown, 26, 108

texture. See art: textures

theater(s), 34, 38, 52, 66

theogony, 26

third dimension, 44

Thomas Aquinas, 61

Tiger’s Eye magazine, xviii

time, 21, 49, 63; continuity of, 63

timespace concept, 48–49

Tintoretto, 74

Titian, 16, 60, 74, 105; Ecce Homo, 103

tone/tonality, 38, 39; of color, 38

totalitarian states, 3, 6, 12

tradition, 122, 123; Jewish, 93; Oriental, 93; reverence for, 91

traditionalism, 118–122

tragedy, xxvi, 9, 35, 36, 37; Greek, 36

translucence, 53

truth, xxi, 2, 45, 50, 57, 63, 83, 86, 123; atomic, 28; demonstration of, 72; depicted by artists, 3; duality of, 28; eternal, 25; generalization of, 78; internal, 68; of language, 21; new, 128; partial, 37, 114; pictorial, 51, 52; plasticity and, 75; science and, 30–31, 60; sensuality and, 27; specialization of, 22, 37; synthesis with sensibility, 59; ultimate, 100; verified by action, 28; vs. taste, 5

Truth of Art, 4

Truth of the Law, 4

Turkish art, 7

U

Ucello, Giardino Con, 30, 101

unconscious, xvii, xxvi

unity, xx, 37, 60, 95, 123, 124; abstract, 110; ancient, 92; in antique world, 59, 98; of antiquity, 83; Christianity and, 102; church and, 26–27; comparative, 83; disintegration of, 61; examination of, 40; functional, 62; Greek, 26, 30, 32, 33, 91, 102; in Greek art, 64; ideational, xxvi; ideological, 32–33; impressionism and, 34; lack of, 27, 94, 96; lack of, in modern art, 60; light as instrument of, 33; man as, 39–40; manifestation of, 85; of motivation, 87; mysticism and, 93; myth and, 82–83, 84, 94; nostalgia for, 33; of objective and subjective worlds, 60; of a painting, 30; partial, 31; philosophical, 83; plasticity and, 48, 80, 96, 98, 99; a priori, 59, 91, 92, 109; rational, 91; relationships within, 110; of shapes, 41; of the state, 91; of subjectivity and objectivity, 35, 87; tactile, 32; ultimate, 26, 27, 36, 92; universal significance of, 104

universality, 22, 35, 89, 103, 104

unknown, 88; representation of, through symbols, 97; terror of, 26, 27, 108

V

value, artistic, 119

vandalism of art, 7

Vasari, Giorgio, 30, 32, 70, 74–75; Lives of Seventy of the Most Eminent Painters, Sculptors and Architects, 75

Velázquez, Diego, 121

Venetian art, 32, 33, 39, 69, 92, 100, 105, 118, 121

Victorian era, 116

visual reality, 65, 67

Vollard, Ambroise, 2

W

Washington, George, 126

Watteau, Jean-Antoine, 121

West, Benjamin, 119

Western art, 60; influences on, 105

“works as proof” concept, 85

Works Progress Administration (WPA), xvii, xxi

worldview, xxvi, 27

THE ARTIST’S REALITY

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