Gardners Art through the Ages A Global History

Notes 1027

2. Giorgio Vasari,Lives of the Painters, Sculptors, and Architects,translated by Gaston du
   C. de Vere (New York: Knopf, 1996), 1: 304.


3. Ghiberti,I commentarii,II. Quoted in Holt, 161.


4. Quoted in H. W. Janson,The Sculpture of Donatello (Princeton, N.J.: Princeton Uni-
   versity Press, 1965), 154.


5. Vasari, 1: 318.

Chapter 22

1. Plato,Ion,534. Translated by Benjamin Jowett,The Dialogues of Plato,4th ed., vol. 1
   (Oxford: Clarendon, 1953), 107–108.


2. Leonardo to Ludovico Sforza, ca. 1480–1481. In Elizabeth Gilmore Holt, ed.,A Docu-
   mentary History of Art (Princeton, N.J.: Princeton University Press, 1981), I: 274–275.


3. Quoted in Anthony Blunt,Artistic Theory in Italy, 1450–1600(London: Oxford Uni-
   versity Press, 1964), 34.


4. Quoted in James M. Saslow,The Poetry of Michelangelo: An Annotated Translation
   (New Haven, Conn.: Yale University Press, 1991), 407.


5. Giorgio Vasari,Lives of the Painters, Sculptors, and Architects,translated by Gaston du
   C. de Vere (New York: Knopf, 1996), 2: 736.


6. Quoted in A. Richard Turner,Renaissance Florence: The Invention of a New Art (New
   York: Abrams, 1997), 163.


7. Quoted in Bruce Boucher,Andrea Palladio: The Architect in His Time (New York:
   Abbeville, 1998), 229.


8. Quoted in Robert J. Clements,Michelangelo’s Theor y of Art (New York: New York Uni-
   versity Press, 1961), 320.

Chapter 23

1. Translated by William Martin Conway, in Wolfgang Stechow,Northern Renaissance
   Art, 1400–1600: Sources and Documents(Evanston, Ill.: Northwestern University
   Press, 1989), 111.


2. Ibid., 118.


3. Translated by Erwin Panofsky, in Stechow, 123.


4. Giorgio Vasari,Lives of the Painters, Sculptors, and Architects,translated by Gaston du
   C. de Vere (New York: Knopf, 1996), 2: 863.

Chapter 24

1. Filippo Baldinucci,Vita del Cavaliere Giovanni Lorenzo Bernini(1681). Translated by
   Robert Enggass, in Robert Enggass and Jonathan Brown,Italian and Spanish Art
   1600–1750: Sources and Documents(Evanston, Ill.: Northwestern University Press,
   1992), 119.


2. Ibid., 116.


3. John Milton,Il Penseroso (1631, published 1645), 166.

Chapter 25

1. Translated by Kristin Lohse Belkin,Rubens(London: Phaidon, 1998), 47.


2. Jan Harmensz Krul,Minne-beeldn(Amsterdam 1634). Translated by Bob Haak,The
   Golden Age: Dutch Painters of the Seventeenth Century (New York: Abrams, 1984), 75.


3. Albert Blankert,Johannes Vermeer van Delft 1632–1675(Utrecht: Spectrum, 1975),
   133, no. 51. Translated by Haak, 450.

Chapter 28

1. Quoted in Junichi Shiota,Kimio Tsuchiya, Sculpture 1984–1988 (Tokyo: Morris
   Gallery, 1988), 3.

Chapter 29

1. Translated by Robert Goldwater and Marco Treves, eds.,Artists on Art,3d ed. (New
   York: Pantheon, 1958), 157.


2. Quoted in Thomas A. Bailey,The American Pageant: A History of the Republic,2d ed.
   (Boston: Heath, 1961), 280.


3. Translated by Elfriede Heyer and Roger C. Norton, in Charles Harrison, Paul Wood,
   and Jason Gaiger, eds.,Art in Theory, 1648–1815: An Anthology of Changing Ideas
   (Oxford: Blackwell, 2000), 451–453.

Chapter 30

1. Théophile Gautier,Histoire de Romantisme (Paris: Charpentier, 1874), 204.


2. Quoted in Helmut Borsch-Supan,Caspar David Friedrich (New York: Braziller, 1974), 7.


3. Translated by Jason Gaiger, in Charles Harrison, Paul Wood, and Jason Gaiger, eds.,Art
   in Theory, 1815–1900: An Anthology of Changing Ideas(Oxford: Blackwell, 1998), 54.


4. Quoted by Brian Lukacher, in Stephen F. Eisenman, ed.,Nineteenth Centur y Art: A
   Critical History,2d ed. (New York: Thames & Hudson, 2002), 125.


5. Quoted in John W. McCoubrey,American Art, 1700–1960: Sources and Documents
   (Upper Saddle River, N.J.: Prentice Hall, 1965), 98.
   6. Quoted in Thomas A. Bailey,The American Pageant: A History of the Republic,2d ed.
   (Boston: Heath, 1961), 280.
   7. Quoted in Linda Nochlin,Realism and Tradition in Art, 1848–1900 (Upper Saddle
   River, N.J.: Prentice Hall, 1966), 42.
   8. Quoted in George Heard Hamilton,Manet and His Critics (New Haven, Conn.: Yale
   University Press, 1954), 45.
   9. Quoted in Eisenman, 286.
   10.New York Weekly Tribune,September 30, 1865.


