concepts of modern art table of contents

8/12/2019 Concepts of Modern Art Table of Contents

1/11

concepts o f modern rtrom auvism to Postmodernism

dited by Nikos Stangos

Thamesa udsonworldofart


2/11

ontents

Preface Nikos StangosFauvism Sarah WhitfieldExpressionism Norbert LyntonCubism Jo hn Golding -Purism Christopher GreenOrphism Virginia SpateFuturism Norbert LyntonVorticism Paul OreryDada and Surrealism Dawn AdesSuprematism Aaron ScharfDe Stijl KennethFramptonConstructivism Aaron Seharf

bstract Expressionism Charles HarrisonKinetic rt Cyril Bar ret tPop rt Edward Lucie SmithOp rt Jasia ReichardtMinimalism Suzi GablikConceptual rt Roberta SmithPostmodernism and the rt

of Identity Christopher ReedThe PlatesList of IllustrationsSelected BibliographiesIndex


3/11

n exXu me ral s i n i talics refer to i l lustration nu mbe rsAcconci, Vito, 262, 266, 268

Seedbed, 117ACT U (AIDS Coalition To Unleash

Power), 283-5Agam, Yaacov, 219

and cinetic ar t, 241AIDS, 280, 283-4, 285-6, 288, 289AKhR (the Association of Artists of theRevolution), 167Albers, Josef, 239, 240, 241Alloway, Lawrence, 225Altdorfer, A. 31Altman, Nathan, l64Arnaya, Mario, 234American Pop Art, 225, 226

and sculpture, 237European ancestry, 227

Analytic Cubism, 59, 74, 75, 182Anderson, Laurie, 268Andre. Carl, 245. 247, 249, 250, 253Lever , 111Anuszkiewicz, Richard , 241, 242Apollinaire, Guillaume, 23, 28, 29, 38

and Futurism, 101-2and Orphism, 44, 85-9, 92, 93

Aragon, and Surrealism, 123Archipenko, 36, 68, 103h p , Hans, 42, 110, 111, 113-18, 122,

127. 131. 133, 153Le Passager d u Trunsa t lon t ique , 54; I r f L a n g ? ~ a gr , 63, 264, 265Art-Language group, 363, 264, 268Art Nouveau, 33Art world in Germany, 33-49Xrtaud, Antonin, 123-4Asis, 219Atliin~on, erry, 263Automatism, in Surrealism, 128Uaargeld, Johannes, 118Ualdwin, Michael, 263Uall, Hugo, 110-11, 113, 115, 116early links with German Expression-

ism, 115Ualla, Giacomo, 99, 102

I r idescen t In te rp~e ta t innVo. I , 1,T h e Street L ight , 45Uarlach, Ernst, 46Baroque, the, 31UarrGs, hlaurice, 122Uarry, Robert, 260, 262. 263, 264, 26.5,

268S o me h ow , l 1 4Uarzun. Henri. 89

Uaudrillard, Jean . 272,278-9,281,282,286

Uauhaus, t,lle, 47, 48, 107, 108, 16613axter. Iain and Ingrid. 263Uaziotes, William, 170, 176Uecliley, Uill, 26813ecliman11,Max, 45-6F a m i l y P i c t u re , 1 3Bell, Larry, 246Uergson, Henr i, 87, 89Berlin Neue Sezes sion , 37Uill, Max, 242Ulake, Peter, 33, 22.5. 235B L A S T Magazine, 106-8B L A S T ( Bl as ts a xd B l e s s ~ s ) , ages

from the first issue, 5 0 a , :jobBlavatzliy. Madame, 139Uleyl, Fritz, 35-6Uloy, Lkon, 13, 14Uoccioni, Umberto, 98-100, 103, 105

and Kinetic Art, 213Dyn am ic C ons tr?~et ionof n C:allop:I ior.se and I Io ?~ se ,8S t a te s o f M i n d N o . 1 : T h e Fa r e to e ll s , 4 4T h e Stree t Enters the House . 39Bochner, Mel, 259, 265, 269Ax io m o f Ind i f f e rence , 116Uody Art , 256, 258, 266Uomherg, David, 109I ~ Lhe Ho ld, 3,Wud Ba th , 5 1Uonnard, Pierre, 25Uosch, H . , 31

dream paintings , 131Uoto, Martha, 221Urancusi, Constantin, 103, 249


4/11

I n d e x 4 7

Braque, Georges. 12, 22, 28. 29, 44, 51,73, 263

and Analvtic Cubism. 59-60and Surrealism, 127and Synthetic Cubism, 68, 70, 71, 76,

