Bibliography: Painting and Reality

by Etienne Gilson

BIBLIOGRAPHY

This bibliography includes all the books actually cited in this work. A small number of titles, not cited but in mind during the composition of this book, have been added as a tribute of gratitude to their authors. Knowing from experience how difficult it sometimes is to locate certain books, I have mentioned the names of publishing firms when, having had the book in hand, this useful information was available. This will be found to be the rule, and there will be exceedingly few exceptions.

ADDISON [JOSEPH], STEELE [RICHARD], et al. The Spectator. Edited by G. G. Smith. 4 vols. London: J. M. Dent, 1930-34. (Everyman's Library, Nos. 164-67.)

ALAZARD, JEAN. Le Portrait florentin de Botticelli a Bronzino. Paris: H. Laurens, 1924. (First published as a doctoral thesis under the title Essai sur l'revolution du portrait peint a Florence de Botticelli a Bronzino.)

AMAURY-DUVAL [EUGENE-EMMANUEL PINEU-DUVAL]. L'Atelier d'Ingres. 5th edn., Paris: G. Cres, 1924.

APOLLINAIRE, GUILLAUME. The Cubist Painters: Aesthetic Meditations. Translated by Lionel Abel. New York: Wittenborn, Schultz, 1949. (The Documents of Modern Art.)

ARBER, AGNES. The Mind and the Eye: A Study of the Biologist's Standpoint. Cambridge University Press, 1954.

______ . The Natural Philosophy of Plant Forms. Cambridge University Press, 1950.

ARISTOTLE. The Basic Works of Aristotle. Edited, with an introduction, by Richard McKeon. New York: Random House, 1941.

______ . Aristotelis Ethica Nicomachea., recognovit F. Susemihl. Revised edition by Otto Apelt. Leipzig: B. G. Teubner, 1903.

ARON, JEAN-PAUL. "The Problem of Evolution," Diogenes (Chicago), VII (1954) , 90­103.

ARP, JEAN (or HANS). On My Way: Poetry and Essays. 1912-1947. New York: Wittenborn, Schultz, 1948. (The Documents of Modern Art.)

AUGUSTINE, ST. S. Aureli Augustini Confessionum libri tredecim post Pium Knoell iteratis curis edidit Martinus Skutella. Leipzig: B. G. Teubner, 1934.

______ . Confessions. Translated, with a preface, by Edward Bouverie Pusey and with a foreword by A. H. Armstrong. New York: E. P. Dutton, 1907 (last reprinted 1953). (Everyman's Library, No. 200A.)

BACHELARD, GASTON. La Terre et les reveries du repos. Paris: J. Corti, 1948.

BALTRUSAITIS, JURGIS. Anamorphoses ou Perspectives curieuses. Paris: O. Perrin, 1955.

BARAZZETTI, SUZANNE. Maurice Denis, 25 novembre 1870-13 novembre 1943. With a preface by Robert Rey. Paris: B. Grasset, 1945.

BARR, ALFRED H., JR., ed. Masters of Modern Art. New York: Museum of Modern Art, 1954.

BASCH, VICTOR. Titien. 2nd edn., Paris: Albin Michel, 1926.

BATAILLE, GEORGES. Lascaux; or, The Birth of Art. Translated by Austryn Wainhouse. Geneva: Skira, 1955.

BATTAGLIA, FELICE. "Forme naturalistiche e forme estetiche," Convivium (Turin), n.s., V (Sept.-Oct., 1954), 513-33.

BAUDELAIRE, CHARLES. The Mirror of Art: Critical Studies. Translated and edited, with notes and illustrations, by Jonathan Mayne. London: Phaidon Press, 1955.

BAZAINE, JEAN. Notes sur la peinture d'aujourd'hui. 2nd edn., Paris: Editions du Seuil, 1953.

BAZIN, GERMAIN. La Crepuscule des images. Paris: Gallimard, 1946.

BEHRMAN, S. N. Duveen. New York: Random House, 1952.

BERENSON, BERNARD. Aesthetics and History. Garden City, N. Y.: Doubleday, 1954. (Anchor Books.)

BERGSON, HENRI. La Pensee et le mouvant. 22nd edn., Paris: Presses universitaires de France, 1946.

BERNARD, EMILE. Souvenirs sur Paul Cizanne, et lettres. Paris: A la Renovation esthetique [1920].

