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Contemporary Soulpturo $16.BO

An Evolution in Volume and Space

by Carola Giedion-Welcker

Bibliography by Bernard Karpel

432 pages, 371 illustrations
Series: The Documents of Modern Art
(Director: Robert Motherwell ), vol. 12

When "Modern Plastic Art" by Carola Giedion-Welcker

appeared in 1937, it was one of the first publications in Eng-
lish to offer a mature analysis of the revolution in sculpture
during the twentieth century. The present edition, the third
printing, has been considerably enlarged and revised and,
under the guidance of the author, brought up-to-date to
include the major personalities and younger talents in Eu-
rope and America. A new chapter has been added on the
emergence of the Stele-Totem, a form rising out of man's
reaction to twentieth century forces. With penetrating in-
sight, Dr. Giedion-Welcker relates the disintegration of
academic concepts in sculpture since Daumier to the other
visual arts and to the turbulent history of our times. Care-
fully planned, the exciting pictorial exp>osition serves to
illuminate and enhance the vivid yet profound critique, and
the selection of the illustrative material reflects the historic
soundness and esthetic culture of the author. In short, this

major revision of a standard text will add to Dr. Giedion-

Welcker 's well-established reputation in the field of modern
sculpture.
Statements by the artists and an extensive biographical
appendix, including portraits and lists of exhibitions, give
added meaning to a complex medium which is witnessing an
many countries.
unusual resurgence of power and prestige in
The panoramic and annotated bibliography by Bernard
Karpel, the most comprehensive yet to appear on this some-
what neglected subject, enlarges in words and pictures the
author's conception of modern sculpture as a plastic trans-
formation on the international level, and adds to the reference
value of this revised and enlarged edition of a sculpture
classic.

About the Author:

Dr. Carola Giedion-Welcker, a distinguished critic of litera-

ture and the arts, has contributed to Transition, Horizon and

numerous art magazines both here and abroad. She is the
author of Poetes d I'Ecart (Anthologie der Abseitigen),
Bayrische Rokokoplastik, Modern Plastic Art, and mono-
graphs on Paul Klee, Jean Arp, Constantin Brancusi, and is

at the moment working on the final version of an appreciation

of certain important figures in art today, such as the sculptor
Antoine Pevsner and the poet Alfred Jarry. In private life
she is the wife of Dr. Siegfried Giedion, well-known his-
torian of architecture and design.

(Contioued on back flap)

 rF

BOSTON
BOOK AND ART SHOP
Booki on line and Applild Art
657 Bcyhton S(r«t
BOSTON 16. MASS
Documents of Modern Art. Director: Robert Motherwell: Volume 12
 Digitized by the Internet Archive
in 2012

http://archive.org/details/contemporarysculOOcaro
Contemporary Sculpture

An Evolution in Volume and Space

A Revised and Enlarg^ed Edition

Carola Giedion-Welcker

Selective Bibliography by Bernard Karpel: Modern Art and Sculpture

George Wittenborn, Inc., New York 21, N.Y.

 :

Acknowledgement

The publisher takes this opportunity to thank a host of friends, both American and
foreign,who have made it possible to realize this greatly enlarged and revised edition
of Modern Plastic Art, which was published originally in Switzerland by H. Girs-
berger in 1937.

Copyright ©I960 by George Wittenborn, Inc. 1018 Madison Avenue, New York 21,
New York
No part of this book may be reproduced or translated in any form,
All rights reserved.
by print, photoprint, microfilm, radio transmission or any other means, without
written permission from the publisher.

Library of Congress Catalog Card No. 60-15444

This is the third revised edition and the second enlarged edition (1955) of the
twelfth volume in the series, "The Documents of Modern Art."

The text of the book is set in # 3 Light. The paper for the text and illustra-
Garamond
tions is Cameo dull coated Layout and format, including cover and jacket design,
80 lb.

by Chermayeff & Geismar Associates. Typesetting by Haber Typographers, Offset by

Connecticut Printers, Inc., Hartford, Connecticut. Binding by J. F. Tapley Co., Long
Island City, New York.

IV
Contents

Introduction IX

Illustrations 1

New Chapters 216

Biographies 321

Selective Bibliography by Bernard Karpel 355

Index 395
In this third, revised edition of CONTEMPORARY SCULPTURE a num-
ber of works by younger artists have been added. Some of them are supple-

mentary in character and others are by artists not represented in earlier

editions. In the field of metal sculpture, the followers of Gonzalez and

Pevsner, in stone, those of Brancusi, seem to me especially worthy of

mention.
A new section, entitled "Totems and Stelae", deals with the contemporary
form of the monumental, since this approach to sculpture is so frequently

encountered to-day. In our age, the animistic concept of the "Totem" as an

ancestral fusion of the animal and the human has slipped from its original

form into the involvement of man with the machine, often with a satirical

undertone. On the other hand the cult of legendary memorial "Stelae" is

not primarily based on current trends, but rises out of the depths of primeval
emotion projected into the present.
I should especially like to thank Georgine Oeri and Loly Rosset for their
assistance in revising this book, Joyce Wittenborn for her translation of

new material, as well as the various European and American museums and
private collectors for their generous co-operation.

Zurich, I960 C. Giedion-W elcker

VI
I should like to take this opportunity of expressing my thanks to many
of the sculptors and their relatives for their help in the biographical part

of my work. The difference in the length of the biographical notes some-

times only reflects the amount of data available.
My gratitude for important help with documentary and photographic
material is also due to the collectors, the directors and staffs of American
and European galleries: Mr. Bernard Karpel, Museum of Modern Art, New
York, Mr. James Johnson Sweeney, the Solomon Guggenheim Museum,
New York, Mr. Marcel Duchamp, Yale University Art Gallery, Mme.
Gabrielle Vienne, Musee d'Art Moderne, Paris, Mme. Roberta Gonzalez,
Paris, Mme. Henri, Paris, Mme. Marthe Bois, Paris, Mr. Andre Bloc,
Paris, Mr. Mario Brunetti, Galleria d'Arte Moderna, Venice, Dr. Palma
Bucarelli, Galleria d'Arte Moderna, Rome, Mr. Francesco Rosso, Milan,
Prof. Gino Ghiringhelli, Galleria del Milione, Milan, Dr. Georg Schmidt,
Kunstmuseum Basel, Dr. R. Th. Stoll, Kunsthalle Basel, Dr. H. Keller,
Kunstmuseum Winterthur, Dr. R. Wehrli, Kunsthaus Zurich, Mr. Arnold
Ruedlinger, Kunsthalle Berne, the Curt Valentin and Willard Galleries,
New York, the Galleries Jeanne Bucher, Louise Leiris, Louis Carre, Rene
Drouin, Maeght and Denise Rene, Paris, the Tate Gallery, London.
My special thanks are due to the original translator of the text, Mrs. Mary
Hottinger-Mackie, to Dr. Sonja Marjasch, who translated the biographical

notes, to Mr. Hans Bolliger and to Mr. Bernard Karpel, whose accurate,

illustrated bibliography has enlarged the scope of the book.

