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Index
Anne Truitt, Alexandra Truitt (Editor)
Description: Always Reaching: The Selected Writings of Anne Truitt
Always Reaching: The Selected Writings of Anne Truitt
Index
Author
Anne Truitt, Alexandra Truitt (Editor)
PublisherYale University Press
Copyright© 2023 by Anne Truitt LLC
Stable URL: https://aaeportal.com/?id=-31902
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Index
abstract art, xvi, 15, 115, 122, 137, 207, 208, 247, 286, 301, 304, 313, 318
Abstract Expressionism, 48, 143, 144, 286, 329, 369
acrylic paint, 80n9, 108, 148
action painting, 143, 144
Agee, James, 138
Ahab, Captain, 339
Ajijic, Mexico, 367
Albemarle County, 260
Albers, Josef, 294
alcoholism, 256, 342, 344, 346, 366
Almit Company, Tokyo, 130
Altman, Adeline Furness, 335
aluminum, use of in Japan, 43, 80, 91, 129, 130, 147, 148, 176
“American Abstract Expressionists and Imagists” (Guggenheim Museum, New York, 1961), 121n7, 122, 249, 352, 369
“American Sculpture of the Sixties” (Los Angeles County Museum of Art, 1967), 371
American University, Washington, DC, 100
Anderson, Maxwell: High Tor, 340
Andre, Carl, xvi, 317
André Emmerich Gallery, New York, 31, 32, 34, 35, 42, 61–63, 91, 168, 174, 291, 292, 312, 318, 354, 368, 369, 371
“Anne Truitt: Sculpture and Drawings” (Corcoran Gallery of Art, Washington, DC, 1974), 170, 174–79, 296, 354, 372
“Anne Truitt: Sculpture and Drawings, 1961–1973” (Whitney Museum of American Art, New York, 1973), 92, 168, 169, 348, 354, 372
appendicitis, 345, 352, 366
Arensberg, art collection, 93, 94
armature, 111, 112, 172, 247, 334, 337, 340, 360
Arnason, H. H., 121n7
Art and Architecture, 69
Artforum, 157n4, 312, 371
ARTnews, 44, 47n1, 100, 156n3
Arts Magazine, 155n2, 292n2, 369
Arundel paintings, 135, 158, 182, 322, 372
Asahi Shimbun, 42
Asheville, North Carolina, 49–51, 97, 174, 330, 332, 345–47, 350, 366
Highland Hospital, 25, 342, 344–46, 366
St. Genevieve of the Pines, 366
Ashton, Dore, 303, 304, 306
Austen, Jane, xiii, 356
Australia, visiting artist, 193, 238, 372
Avonlea, 290, 328, 331, 332
Bacall, Lauren, 310
Baltimore, Maryland, 69, 108, 128, 341, 365–67
Baltimore Museum of Art, Maryland, 312, 324, 368, 374
“White Paintings” (1975), 133–35, 372
barns, 23, 60, 92, 124, 125, 287, 324
Barr, farm of Aunt Nancy and Uncle Jim, 247, 260, 330, 342, 344, 345, 347, 366
Barr, Stringfellow, 366
Barr, William Alexander, 342
Baylis, Sarah, 254, 256, 257
Bellamy, Richard, 84
Belvedere, California, 283, 334, 368
Bennington College, 88
Bergeret, Pierre-Nolasque, 186, 188
Beuys, Joseph, 202, 251
Big Sur, California, xv, 38, 64, 65, 70, 71, 79, 85, 86, 335, 340, 368
Black Mountain College, North Carolina, 284
“Black, White and Grey” (Wadsworth Atheneum, Hartford, 1964), 369
Bolton Landing, New York, 55, 59, 90, 102
Bonnard, Pierre, 368
book reviews, ix, 254, 298, 303, 308
Boone, Daniel, 199, 355
Borges, Jorge Luis, 282
Borofsky, Jonathan, 200
Bourgeois, Louise, 319
Brakhage, Stan, 309
Brancusi, Constantin, 304, 368
Braque, Georges, 247
Brée, Germaine: Marcel Proust and Deliverance from Time, 29, 368
Brenner, Marcella, 183. See also Louis, Marcella (née Siegel)
brushstroke, 142, 143, 167
Bry, Doris, 92, 95, 367
Bryn Mawr College, Pennsylvania, ix, x, xii, 29, 30, 94, 138, 215, 221, 237, 243, 247, 248, 260, 332, 348–50, 352, 354, 356, 357, 366, 374
Burnham, Jack, 283–97
Byars, James Lee, 38, 40, 41, 68, 73, 78, 80, 83, 84, 369