BLANC, CHARLES. Grammaire des arts du dessin: architecture, sculpture, peinture. 7th edn., Paris: H. Laurens, 1888.

BODKIN, THOMAS. The Approach to Painting. London: Collins, 1945.

BOETHIUS, ANICIUS MANLIUS SEVERINUS. De Trinitate. In: H. F. Stewart and E. K. Rand, trs. Theological Tractates. New York: Macmillan, 1918. (Loeb Classical Library.)

BOULDING, KENNETH. The Image. Ann Arbor: University of Michigan Press, 1956.

BRADLEY, MORTON C., JR. The Treatment of Pictures. Cambridge, Mass.: Art Technology, 1950.

BRAQUE, GEORGES. Le Jour et la nuit: Cahiers, 1917-1952. Paris: Gallimard, 1952.

BRETON, JULES. Nos Peintres du siecle. Paris: Societe d'editions artistiques [189—].

______ . La Vie d'un artiste: Art et nature. 2nd edn., Paris: Lemerre, 1890.

BROCKWELL, MAURICE W. The Pseudo-Arnolfini Portrait: A Case of Mistaken Identity. London: Chatto & Windus, 1952.

BRU, CHARLES-PIERRE. Esthetique de l'abstraction: Essai sur le problenie actuel de la peinture. Toulouse: Privat, 1955.

BURCKHARDT, JAKOB. Recollections of Rubens. Edited by H. Gerson. London: Phaidon Press, 1950.

BURNET, JOHN. Explanatory notes to The Discourses of Sir Joshua Reynolds. See under REYNOLDS, SIR JOSHUA.

CAIRNS, HUNTINGTON, ed. The Limits of Art: Poetry and Prose Chosen by Ancient and Modern Critics. New York: Pantheon Books, 1948. (Bollingen Series XII.)

CARCO, FRANCIS. L'Ami des peintres: Souvenirs. Paris: Gallimard, 1953.

CASSOU, JEAN. Situation de l'art moderne. Paris: Les Editions de Minuit, 1950.

CELLINI, BENVENUTO. The Life of Benvenuto Cellini, Written by Himself. Edited by John Pope Hennessey. London: Phaidon Press, 1949.

CLANNE, PAUL. Paul Cezanne: Correspondance. Collected, with notes and a preface, by John Rewald. Paris: B. Grasset, 1937.

CHASSE CHARLES. Gauguin et le groupe de Pont-Aven: Documents inedits. Paris: H. Floury, 1921.

CLERICI, FABRIZIO. "The Grand Illusion: Some Considerations of Perspective, Illusionism and Trompe-l'oeil," Art News Annual (New York), XXIII (1954), 98-178.

COLQUHOUN, NORMAN. Paint Your Own Pictures: A Guide for Those Who Would Like to Paint But Do Not Know How to Begin, Discussing the Materials Needed, Their Preparation, and the Handling of Paint. 2nd edn., Harmondsworth and Baltimore: Penguin Books, 1954.

CONSTABLE, JOHN. Memoirs of the Life of John Constable. See LESLIE, C. R.

COURTHION, PIERRE. "Le Temps libre et enchaine," XX' Siecle (Paris), n.s., V (June, 1955), 37-40.

COUTURE, THOMAS. Methode et entretiens d'atelier. Paris, 1868. (Conversations on Art Methods. Translated by S. E. Stewart. New York, 1879.)

CUENOT, L. Evolution biologique. Paris: Masson, 1951.

DANTZIG, M. M. VAN. In: True or False? [Catalogue of I an exhibition organized . . . by the Stedelijk Museum in Amsterdam (Holland), circulated in the U. S. A. by the Corning Glass Center, 1953-54 season. n.p., 1953. (See pp. 6-10.)

DEBIDOUR, VICTOR-HENRI, et al. (Bernard Champigneulle, Henri Charlier, Michel Florisoone, Joseph Paramelle, Pie-Raymond Regamey, Paul Romane-Musculus). Problemes de l'art sacre. Paris: Le Nouveau portique, 1951.

DEGAS, EDGAR. Lettres de Degas. Collected, with notes, by Marcel Guerin, and a preface by Daniel Halevy. Paris: B. Grasset, 1945.

DELACROIX, EUGENE. Correspondance generale d'Eugene Delacroix. Edited by Andre Joubin. 5 vols. Paris: Plon, 1936-38.

