Making the Case

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A PPENDIX Making the Case

The effort to induce the professional art world to acknowledge the spiritual content in modern and contemporary art has a history, although not a very successful one with regard to effecting widespread change in the status quo. The following list charts the stream of books, articles, exhibitions, and public lectures on the significant role of prominent artists’ spiritual interests in the creation of their art. It begins in the aftermath of Alfred Barr’s influential exhibition on Cubism and Abstraction at the Museum of Modern Art in 1936, before which there was little need to argue the case for recognizing spiritual interests in the new art because the subject was so well-known and frequently written about in Europe by artists and art critics between the mid-1880s and the early 1920s. Each of the works and presentations listed below addresses a sub-set of the larger story by focusing on an art movement, or a time period, or an area of influence. Monographs of individual artists are not included here, although hundreds of relevant monographs are cited in the Notes. A complete bibliography of all the books I consulted during the years of researching this book would be too vast for the space limitations I was given. Finally, this list is limited to works written in or for the art world. Many insightful papers and articles have been presented within the academic fields of religion and philosophy about modern art, but those have not generally attracted the attention of art world professionals. 1937 Meyer Schapiro, “The Nature of Abstract Art,” Marxist Quarterly, 1:1, January–March

1952 Herbert Read, “Farewell to Formalism,” Art News, 51:4, Summer

1959 Herbert Read, A Concise History of Modern Painting

1961 Robert Rosenblum, “The Abstract Sublime,” Art News, 59:10, February

1966 Sixten Ringbom, “Art in ‘The Epoch of the Great Spiritual’: Occult Elements in the Early Theory of Abstract Painting,” Journal of the Warburg and Courtauld Institutes,vol.29

1969 Jane Daggett Dillenberger, Secular Art with Sacred Themes 210 A PPENDIX:MAKING THE C ASE

1975 Robert Rosenblum, Modern Painting and the Northern Romantic Tradition: From Friedrich to Rothko

1977 Jane Daggett Dillenberger, ed., Perceptions of the Spirit in 20th-Century Art (exhibition catalogue from the Indianapolis Museum of Art)

1983 Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art Lucy Lippard, Overlay: Contemporary Art and the Art of Prehistory

1984 Diane Apostolos-Cappadona, ed., Art, Creativity, and the Sacred Roald Nasgaard, The Mystic North: Symbolist Landscape Painting in Northern Europe and North America, 1890–1940

1986 Maurice Tuchman, ed., The Spiritual in Art: Abstract Painting, 1890–1985 (exhibition catalogue from Los Angeles County Museum of Art) Sacred Images in Secular Art (catalogue of a small exhibition at the Whitney Museum of American Art)

1987 Kathleen J. Regier, ed., The Spiritual Image in Modern Art “Abstract Art and the Rediscovery of the Spiritual,” special issue of Art & Design (London) 3:5/6, June

1988 Peter Fuller, Theoria: Art, and the Absence of Grace John Lane, The Living Tree: Art and the Sacred Roger Lipsey, An Art of Our Own: The Spiritual in Twentieth-Century Art

1990 Jane Daggett Dillenberger, Image and Spirit in Sacred and Secular Art Gail Gelburd and Geri De Paoli, The Transparent Thread: Asian Philosophy in Recent American Art (exhibition catalogue from Hofstra Museum, New York) Bernard Smith, “Modernism: That Is to Say, Geniusism,” Modern Painters, 3:2, Summer

1991 Suzi Gablik, The Reenchantment of Art

1992 Michael Tucker, Dreaming with Open Eyes: The Shamanic Spirit in 20th-Century Art and Culture

1993 Wendy Beckett, The Mystical Now: Art and the Sacred Mark Levy, Technicians of Ecstasy: Shamanism and the Modern Artist A PPENDIX:MAKING THE C ASE 211

1995 Spiritual Expressions: Art for Private Contemplation and Public Celebration (exhibition catalogue from the Art Institute of Chicago) Reesey Shaw, ed., Espíritu (exhibition catalogue from the California Center for the Arts Museum)

1996 Nella Arambasin, La conception du sacré dans la critique d’art: En Europe entre 1880 et 1914 Richard Francis, ed., Negotiating Rapture (exhibition catalogue from the Museum of Contem- porary Art, Chicago)

1997 “Spiritual in Art,” special issue of Artweek, 28, January Maureen Korp, Sacred Art of the Earth: Ancient and Contemporary Earthworks Anna Moszynska, “Abstraction and Spirituality,” The Age of Modernism: Art in the Twentieth Century (exhibition catalogue from the Martin-Gropius-Bau, Berlin) Charlene Spretnak, “The Spiritual Dimension of Modern Art” (keynote address at SightLines, an international conference of printmakers, Edmundton, Alberta)

1998 Charles A. Riley II, The Saints of Modern Art Bernard Smith, Modernism’s History

1999 Cosmos: From Romanticism to the Avant-Garde (exhibition catalogue from the Montreal Museum of Fine Arts) Dawn Perlmutter and Debra Koppman, eds., Reclaiming the Spiritual in Art Sarah O’Brien Twohig, The Spiritual in Twentieth-Century Art (ﬁve-part lecture series at the Tate Gallery, London)

2000 Art et Spiritualité, special issue of Ligeia (Paris), no. 29–32 (October 1999–June 2000) Wanda M. Corn, The Great American Thing: Modern Art and National Identity, 1915–1935 (on the 291 Group and others; Introduction is on “Spiritual America”) Danilo Eccher, ed., The Shadow of Reason: Exploring the Spiritual in European Identity in the 20th Century (exhibition catalogue from the Galleria d’Arte Moderna, Bologna, Italy) John Golding, Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko, Still

2001 TheArtsandtheSpiritual(conference at School of the Visual Arts, New York) Lynn M. Herbert, ed., The Inward Eye: Transcendence in Contemporary Art (exhibition catalogue from the Contemporary Arts Museum, Houston)

2002 Anne Morgan, “Beyond PostModernism: The Spiritual in Contemporary Art,” Art Papers, 26:1, January–February Klaus Ottmann, “Spiritual Materiality,” Sculpture, 66, April Lynn Gamwell, Exploring the Invisible: Art, Science, and the Spiritual Celia Rabinovitch, Surrealism and the Sacred: Power, Eros, and the Occult in Modern Art 212 A PPENDIX:MAKING THE C ASE

2003 Sally M. Promey, “The ‘Return’ of Religion in the Scholarship of American Art,” The Art Bulletin, 85: 3

2004 Jacquelynn Baas and Mary Jane Jacob, eds., Buddha Mind in Contemporary Art John Baldessari and Meg Cranston, eds., 100 Artists See God (catalogue of a travelling exhibition; Independent Curators International) James Elkins, On the Strange Place of Religion in Contemporary Art Eleanor Heartney, Postmodern Heretics: The Catholic Imagination in Contemporary Art Laura Hoptman, ed., 54th Carnegie International (exhibition catalogue from the Carnegie Museum of Art)

2005 Jacquelynn Baas, The Smile of the Buddha

2006 Ronald E. Steen, The “S” Word: The State of “Spirituality” in Contemporary Art (exhibition catalogue from the Judson Gallery, Los Angeles)

2008 Mark Alizart, Alfred Pacquement, Jean de Loisy, Angela Lampe, eds., Traces du Sacré (exhibition catalogue from the Pompidou Center, Paris) Franklin Sirmans, ed., NeoHooDoo: Art for a Forgotten Faith (exhibition catalogue from The Menil Collection, Houston) Holy Inspiration: Religion and Spirituality in Modern Art, Stedelijk Museum, Amsterdam

2009 James Elkins and David Morgan, eds., Re-Enchantment (a seminar plus essays) Jed Perl, “The Spiritual in Art,” The New Republic,February18 Alexandra Monroe, The Third Mind: American Artists Contemplate Asia, 1860–1989 (exhibition catalogue from the Guggenheim Museum) The Spiritual (Re)Turn (online symposium at the Guggenheim Museum)

2010 Dan Fox, “Believe It or Not: Religion versus Spirituality in Contemporary Art,” Frieze, Issue 135, November–December

2011 Beyond Kandinsky: Revisiting the Spiritual in Art (online symposium at School of the Visual Arts, New York)

2012 Mark C. Taylor, Reﬁguring the Sacred: Beuys, Barney, Turrell, Goldsworthy

2013 Beyond Belief: 100 Years of the Spiritual in Modern Art (exhibition at the Jewish Contemporary Museum, in conjunction with the San Francisco Museum of Modern Art) Linda Nochlin and Sarah O’Brien Twohig, Modernism and Spirituality (one-day conference at theTateGallery) A PPENDIX:MAKING THE C ASE 213

As the reader will note, all but two of the exhibitions cited above were held in art venues located far from New York City, the site of greatest resistance to this subject. In addition, all but two of the entries above, many of which are truly important works, are focused on a limited scope or time frame within the larger story. The exhibition catalogue for Traces du Sacré,aswell as a shorter version with the same title, contains many excellent essays and does present the comprehensive story, beginning with a Caspar David Friedrich painting from 1818. However, the large body of works and commentaries in that exhibition are presented in an array of 22 categories of concepts. To my knowledge, the only book that seeks to present the entire story in the chronological order of the art movements of the modern period, beginning with the early nineteenth century, is the present volume. In recent years, a number of art critics have courageously—or perhaps stubbornly— acknowledged and sometimes discussed spiritual content in various works of modern and contemporary art: Kenneth Baker, Holland Cotter, the late Arthur Danto, the late Peter Fuller, Eleanor Heartney, Dave Hickey, Waldemar Januszczak, Ken Johnson, Michael Kimmelman, Donald Kuspit, the late Thomas McEvilley, Jed Perl, Peter Schjeldahl, Amei Wallach, and others. I appreciate their high-profile contributions to liberating this “non-subject.” In the twentieth century the art critic and historian who most consistently, and insight- fully, engaged with this subject in nearly all of his books was Herbert Read. Several other art historians have also written or spoken repeatedly and compellingly about the spiritual in modern art: Robert Rosenblum, Peter Selz, Meyer Schapiro, Sixten Ringbom, William Seitz, Jane Daggett Dillenberger, Bernard Smith, John Golding, Suzi Gablik, Wanda Corn, Jacquelynn Baas, Sarah O’Brien Twohig, Charles Jencks, and James Elkins. The art world professional who has had the greatest impact on opening the conversation about this subject is, of course, Maurice Tuchman, who persevered through much resistance to mount the exhibition The Spir- itual in Art: Abstract Painting, 1890–1985 at the Los Angeles County Museum of Art in 1986. He first proposed the idea in 1970 and never gave up, even after his grant application to the National Endowment of the Humanities was turned down twice. A resource for those interested in this subject is the Museum of Contemporary Religious Art (MOCRA), the world’s first interfaith museum of contemporary art that engages religious and spiritual themes. Founded by Terrence Dempsey, S. J. in St. Louis in 1994, it recently celebrated its twentieth year of high-quality exhibitions of works by established artists. This museum maintains an informative website on the spiritual in contemporary art: www.slu.edu/ mocra. Notes

Introduction: The Great Underground River

1. James Elkins, On the Strange Place of Religion in Contemporary Art (New York: Routledge, 2004), xi. 2. Exhibition Guide, Mondrian: Nature to Abstraction (London: Tate Gallery, 1997), text for “Room 1B,” unpaginated. 3. Carel Blotkamp, Mondrian:TheArtofDestruction(London: Reaktion Books, 1994). 4. Waldemar Januszczak, “Splashes of Genius,” The Times of London, Sunday Magazine, January 31, 1999. 5. This situation is not the fault of the art history libraries. They simply apply the national system of categorizing of books that was developed by the Library of Congress in con- sultation with scholars in each ﬁeld, beginning in the nineteenth century. All books on the visual arts are in Subclass N, the subcategories of which do not include religion or spirituality (except under Decorative Arts), though such books can be catalogued under “Special Topics in Art.” 6. Risatti, “Art and Aesthetics: Late Modernism and the Formalist Debate,” in Harold Risatti, ed., Postmodern Perspectives (Englewood Cliffs, NJ: Prentice-Hall, 1989), 66. 7. Clark, Farewell to an Idea (New Haven: Yale University Press, 1999), 401. 8. Victoria Combalia, “Sean Scully: Against Formalism,” in Ned Rifkin, ed., Sean Scully: Twenty Years, 1976–1995 (New York: Thames and Hudson, 1995), 42. 9. Private Correspondence, November 2010. 10. Ringbom, “Art in ‘The Epoch of the Great Spiritual’: Occult Elements in the Early The- ory of Abstract Painting,” Journal of the Warburg and Courtauld Institutes, 29 (1966), 386–418. 11. These preliminary works were further developed and published in Rosenblum, Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko (New York: Harper & Row, 1975). 12. Tuchman, in a telephone interview by Charlene Spretnak, on August 11, 1998. 13. See “Abstract Art: Rediscovery of the Spiritual,” Art and Design Proﬁle 3, in Art & Design, 3:5/6, June 1987, London; this special issue was perhaps the most extensive response to Tuchman’s exhibition; it includes an interview with Tuchman by Charles Jencks, as well as articles by Sixten Ringbom, Peter Fuller, Frank Stella, Patrick Herron, Catherine Cooke, and others. 14. Ken Johnson, “The Modernist vs. the Mystics,” New York Times, April 12, 2005. 15. Leah Dickerman, “Inventing Abstraction,” in Leah Dickerman, ed., Inventing Abstraction, 1910–1925: How a Radical Idea Changed Modern Art (New York: MOMA, 2013), 13–14. 16. Kandinsky, “On the Question of Form,” in Wassily Kandinsky and Franz Marc, eds., The Blaue Reiter Almanac (Boston: ArtWorks/MFA Publications, 1965), 147–187. 17. Dickerman, “Vasily Kandinsky, Without Words,” Inventing Abstraction, 50. 216 N OTES

18. Doniger, “The Art Seminar Transcript,” in James Elkins and David Morgan, eds., Re- Enchantment (New York: Routledge, 2009), 116. 19. Dickerman, “Vasily Kandinsky, Without Words,” Inventing Abstraction, 51. 20. Richard Tuttle, telephone conversation with Charlene Spretnak, San Francisco, August 18, 1999. 21. Mary Evelyn Tucker and John A. Grim, “Introduction” in the issue on “Religion and Ecology: Can the Climate Change?,” Daedalus: Journal of the American Academy of Arts and Sciences, Fall (2001), 14.

Chapter 1: Nineteenth Century

1. Reynolds and Blake, in Carter Ratcliff, “The People’s Bard,” Art in America,Septem- ber 2001, 117. Also see David V. Erdman, The Illuminated Blake (New York: Anchor Books/Doubleday, 1974; Dover Books, 1992). 2. Blake, in Kathleen Raine, “William Blake: Prophet of Imagination,” Resurgence (UK), 204 (January–February 2001): 9. Also see Alexander Gilchrist, Life of William Blake (New York: Dover, 1998 [1863]). 3. Blake, in Morris Eaves, The Counter-Arts Conspiracy (Ithaca: Cornell University Press, 1992), 134. 4. Blake, in Theodore Roszak, Where the Wasteland Ends (Garden City, NY: Doubleday, 1972), 313. 5. Ibid. 6. Symons, in Ratcliff, “The People’s Bard,” 122. 7. Roberta Smith, “A Tree-Hugger Ahead of His Time,” New York Times, March 17, 2006. 8. David Ebony, “Samuel Palmer’s Luminous Garden,” Art in America, October 2006, 149. 9. See Charlene Spretnak, The Resurgence of the Real (Wesley, MA: Addison-Wesley, 1997), 131–143. 10. Joseph Leo Koerner, Caspar David Friedrich and the Subject of Landscape (New Haven: Yale University Press, 1990), 192. 11. Robert Rosenblum, the 1972 Slade Lectures, Modern Painting and the Northern Romantic Tradition (New York: Harper & Row, 1975), 12–13. 12. Sigrid Hinz, ed., Caspar David Friedrich in Briefen (Berlin: Henschelverlag,1968), 9, 85; in Lionel Gossman, “Unwilling Moderns: The Nazarene Painters of the 19th Century,” Nineteenth-Century Art Worldwide, 2: 3 (Autumn 2003), www.19thc-artworldwide.org (accessed August 6, 2013). 13. Friedrich, in Charles Sala, Caspar David Friedrich and Romantic Painting (Paris: Terrail, 1994), 198. 14. Linda Siegel, Caspar David Friedrich and the Age of German Romanticism (Boston: Branden Press, 1978), 55. 15. Caspar David Friedrich in Briefen, 128. 16. Overbeck, in Gossman, “Unwilling Moderns,” endnote 79. 17. Gossman, “Unwilling Moderns,” endnote 14. 18. Caspar David Friedrich in Briefen, 128; Overbeck, in Gossman, “Unwilling Moderns,” endnote 79. 19. Grewe, Painting the Sacred, endnote 17 on 323; also see her Conclusion, 303–320. 20. A. W. N. Pugin, Contrasts (London: Charles Dolman, 1841 edition), 18. 21. See Tim Barringer, Reading the Pre-Raphaelites (New Haven: Yale University Press, 1999), Chapter 4. 22. See Susan P. Casteras and Alicia Craig Faxon, eds., Pre-Raphaelite Art in its European Context (Madison, NJ: Fairleigh Dickinson University Press, 1995). N OTES 217