Zurich, 1954 C. Giedion-Welcker

VII
VIII
 "A symbol touches simultaneously all chords of the human soul." }. J. Bachofen ( 1854)

Plastic art is visible and tangible. It is derived from the formation of actual
bodies.

In periods of great religious activity this art was the vehicle of various cults

that enshrined the memory of the departed or symbolized the conception

of immortality. Plastic art, therefore, became an essential part of human
culture almost from the outset. From the remotest times symbols, which
were in no sense attempts at any portrayal, were employed as intermedi-

aries for man's relations with the gods, the stars, the seasons, life and death.
Their impersonal and spiritual function was part and parcel of a far wider
complex of nature, religion and cult, the tribe or state, and its monuments.
The emergence of individual at the expense of communal achievement,
which began with the Renaissance, developed towards the end of the Nine-
teenth Century into a complete estrangement between art and life; for,

once the former was debarred from its objective function, an artificial bar-

rier was interposed. Simultaneously with this intellectual isolation, art

became increasingly adulterated with elements that were alien to it, such as
literature and psychology. The result of that infiltration is clearly evinced

in late Nineteenth-Century memorials. These not only reflect a lack of con-

tact with nature, religion and contemporary society, but actually embody
historic reminiscences, literary associations, etc., which denote a funda-
mental negation of the basic principles of plastic art.

In order to understand the aesthetic goal of the Twentieth Century we must

examine not only the reactions of our own age to these aberrations, but also

its attempts to recreate a new plastic world for itself.

Concentration on legitimate means of plastic expression will not lead to an

"art for art's sake" introversion so long as plastic art remains an intrinsic
part of a much wider cosmic unity. In point of fact the very reverse of what
happened at the end of the previous century is now taking place: there is

a reintegration into the comprehensiveness of daily life, accompanied by

the awakening of a new sincerity in means of expression which ruthlessly

eliminates all that is extraneous or incidental.

Our life is divided between town and country, the technical and the natural
worlds, and it is from our transitions between them that variety ensues.
What is physical in us inevitably lives in a world of physical forms. From
our impact with the reality of a tree growing in a wood, or the equal reality

of a traffic-signal in the street, down to our daily associations with cups and
saucers, apples and eggs, a continuous chain of impressions results which
is obviously capable of influencing plastic design.
The problems of statics and dynamics, as of the disintegration of mass and

the space-time interrelation of volumes, are bound to become a new plastic

medium once their divorce from literary and psychological suggestion allows
a return to first principles. What the artists who are preoccupied with these

problems have to say can no longer be embodied in interesting or heroic

motifs, but must rely exclusively on force of expression or the kind of sym-
bols they choose. That these images are so simple is a direct reflection of our

IX
new attitude toward life. In contrast to that of the preceding age our own
signifies the subordination of the individual, and his reacclimatization to

nature and experience. This change is simply part of the psychological and
social evolution of our age, and is in no sense due to esoteric little artistic

coteries.

The examination of various recent movements in art which follows has

been undertaken, not as an attempt to establish some sort of definitive clas-

sification, but solely in order to prove that, in spite of wide divergencies

of idiom they have a common aim and a common basic language.

In the representation of the human body, whether clothed or naked, which

has been the artist's principal medium ever since antiquity, the beginning
of a fundamental change in outlook can be observed towards the opening
of the present century.

With Maillol human figures begin to emanate a detached objectivity. His

affinities with the antique are of secondary importance because we feel that

the only significance of his robust limbs lies in the impersonality of their

proportions, which transforms them into half-abstract elements of a new

and more balanced sculptural vision. It is the discipline of his firmly handled

neutral masses which alone matters to us. Maillol broke completely with

the pretty-pretty ideals of a type of beauty that depends on detail, he sub-

stituted ponderous lumps of drastically simplified anatomical architecture.
His Hellenism is peasant-archaic, not Olympian.

Maillol's contribution was to redress the balance of Rodin's superb one-

sidedness. As we look back on Rodin to-day he seems to have been most

significant as a precursor precisely where he was least affected by literary

or psychological influences, as in those statues in which the human body

is no longer primarily an instrument of our passions and emotions, but
rather a medium for the expression of proportion and movement animated
by light and informed by space. It is true Rodin once wrote: "Le corps est

un moulage ou s'impriment les passions" but also that he said: "Le pivot
,

de I'art c'est I'equilibre : C'est-d-dire les oppositions des volumes, qui pro-

duisent le mouvement."
By means of "un rayonnement de formes" Rodin dissolved the hard outline
of contemporary Neo-Greek academicism, and thereby created a vital syn-

thesis of opacity and transparency, volume and void.

As a wielder of volumes Maillol was static in the classic sense. The new plas-

tic simplicity he achieved presents a marked contrast to the surface com-

plexities of Rodin's liberation or sublimation of form. In the work of

Daumier, Degas, and the later Rodin we see Impressionism unconsciously

modernizing the baroque tradition through its emphasis on light and move-
ment. The important point is that modern plastic art derives its technique
from both baroque and classic sources. With Matisse we find a further

development of the chiaroscuro rhythms of Impressionism, and a new feel-

ing for freedom of proportion. The Futurist Umberto Boccioni proclaimed

his adherence to Impressionism in his earlier manifestoes and proceeded to
expand its theories.
To-day the baroque influence, transmitted through Daumier, Degas and
Rodin to Matisse and Boccioni, may be said to have fused with the classic

influence handed on by Maillol. Merged in turn with the forces of modern

life, they have evoked a new optical vision. That vision, can be expressed
either by means of a deliberate simplification of volumes or in terms of the
disintegration of mass through light. Behind each method there is the same
belief in an elementary objectivity transcending purely human values.
The historic achievement of Cubism was the transformation of sentimental
into abstract images. Picasso's (1909) and Modigliani's (1911-13) heads;
Laurens' ( 1915), Lipchitz's (1915-19) and Juan Gris' (1917) composi-
tions; the rhythmic discipline of Archipenko's (1909-20) voids and vol-
umes; and the geometric construction of anatomy, which is characteristic

of the work of Schlemmer (1918-21), show what revolutionary changes

have been accomplished in spite of the retention of the human body as

theme.
To Cubism we owe the introduction of "the object" and its optical analysis

in terms of weight, density and volume. Fernand Leger, who was one of its

pioneers, says: "C'est le Cubisme qui a impose I'objet au monde. La grande

formule, c'est — that is to say, the complete
I'objet" elimination of any
specifically human content. A human content remains, it is true, but is now
sublimated and no longer in any sense recognizably naturalistic, since the
theme has become a purely objective vehicle. When a Cubist painter like

Juan Gris says: "Du cylindre je fais une bouteille" a change of approach

is implied approximating to the architectonic standpoint. Out of the

"volume statique" Cubism had in turn evolved the "volume cinetique",
which means the simultaneous coincidence of various spatial qualities.

