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The Story of Modern Art' Norbert Lynton The Story of Modern Art' . Phaidon · Oxford Contents Preface 7 Introduction 9 I The New Barbarians 13 2 Reality Questioned and Answered 55 3 Images of Progress 86) 4 Art is Dead: Long Live Art 123 5 Calls to Order 147 6 The Old Masters of Modern Art 201 7 Art in the American Grain 226 8 Post-war Art in Europe 257 '-'" 9 Recent Painting and Sculpture 283 10 Beyond Painting and Sculpture 317 11 The Artist in Modern Society 339 Biographical N?tes 35 1 Bibliography 377 Acknowledgements 378 Index 379 / ' - Index Abstract Expressionism 82, Baargeld, Johannes 144 38; Endless Column, 39 Coleman, Roger 290 178, 210, 224, 226- 47, Bacon, Francis 258-9, 352; Braque, Georges 56-64, collage 64, 79, 129- 30, 138, 25 1- 6,266,271,276,279, Study Jor Crouching 66- 7, 70, 73, 82, 89, 94, 141- 4, 145- 6, 172- 3, 283, 284, 289, 294, 314, Nude,22S 97, 146, 148, 167, 257, 197, 231, 247, 261, 286, 318, 348 Baldessari, John 299, 333-4, 353; Guitar and Accor­ 325, 332 Abstract Sublime 242 352; .. no ideas have en­ dion, 44; Violin and Pal­ combine paintings 283 Abstraction-Creation 12 I, tered into this work, 291; ette, 45; Man with a Pipe, Concept (Conceptual) art 198,215- 16 'Art History' from Ingres 48; Fruit Dish and Glass, 314,329- 31,333-6 Action Painting 234, 235, and Other Parables, 296 49; Still Life with Playing Congress of Progressive Ar­ 25 0 - 1 Ball, Hugo 123- 5 Cards, SO tists 115- 16 Adami, Valerio 311-12, 314, Balla, Giacomo 92, 94, 352; Brecht, George 332 Constable, John 14, 196 351; Bedroom Scene, 276 Rhythms oJ the Bow, 77; Breton, Andre 145, 147, IS0, Constructivism 22, 25, African art 29- 30, 32, 49, 52, Speed oJ an Autombile + 170- 2, 176, 178-9, 180, 102-3, 107- 1 I, II5, II9, 54, 55; Fang mask, Isa; Lights, 78 184, 192,231 121-2,130,136,138,144, Teke mask, ISb Balzac, Honore de 339- 40 Brik, Osip 104, 139 15 1, 168, 175, 190, 199, Albers, Josef 156,251,351; Barr, Alfred 169, 206, 208 Brisley, Stuart 353; You 251, 254, 256, 267, 268, stud y for Homage to the Bauhaus 85, II8, 155- 6, Know it Makes Sense, 281 276, 317, 348 Square: Departing in Yel­ 158, 21 5,220- 1,268,276 Briicke, Die 34- 6, 40- I, 47 Courbet, Gustave 59, 64, low, 2 Beckmann, Max 186- 8, 189, Bryusov, Valeri 136 254 American Abstract Artists 352; Departure, 164; Fa­ Buren, Daniel 337 Cubism 24, 54, 57, 59, 61, 169,244 mily Picture, 165 Burke, Edmund 238 65 - 7,7°,71,73- 5,77,79, Analytical Cubism 56- 7, 64, Bell, Larry 312, 314- 15 Burliuk, David 136 82,88,89,9°,94,96, 125, 67,75,77,90 Bergson, Henri 65, 87 _.... Burri, Alberto 261, 353; 127, 129, 130, 136, 140, Annenkov, Yury The Storm­ Beuys, Joseph 336, 352; Wheat, 227 142, 146, 148, IS I, 153, ing oJ the Winter Palace, photograph, 29S 154, 164, 166, 167, 170, 93 Biederman, Charles 253-4, <;;:age, John 33 I, 332 173, 178, 182, 184, 187, Apollinaire, Guillaume 64, 256,276,352; No. 23, Red Capek, Karel 70, 86 190, 193, 196, 198, 207, 66, 124, 146, 148, 149, Wing, 221 Caro, Anthony 279- 80, 315, 210, 215, 216, 227, 230, 150,171, 184 Bill, Max 268- 71, 352; End­ 353-4; Lock, 244; Month 246- 7,253,254,256, 265, Appel, Karel 271, 351 less Torsion, 235 oJMay 245 266,314,339,345,349; see