23. St. Thomas Aquinas, Summa Contra Gentiles (Notre Dame, IN: University of Notre Dame Press, 1975) III 70:8; also see his Summa Theologiae (Notre Dame, IN: Christian Classics, 1981 [1948]) I 47:1. 24. Thomas Cole, “Essay on American Scenery,” American Monthly Magazine,1(January 1836), 1–12. 25. Durand, “Letters on Landscape Painting,” Letter II, Crayon, 1: 3 (January 17, 1855). 26. Nils Büttner, Landscape Painting: A History (New York: Abbeville, 2006), 283–285. 27. Renoir, in Ambroise Vollard, Renoir: An Intimate Record (Paris: G. Crès, 1920), 135; trans. by Francois Daulte, in Daulte, Renoir (New York: Abrams, 1959). 28. Renoir, in Michel Florisoone, Renoir (New York: Hyperion, 1938), 20. 29. Ibid. 30. Renoir,inJeanRenoir,Renoir, My Father (Boston: Little, Brown, 1962), 85–88. 31. Ibid., 243. 32. Renoir, “Short Draft for the Published Preface to Mottez’s Cennini, 1910,” Appendix J in Robert L. Herbert, Nature’s Workshop: Renoir’s Writings on the Decorative Arts (New Haven, CT: Yale University Press, 2000), 182–191; also see 170. 33. Renoir, Renoir, My Father, 243. 34. Anne Higonnet, “Unmarried Mother,” The Women’s Review of Books, 16: 9, June 1999, 6. 35. William T. Gerdts, American Impressionism, cited in Carol Kort and Liz Sonnenborn, Ato Z of American Women in the Visual Arts (New York: Facts on File, 2002), 40. 36. Adam Gopnik, “Cassatt’s Children,” The New Yorker, March 22, 1999, 114–120. 37. Judith A. Barter, “Mary Cassatt: Themes, Sources, and the Modern Woman,” in Judith A. Butler, ed., Mary Cassatt: Modern Woman (New York: Abrams, 1998), 85; also see Maurice Denis, “The Deﬁnition of Neo-Traditionalism,” ArtetCritique(Paris, August 23 and 30, 1890), especially Section XXIV. 38. Cassatt, Letter of February 19, 1911 to Theodate Pope, cited in Barter, “Mary Cassatt,” 99. 39. Baas, Smile of the Buddha (Berkeley: University of California Press, 2005), 25. 40. Cézanne, “Letter of May 11, 1886 to Chocquet,” in John Rewald, ed., Correspondence (Paris: Grasset, 1937), 209. 41. Cézanne, in Richard Kendall, ed., Cézanne by Himself (Boston: Little, Brown, 1988), 289–290. 42. Cézanne, “Letter of April 15, 1904 to Bernard,” in Michael Doran, ed., Conversations with Cézanne (Berkeley: University of California Press, 2001), 29. 43. Ibid. 44. Meyer Schapiro, Paul Cézanne (New York: Abrams, 1988), 10, 30. 45. Cézanne, letter of September 8, 1906 to his son, in Alex Danchev, ed., The Letters of Paul Cezanne (Los Angeles: J. P. Getty Museum, 2013), 370. 46. Cézanne, to “Vollard in January 1903,” in Michael Hoog, ed., Cézanne (New York: Abrams, 1994), 95. 47. Bernard, in Judith Wechsler, ed., Cézanne in Perspective (Englewood Cliffs, NJ: Prentice- Hall, 1975), 44. 48. Cézanne, in Richard Kendall, ed., Cézanne by Himself, 297. 49. Van Gogh, “Letter 347, December 18, 1883,” Van Gogh’s Letters, www.webexhibits.org/ vangogh (accessed August 20, 2013). Also see Debora Silverman, Van Gogh and Gauguin (New York: Farrar, Straus and Giroux, 2000). 50. Letter 37, in Cliff Edwards, Van Gogh and God (Chicago: Loyola University Press, 1989), 24. Also see William J. Havlicek, VanGogh’sHiddenJourney(Amsterdam: Creative Storytellers, 2010). 51. Ibid., Letters 133 and 136, 69 and also 64. 218 N OTES

52. Ibid., Letter 339a, 86. 53. Ibid., Letters 463, 510, and 511, 91–93. 54. Ibid., Letter 542 and 544a, 97–98. 55. Letter 543, Van Gogh’s Letters, www.webexhibits.org/vangogh (accessed August 20, 2013). 56. Letter 615, in Edwards, Van Gogh and God, 57. 57. Ibid., Letter B21, 57. 58. Ibid., Letter B8, 74. 59. Ibid., Letter 531. 60. Ibid., Letter 625. 61. Gauguin, in Herschel B. Chipp, ed., with Contributions by Peter Selz and Joshua C. Taylor, Theories of Modern Art (Berkeley: University of California Press, 1968), 65. 62. Gauguin, Letter to Emile Schnuffenecker, August 14, 1888, in John Rewald, Post- Impressionism from Van Gogh to Gauguin (New York: Museum of Modern Art, 1956), 196. 63. Read, A Concise History of Modern Painting (London: Thames and Hudson, 1974 [1959]), 44, 46. 64. Gauguin, in Françoise Cachin, Gauguin: The Quest for Paradise (New York: Abrams, 1992), 45. 65. Debora Silverman, Van Gogh and Gauguin: The Search for Sacred Art (New York: Farrar, Straus and Giroux, 2000), 122–130. 66. See Nancy Mowll Mathews, Paul Gauguin: An Erotic Life (New Haven, CT: Yale University Press, 2001). 67. Debora Silverman, Van Gogh and Gauguin, 34, 295–301. 68. Gauguin, Interview by Jules Huret, L’Echo de Paris, February 23, 1891, in Cachin, Gauguin, 67; also in Daniel Guérin, ed., The Writings of a Savage: Paul Gauguin (New York: Viking Press, 1978), 48. Note: The more accurate translation of sauvage, which means primal, primitive, or wild, has been used in the present volume, rather than the somewhat menacing English word “savages.” 69. David Sweetman, Paul Gauguin: A Life (New York: Simon & Schuster, 1995), 232–233. 70. Ziva Amishai-Maisels, Gauguin’s Religious Themes (New York: Garland Publishers, 1985), 407. 71. Gauguin, in Guerin, ed., The Writings of a Savage,xxv. 72. Denis, “The Inﬂuence of Paul Gauguin,” L’Occident (Paris), October 1903, in Chipp, ed., Theories of Modern Art, 101. 73. Denis, “Paul Sérusier, sa vie, son oeuvre,” in Paul Sérusier, ed., ABC de la peinture, Second Edition (Paris: Librarie Floury, 1942), 61; in Caroline Boyle-Turner, Paul Sérusier (Ann Arbor: UMI Research Press, 1983), 39. 74. Denis, in Chipp, ed., Theories of Modern Art, 99–100. 75. Sarah M. Promey, Painting Religion in Public (Princeton: Princeton University Press, 1999), 12–17. 76. Gaudí, in Mireia Freixa i Serra, “Gaudí in His Social and Cultural Context,” Barcelona Metròpolis Mediterrània, July 2002, www.bcn.cat/publicacions/b_mm/abmm58/abmm_ 58.htm#qc3 (accessed October 27, 2010). 77. Gaudí, in Descharnes (following Pujols), Gaudí, The Visionary, op. cit., 43. 78. Freixa i Serra, “Gaudí in his Social and Cultural Context.” 79. Descharnes, Gaudí, The Visionary, 55–56. 80. Ibid., 158. 81. Gaudí, in Philippe Thiébaut, Gaudí: Visionary Architect (New York: Abrams, 2002), 75. 82. Gaudí, cited on Gaudí, www.gaudisagradafamilia.com/gaudi-quotes (accessed Novem- ber 6, 2010). N OTES 219

83. Gaudí, in Thiébaut, Gaudí: Visionary Architect, 25. 84. Ibid., 59. 85. Rowan Moore, “Josep Maria Jujol,” The Architectural Review, November 23, 2012, www. architectural-review.com/josep-maria-jujol/8638823.article (accessed January 12, 2014). 86. Gaudí, in Thiébaut, Gaudí: Visionary Architect, 95. 87. Gaudí, in Descharnes (following Pujols), Gaudí, The Visionary, 43. 88. Ibid., 55. 89. Ibid., 17. 90. Dennis Dollens, Josep Maria Jujol: Five Major Buildings (New York: SITES/Lumen Books, 1994), 7. Also see José Llinàs and Jordi Sarrà, Josep Maria Jujol (Cologne: Taschen, 2007).

Chapter 2: 1885–1918 (Esoteric)

1. Rosicrucianism is an esoteric system that was supposedly founded by a mystical German doctor, Christian Rosenkreuz [Cross Made of Roses], in 1407. Two anony- mous manifestoes circulated in Germany in 1607 and 1616 told the story of the small Rosicrucian Order (which drew in part from Lutheranism). There was widespread public interest in these revelations of a secret occult order operating in their midst, but historians are not certain whether Dr. Rosenkreuz ever existed or whether the manifestoes were hoaxes. Nonetheless, subsequent versions of the Rosicrucian Order have arisen. 2. Robert P. Welsh, “Sacred Geometry: French Symbolism and Early Abstraction,” in Maurice Tuchman, ed., The Spiritual in Art: Abstract Painting, 1890–1985 (Los Angeles and New York: Los Angeles County Museum of Art and Abbeville Press, 1986), 64. 3. Péladan, in Geurt Imanse, “Occult Literature in France,” in Tuchman, ed., The Spiritual in Art, 358. 4. Sasha Chaitow, “Who Was Joséphin Péladan?,” Third Conference of the European Society for the Study of Western Esotericism, University of Szeged, Hungary, July 2–4, 2011, peladan.org (accessed January 21, 2013). 5. For example, in 1843 an arithmetic of four dimensions called a quaternions, involv- ing associative algebra, was deﬁned by William Rowan Hamilton. Challenging Euclid’s “parallel postulate” that only one parallel to a given line can be drawn through a given point, Bernhard Riemann’s postdoctoral thesis, On the Hypotheses that Lie at the Founda- tionsofGeometry(1854), proposed that a “point” could be any sequence of coordinates, so a geometry of four dimensions, or more, was possible; other mathematicians later drew from this work. Also, beginning in 1884, Charles Howard Hinton (“What Is the Fourth Dimension?”) proposed that points observed in three dimensions could be imagined as successive cross-sections of a four-dimensional arrangement of lines that pass through a three-dimensional plane. He is credited with giving the name tesseract to the four-dimensional cube. 6. J. C. F. Zöllner, Transcendental Physics (London: W. H. Harrison, 1880), 148–149; in Tom Gibbons, “Cubism and the Fourth Dimension in the Context of the Late 19th- Century and Early 20th-Century Revival of Occult Idealism,” Journal of the Warburg and Courtauld Institutes, 44 (1981), 136. 7. Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art (Princeton, NJ: Princeton University Press, 1983); also see her article “The Image and Imagination of the Fourth Dimension in Twentieth-Century Art and Culture,” Conﬁgurations, 17 (1–2, Winter 2009), 131–160. 8. See Rudolf Steiner, Fourth Dimension: Sacred Geometry, Alchemy, and Mathematics (Great Barrington, MA: Anthroposophic Press, 2001). 220 N OTES

9. Aurier, “Symbolism in Painting: Paul Gauguin,” Mercure de France (Paris, 1891), II 159–164, translation in Herschel B. Chipp, ed., Theories of Modern Art (Berkeley: University of California Press, 1968), 89. 10. Aurier, “Symbolism in Painting: Paul Gauguin,” 89–93. 11. See John Milner, “Mystical Geometry: French Art and Theosophy,” in John Milner, Kasimir Malevich and the Art of Geometry (New Haven, CT: Yale University Press, 1996), Appendix 2, 204–212. 12. Redon, in Jodi Hauptman, Beyond the Visible: The Art of Odilon Redon (New York: Museum of Modern Art, 2005), 65. 13. Ibid., 27. 14. See Timothy Neat, Part Seen, Part Imagined: Meaning and Symbolism in the Work of Charles Rennie Mackintosh and Margaret MacDonald (Edinburgh: Canongate Press, 1994). 15. Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement (London: Routledge and Kegan Paul, 1977), 19. 16. William Buchanan, ed., Mackintosh’s Masterwork: The Glasgow School of Art (Glasgow: Glasgow School of Art Press/Rutgers University Press, 2004), 20–23. 17. Mackintosh, in Neat, Part Seen, Part Imagined, 21. 18. Ibid., 13; also see Janice Helland, The Studios of Frances and Margaret MacDonald (Manchester: Manchester University Press, 1996); also see Patricia Panther, “Margaret MacDonald: The Talented Other Half of Charles Rennie Mackintosh,” BBC Scotland, January 10, 2011, www.bbc.co.uk/scotland/arts/margaret_macdonald_the_talented_ other_half_of_charles_rennie_mackintosh.shtml (accessed February 16, 2013). 19. Wilhelm Worringer, Abstraction and Empathy: A Contribution to the Psychology of Style (London: Routledge and Kegan Paul Ltd., 1963), 14–15. 20. Henri Bergson, Creative Evolution, trans. by Arthur Mitchell (Mineola, NY: Dover Publications, 1998 [1911]), 268. 21. Satie’s Rosicrucian compositions are available on a double-disc CD: Erik Satie: Musique de la Rose + Croix (LTM Recordings, 2010). 22. Van Heemskerck, in Marie Tak van Poortvliet and Rudolf Blümner, “Jacoba van Heemskerck,” exhibition catalogue, Jacoba van Heemskerck (Berlin: Verlag Der Sturm, 1924), 16. 23. Modersohn-Becker, in Jane Kallir, Modersohn-Becker (New York: Galerie St. Etienne, 1983), unpaginated; quotations cited are from Gunter Busch and Liselotte Von Reinken, eds., Paula Modersohn-Becker: The Letters and Journals (New York: Taplinger Publishing, 1983). 24. Picasso, in Françoise Gilot and Carlton Lake, Life with Picasso (New York: Anchor/Doubleday, 1989 [1964]), 266. Also see William Rubin, “Picasso,” “Primitivism” in 20th-Century Art (New York: Museum of Modern Art, 1984), 241–333. 25. Apollinaire, The Cubist Painters: Aesthetic Meditations, cited in Chipp, ed., Theories of Modern Art, 223–224. 26. Raynal, in Tom Gibbons, “Cubism and the Fourth Dimension in the Context of the Late 19th-Century and Early 20th-Century Revival of Occult Idealism,” Journalofthe Warburg and Courtauld Institutes, 44 (1981), 141. 27. Braque, in Vallier, “Braque, la peinture, and nous,” Cahiers d’Art, no. 1, 1954, 19; also in Arianna Stassinopoulos Hufﬁngton, Picasso: Creator and Destroyer (New York: Simon and Schuster, 1988), 93. 28. See Alexander Von Vegesack, ed., Czech Cubism: Architecture, Furniture, Decorative Arts (Princeton: Princeton Architectural Press, 1992); also see Charles Jencks, “Like a Crystal Multiplying Itself: The Genesis and Legacy of Czech Cubism,” Times Literary Supplement (London), no. 4695, March 26, 1993. N OTES 221