Raymond Duchamp-Villon's Horse which is purely an embodiment of

movement, presents an outstanding example of "volume cinetique."

"La speculation pure voit les volumes prendre une vie speciale et leur fait

perdre toute consistance, d'ou le peu d'im,portance donnee — au debut de la

conception —d la matiere qui sera choisie. On pourrait presque dire que le

statuaire fait descendre peu a peu une creation immaterielle jusqu' a la

cristallisation dans la matiere..." (1914.)

Laurens' early "constructions" show a much freer choice of material — cor-
rugated cardboard, tin-plate, etc. — which is intended to assimilate everyday
things to art and vice versa.
Futurism took much the same course in striving to dethrone art from its

exalted pedestal, though as a "concezione basate sulla sensazione dell'

oggetto, e nan suW oggetto stesso. La trans figurazione della realtd". (Um-
berto Boccioni.) These "oggetti" — for instance Boccioni's own ones — stand
"fuori dalla logica comune" thanks to their fantastic permutations of the

factors of time and space. The analytical sharpness of the French Cubists is

renounced, and instead we have a combination of human emotion and

mechanical dynamicism — for the artistic side of the latter needs to be
postulated in a machine age such as ours. Exterior and interior, subject and
object, become fused into what Boccioni calls a "dinamismo umano".

XI
 )

The close affinity between this emotional dynamicism of the Futurists and
the "kineticism" latent in the Cubists is clear enough; the only difference
being that in Futurism, as in Surrealism, a psychological rkctor intervenes.

Hence the emphasis which Futurist manifestoes lay on Futurism's derivation

from Impressionism — meaning what Impressionism had achieved in the

way of disintegrating mass and suggesting movement through the play

of light.

Dadaism created a metaphysic of banality by discovering the plastic vitality

that emanates from nameless or unnoticed things, and their unsuspected

powers of self-expression. Its dethronement of the "masterpiece" as a snob-

bish value, like its anarchistic rejection of all outworn beauties or conven-
tional forms, led art back to the humdrum, but none the less potentially

significant, realities it had so long disdained. The first plastic applications of

the Dadaist doctrines were produced by Marcel Duchamp and Man Ray
in New York ( 1915-18)', Jean Arp and Max Ernst in Cologne ( 1918-19),
Raoul Hausmann in Berlin (1919), and Kurt Schwitters ("Merz") in

Hanover (1919). Besides being amusing squibs to epater le bourgeois they

revealed a serious attempt to unveil humble plastic realities of our visible

world that had remained ignored. The cardinal plastic principle seems far

more evident in them than in what are called "choice" works of art. Like
Picasso, Braque and Miro's original collages, the Dadaist examples just

mentioned were primarily dependent on individual resourcefulness: "Mate-

rial has no sentimental importance; invention is everything"". And just as

the first collages had been a protest against the decadent refinement of
pictorial sensuality, so these heralded a revolt against the cult of materialism

in marble.

Surrealism dissolves the wall between our inner and outer life. It permeates
dreams with reality and reality with dreams, confronting or fusing the
psychical and the physical, the conscious and the subconscious, the individual

and the community.

"]e crois a la resolution future de ces deux etats, en apparence si contradic-,

toires, que sont : le reve et la realite en une sorte de realite absolue, de sur-
realite, si Ion peut ainsi dire." ( Andre Breton, Manifest e Surrealiste, 1923.

There is a continuously active process of metamorphosis in Surrealism

which corresponds to the kinetic and dynamic qualities in Cubism and

Futurism. All biological and psychical frontiers are blurred: men and beasts,

animate and inanimate objects, converge and coalesce to proclaim the

sovereign domination of transience.
"...des etres-objets lou objets-etres?) caracterises par le fait qu'ils sont en

proie a une transformation continuent et expriment la perpetuite de la

lutte entre les puissances agregeantes, qui se disputent la veritable realite

' Marcel Duchamp's topsy-turvy china water closet, exhibited in New York in 1917,
and Max Ernst's madonna built up from a series of hat dummies, shown in Cologne
in 1919, were still more startling anti-aesthetic and anti-conventional manifestations.
(See also "The Dada Painters and Poets", New York, 1951.) They offer a parallel
to Charlie Chaplain's systematic "debunking" of the hero in the films.
^ La Peinture au Defi by Louis Aragon.

XII
et la vie . .
." (Andre Breton, Ob jets Surrealistes, Exposition Galene Ratton,
1936.) A positively magical aura emanates from the simple volumes Alberto
Giacometti calls "objets mobiles et muets" : stones that merge into archi-

tectural forms, prisms into heads, organic into geometric shapes.

"Toutes choses . . . pres, loin toutes celles qui sont passees et les autres par

devant, qui bougent et mes amies, elles changent (on passe tout pres, elles

sont loin), d' autres approchent, montent, descendent . . . des canards sur
."
I'eau, la et Id, dans I'espace, montent, descendent . . . mais tout est passe . .

(1932.)
The danger of literary associations to which Surrealism is often exposed
seems unimportant in comparison with its vitalizing rehabilitation of for-

gotten things, its exaltation of what is banal into what is extraordinary, and

its tenacious insistence on the unity of life and art. The Surrealists turn

commonplaces into paradoxes to show us what the German Romantics

called "the rare blue flower" growing, not at the back of beyond, but at

our own doorsteps.

Jean Arp has exercised a stimulating influence on the evolution of modern
plastic art. Though he has no direct affinity with the Surrealists he has cer-
tain points in common with them.
The originality of his work lies in its uncompromising elementalism. This
leads him to prefer essential organic forms, identical beneath their muta-
tions, which he uses as symbols of preexisting archetypes. He finds that

common elemental prototype, either overt or concealed, ever-present in

nature and the works of man. All Arp's work mirrors a state of cosmic flux.

Movement is conveyed by the suggestion of growth into shape, or by the

rhythms of ebb and flow. There is no attempt at mental or visual fixation;
indefinite primordial shapes arise, serenely detached and self-sufficient,

which yet somehow convince us that they belong to the natural world. We
should be less surprised to encounter these supernaturally billowing forms
in some quiet region of the earth than in a crowded art gallery, for they

seem to have received their lineaments from the slow grinding of millenary
glaciers rather than the pliant hand of man. Arp's apparently straightfor-

ward touch conceals an incessant industry and an alert responsiveness to

proportion. With him, too, the feeling for nature, being direct instead of
sentimental or intellectual, has ceased to be a conscious factor.
"When Dada revealed his deepest truths to man he laughed indulgently,
and went on babbling. Now in art, too, men love what is vain or dead. They
cannot understand that painting is anything more than a landscape with a
dressing of vinegar and oil, or that sculpture can assume any other form

than the faking of a woman's thighs in bronze or mable. All vital trans-
formations in art seem to them just as detestable as life's own eternal

transformations. Art is a fruit which is born of man himself; as a fruit

grows on a tree or an embryo in its mother's womb. But whereas all fruits

have forms intrinsically their own— forms which never resemble toy bal-
loons or French Presidents in evening dress— the human fruit we call "Art"

nearly always embodies a ridiculous resemblance to something else. It is

XIII
reason that has inflated man's pride with the fond behef that he is lord

over nature and an infalUble criterion in himself; reason that has encom-
passed his divorce from nature; reason that has turned him into an at once
hideous and tragic figure. I love nature, but not its substitutes. Illusory art

is simply a bad substitute for nature." (From Jean Arp's Diary, 1931.)
It was thanks to Constantin Brancusi that modern plastic art was first able

to explore entirely new ground. Brancusi's compact, exquisitely molded

volumes were the earliest and purest expression of a still wider range of
vision.

