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, 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 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 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 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 67, 153, 293 Bathroom, J 79; Standing Circle 121, '99 'Degenerate Art' '51- 2 Art Language 326 Nude, with 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 , 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, 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, 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 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. S. 64, 154, 349 Gombrich, E. H. 13, 126, 26 9 97- 100, 110, 115, 116, Eluard, Paul 145, 184 339 153, 167, 216- 17, 226, Emerson, Ralph Waldo 340 Gorky, Arshile 229, 231 - 2, Kandinsky, Vassily 44, 253, 254, 257, 317, 363; Ensor, J ames 40, 356; The 358; The Betrothal 11, 207 46- 8,65, 82- 5, 137, 147, Smokers, 56; The Card Entry of Christ Into Bru­ Goya, Francisco 14, 258, 267 154- 6, 182- 3, 215, 221, Players, 81; Mechauical ssels in 1889, 25 Greenberg, Clement 210, 228, 234, 265, 276, 343, Element, 82; The Discs in Ernst, Max 125, 144- 5, 154, 244- 6,254- 5,335 349, 360; Der Blaue Rei­ the City, 83; The Baluster, 17 1,172- 4,178,182, 183, Gris, Juan 67, 73, 167 , 358; ter, 32; Improvisation 13, 84; frames from Ballet 191, 192, 226, 231, 234, Book, Pipe and Glasses, 52 71; Composition VII, 72; mecanique, 85; The Out­ 356; Fiat Modes, Pereat Gropius, Waiter 164 Shrill-Peacefit! Pink, 73 ing: Homage to Louis Da­ Ars, 129; Two Children Grossber, Carl 158, - 358; Kaprow, Allan 319, 332, vid, 193; The Construc­ are menaced by a Night­ Machine Hall, 139 335,360; 18 Happeniugs In tors, 194 Ingale, 151; Yachting, Grosz, George 106, 134, 6 Parts, 280 Leonardo da Vinci 329 152; People in a Railway 137- 40, 144, 154, 156-'], Kelly, Ellsworth 251, 293, Lessing, Gotthold 17 Compartment, 153 186--7,358; Dada-merika, 360- 1; Ret"-Green-Blue, Lewis, Wyndham 94, 363; Estes, Richard 303- 4, 357; 12J; The Case ofG, 122; 220 Red Duet, 80 Food Shop, 268 At Five in the Morning Khlebnikov, Victor 106 LeWitt, Sol 329 Expressionism 25 , 29, from The Face of the Rul­ Kienholz, Ed 299, 361; The Lichtenstein, Roy 293, 299, 38- 44, 82, 96, Ill, 122, Ing Class, 123; Pillars of Portable War Memorial, 363; As I Opened Fire, 124, 126, 129, 134, 142, Society, 137 261 255; Art, 262 153, 154, 170, 184, 186, Griinewald, Matthias 41, 42, Kirchner, Ernst Ludwig 29, Lissitzky, El 96, 107, 221, 230, 253, 258, 261, 186 34- 8, 41, 42- 3, 46, 184, Ill- IS, 120, 134, 137, 267, 284, 294, 318, 339, Guillaume, Paul 30 188, 361; Brzicke Manif­ 144, 154, 156, 215, 318, 348; see also Abstract Ex­ Guttuso, Renato 267, 358--{); esto, 21; Selj:Po1'trait with 347- 8, 363; Proun pressionism, Der Blaue Discussion, 234 Model, 23; Man Dancing R.VN.2, 95; design for Reiter, Die Briicke and between Women and As­ Proun Room, 96; Up-to­ Fauvism Haacke, Hans 336- 8, 359 cent of the Alps, 24; Erna date Globetrotter from Exter, Alexandra 108-9 Hamilton, Richard 285-8, with Cigarette, 27 Victory over the Sun, 97; Factory, the 294, 339 289, 359; Hommage it Kitaj, R. B. 289, 361; The Modern Man from Victory Fautrier, Jean 261, 357; Tete Chrysler Corp, 251 .Murder of Rosa Luxem- over the Suu, 98

380 -