29. Max Weber, “The Fourth Dimension from a Plastic Point of View,” Camera View, July 1910. 30. Delaunay, Lumière, Summer 1912; reprinted in Robert Delaunay, Du Cubisme à l’Art Abstrait (Paris: SEVPEN, 1957), 148. 31. Futurist Painting: Technical Manifesto was originally published as a pamphlet in Milan on April 11, 1910; in Chipp, ed., Theories of Modern Art, 289–293. 32. Sherry A. Buckberrough, Robert Delaunay: The Discovery of Simultaneity (Ann Arbor, MI: UMI Research Press, 1982, 1978), 107. 33. Delaunay, in Gustav Vriesen and Max Imdahl, eds., Robert Delaunay: Light and Color (New York: Harry H. Abrams, 1967), 58. 34. Ibid., 61. 35. Albert Gleizes and Jean Metzinger, Du “Cubisme,” (Paris: Eugène Figuière Éditeurs, 1912); in Robert L. Herbert, Modern Artists on Art (Englewood Cliffs, NJ: Prentice-Hall, 1964), 9–11. 36. Duchamp, in Jacquelynn Baas, Smile of the Buddha: Eastern Philosophy and Western Art (Berkeley: University of California Press, 2005), 84. 37. Duchamp, in an interview with James Johnson Sweeney, February 23, 1945, in Sweeney, “Eleven Europeans in America,” The Museum of Modern Art Bulletin, 13: 4–5 (1946), 20–21. 38. Duchamp, in John F. Mofﬁt, “Marcel Duchamp: Alchemist of the Avant-Garde,” in Tuchman, ed., The Spiritual in Art: Abstract Painting, 1890–1985, 267. 39. Duchamp, in Mofﬁtt, Marcel Duchamp, 258. 40. Kandinsky, in Dietmar Elger, Expressionism: A Revolution in German Art (Cologne: Taschen, 1998), 134. 41. Peter Selz, Art in a Turbulent Era (Ann Arbor, MI: UMI Research Press, 1985), 83. 42. Marc, in Klaus Lankheit, “A History of the Almanac,” in Kandinsky and Marc, eds., The Blaue Reiter Almanac (Boston: artWorks/MFA Publications, 1965), 13. 43. See Mark Rosenthal, “Franz Marc: Pioneer of Spiritual Abstraction,” in Mark Rosenthal, Franz Marc 1880–1916 (Berkeley: University Art Museum, 1979). 44. Otto Fischer, in his Das neue Bild (Munich: Delphin-Verlag, 1912), 42, cited in Peter Selz, German Expressionist Painting (Berkeley: University of California Press, 1957), 197. 45. Selz, Art in a Turbulent Era, 83. 46. Kandinsky, Letter to Franz Marc, October 2, 1911, in Jelena Hahl-Koch, Kandinsky (New York: Rizzoli, 1993), 196; German text in Kandinsky/Marc Briefwechsel (Munich: R. Piper, 1983), 61ff. 47. Kandinsky, in Elger, Expressionism, 136. 48. Marc, “Preface to the Second Edition” (March 1914), in Wassily Kandinsky and Franz Marc, eds., The Blaue Reiter Almanac (Munich: Piper Verlag, 1914), 258. 49. Kandinsky, Letter to Franz Marc, September 1, 1911, cited in The Blaue Reiter Almanac, 17. 50. Kandinsky, “On the Question of Form,” The Blaue Reiter Almanac, 186. 51. Marc, “Spiritual Treasures,” The Blaue Reiter Almanac, 59. 52. Marc, “The ‘Savages’ of Germany,” The Blaue Reiter Almanac, 64. 53. Kandinsky, “The Question of Form,” translated slightly differently in The Blaue Reiter Almanac, 147–153; also see Kenneth C. Lindsay and Peter Vergo, eds., Kandinsky: Complete Writings on Art (New York: Da Capo Press, 1994 [1982], 235–239. 54. Kandinsky, “Preface to the Second Edition,” The Blaue Reiter Almanac, 257. 55. Marc, “Preface to the Second Edition,” The Blaue Reiter Almanac, 259. 56. Leah Dickerman, “Inventing Abstraction,” in Leah Dickerman, ed., Inventing Abstraction, 1910–1925: How a Radical Idea Changed Modern Art (New York: MOMA, 2013), 13–14. 222 N OTES

57. In addition to all the documentation cited in this book, also see, for instance, Sixten Ringbom, “Transcending the Visible: The Generation of Abstract Pioneers,” in Tuchman, ed., The Spiritual in Art: Abstract Painting, 1890–1985, 131–153. 58. Barr, Introduction, Cubism and Abstract Art (New York: Museum of Modern Art, March 2–April 19, 1936), Exhibition 46, 66. 59. Leah Dickerman, “Vasily Kandinsky, Without Words,” in Leah Dickerman, ed., Inventing Abstraction, 1910–1925 (New York: MoMA, 2013), 51. 60. Kandinsky, On the Spiritual in Art (New York: Dover, 1977 [facsimile of the 1914 British edition]), 3–4. 61. Dickerman, “Vasily Kandinsky, Without Words,” 51. 62. Ibid., 53. 63. Kupka, Letter of February 7, 1897; in Meda Mladek, “Central European Inﬂuences,” in Margit Rowell and Meda Mladek, eds., František Kupka 1871–1957 (New York: Guggenheim Museum, 1975), 28–29 [her ellipsis]. 64. Kupka, La Création dans les Arts Plastiques,trans.fromCzechbyErikaAbrams(Paris: Éditions Cercle d’Art, 1989 [1923]), 207. 65. Dove, in Helen A. Harrison, “Arthur Dove and the Origins of Abstract Expressionism,” American Art, 12: 1, January–March, 1992, 75. 66. Kandinsky, “Selbstcharakteristik” (Self-Characterization), Das Kunstblatt, 1919, in Kandinsky: Complete Writings on Art, 430–433. 67. Hans K. Roethel and Jean K. Benjamin, “A New Light on Kandinsky’s First Abstract Painting,” The Burlington Magazine, 119:896, November 1977, 772–773. 68. Kandinsky, “On the Problem of Form,” The Blaue Reiter Almanac, 164–65. 69. Kandinsky, Reminiscences (1913), excerpted in Robert L. Herbert, editor, Modern Artists on Art (New York: Dover Books, 1964), 25. 70. Kandinsky, Reminiscences, 30. 71. See Peg Weiss, Kandinsky and Old Russia: The Artist as Ethnographer and Shaman (New Haven, CT: Yale University Press, 1995). 72. Kandinsky, Reminiscences, 28. 73. Kandinsky, Ibid. 74. Weiss, Kandinsky and Old Russia, 35. 75. Kandinsky, Reminiscences, 38–39. 76. Ibid., 27. 77. Kandinsky, Concerning the Spiritual in Art,1. 78. Kandinsky, “On the Question of Form,” The Blue Rider (1912), in Kenneth C. Lindsay and Peter Vergo, eds., Kandinsky: Complete Writings on Art (New York: Da Capo Press, 1994), 242. Also see Rose-Carol Washton Long, “Kandinsky’s Vision,” in John E. Bowlt and Rose-Carol Washton Long, eds., The Life of Vasilii Kandinsky in Russian Art: A Study of On the Spiritual in Art (Newtonville, MA: Oriental Research Partners, 1980); also see John Golding, “Kandinsky and the Color of Sound,” in John Golding, Paths to the Absolute (Princeton, NJ: Princeton University Press, 2000). 79. Kandinsky, in Jelena Hahl-Koch, ed., Arnold Schoenberg—Wassily Kandinsky Letters, Pic- tures and Documents,trans.JohnC.Crawford(LondonandBoston:Faber&Faber, 1984), 323. 80. Kandinsky, Reminiscences, 34. 81. Kandinsky, “On the Question of Form,” 250. 82. When Madame Blavatsky wrote in Isis Unveiled about the dynamics of the active, male (vertical line) and the passive, female (horizontal line) principles, she was most likely drawing from Dogma and Ritual of High Magic, written in 1855 by Éliphas Lévi (pseudonym of the ex-priest Abbé Adolphe-Louis Constant). N OTES 223

83. Mondrian, in Carel Blotkamp, Mondrian: The Art of Destruction (London: Reaktion Books, 1994), 35. 84. First Manifesto of De Stijl, in Carel Blotkamp, ed., De Stijl: The Formative Years, 1917– 1922 (Cambridge, MA: MIT Press, 1986), ix. 85. Mondrian, TheNewPlasticinPainting, in Harry Holtzman and Martin S. James, eds, The New Art—The New Life: The Collected Writings of Piet Mondrian (Boston: G. K. Hall, 1986), 30 and 54. 86. Mondrian, in Blotkamp, Mondrian, 13. 87. Ibid., 252. 88. Charlotte Douglas, “Beyond Reason: Malevich, Matiushin, and their Circles,” in Tuchman, ed., The Spiritual in Art: Abstract Painting, 1890–1985, 186. 89. Malevich, Ibid., 188. 90. Swami Vivekananda, The Yoga Philosophy: Lectures on Raja-Yoga, with Patanjali’s Yoga Aphorisms, in Douglas, “Beyond Reason,” 186. Also see John E. Bowlt, “Esoteric Culture and Russian Society,” also in Tuchman, ed., The Spiritual in Art. 91. Malevich, “The Artist,” The Artist, Inﬁnity, Suprematism: Unpublished Writings, 1913– 1933, 4 (Copenhagen: Borgens Forlag; Amsterdam: Stedelijk, 1978), 9. 92. Malevich, “Suprematism,” from The Nonobjective World, in Chipp, ed., Theories of Modern Art, 343. 93. John Milner, Kazimir Malevich and the Art of Geometry (New Haven: Yale University Press, 1996), vii. 94. Malevich, in Jeannot Simmen and Kolja Kohlhoff, Malevich (Cologne: Könemann, 1999), 63. 95. Kandinsky and Marc, “Preface to the Second Edition,” The Blaue Reiter Almanac, 257, 259.

Chapter 3: 1919 – 1939

1. Hugo Ball, Flight Out of Time, John Elderﬁeld, ed., trans. Ann Raimes (Berkeley: University of California Press, 1996), 114. 2. Paul Strand, “Photography and the New God,” Broom, November 3, 1922, 252, 257; cited in Richard Guy Wilson, “America and the Machine Age,” in Richard Guy Wilson and Dianne H. Pilgrim, eds., The Machine Age in America, 1918–1941 (New York: Brooklyn Museum/Harry N. Abrams, 1986), 23. 3. See Charles Jencks, Modern Movements in Architecture (London: Penguin Books, 1985 [1973]), 32. 4. See Richard Guy Wilson, “Machine Aesthetics,” The Machine Age in America, 43–63. 5. De Chirico, in Caroline Tisdall, “Historical Foreword,” in Massimo Carrà, ed., Meta- physical Art (London: Thames & Hudson, 1971), 11. 6. Ibid., 13. 7. Hugo Ball, “Dada Fragments,” in Charles Harrison and Paul Wood, eds., Art in Theory 1900–2000 (Oxford, UK: Blackwell, 2002), 250–251. 8. Arp, in William Rubin, Dada, Surrealism, and Their Heritage (New York: Museum of Modern Art, 1968), 12. Also see Michel Sanouillet, Dada in Paris (Cambridge: MIT Press, 2009). 9. Arp, “Dada Was No Childish Romp,” in R. W. Last, ed., Hans Arp: The Poet of Dadaism (London: Oswald Wolff, 1969), 77–79. 10. Arp, in Herbert Read, Arp (London: Thames & Hudson, 1968), 34; Arp, On My Way: Poetry and Essays, 1912–1947 (New York: Wittenborn, Schultz, 1948), 75. 11. Arp, in Last, Hans Arp: The Poet of Dadaism, 77. 224 N OTES

12. Arp, in Arp (New York: Buchholz Gallery, January 18–February 12, 1949), unpaginated. 13. Mondrian, in Blotkamp, Mondrian: The Art of Destruction, 204. 14. Apollinaire, “L’Esprit nouveau et les poètes,” November 26, 1917, published posthu- mously in Mercure de France, 30 (December 1, 1918): 383–396; cited in Henry Dorra, Symbolist Art Theories (Berkeley: University of California Press, 1994), 310–312. 15. Breton, in The Surrealist Revolution, gallery guide (Paris: Pompidou Center, 2002), unpaginated. 16. Breton, What Is Surrealism? (London: Faber & Faber, 1936), 87. 17. Breton, Ibid. 18. Freud, “The Uncanny,” Collected Papers, IV (London: Hogarth Press, 1956), 370; cited in Celia Rabinovitch, Surrealism and the Sacred (Boulder: Westview Press, 2002), 29. 19. Breton, Manifestoes of Surrealism (Ann Arbor: University of Michigan Press, 1974), xi; cited in Rabinovitch, Surrealism and the Sacred, 29. 20. Breton, What Is Surrealism?, 84. 21. Herbert Read, A Concise History of Modern Painting (London: Thames & Hudson, 1974 [1959, 1968], 140. 22. Miró, in Barbara Rose, “Miro Finds His Vocation as an Artist,” in Joseph J. Schildkraut and Aurora Otero, eds., Depression and the Spiritual in Modern Art: Homage to Miró (New York: John Wiley & Sons, 1996), 180. 23. Margit Rowell, “Introduction,” Joan Miró: Selected Writings and Interviews (Boston: G. K. Hall, 1986), 6. 24. Jacques Dupin, Joan Miró: Life and Work (New York: Harry N. Abrams, 1962), 15. 25. Ibid., 10–12. 26. Miró, Selected Writings, 210, in Charles A. Riley II, The Saints of Modern Art (Hanover, NH: University Press of New England, 1998), 43. 27. Dupin, Joan Miró, 17. 28. Miró, in Margit Rowell, Miró (New York: Harry N. Abrams, 1970), 24. 29. Miró, in Walter Eben, Joan Miró (New York: George Braziller, 1959), 136. 30. Fini, in Constantin Jelenski, ed., Leonor Fini (Lausanne: La Guilde du Livre et Clairefontaine, 1972), 15. 31. Ernst, in Leonor Fini (Paris: Éditions Hervas, 1981), 35. 32. Wolfgang Paalen, “Excerpt from the Dynaton Catalogue, 1951,” in Nora Helpern, ed., Dynaton: Before and After (Malibu: Frederick R. Weisman Museum of Art, Pepperdine University, 1992), 7. 33. Matta, in Alain de Gourcuff, “Matta,” France Magazine, Spring 1992, 20. 34. In conversation with Gordon Onslow Ford at his home in Inverness, CA, April 1, 1996. Regarding his sense of Surrealism, see his books, including Yves Tanguy and Automatism (Point Reyes, CA: Bishop Pine Press, 1983); also see the Lucid Art Foundation (www. lucidart.org). 35. Tanning, in Adiran Dannatt, “NY Artist Q & A: Dorothea Tanning,” The Art Newspaper, 98 (December 1999). 36. Walter Gruen, Essay in Remedios Vara: Catalogue Raisonée, Spanish and English Edi- tion (Mexico City: Ediciones Era, 1994); also see Margarita de Orellana, ed., The Five Keys to the Secret World of Remedios Varo (Mexico City: Artes de Mexico Y Del Mundo, 2008). 37. Grosz, “My New Pictures,” “Zu meinen neuen Bildern,” Das Kunstblatt, 5: 1 (1921), 11–14; in Rose-Carol Washton Long, ed., German Expressionism (Berkeley: University of California Press, 1995), 275–277. 38. Grosz, in Peter Selz, Art in a Turbulent Era (Ann Arbor, MI: UMI Research Press, 1985), 213. N OTES 225

39. Conrad Felixmüller, “To Art,” 1918, cited in Washton Long, ed., German Expressionism, 234. 40. Beckmann, exhibition catalogue, J. B. Neumann Gallery, Berlin, November 1917. 41. Beckmann, cited in Peter Selz, Max Beckmann (New York: Museum of Modern Art, 1964), 25. 42. See Sarah O’Brien Twohig, Beckmann Carnival (London: Tate Gallery, 1984). 43. Beckmann, On My Painting, delivered at New Burlington Galleries, London, 1938 (New York: Buchholz Gallery, 1941), 4–6, 13. 44. Gropius, Bauhaus-Online, bauhaus-online.de/en/atlas/das-bauhaus/idee/manifest (accessed April 4, 2014). 45. Van Doesburg, in H. L. C. Jaffe, De Stijl (Amsterdam: Meulenhoff, 1956), 20; cited in Charles Jencks, Modern Movements in Architecture (London: Penguin Books, 1985 [1973]), 116. 46. Klee, in Ernst-Gerhard Güse, ed., Paul Klee: Dialogue with Nature (Munich: Prestel, 1991), 10. 47. Herbert Read, A Concise History of Modern Painting (London: Thames & Hudson, 1985 [1968]), 233. 48. Klee, in Felix Klee, ed., The Diaries of Paul Klee (Berkeley: University of California Press, 1964), no. 375, 91. 49. Klee, in Andrew Kagan, Paul Klee: Art and Music (Ithaca: Cornell University Press, 1983), 146–147. 50. Klee, Diaries, no. 421, 123. 51. Klee, Diaries, no. 920, 278. 52. Klee, Diaries, no. 857, 237; and Klee, in Beeke Sell Tower, Klee and Kandinsky in Munich and at the Bauhaus (Ann Arbor: UMI Research Press, 1981), 29. 53. Delaunay, in Güse, ed., Paul Klee: Dialogue with Nature, 13–14. 54. Klee, in Read, A Concise History of Modern Painting, 180. 55. Klee, in Güse, ed., Paul Klee: Dialogue with Nature, 15. 56. Klee, The Notebooks, I, 93; in Ileana Marcoulesco, A Piece of the Moon World (Houston: The Menil Collection, 1995), 20. 57. Klee, The Inward Vision (London: Thames & Hudson, 1958), 5, 9. 58. Klee, in Susanna Partsch, Paul Klee, 1879–1940 (Cologne: Taschen, 1993), 54. 59. “Sur le plastique,” L’Esprit Nouveau, I: 1 (October 1920), translated as “Purism,” in Herbert, Modern Artists on Art, 64–65. 60. Charles Jencks, Le Corbusier and the Tragic View of Architecture (London: Penguin Books, 1987), 45. 61. Freemasonry, Gale Encyclopedia of Occultism & Parapsychology (Farmington Hills, MI: Gale, 2001). 62. See Richard A. Moore, “Alchemical and Mythical Themes in The Poem of the Right Angle,” Oppositions, 19/20 (Winter 1980): 110–141, Cambridge: MIT Press, 1980; and J. K. Birksted, Le Corbusier and the Occult (Cambridge: MIT Press, 2009). 63. Birksted, Le Corbusier and the Occult, Chapter 5. 64. Ibid., Plus 277–279. 65. Rouault, in Isabella Rouault (Washington, DC: National Museum of Women in the Arts, 1990), 14; also see Terrence Dempsey, SJ, “Georges Rouault and the Art of Sacred Engagement,” lecture on May 1, 2011, MOCRA; video on www.slu.edu/mocra/mocra- voices/dempsey-lecture-on-rouault (accessed March 14, 2014). 66. John Canaday, Mainstreams of Modern Art (New York: Henry Holt, 1959), 412; also see the essay by Ileana Marcoulesco in Georges Rouault: The Inner Light (Houston: Menil Collection, 1996). 226 N OTES