This Rumanian sculptor remained aloof from contemporary tendencies,

yet touched the very core of the problem that was engaging all of them. As
early as 1908 (that is to say even before the emergence of the first Cubist
sculpture ) he had begun to envisage a plastic revival from a wholly original
standpoint.

With Brancusi the egg continually recurs in some guise or other as the

symbol of all life^, and the virtual key-form of a primeval monopsychic

world. In his quest for absolute proportions he whittles away every detail
until he has evolved a finite simplicity; or as he puts it:

"La simplicite n'est pas un hut dans I'art, mats on arrive a la simplicite,

malgre soi, en s'approchant du sens reel des choses."

After years of patient experiment he will evoke some unprecedented signif-
icance out of wood, marble or metal. Brancusi does every bit of his work
himself and disdains preliminary models. He likes to keep his material

under constant observation so as to study its "inner life" and be able to make
rapid changes in his treatment of it. For him there is therefore no longer

any dividing line between craftsmanship and creation.

"La taille directe, c'est le vrai chemin vers la sculpture, mats aussi le plus

mauvais pour ceux qui ne savent pas marcher."

Every fibre, every vein, each fresh shade of polish is welded into an integral
part of his composition. Under his hands inchoate material is developed
out of itself and made to ring true to its own intrinsic nature; its dumbness
becomes articulate, its urge for self-expression fights through stratum after
stratum till it stands revealed.

To the achievement of this complete amalgam of mind and growth, material

and spirit, geometrical and organic forms, Brancusi brings a peculiar gift
for the humor latent in certain forms, much as Joyce discovers it in the

sound of certain words. If he starts from the incoherence of the subcon-

scious, it is because this alone offers him a way of coming to grips with

the deeper meaning of life.

The years of almost monomaniac labor he will expend on a single work are

inspired by the determination to restore the sovereign clarity of simplicity

wherever meaningless complexity has been suffered to intervene, and to

impart a new honesty to the idiom of sculpture by purifying it of all asso-

^ The primordial egg is a mythical symbol among many peoples. "It embodies a sense
of repose and an almost fluid balance," c. f. Greek myths, the Finnish Kalevala,
American Indian legends, etc.

XIV
ciative corruptions. As he himself says, simplicity is only the means to an
end, and that end is perfection. Brancusi lives in a world of forms as simply

and intimately as St. Francis of Assissi dwelt among the birds.

Henry Moore and Barbara Hepworth have also succeeded in imparting

plastic intensity to simple organic volumes.
The intersection of purely organic forms by sharp geometrical planes,
which can sometimes be detected in Arp's and Giacometti's work as well,

implies the introduction of a new element that is semi-architectural and,

one might almost say, intentionally civilizing.

Both Neoplasticism and Constructivism have contributed to a clearer line

of demarcation by a systematic separation between what is, and what is not,

of fundamental importance to expression; though from a rather different

angle. Both adopted an almost geometric morphology, the object of which

was to dematerialize and volatize volume by the creation of light-condi-
tioned spatial values.
The Dutch painter Piet Mondrian was one of the founders of an active

group of artists known as "De Stijl" (1917-31), the leader of which was
the architect Theo van Doesburg, who died in 1931. Mondrian summed
up the ideology of this group rather later on as follows:

"Dans I'ari nouveau les formes sont neutres. Elles le sont a mesure qu'elles

s'approchent de I'etat universal. L' effort de I' art nouveau supprime le sujet et

la forme particuliere . . ,La vie est une transformation continuelle et la nou-

velle culture est celle des rapports purs ..." ( Piet Mondrian, L'Art Nouveau
et la Vie Nouvelle, 1931.)
The Belgian George Vantongerloo used solid rectangles to contrast their

formal opposition and bring out their relation to one another in terms of
space. The decisive factor in his evolution is the increasingly important

role he began to give to spatial tension between elements grouped together

as a composition.

"Nous avons besoin de I'espace pour situer les chases. L'espace, dont nous ne
pouvons nous passer, sans toutefois le definir, est inseparable de la vief'—z.

phrase which aptly defines the interactions between space and volume.
Space, in fact, becomes the imponderable element in all calculable factors.

There is a close parallel between Neoplasticism and the New Architec-

ture. This is no mere coincidence since it was in Holland that both first took
root. In the Neoplastic theories the essential interdependence of architec-

ture, painting and sculpture, and the basic identity of art and science, was
always stressed. Thus a way was opened for establishing a fresh contact
between life and art, and indeed every sphere of modern thought and ac-

tivity. The outstanding importance of the pioneer work accomplished by

the Bauhaus in Weimar and Dessau (1919-28) under Walter Gropius
must be mentioned in this connection.

Suprematism has been an isolated though none the less stimulating in-

fluence. It aimed at the total elimination of the object by the substitution

of a sign language of absolute forms and formal relations as the proper

medium for the expression of our emotions. Though Kasimir Malevich's

XV
"Dynamic Architecture" does not deal in any sense with actual buildings, it

is surprising to what extent it assimilates architectonic to plastic values. The

link between Suprematism and the New Architecture is consequently self-

evident. Malevich has defined his perception of reality as follows:

"When sitting or lying our sensations are essentially plastic. These sensa-
tions have called into being the things we require for sitting, lying, etc.

and govern their shapes. Chairs, beds, and tables are embodiments of purely

plastic sensibilities*."

Constructivism likewise seeks to make art an integral part of the stuff of

life by utilizing it to solve the problems of the modern world. Though it

adopts the dynamic principles of Cubism and Futurism, it translates them

into mechanistic terms. The Constructivist Movement started in 1920 in

Moscow and appeared a little later in Berlin. All Constructivist exhibitions

and manifestoes proclaim the sovereign virtue of movement. Constructivism

goes further than any of the various tendencies that had preceeded it in its

insistence on the sublimation of mass into "virtual volumes." This implies

the optical disintegration of material solidity by light so as to enable move-

ment to become a plastic element.