______ . Journal de Eugene Delacroix. Edited by Andre Joubin. 3 vols. Paris: Plon, 1950.

______ . The Journal of Eugene Delacroix. A selection edited, with introduction, by Hubert Wellington, translated by Lucy Norton. London: Phaidon Press, 1951.

______ . Euvres litthraires. 2 vols. Paris: G. Cres, 1923. (Bibliotheque dionysienne.)

DEMEURE, FERNAND. Les Impostures de l'art. Paris: F. Chambriand, 1951.

DENIS, MAURICE. Charmes et lecons de l'Italie. Paris: A. Colin, 1933.

______ . Fragments of a "Journal" in the Catalogue for the. Exposition Maurice Denis (1870-1943). Paris: Musee d'art moderne, 1945.

______ . Nouvelles Theories sur l'art moderne, sur l'art sacre (1914-1921). Paris: L. Rouart & J. Watelin, 1922.

______ . Serusier, sa vie, son ceuvre. In SERUSIER, PAUL, q.v.

______ . Theories (1890-1910): Du symbolisme et de Gauguin vers un nouvel ordre classique. 4th edn., Paris: L. Rouart & J. Watelin, 1920. (Includes the famous article of 1890, "Definition du neo-traditionnisme.")

______ . See also BARAZZETTI, SUZANNE.

DEWEY, JOHN. Art as Experience. New York: Minton, Balch, 1934.

______ . Intelligence in the Modern World: John Dewey's Philosophy. Edited, with an introduction, by Joseph Ratner. New York: Random House, 1939. (Modern Library.)

DIDEROT, DENIS. "Essai sur la peinture," in: (Euvres. Edited by Andre Billy. Paris: Gallimard, 1946. (Bibliotheque de la Pleiade.)

DORIVAL, BERNARD. Les Etapes de la peinture francaise contemporaine. 3 vols. Paris: Gallimard—vol. I, 19th edn., 1943; vol. II, 18th edn., 1944; vol. III, 18th edn., 1946. (Vol. IV, the plates, has not yet been published.)

DUFRENNE, MIKEL. Phenomenologie de l'experience esthetique. 2 vols. Paris: Presses universitaires de France, 1953.

DUFRESNOY, CHARLES-ALPHONSE. The Art of Painting. Translated into English verse by William Mason, with annotations by Sir Joshua Reynolds, in The Works of Sir Joshua Reynolds (see under REYNOLDS, SIR JOSHUA) , III, 3-92 (includes Latin text of poem along with the English translation).

ERGMANN, RAOUL. "The Chances of a Dialogue: Berenson and Malraux," Diogenes (Chicago), VII (1954), 68-89.

ESTIENNE, CHARLES. L' Art abstrait est-il academique? Paris: Editions de Beaune, 1941.

FLAHIFF, GEORGE B. "Commentaries on a Way of the Cross," Liturgical Arts (New York), XX (Aug., 1952), 112, 121-22.

FOCILLON, HENRI. Hokousai. Paris: F. Alcan [1914].

______ . Vie des formes. Paris: E. Leroux, 1934. (The 2nd edn.—Paris: F. Alcan, 1939—includes an addition: "L'Eloge de la main.") (The Life of Forms in Art. Translated by Charles B. Hogan and George Kubler. London: Oxford University Press, 1942. 2nd edn., enlarged, New York: Wittenborn, Schultz, 1948.)

FONTAINAS, ANDRE. Histoire de la peinture francaise au vingtieme siecle. Paris: Mercure de France, 1906.

FONTAINE, ANDRE. Les Doctrines d'art en France, peintres, amateurs, critiques, de Poussin a Diderot. Paris: Librairie Renouard—H. Laurens, 1909.

FRANCASTEL, PIERRE. "L'Experience figurative et le temps," XX' Siecle (Paris), n.s., V (June, 1955), 41-48.

FRANKFURTER, ALFRED M. "The Gentle Art of Faking," Art News (New York), LII (Feb., 1954), 16-19, 66-67.

FROMENTIN, EUGENE. Dominique. Translated by Edward Marsh. London: Cresset Press, 1948.

______ . The Masters of Past Time: Dutch and Flemish Painting from Van Eyck to Rembrandt. Translated by Andrew Boyle, edited by H. Gerson. London: Phaidon Press, 1948.

GABO, NAUM. "A Retrospective View of Constructive Art," in: J. J. Sweeney, Katherine Dreier, and Naum Gabo. Three Lectures on Modern Art. New York: Philosophical Library, 1949.