102Rather s influence on Ar t, 49collaboration with Picasso, 55monochrome palette, 57, 102obsession with space, 57papier collP, 62-5, 182Piano and Lute , 9Le Gue ridon,20La Table du Music ien, 23Musical Forms (Guitarand Clarinet) ,2513reton, Andr6, 64and Dadaism, 111, 118and Freud, 124-6and Surrealism, 122-4, 126, 130, 134,

175collaboration with Soupault, 125Cadavre Exq uis Landscape, 58

British Pop Art, 229-31and sculpture, 237, 238

Urouwn, Stanley, 258Bruce, I atrick, 94Rriicke Expressionism. 44, 46. 47Burden, Chris, 266, 268Doorway to Heaven, 8Bureau of Surrealist Research, the, 123Buren, Daniel, 263, 268Piece No . 3from exhibition To Trans-

gress , 123Uurliuk, David and Vla.dimir, 44Bury, Pol, and use of electric motor

power, 217, 218Busa, Peter, 175 188Cafb I Aubette, Strasbourg, 152-4Calder, Alexander, 216, 217Calle. Sophie, 278-9, 280Camoin, 12Campendonck, Heinnch, 37Carra, Carlo, 98, 100, 103Funeral of the Anarchist Galli, 40Caulfield, Pat rick, 230, 231Cendrars, Ulaise, 89, 92CBzanne, 20, 24, 25, 28, 38, 42, 52Chagall, Marc, 48, 74, 94Chicago, Jud y, 277,284, 285Th e Dinner Par ty , 128Childs, Lucinda, 253

Clark. Lygin, 222Classicism, 31, 32Cocteau, Jean , 79Collage technique, 62, 63, 66Collins, James , 268Cormon, 13, 14Corot, Camille, 64Craven, Arthur. 113Crevel, RenB, 123Crimp. Douglas, 282, 2 8 3 4 , 286. 287-8,

289Cross, Henri -Edmond, 17Cruz-Diez, 219

and cinetic a rt , 241Dada movement in Germany, 40 ,45Dali, Salvador, 126, 130, 131

and Surrealism, 132, 133Slave Market with the DisappearingBzrst of Voltaire, 63Darboven, Hanne, 267CTntitled,122David s Classicism, 32Davis, Stua rt , 171, 175, 183De Chirico, Giorgio, 127, 132De Kooning, Willem, and Abstract Ex-pressionism 169, 170, 172, 182, 183,

184, 187, 188, 200,256,269form without content ideology, 187

influence on Pop Art in America, 225,234

mythology, 185-6Excavation, 9Delacroix, EugBne, 18

and Baroque Romanticism, 32Delaunay, Rober t, 38, 41, 42, 44

and C6zanne s importance t o, 89and Orphism, 85, 86-8, 9 0 4 , 187relationship to Cubism, 79-80T he Ci ty of P aris , 30Simultaneous Window s , 31S u n , Moon . S imul taneous No . 2, 32

Delaunay, Sonia, 93, 94 (see also SoniaTerk

De Maria, Walter , 264Denis, Maurice, 23, 25Derain, Andr6, 11, 12, 14-16, 19-22,

25-9influence on the Germans, 40pointilliste technique, 18Wwmen i n ront of Fireplace, 6Th e Dance, 7


5/11

Der Bla~ceReiter, 34, 37, 38, 40, 44, 47,48, 74

alrnanach, 41, 42graphics, 45Der S turm, 37, 44

Desnos, Robert, 123Dibbets, J an , 267, 268Daylight/Flashlight, Outside Light/Inside Light , 120Die Briicke, Dresden Group of, 26, 34,

35, 37, 46, 47Dine, Jim, 218, 229, 235collages, 230Happenings, 234, 258Dix Otto. 46