Kyoto Independent Exhibition (1967), 39
The Giant Soluble Man (1967), 84n10
Cambridge Center for Adult Education, sculpture class at, 95, 367
Campbell, Lawrence, 156
Camus, Albert, 354
Canada journal (1989), xii, 258–82, 374
Canaday Library, Bryn Mawr College, xiii
cantilevered forms, 101, 102
Capote, Truman, 368
Carmean, E. A., xii, 180–82
Caro, Anthony, 61, 63, 106n6, 153, 284, 293, 317, 368
Carroll, Dr. Robert, 342, 345
Cather, Willa, 195–98, 374, 375
Catholic University, Washington, DC, 48, 51, 98, 118, 284, 285
Cedar Tavern, New York, 52, 118
cement, early use of, 43, 48, 98, 101, 136, 137, 248, 249, 285, 312, 351, 368
Cézanne, Paul, 184, 190, 302
Chicago, Judy, 163
Through the Flower, 163n1
clay, early use of, 15, 22, 43, 48, 97–99, 101, 136, 137, 172, 249, 286, 312, 367, 368
Clemente, Francesco, 200
Cohen, Jem, xiii, 362, 374, 376
Coleridge, Samuel Taylor: The Rime of the Ancient Mariner, 205
Color Field painting, 286
color: in Frankenthaler’s art, 153
in Italian Renaissance painting, 94, 95, 121, 125
in Louis’s art, 110
metaphorical use of, 313, 327
mixing of, 287, 290, 320
in Noland’s art, 48, 49
perceived closeness of, 83
in Reinhardt’s art, 122, 249, 284, 352
and structure, 42, 43, 77, 91, 147, 151, 159, 172, 181, 182, 290, 296, 312, 327, 337
studies, 139
surface treatment of, 142, 143, 148, 176, 321, 371
in Truitt’s impressions of the Eastern Shore of Maryland, 81, 250
in Truitt’s impressions of Japan, 43, 44, 69, 129, 176
columnar form, 43, 148, 172, 176, 223, 290, 328, 371
Connolly, Cyril: Enemies of Promise, 11, 13
Conrad, Hunt and Marion, 38
Corcoran Gallery of Art, Washington, DC, 170, 174, 176, 178, 204, 296, 329, 336, 354, 371, 372
Corcoran School of Art, 372
Cornell, Joseph, 308–11
Corot, Camille, 299
correspondence, ix, x, xii, xv, 64. See also letters from Truitt
Courbet, Gustave, 197
crosshatch effect, 142, 321
Cubism, 247, 293, 317, 356
Cucci, Enzo, 200
Dallas, Texas, 98–100, 136, 284, 367
Truitt in her studio (1950), 14
Dallas Museum of Fine Arts School, Texas, 98, 136, 367
Danese, Renato, 353, 372, 374
Dante, Alighieri, 138, 146
Daphnis, Nassos, 122, 369
No. 32–61 M (1961), 122n8
Davis, Gene, 54, 104, 118, 181, 285, 286
Daybook: The Journal of an Artist (Truitt), x, xv, 5, 29, 182n2, 295n3, 297, 332n10, 352n1, 354, 366n1, 367n2, 369n3, 372
Dean, Duncan Witt, 16–18, 25, 28, 138, 331, 341, 342, 344–47, 349, 365, 366, 368
Dean, Harriet, 8, 365
Dean, Louisa Folsom (née Williams), 6, 17, 25, 26, 50, 87, 101, 215, 234, 287, 330, 331, 341, 342, 344–47, 349, 350, 365, 366
Dean, Louise (later Crelly), 365, 366
de Baca, Miguel, xiii, xiv, 331n8
Degas, Edgar, 256, 301
DeLap, Tony, 293
Deleuze and Guattari, 277
de Nagy, Tibor, 115
Denghausen, Franz, 96, 367
de Pury, Simon, 228
de Régnier, Henri, 302
destruction of art, 53, 88, 101n4, 106, 108, 137, 147, 176, 181, 182, 246, 286, 348
Dewey, Albert Peter, 260, 261
Diebenkorn, Richard, 106n6, 368
Diller, Burgoyne, 352
discipline, 138, 139, 143, 149, 217
distillation (of experience), 133, 166, 215, 243, 249, 250, 267, 294, 356
Dolan, John, 258–78, 282, 374
Dolenski, Leo, ix, 350
Downing, Tom, 54, 104, 118, 181, 285, 286
drawing, 77, 79, 96, 99, 158, 283, 286, 322, 368
from life, 48, 49, 98, 100, 136, 284, 351
to scale, 124, 130, 141, 142, 165, 170, 250, 287, 324, 324, 329, 353, 368
working, 139, 140, 224
Drouin, René, 34, 291
Duchamp, Marcel, 368
duende, 247, 248
Eastern Shore of Maryland, 81, 94, 122, 128, 170, 195, 211, 246, 250, 328, 348, 365