"Since space and time constitute the basis of life, art must realize human
experience in terms of space and time." (N. Gabo and A. Pevsner, Realist
Manifesto, Moscow, 1920.)
"We must substitute the dynamic principle of the universality of life for

the static principle of classic art." (L. Moholy-Nagy and A. Kemeny in

Sturm, published in Berlin, 1922'.)

What is new and important in the work of the Constructivists is their

whole-hearted acceptance of technique. Physics and mechanics provide the

stimulus for their imagination. Since they regard the Zeitgeist— that is to

say manifestations of our modern civilization like standardization, collec-

tive organization, etc.— as the decisive factor of our generation, it follows

that their work is permeated by what might be called a specifically indus-

trial content. It is for this reason that they usually confine their choice of

materials to glass, aluminum, nickel, celluloid, casein, etc. The work of

Tatlin, Rodchenko, Moholy-Nagy, Pevsner and Gabo— to mention only
leading names— demonstrates how fantasy can be evoked from a deliberate

use of the rationalizing elements of contemporary existence. It must not be

imagined that the difference between their work and straight-forward engi-
neering is the substitution of mechanically aesthetic for mechanistically

functional motifs. This important difference can best be explained by

reference to the Constructivists' belief that there is a general intellectual

principle implicit in the use of a given material or technical process.

The clarification brought about by the logical design and structural dis-

cipline of the various abstract tendencies that have just been mentioned
has helped to bring them into close touch with analogous objectives in the

'Die gegenstandslose Welt, Bauhausbiicher, Langen-Verlag, Miinchen, 1927, and

Chicago, 1960.
"See also L. Moh ly-Nagy, Von Material zu Architektur (1929), The New Vision
and Abstract of an Artist, re-print ed. 1955. George Wittenborn, Inc., New York.

XVI
 :

New Architecture, and even rather dissimilar trends in other branches of

plastic art.

Picasso's Composition in Wire and his Project for a Monument, 1928, offer

us examples of a peculiar, and altogether original, crasis of geometric and

organic expression.
"Un personnage, un objet, un cercle, sont des figures, elles agissent sur nous,
plus ou moins intensement. Les unes sont plus pres de nos sensations, pro-
duisent des emotions, qui touchent a nos facultes affectives, d'autres s'adres-
sent plus particulierement a I'intellect. II faut les accepter toutes, car mon
esprit a autant besoin d' emotion que mes sens." ( P. Picasso, Cahiers d'Art,

1936.)
Julio Gonzalez and Max Bill— to name only two— follow much the same
course, which may be summed up as a plastic fusion of apparently hetero-

geneous elements.
In this connection mention should be made of Alexander Calder's "Mobiles"
—swaying or rotating bodies whose spatial ambiance is defined by wires—
which are the fruit of an almost astronomical imagination.
Kurt Schwitters has developed his earlier manner into a much more lucid

presentation in which Dadaist fantasy and mathematical precision are

strangely combined^. The forms he now evokes from wood, plaster and
stone demonstrate an elemental plastic principle achieved with very simple
means that are quite free from incidental adjuncts.
"Plastic art," he wrote in 1933, "means the relation of form to form, sur-

face to surface, line to line, regarded in a non-accumulative sense. It unites

all of these by means of their continuous intersection."

If we probe deeper into the many different tendencies during the last thirty

years, every one of them reveals the same constantly recurring phenomenon
a pronounced reaction from the sensual-sentimental individualist angle
towards a wider and more objective human outlook, combined with a

vigorous revolt against the use of art as an overflow-reservoir for our private
emotions.
In direct contradiction to the pathos, heroics, or "inspiration of genius" of

Art with a capital A, the first prerequisite for this kind of plastic exteriori-

zation is an unbiased concentration on the most elementary aspects of ex-

pression. By delicately sacrificing what in the last analysis is only inci-
dental, it becomes possible for the artist to confine himself to a very few,

but all the more direct, means of expression which may be defined as the

shaping of volumes perceived in terms of space.

The close accord between these deliberate abnegations and those of the
New Architecture should bring about a final liberation from the specious
ornamentalism or theatricality which has hitherto atrophied the vitality of

plastic art. Once we discard imitation and illusion, and with them all literary

encumbrances, a self-sufficient plastic reality is free to emerge, which is

®Thus he has transformed his house in Hanover into a sort of shelter for plastic forms,
which he describes as a little world of branching and building where the imagina-
tion is free to climb at will.

XVII
just as real as the reality of nature and human life, all necessarily different

to both.

The new freedom and independence of conception, which results from this

transmutation of static into dynamic values through the sort of formal

shorthand that has supplanted wealth of description, goes hand in hand with
complete subordination to the specific nature and utilization of the medium
chosen. The human scale, the human angle, has ceased to be the universal

norm. Hence there is no longer any finite or "consecrated" ideal of beauty;

no emphasis on detail, no senseless flamboyance or display of good material.

This universal adoption of an elementary formal idiom and commonplace

motifs seems to be in conformity with a far-reaching intellectual process
that has been closely identified with the general cultural revolution of our

age.

The underlying solidarity among the various aspects of plastic art that have

already been referred to clearly points to a consensus of convictions com-

mon to all of them. This prompts a leading question: Is there a direct

analogy between what is happening in modern sculpture and recent devel-

opments in other spheres of culture.'' To ask it is forthwith to envisage the

evolution of plastic art from a much wider angle than the purely aesthetic.
The really important consideration here is that these other spheres have
already effected an equally drastic purge of alien influences. The rehabilita-

tion of everyday themes and their reassimilation into the broad stream of

life, which spells the progressive eclipse of the overweening pretensions of

individual inspiration, has permeated not only the arts, but philosophy and

science as well.

In much the same way the practical organization of the interior in terms

of spatial design is the dominant note of the New Architecture". The com-
prehensive planning of a city supersedes representational pomp and
chaotic juxtaposition; and its master-plan is the carefully calculated result of

a detailed technical study of all the relevant biological, sociological and cli-

matic conditions.
With modern poetry^ the immediate stimulus to the creation of new forms
has been a rediscovery, a reanimation of the primal visual images and oral
values latent in simple words. Slang has been enlisted for the excellent

'
The open planning of the New Architecture, the lightening of its volumes, and its
emphasis on transparent, almost imponderable, surfaces finds an echo in certain prom-
inent tendencies in modern plastic art.
**
To
say that Rimbaud's "poesie pure verhe accessible a tous les sens" has begotten
. . .

a decadent verbal mannerism is an unjustified assumption. To use language primarily

as a sensitive tonalmedium does not mean playing with words for the mere fun of the
thing, any more than an absence of plot means an absence of content. The pioneers
of the modern literary movement, Baudelaire, Rimbaud and Mallarme, continually
reaffirmed the spiritual purpose of poetry. The explosive, yet associative dynamicism
of Arp, Ball, Schwitters, Eluard, and Tzara's writing evokes a continuous sequence of
mental vistas. In James Joyce's last publication. Work in Progress, the logical time
sequence of characters and events, human and natural history, is deliberately discarded.
Instead \^e are given a vivid reconstruction of his subject-matter into something that
is at once wholly nev. yet by force of association virtually familiar. His projection of
,

images on to a universal plane of time-space presents a close parallel to the emphasis

on "simultaneity "
in the plastic arts.