Arakawa, Shusaku 309, 314, Bissier, Julius 263, 352: Carra, Carlo 88, 90- I, 158, also Analytical Cubism 351; Anything No. 2, 274 Monti 60.92, 229 159- 60, 178,354; Woman and Synthetic Cubism Architectons 120 Blake, William 197, 263 at a Window (Simul­ Aristotle 18, 328 Blaue Reiter, Der 44- 8, SI, taneity), 76; Still Life Dada 106, 124- 30, 134- 6, Arman, (Armand Fernan­ 82-3, 119, 123- 4, 136, with Triangle, 141 137,14°- 6,163,17°,173, dez) 332 142, 144, 147-8, 193,221, Cercle et Card 215- 16 244,258,284,317- 18,319 Armory Show 66, 125 3 I 8; pages from almanac, Cezanne, Paul 19, 22-4, 32, Dalcroze (Emile J aques­ Arnatt, Keith 299, 326, 351; 32 , 33 52, 54, 57, 59, 64, 70, 82, Dalcroze) 24 Keith Arnatl is an Artist, Bleyl, Fritz 34 96- 7, 99, 148, 2°9, 21 3, Dali, Salvador 178-80, 182, 263 Bloy, Leon 27-8 21 9, 23 1, 254, 293, 342, 192, 200, 226, 329, 355; Arnold, Matthew 96 Boccioni, Umberto 88- 90, 347,354; Bathers, 7 The Birth DJ Liquid Desire, Arp, Jean (Hans) 123- 4, 94, 162, 352- 3; States oJ Chagall, Marc IS0, 226, 354; IS8 125, 129, 141, 142, 144, Mind: the Farewells, 74; I and th e. Village, 133 David, Jacques-Louis 14, 156, 184, 192, 200, 215, study related to The For­ Chirico, Giorgio de 148-9, 127, 153,278,344 221, 251, 254, 257, 263, ces oJ a Street and Simul­ 159- 60, '72, 178, 182, Davie, Alan 271- 2, 355; En­ 351; Tristan Tzara, II3; taneous Visions, 75 '97, 200, 354; The trance Jar a Red Temple Rectangles Arranged Ac­ Bomberg, David 72, 353; Philosopher's Conquest, No. I, 237 cording to the Laws oJ The Mud Bath, S9 132 Davis, Stuart 166-7, 355; Chance, 114; Human Con­ Bonnard, Pierre 201- 4, 206, Christo (Christo Javacheff) Lucky Strike, 149 cretion on Oval Bowl, I2S; 353; poster for La Revue 336, 354; Wrapped Coast, Debussy, Claude 17 Amphora, 197 Blanche, 178; Nude in a 287 Degas, Edgar 17 Art Deco 67, 153, 293 Bathroom, J 79; Standing Circle 121, '99 'Degenerate Art' '51- 2 Art Language 326 Nude, with Head oJ the Clark, Kenneth 160 Delacroix, Eugene 14, 82 Ashcan School 162 Artist, 180 Cobra 271 Delaunay, Robert 46, 67- 70, Atkinson, Lawrence 94, Brancusi, Constantin 48- 50, Cocteau, Jean 151 73, 82, 90, 94, 98, 120, 351 - 2; Painting, 79 51,7°, '90,254, 263,348, Cohen, Bernard 354; Paint­ 139, ISO, 228, 265, 355; Auden, W. H. 159 353; Pasarea Maiastra ing 96, 243 The CardifJTeam, J (fron­ auto-destructive art 327, 334 (Magic Bird), 34; Yellow Coldstream, William 276, tispiece); Eiffel Tower, 53; Bird, 35; Bird in Space, 27 8 354-5; Reclintng Window on the City, 54; Baader, J ohannes 134 36, 37; The Prodigal Son, Nude, 242 Circular Forms: Sun and 379 Moon, 55 d'Otage No. 3, 226 Happening 319, 327, 332, burg, 252 Demuth, Charles 163- 6, Fauvism 26- 30, 36, 75, 82, 33 6 Klee, Paul 18, 73, 155- 6, 355; I Saw the Figure 5 in 148, 153, 196, 204, 207, Harrison, Newton 325 183 -4, 200, 220- 4, 234, Gold, 147; My Egypt, 148 209,277 Hartlaub, G. F. 156, 158 263, 265, 27 2, 348, 350, Denis, Maurice 17, 201 Flanagan, Barry 315- 16, Hausmann, Raoul 134 361; Homage to Picasso, Derain, Andre 29, 147, 148, 335, 357; June 2, 278 Heartfield, John 106, 134, 60; A Garden for Orpheus, 157,355; The Table, 131 Flavin, Dan 309, 314, 357; 137- 9, 154, 359; Ten 136; Ambassador of Au­ Diaghilev, Sergei 