Easton, Maryland, 94, 195, 258, 322n1, 324, 326, 331, 341, 345, 347–49, 356, 365, 374
edge: of canvas, 28, 77
setting free, 358
using tape to mask, 69
Eiseley, Loren, 336
Emerson, Ralph Waldo, 147, 365
Emmerich, André, 31, 33, 35, 61, 91, 106, 140, 174, 188, 250, 290, 318, 319, 353, 368, 369. See also André
Emmerich Gallery Engadine, Mount, 272, 273, 275, 281, 282
Engels, Frederick, 229
Ernst, Max: La femme 100 têtes (1929), 309
Evans, Walker, 138
exile, 265, 273, 345
expression: and the hand of the artist, 44, 358
and materials, 43
need for, 21, 315, 350
self, 42 144, 312, 355
failure, 6, 21, 22, 66, 67, 176, 187
faith, 2, 62, 172, 185, 198, 200, 215, 219, 225, 231, 241, 279, 320, 351
fame, 157, 231
Fantin-Latour, Henri, 299, 301
Faulkner, William, 13
feminism, 31, 162, 226, 227, 293
fence (as sculptural motif), 60, 124, 125, 170, 225, 250, 286, 288, 312, 322–24, 328, 330, 352
figuration (in early work), 88, 95, 96, 98, 99, 225, 248, 285, 312, 313, 318, 368
film color, 142, 290
Finch, Edith, 366
Fischl, Eric, 200
Fitzgerald, F. Scott, 25, 346
Fitzgerald, Zelda, xiii, 25–28, 345, 366
Flavin, Dan, xiv
Forge, Andrew, 31
formalism, 181, 290, 293, 294, 296
Fox, Howard, 136–59
Francis, Sam, 73, 115
Frankenthaler, Helen, 52, 57, 59, 61, 73, 153, 318, 319, 372
Freud, Sigmund, 15, 163
Fried, Michael, 181, 295, 369, 371
Fuller, Buckminster, 67–69, 73, 74, 304
Dymaxion Air-Ocean World Map (1952), 75
Gabo, Naum, 368
Galliher Brothers Lumber, 124, 323, 324, 328
Garbo, Greta, 311
gender, xii, 163, 165, 226, 252, 355
geometric compositions, 77, 312, 368
George F. Muth Company, 124, 325
Georgetown: social circle, 332n10, 353, 368
studio, 48, 98, 369
George Washington University, Washington, DC, 183, 185
Giacometti, Alberto, 100, 368
Giampietro, Alexander, 15, 47, 97, 136, 138, 367
Gilbert-Rolfe, Jeremy, 157
Giotto, 93–95, 121, 125
Goldstein, Ann, 375
Gonzalez-Torres, Felix, 314
Gorman, Herbert, 24
Gossage, John, 336, 372
Gottlieb, Adolph, 193
Graham, Martha, 304
Graham, Nan, 354
Graham, Philip, 125, 369
Greed (1924), 22
Greenberg, Clement, 33, 34, 47–62, 106–11, 113, 118, 144, 155, 284–86, 288, 290, 294, 315, 318, 319, 329, 353, 368
“Changer: Anne Truitt,” 317, 371
on Color Field painting, 286
“Recentness of Sculpture,” 315, 371
in Tokyo, 74, 76
tutelage of, 129, 293, 294, 297
Greenberg, Jenny (née Van Horne), 34, 54, 108–10, 284, 297, 329
Guanajuato, Mexico, 335
Guggenheim Fellowship, 80, 304, 354, 371
Guggenheim Museum, New York: “American Abstract Expressionists and Imagists” (1961), 121n7, 122, 249, 352, 369
Gurdjieff, George, 209
Guston, Philip, 200
Happenings, 40
Haring, Keith, 200, 259
Hawthorne, Nathaniel, 365
Healey, Giles, 71, 368
Healey, Sheila, 71
Heraclitus, 117, 292
heuristic pursuit of art, 138, 194, 249, 356
Higonnet, Anne, 298, 299, 301, 302
Hill, Riqui, 29
Holmes, Helena (Inky), 326, 328n6
Homer, 138, 146, 147, 196, 224
honorarium, refusal of, 31, 168, 252
Hopkins, Gerard Manley, 226
Hopps, Walter, x, 92–132, 295, 354, 371, 372
Horace, 240
Horn, Roni, 314
Houdini, Harry, 309
house paint, 124, 125, 170, 287, 310, 324
images: dissolving into images, 227
inception of, 288
relative to background, 77, 78
sensationalism of in contemporary art, 220
Imperial Hotel, Tokyo, 36, 38
Impressionism, 95, 298, 301
independence, artist’s need for, 35, 189, 192, 211, 237, 246, 247
inner eye, 205, 227, 250, 251, 292, 352
installation, process of, 34, 129, 318, 319, 324