GAERTNER, JOHANNES A. "Art as the Function of an Audience," Daedalus (Boston), LXXXVI, No. 1 (1955), 80-93.

GAUGUIN, PAUL. The Intimate Journals of Paul Gauguin. Translated by Van Wyck Brooks, with a preface by Emile Gauguin. Melbourne, London, and Toronto: William Heinemann, 1952. (First pub. in a limited edn., 1921.)

______ . Lettres de Gauguin a sa femme et a ses amis. Collected, with notes and a preface, by Maurice Malingue. Paris: B. Grasset, 1946.

______ . Lettres de Paul Gauguin a Georges-Daniel de Monfreid. With an hommage by Victor Segalen. Paris: G. Cres, 1918. (Reprinted Paris: Plon, 1930.)

GHYKA, MATILA C. Le Nombre d'or: Rites et rythmes pythagoriciens dans le developpement de la civilisation occidentale. With a letter of Paul Valery. 2 vols. Paris: Gallimard, 1931 (9th edn., 1952).

GIDE, ANDRE. Journal (1889-1939). Paris: Gallimard, 194.8. (Bibliotheque de la Pleiade.)

______ . Journal II. Ecrits intimes. Paris: Gallimard, 1954. (Bibliotheque de la Pleiade.)

GILL, ERIC. Art-Nonsense and Other Essays. London: Cassell and Francis Walterson, 1929.

______ . Autobiography. London: Jonathan Cape, 1940.

______ . Beauty Looks After Herself. London: Sheed & Ward, 1933.

______ . Christianity and Art. Capel-y-ffin, Abergavenny: Francis Walterson, 1927. (Reprinted in Art-Nonsense, pp. 216-49.)

______ . Letters of Eric Gill. Edited by Walter Shewring. London: Jonathan Cape, 1947.

______ . Work and Property, &c. London: J. M. Dent, 1937.

GILLET, Louis. "Visites au musees de Province: III. Aix-en-Provence," Revue des deux mondes (Paris), 8th per., XI (Sept. 15, 1932), 315-44.

GILSON, ETIENNE. "Art et metaphysique," Revue de metaphysique et de morale (Paris), XXIII, No. 11)" (Jan., 1916) 243-67.

______ . Being and Some Philosophers. 2nd edn., Toronto: Pontifical Institute of Mediaeval Studies, 1952.

______ . L'Ecole des muses. Paris: J. Vrin, 1951.

______ . Introduction a l'etude de saint Augustin. 2nd edn., Paris: J. Vrin, 1943.

______ . Le Thomisme. 5th edn., Paris: J. Vrin, 1948.

GILSON, JACQUELINE. "Stations of the Cross, Saint Basil's Seminary, Toronto, Canada: Fourteen Plates," Liturgical Arts (New York), XX (1952), 116-17.

______ . See also FLAHIFF, GEORGE B.; MCCARTHY, PEARL.

GINDERTAEL, R. V. "L'Art `abstrait': Nouvelle situation," in: LEBEL, ROBERT, ed., Premier Bilan de Part actuel, q.v., pp. 35-39.

GLEIZES, ALBERT, and METZINGER, JEAN. Du Cubisme. Paris: E. Figuiere, 1912.

GOETHE, JOHANN WOLFGANG VON. Zur Farbenlehre (1810), in: Samtliche Werke, XXVIII. Stuttgart and Tubingen, 1851. (Theory of Colours. Translated by Sir Charles Lock Eastlake. London, 1840.)

GOGH, VINCENT VAN. Lettres de Vincent van Gogh a son frere Theo. Translated (into French) by Georges Philippart, with a biographical introduction by Charles Terrasse. Paris: B. Grasset, 1937.

______ . Lettres de van Gogh a van Rappard. Translated (into French) by L. Roelandt. Paris: B. Grasset, 1950.

GOLDWATER, ROBERT, and TREVES, MARCO, eds. Artists on Art, from the XIV to the XX Century. Rev. edn., New York: Pantheon Books, 1947.

GOODHART-RENDEL, HENRY STUART. Fine Art. Oxford: Clarendon Press, 1934. (As quoted by OSBORNE, HAROLD, q.v.)

GRIS, JUAN. See KAHNWEILER, DANIEL-HENRY.

GROHMANN, WILL. Paul Klee. New York: H. N. Abrams [1954].