67. Rouault in Pierre Courthion, Georges Rouault (New York: Abrams, 1977), 348. 68. Rouault, in The Graphic Work of Georges Rouault (South Bend, IN: University of Notre Dame University Art Gallery, 1972), unpaginated; and in Courthion, Georges Rouault, 341. 69. See Stephen Schloesser, Jazz Age Catholicism: Mystic Modernism in Postwar Paris, 1919– 1933 (Toronto: University of Toronto Press, 2005). 70. Clement Greenberg, Art and Culture: Critical Essays (Boston: Beacon Press, 1961), 86. 71. James Thrall Soby, in James Thrall Soby, ed., Georges Rouault: Paintings and Prints (New York: MOMA, 1947). 72. Rouault, in Courthion, Georges Rouault, 398. 73. Spencer, in Judith Nesbitt, ed., Stanley Spencer: A Sort of Heaven (Liverpool: Tate Gallery Liverpool, 1992), 17. 74. Spencer, in Duncan Robinson, Stanley Spencer (New York: Phaidon Universe, 1990), 22. 75. Ibid., 36. 76. Keith Bell, Stanley Spencer (London: Phaidon Press, 1992), 66. 77. Maritain, in David Jones, 1895–1974, unpaginated. 78. David Jones, “Art in Relation to War,” cited in David Jones, 1895–1974 (London: Anthony d’Offay, 1979), unpaginated. 79. Jones, Epoch and Artist, cited in David Jones (London: Southbank Centre, 1989), 38. 80. Jones, in David Jones (London: Tate Gallery, 1981), 48. 81. Jones, in David Jones (London: South Bank Centre, 1989), 37. 82. Collins, The Vision of the Fool and Other Writings (Ipswich, UK: Golgonooza Press, 1994 [1947]), 104. 83. See “Elizabeth Collins, 1904–2000,” at www.EnglandGallery.com; several of her works are owned by Tate Britain; she ﬁrst painted an image of the wise and pure Fool, which her husband then adopted as his most famous recurring archetypal form. 84. Collins, in Judith Collins, ed., Cecil Collins (London: Tate Gallery, 1989), 37. 85. Collins, in The Vision of the Fool and Other Writings, 43. 86. Epstein, in Ellen Silber, The Sculpture of Epstein (Lewisburg, PA: Bucknell University Press, 1986), 53. 87. Epstein, Let There Be Sculpture: The Autobiography of Jacob Epstein.(London:The Reader’s Union, 1942), 7. 88. Stella, in Irma B. Jaffe, Joseph Stella’s Symbols (San Francisco: Pomegranate Artbooks, 1994), xiii. 89. Chagall, in Benjamin Harshav, ed., Marc Chagall on Art and Culture (Stanford: Stanford University Press, 2003), 172. 90. See Edith Balas, Brancusi and His World (Pittsburgh: Carnegie Mellon University Press, 2008). 91. Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art (Princeton: Princeton University Press, 1983), 342. 92. Wright, “Art: Last Monument,” Time Magazine, November 2, 1959. 93. Marin, in Dorothy Norman, The Selected Writings of John Marin (New York: Pellegrini and Cudahy, 1949), 51; in Sarah Greenough, ed., Modern Art in America: Alfred Stieglitz and His New York Galleries (Boston: Little, Brown, 2001), 352. 94. Stieglitz, in Waldo Frank, Dorothy Norman, Paul Rosenfeld, and Harold Rugg., eds., America and Alfred Stieglitz (New York: Doubleday/Doran, 1934), 135. 95. Sarah Greenough, Modern Art in America, 318. 96. Dove, in Barbara Haskell, Arthur Dove (Boston: New York Graphic Society, 1974), 136. N OTES 227

97. Dove, in Sherrye Cohn, Arthur Dove: Nature as Symbol (Ann Arbor: UMI Research Press, 1985), 13. 98. Hartley, in Townsend Luddington, Seeking the Spiritual: The Paintings of Marsden Hartley (Ithaca: Cornell University Press, 1998), 23. 99. Harris, in Marylin J. McKay, Picturing the Land (McGill Queens University Press, 2011), 196; also see The Group of Seven: Revelations by Members of the Arts and Letters Club (Toronto: The Arts and Letters Club, undated). 100. Harris, 1926, website of the National Gallery of Canada, www. gallery.ca/en/see/ collections/artist.php?iartistid=2326 (accessed December 20, 2013). 101. Carr, in Anne Newlands, Emily Carr (Willowdale, Ontario: Fireﬂy Books, 1996), 22. 102. Ibid., 30. 103. The Art History Archive—Canada, www.arthistoryarchive.com/arthistory/canadian/ Emily-Carr.html (accessed December 22, 2013). 104. Carr, in Growing Pains: The Autobiography of Emily Carr (Madeira Park, BC: Douglas & McIntyre, 2005), 457. 105. Carr, in Ann Davis, The Logic of Ecstasy: Canadian Mystical Painting 1920–1940 (Toronto: University of Toronto, 1992), 15. 106. Carr, in Newlands, Emily Carr, 42.

Chapter 4: Allusive Spirituality

1. Duchamp, “The Creative Act,” translated by the artist, in Michel Sanouillet and Elmer Peterson, eds., Salt Seller: The Writings of Marcel Duchamp (New York: Da Capo Press, 1989), 139–140. 2. See “The Wisdom of Dhamma,” in Charlene Spretnak, States of Grace (San Francisco: HarperSanFrancisco, 1991), 36–43. 3. Shunryu Suzuki, Not Always So (New York: HarperCollins, 2002), 35–36. 4. Martica Sawin, Surrealism in Exile and the Beginning of the New York School (Cambridge, MA: MIT Press, 1995), 153. 5.OnslowFord,inSawin,Surrealism in Exile and the Beginning of the New York School, 160. 6. Ibid., 166. 7. Fariba Bogzaran, Lucid Art Foundation, Inverness, CA, e-mail to Charlene Spretnak on April 3, 2014; she also notes that accounts differ as to whether Jackson Pollock was in attendance at times. 8. Rothko and Gottlieb, “A Letter from Mark Rothko and Adolph Gottlieb to the Art Editor of the New York Times,” New York Times, June 7, 1943. 9. Newman, “The Plasmic Image,” Barnett Newman: Selected Writings and Interviews (Berkeley: University of California Press, 1992), 140. 10. Elizabeth Langhorne, “The Magus and the Alchemist: John Graham and Jackson Pollock,” American Art, Fall 1998, 48. 11. Gottlieb, in Evan M. Maurer, “Adolph Gottlieb: Pictographs and Primitivism,” The Pictographs of Adolph Gottlieb (New York: Hudson Hills Press, 1994), 34. 12. Newman, in Thomas Hess, Barnett Newman (New York: Walker, 1969), 37. 13. Rothko, in Sheldon Nodelman, “Rediscovering Rothko,” Art in America, July 1999, 59. 14. Rothko, in Beuys, Klein, Rothko: Transformation and Prophecy (London: Anthony d’Offay Gallery, 1987), 11. On Rothko, also see Sean Scully, “Bodies of Light,” Art in America, July 1999, 67–71, 111. 15. Rothko, in The Artist’s Reality (New Haven: Yale University Press, 2004), 104. 228 N OTES

16. Newman, Chronology, 1966, on the Barnett Newman Foundation’s website: www. barnettnewman.org (accessed February 10, 2014). 17. Pollock, in Langhorne, “The Magus and the Alchemist: John Graham and Jackson Pollock,” 50. 18. Ibid., 48. 19. Rothko, in Clyfford Still (New York: Art of this Century Gallery, 1946); in Diane Waldman, Mark Rothko, 1903–1970 (New York: Abrams, 1978), 51. 20. Ratcliff, “The Idea of Order in the Art of Clyfford Still,” Art in America, December 2001, 82. 21. Still, in Thomas Killein, ed., Clyfford Still (Munich: Prestel, 1992), 100, 162. 22. Ibid. 23. Reinhardt, in Alexandra Munroe, “Art of Perceptual Experience,” The Third Mind: American Artists Contemplate Asia, 1860–1989 (New York: Guggenheim Museum, 2009), 290. 24. “Ping/Pong: Lucy Lippard and Barbara Rose Talk about Reinhardt,” The Brooklyn Rail, January 16, 2014. 25. Francis, from “Color May Extend Forever,” Saturated Blue ...Writings from the Note- books (Culver City, CA: Lapis Press, 1995), unpaginated; Francis, in Sam Francis (Berlin: Cantz Verlag, 1993), 48. 26. Motherwell, in “The Modern Painter’s World,” in Dore Ashton with Joan Banach, eds., The Writings of Robert Motherwell (Berkeley: University of California Press, 2007), 27–35. 27. Hofmann, in Sara T. Weeks and Bartlett H. Hayes, Jr., eds., Search for the Real (Cambridge: MIT Press, 1967 [1948]), 47, 48. 28. Ibid., 45. 29. Ibid., 61, 71. 30. Ibid., 63. 31. “Hofmann Paintings at the Museum of Modern Art,” press release, MoMA, Septem- ber 11, 1963. 32. Tobey, in “Review of Mark Tobey Retrospective,” One Country,9:4,January-March 1998, www.onecountry.org/oc94/oc9416as.html (accessed February 13, 2014). 33. Tobey, in “Art and Community,” Mark Tobey: Art and Belief (Oxford, England: George Ronald, 1984), 34. 34. Seitz, Mark Tobey (New York: Museum of Modern Art, 1962), 20. 35. Tobey, in Wieland Schmied, Tobey (New York: Abrams, 1966), 13. 36. Youngerman, in Benita Eisler, “Life Lines,” The New Yorker, January 25, 1993, 78. 37. Rauschenburg, in Alexandra Monroe, ed., The Third Mind (New York: Guggenheim Museum, 2009), 202. 38. Kelly, Ibid., 75. 39. Martin, in Suzan Campbell, “Interview with Agnes Martin,” August 15, 1989, transcript, Archives of American Art, Smithsonian Institution, 10–11. 40. Martin, Letter of December 31, 1983, to David J. Clarke, in Clarke, The Inﬂuence of Ori- ental Thought on Postwar American Painting and Sculpture (New York: Garland, 1988), 231; also Martin, in Gloria Goodale, “Painter Agnes Martin,” Christian Science Monitor, January 24, 1996. 41. Martin, in lecture notes for “On the Perfection Underlying Life,” in Thomas McEvilley, “Grey Geese Descending: The Art of Agnes Martin,” Artforum, Summer 1987, 94. 42. Martin, in the press release for the “Agnes Martin” Retrospective, Whitney Museum of American Art, November 5, 1992. N OTES 229

43. Martin, in Ann Wilson, “Linear Webs,” Art & Artists, 1, October 1966, 49. 44. Martin, in Lucy R. Lippard, “Homage to the Square,” Art in America, 55, July–August 1967, 54. 45. Martin, in Joan Simon, “Perfection Is in the Mind,” Art in America, May 1996, 84. 46. Richter, in Dietmar Elger and Hans Ulrich Obrist, eds., Gerhard Richter: Text (London: Thames & Hudson, 2009), 200. 47. Ibid., 34. 48. Richter, in “Gerhard Richter Interview,” Time Out (London), October 10, 2011. 49. Nechvatal, in Nechvatal, postings in the Beyond Kandinsky online symposium, School of Visual Arts, March 30, 2011, www.beyondkandinsky.net/BeyondKandinskyTranscript. pdf (accessed February 21, 2014). 50. Nechvatal, in Taney Roniger, “An Interview with Joseph Nechvatal,” Concatenations Forum, February 26, 2012, www.concatenationsforum.org/2013/06/interview-with- joseph-nechvatal-by.html (accessed February 21, 2014). 51. Kuspit, “The Matrix of Sensations,” Artnet, August 5, 2005, www.artnet.com/ magazineus/features/kuspit/kuspit8-5-05.asp (accessed February 22, 2014). 52. Nechvatal, Beyond Kandinsky Symposium. 53. McCormick, “On the Ecstatic Excess of Joseph Nechvatal,” a revised version of a review in Artforum, 1989, www.eyewithwings.net/nechvatal/mccor.htm (accessed February 20, 2014). 54. Klein, The Chelsea Hotel Manifesto, New York, 1961, in Biography section on YvesKleinArchives.org; unless otherwise noted, all Klein citations are from this source, www.yveskleinarchives.org/documents/bio_us.html (accessed January 24, 2014). 55. Klein, Yves Klein, 1928–1962: Selected Writings, Jacques Caumont and Jennifer Gough- Cooper, eds. (London: Tate Gallery, 1974), 21. 56. Klein, Yves Klein, 1928–1962, 27. 57. Klein, Ibid., 41. 58. See, for example, Benjamin H. D. Buchloh, “Pandora’s Painting: From Abstract Fal- lacies to Heroic Travesties,” Gerhard Richter: Documenta IX, 1992 (New York: Marian Goodman Gallery, 1993), 47. 59. Cage, Autobiographical Statement, 1990, John Cage Estate Website, johncage.org/auto biographical_statement.html (accessed February 22, 2014). 60. Brown, Overview: Crown Point Press Newsletter, April 2012, 3–4; also see John Cage Visual Art (San Francisco: Crown Point Press, 2001). 61. SFMOMA Calendar, September 2005; Michael Kimmelman, “40 Years of Mak- ing Much Out of Little,” NY Times, November 11, 2005; Madeleine Grynsztejn, “A Universe of Small Truths,” The Art of Richard Tuttle (San Francisco: SFMOMA, 2005). 62. Kimmelman, op. cit. 63. Tuttle, in Julie Salamon, “Artist or Guru, He Aims Deep,” NY Times, December 3, 2004. 64. Kimmelman, op. cit. 65. Susan Harris, “Finding a Way to Go On,” 42; Holliday T. Day, “Drawing a New Role for Drawing,” 37; Bret Waller, “Reﬂections on Richard Tuttle’s Drawings,” 29; all in Richard Tuttle: Drawings from the Vogel Collection (Amsterdam: Institute of Contemporary Art, 1992). 66. Tuttle, interview conducted by Charlene Spretnak on August 18 and 19, 1999, with follow-up questions in January 2014; unless otherwise noted, all quotations are from this interview. Also see the ﬁlm by Chris Maybach, Richard Tuttle: Never Not an Artist (2005). 230 N OTES

67. Tuttle, Le bonheur et la couleur, CAPC Musee d’Art Contemporain de Bordeaux (Collection Transversalite I, Bordeaux 1986), in Harris, “Finding a Way to Go On,” 46. 68. Tuttle, Notes for Sleep/Time, Sprengel Museum, Hannover, 1990, in Harris, 47. 69. Tuttle, in an interview by Mei-mei Berssenbrugge, 1990, in Harris, 51. 70. Tuttle, “The Defense of Puritanism,” lecture at Naropa University, Boulder, CO, June 2003. 71. Kathan Brown, “Richard Tuttle: Mandeville,” Overview, Crown Point Press, San Francisco, Fall 1998, 1. 72. Holland Cotter, “Richard Tuttle,” NY Times, May 30, 2003. 73. Kimmelman, “Inﬂuence Cast in Stone.” 74. Tuttle, in Grynsztejn, “A Universe of Small Truths,” 21. 75. Tuttle, in Kenneth Baker, “Richard Tuttle Has Earned His Major SFMOMA Ret- rospective: Question Is, Does He Really Want It?,” San Francisco Chronicle,June5, 2005. 76. Tuttle, in Grynsztejn, “A Universe of Small Truths,” 21; here Tuttle refers only in general about some “Metaphysical Experiences” he had in childhood, without relating them. 77. Grynsztejn, Ibid., 60. 78. Tuttle, in Grynsztejn, Ibid., 32. 79. Tuttle, in Tara McDowell, “Framed Drawings,” The Art of Richard Tuttle, 227. 80. Kimmelman, “40 Years of Making Much Out of Little”; Tuttle in Baker, “Richard Tuttle Has Earned His Major SFMOMA Retrospective.” 81. Tuttle, in Grynsztejn, “A Universe of Small Truths,” 50. 82. Cotter, “Richard Tuttle.” 83. Eliasson, “Cultural History, Not Natural History,” DB-Art.info, www.db-artmag.com/ archiv/06/e/magazin-eliassoninterview.html (accessed February 23, 2014). 84. Eliasson, in Adam Jasper, “Take Your Time: Olafur Eliasson,” Sydney Ideas Quar- terly, December 2009, www.usyd.edu.au/sydney_ideas_quarterly/people/interviews/03_ olafur.shtml (accessed February 23, 2014). 85. Miles, “Olafur Eliasson: Beyond All Analysis,” Art Lies, 40, www.artlies.org/article.php? id=1063&issue=40&s=0 (accessed February 22, 2014). 86. Ibid. 87. Pujol, in Thyrza Nichols Goodeve, “Vulnerability as Critical Self-Knowledge,” Brooklyn Rail, October 3, 2013. 88. Biggers, in Noah Becker, “Interview with Sanford Biggers,” WhiteHot Magazine, April 2010, whitehotmagazine.com/articles/2010-interview-with-sanford-biggers/2054 (accessed February 25, 2014). 89. Biggers, in Mary Jane Jacob, “Sanford Biggers,” Buddha Mind in Contemporary Art (Berkeley: University of California Press, 2004), 205. 90. “Exhibition & Museum Attendance Figures 2011,” The Art Newspaper, 234, April 2012, 35. 91. Nevelson, in Laura Lisle, Louise Nevelson (New York: Summit Books, 1990), 67. 92. Ibid., 183. 93. Baker, “Scavenged Materials Give Nevelson Reliefs a Lasting Quality,” San Francisco Chronicle, June 19, 2004. Regarding structural abstract sculpture, also see Eli Bornstein, exhibition catalogue, (New York: Forum Gallery, 2007). 94. Dore Ashton, NoguchiEastandWest(New York: Knopf, 1992), 242. 95. Noguchi, in Sam Hunter, Isamu Noguchi (New York: Abbeville, 1978), 153. 96. Noguchi, in Grace Glueck, “Forms to Free the Mind From Worldly Concerns,” New York Times, April 19, 2002. 97. Noguchi, Ashton, Noguchi East and West, 200. N OTES 231