XVIII
 .

reason that it provides the most direct and vivid form of verbal impact on
the reader. Psychological reflections, anecdotage, and the more personal
point of view, are studiously avoided. The rule is stressed, the exception

ignored. There is a renunciation of the old structural development, sen-

tence by sentence, in favor of a dynamic association of ideas, accomplished

by a successively penetrative effect rather than a consecutive use of words;
while the stylistic balance between the latter echoes emotion rather than
logic.

The equivalent process in painting is the abandonment of illusory perspec-

tive and the recognition of surface, color and light as the true components
of a picture.

In music" it is the direct, primal relation of tone picture to tone picture

without intermediate psychological garnishing. Igor Stravinsky has said

that his composition is architectonic, not an anecdote, "an objective, not

a subjectively descriptive structure." Here the deliberate introduction of

modern dance music, extraneous noises, once more implies a return to the
soundtrack of daily life.

In certain branches of philosophy, too, there has been a return to those

essentials which Rudolph Carnap deals with in his "Scheinprobleme in der
Philo Sophie^"." A notable instance of the similarity between the revolutions
in artistic and scientific methods at the beginning of the present century
can be found in the work of the English philosopher Bertrand Russell.
Some thirty years ago Russell succeeded in formulating a series of basic

axioms, uncolored by metaphysical speculation, that are common to logic

and certain branches of mathematics. A group of Viennese philosophers

known as the Wiener Kreis has developed this side of Russell's philosophy
into a "system of axioms", for which, in part anyhow, mathematical formulas

were adopted— still another example of symbolical expression. The stand-

point of the modern philosopher is no longer that of the poet, for he has to

keep a close watch on mathematics and physics. His work must be severely to

the point, severely scientific.

There is an even closer affinity between contemporary physics and modern

plastic art. The fundamental transformation undergone by the former has
radically modified our conceptions of space, time and motion and has like-

wise superseded the old ideal of mass, since the ponderosity of mass is now
considered a factor conditioned by speed.

This necessarily rather sketchy outline of the parallelism between the

methods now being adopted in the various fields of cultural activity at least

provides sufficient evidence of the vitality of each. The community of spirit

between science and art, which even today is often considered a far-fetched

'
Thus the basis of Hindemith's musical idiom is "anti-individualistic counterpoint".
Vide H. Curjel's Triumph der AUtdgUchkeit (Hesse-Verlag, Berlin, 1929), and C. F.
Ramuz's Souvenir sur Igor Stravinsky ( 1932) as also Igor Stravinsky's Chroniques de
,

ma Vie ( Denoel et Steele, Paris, 1935 )

i"Vide Carnap's Der logische Aufbau der Welt (Weltkreis-Verlag, Berlin, 1928),
Schlick's Raum und Zeit in der gegenwdrtigen Physik (Berlin, 1918), and Hans
Reichenbach's Wahrscheinlichkeitslehre (A. Sijthoff, Leiden, 1935).

XIX
 .

notion, was regarded as a self-evident platitude right up to the age of the

baroque.
The evolution of modern art is not yet complete. But this much can already
be discerned with some confidence: it is not a form of aesthetic self-indul-
gence, disdainfully remote from daily life, but a vital creative force inti-

mately associated with the general cultural development of our age. The
broad universality of its impersonal form and content, its close relation to

nature and all the manifold problems of contemporary existence, predestines

this art to public recognition and general acceptance. It is, of course, true
enough that this art can as yet only be seen in private collections and

studios, or a few score houses and gardens; and that its clientele still remains
severely limited. Those who acquire and those who produce its works are
equally devoid of influential connections. But to deny a civilizing role to

this art on that score seems premature; for, though all creative artistic pro-

duction is necessarily compounded of past and present elements, its more

essential significance belongs wholly to the future. Outstanding historic
examples prove that it often requires much longer than a single generation
before the artistic reorientation achieved by the pioneers of a given period
has had time to permeate the consciousness of the community.
The fundamental assimilation of our new vision to the realities of life has

already been conclusively demonstrated, if only in an anonymous sense. It is

no longer possible to remain blind to the direct formal affinity between the

purely utilitarian mechanism of modern industry, transport and publicity",

and those so-called Utopian experiments in art which, in part at least, had
anticipated them. The priority of one or the other in point of date is far less

important than their reciprocal stimulus.

Finally, still another remarkable similarity remains to be considered: that
between modern and primitive art, whether savage, archaic or prehistoric.
This is not inspired by any romantic or modish hankering after the barbaric,
or a nostalgia for what is strange and distant. There is an absence of literary

influences in both, and a common predilection for a clear structural forma-

tion and simple plastic transmutations. It is perhaps not without significance
that a century as conscious of the highly-developed and complex civilization

it has evolved as our own should manifest such a warm sympathy for the un-

sophisticated emotions and forthright plastic creations of mythical times^".

The morphological synthesis of these chronologically and culturally op-

posite poles has resulted in the perfection of sculptural forms (that highly

specialized modern tools have revealed to us) which in the simplicity of

their line recall the first dawn of plastic art^^.

Zurich, 1937.
'
' E.g. Traffic-signals, various types of modern transport, shop-window-dressing,
advertisement lay-outs, etc.
" As long ago as 1910 Umberto Boccioni wrote "Siatno i primitivi di una nuova
sensibilitd"
^^ A peep into Brancusi's studio, with its extraordinary collection of tools and instru-

ments, reveals certain points of contact between even work of so timeless a quality
as his and the field of modern inventions. Brancusi's preference for showing his sculp-
ture on revolving turn-tables, and his claim that films are the only adequate means
of illustrating it, provide pertinent cases in point.

XX
XXI
XXII
The Situation Today

The present edition of this book is a revised and expanded version of the
original which was first published in 1937; the lines on which it was then
written, however, have remained essentially the same, though the view-

point is that of today.