6. Quoted in Nikolai Cikovsky Jr. and Franklin Kelly,Winslow Homer (Washington, D.C.:
   National Gallery of Art, 1995), 26.


7. Quoted in Lloyd Goodrich,Thomas Eakins, His Life and Work (New York: Whitney
   Museum of American Art, 1933), 51–52.


8. Quoted in Nicholas Pevsner,An Outline of European Architecture (Baltimore: Pen-
   guin, 1960), 627.


9. Letter from Delaroche to François Arao, quoted in Helmut Gernsheim,Creative Pho-
   tography(New York: Bonanza, 1962), 24.


10. Quoted in Naomi Rosenblum,A World History of Photography(New York: Abbeville,
    1984), 69.


11. Quoted in Kenneth MacGowan,Behind the Screen(New York: Delta, 1965), 49.

Chapter 31

1. Clement Greenberg, “Modernist Painting,”Art and Literature,no. 4 (Spring 1965):
   193–194.


2. Quoted in Linda Nochlin,Realism (Harmondsworth: Penguin, 1971), 28.


3. Quoted in Linda Nochlin,Impressionism and Post-Impressionism 1874–1904: Sources
   and Documents (Englewood Cliffs, N.J.: Prentice Hall, 1966), 35.


4. Translated by Carola Hicks, in Charles Harrison, Paul Wood, and Jason Gaiger, eds.,Art
   in Theory, 1815–1900: An Anthology of Changing Ideas(Oxford: Blackwell, 1998), 595.


5. Quoted in John McCoubrey,American Art, 1700–1960: Sources and Documents (En-
   glewood Cliffs, N.J.: Prentice Hall, 1965), 184.


6. Quoted in Harrison et al., 835–836.


7. Quoted in Robert Goldwater and Marco Treves, eds.,Artists on Art, from the XIV to
   the XX Century(New York: Pantheon, 1945), 322.


8. Ibid., 375.


9. Vincent van Gogh to Theo van Gogh, September 1888, in J. van Gogh–Bonger and
   V. W. van Gogh, eds.,The Complete Letters of Vincent van Gogh (Greenwich, Conn.:
   New York Graphic Society, 1979), 3: 534.


10. Vincent van Gogh to Theo van Gogh, July 16, 1888, in W. H. Auden, ed.,Va n G o g h :
    A Self-Portrait: Letters Revealing His Life as a Painter(New York: Dutton, 1963), 299.


11. Quoted in Belinda Thompson, ed.,Gauguin by Himself(Boston: Little, Brown, 1993),
    270–271.


12. Quoted in Sam Hunter, John Jacobus, and Daniel Wheeler,Modern Art,3d ed. (Upper
    Saddle River, N.J.: Prentice Hall, 2004), 28.


13. Cézanne to Émile Bernard, March 1904. Quoted in Goldwater and Treves, 363.


14. Cézanne to Émile Bernard, April 15, 1904, in ibid., 363.


15. Translated by Akane Kawakami, in Harrison et al., 1066.


16. Quoted in George Heard Hamilton,Painting and Sculpture in Europe, 1880–1940,
    6th ed. (New Haven, Conn.: Yale University Press, 1993), 124.


17. Quoted in V. Frisch and J. T. Shipley,Auguste Rodin (New York: Stokes, 1939), 203.


18. Quoted in Eileen Boris,Art and Labor: Ruskin, Morris, and the Craftsman Ideal in
    America (Philadelphia: Temple University Press, 1986), 7.

Chapter 32

1. Diego de Landa,Yucatan before and after the Conquest,translated by William Gates
   (Mineola, N.Y.: Dover, 1978), 13, 82.


2. Bernal Díaz del Castillo,The Discovery and Conquest of Mexico,translated by A. P.
   Maudslay (New York: Farrar, Straus & Giroux, 1956), 218–219.

Chapter 35

1. Quoted in John Elderfield,The “Wild Beasts”: Fauvism and Its Affinities (New York:
   Museum of Modern Art, 1976), 29.


2. Translated by Charles Harrison and Paul Wood, eds.,Art in Theory, 1900–2000: An
   Anthology of Changing Ideas(Oxford: Blackwell, 2003), 65.


3. Quoted in Frederick S. Levine,The Apocalyptic Vision: The Art of Franz Marc as Ger-
   man Expressionism (New York: Harper & Row, 1979), 57.


4. Quoted in Sam Hunter, John Jacobus, and Daniel Wheeler,Modern Art,rev. 3d ed.
   (Upper Saddle Hill, N.J.: Prentice Hall, 2004), 121.


5. Quoted in George Heard Hamilton,Painting and Sculpture in Europe, 1880–1940,
   6th ed. (New Haven, Conn.: Yale University Press, 1993), 246.