98. Smith, in Phyllis Tuchman, “Tony Smith: Architect, Painter, Sculptor,” Artnet, 1998, www.artnet.com/magazine_pre2000/features/tuchman/tuchman7-14-98.asp (accessed February 28, 2014). 99. Ibid. 100. Fritz Bultman, in Richard Kalina, “Building Form,” Art in America, March 1999, 81. 101. Smith, in Harriet F. Senie, “Re-Approaching Tony Smith, Sculpture Magazine, 17: 9, November 1998, www.sculpture.org/documents/scmag98/tsmith/sm-tsmth.shtml (accessed February 28, 2014); also, Smith in Kalina, “Building Form,” 81. 102. Smith, in Kalina, “Building Form,” 81. 103. Caro, in Nicholas Wroe, “Anthony Caro: A Life in Sculpture,” The Guardian (London), March 16, 2012. 104. Glover, “Hot Metal,” The Independent (London), April 15, 2010. 105. Caro, in Wroe, “Anthony Caro,” The Guardian, March 16, 2012. 106. Andre, in Paul Cummings, ed., Artists in Their Own Words (New York: St. Martin’s Press, 1979), 189. 107. Turrell, in Calvin Tomkins, “Flying into the Light,” The New Yorker, January 13, 2003. 108. Turrell, in Martin Gaylord, “Seeing the Light,” Modern Painters, Winter 2000, 26. 109. Peter Schjeldahl, “Way Out West,” The New Yorker, January 25, 2010, 77. 110. Johnson, “James Turrell,” New York Times, December 12, 2003. 111. Smith, “New Light Fixture for a Famous Rotunda,” New York Times, June 21, 2003. 112. Turrell, in Tomkins, “Flying into the Light,” The New Yorker, January 13, 2003. 113. Turrell, in David Pagel, “Turn on the Light,” Los Angeles Times, October 21, 2007. 114. Ibid., 30. 115. Turrell, in Jori Finkel, “Earth and Sky,” Los Angeles Times, May 12, 2013. 116. Kapoor, “Thinking Big,” The Art Newspaper, no. 247, June 2013. 117. Roberta Smith, “The Sculptor as Magician,” New York Times, May 30, 2008. 118. Kapoor, in Martin Gaylord, “Looking In,” Modern Painters, Spring 2000, 98. 119. Kapoor, in Alan Yentob, “The Year of Anish Kapoor,” Imagine, BBC, Epsiode 1, 2009, www.bbc.co.uk/programmes/b00p00f2 (accessed January 22, 2014). 120. Kapoor, in Martin Gaylord, “All & Nothing,” Apollo, 106. 121. Kapoor, “Conversation between Curator Marcello Dantas and Anish Kapoor,” regarding Ascension, Rio de Janeiro/Brazil/Sao Paulo, 2006–2007, anishkapoor.com/178/In- conversation-with-Marcello-Dantas.html (accessed January 23, 2014). 122. Scully, Louis I. Kahn (New York: George Braziller, 1962), 10. 123. “Kahn’s Modern Monuments,” New York Times, May 5, 2000. 124. Scully, Louis I. Kahn, 10. 125. Ibid. 126. Joseph Giovannini, “Portrait of an Architect,” Art in America, 92: 5, May 2004, 79; also see the ﬁlm My Architect: A Son’s Journey by Nathaniel Kahn. 127. Kahn, in What Will Be Has Always Been: The Words of Louis I. Kahn (New York: Rizzoli, 1986), 10; also in John Lobell, Between Silence and Light (Boulder: Shambhala, 1979), 50. 128. Kahn, in Lobell, Between Silence and Light, 20. 129. Ibid., 52. 130. Ibid., 66. 131. Ibid., 68. 132. Goldberger, “Many Mansions,” The New Yorker, November 12, 2001, 132. 133. Greenberg, “Our Period Style,” Partisan Review, XVI: 11, November 1949, 1138. 232 N OTES

Chapter 5: Spirituality of Immanence

1. Graves, in Deloris Tarzan Ament, “Morris Graves: The Bad-Boy Recluse of Northwest Art,” Northwest Art Guide, 2002, www.artguidenw.com/Graves (accessed December 7, 2013). 2. These works have been gathered in Joseph Beuys: Early Watercolors (New York: Schirmer/Norton, 1991). 3. Beuys, interview by Kate Horsefield, 1980, in Carin Kuoni, ed., Energy Plan for the Western Man: Joseph Beuys in America (New York: Four Walls Eight Windows, 1990), 74. Also see John F. Moffitt, Occultism in Avant-Garde Art: The Case of Joseph Beuys (Ann Arbor, MI: UMI, 1988). 4. Beuys, in Kim Levin, Introduction, Ibid., 4. 5. Ken Johnson, “Don’t Call the Cleaning Crew. That Yellow Spill Is Art,” New York Times, January 31, 2013. 6. Margit Rowell, “Modest Propositions,” in Klaus Ottmann, ed., Wolfgang Laib: A Retro- spective (New York: American Federation of Arts, 2000), 28. 7. Ibid., 34. 8. Laib, in Darren James Jorgensen, “Wolfgang Laib: Returning to What Is,” e-maj,1,July– December 2005, emajartjournal.com/past-issues/issue-1 (accessed November 26, 2013). 9.Laib,inClareFarrow,Wolfgang Laib: A Journey (Stuttgart: Edition Cantz, 1996), 18 [slightly adjusted translation]. 10. Goldsworthy, in Michael Brunton, “Q & A with Andy Goldsworthy,” TIME, April 13, 2007. 11. Goldsworthy, Hand to Earth: Andy Goldsworthy Sculpture, 1976–1990 (New York: Abrams, 1990), 161. 12. Goldsworthy, Introduction, Andy Goldsworthy: A Collaboration with Nature (New York: Abrams, 1990), not paginated. 13. Goldsworthy, in Alastair Sooke, “He’s Got the Whole World in His Hands,” Daily Te l e g raph (London), March 24, 2007. 14. Goldsworthy, in Hand to Earth, 164. 15. Goldsworthy, in Tim Adams, “Natural Talent,” The Observer, March 10, 2007. 16. Goldsworthy, Lurcy Lecture, Cornell University, October 1999. 17. Ritchie, interview by Charlene Spretnak, conducted in New York on February 8, 2001; follow-up questions in January 2014; all quoted statements are from this interview. 18. “Sigmar Polke,” obituary, The Daily Telegraph (London), June 13, 2010. 19. Kathy Halbreich, in Jonathan Griffin, “Polke: The Dots Joined Up at Last,” The Art Newspaper, No. 256, April 2014, 29. 20. Polke, in Peter Schjeldahl, “Many-Colored Glass,” The New Yorker, May 12, 2008. 21. Provisor, in Constance Lewallen, “Interview with Janis Provisor, February 1990,” View (Crown Point Press), 7: 1, Spring 1990. 22. Moore, “The Sculptor’s Aims,” in Herbert Read, ed., Unit One (London), 1934; also in David Sylvester, ed., Henry Moore (London: Lund Humphries, 1988), xxxi. 23. Moore, in John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore (New York: Stewart, Tabori & Chang, 1988), 67. 24. Read, in George Wingfield Digby, Meaning and Symbol in Three Modern Artists (London: Faber and Faber, 1995), 66. 25. Moore, in Hedgecoe, A Monumental Vision, 113. 26. Oliveira, in Peter Selz, ed., Nathan Oliveira (Berkeley: University of California Press, 2002), 9. 27. Oliveira, Ibid., 131. N OTES 233

28. Oliveira, public conversation with Peter Selz, San Jose Art Museum, March 3, 2002. 29. Hilarie Faberman, in Diane Rogers, “The Color of His Dreams,” Stanford Alumni Mag- azine, 2002, alumni.stanford.edu/get/page/magazine/article/?article_id=37743 (accessed January 2, 2014). 30. Oliveira, Nathan Oliveira on the Windhover Project, videotape, San Francisco Museum of Modern Art, December 29, 1999, www.sfmoma.org/explore/multimedia/videos/320 (accessed January 2, 2014). 31. Selz, “Stephen De Staebler’s ‘Figure Columns,’ ” Sculpture, 21: 4 (May 2002). 32. Abakanowicz, in Joanna Inglot, The Figurative Sculpture of Magdalena Abakanowicz (Berkeley: University of California Press, 2004), 15. 33. Abakanowicz, in Hunter Drohojowska, “Magical Mystery Tours,” ARTnews, September 1985, 112. 34. Donoghue, “Of Art and Mystery,” Boston Review, 6 (October 1983), 7. 35. Abakanowicz, in Barbara Rose, Magdalena Abakanowicz (New York: Abrams, 1994), 148. 36. Ibid., 34. 37. Abakanowicz, in Inglot, The Figurative Sculpture of Magdalena Abakanowicz, 116. 38. De Staebler, in conversation with Diane Apostolos-Cappadona, ed., Art, Creativity, and the Sacred (New York: Continuum, 1995), 26. 39. Kuspit, Stephen De Staebler: The Figure (San Francisco: Chronicle Books, 1988) 11, 15. 40. Selz, “Stephen De Staebler’s ‘Figure Columns,’ ” Sculpture, 21: 4 (May 2002). 41. Adams, “Becoming One Body: Stephen De Staebler’s Family of Winged Figures,” Image: Art, Faith, Mystery, 37 (Winter 2002), 36. Also see, Timothy Burgard, ed., Matter and Spirit: Stephen De Staebler, foreword by Dore Ashton (Berkeley: University of California Press, 2012). 42. Schneeman, Letter to the Editor, Artforum International, October 1983, 2. 43. Saar, artist’s website, betyesarr.net (accessed December 7, 2013). 44. Marina Abramovic Institute website, www.marinaabramovicinstitute.org/mai/mai/4 (accessed January 4, 2014). 45. Abramovic, in Greg Cook, TheARTery, artery.wbur.org/2013/03/06 (accessed January 4, 2014). 46. Kimmelman, “The Importance of Matthew Barney,” New York Times Magazine, Octo- ber 10, 1999. 47. Taylor, Reﬁguring the Spiritual (New York: Columbia University Press, 2011), 49. 48. Chicago, TheDinnerParty(Garden City, NY: Doubleday, 1979), 11. 49. See María A. Castro-Sethness, “Frida Kahlo’s Spiritual World: The Inﬂuence of Mexican Retablo and Ex-voto Paintings on Her Art,” Woman’s Art Journal, 25: 2 (Autumn 2004– Winter 2005), 21–24. 50. Gaby Wood, “Anatomy of an Icon,” The Observer (London), May 14, 2005. 51. Sandra Sider, “Mary Beth Edelson,” in Joan M. Marter, ed., The Grove Encyclopedia of American Art, I (New York: Oxford University Press, 2011), 136–137. 52. Edelson, “An Open Letter to Thomas McEvilley,” New Art Examiner, April 1989. 53. Mendieta, in John Perreault, “Earth and Fire: Mendieta’s Body of Work, in Petra Barreras del Rio and John Perreault, eds., Ana Mendieta: A Retrospective (New York: New Museum of Contemporary Art, 1987), 10. 54. Mendieta, Ibid., 29. 55. Sean O’Hagan, “Ana Mendieta: Death of an Artist Foretold in Blood,” The Observer (London), September 21, 2013; Vincent Patrick, “A Death in the Art World,” New York Times, June 10, 1990. 234 N OTES

56. Bhabha, “The Spiritual (Re)Turn,” Session 1, Guggenheim Museum forum, Octo- ber 19–23, 2009, www.guggenheim.org/new-york/interact/online-forum/the-spiritual- return/session-1 (accessed January 13, 2014). 57. Viola, in Robert Violette with Bill Viola, eds., Reasons for Knocking at an Empty House (Cambridge, MA: MIT Press, 1995), 251. 58. Description of the Bill Viola exhibition, Grand Palais, Paris, March 5—July 21, 2014, www.grandpalais.fr/en/event/bill-viola (accessed March 13, 2014). 59. Ammann, “Violence and Beauty,” Introduction, Robert Violette with Bill Viola, eds., Reasons for Knocking, 19. 60. Viola, in John Walsh, “Emotions in Extreme Time,” in John Walsh, ed., Bill Viola: The Passions (Los Angeles: J. Paul Getty Museum, 2003), 50. 61. Viola, Reasons for Knocking, 247–248. 62. Viola, interview by Charlene Spretnak, June 24, 1999 at SFMOMA and January 31, 2003 at the Getty Museum; follow-up questions in February 2014; unless otherwise noted, quoted statements are from these interviews. 63. Viola, sermon at Grace Cathedral, San Francisco, June 20, 1999. 64. Viola, “West Coast Live,” KQED-FM, June 26, 1999. 65. Kenneth Baker, “Viola Shows Spiritual Side of Video,” San Francisco Chronicle, June 25, 1999. 66. Viola in Cristina Carrillo de Albornez, “Viola at the Altar,” The Art Newspaper, 210, February 2010, 34. 67. Mutu, in Merrily Kerr, “Wangechi Mutu’s Extreme Makeovers,” Art On Paper,8:6, July/August 2004. 68. Cotter, “María Magdalena Campos-Pons and Neil Leonard,” New York Times,Septem- ber 26, 2013. 69. Campos-Pons, in Tim Wilhelm, “Artist of the ‘Afro-Cuban disaspora’ Presents Personal Work at MOCRA,” The University News, St. Louis University, March 22, 2013. 70. Grayson B. Noley, “Processing the Natural,” in Judith McWillie and Inverna Lockpez, eds., The Migrations of Meaning (New York: INTAR Gallery, 1992), 32. 71. Bates, Ibid., 38. 72. Mumford and Sullivan, in Sherman Paul, Louis Sullivan (Englewood Cliffs, NJ: Prentice- Hall, 1962), x, 2. 73. Paul, Ibid., 3. 74. Sullivan, Ibid., 76, 32. 75. Wright, Genius and the Mobocracy (New York: Duell, Sloan and Pierce, 1949), 3. 76. Wright, in Frank Lloyd Wright: A Film by Ken Burns and Lynn Novick (New York: PBS, 1998).

