Gardners Art through the Ages A Global History

1028 Notes

6. Ibid., 238.


7. Quoted in Edward Fry, ed.,Cubism (London: Thames & Hudson, 1966), 112–113.


8. Quoted in Michael Hoog,R. Delaunay (New York: Crown, 1976), 49.


9. Quoted in Françoise Gilot and Carlton Lake,Life with Picasso (New York: McGraw-
   Hill, 1964), 77.


10. Filippo Tommaso Marinetti,The Foundation and Manifesto of Futurism(Le Figaro,
    February 20, 1909). Translated by Joshua C. Taylor, in Herschel B. Chipp,Theories of
    Modern Art: A Source Book by Artists and Critics(Berkeley and Los Angeles: Univer-
    sity of California Press, 1968), 284.


11. Ibid., 286.


12. Quoted in Robert Short,Dada and Surrealism (London: Octopus, 1980), 18.


13. Quoted in Robert Motherwell, ed.,The Dada Painters and Poets: An Anthology,2d ed.
    (Cambridge, Mass.: Belknap Press of Harvard University, 1989).


14. Hans Richter,Dada: Art and Anti-Art (London: Thames & Hudson, 1961), 64–65.


15. Ibid., 57.


16. Tristan Tzara,“Chronique Zurichoise,” translated by Ralph Manheim, in Motherwell,
    Dada Painters, 236


17. Quoted in Arturo Schwarz,The Complete Works of Marcel Duchamp (London:
    Thames & Hudson, 1965), 466.


18. Quoted in Sam Hunter,American Art of the 20th Century (New York: Abrams, 1972), 30.


19. Ibid., 37.


20. Charles C. Eldredge, “The Arrival of European Modernism,”Art in America 61
    (July–August 1973), 35.


21. Quoted in Gail Stavitsky, “Reordering Reality: Precisionist Directions in American
    Art, 1915–1941,” in Diana Murphy, ed.,Precisionism in America 1915–1941: Reorder-
    ing Reality (New York: Abrams, 1994), 12.


22. Quoted in Karen Tsujimoto,Images of America: Precisionist Painting and Modern
    Photography (Seattle: University of Washington Press, 1982), 70.


23. Dorothy Norman,Alfred Stieglitz: An American Seer (Millerton, N.Y.: Aperture,
    1973), 9–10.


24. Ibid., 161.


25. Pablo Picasso, “Statement to Simone Téry,” in Harrison and Wood,Art in Theor y,
    1900–2000,649.


26. Quoted in Roland Penrose,Picasso: His Life and Work,rev. ed. (New York: Harper &
    Row, 1971), 311.


27. Quoted in Matthias Eberle,World War I and the Weimar Artists: Dix, Grosz, Beck-
    mann, Schlemmer (New Haven, Conn.: Yale University Press, 1985), 54.


28. Ibid., 22.


29. Ibid., 42.


30. Quoted in William S. Rubin,Dada, Surrealism, and Their Heritage (New York: Mu-
    seum of Modern Art, 1968), 64.


31. Quoted in Hamilton,Painting and Sculpture,392.


32. Quoted in Richter,Dada,155.


33. Ibid., 159.


34. Quoted in Rubin,Dada, Surrealism,111.


35. Quoted in Hunter, Jacobus, and Wheeler,Modern Art,179.


36. Quoted in William S. Rubin,Miró in the Collection of the Museum of Modern Art
    (New York: Museum of Modern Art, 1973), 32.


37. Translated by Norbert Guterman, quoted in Chipp,Theories of Modern Art,182–186.


38. Translated by Howard Dearstyne, in Robert L. Herbert,Modern Artists on Art,2d ed.
    (Mineola, N.Y.: Dover, 2000), 117.


39. Ibid., 124.


40. Translated by Herbert Read and Leslie Martin, quoted in Chipp,Theories of Modern
    Art,325–330.


41. Translated by Nicholas Bullock, quoted in Harrison and Wood,Art in Theor y,
    1900–2000,281.
    42.Quoted in Kenneth Frampton,Modern Architecture: A Critical History,3d ed. (New
    York: Thames & Hudson, 1992), 147.


42. Quoted in Michel Seuphor,Piet Mondrian: Life and Work (New York: Abrams, 1956),


43. 
    


44. Piet Mondrian,Plastic Art and Pure Plastic Art(1937), quoted in Hamilton,Painting
    and Sculpture,319.


45. Mondrian, quoted in Chipp,Theories of Modern Art,349.


46. Ibid., 350.


47. Quoted in H. H. Arnason and Peter Kalb,History of Modern Art,5th ed. (Upper Sad-
    dle River, N.J.: Prentice Hall, 2004), 154.


48. Quoted in Robert L. Herbert,Modern Artists on Art,2d ed. (Mineola, N.Y.: Dover,
    2000), 173.


49. Ibid., 177.


50. Quoted in Vivian Endicott Barnett, “Banned German Art: Reception and Institu-
    tional Support of Modern German Art in the United States, 1933–45,” in Stephanie
    Barron,Exiles and Emigrés: The Flight of European Artists from Hitler (Los Angeles:
    Los Angeles County Museum of Art, 1997), 283.