Dominguez, Oscar, 134decalcomania , 130

Donaldson, Anthony, 230, 63Duchamp, Marcel, 75, 84, 92

and Conceptual Art, 25 68 . 269and Dadaism, 111, 119, 120, 227, 257and Minimal Ar t, 248, 263rotoreliefs, 242and Surrealism, 133, 175, 257vibration-structures and metamor-phoses , 218Bottlerack,

Dufy, Raoul, 17Diirer, Albrecht, 31,Dutch School, the 32Earthworks, 259Elementarism in Germany, 45El Greco, 31, 51ana Swrrealism, 123Eluard, Paul, 128Ensor, 32, 37Epstein, Jacob, 109Ernst,, Max, 118

association with Surrealism, 120, 123,127, 128, 133, 134, 175

Dada collages, 121, 126dreamed plastic worlis , 131

experiments with dripped paint, 180frottage, 128, 130, 132Habit of Leaves, 59Ta nt st n u s , antdt vit us de minces ets defe u, ils font gicler les geysers avec laprohahilite d une pluie de sang et ate cIn vanit4 dea morts. 7

Etchells, Frederick, 106, 108, 109Progression, 8

European Abstract art, 200, 201Fahlstrom, Oyvind, 231Feininger, Lyonel, 34, 47Feminism, 274, 275-7, 279-80, 281-3,

284-5, 286-7, 289Flavin, Dan, 244, 245, 249, 252, 253~ V o n u m e n tf V . T a t l i n , 1 9Foster, Hal, 281,282, 286Frankenthaler, Helen, 2 8 4 5Friedrich, Caspar David, 32Friesz, Othon, 17, 22Frost. A. B.. 94Fulton, Hamish, 267Futurism, 71-5, 275Gaho, Naum, 166, 167

and Kinetic Art, 213, 215, 216, 219renunciation of mass , 214

Garcia-Rossi, and spectator participa-tion, 221

use of neon, 220Gaudier-Brzeska. Henri. 109Gauguin, Paul, 15, 18, 19, 20, 24, 32, 38,

42. 56~Gerstner, Karl , 242Gilbert and George, 266, 268, 275Th e S inging Sculp ture , 119Glaser, Bruce, 246Glass, Philip, 252Gleizes, Albert, 90Goncharova, Natalia, 44, 74Goodyear, John, 242Gordon, Bette, 278, 279-80Gorki, Arshile, 134, 172, 173, 175, 183Gottlieb, Adolph, 170, 172, 184, 188,189, 196

pictographic paintings, 194Goya, Francisco de, 32Graham, John, 183-4Gran Fury,Read M y Lipa (boy s ) ,133RIOT 136

Greenberg, Clement, 173, 174, 188Gris, Ju an , 59, 63, 69, 70, 75, 77

influence in European art, 73papiers collis, 70, 71space generating function of painting,

186and Synthetic Cubism, 60, 70-2Glasses and N ews pap er, 27L Ho m me a u Cafe , 26


6/11

ndex 4 9

Gropius, Walter, 147-8Hanging lamp.Griinewald, Matthias, 31Guerrilla Girls, 289Guston , Philip, 170Haacke, Hans, 265, 266,268Hamilton , Richard; collage, 225'Ju st what is it . . , 102

Pop Art, 228, 230, 233, 237Happening, the, 233-4, 258Haring, Keith, 284-6Ignorance Fea r, 197Hausmann, Raoul, 118

photomontages, 121Healey s use of light, 221Heartfield, John, 45, 121Heckel, Erich, 35, 36Herbin, Auguste, 73Hess, Thomas, 184Hoch, Hannah, 121Hockney, David, 225,2 29, 275Hofmann. Hans, 17 24 . 180

dripped and poured paint method,180

New York School of Fine Arts, 173Holzel, Adolf, 47Huebler, Douglas, 260, 262, 263, 265,

268Huelsenbeck, Richard, 45, 110-1 l . 116,120-1

Hugo, ValentineCadavre Exq uis Landscape, 58Huszar, Vilmos, 141, 149, 150De Stijl logotype, 68Huyssen, Andreas, 274L'lllustration pages from 4 November