Institute of Contemporary Art, Washington, DC, 15, 47, 96, 98, 136, 153, 284, 367, 368
Iwo Jima, island of, 172, 290, 327
Jackson, Martha, 113, 116
Jaffé, Aniela, 213, 214n2
James, Alice, 344
James, Henry, 12
Japan. See Kyoto and Tokyo
japanned lacquer, 142
Jenkins, Louisa, xii, xv, 38, 64–87, 106n6, 368
in her studio on Partington Ridge, Big Sur (1959), 65
Johns, Jasper, 369
Johnson, Eastman, 160
The Hatch Family (1870–71), 161
Johnson, Samuel, 31, 355
Joyce, James, 24, 96, 117, 138
Ulysses, 291n1, 329
Judd, Donald, xiv, 144, 146, 155, 156, 292, 295, 317, 318, 369
Jung, Carl Gustav, 213, 214
Kainen, Jacob, 285
Kansas City Art Institute, 199, 201, 202
Kawashima, Ruri, 36
Kelley, Edward, 54
Kelly, Ellsworth, 288
keynote address, 186–92
Kiefer, Anselm, 200
Kline, Franz, 143
New Year’s Wall Night (1960), 152
Kootz, Samuel, 329, 293, 345
Krisher, Bernard, 36
Krushenick, Nicholas, 115
Kusama, Yayoi, 308
Kyoto, Japan, 38, 68, 369
landscape: Australian, 193
Bolton Landing, 58, 59, 103
of childhood, 211, 250, 286
Eastern Shore of Maryland, 246, 345
internal, 203, 211
Monet’s, 265
Saskatchewan prairie, 268–71
where land meets water, 81, 124, 195, 266
Yaddo, 238
Lannan, J. Patrick, 113, 115, 116
latitude and longitude, 128, 168, 263, 264, 275, 320
lattice, 290, 326, 330, 352
Lawrence, Bill, 124, 287, 324, 325, 328
Lawrence, D. H., 272
Leach, Bernard, 368
Lebron, Jim, 34, 61
Lee Haven (house), 330, 331
Letters from Truitt: to Carmean, E. A., 180–82
to Emmerich, André, 91
to Greenberg, Clement, 47–62
to Jenkins, Louisa, 64–87
to Truitt, Alexandra, 360–62
to Truitt, Ralph, 45, 46
Levi, Primo, 226, 230, 231, 252
Levy, Julien, 310, 311
LeWitt, Sol, 146
LIFE magazine, 367, 368
life-size figures, 58, 225, 248, 285, 312, 367, 368
Lincoln, Nebraska, 195, 196, 374, 375
Lipman-Wulf, Peter, 99, 100, 368
Lippmann, Walter, 259
Liquitex paint, 80, 125, 129, 130, 148, 287, 290, 324
literalism, 181, 250
Long, Richard, 41
Longfellow, Henry Wadsworth, 365
Longo, Robert, 200, 201
Lorca, Federico García, 247, 248
Los Angeles County Museum of Art, 41, 47n1, 78, 371
Louis, Marcella (née Siegel), 33, 61, 109–12, 119, 120, 183, 297. See also Brenner, Marcella.
Louis, Morris, 53–55, 60, 104, 106–13, 115–20, 153, 154, 170, 181, 183, 286, 297, 315
funeral of, 31, 33, 61, 106, 353
Magna paint, 108, 286
Trellis (1953), 119
Unfurled paintings, 109, 116, 181, 297
Veil paintings, 110
LSD, 71
Lüpertz, Markus, 200
Madeira School, McLean, Virginia, 160, 371
“Made with Paper” (Museum of Contemporary Crafts, New York, 1967), 84n10
mahogany, as material, 88, 141
Manet, Édouard, xiii, 207, 299, 301
Marcuse, Herbert, 119
Marini, Marino, 100
Martin, Agnes, 319
Marx, Karl, 229
Maryland Institute College of Art, Baltimore, 374
Masaccio, 94, 95
Massachusetts General Hospital, Boston, 6, 11, 95, 96, 247, 350, 366
Matthew Marks Gallery, New York, xiii, 186
“Anne Truitt Sculpture 1962–2004” (1971), 244
“Painting: Now and Forever, Part II” (2008), 338
“Anne Truitt: Sound” (2020), 361
Maugham, Somerset, 12
McConnell, James Rogers, 367
McCracken, John, 293
McKinley, Mary, 334
McShine, Kynaston, 371
McSorley’s Old Ale House, 11
Medellín, Octavio, 98, 101, 367
Mehring, Howard, 54, 104, 118, 181
Melzac Collection, 108
Metropolitan Museum of Art, New York, 92n1, 160
Meyer, Cord, 290, 327, 328, 334
Meyer, James, xiii, 312–21, 369n5, 374, 375
Meyer, Mary Pinchot, 48, 57n2, 59, 60, 63, 66n2, 67, 103, 121, 122, 132, 283, 285, 327n5, 332, 334, 369
Michael C. Carlos Museum, Atlanta, Georgia, 375