It is true that the situation of sculpture has grown more varied and complex
owing to the appearance of new works by sculptors previously considered

and the rise of a younger generation. There has also been a change in the

nature of public response to sculpture and to painting; it is no longer pos-

sible to dismiss the kind of sculpture that has for forty years gone by the
name of "modern" as sporadic, Utopian efforts. The European museums,
following the admirable initiative of the United States, and more recently.
South America, have opened their doors to it. The vitality and expressive-
ness arising from the different regional sources and spiritual attitudes have
been brought before the public in various ways: first of all in great open-air

exhibitions such as those at Battersea Park, 1951, and South Bank, 1952, in

London, the Venice Biennale, 1950, 1952 and 1954; and those at Hamburg,
Antwerp, Varese, 1953. In the second place, there have been sculptures in-

corporated into public buildings, as, for instance, by Jacques Lipchitz for the
Ministry of Education (1944), Rio de Janeiro; by Henry Moore for the

Time, Life and Fortune Building ( 1953), London; and by Isamu Noguchi
for Lever House, New York. Also the sculptures for the University of
Caracas by Arp, Laurens, Lobo, and Pevsner ( 1954), as well as Gabo's de-
sign for the "Bijenkorf Warenhuis", a department store at Rotterdam
(1955), are to be mentioned. Finally, there has been the competition for
the Monument to the Unknown Political Prisoner, 1953, which united
sculptors of all countries in work on a common theme. There are few
countries, in Europe or elsewhere, where the right of "modern" sculpture to

exist is now challenged. We have also witnessed the passing of the "isms"
and manifestoes in which sculptors of the various groups presented their

most profound ideas and aspirations to the public. Then, too, there has

been a general improvement in the position of sculpture within the visual

arts; it is steadily growing in importance and esteem. There are even
grounds for believing that an "Age of Sculpture" is on the way; we can see

this in the growing demand for more pageantry and emotional expression in
public life. From that demand sculpture will receive an immense impetus.
It has always been closely identified with public life, and its very essence
is monumentality. The growing interest in murals and mosaics, and public
art in general, to give life both to the public buildings and the open spaces
which embody the corporate life of the municipality, will also increase the

importance of sculpture.
The fundamental aim of this survey is to comprehend that complex unity
called "modern sculpture" in its common development and general re-

orientation. The grouping does not aim at the greatest possible complete-

ness, but rather at the demonstration of underlying ideas which can already

XXIII
be traced in the art of our time.
Thus there is no separation into hostile camps of figurative and non-figura-
tive art. What ultimately matters is the intensity and freedom of the creative
imagination as expressed in both types.
The first general tendency to be observed is the detachment from all illu-

sionism, hence from all imitation of nature, and the inclination towards

elementary forms freely created and closely dependent on the inherent

properties of the material used.

Almost equally important seems the penetration and sublimation of matter, Dematerialization
the extreme dematerialization of the once static and compact mass. Whether
this result is achieved by means of polish and proportion, by a reduction of 112, 117, 125, 127-129, 133, 135, 139-143

mass and emphasis on linear structure, by the translucency of the material 62, 63, 102-107, 148-167, 169-171,

itself, or by means of planes opened up to space, there can be felt through- 172-183 196-203,213,215-227
out a depreciation of the compact, static volume. This began when the 186-193, 204-209, 238, 239, 250, 251

Cubists first shattered volume into its structural components, when Archi-
penko created his first counterpoint of solid mass and air volumes, and when 50,56,64
Lipchitz, early in the third decade of the century, reduced the compact mass 51,52,55
to a flowing pattern of lines. Even among the youngest of the present-day 62

sculptors this airy pattern of lines persists, either as a language of signs in

the manner of Gonzalez whose point of departure is usually a definite sub- 196-203,213,254,255,260
ject, or as the abstract, linear web of relationships. A world of shapes, bathed 169, 170, 216, 217, 224-226, 261

in space and creating space, seems to be in full process of evolution. We

often find everything that is worth saying confined solely within the precise,

sharply defined course of lines, a tendency already evident in Lehmbruck's 36,37

insistence on the importance of the contour.
A momentous stage has been reached, not only in contemporary art, but in Dynamism
our entire picture of the universe, where the static is being transformed
into the dynamic, and matter into energy. It is within this general trend
that the epoch-making change in the outlook of the artist and his language

of form has taken place since the early years of this century. Whatever we
consider, whether it is the early Cubists or Futurists splintering, opening and
disciplining volume; whether it is Brancusi, Arp, and their followers turn-
ing back to the archetypal in form; or whether it is the sculptor enclosing
space in an architectural or transparent framework, what is obviously going
on is a new conquest of space by radiation of volume or enclosure of the void.

A new and fundamental sense of space seems to be manifesting itself. The "Poetry" of Space
Figures and objects are no longer placed in self-contained isolation; the
sculptor's aim is to animate the space surrounding the form and emanating
from the form. He uses every possible means of bringing space to life as

an emotional stimulus. Man is no longer the measure of all things; his

microcosm has been absorbed into a much vaster macrocosm. It is obvious

that this new conception of space is far closer to the baroque philosophy
of life and creative principles than to the classical. The tradition descends,

by way of Daumier and Rodin, to the sculptors of today, a tradition that

began at the moment when light and shade first attacked the sculptured
mass, causing it to stream out into its wider environment.

XXIV
 139,318 Just as Brancusi erects his mystic Colonne sans Fin like endless steps of
prayer into the universe, or establishes a grand relationship with Heaven

141 in the soaring vertical of his Bird, "pour remplir la voute du del", Pevsner's

190 Developable Column of Victory and Gabo's Construction in Space are

related to and enter into a kind of fierce possession of the space around
them. This dynamic process occurs under our very eyes, and involves the
most minute details of such constructions. The result is a many-faceted

whole in full process of evolution which the spectator does not comprehend
by summing up the views from successive angles; it is the very openness
or transparency that enables him to grasp the whole simultaneously from
within and without. This method of telescoping and communicating a
whole complex of form is characteristic of our time. It appears in painting

in the superimposed aspects of the object, and in architecture in the inter-

penetration of rooms effected by transparent materials and spatial methods

of construction.

It was significant in the competition for the Monument to the Unknown

Political Prisoner, with its wide range of sculptural expression, that space
and the mastery of space was the central problem for nearly all competitors.
This emerges clearly when we compare entries with very different ap-

proaches to the subject, such as those of Minguzzi and Pevsner, Butler, Gabo
and Mirko.
The Group Both the double form [forme jumelle) and the group, whether they appear
as a subdivision or an interplay of form, in a loose constellation or taut
composition, are relevant here. They appear in all techniques of plastic art,

16, 68, 69, 136, 148, 208, 211, 213 in carving, modelling or spatial constructions. The principle itself of group-

229,288,289,293,301,316,317 ing, is carried out in many ways. In Arp's language of nature, shoots seem
to sprout from the parent form; in Lipchitz, the parts of the whole are
103, 150, 151 densely interwoven; in Giacometti, the group is an anonymous relation-
ship, a scattered passage of skeleton figures which incorporate a common-
place and yet mysterious constellation in time and space.
Pure tensions of proportion and balance appear in architectural groupings.

In the early work of Vantongerloo, Doesburg and Malevich, there is an

interplay of solid rectangular forms within a compact or loose unity

158-163 arranged in accordance with the laws of proportion. Vantongerloo, how-

ever, has now completely sublimated the mass. In his later work the only
active element remaining is energy which is expressed in soaring lines of
force, generally in transparent material.