1905, 2Impressionists,

ancestors of Op Art , 240Indiana, Robert, 228, 229, 285Ingres, Jean-Auguste-Domlniyue, 32Itten , Johannes, 47, 48, 147Jacob , Max, 23Jacque t, Alain, 231*Jaffe,H. L. C., 142Janco, Georges, 110Janco, Marcel, 110, 111, 114, l16

masks, 117Javlensky, A. van, 40,41

Jeannere t, Charles-Edouard (Le Corbu-s ~ e r ) ,9-84

and funct~onallsrn, 1'objets types ', 81 83-4Nature morte a la pzle d'asszettes 29

Jencks, Charles, 271Johns, .Jasper, 225, 228, 234, 216, 247,

257, 275, 285Johnston, Edward, 107Jones, Allen, 225, 230Jud d, Don, 189,238,245,246,249,250,

251, 252, 253, 261,263TJntztled, 11Jrcqendsfzl Centre, 43, 47

Kahnweiler, D.-H., 91Kandinsky, Wassily, 37, 38, 40, 42-4,

47-9, 87, 88, 108, 166,200, 201subjectless art development. 41Suprematism, 139Improvisation, 9Kapro n, AllanHappenings, 258

Kawara, On, 263, 267Kelly, Ellsu~orth , 42, 246Kelly, Mary, 280Kemeny, Alfred, 216Kienholz, Edward, 237, 261Kinetic Art. definition. 223Kinetic construction and importance of

light, 215Icing, Philip, 237Kirchner, Ernst Ludwig, 35, 36, 37, 40Girl Tinder Japanese Vm brell a, 10L\7egro Dance (,\'egertanz), 11Kiss Tell, 289Drauing the Lin e , 38Kitaj, R B., 225, 228, 230, 234Klee, Paul, 38, 40, 41, 44, 47, 48, 74, 94Klein, Yves, 250, 257, 258Kline, Franz, 170, 172, 193, 225Knutson, GretaCadavre Ezq uis Landscape, 58Kok, 141Kokoschka, Oskar, 34, 37, 38, 39, 40Kolbe, Georg, 46Kosuth, Joseph, 260,261,263,264,265,

268One and Three Chairs , l 1 5Kramer, 217Kwsner. Lee, 174


7/11

Icruger. 13arbara. 280-3, 284, 286, 287Untitled, 129Untitled, 1.30Untitled, I 3 2

Kupka, Frank, 85, 86, 88, 89,91,93,94Discs of Newton,An ~o rph a , ngue i n T w o C olours. 34Kuspit, Donald, 248

Lamis, Leroy, 242Larionor, Mikhail, 44, 74Laurens, Henri, 68. 73Leger, Fernand, 38, 84-7. 89-92

and Abstract Expressionism, 172, 175and Cubism, 73and Futurism. 74Contrasts of For ms , 7

Lehmbruck, Wilhelm, 16Fal len M a n , 16Lenin Mausoleum, 165Le Parc , Julio, 221Continual Light , 100Levine, Sherrie, 287-8

After Edward Weston I , 164Levinson, Mon, 242Lewis, Wyndharn, 106, 107, 108, 109Abstract drawing ( T h e Courtesan), 46LeWit t, Sol, 246, 261I,ichtenst,ein, Roy, 228. 229, 238Liebermann, hlax, 37Lijn, Liliane, 221Lipchitz, Jacques, 68, 73Lippard, Lucy, 276,280,283 ,284,2889Lissitzky, El, 72, 107, 147, 148

and Constructivism, 161, 163, 166Proun style, 149, 163, 164Th e S tory of T w o Squares , XRen der ing of architectztral struc ture, 92P r o u n T h e T o u jn , 9 3Lissitzky's studio, 94

Long, Richard, 267Lunacharsky and Clonstructi~*ism, 67

hlacdonald-Wright, Stanton , 94Macke, August, 40-2, 44, 74, 94blackintosh, Charles Rennie, 108Magic Realism, 46Magritte, Re , 133T h e Hu m an C ond it ion , 64blalevich, Iiasimir, 44, 72, 74, 107, 200,