GUIGNARD, JACQUES. "Maurice Denis et l'art du livre," Le Portique (Paris), IV (1946), 48-71.

HAHN, HARRY J. The Rape of La Belle. With an introduction by Thomas Hart Benton. Kansas City: Frank Glenn Publishing Co., 1946.

HAYDON, BENJAMIN ROBERT. The Autobiography and Journals of Benjamin Robert Haydon (1786-1846). Edited, with an introduction by Malcolm Elwin. London: Macdonald, 1950.

HERSCH, JEANNE. L'Etre et la forme. Neuchatel: Les Editions de la Baconniere, 1946.

HESS, THOMAS B. "Artists/Writers: an Impure Excursion," Art News (New York), LIV (Dec., 1955), 26-29, 59-60.

HOURTICQ, Louis. L'Amateur de peinture. 2nd edn., Paris: H. Floury, 1926.

______ . La Jeunesse de Titien. Paris: Hachette, 1919.

HUIZINGA, JOHAN. The Waning of the Middle Ages: A Study of the Forms of Life, Thought and Art in France and the Netherlands in the XlVth and XVth Centuries.Translated by F. Hopman. Garden City, N. Y.: Doubleday, 1954. (Anchor Books.)

HUYGHE, RENE. Les Contemporains. New edn., Paris: P. Tisne, 1949.

______ . "Simple Histoire de 2414 faux Corots," L'Amour de Part (Paris), XI (Feb., 1936), 73-76.

INGRES, JEAN-AUGUSTE-DOMINIQUE. Ingres raconte par lui-meme et par ses amis. 2 vols. Vesenaz-Geneva: Pierre Cailler, 1947-48.

______ . See also WILDENSTEIN, GEORGES.

ISNARD, GUY. Les Pirates de la peinture. Paris: Flammarion, 1955.

JAMOT, PAUL. Dunoyer de Segonzac. Paris: H. Floury, 1929.

JOHN, AUGUSTUS. Chiaroscuro: Fragments of Autobiography. New York: Pellegrini & Cudahy, 1952.

JOHN OF ST. THOMAS. The Material Logic of John of St. Thomas: Basic Treatises. Translated by Yves R. Simon, John J. Glanville, G. Donald Hollenhorst, with a preface by Jacques Maritain. University of Chicago Press, 1955.

JOUFFROY, ALAIN. "Pour 1.250 francs on pent se procurer les chefs-d'oeuvre de la peinture," Arts (Paris), DIV (Feb. 23—Mar. 1, 1955), 14.

JOYCE, JAMES. A Portrait of the Artist as a Young Man. New York: W. B. Huebsch, 1916. (Also a Signet Book, No. 664. 5th printing, New York: New American Library, 1953.)

KAHNWEILER, DANIEL-HENRY. Juan Gris: sa vie, son ceuvre, ses ecrits. 5th edn., Paris: Gallimard, 1946. (Juan Gris, His Life and Work. Translated by Douglas Cooper. New York: Curt Valentin, 1947.)

______ . The Rise of Cubism. Translated by Henry Aronson. New York: Wittenborn, Schultz, 1949. (The Documents of Modern Art.) (The German original, Der Weg zum Kubismus, written in 1915, was first pub. Munich: Delphin-Verlag, 1920.)

KANDINSKY, WASSILY. Concerning the Spiritual in Art, and Painting in. Particular. New York: Wittenborn, Schultz, 1947. (The Documents of Modern Art.)

KEATS, JOHN. The Letters of John Keats. Edited by Maurice Buxton Forman. 4th edn. (with revisions and additional letters), New York: Oxford University Press, 1952.

KECK, CAROLINE K. How to Take Care of Your Pictures: A Primer of Practical Information. New York: Museum of Modern Art and Brooklyn Museum, 1954.

KLEE, PAUL. In: Schopferische Konfession [an anthology of artists' writings]. (Tribune der Kunst and Zeit, edited by K. Edschmid, XIII.) Berlin: E. Reiss, 1920. (Klee's contribution, pp. 28-40. Excerpts translated in GROHMANN, WILL, q.v.)

______ . Ober die moderne Kunst. Bern-Bumpliz: Benteli, 1945. (On Modern Art. Translated by Paul Findlay, with an introduction by Herbert Read. London: Faber & Faber, 1948. Excerpts translated in GROHMANN, q.v.)