Mills, Mark, 70
Minami Gallery, Tokyo, 36, 73, 369, 371
installation view of “Anne Truitt 1967” (1967), 82
“A Minimal Future? Art as Object 1958–1968” (Museum of Contemporary Art, Los Angeles, 2004), xiv, 375
Minimalism, xiv, 144, 156, 247, 252, 295, 312, 314, 315, 317, 369, 374
Miranda, Carmen, 311
Miró, Joan, 96
Mitchell, Joseph, 11n1
Moby Dick, 339
modernism, 42, 146, 317
Modigliani, Amedeo, 49
modular structure, 156, 174, 290, 292, 296, 314, 337
Mondrian, Piet, 368
Monet, Claude, 265, 301
Moravia, Alberto, 368
Morisot, Berthe, xv, 207, 298, 299, 301, 302
Eugène Manet on the Isle of Wight (1875), 300
Morris, Robert, 128, 130, 317
Motherwell, Robert, 59, 61, 73
Untitled (1966), In Black and Pink, with the Number Four (1966), 56
Mount Vernon Seminary, Washington, DC, 368
Mozart, Wolfgang Amadeus, 278
Muir, John, 334, 335
Museum of Modern Art, New York, 73, 74n8, 84, 92
National Endowment for the Arts, 189, 212, 371, 372
National Gallery of Art, Washington, DC, xii, 180n1, 295, 296, 301
nearsightedness, 246, 313, 365
neo-constructivism, 176
Neurotica (magazine), 13
Nevelson, Louise, 319, 368
Newman, Barnett, 47, 115, 128, 153, 170, 181, 249, 251, 283, 284, 293, 332n10, 352, 369
Onement VI (1953), 121n7
newsprint, works on, 283, 368
Newsweek, 36, 42, 44, 369, 371
New York School, 47
New York State University, Buffalo, 201
New York Times, 298
Nicoll, Maurice, 83
Nippon Paint Company, 129
Noguchi, Isamu, 303, 304, 306, 368
with Kouros (1945), 305
Noland, Kenneth, 31–34, 57, 59–61, 63, 83, 88, 110–12, 115, 120, 122, 170, 180, 288, 315, 325, 329, 336, 353
influence of, 47–55, 97–99, 103–108, 117, 118, 124, 129, 153, 154, 181, 284–86, 292, 318
Noland, Cornelia (née Langer), 49, 51, 117, 284, 325
Nordland, Gerald, 154
object, art as, 77, 78, 91, 135, 140, 146, 147, 156, 188, 191, 214, 250, 360
Orwen, Mary, 48
Ossabaw Island, Georgia, 372
Osuna, Ramon, 371
Ouspensky, P. D., 81
Ovid, 240
Owings, Nathaniel, 70, 72, 73
O’Keeffe, Georgia, 92, 206–208, 367
White Canadian Barn II (1932), 92n1
painting: on canvas, 135, 158, 167, 178, 182, 203, 204, 209, 224, 224, 227, 233–39, 283
hard edges, 69, 70
on paper 178, 227, 234, 360
on sculpture, 43, 79, 122, 124–25, 129, 130, 141–44, 148, 151, 168, 170, 172, 176, 209, 287, 296, 321, 324, 336, 339, 353
paint in service of itself, 358
Palmer, Anna Louise, 236, 365
Parker, Ray, 61
Parkhurst, Charles, 295, 296
Partington Ridge, California, 86, 368
Partisan Review, 13
perception, delicacy of, 30, 80, 109
Pericles, 202
Picasso, Pablo, 247, 317
picket fence, 124, 288, 312, 322, 323
Piero della Francesca, 57, 94, 103, 121, 125
Pissarro, Camille, 301
plaster, early use of, 97, 98, 136, 172
plastilina, 95
Plato, 93, 117, 155, 277, 292
plinth, xiv, 290
plywood, 88, 141, 203
poetry, early, ix, xiv, 2, 27, 96, 248, 350, 366, 367
Politec paint, 80
Pollock, Jackson, 52, 143, 181, 311, 368
Poussin, Nicolas, 239
Pratt, Julie, 23n4, 34
preconception, avoidance of, 52, 183, 184, 199, 200, 214
pregnancy, 29, 103, 108, 162, 226, 283, 297
primary structure, 126, 127
“Primary Structures: Younger American and British Sculpture” (Jewish Museum, New York, 1966), 371
proportion, relative to color, 125, 139, 174, 184, 249, 250, 290, 294, 327, 329, 360
Prospect: The Journal of an Artist (Truitt), x, xv, 203, 258, 354, 374
Proust, Marcel, xiii, xv, 29, 30, 138, 349, 368
psychology, early study of, ix, 30, 44, 94, 95, 199, 237, 247, 349, 350, 366, 367
Puvis de Chavannes, Pierre, 254