201,257, 259

and (lonstructirism, 167and Minimal Art, 244, 248and Op Art, 239and Suprematism. 138-40. 243The basic suprematist element: thesquare. 65Snpremntis t co~nposi t ionconveyingfeeling of univer sal space , 66Suprernatist composition: White onWhi te , 67hlalina and use of light, 221Manguin, Henri-Charles, 12, 14, 22

hlanzoni, Piero, 257, 258Mapplethorpe, Robert, 288, 289Charlrs , 135Marc, Franz, 38, 39, 42-5, 74, 94

animal painting, 41Marinetti, Tommaso, 97, 98, 100, 101,

105Marisol, 237Marquet, Albert, 12, 14, 22Marsh, Reginald, 273, 278Martin, Agnes, 246Martin, Icenneth, 217Mason, Don, and use of neon, 220Masson, Andr6, 127. 133, 134, 175, 180

and automatism, 128-30Automatic Drawing, 60Matisse, Henri, 11-17,19,20,23,24,27-

9, 42, 73, 257and Abstract Surrealism, 171-2Saudelaire's influence on, 17-18CBzanne's influence 0 0 4 25influence on the Germans, 34, 35juxtaposition of colours, 20and primitive a rt , 22Jo ie de I ivre, 4Lu xe , Calme et Volupte , 1Portrait of Madame Matisse,S t il l L i fe wi th Pink Onions , 5

Matta. Roberto, 134, 175, 178McCracken. John, 246McLuhan. Marshall. 233Meidner, LudwigRez,olution, I2Mendelsohn, Erich, 46Sketc h for Einstein Touler, 14Metzinger, Jea n, 73, 84, 90Michelangelo, 31Miro, Joan, 127

and Abstract Surrealism, 171, 172,175


8/11

a n d a u t o n i a t ism . 128. 130, 3The Ti l led Fie ld , 6 1hlohiles , 216, 217Rlodersohn-Uecker , Pa ul a , 34Bloholy-Nag y, LaszlS, 15,216,239,648Rlondrian, Pie t . 48. 72, 74, 85. 88, 201,

245, 257a ,nd De St i j l movement . 141-7, 151,155Comp osition in blue, 73Neoplastic and Ne opla to~ l ic geo-m e t r y , 195P i e r nd Ocean, 70Moreau , Ou s tave . 12, 13, 14studio 12, 13Morel le t . and specta tor par t ic ipat . ion,22 1use of nro n, 220blore t t i . Alber to , 231Morr is , Ro ber t , 238, 245, 248, 250, 251,252, 253, 267Cnfit led. 113Mother~vel l ,R o h e r t , 170, 171, 172, 175,181collage, 176. 184hl i il le r , O t to , 36

M u n c h , E d v a r d , 32Munich ar t i s t s , 34blun ter , Gabrie le . 40Nad e lman , E l ie , 237Na r r a t i v e A r t , 256, 268Na u m a n , Ur u c e , 263N. E . T h i n g C o ., 263Seo- Impress ion i sm, 19connec t ,i o~i it h F auvi sm , 16Neoplas ti c mo vem ent , 141-55Nerelson, Louise . 246N e w m a n , B a r n e t t , 169-70, 172, 181,

188. 189-93, 195-7. 201. 246, 475number of var iables , 198use of colour, 190vert ica l divisions, 193-4V ir H C Y O ~ C I L S~~h l E i n i s ,New O bjec tiv i ty m ovement . Germany .45Nolde, Emil , 36, 37, 40. 189Jes f r i . 1 5

O D o h e r t y , Ur m n 247. 248Oldenb urg, C laes 228-9, 237H a p p e n ~ n g s , 34, 258

Soft E ngine , di r j o w 6, 10.1O p a l k a . R o m a n , 267. 269Detai l of pa in t ing f rom o InJini tyser ies , 12 1Oppenhe im, M ere t , 134Orozco, Jo se C lemente, 175OS T (Socie ty of Easel Pa inters ) . 167Oster , Gera ld , 242Oud. .I. J . P . , 141, 144, 147Ow ens, Craig, 282, 284, 286-7O zen fan t, AmBdBe. 79-84an d Func t iona l i sm, 81Flncon, guitare, verre et ho? ~f eil l e~ ,8objets types . 82-5