KLEIN, ADRIAN BERNARD. Colour-Music: The Art of Light. London: Lockwood, 1926.

______ . "Colour-Music," The Encyclopaedia Britannica, 14th edn., VI, 64-65.

KRESTOVSKY, LYDIE. La Laideur dans l'art a travers les ages. Paris: Editions du Seuil, 1947.

LALO, CHARLES. "Classification structurale des beaux-arts," in: Lalo et al. Formes de l'art, Formes de l'esprit. Paris: Presses universitaires de France, 1951.

LAMING, ANNETTE, and EMPERAIRE, JOSE. L'Art prehistorique: peintures, gravures et sculptures rupestres. Paris: Braun, 1951.

LAPOUJADE, RENE. Les Mecanismes de la fascination. With a preface by Jean Hippolyte. Paris: Editions du Seuil, 1955.

LEBEL, ROBERT, ed. Premier Bilan de l'art actuel (1937-1953). Paris: Le Soleil noir. Positions (Nos. III and IV), 1953.

LEONARDO DA VINCI. The Notebooks of Leonardo da Vinci. Arranged, rendered into English and introduced by Edward MacCurdy. 2 vols. London: Jonathan Cape, 1938 (5th edn., 1948).

LESLIE, C. R. Memoirs of the Life of John Constable. Edited by Jonathan Mayne. London: Phaidon Press, 1951.

LHOTE, ANDRE De la Palette a l'ecritoire. Paris: Editions Correa, 1946.

______ . La Peinture, le cceur et l'esprit. Paris: Denoel et Steele, 1933.

______ . Traite de la figure. Paris: H. Floury, 1950.

______ . Traite du paysage. 3rd edn., Paris: H. Floury, 1946. (Treatise on Landscape Painting. Translated by W. J. Strachan. London: A. Zwemmer, 1950.)

MAGNY, CLAUDE-EDMONDE. "Malraux le fascinateur," Esprit (Paris), CXLIX (Oct., 1948), 513-34.

MALRAUX, ANDRE. Le Musee imaginaire de la sculpture mondiale. 3 vols. Paris: Gallimard, 1952-54.

______ . The Voices of Silence. Translated by Stuart Gilbert. New York: Doubleday, 1953.

MARITAIN, JACQUES. Creative Intuition in Art and Poetry. (The A. W. Mellon Lectures in the Fine Arts, 1952.) New York: Pantheon Books, 1953. (Bollingen Series XXXV: 1. )

MAROGER, JACQUES. The Secret Formulas and Techniques of the Masters. Translated by Eleanor Beckham. New York and London: Studio Publications, 1948. MCCARTHY, PEARL. "Jacqueline Gilson," Arts et pensee (Montreal), XIV (Nov.—Dec., 1953), 53-54.

MCLUHAN, HERBERT M. The Mechanical Bride: Folklore of Industrial Man. New York: Vanguard Press, 1951.

MEIER-GRAEFE, JULIUS. Vincent van Gogh. 4th edn., Munich: R. Piper, 1918.

MIRIMONDE, A. P. DE. Pour mieux comprendre la peinture. Paris: F. Nathan, 1953.

MONDRIAN, PIET. Plastic Art and Pure Plastic Art (1937) and Other Essays (1941-1943) . With a preface by Robert Motherwell. New York: Wittenborn, Schultz, 1945 (3rd edn., 1951). (The Documents of Modern Art.)

MORGAN, CHARLES. Sparkenbroke. 5th edn., London: Macmillan, 1950.

MOTHERWELL, ROBERT. See MONDRIAN, PIET, Plastic Art.

MOUTON, JEAN. Suite a la peinture. Paris: Flaize, 1952.

MUNRO, THOMAS. The Arts and Their Interrelations. 2nd printing, New York: Liberal Arts Press, 1950.

______ . "The Concept of Beauty in the Philosophy of Naturalism," Revue internationale de philosophic (Brussels), XXXI (1955), 33-77.

______ . "Form and Value in the Arts: A Functional Approach," The Journal of Aesthetics and Art Criticism (Baltimore), XIII (Mar., 1955), 316-41.

______ . and GRIMES, JANE. Educational Work at the Cleveland Museum of Art. 2nd edn., Cleveland Museum of Art, 1952.

NADEAU, MAURICE. Histoire du surrealime. Paris: Editions du Seuil, 1945.