Lohse, Richard 268-71, 3°4-6,314,335 263-5, 272, 276, 367; Pistoletto, Michelangelo 363 - 4; Fifteen Systematic Mir6, Joan 171, 175- 8, 182, White Relief, 175; Novem­ 30 9, 31 4, 369; SeljC Rows of Colour . .. , 236 184, 186, 191, 193, 198, ber I I 1947 (Mousehole), Portrait with S outzka, 275 Long, Richard 364; Walking 23 1, 234, 257, 365; The 231; June 1964 (Valley Plackman, Cari308, 314-15, a Line in Peru, 282 Farm, T54; The Birth of between Rimini and Ur­ 369; Any Place You Hang Louis, Morris 244- 6, 247- 9, the World, 155; Yellow­ bino),232 Your Hat: Wedlock, 273 364; Gamma Delta, 216 Orange (Mural Painting Nietzsche, Friedrich 40, 242 Plato 96, 340 I), 156; Still Lile with Old Nijinska, Bronislava 22 McHale, John 285 Shoe, 157; Poetic Object, Nijinsky, Vaslav 17,24 Pollock, Jackson 178, 230- I, Magical Realists 157 168 Noland, Kenneth 244- 6, 23 2, 234, 235, 23 8, 243, Magritte, Rene 180- 2, 192, Moholy-Nagy, Laszlo 116- 247,248-9,256,279,367; 248,272,345,348-9,369; 326, 364; The Use of 18, 121, 144, 226, 251, March I I, 217 Number I, 204; Pasiphae; Words I, 159; The Key of 339,365; A II, 103; Light­ Nolde, Emil 41 - 2, 46, 367; 205 Dreams, 16o; The Human Space Modulator, I04 Life of Christ, 26, 31 Pop art 289 - 301, 314 Condition I, 161 Mondrian, Piet 22, 25, 73- 6, Popova, Lyubov 108- 9,369; Malevich, Kasimir 51, 54, 80,82,83-5,96, 100, I I I, O'Keeffe, Georgia 162, 367; set for The Magnanimous 77-82, 83-5, 96, 102-3, 114, 121, 154, r82, 199, White Canadian Barn No. Cuckold, 92 107, 108, Ill, 113, 115, 213 - 15, 218, 221, 226, 2, 144 Post-Impressionism 19, 22, 119-20, 136, 147, 15 1, 237, 238, 242, 247, 25 1, Oldenburg, Claes 294, 332, 277 T56, 167 , [76, 182, 242, 253, 254, 258, 265, 266, 367; Giant !ce Cream Post-Painterly Abstraction 256,265,347- 8,364; The 27 1, 288, 293, 317, 345, Cone, 257 246-7,254,256, 284,293, Bather, 4I; An English­ 347-8,365; Stdl Life with Olitski, Jules 244- 6, 247, 314 man in Moscow, 67; The Ginger-Pot II, 62; Colour 250, 368; Thigh Smoke, Pound, Ezra 64, 226 Woodcutter, 68; Supre­ Composition A, 63; Dia­ 21 9 Poussin, Nicolas 23, 153, I matist Painting, 69; Sup­ mond with Grey Lines, 64; Op art 251, 268, 301, 304 209, 288 rematist Painting (Large Colour Planes in Oval, 6S; Oppenheim, Dennis 368; Proust, Mareel 203 Cross on White), 70 Composition with Red, Directed Seeding-Wheat, Pre-Raphaelites, the 197 Mallarme, Stephane 17, 207 Black, Blue, Yellow and 285 primitivism 16, 19, 34, 41 - 2, Manet, Edouard 59,64, 162, Grey, 66; Broadway Oppenheim,Meret 191, 193, 47 - 8, 50- I, 55, 86, T47, 33 6- 8 Boogie-Woogie, T92 368; Object (Fur-Covered 199, 265 Manzoni, Piero 332 Monet, Claude 227, 246, Cup, Saucer and Spoon), Productivists 108-9, 110, Marc, Franz 44, 46, 47, 48, 247, 365-6; Haystacks at 169 317 82, '44 Sunset,s; Water-Lilies, Orozco, Jose 167-8, 368 Pun in, Nikolai 106 Marinetti, Emilio 87, 88, 89, 203 Puvis de Chavannes, Pierre 288 Monfreid, Daniel de 20 Pasmore, Victor 275- 8, 368; 64 Maria, Waiter de 364; Mile Monroe, Marilyn 285; por­ The Snowstorm, 240 Long Drawing, 283; 50m3, trait, 256 Penrose, Roland 193 , 200 Rauschenberg, Robert 286 Moore, Henry 199- 200, Performance art 320, 328 283 - 4, 288, 369; Bed, Martin, Agnes 307, 3 I 4; 258, 276, 366; Reclining Pevsner, Antoine 120, 121 246; Factum I, 248; Fac­ Morning, 270 Figure, 176; Four-Piece Philippe, Charles-Louis 20, tum 11, 249 Martin, J. L. 121, '99 Composition: Reclining Fi­ 25 