quartermaster, artist as, 190, 355
Radcliffe College, Cambridge, Massachusetts, 101, 349, 365
Rankine, V. V., 48, 100, 284, 371
Rannit, Aleksis, 217
Rauschenberg, Robert, 188, 202, 310
Read, Sir Herbert, 368
reductivism, 294
Reik, Theodor, 48
Reinhardt, Ad, 181, 249, 283, 284, 292–94, 332n10, 352, 369
Abstract Painting–1961 (1959–61), 122n9
Renoir, Pierre-Auguste, 93, 254, 256, 301, 302
repainting, 324, 336, 339
retrospectives, 176, 258, 296, 310, 348, 354, 372, 374
Richardson, Brenda, 324, 374
Richman, Robert, 15
Richter, Hans, 368
Riggory, The, 342
Rilke, Rainer Maria, 6, 28
risers under sculptures, 34, 291
Ronsard, Pierre de, 334
Rose, Barbara, 61, 132, 293
Rothenberg, Susan, 200
Rothko, Mark, 193
Rouart, Denis, 299
Royal Academy of Painting and Sculpture, Paris, 188, 189
Rubin, Lawrence, 110, 120
Rubin, William, 31, 33, 34, 61, 106, 107, 110, 111, 120, 297, 309, 318, 369
Ruisdael, Jacob van, 24n6
Russia, 227–29
Rutgers University Press, New Brunswick, New Jersey, 29, 254
Sachiko, Taki, 40, 68, 73, 78, 80, 81, 84
Salle, David, 200
sanding, 142, 176
San Francisco, California, 38, 48, 63, 66, 68, 76, 85, 99, 106n6, 125, 181, 283, 284, 286, 334, 351, 368
Santa Fe Art Institute, New Mexico, 72, 374
Sawyer, Kenneth, 108
Scharf, Kenny, 200
Schnabel, Julian, 200
Schneebaum, Tobias, 367
School of the Museum of Fine Arts, Boston, 235n9, 242
Schufeldt, Margaret, 375
Seitz, William, 295
Sennett, Mack, 61
sensory apparatus, 245, 246, 307
serialism, 144, 156
shape: and color, 42, 44, 77, 83, 182, 291, 312, 313
and form and texture, 7
Sheean, Vincent, 215, 216
Sheldon Memorial Art Gallery (now Sheldon Museum of Art), Lincoln, Nebraska, 374, 375
shelf paper, 124, 170, 250, 287, 323–25
Shelley, Percy Bysshe, 21
Sherman, Cindy, 200, 201
“Seven Sculptors” (Institute of Contemporary Art, Philadelphia, 1965), 88
Shikibu, Murasaki, 356
Shikoku, Japan, 37, 306
Shimizu, Kusuo, 36
Sisley, Alfred, 301
Sloan, Joseph, 30
Smith, David, xiii, xv, 33, 49, 52, 54, 55, 57–61, 63, 66n3, 88–90, 102–104, 107, 115, 117, 120, 153, 199, 248, 284, 288, 315, 317, 353, 362, 368, 369
with Royal Incubator (1949), 89
Smith, Jean (née Freas), 103, 117
Smith, Tony, 146
Die (1962/68), 295n3
Smith College, Northampton, Massachusetts, 235, 365
Snowdon, Earl of (Antony Armstrong-Jones), 371
Socrates, 117
solipsism, 188, 230, 242, 272, 356
Solomon, Deborah, 308, 311
space: artwork’s occupation of, 168, 170, 233, 246
between pickets, 323
and color, 77, 182, 224
displacement of, 78, 91, 183
in Newman’s work, 121, 249, 284
two-dimensional, 135, 234, 283
steel, as material, 102, 148, 249, 312
Stella, Frank, 59, 61
Stieglitz, Alfred, 92, 93, 207
Still, Clyfford, 117, 118
stone, carving, 98, 99, 136, 137, 368
struts, xiv, 290, 292, 315, 331, 337
Styron, William, 34
subject matter, xii, 42, 44, 193, 194, 249, 313, 314
surface of sculpture, 142, 148, 233, 371
Suzuki, D. T., 368
Sydney College of the Arts, 193, 372
Sylvester, David, 368
symbolism, ix, 23, 281, 287
Talbot County, Maryland, 93n3, 331n8
Tamayo, Rufino, 368
Tapié, Michel, 116
taping lines, 69, 70, 77, 79, 285, 323
Tawney, Lenore, 200, 202
Taylor, Bill, 48, 97
teaching, x, 30, 208, 209, 354, 368
Teilhard de Chardin, Pierre, xiii, 66, 71, 83, 232, 269, 270, 277
Phenomenon of Man, The, 64
temperament, 163, 219, 225, 232, 237
Theocritus, 240
theosophy, 81
Third Haven Friends Meeting House, Easton, Maryland, 324
Thomas, Dylan, 368
Thoreau, Henry David, 365