51. Quoted in Milton Meltzer,Dorothea Lange: A Photographer’s Life (New York: Farrar,
    Straus & Giroux, 1978), 133, 220.


52. Quoted in Frances K. Pohl,Ben Shahn: New Deal Artist in a Cold War Climate,
    1947–1954 (Austin: University of Texas Press, 1989), 159.


53. Quoted in Henry Louis Gates Jr., “New Negroes, Migration, and Cultural Exchange,”
    in Elizabeth Hutton Turner, ed.,Jacob Lawrence: The Mig ration Series (Washington,
    D.C.: Phillips Collection, 1993), 20.


54. Wanda M. Corn,Grant Wood: The Regionalist Vision (New Haven, Conn.: Yale Univer-
    sity Press, 1983), 131.


55. Quoted in Matthew Baigell,A Concise History of American Painting and Sculpture
    (New York: Harper & Row, 1984), 264.


56. Quoted in Hans L. Jaffé,De Stijl (New York: Abrams, 1971), 185–188.


57. Piet Mondrian,Dialogue on the New Plastic(1919). Translated by Harry Holzman
    and Martin S. James, in Harrison and Wood,Art in Theory, 1900–2000,285.


58. Walter Gropius, from The Manifesto of the Bauhaus,April 1919.


59. Ibid.


60. Ibid.


61. Quoted in John Willett,Art and Politics in the Weimar Period: The New Sobriety,
    1917–1933 (New York: Da Capo, 1978), 119.


62. Quoted in Wayne Craven,American Art: History and Culture (Madison, Wis.: Brown
    & Benchmark, 1994), 403.


63. Quoted in Vincent Scully Jr.,Frank Lloyd Wright (New York: Braziller, 1960), 18.


64. Quoted in Edgar Kauffmann, ed.,Frank Lloyd Wright: An American Architect (New
    York: Horizon, 1955), 205, 208.


65. Quoted in Philip Johnson,Mies van der Rohe,rev. ed. (New York: Museum of Modern
    Art, 1954), 200–201.
    Chapter 36


66. Dawn Ades and Andrew Forge,Francis Bacon (London: Thames & Hudson, 1985), 8;
    and David Sylvester,The Brutality of Fact: Interviews with Francis Bacon,3d ed. (Lon-
    don: Thames & Hudson, 1987), 182.


67. Clement Greenberg, “Toward a Newer Laocoon,”Par tisan Rev iew 7, no. 4 (July–
    August 1940): 305.


68. Clement Greenberg,“Sculpture in Our Time,”Arts Magazine 32, no. 9 (June 1956): 22.


69. Marcus Rothko and Adolph Gottlieb, quoted in Edward Alden Jewell, “The Realm of
    Art: A New Platform and Other Matters: ‘Globalism’ Pops into View,”New York Times,
    June 13, 1943, 9.


70. Reprinted in Harold Rosenberg,The Tradition of the New (New York: Horizon, 1959),


71. 
    


72. Quoted in Thomas Hess,Barnett Newman (New York: Walker and Company, 1969), 51.


73. Quoted in John P. O’Neill, ed.,Barnett Newman: Selected Writings and Interviews
    (New York: Knopf, 1990), 108.


74. Rothko and Gottlieb, 9.


75. Quoted in Selden Rodman,Conversations with Artists (New York: Devin-Adair,
    1957), 93–94.


76. Clement Greenberg, “Recentness of Sculpture,” in Gregory Battcock, ed.,Minimal
    Art: A Critical Anthology (New York: Dutton, 1968), 183–184.


77. Louise Nevelson, quoted in John Gordon,Louise Nevelson (New York: Praeger, 1967),


78. 
    


79. Quoted in Deborah Wye,Louise Bourgeois (New York: Museum of Modern Art,
    1982), 22.


80. Ibid., 25.


81. Quoted in Lucy Lippard,Eva Hesse (New York: New York University Press, 1976), 165.


82. Ibid., 56.


83. Quoted in Richard Francis,Jasper Johns (New York: Abbeville, 1984), 21.


84. Andy Warhol,The Philosophy of Andy Warhol(New York: Harcourt Brace Jovanovich,
    1975), 100.


85. Quoted in Christine Lindey,Superrealist Painting and Sculpture (London: Orbis,
    1980), 50.


86. Ibid., 130.


87. Fredric Jameson, “Postmodernism and Consumer Society,” in Hal Foster, ed.,The
    Anti-Aesthetic: Essays on Postmodern Culture (Port Townsend, Wash.: Bay, 1983), 113.


88. Quoted in Grace Glueck, “Susan Rothenberg: New Outlook for a Visionary Artist,”
    New York Times Magazine,July 22, 1984, 20.