Chapter 6: Rocked In the Bosom of Abraham

1. Carlos Fuentes, This I Believe (New York: Random House, 2005), 44. 2. Jean Arp, essay written for the exhibition catalogue Arp (New York: Curt Valentin Gallery, March 2–27, 1954), unpaginated. 3. Dominique de Menil coedited a collection of Fr. Couturier’s writings: M.-A. Couturier, Sacred Art (Houston and Austin: The Menil Foundation and the University of Texas Press, 1983). The Menil Foundation also copublished Henri Matisse, M.-A. Couturier and L.-B. Rayssiguier, The Vence Chapel: Archive of a Creation (with Skira Editore, 1999). 4. Couturier, in Flora Samuel and Inge Linder-Gaillard, Sacred Concrete: The Churches of Le Corbusier (Basel: Birkhäuser, 2013), 82. 5. Le Corbusier, Ibid., 119. N OTES 235

6. Le Corbusier, Ibid. 7. Le Corbusier, in Martin Purdy, “Le Corbusier and the Theological Program,” in Russell Walden, ed., The Open Hand (Cambridge: MIT Press, 1977), 289. 8. Matisse, in Herbert Read, A Concise History of Modern Painting (London: Thames & Hudson, 1968), 37. 9. Matisse, in Dominique Fourcade, ed., Ecrits et propos sur l’art,trans.byRogerLipsey (Paris: Hermann, 1972), 313. 10. Matisse, in Marie-Alain Couturier, Build in Truth, unpublished manuscript (Houston: Menil Collection Archives), 97, 103. 11. See Jane Daggett Dillenberger and John Handley, The Religious Art of Pablo Picasso (Berkeley: University of California Press, 2014). 12. Couturier, Build in Truth, 124. 13. Gilot quoting Matisse, in Arianna Stassinopoulos, Picasso: Destroyer and Creator (New York: Simon & Schuster, 1988), 338. 14. Matisse, in the Matisse-Bonnard correspondence published by Jean Clair, La Nouvelle Revue Francaise, July 1970, August 1970. 15. Danto, “Painting Earns Its Stripes,” Sean Scully: Light and Gravity (New York: Knoedler & Company, 2001), 12. 16. Grovier, “What Makes Modern Art?,” The Sunday Times (London), September 8, 2013. 17. Maurice Poirier, Sean Scully (New York: Hudson Hills Press, 1990), 11. 18. The facts of Scully’s story plus all quoted statements unless otherwise noted are from the interview by Charlene Spretnak, conducted by telephone on February 5, 2001, and by fax on April 4, 2001, with follow-up questions via letter and e-mail in October 2013. 19. Scully, in Eric Davis, “Sean Scully,” Journal of Contemporary Art, 1999, www.jca-online. com/scully.html (accessed December 23, 2009). 20. Scully, in Hans-Michael Herzog, “The Beauty of the Real,” in Danilo Eccher, ed., Sean Scully (New York: Charta, 1996), 77; also in The Catherine Paintings, (Bielefeld, Germany: Kunsthalle Bielefeld, 1995). 21. Scully, interview by Stephen Bennett Phillips, curator, Phillips Collection, Washington, DC, Online Wall Street Journal, 2006, online.wsj.com/ad/article-5-4-1.html (accessed September 16, 2013). 22. Scully, interview by Daniela Name, OGlobo, Rio de Janeiro, September 19, 2002. 23. Scully, in Herzog, “The Beauty of the Real,” 71. 24. Scully, interview by Daniela Name. 25. Scully, in Herzog, “The Beauty of the Real,” 113. 26. Scully in Victoria Combalia, “Sean Scully: Against Formalism,” Ned Rifkin, ed., Sean Scully: Twenty Years, 1976–1995 (London: Thames and Hudson, 1995), 42. 27. Scully, interview by Cleusa Maria, Jornal do Brasil, Rio de Janeiro, August 12, 2002. 28. Scully, in Herzog, “The Beauty of the Real,” 69, 77, 129. 29. Scully, interviewed by Cleusa Maria. 30. Scully, in Rifkin, Sean Scully: Twenty Years, 1976–1995, 66. 31. Scully, interview by Daniela Name. 32. Scully, in Herzog, “The Beauty of the Real,” 89. 33. Ibid., 101. 34. Scully, in Combalia, “Sean Scully: Against Formalism,” 43. 35. Scully, in Herzog, “The Beauty of the Real,” 105. 36. Donald Kuspit, “Sean Scully,” review, Artforum, September 1999, 168. 37. Parker, in Iwona Blazwick, Cornelia Parker (London: Thames & Hudson, 2013), 37. 38. Parker, in What Do Artists Do All Day?, BBC Scotland, ﬁrst aired on June 4, 2013. 39. Blazwick, Cornelia Parker, 191. 236 N OTES

40. Parker, Ibid., 50. 41. Parker, interview by Charlene Spretnak, London, May 23, 2003, with follow-up questions via e-mail on November 4 and 5, 2013; unless otherwise noted, all quotations citing Parker are from this interview. 42. Parker, in Blazwick, Cornelia Parker, 107. 43. Parker, in Nicholas Wroe, “Cornelia Parker: ‘I’ve Always Been Happy to Sleep with the Enemy,’ ” The Guardian, May 17, 2013. 44. Charles Darwent, “Anselm Kiefer: ‘The Independent Wants to Know If I am a Nazi!,’ ” The Independent, October 11, 2009. 45. Kiefer, in Nicholas Wroe, “A Life in Art: Anselm Kiefer,” The Guardian, March 18, 2011. 46. Kiefer, in interview by Klaus Dermutz, Mary Walks amid the Thorn, Galerie Thaddaeus Ropac (Paris and Salzburg), July 24–August 27, 2008. 47. Norman Rosenthal, in Mart Engelen, “Anselm Kiefer,” #59 Magazine, 2012, 59maga- zine.nl/archives/1241 (accessed April 8, 2014). 48. Kiefer, in Daniel Siedell, “Where Do You Stand? Anselm Kiefer’s Visual and Verbal Arti- facts,” Image: Art, Faith, Mystery, Issue 77, imagejournal.org/page/journal/articles/issue- 77/siedell-essay (accessed April 8, 2014). 49. Kiefer, in Amy Seraﬁn, “The Louvre Now Accepts the Living,” New York Times, October 21, 2007. 50. Kiefer, in press release for Mary Walks amid the Thorn exhibition, Galerie Thaddaeus Ropac (Paris and Salzburg), July 24–August 27, 2008. 51. Kiefer, in interview by Axel Hecht and Alfred Nemeczek, Art 1 (1990), 40f. 52. Stephen Fleischman, in Avis Berman, “Ursula von Rydingsvard Sculpts Metaphors in Wood,” Smithsonian Magazine, 29: 2 (May 1998), 100. 53. Helaine Posner, “Introduction,” in Patricia C. Phillips, ed., Ursula von Rydingsvard: Working (New York: Prestel, 2011), 17. 54. Berman, “Ursula von Rydingsvard Sculpts Metaphors in Wood,” 98. 55. Von Rydingsvard, from two sources: Interview by Charlene Spretnak on Septem- ber 5, 2002, with follow-up questions on November 4 and 5, 2013 (unless otherwise noted, all direct quotations are from this interview); also “In Conversation: Ursula von Rydingsvard with Irving Sandler and John Yau, The Brooklyn Rail, April 2010. 56. Von Rydingsvard, in Marek Bartelik, “Reclaiming Spaces,” in Paul Anbinder, ed., The Sculpture of Ursula von Rydingsvard (New York: Hudson Hills Press, 1996), 85. 57. Von Rydingsvard, in Judy Colischan and Van Wagner Interview, Judith Murray, Paint- ings; Ursula von Rydingsvard, Sculpture (Greenvale, NY: Hillwood Art Gallery, Long Island University, 1985). 58. Von Rydingsvard, in Betsy Siersma Interview, Ursula von Rydingsvard: Socks on My Spoons (Amherst, MA: University Gallery, University of Massachusetts, 1995). 59. Von Rydingsvard, in Berman, “Ursula von Rydingsvard Sculpts Metaphors in Wood,” 102. 60. Christine Temin, “Sculpted Forms That Evoke Nature’s Forces,” Boston Globe,Septem- ber 4, 1998. 61. Von Rydingsvard, in Avis Berman, “Fighting with the Monsters in Her Studio,” New York Times, February 24, 2002. 62. Grace Glueck, “Primitive Jarring”, review, New York Times, June 6, 2003. 63. Von Rydingsvard, in Michael Kimmelman, “Intimations in Wood of Ritual and Refugee Camps,” New York Times, July 17, 1992. 64. Martin Friedman, in Berman, “Ursula von Rydingsvard Sculpts Metaphors in Wood,” 100. N OTES 237

65. Von Rydingsvard, in Jan Garden Castro, “Topography of the Soul: A Conversation with Ursula ?von Rydingsvard,” Sculpture, 26: 1, January/February 2007, 22–27. 66. Dore Ashton, “Ursula von Rydingsvard,” in Paul Anbinder, ed., The Sculpture of Ursula von Rydingsvard (New York: Hudson Hills Press, 1996), 61–62. 67. Smith, in “Kiki Smith,” PBS series Art 21, Season 2, www.pbs.org/art21/artists/kiki- smith (accessed October 14, 2013). 68. Smith, in “In Her Own Words,” interview by David Frankel, in Helaine Posner, ed., Kiki Smith (Boston: Little, Brown, 1998), 38. 69. Smith, in J. Zelmati: “Kiki Smith Collection Premiers at MOMA,” The Daily Princetonian, December 11, 2003. 70. Smith, in Steven Henry Madoff, “After the Roaring 80’s, A Decade of Quieter Voices,” New York Times, November 2, 1997. 71. Ruscha, in Amei Wallach, “The Restless American: On Ed Ruscha’s Road,” New York Times, June 24, 2001. 72. Hickey, in Michael Dooley, “Words: Ed Ruscha in Print,” Print, September 1, 1994. 73. Hickey, “Revision Number Four: Orphans,” Art in America, January 2009, 35. 74. Ariella Budick, “Museum’s Show Does Not Do Enough for Ruscha’s Talent,” Newsday, July 9, 2004. 75. Ruscha, interview by Charlene Spretnak via e-mail, September 2013 and January 2014. 76. Knight, in Dooley, “Words.” 77. Ruscha, interview by Spretnak. 78. Gormley, in Caitlin Van Dusen, “The Other Side of Appearance,” Tricycle, 12: 1 (Fall 2002), 82. 79. Gormley, in Martin Caiger-Smith, Antony Gormley (London: Tate Publications, 2010), 35. 80. Gormley, in Van Dusen, “The Other Side of Appearance,” 84. 81. Gormley, in Caiger-Smith, Antony Gormley, 33 and 116. 82. Gornik, in Robert Enright, “The Seductions of Landscape: A Conversation with April Gornik,” Border Crossings, 16: 3 (August 1997), 27. 83. Donald Kuspit, “Fictional Freedom: April Gornik’s Landscapes,” in Lucinda H. Gedeon, ed., April Gornik: Paintings and Drawings (Manchester, VT: Hudson Hills Press, 2004), 20. 84. Gornik, interview by Charlene Spretnak on February 22, 2001; follow-up questions via e-mail on September 23–24 and October 5, 2013. Unless otherwise noted, all direct quotations from the artist are from this interview. 85. Gornik., “Rooms in the View,” Art & Antiques, Summer 1988, 75. 86. Ibid. 87. Michael Brenson, cited in Kathan Brown, “April Gornik: A Spiritual Approach,” Overview: Crown Point Press Newsletter, November 1998, 1. 88. Gornik, in Enright, “The Seductions of Landscape,” 25. 89. Gornik, in “Rooms in the View,” 77. 90. Gornik, in Lewallen interview, 23; and in Brown, “April Gornik: A Spiritual Approach,” 2. 91. Cheim and Read Gallery, press release for the exhibition Three Catholics: Andy Warhol, Edward Ruscha and Robert Mapplethorpe, New York, April 29–June 27, 1998. 92. Ben Shahn: A Passion for Justice, a PBS ﬁlm, aired on KQED TV in San Francisco on July 9, 2002. 93. Susan Chevlowe, press release, Common Man, Mythic Vision: The Paintings of Ben Shahn, The Jewish Museum, New York, November 8, 1998 to March 7, 1999. 94. Kitaj, in Marco Livingstone, R. B. Kitaj (New York: Rizzoli, 1985), 30. 238 N OTES

95. Review of the exhibition Obsessions,London,Timeout, February 26, 2013, www. timeout.com/london/popular-venues/rb-kitaj-obsessions (accessed April 8, 2014). 96. Kitaj, in Julian Rios, Kitaj: Pictures and Conversations (London: Hamish Hamilton, 1994), 184. 97. Kahn, on www.TobiKahn.com (accessed October 26, 2013). 98. Peter Selz, “Tobi Kahn: Metamorphoses,” in Peter Selz, ed., Tobi Kahn: Metamorphoses (Lee, MA: Council for Creative Projects, 1997), 25. 99. Warhol, The Philosophy of Andy Warhol (Orlando, FL: Harvest, 1975), 100–01. 100. Warhol, in Jane Daggett Dillenberger, The Religious Art of Andy Warhol (New York: Continuum, 1998), 103. 101. Warhol, in Arthur Danto, “The Philosopher as Andy Warhol,” in Callie Angell, ed., The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 83. 102. Warhol, in Andy Warhol and Pat Hackett, POPism (New York: Harcourt Brace Jovanovich, 1980), 3. 103. Warhol, in Dillenberger, The Religious Art of Andy Warhol, 29. 104. Heartney, “Andy’s Icons,” a review of The Religious Art of Andy Warhol, Art in America, 87: 6 (June 1999), 35. 105. Jan-Ove Tuv, “What Is Kitsch?,” The Nerdrum Museum website, nerdrummu- seum.com/Information.php (accessed November 2, 2013). 106. Nerdrum, in Jan Åke Pettersson, Odd Nerdrum (Oslo: Aschehoug, 1998), 24. 107. Pacheco, in Kathleen Adler, Ana Maria Pacheco: Dark Night of the Soul (New York: Salander-O’Reilly Galleries, 2002), 7; also see Ana Maria Pacheco in the National Gallery, exhibition catalogue (London: The National Gallery, 1999). 108. Pacheco, interview by Charlene Spretnak, London, May 10, 2003, with follow-up questions in January 2014. 109. Terrence Dempsey, S. J., “A Theology of Glitter and Poverty: The Art of Thomas Lanigan-Schmidt,” Image, no. 3 (Spring 1993), 76, 80. 110. Ken Johnson, “The Alchemy of Debris Forged into Passion,” New York Times, Decem- ber 6, 2012. 111. Heartney, Postmodern Heretics (New York: Middlemarch Arts Press, 2004), 6–7, 10–11, 23, 64. 112. Heartney, Postmodern Heretics, 176, 175. 113. Heartney, Ibid., 175–178. 114. Heartney, Ibid., 175. 115. Neshat, in Lauren Collins, “Voice of the Veil,” The New Yorker, October 22, 2007, 91. 116. Neshat, in Arthur C. Danto, “Shirin Neshat,” Bomb, 73 (Fall 2000), 64. 117. Neshat, in “In Conversation: Shirin Neshat with Carol Becker and Phong Bui,” The Brooklyn Rail, September 4, 2009. 118. Neshat, in Collins, “Voice of the Veil,” 91, 92. 119. Sikander, Art21, Spirituality Episode, PBS, 2001, www.art21.org/texts/shahzia- sikander/interview-shahzia-sikander-islam-and-miniature-painting (accessed March 7, 2014). 120. Ibid.

Afterword: When Form Follows Spirit

1. Richter, in “Gerhard Richter Interview,” Time Out (London), October 10, 2011. 2. Tuttle, in Tara McDowell, “Framed Drawings,” The Art of Richard Tuttle, 227. 3. Schapiro, “The Nature of Abstract Art,” Marxist Quarterly, 1 (1937), 77–98. Also see the critical commentary on Barr’s “carefully ordered bloodline” in Charles Jencks, Critical Modernism (London: Wiley-Academy, 2007), 44–45. N OTES 239

4. Read, “Farewell to Formalism,” Art News, 51: 4 (1952), 36–39. 5. The curators were following the lead of Robert Goldwater’s book Primitivism in Modern Art [1938], which addresses the subject solely in terms of the Romantic, the emo- tional, the exotic, the subconscious, the formal reductionist, and—getting warmer—“a harmonious relationship with nature.” 6. McEvilley, “Doctor, Lawyer, Indian Chief: ‘Primitivism’ in Twentieth-Century Art at the Museum of Modern Art,” Artforum, 23: 3 (November 1984), 54–61. 7. Dickerman, “Inventing Abstraction,” Inventing Abstraction, 1910–1925 (New York: Museum of Modern Art, 2013), 13–37. 8. Dickerman, “Abstraction in 1936: Cubism and Abstract Art at the Museum of Modern Art,” Inventing Abstraction, 1910–1925, 366. 9. Exhibition Guide, Mondrian: Nature to Abstraction (London: Tate Gallery, 1997), text for “Room 1B,” unpaginated. 10. Dickerman, “Vasily Kandinsky, without Words,” Inventing Abstraction, 1910–1925 (New York: Museum of Modern Art, 2013), 51. 11. Smith, “Hilma af Klint, Explorer in Realm of the Abstract,” New York Times,February3, 1989. 12. Corn, The Great American Thing (Berkeley: University of California Press, 1999), xxii. Acknowledgments

Foremost, I thank the artists. I’m grateful that so many of the historical modern artists made clear statements, often toward the end of their professional lives, about the spiritual influences in the making of their art, thus allowing the full story to be assembled. I’m grateful to the prominent contemporary artists who said yes to my letter request- ing an interview and who then trusted me sufficiently to share information, often for the first time in an interview. Wholehearted thanks to Anish Kapoor, Joseph Nechvatal, the late Gordon Onslow Ford, Ana Maria Pacheco, Cornelia Parker, Matthew Ritchie, Ed Ruscha, Ursula von Rydingsvard, Kiki Smith, Richard Tuttle, April Gornik, and Bill Viola. Many people in the art world encouraged and assisted me along the way. Charles Jencks has been a steadfast supporter throughout the project and offered astute editorial suggestions. Elizabeth Tunick and also Jeffrey Hoffeld and Carol Fein kindly extended hospitality on my respective trips to New York. Kathan Brown offered her Crown Point Press studio, in San Francisco, as the site for my interviews with Richard Tuttle and Kiki Smith. Janet Bishop, curator of modern painting and sculpture at the San Francisco Museum of Modern Art, was encouraging about this project, as was Eli Bornstein, and the late Norma Schlesinger. Maurice Tuchman kindly agreed to a telephone interview. Christopher Pinney helped me with a citation. The Getty Research Institute’s library in Los Angeles became my homebase for researching this book. This was made possible by Kathleen Salomon, Head of Research Services at the GRI Library, who extended unlimited Reader privileges to me for this project. In addition, the art librarians at the following libraries provided invaluable assistance: the Menil Collection; the Getty Research Library (Lois White); the Betty Boyd Dettre Library and Research Center of the National Museum of Women in the Arts; the University of California, Santa Barbara (Susan Moon); the University of California, Los Angeles; the University of California, Berkeley; Stanford University; the Balch Research Library at the Los Angeles County Museum of Art; Cranbrook Academy of Art; the New York Public Library; Uni- versity of San Francisco (Vicki Rosen); and the Krotona Institute of Theosophy in Ojai, CA (Lakshmi Narayan). The American Art Archives of the Smithsonian Institution were an important source, as well. I thank Judith Braber Kenney and Lauren Tresnon Klein for supporting this project in its early phase. Also, I appreciate the sabbatical leave I was granted for research related to this book by the California Institute of Integral Studies, where I taught in the graduate program of the philosophy and religion department. I am very grateful to my students in the course “Spiritual Dimensions of Modern Art,” which I taught over the years. Many of them helped me track down obscure sources for direct statements by relevant artists. 242 A CKNOWLEDGMENTS

I thank many people who provided assistance in this project, including Linda Gravenson Guethe, Lisa Christie, Fariba Bogzaran, Nancy Ryley, Marie Schoeff and Dane Goodman, Rev. Dr. Allan Doig, the late Seonaid Robertson, and Andy Ross. I thank my editors at Palgrave Macmillan: Brigitte Shull and Burke Gerstenschlager. Finally, boundless gratitude to my husband, Daniel Moses, for everything. Index

Note: Locators followed by the letter “n” refer to Notes.