Ray, Man 70- 1, 192, 194, Marx, Karl318 gure, 177; Three Upright Photo-Realism 301- 4, 339 369; Alfred Stieglztz, 57; Mathieu, Georges 261, 364 Motives, 224 photomontage 138, '39 AD MCMXIV, 58 Matisse, Henri '3, 24, 25, Morandi, Giorgio 160, 366; Picabia, Francis 123, 124-5, Raysse, Martial 296, 26-7,28,29,30- 4,37,46, Still Life, 142 134, 145, 163, 368; Riveil 369- 70; Made in Japan in 51,52- 4,70,73, '51, 184, Morgenstern, Christian T41 Matin, TIf; Tableau Martialcolor, 260 204-10, 213, 220, 227, Morley, Malcolm 302, 366; Dada, II2; Voila Ellel, Read, Herben 200 228, 246, 247, 25 ' , 257, Race Track, 267 128 Reimann, Waiter 187 258, 272, 300, 339, 347, Morris, Robert 335, 366; Picasso, Pablo 29, 30, 46, Reinhardt, Ad 244, 247, 251, 364- 5; Woman with the Un titled, 293 52- 5, 56- 64, 66, 67, 70, 347, 370; Abstract Paint­ Hat, 12; Mme Matisse: the Morris, William 110 73, 82, 89, 94, 97, 101-2, Ing, 215 Green Line, 16; Torso with Motherwell, Robert 229, T46, 148, 151., 167, 184- 6, Rembrandt 341 - 2 Head, 17; La Serpentine, 23 1, 243-4, 318, 366; 188-91, 192, 194, 198, Reynolds, Joshua 288 18; Dance, 19; Music, 20; Elegy to the Spanish Re­ 199, 200, 204, 210-13, Richier, Germaine 267, 370; Joy of Life, 42; Bathers by public XXXIV, 214 220, 228, 238, 257, 25.8, Grande Tauromachie, 233 a River, 61; Interior at Munch, Edvard 25, 36, 40, 265, 267, 293, 329, Richter, Hans II5, IH), 317, Nice, 18I; The Back, IV, 90 339-40, 342, 368; Nude in 370; frames from Rhythm 182; Venus on a Shell, T83; Nabis 201 a Forest (The Dryad), 4; 2I, I05 two pages from Poesie de Nash, Paul 197- 8, 200, Les Demo'1selles d'Avignon, Riley, Bridget 301, 370; Late Mallarmi, 184; Dance 366-7; Northern Adven­ 43; Man Smoking a Pipe, Morning, 264 Frieze, 185; Music, 186; A ture, 174 46; Still Life with Chair Rilke, Rainer Maria 190 Memory of Oceania, 187; Natanson, Thadee 204 Caning, 47; Bottle, Glass Rivera, Diego 167- 8, 370; The Snail, 188; The Red Neo-Impressionism 22, 30, and Violzn, 5 I; Guitar, 86; Workers of the Revolution, Studio, 202 87 Three Dancers, 162; ISO Matyushin, Mikhail 78, 136 Neo-Plasticism 76, 80, 214, Crucifixion, 163; Guer­ Roberts, William 153, 370; Mayakovsky, Vladimir 78, 247 nica, 166; Woman's Head, The Paddock, 135 109,112,136,138- 9 New American Painting 234 ,67; Still Life, 170; Wo­ Rodchenko, Alexander 107, Melnikov, Konstantin 107 New Objectivity (Neue Sa­ man Dressing her Hair, 108-9, 138-9, 370- 1; Merz 141, 144 chlichkeit) 11 I, 156, 182, 189; Bul!'s Head, 190; Hanging Construction, 91; Metaphysical Painting 159- 186, 263 Man with a Sheep, 19I; photomontages for Pro 60, 178 Newman, Barnett 215, The Painter and his Model, Eto, 120 Metzinger, Jean 66, 136 238- 42, 244, 246, 248, '!97 Rodin, Auguste 18,32,218, Meyerhold, Vsevolod 109, 25 1, 260, 299, 314, 367; Pichot, Raymond 185 342, 371;1ris, Messenger of 110 Covenant, 212 Piscator, Erwin '37, 138 the Gods, 6 Minimalism 244, 25 1 , Nicholson, Ben 121, 198-9, Pissarro, Camille 213, 347 Rohrig, Waiter 187