threes, works conceived in, 288, 325, 329
Time magazine, 283, 368
titanium white, 158
titles of works, 151, 152, 293, 322, 332
Title Tapes, the, 322–47
Tokyo, 40, 46, 53, 56, 62, 64–69, 71–74, 76, 77, 86, 103, 106, 126–30, 147, 148, 154, 165, 176, 178, 204, 211, 326, 334n11, 348, 369, 371
arrival in, 36–38
interview, 42–44
studio, 65
Tolstoy, Leo, xiii, 203
War and Peace, 72
tombstone form, 155, 288, 292, 312, 318, 326
torii, 43
Toulouse-Lautrec, Henri de, 254, 256
translation, 15, 20, 21, 29, 61, 329, 366. See also Brée, Germaine transparency, 80, 290, 291
Truitt, Alexandra, ix, x, xii, xiii, xvi, 37, 45, 51, 55, 67, 74, 83, 322, 353, 360, 368
Truitt, Anne: artworks by, 19 Sept. 62
(1962), 329
20 Oct. 62 (1962), 329
Albemarle (1975), 182
Amaranth (2004), 359
Amica (1979), 164
Arundel series (1973–99), 135, 182, 322, 372 (see also “White Paintings,” 133–35, 372)
Avonlea (1991) 328
A Wall for Apricots (1968), 150, 169
Bloomsday (1963), 175, 291, 329, 332
Bonne (1963), 43, 175, 182
Breeze (1987), 223
Carson (1963), 169, 174, 177
Catawba (1962), 173, 174, 179, 292, 329, 330, 332, 340
Chrysalis (1988), 236
Cleave (1989), 240
Come Unto These Yellow Sands (1979), 164, 179
Damask (1980), 179, 334, 337, 340
Dawn City (1963), 174, 175, 177
Down (1964), 177
Elvira (1953), 88, 101, 368
Essex (1962), 179, 291, 330, 332
Finian (1963), 151
First (1961), 170, 171, 250, 287, 312, 318, 322–25, 327, 328
First Requiem (1977), 373
First Spring (1981), viii, 244
Foxleigh I (1975), 179
Genesar (2004), 359
Gloucester (1963), 169, 175
Goldsborough (1974), 170, 171
Green: Five (1962), 170, 171, 328, 330
Hardcastle (1962), xiv–xvi, 32, 169, 172, 290, 315, 316, 317, 330–32, 337, 362
Harvest Shade (1996), viii, 244, 338
Hyphasis (1986), 179
Insurrection (1962), 292, 331, 332, 333
Keep (1963), 129
King’s Heritage (1973), 179
Knight’s Heritage (1963), 131
Knot (1983), 179
Landfall (1970), 218
Lea (1962), 172, 173, 179, 290, 291, 328, 331, 332
Mary’s Light (1962), 169, 172, 173, 290–91, 332, 334
McKinley (1962), 334
Memory (1981), 338
Mid Day (1972), 296
Mignon (1962), 334, 337, 340
Morning Child (1973), 169, 170, 171
Morning Choice (1968), 176, 177
Muir (1962), 334–36
Nicea (1977), 164
New England Legacy (1963), 370
Odeskalki (1963), 169, 175
One (1962), 169, 334, 335
Painted Wire Construction (1952), 102n5
Parva sculpture series (1974–2004), 224, 322, 362
Parva LXXII (2004), 398
Pilgrim (1979), 164
Pith series (2001–2004), 375
Platte (1962), 32, 336, 337
Portal (1978), 164, 212
Prescience (1978), 244
Primrose (1962), 174, 337, 338, 340
Promise (1989), 239
Quest (1988), 227
Return (2004), viii, 244, 359
Sandcastle (1963), 129, 174, 177
Sand Child (1979), 164
The Sea, The Sea (2003), 244
Sentinel (1978), 164
Seven (1962), 328, 330
Ship-Lap (1962), 32, 179, 290, 292, 337, 339
Shrove (1962), 174, 175, 293, 296, 337, 339, 340
Sound series (2003), 360, 361, 375
Southern Elegy (1962), 288, 289, 312, 318, 325–27
Sprig (1962), 340
Spring Snow (1974), 167
Spume (1972), 296
Still Memory (1987), 223
Summer Child (1973), 169
Summer Sentinel (1963), 149, 151, 175
Summer Treat (1968), 178, 179
Sun Flower (1971), 244
Thirtieth (1962), 32, 340
Three (1962), 123, 169, 340
Threshold (1997), viii, 244
Tor (1962), 145, 340, 341
Tribute (1962), 32, 42
Twilight Fold (1971), 179
Twining Court II (2002), viii, 244
Two (1962), 172, 173, 290, 291, 312, 326–28
Watauga (1962), 174, 292, 340, 341–42, 343, 345–47
Waterleaf series (2003), 375
White: Five (1962), 169, 325, 328, 330