NAHM, MILTON C., ed. Selections from Early Greek Philosophy. New York: F. S. Crofts, 1934.

NEWTON, ISAAC. New Theory About Light and Colours. 1672.

ORLANDI, PELLEGRINO ANTONIO. Abecedario Pittorico. 1719. (As quoted by CLERICI, FABRIZIO, q.v.)

OROZCO, JOSE CLEMENTE. "Orozco 'Explains,' " Bulletin of the Museum of Modern Art (New York), 4, VII (Aug., 1940).

______ . See also BARR, ALFRED H., JR.

OSBORNE, HAROLD. Theory of Beauty: An Introduction to Aesthetics. London: Routledge & Kegan Paul, 1952.

OZENFANT, AMEDEE. Foundations of Modern Art. Translated by John Rodker. New American edn., New York: Dover Publications, 1952. (First French edn., 1928.)

PANOFSKY, ERWIN. Meaning in the Visual Arts: Papers in and on Art History. Garden City, N. Y.: Doubleday, 1955. (Anchor Books.)

PAREYSON, LUIGI. "Contemplation du beau et production des formes," Revue internationale de philosophie (Brussels), XXXI (1955), 16-32.

PIA, PASCAL. "Derain au musee," Arts (Paris), XDXCIII (Dec. 8-14, 1954), 14.

PICON, GAKTAN. Introduction a une esthetique de la litterature. Paris: Gallimard, 1953.

______ . "Rigueurs d'un pluralisme esthetique," Critique (Paris), X (1954), 864-77.

PISSARRO, CAMILLE. Camille Pissarro: Letters to His Son Lucien. Edited by John Rewald with the assistance of Lucien Pissarro. New York: Pantheon Books, 1943.

PLANET, LOUIS DE. Souvenirs de travaux de peinture avec M. Delacroix. Edited by Andre Joubin. Paris: A. Colin, 1929.

PLATO. The Dialogues of Plato. Translated by Benjamin Jowett. 5 vols. 3rd edn., New York, 1892.

______ . Phaedrus, Ion, Gorgias, and Symposium, with Passages from The Republic and Laws. Translated, with introduction and prefatory notes, by Lane Cooper. New York: Oxford University Press, 1938.

POE, EDGAR ALLAN. The Complete Tales and Poems of Edgar Allan Poe. With an introduction by Hervey Allen. New York: Random House, 1938. (Modern Library.)

POPE, ARTHUR. The Language of Drawing and Painting. Cambridge, Mass.: Harvard University Press, 1949.

PORTMANN, ADOLF. Animal Forms and Patterns: Studies of Appearances of Animals. Translated by Hella Czech. London: Faber & Faber, 1951.

POUSSIN, NICOLAS. Lettres de Poussin. Edited by Pierre du Colombier. Paris: La Cite des livres, 1929.

RAMUZ, CHARLES-FERDINAND. Questions. Paris: B. Grasset, 1936.

READ, HERBERT. Art and the Evolution of Man. (Conway Memorial Lecture.) London: Freedom Press, 1951.

______ . The Meaning of Art. Rev. edn., Harmondsworth and Baltimore: Penguin Books, 1951. (Pelican Books.)

______ . The Philosophy of Modern Art: Collected Essays. London: Faber & Faber, 1952.

REDON, ODILON. A soi-meme: Journal (1867-1916). Notes sur la vie, l'art et les artistes. With an introduction by Jacques Morland. Paris: H. Floury, 1922.

REVERDY, PIERRE. Le Gant de crin. Paris: Plon, 1927.

REWALD, JOHN. "Modern Fakes of Modern Pictures," Art News (New York), LII (Mar., 1953), 16-21,46-49.

REYNOLDS, SIR JOSHUA. The Discourses of Sir Joshua Reynolds. Illustrated by explanatory notes and plates by John Burnet. London, 1842.

______ . The Works of Sir Joshua Reynolds; Containing His Discourses, Idlers, A Journey to Flanders and Holland, and His Commentary on Du Fresnoy's Art of Painting, to which is prefixed an account of the life and writings of the author by Edmond Malone. 3 vols. 4th edn., London, 1809.

RIMINGTON, ALEXANDER WALLACE. Colour Music: The Art of Mobile Colour. New York: F. A. Stokes, 1911.

ROGER-MARX, CLAUDE. Vuillard: His Life and Work. Translated by E. B. d'Auvergne. New York: Editions de la Maison francaise, 1946.

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