Paa len , W ol fgang , 175Paolozz i, Edu ard o , 230P a p ie r col16 tec hn iqu e, 62-5P e c h ~ t ~ e i n .ax, 36, 37Per formance Ar t , 256, 258, 266, 283Pe tru s Uerlage , Hend ri l i , 142Pevsner , Anton . 213, 214, 217Phi l lips , Pete r , 225, 229Ph o t o m o n t a g e , 45, 121Picab ia , Franc i s , 86, 88, 91, 92, 93, 94,111, 113, 117, 118, 119, 122, 128

a n d Or p h ism , 85an d Sym bol is t s inf luence , 89Dances a t the Spr ing 1 1 , 35lllachine Tournez Vite, 56Tldnie. Aw~ ericanGirl (D ance), 36Picasso, P ablo, 14,11,23,24,28, 35. 38,42, 44, 73, 75, 76, 257, 263and Abs t rac t Express ion i sm, 171.172. 175and Afr i can a r t . 52, 53, 58an d Analyt ica l C uhism, 74, 184

(Xzanne s influence on . 52.54-6,58.59collage, 62, 63, 66, 182(luhist sculptures, 67Den~oisellesd dv igno n, inf luence ona r t , 49, 51, 52, 58, 59Chug uin s influence o n, 51monochrome pale t te , 57, 102and Sur rea li sm. 64. 77. 127arid Sy n t h e t i c C u b ~s m , 7, 68, 70, 71,102L P SDemo~sel lea Ar ,~gr~on,7

Le TorPro 21Seatud lVoman (Seated Nude), 18T eire Bo lrfe ~ll ede 1 271, Jo ui r~ a l i ~ tu p Table, 24


9/11

4 ndex

Violin and Guitar, 22Poelzig, Hans, 46Pollock, Griselda, 276, 277Pollock, Jackson,

and Abstract Expressionism, 169-70,172-3, 175-6, 183-4, 187, 189, 195,196, 198, 274, 275, 276all-over paintings, 178, 179, 181

and automatism, 177No. 32 97

Poons, Larry, 242Pop culture and Industrial Revolution.

232Post-Expressionism , 46Post-Impressionists, ancestors of OpArt , 240Pound, Ezra, 107, 108Pousette Dart , Richard, 170Pre-Raphaelites, 235Previat i, 99Princet , Maurice, 69Process Art, 259Puy, Jean, 12,21, 22

Rainer, Yvonne, 252, 253Ratcliff. Carter, 269Rauschenberg, Robert, 225, 228, 234,

246,257, 258, 275, 285Rag, Man, 111, 112, 127, 133Reich, Steve, 252Reinhardt, Ad, 170, 247, 272Rembrandt, 31

use of colour, 32Renabsance Humanism and Purism, 81Richter, Hans, 111, 11 417 , 147, 227Rickey, George, 217Rietveld, Gerrit, 141, 142, 144-50, 152

Berlin Chair, X0Chauffeur s House, 82Dr Hartog s study with hanging lamp,

78House, elevation, 81Red-blue chair, 76Schroder House, 79

Riley, Bridget, 241-3, 284-5Shutt l~ 106Rivers, Larry, 235, 236Roberts , William, 106, 109St George and the Dragon, 17

The Vorticists at the Cafe de la TourEiffel: Spring 1915 53

Rodchenko, Alexander, 107, 163and Kinetic Art, 213Compass and ruler drawing, 90

Rodin, and modern sculpture, 33Roh, Franz, 46Rolston, Adam, 286

I am out therefore I am, 131Romanticism, 32Rose, Barbara, 248, 250, 252Rosenquist, James, 228. 229Rothko, Mark,

and Abstract Expressionism, l69>172, 175, 188-9, 195, 196, 199, PO0

involven~entwith eternal symbols ,194, 196use of colour, 190

watercolours, l95Ligh,t Red over Bla,ck,98

Rouault, Georges, 12-14, 22 ,48Rousseau, Henri, 42, 44Rubens, 31Russell, Morgan, 94Russian poster, 89Russolo, Luigi, 98, 100, 103