Abakanowicz, Magdalena, 160, 203 organic, 46–51, 171 Abrahamic religions, 151–2, 173, 199, Purism, 109–11 201–2, 203 Arp, Jean (Hans), 96, 97–8, 100, 101, 119, see also Christianity; Islam; Judaism 152, 158, 173, 202 Abramovic,´ Marina, 163 Arte Povera, 154 Abstract Expressionism, 6, 8, 85, 108, Art Nouveau, 28, 46, 47 127–32, 133, 144, 145, 149, 178, art and religion, entwined origins of, 203–4 194, 202 Arts and Crafts Movement, 27, 30, 63, Abstraction-Création, 98, 127 107, 171 Abstraction and Empathy, 65, 79 TheArtsandtheSpiritual(SVA), 11 abstract painting, 2, 8, 10–11, 74–90, art students, contemporary, 207 97, 117–20, 127–40, 176–9, 204–7 Ateliers d’art sacré, 46, 174 emergence of, 74–90 Aurier, G.-Albert, 34, 39, 43, 44, 60, 61 opposition to, 75, 94, 107 avant-garde see also Abstract Expressionism; Interwar years, 93–5, 117–20 non-objective painting pre-WWI, 5, 10, 25, 40, 41, 42, 43, abstract sculpture, 98, 118, 142–7, 54–60, 62, 63, 64–7, 69, 70, 71, 73, 152–7 77, 78, 79, 82, 90–1, 126, 202 The Abstract Sublime, 128–9 Adams, Doug, 161 Baas, Jacquelynn, 35, 127, 212, 213 Af Klint, Hilma, 79–80 Baha’i, 132 Alizart, Mark, 212 Baker, Kenneth, 143, 168, 213 allusive spirituality, 125–49, 202–3 Baldessari, John, 212 Ancients, The, 20 Balla, Giacomo, 72 Andre, Carl, 145, 165 Ballets Russes, 65, 66, 98 Anthroposophy, 56, 64, 142, 153, 195, 202 Ball, Hugo, 94, 96 Apollinaire, Guillaume, 69, 70, 73–4, 98 Barcelona, 46–51, 100–1, 110 Apostolos-Cappadona, Diane, 210 Barney, Matthew, 163 Aragon, Louis, 98 Barr, Alfred H., 5, 8, 10, 78, 174, Arambasin, Nella, 211 204–5, 209 architecture Barter,Judith,34 allusively spiritual, 147–9 Bates, Sara, 170 Catholic Renewal, 46–51, 174–6 Baudelaire, Charles, 59, 66 Gothic Revival, 26 Bauhaus, 85, 94, 106–9, 117–18, 144 metaphysical, 120, 147–9 Beardsley, Aubrey, 28 neoclassical, critique of, 26, 51 Beckett, Wendy, 210 244 I NDEX

Beckmann, Max, 6, 105–6, 202 Cameron, Julia Margaret, 28, Fig. 3 Bergson, Henri, 46, 65–6, 72, 81, 88, Campos-Pons, Maria Magdalena, 170, 203 90, 122 Campus, Peter, 135 Berman, Avis, 184 Canaday, John, 112 Berman, Wallace, 193 Carmichael, Franklin, 122 Bernard, Émile, 36–7, 39, 40, 41–3, 57, 69 Caro, Anthony, 144–5 Besant, Annie, 56, 65, 80 Carrà, Carlo, 72, 95 Beuys, Joseph, 134, 140, 147, 152–4 Carr, Emily, 123–4, 190 Beyond Belief (CJM/SFMOMA), 9 Carrington, Leonora, 103 Beyond Kandinsky (SVA), 11 Carus, Carl Gustav, 22 Bhabha, Huma, 166 Cassatt, Mary, 33–5, Fig. 5 Bierstadt, Albert, 30 Catalonia, 46–51, 100–1 Biggers, Sanford, 141, 203 Catholicism Bing, Siegfried, 38, 39 in 19th-c art, 23–5, 26, 30–3, 35, 36–7, Blake, William, 18–20, 26, 51, 106, 115, 40–51, 56–7, 61 116, Fig. 1, 125, 195, 201, 204 in post-WWI art, 96, 111–13, 114–15 Blavatsky, Helena Petrovna, 2, 43, 55–6, 57, in post-WWII art, 126, 129, 136, 141, 80, 85, 86, 88, 222 144, 158, 174–92, 194–7 Blazwick, Iwona, 180 in transgressive art, 197 Blotkamp, Carel, 2 Catholic Renewal Movement, 46, 61, 113, The Blue Rider, 22, 74, 75–7, 82, 85, 91, 174–6 108, 202 Cennini, Cennino, 31–3 Boccioni, Umberto, 72 Centre Pompidou, 9, 10, 77, 157, 206 Böhme, Jakob, 19, 54 Cézanne, Paul, 31, 36–7, Fig. 6 Bonnard, Pierre, 44, 45, 46, 101, 174, Chagall, Marc, 73, 89, 111, 117, 127, 176, 208 174, 202 Brancusi, Constantin, 1, 116, 118, 124, Chicago, Judy, 163–4 143, 145, 155, 156, 158, 159 Chochol, Josef, 71 Braque, Georges, 69–71, 74, 81, 96, 118, Christianity 131, 174, 183 in 19th-c art, 17–51, 62, 83–4, 86 Breder, Hans, 135, 165 in pre-WWI art, 76–7, 83–4, 85–8 Breton, André, 98–104, 127, 128 in post-WWI art, 96, 105, 111–17, 124 Broglio, Mario, 94–5 in post-WWII art, 129, 134–5, 136, Brown, Kathan, 138 139–40, 144, 145–6, 168, 193–7 Buddhism, 35, 39, 43, 44, 74, 118, 126, Christo, 136 129, 142, 145, 155 Church, Frederic, 29–30 Chan, 134, 137 Clark, T. J., 6 Tibetan, 163 Cocteau, Jean, 69, 94, 98 Vipassana/Mindfulness, 13, 141, 189–90 Cole, Thomas, 29 Zen, 71, 126–7, 130, 133, 137, 141, 142, Coleridge, Samuel Taylor, 18, 29, 204 143, 145, 147, 152, 166 Collins, Cecil, 111, 116 Buñuel, Luis, 100 Collinson, James, 25 Burchﬁeld, Charles, 20, 190 Combalia, Victoria, 8 Burke, Edmund, 29 Conner, Bruce, 191 Burne-Jones, Edward, 27–8 Constructivism, 90, 109, 119 Byzantinisme, 62 Contemporary Jewish Museum (SF), 9 Cornelius, Peter von, 24–5 Cage, John, 118, 137–8, 153, 203 Corn, Wanda, 207, 211 Calder, Alexander, 119, 128 Cotter, Holland, 140, 170, 213 Calzolari, Paolo, 154 Couturier, Fr. Marie-Alain, 174–6 I NDEX 245

Cox, Renée, 197 Dove, Arthur, 81, 120, 121–2, Fig. 12, 190 Cranston, Meg, 212 Dow, Arthur Wesley, 121 Creative Evolution, 65, 81 Duchamp, Marcel, 70, 74, 81, 96, 97, Cropsey, Jasper, 30 116–17, 119, 126, 132, 135, 147, 153, Crown Point Press, 138 166, 182, 188, 202 Cubism, 5, 69–71, 72, 73, 74, 75, 78, 86, Duchamp-Villon, Raymond, 70 89, 95, 109, 130, 204, 209 Dupuis, Charles, 55 Cubism and Abstract Art (MoMA), 78, 209 Durand, Asher, 29 Cubo-Futurism, 89 Dyn I / Dynaton, 131, 132–3 cultural art history, 207 cultural history, 3, 8, 12, 13, 14, 79, 192, Eccher, Danilo, 211 195–6, 201 Edelson, Mary Beth, 164–5, 203 Czech cubism, 71 Eliasson, Ólafur, 140–1 Elkins, James, 1, 212, 213 Dada, 93–4, 95–9, 101, 124, 184 Emerson, Ralph Waldo, 29, 30, 122, 171 Dahl, J. C., 22, 140 Ensor, James, 62 Dalí, Salvador, 100, 102, 132 entropy, 62 Danto, Arthur, 176, 213 Epstein, Jacob, 111, 116 daylighting the river, 14–15 Ernst, Max, 22, 96, 99, 100, 101, 102, 103, Debussy, Claude, 66, 78 119, 127 Decadent movement, 57 esoteric spirituality, 53–7, 64–5, 77–9 De Chirico, Giorgio, 74, 95, 98, 100 ethnology, 58–9, 83 Delacroix, Eugène, 31, 59 Expressionism, 67–9, 72, 107, 121, Delaunay, Robert, 71–4, 76, 81, 97, 108, 130, 202 119, 131 Delaunay, Sonia Turk, 72–3, 74, 97, 118, Fabro, Luciano, 154 119, 131 Fauves, 20, 69, 84 Delville, Jean, 57 Feininger, Lyonel, 106, 118 De Maria, Walter, 145, 182 feminist perspectives, 33–5, 102, 162–6, De Morgan, Evelyn, 27 169, 197–8 Dempsey, Terrence, SJ, 213 ﬁn de siècle, 53–60, 62, 64, 68, 90 Demuth, Charles, 120–1 Fini, Leonor, 102, 103 denial of spirituality in modern art, 1–3, Finley, Karen, 197 5–11, 204–7 Fischer, Otto, 75 Denis, Maurice, 33, 34, 44–6, 88, 110, 174 Fludd, Robert, 54, 64 De Paoli, Geri, 210 Fluxus, 134, 153 Derain, André, 69 formalism, 5–6, 8, 10–11, 12, 18, 65, 76, Deren, Maya, 169 77–9, 128–9, 191, 204–7, 209 Dermée, Paul, 110, 111 fourth dimension, 57–8, 64, 66, 67, De Staebler, Stephen, 160, 161, 203 69–71, 74, 88, 103, 122, 142, 210, De Stijl, 87, 94, 107, 109, 117 219n.5 De Young Museum, 191 Fox, Dan, 212 Diaghilev, Sergei, 65, 68 Fra Angelico, 24, 45, 88 Dickerman, Leah, 10–11, 77–9, 206 Francés, Estaban, 102, 103, 127 Dillenberger, Jane Daggett, 209, 210, 213 Francis, Richard, 211 Dimensionism, 118–19 Francis, Sam, 130 The Dimensionist Manifesto, 118–19 Freemasonry, 54, 57, 110–11 Dix, Otto, 105, 202 French Revolution, 7, 17, 19, 42, 53, 110 Doniger, Wendy, 10 Freudianism, 6, 33, 99–100, 103, 104, 110, Donoghue, Denis, 160 126, 128 246 I NDEX

Friedman, Martin, 186 Gris, Juan, 69, 70, 111 Friedrich, Caspar David, 21–3, 51, Fig. 2, Gropius, Walter, 94, 106–7, 109 134, 140, 202, 204 Grosz, George, 94, 96, 105, 106 Fuentes, Carlos, 173 Group of Seven, 120, 122–4 Fuller, Peter, 210, 213 Grovier, Kelly, 176 Futurism, 72–3, 74, 89, 90, 117, 203 Grünewald, Matthias, 105, 113, 175–6 Futurist Dynamism, 73 Guggenheim Museum, 7, 11, 85, 119–20, Fig. 15, 127, 146, 153, 193 291 Gallery, 71, 81, 120–2, 124, 203, 211 Gablik, Suzi, 210, 213 Haring, Keith, 195 Gabo, Naum, 98 Harris, Lawren, 122–4 Gamwell, Lynn, 211 Hartley, Marsden, 20, 121–2 Gaudí i Cornet, Antoni, 46–50, 101, Hausmann, Raoul, 96 110, 202 Hayter, Stanley William, 127 Gauguin, Paul, 20, 34, 39, 40–4, 60, 61, 69, Heade, Martin Johnson, 30 88, 91, 113, 121 Heartney, Eleanor, 194, 197, 213 Gelburd, Gail, 210 Heckel, Erich, 77 German Romantic painting, 20–3 Henderson, Linda Dalrymple, 210 Getty Museum, 3, 166 Hennings, Emmy, 96 Getty Research Institute, 3, 4, 241 Hepworth, Barbara, 98 Giacometti, Alberto, 100, 159 Herbert, Lynn M., 211 Gifford, Sanford, 30 Hickey, Dave, 188–9, 213 Gill, Eric, 114–15 Hinduism, 89–90, 129, 133 Gilot, Françoise, 176 Hinton, Charles Howard, 58 Giotto di Bondone, 24, 31, 95, 104, Höch, Hannah, 96 113–14, 129, 168, 176, Hodler, Ferdinand, 57, 62 185, 208 Hoffmann, Josef, 64 Glasgow Four, 62–4 Hofmann, Hans, 131–2, 142 Glasgow Girls, 63 Holocaust, 111, 117, 154, 192, 193, 202 Glasgow School of Art, 62–3 Horna, Kati, 111 Gleizes, Albert, 70, 74, 89 Hottinger, Johann Konrad, 23 Glover, Michael, 145 Houshiary, Shirazeh, 198 Glueck, Grace, 186 Hudson River School, 28–30, 51, 202 Gober, Robert, 197 Huelsenbeck, Richard, 96 Gocár,´ Josef, 71 Hugo, Victor, 25, 79 Goethe, Johann von, 21, 22, 47, 56, Hunt, William Holman, 25–7 108, 173 Goldberger, Paul, 149 Idealist metaphysics, 34, 41, 44, 57, 60–1, Golding, John, 211, 213 67, 73, 78, 121, 151 Goldsworthy, Andy, 4, 155–7, 203 Impressionism, 3, 5, 17, 20, 21, 30–5, Goncharova, Natalia, 75, 89 39, 101 Gormley, Antony, 189–90 rejection of, 40, 57, 66 Gornik, April, 190–1 Indiana, Robert, 133 Gothic Revival, 26 indigenous inﬂuences, 168–70 Gottlieb, Adolph, 128–9 see also “primitivism” Graham, John, 128 inner necessity, 10, 76, 78, 81–6 Graves, Morris, 152 Inness, George, 30 Greenberg, Clement, 8, 113, 129, 130, 131, Inventing Abstraction (MoMA), 10–11, 145, 149, 192, 205 77–9, 206–7 Grey, Alex, 163 Isis Unveiled, 55 I NDEX 247

Islam, 197–9 Korp, Maureen, 211 Itten, Johannes, 106–7 Kounellis, Jannis, 154 Kubin, Alfred, 76 Jackson Pollock (MoMA), 3 Kupka, František, 6, 74, 80–1, 98, 117 Jackson, A. Y., 122, 123 Kuspit, Donald, 11, 135, 161, 164, 179, Jacob, Mary Jane, 127, 212 190, 213 Jacob, Max, 69 Janák, Pavel, 71 Laib, Wolfgang, 154–5, 203 Janco, Marcel, 96, 97 Lampe, Angela, 212 Januszczak, Waldemar, 3, 213 Lam, Wilfredo, 104 Japanese prints, 33, 35, 38, 39, 43 Lane, John, 210 ukiyo-e, 35, 38, 39, 51 Lanigan-Schmidt, Thomas, 196 Japonisme, 35 Larionov, Mikhail, 89 Jawlensky, Alexej von, 74–5 Laurencin, Marie, 70 Jencks, Charles, 147, 213, 215n.13 Leadbeater, Charles, 58, 65, 80 Jewish Contemporary Museum, 9 Le Corbusier, 94, 109–11, 147, 148, 174–5 JinMing,Dodo,203 Léger, Fernand, 70, 74, 131, 174 Johns, Jasper, 133, 188 Leighton, Frederic, 27 Johnson, Ken, 9, 146, 154, 196, 213 Lethaby, W. R., 63 Johnston, Frank, 122 Levy, Mark, 210 Jones, David, 114–16, 202 Lipchitz, Jacques, 111, 174 Judaism, 53, 73, 117, 129, 144–5, 151, Lippard, Lucy, 210 192–3 Lipsey, Roger, 210 Jujol, Josep Maria, 49–51, 202 Lismer, Arthur, 122 Loisy, Jean de, 212 Kaballah, 103, 106, 129, 183, 193 L’Ordre de la Rose + Croix, 56–7, 63 Kahlo, Frida, 164 Luminism, 30, 138, 190 Kahn, Louis, 147–9 Kahn, Tobi, 193 Kahnweiler, Daniel-Henry, 119 MacDonald, J. E. H., 122 Kandinsky, Wassily, 6, 7, 8, 9, 10–11, 69, MacDonald, Margaret, 62–4 73, 74–7, 78–9, 81–6, 87, 91, 94, 96, machine aesthetic, 94 97, 98, 103, 107–9, 117–19, 122, Macke, August, 75, 77 202, 206 Mackintosh, Charles Rennie, 62–4 Kant, Immanuel, 21, 58 Maeterlinck, Maurice, 63 Kapoor, Anish, 146–7 Magritte, René, 102 Kelly, Ellsworth, 133 Maillol, Aristide, 44, 159 Kensett, John Frederick, 30, 138 Malevich, Kazimir, 6, 88–90, 91, 97, 118, Khnopff, Fernand, 57, 62 Fig. 9 Kiefer, Anselm, 182–4, 203 Mallarmé, Stéphane, 44, 59–60, 66 Kimmelman, Michael, 138, 163, 213 Manifesto of Radical Artists, 97 Kitaj, R. B., 193, 202 Mapplethorpe, Robert, 197 Klee, Paul, 77, 103, 106–9, 117–19, Marc, Franz, 75–7, Fig. 8 Fig. 11, 140, 143, 152, 179, Marden, Brice, 127 202, 206 Marin, John, 121–2 Klein, Yves, 135–7, 153, 202 Marinetti, F. T., 72 Klimt, Gustav, 62 Martin, Agnes, 133–4, 140, 145, 179, 203 Kokoschka, Oscar, 77 Masson, André, 100, 101, 127 Kollwitz, Käthe, 105 materialism, 40–1, 51, 53–4, 56, 57, 59, 61, Koppman, Debra, 211 62, 64, 68, 78, 85, 91, 99, 120 248 I NDEX