381 Romains, J ules 86 372; F eierabend, 134 162; portrait, 57 Tzara, Tristan 124, 125, 145; Rosen, Charles 155 Servranckx, Victor 116,373; Stijl, De 76, 100, Ill, portrait, 113 . , Rosenberg, Harold 231, 243, Opus 47,102 114-15,119,122,254,268 V alery ,Paul 289 37 1 Seuphor, Michel 213, 266 Still, Clyfford 229, 238, 239, - Vantongerloo, Georges 122, Rosenquist, James 294- 6, Seurat, Georges 21, 22, 30, 242, 248, 25 I, 260, 299, 375; Group y = ax2 + bx 299,371; F-lll, 258 59, 153, 373; A Sunday 314, 374; I957-D No. I , + c, 109 Rossetti, Dante Gabriel 64, Afternoon on the Island of 211 Vasarely, Victor 375; Metsh, 197 the Grande Jatte, 10 Strand, Paul 162,374; Wall 265 Rothko, Mark 178, 215, 229, Shchukin, Sergei 33, 34, 54, Street, New York, 143 Verism 156- 7 239, 242, 244, 246, 25 1, 73,76 Stravinsky, Igor 17, 86, 151 Vertov, Dziga 1l0, 119,375; 260, 299, 314, 329, 371; Sheeler, Charles 162- 3,373; Sturm, Der 44 The Man with a Movze No. 8, 213 Church Street El, [46 79, 81, 103, Camera, 94 Rouault, Georges 26, 27- 8, Sickert, Waiter 277 139-40, 151, 176 Vesnin, Alexander 108- 9 371-2; M and Mme Pou­ Signac, Paul 21-2, 30 Surrealism 122, 125, 145- 6, Vlaminck, Maurice de 26, lot, 13 Siqueiros, David 167- 8,373 151, 170- 97, 200, 207, 28- 9, 375; The Circus, 14 Rousseau, Henri 147- 8, 157, Situation painting 278-9, 210- 12,216-18,221,227, Voelcker, John 285 175, 372; Flowers of Poe­ 29° 228, 230, 231, 243, 253, Vorticists 94, 153, 196,276 try, 130 Social (Socialist) Realism 25, 255, 256, 258, 266, 267, Rubens, Peter Paul 209, 288 Wagner, Richard 82 101, 151, 154, 161, 182, 314, 317, 318, 319, 325, Walden, Herwarth 43 - 4, Runge, Philipp Otto 158 257, 267 8 34 I 1 I; portrait, 28, 30 Ruskin, John 14, 110 Soffici, Ardengo 149 Sylvester, David 194- 5, 292 Walker, John 314, 376; Con­ 5t Ives painters 276- 9 Smith, David 254-6, 279, 24, 59, 61, 90, servatory, 277 Sandler, Irving 292 373; Blackburn, Song ofan 12 4, 133, 154, 182 Warhol, Andy 293 - 4, 299, Sartre, Jean-Paul 201, 218 Irish Blacksmith, 222; Synthetic Cubism 62, 67,78, 02 Schamberg, Morton 163-4, Cubi XIX, 223 102 3 , 339, 376; Marilyn Monroe,256 Smith, Richard 290- 2, 373; j 372; God, 145 Warm, Hermann 187 Schapiro, Meyer 234 Panatella, 254 Tairoff, Alexander 137 Weiner, Lawrence 334 Schlemmer, Oskar 158, 160, Smithson, Robert 373; Bro­ Tapies, Antonio 262- 3. 272, ken Circle and Pyramids, Wesselmann, Tom 296, 376; 372; Figures in Space, 140 374; Perforated Body, 228 Great American Nude No. Schmidt-Rottluff, Karl 34, 284 Tatlin, Vladimir 101- 8, 1'4, Sonderbund exhibition 144 120, 151, 167, 190, 317, 99, 259 36- 7 Whistler, James 14, 276 Schiinberg, Arnold 46- 7, Soto, Jesus Raphael 373 - 4; 374- 5; Counter Relief Wiene, Robert 187 Horizontal Movement, 266 (Corner), 87; Letatlin, 48, 82, 154- 6 Williams, William Carlos Schrimpf, Georg 157-8, Soulages, Pierre 261, 374 88; Monument to the Third 164,226 372; On the Balcony, 138 Spencer, Stanley 197, 374; International, 89, 90 Wo Is (Wolfgang Schiilze) Schwitters, Kurt 127, Christ Carrying the Cross, Theosophical Society 75, 85 0 6 1 2 Tillim, Sidney 292 376 14 - 4, 14 , 3 7, 37 ; 173 Word art 326 Ausgerenkte Kriifte, 3; As . Stae!, Nicolas de 272, 275, Jean 334, 375; Ho- Tin~ely, Wordsworth, William 119, You Like It, 126; Merz 374; Figure by the Sea, 238 mage to New York, 292 building, Hanover, 127 Stella, Frank 246, 247, Tobey, Mark 229, 231, 244, 343 Wright, Frank Lloyd 164 Scriabin, Alexander 46, 82 249- 50, 374; Kingsbury 263, 375; Shadow Spirits Segal, Arthur 124,372; anti­ Run, 218 of the Forest, 206 Yeats, W. B. 55 war woodcut, 110 Stepanova, Varvara 108-9 Turner, J. M . W. 14, 196, Zayas, Marius de 29 - 30, 220 Seiwert, Franz Wilhelm 153, Stieglitz, Alfred 29, 70, 131, 276 Zweig, Stefan 86

..

382