Dynamism of an Automobile, 1 3Ryder, 188

Saint-Point , Valentine de, 101Salle, David, 273,274,276,277,278,280

Daemonization, 126Saaagery and Misrepresentation. 127

Salmon, Andre, 23 ,49Salon d Automne, 1st German, 38Sandler, Irring, 248Sant Elia, Antonio, 104, 105, l61Schmidt-Rottluff, Karl, 35. 36Schnabel, Julian, 272-4, 276,277

Jump, 125The Patients and the Doctors, 124

Schoenmaekers, Dr, 141-4Schoffer. Nicholas, 217use of light, 220

Schroder House, 150, 152Scott, Tim, 237Sedgley, Peter, 242video-rotors, 221Segal, Arthur , 37Segal, George, 235, 237Segantini, 99Seitz, iVilliam, 239Seligmann, 175


10/11

ndex 4 3

Seurat, Georges, 24pointilliste technique, 17theories, 19

Severini, Gino, 39, 99, 100, 103Dancer-Hel ix-Sea, 41Sherman, Cindy, 280

Siegelaub, Seth, 263Signac, Paul, 17, 18, 19Siqueiros s Experimental workshop,

179, 180Smith, Alexis, 268Smith, David, 183, 237Smith, Richard, 235-7Smith, Tony, 246Soffici, Ardengo, 100Soto, J R., 241and Op Art, 242

vibmtions-structures and metamor-phoses , 218, 219Ci nq grandes tiges, 1081 Jnquart de bleu, 107Vibrat ion, 101

Soupault, Philippe, 125Routine, Chaim, 48Spectator participation and use of light,

222Stein family, 20Steinberg, Leo, 251Steiner, Rudolf , 33, 43Stella, Frank, 245, 246, 247, 26.2, 263

black paintings , 247protractor series , 253Die Fahne hoch 110

Stevenson, Robert, 242Still, Clyfford, 169, 170, 172, 173, 188,

190, 195, 196wall-sized pamting, 189Paint ing-1951, 99S t w m n n d D ran g movement, 33

Sullivan, Louis, 161Sutherland, Graham, 48Symbolists, the 23

relationship with Orphists, 88, 90, 94Synthetic Cubism, 67, 68, 75Tadasky, 243Taeuber, Sophie, 114, 153Takis and Magnetism, 217Tanguy, Yves, 127, 175Exti nctio n of Useless Lights, 62Tatlin, Vladimir, 163, 165, 166

and Kinetic Art, 213

Monument to the Third International,91Taut , Bruno, 47Terk, Sonia, 93, 94Tilson, Jo e, 230, 231Tinguely, Je an , 217Tomlin, Bradley Walker, 170Torres-Garcia, Joaquim, 194tromp e l oeil effects, 65, 239Trotsky, and Constructivism, 167Tucker, William, 237, 251Turner , 32Tzara, Tristan, 79, 110, 111, 113, 115-

17, 122, 125Cadavre Ex qu is Landscape, 58

VachB, Jacques, 112, 113Valtat , Louis, 22Van der Leck, Bart , 141, 143-7Geometric Com position No . 1 , 74Van de Velde, Henry, 161Van Doesburg, Theo, 79

and De Stijl movement, 141, 142,145-55

Caf6 L Aubette, Strasbourg, 87De Sti j l , logotype, 71Meudon House. Elevation, 85Meudon House. Interior, 86Project for the interior decoration and

modulation of a university hall, 84Relation of horizontal and vertical

planes, 8 3Rh yth m of a R uss ian Dance, .75Iran Dongen, Kees, 11, 22Van Esteren, Cor, 143, 147-9, 152

Project for the interior decoration andmodulation of a university hall, 84Relation of horizontal and verticalplanes, 8 3

Van Gogh, Vincent, 15, 20, 32, 42, 56Van t Hoff, 141, 142, 144, 147Huis-ter-Heide, 72Vantongerloo, Georges, 141, 143, 147Interrelation of M as ses , 69Vasarely, Victor, 219, 240-2Zeb ra , l 0 5Venetian tradition and Expressionism,

3 1Viennese Art Nouveau, 38Villon, Jacques, 75VKhUTEMAS, 166


11/11

concepts of modern art table of contents

Documents