Matisse, Henri, 69, 81, 112, 131, 174–6, Moszynska, Anna, 211 179, 208 Motherwell, Robert, 128, 130–1 Matta Echaurren, Roberto, 102–3, 119, Mottez, Victor, 31–3 127, 128 Müller, Max, 63 Matta-Clark, Gordon, 182 Mullican, Lee, 133 Mauer, Fr. Otto, 174 Munch, Edvard, 20, 62 Mazdaznan, 107 Münter, Gabriele, 74–5, 84 McCormick, Carlo, 135 Museum of Contemporary Religious McEvilley, Thomas, 162, 165, 206, 213 Art, 213 mechanistic worldview, 7, 17–18, 19, 40, Museum of Modern Art, 3, 10–11, 77–9, 51, 53, 60, 94, 169, 204 113, 128, 132, 142, 148, 152, 159, medievalism, 26 188, 192, 204–7, 209 Mendieta, Ana, 165–6, 197, 203 music, metaphysical inﬂuences in, 66–7 Merz, Mario, 154 Muthesius, Hermann, 64 Merz, Marisa, 154 Mutu, Wangechi, 169–70, 203 metaphysical concerns, see Idealist metaphysics Nabis, 44–6, 51, 61, 202 Metzinger, Jean, 70, 74, 89 Nasgaard, Roald, 210 Meyer, Hannes, 109 Native American, 13, 123, 133, 162–3, 170 Mies van der Rohe, Ludwig, 107 “The Nature of Gothic,” 26–7, 47 Miles, Christopher, 141 Nazarenes, 23–5, 26, 27, 51, 201 Millais, John Everett, 25–7 n-dimensional geometry, 57–8, 219n.5 Miró, Joan, 97, 100–2, 103, 119, 141, Nechvatal, Joseph, Fig. 13, 135 152, 202 neoclassicism, critique of, 26, 51, 113 modern era, emergence of, 3, 6–7, 17–18 Neo-Plasticism, 87–8, 98, 117 modernism, 1, 46–7, 120–1, 191, 238n.3 Neo-Romantics, 111 Modernisme, 46–7 Nerdrum, Odd, 195 Modernism and Spirituality (Tate Britain), Neshat, Shirin, 197–8, 202 11, 212 Neue Künstlervereinigung München modernity, 3, 6–7, 15, 25, 46, 51, 53, 62, (NKVM), 74–5 69, 77, 78, 91, 106, 117, 161, 174 Neue Sachlichkeit, 22, 95, 104–6, 124 Modersohn-Becker, Paula, 68 Moholy-Nagy, Lazlo, 107, 119, 144 Nevelson, Louise, 142–3, 202 Mondrian, Piet, 1, 2–3, 6, 9, 86–8, 97, 98, Newman, Barnet, 128–9, 144, 146, 117, 179, 202, 206 147, 202 Mondrian: From Nature to Abstraction (Tate), New Theories on Modern and Sacred Art, 46 2–3 Newtonian science, 7, 17, 19 Monet, Claude, 31, 35, 146 see also mechanistic worldview Monroe, Alexandra, 127, 212 Nicholson, Ben, 98, 119 Moore, Henry, 116, 145, 158–9, 203 Nochlin, Linda, 11, 212 Moore, Rowan, 49 Noguchi, Isamu, 143–4, 203 Moran, Thomas, 30 non-Euclidean geometry, 47, 51, 58, 119 Morandi, Giorgio, 95 non-objective painting, 6, 10, 73, 77–90 Moréas, Jean, 41 Moreau, Gustave, 69, 112 objectives of this book, 11–12 Morgan, Anne, 211 occult, see esoteric spirituality Morgan, David, 212 Oﬁli, Chris, 197 Mori, Mariko, 142, 203 O’Keeffe, Georgia, 121–2 Morris, William, 27, 47, 63, 106 Oliveira, Nathan, 159, 203 Moser, Koloman, 64 “On Reconsidering the Spiritual in Art,” 11 I NDEX 249

Onslow Ford, Gordon, 102–3, 119, Fig. 10, “primitivism,” 58–9, 61, 65, 68, 69, 70–1, 127–8, 132–3 79, 100, 102, 108, 113, 118, 128, 130, “On the Question of Form,” 76 205–6, 218n.68 On the Spiritual in Art, 7, 74, 84–5, 119–20 in art works, 43, 72, 76, 81, 89–90, 112, Oppenheim, Méret, 102 114, 116, 164, 166, 175, 186 organicism, 18, 21, 151–72, 182–8, Princet, Maurice, 70 189–91, 197–9 Promey, Sally, 212 see also Arp; 291 Gallery; Gaudí and Jujol; Protestantism German Romantic painting; Group in 19th-c. art, 17–30, 37–40 of Seven; Impressionists; Klee; in 20th-and21st-c. art, 111, 113–14, 116, Kupka; Miro; Morris; 124, 130, 133, 139–40, 145–6, Pre-Raphaelite Brotherhood; Ruskin 167–8, 195 Orphic Cubism, 74 Provisor, Janis, 158 Orphism, 73 Pugin, Augustus W. N., 26 Ouspensky, P. D., 58, 88–9, 103 Pujol, Ernesto, 141 Overbeck, Johann Friedrich, 23–5 Puni, Ivan, 90 Ozenfant, Amédée, 109–10 Purism, 109–11, 147 Puvis de Chavannes, Pierre, 38, 43, 45, 46, 51 Paalen, Wolfgang, 98, 102, 104, 131, 132–3 Pacheco, Ana Maria, 195–6, 202 Rabinovitch, Celia, 211 Paladino, Mimmo, 161 Radiguet, Raymond, 94 Palmer, Samuel, 20, 202 Ramsden, Elizabeth, 116 Paracelsus, 54, 64 Ranson, Paul, 44–5 Parker, Cornelia, cover art, iv, 179–82 Ratcliff, Carter, 130 participatory consciousness, 18, 20, 21, 29, rationalism, 17–18, 19, 25, 46, 47, 53, 55, 155, 204 60, 93–5, 99, 116 Péladan, Joséphin, 28, 55, 56–7, 66, 69 Rauschenberg, Robert, 133, 166, 188 Perl, Jed, 163, 212, 213 Ray, Man, 96, 132 Perlmutter, Dawn, 211 Raynal, Maurice, 69, 70–1 Pforr, Franz, 23–4 Read, Herbert, 42, 100, 108, 158–9, Picabia, Francis, 70, 74, 81, 96, 100, 119 205, 209 Picasso, Pablo, 65, 69–71, 74, 75, 76, 81, Rebay, Hilla, 119–20 96, 98, 104, 116, 131, 175–6, 235n.11 Redon, Odilon, 62 Pichard, Joseph, 174 Régamey, Fr. Pie-Raymond, 174 Pissarro, Camille, 36, 39 Regier, Kathleen, 210 Pistoletto, Michelangelo, 154 Rego, Paula, 195, 202 Platonic philosophy, see Idealist metaphysics Reinhardt, Ad, 130, 133, 145, 146 Poincaré, Henri, 58, 70, 74 religion and art, entwined origins of, 203–4 Polke, Sigmar, 157–8 Renoir, Pierre-Auguste, 1, 30–3, 51, Fig. Pollock, Jackson, 3, 128, 129–30, 132, 133, 4, 202 144, 147, 202 research issues, 3–5, 215n.5 Pont-Aven Symbolists, 39, 40–4, 51, 60–1, retinal and non-retinal art, 74, 182, 202 69, 70, 75, 79, 121, 201–2 Reynolds, Joshua, 18–19, 20, 25 Popova, Lyubov, 90 Richter, Gerhard, 134–5, 203 Posner, Helaine, 184 Richter, Hans, 96 Pre-Raphaelite Brotherhood, 20, 25–8, 51, Riley, Charles A., 211 183, 202 Ringbom, Sixten, 8, 209, 213 “Primitivism” in 20th-Century Art (MoMA), Risatti, Howard, 6 205–6 Ritchie, Matthew, Fig. 15, 157, 203 250 I NDEX

Roerich, Nicholas, 68–9 Scully, Sean, Fig. 17, 176–9, 202 Roman Catholicism, see Catholicism Scully, Vincent, 148 Romantic movement, 18, 20–3, 24, 25, The Secret Doctrine, 55, 57, 86, 88 29–30, 40, 60, 152–4 Seitz, William, 132, 213 Roniger, Taney, 11 Selz, Peter, 3, 159–60, 161, 193, 213 Rosenblum, Robert, 8, 21, 129 Serra, Richard, 145 Rosenquist, James, 133 Serrano, Andres, 197 Rosicrucianism, 54, 55, 56, 63, 66, 129, 136 Sérusier, Paul, 42, 44–6, 75, 79 Rossetti, Dante Gabriel, 25–7 The Seven Lamps of Architecture, 26 Rossetti, William, 25 Severini, Gino, 72 Rothko, Mark, 128, 129, 130, 133, 144, Shahn, Ben, 161, 192–3, 202 146, 174, 179 Shevchenko, Alexander, 89 Rouault, Georges, 111–13, 174, 202 Signac, Paul, 39 Rousseau, Henri, 68 Sikander, Shahzia, Fig. 20, 199 Roussel, Ker-Xavier, 44 Simultaneity, 70, 71–3 Rozanova, Olga, 90 Sirató, Charles, 118–19 Runge, Philipp Otto, 22 Sirmans, Franklin, 212 Ruscha, Ed, 188–9 Smith, David, 145 Ruskin, John, 26, 27, 29, 47, 63, 106, 111, Smith, Kiki, Fig. 19, 187–8, 203 113–14, 171 Smith, Roberta, 146, 147, 207 Russolo, Luigi, 72 Smith, Tony, 140, 144, 187, 202 Ryder, Albert Pinkham, 122 social art criticism, 6, 141, 207 Solomon, Simeon, 27 Saar, Alison, 163 Soupault, Phillippe, 98 Saar, Betye, 162–3 Spartali Stillman, Marie, 27 Saar, Lezley, 163 Spencer, Stanley, 113–14, 189 Saint Luke (artists’ guilds), 23, 48, 101 Spero, Nancy, 162, 165, 203 Saint Phalle, Niki de, 136, 163 spiritism, 55, 57–8, 80, 126 Salon d’Art Idéaliste, 57 spirituality, deﬁnitions of Salon of the Golden Section, 74, 110, 144 allusive, 125 San Francisco Museum of Modern Art, 9, esoteric/occult, 54 133, 159, 168 general, 13–14 Sargent, John Singer, 46, 193 immanence, 151–2 Satie, Erik, 57, 66, 78, 98, 220n.21 The Spiritual in Modern Art (LACMA), 8–9, Schad, Christian, 96 77, 206–7, 210, 213 Schapiro, Meyer, 37, 128, 205–6, 209, 213 The Spiritual (Re)Turn (Guggenheim), 11 Schelling, F. W. J., 21 Spook School, 62–4 Scheyer, Galka Emmy, 118 Steen, Ronald, 212 Schjeldahl, Peter, 134, 146, 163, 213 Steiner, Rudolf, 55, 56, 58, 64, 66, 80, 85, Schneeman, Carolee, 162 86, 88, 136, 142, 153, 195, 202 Schnorr von Carolsfeld, Julius, 24 Stella, Joseph, 111, 116–17 Schoenberg, Arnold, 66, 67, 75, 78, 137 Stephens, Frederic G., 25 Schoenmaekers, M. H. J., 87–8 Stieglitz, Alfred, 71, 81, 94, 116–17, 120–2 School of Visual Arts, 11, 211 Still, Clyfford, 130, 144 Schuré, Édouard, 44–5, 61 The Stones of Venice, 26, 47 Schwabe, Carloz, 63 Strand, Paul, 94, 121 Schwitters, Kurt, 98 Stravinsky, Igor, 65, 78 science, 7, 17, 19, 57–8 Sullivan, Louis, 11, 171 Scientiﬁc American, 58 Sulzer, Eva, 103 Scriabin, Alexander, 66, 78 Suprematism, 89–90, 118, Fig. 9 I NDEX 251

Surrealism, 98–104, 124, 127, 128 Van Doesburg, Theo, 87–8, 94, 96, 98, Sutter, Joseph, 23 106–7, 117 Swedenborg, Emmanuel, 19, 29–30, 44, Van Gogh, Vincent, 20, 37–40, 51, 105, 54–5, 59, 60, 195 Fig. 7, 152, 179, 202 symbol, 3, 21, 42, 43, 45, 59, 63–4, 83–5, Van Heemskerck, Jacoba, 67 106, 110, 128–9, 130, 160, 171, 205 Varley, F. H., 122 Symbolist painting, 40–4, 60–4 Varo, Remedios, 103–4 Symbolist poetry, 59–60 verism, 105 Symon, Arthur, 20 Verkade, Jan, 44, 75 synesthesia, 44, 59, 66, 82 Verlaine, Paul, 60, 66 Synthetism, 34, 42 Villon, Jacques (Gaston Duchamp), 73–4 see also Pont-Aven Symbolists Viola, Bill, Fig. 16, 166–8, 202 Vipassana meditation, 13, 189–90 Tanguy, Yves, 100, 103, 119, 127, 224n.34 Vodou, 169 Tanning, Dorothea, 103 Vogel, Ludwig, 23 Taoism, 13 Vollard, Ambroise, 31–2, 36, 37, 112 Tate Gallery (Tate Britain), 10, 11, 206 Von Rydingsvard, Ursula, Fig. 18, 184–7 Tate Modern, 141, 147 Vuillard, Édouard, 45–6 Täuber-Arp, Sophie, 96, 97–8, 119 Tawney, Lenore, 133 Wagner, Richard, 57, 60, 64, 166–7 Taylor, Mark C., 163, 212 Walker Art Center, 186 Theosophy, 1, 2, 43, 55–6, 61, 63, 64, 66, Walsh, John, 3 76, 80, 81, 86, 88, 90, 103, 109, 120, Warhol, Andy, 166, 191, 194–5, 202 121, 122–3, 124, 206 Waterhouse, John William, 27 Thomson, Tom, 122 Weber, Max, 71 Tinguely, Jean, 136 Werefkin, Marianne von, 74–5 Whistler, James, 28, 132 Tobey, Mark, 123, 132, 152, 203 Whitney Museum, 166 Toorop, Jan, 57, 62 Whitredge, Worthington, 30 Toulouse-Lautrec, Henri de, 39 Wilson, Ann, 133 Traces du Sacré, 9, 10, 12, 77, 206, 213 Wilson, Marie, 104 transgressive art, 197, 202 Wintergerst, Joseph, 23 Tuchman, Maurice, 8–9, 77, 206–7, Witkin, Jerome, 193 210, 213 Witkin, Joel Peter, 197 Tucker, Mary Evelyn, 14 Wojnarowicz, David, 197 Tucker, Michael, 210 Wölfﬂin, Heinrich, 5, 25, 205 Turner,J.M.W.,26 Wood, Beatrice, 96 Turrell, James, 145–6 Woodman, Francesca, 163, 203 Tuttle, Richard, 14, Fig. 14, 138–40, 203 Woolner, Thomas, 25 Twohig, Sarah O’Brien, 11, 211, 212, 213 Wordsworth, William, 18, 20, 21, 29, 204 Tyng, Anne, 148 Worringer, Wilhelm, 65, 79 typology, 201–3 Wright, Frank Lloyd, 120, 144, 148, 171 Tzara, Tristan, 96 x-ray images, 57 Ukiyo-e, see Japanese prints Youngerman, Jack, 133 Vallotton, Félix, 57 Van der Leck, Bart, 87 Zöllner, J. C. F., 57–8