White: Four (1962), 325, 328, 330
White: One (1962), 328
Winter Dryad (1973), 179
Truitt, James McConnell, 6, 8, 15, 23, 31, 33, 36–38, 40–42, 44, 47, 67–69, 71–74, 76, 77, 79, 81, 83, 86, 92n2, 103, 107, 110, 125, 126, 134, 135, 225, 283, 286–88, 290, 297, 329, 335, 336, 351, 353, 367–69, 371, 372
Truitt, Mary, xiii, 37, 41, 45, 81, 124, 169, 172, 173, 221, 283, 290, 324, 325, 334, 353, 368
Truitt, Ralph P., 69 45, 46, 367
Truitt, Sam (Samuel), xiii, 36, 37, 45, 76, 81, 103, 108, 121, 258, 283, 286, 287, 353, 369
Truman, Harry, 294
Tuchman, Maurice, 41, 78, 371
Tucson, Arizona, 158, 179
Turn: The Journal of an Artist (Truitt), x, xv, 29, 221, 354, 372, 374
Twining Court studio, Washington, DC, 49, 51, 60, 105, 145, 325, 328, 340, 369
“Two Decades of American Painting” (National Museum of Modern Art, Tokyo, 1966), 56, 74n8
twins, 162, 172, 273, 290, 327, 328, 330, 344, 347, 350, 365
two-dimensional, 135, 172
Twombly, Cy, 202
two-ness, concept of, 327
Tworkov, Jack, 187
Uccello, Paolo, 57
undercoat, 223, 321, 362
universe, the, 3, 223, 356
University of Maryland, College Park, xii, xiii, 186–92 186, 189, 191, 221, 239, 354, 372, 374
University of Nebraska, Lincoln, 375
University of Virginia, Charlottesville, 166, 180n1, 367
Utrillo, Maurice, 254, 256
Valadon, Suzanne, 254, 256, 257
Marie Coca with Arbi (1927), 255
Valéry, Paul, 299
value (luminosity), 81, 91, 93, 127, 184, 206, 224, 249, 352
Veltman, Désiré, 366
Virgil, 138, 146, 147
Vogue magazine, 10, 371
Wadsworth Atheneum, Hartford, Connecticut, 365, 369
Wagstaff, Samuel, 369
Washington, DC, 55, 63, 76, 79, 86, 97, 100, 103, 107, 108, 117, 136, 170, 180, 183–85, 203, 240, 259, 279, 283, 294, 297, 315, 317, 320, 335, 367–69, 371, 375
Truitt’s studios in, 33–35, 48, 49, 53, 57, 60, 61, 105, 112, 114, 124, 125, 145, 153, 154, 164, 174, 178, 179, 218, 224, 248, 284–87, 290, 322–25, 328, 340, 351–54, 359, 371
Washington Color School, 47n1, 154, 180, 285, 294, 332n10
Washington Gallery of Modern Art, 44, 340
Washington Post, 44, 125, 228n5, 254, 303, 308, 369
Washington Workshop Center for the Arts, 107, 181
Watteau, Jean-Antoine, 311
Watts, Alan, 71
weight, sense of in sculpture, 43, 63, 94, 234, 246, 275
welding, 43, 59, 100, 102, 136, 137, 249, 285, 317, 351
Westminster Abbey, formative visit to, 101, 234, 365
“White Paintings” (Baltimore Museum of Art, 1975), 133–35, 372. See also Arundel
White, Patrick: Voss, 193
Whitney Museum of American Art, New York, 157n4, 168, 348, 354, 371, 372
“1968 Annual Exhibition: Contemporary American Sculpture” (1968), 371
“1970 Annual Exhibition: Contemporary American Sculpture” (1970), 371
“Anne Truitt: Sculpture and Drawings, 1961–1973” (1973), 92, 168, 169, 348, 354, 372
Whittemore, Helen and Reed, 22
Williams, Captain Robert Pearce, 264, 331n9, 365
Williams, Charles: Descent into Hell, 18, 20
Wolfe, Thomas, 138, 330
Woolf, Virginia, 20, 96, 138
works on paper, xiv, 178, 224, 227, 234, 322, 369, 374, 375
World War I, 349, 365, 367
World War II, 6, 95, 172, 215, 216, 247, 261, 303, 350, 366, 367
Wright, Frank Lloyd, 36
writings by Truitt, ix, x, xi, xii–xv. See also Daybook; Prospect; Turn; Yield
Yaddo, Saratoga Springs, New York, 203, 214, 238, 279, 358, 360, 372, 374, 375
Yale University, New Haven, Connecticut, xii, xiii, 31, 92n2, 168, 349, 350, 366
Yield: The Journal of an Artist (Truitt), x, xiii, xv, 375
Yosemite Park, California, 335
Zadkine, Ossip, 47, 284
Zoroaster, 20, 21