17, 34, Un titled, 272 Years Later: Father and tumn, I g8; Around the 17 1, 184 folk art 16, 38, 45, 47,50- 1, Sons, 119; Dada-merika, Fish, 199; Still Life ou Dibbets, Jan 355; T. V. as a 82, 147, 232, 289 121 Leap Day, 200; Black, Fireplace, 289 Fontana, Lucio 261 - 3, 272, Heckel, Erich 34, 36- 7,46, Still In Place, 201 Diderot, Denis 328, 344 357; Concetlo Spaziale, 359; Woodland Pool, 22 Klein, Yves 230, 331-2, 339, divisionism 21, 87 230 Herzfelde, Wieland 123, 343,361; Anthropomitries, Dix, Otto 157, 186- 7,355 Francis, Sam 235, 238, 357 137- 8, 144, 156 290 Doesburg, Theo van 76, Freud, Sigmund 40, 186 Hesse, EvaJI5-16, 359; in­ Kline, Franz 229, 235, 238, 111- 12,114- 15,119,144, frottage 172 stallation photograph, 279 362; Accent Grave, 209 215, 356; Counter­ Futurism 87-96, 99, 121,' Hilberseimer, Ludwig 25, 96 Kokoschka, Oskar 43 - 4, Composition of Dissonants 124, 126, 127, 136, 140, Hilton, Roger 359; October 362; Herwarth Walden, XVI, 99; Counter- 148, 151, 162, 164, 166, 1956, 241 28,30; Murderer, Hope of Composition V, 100; 170, 190, 196, 318, 319, Hockney, David 289- 90, Women, 29 C oun ter- C om p os it ion 339 360; A Rake's Progress, Kollwitz, Kathe 140, 362; ( Maison Particuhere), Gabo, Naum 110, 120- 2, 253 Bread, 124 101 137, 194, 19 8, 317, 357; Hodler, Ferdinand 24- 5, Kooning, Willem de 215, Dostoevsky, Fedor 40 Project for a Radio Sta­ 360; The Disillusioned, I I 229, 230, 232- 5, 238, 243, Dubuffet, Jean 272- 5, 356; tion, 106; Column, 107; Hofmann, Hans 228 256, 27 1, 275, 289, 362; Sang et Feu (Corps de SpIral Theme, {08 Hogarth, William 157, 290 Woman I, 208; Merrilt Dames), 239 Gauguin, Paul 17, 19- 20, Holbein, HaIlS 24, 42 Parkway, 210 . Duchamp, Marcel 125, 21,32,36,38,4°,46,47, Huelsenbeck, Richard 124, Kosuth, Joseph 362; 130- 4,163,180,190,192, SI, 59, 64, 152, 197, 201, 125, 134, 140, 284 Nothing, 288 224,228- 9,288,3°0,317, 357; Faa Iheihe (Pas­ Kozloff, Max 288, 292 329,335,339,349,356;3 torale), 8 Impressionism 14- 15, 16, Kramer, Hilton 256 Standa.rd Stoppages, JI5; Genoves, Juan 308, 314, 357; 19,20, 21, 23, 24,25, 26, Kruchenykh, Alexander 78 Network of Stoppages, Beyond the Limit, 27' 59, 64, 69, 154, 179, 196, 116; Fountain, JI7; Large Giacometti, Alberto 193 - 5, 201, 203, 213, 254, 277, Lambert, Constant 153, 171 Glass, 118 200, 217- 20, 258, 314, 347, 349 Larionov, Mikhail SI, 77, Duncan, Isadora 17, 34 358; Mute and Moveable Ingres, Jean-Auguste-Dom­ 362; Officer at the Diirer, Albrecht 24, 41, 42, Objects, 17 (; The Forest, inique 14, 20, 296 Hairdresser's, 40 127,144 172; Cube, 195; Tall Fi­ '-' Latham, John 331 - 2, 335- 6, gure, 196 James, William 203 363; Art and Culture, 294 Eccentric Action 320 Gide, Andre 20 Janco, Marcel 123 Lautreamont (Isidore Du­ Eggeling, Viking 119, 356 Gleizes, Albert 66, 136 Jarry, Alfred 126 casse) 170, 172, 191 Eisenstein, Sergei 110 Goethe 44, 86, 340 Johns, Jasper 283 - 4, 288, Le Corbusier (Charles­ Elementarism I IS, 11 8, 122, Gogh, Vincent van 20, 21, 289,360 Edouard Jeanneret) 100, 151, 198, 221, 227, 258, 29,32,36,4°,341- 2,358; Joyce, James 65 164,199 267,268,271 Postman Rouhn, 9 Judd, Donald 360; Untitled, Leger, Fernand 67, 70, 90, Eliot, T.
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