Interpretation The subject matter of today's sculpture is often challenged by an uneasy

or hostile public; it is neither the narration of an event, nor the description

of the "beautiful" physical forms which still populate the public parks in
every country. The language of the living sculpture of today is symbolic,
not narrative; it communicates universal aspects of spiritual or natural

events, but not banalities decked out in human form. It is a formal language

which the mythologist J. J.

Bachofen defined in relation to the art of the

past as "touching all chords of the human spirit at once, suggestive of

emotional awareness where rational language is merely explanatory". Henri

XXV
Francois Stahly, one of the younger generation of sculptors, moves in the

same direction of thought when he writes: "The restriction to a single

point of view made way for works whose meaning was shifting and mul-
tiple. This groping, without knowledge, for a possible meaning is our
myth." In its emphasis on the irrational, emotional springs of life, the art

of today is attracted by primitive magic, by folklore and the archaic, though

the formal kinship is a growth from within and not an eclectic adoption of
external aspects.

The surrender to the free play of the creative imagination is widespread Spatial Construction

and decisive. Even the spatial constructions which use purely geometrical
means of expression are not rational statements; they are of the imaginative

nature of poetry and detached from all that is functional and calculable.

"There is no more mathematics in my work than there is anatomy in a

figure by Michelangelo" says Gabo when his work is misinterpreted as a

mathematical demonstration; and Pevsner emphasizes "the poetry of space,
which can be felt, but not measured". Thus even in this kind of sculpture,
which seems purely objective, it is the creation and evocation of an emo-
tional experience that counts; this is part of the artist's intention.

This perceivable irruption of emotion into form, which signed the death Expressive Volume
warrant of the academic canons, appeared with considerable violence in
Rodin whose human figures are dramatically agitated by inner feeling. This
same force of feeling found, in the Italy of his day, a more lyrical, more
reserved and gentler expression in the work of Medardo Rosso. But wher-
ever we turn, the emphasis on psychological processes stands in sharp
contrast to the emotional aridity, sentimentality and petrified formulas of

neoclassicism. Both Rodin, the romantic realist, and Bourdelle, who was
inspired by classic idealism and whose return to the strict architectural

discipline of sculpture placed him in direct opposition to his master Rodin,

emphasized this new content of inner life and feeling. Bourdelle's attitude

closely resembles that of the Symbolist poets of his time with whom he was
closely associated. The same climate of ideal humanity is found in the work 28,29
of his younger German contemporary, Wilhelm Lehmbruck, who derived
from another tradition than the Mediterranean and strove to impart to his

figures a certain Gothic aura of devout contemplation. Brancusi, too, who 34-37

started with the human figure, created in his early work an inner reality,

not an external, formal beauty. He surpasses Modigliani in making the

human head a symbol of profound recollection and a focus of intense radia-
tion from within. The spiritual translucency of his Sleeping Muse is one 124-127

of the earliest and purest examples of the abandonment of external reality

in favor of illuminating the depths of inner life through the simplest of

forms.

The abandonment of the naturalistic model, of the purely visual experience,

and of all anatomical conventions in the representation of the human figure

cannot be interpreted merely as a weariness of rationalism. New, hidden
worlds of inner experience have come to the surface, requiring a new

language of symbols that point from the visible world in which we live to

XXVI
 another world of invisible powers. Thus, in works whose original impulse
was the human figure, we find startling abbreviations. There is an impres-
sive revival of the torso and the fragment in Rodin, Brancusi, Lehmbruck,
Maillol, Archipenko and Schlemmer, culminating in the magic gesture of
the solitary Hand of Giacometti. A tendency to abbreviate, to abstract, is

manifest also in the fabulous, totem-like vertical forms of Max Ernst and

Miro, as the human figure has now a supra-personal communication to make

which far transcends its existential form. Brancusi evolved steadily in the

direction of the pure, organic, primeval form which becomes a profound

symbol of man's union with all creaturely life. This form, in its proportions,
material, and concentration alone, displays the miraculous power of nature,

man's brotherhood with all creations of life, and his free surrender to the
infinite. "One thing I have sought for all my life is the essence of flight",

said Brancusi. His symbolic bird verticals with their burnished surfaces and
132, 140, 141 freely soaring, inspiring forms have left far behind the original figure of
the bird which was once his point of departure. They became more and
more the pure expression of deliberation. In imparting multiple, trans-
cendental meaning to anonymous volumes, in creating pluralistic symbols
Brancusi has given an absolutely new life to sculptural creation.

Giacometti, too, seeks to do justice to a more complex vision and a deeper

sense of reality and the fundamental mystery of life. Like Klee, he does so
by "totalizing the object". Giacometti's figures are materially evanescent,
but all the more concrete as expressions of the multiple experience of the

human form. These utterly dematerialized beings, spiritualized and bathed

in space, spring from the emotional life of their creator. "It was not the
outer existence of the world which marked my life, but only what I felt",

he once confessed. Here again is an example of the artist's detachment from

purely visual experience applied not only to the purely-objective, spatial

96, 105, 107 fantasies of the Constructivists but also to the treatment of the human figure.

What Jeans said of science may also hold true of art, that "in our time
matter has been spiritualized and the spiritual materialized".
Structure and Material We can also recognize this close interpenetration of substance and form,
of spirit and matter, in the sculptor's concentration on the inherent prop-

erties and structure of the materials used, in order to elicit the utmost
expression from their own microcosm, whether it be the veins in the marble
of Brancusi's Fish, the scorched, lava-like crusts of Roszak's Fire Bird, the
erupting surfaces of Giacometti's and Richier's figures where the stratifi-

cation of the surface is so extreme that we can no longer interpret it merely

as an enveloping skin. In Pevsner's and Gabo's spatial constructions, the

structure of the curved plane evolves out of the linear pattern like the leaf

107, 133, 176-193, 256, 259 out of the vibrant life of its veins.

The World of Things It is not only figures that are infused with psychological meaning and
subordinated to an idea; the same happens in the world of things. When
the human figure was discredited through long imitation of classical models
and their banal smoothness, a new interest in the anonymous objet arose.

It was in their depersonalization and geometrical treatment of the human

XXVII
figure and in their invention of non-human motifs that the Cubists found
their own version of the contemporary idiom. Confrontation, proportion

and spatial relations were illustrated with common objects. The Futurists

not only mechanized the human organism; they aggressively stressed its

spatial dynamics. Boccioni's "striding muscles", like the Cubist Duchamp- 87

Villon's "motorized horse", are important milestones along this road, while 77

the rotating, Futurist Bottle avoids the human element as a medium of 89

expression, and again makes use of any everyday object to reflect the new
kinetic view of the world.

The transformation of apparently harmless and insignificant objects into

highly charged stimuli of definite ideas and associations was first carried

out with greater emphasis on the psychological factor by the Dadaists in

1916. The Pre-Dada "ready-mades" of Marcel Duchamp, 1914, and the

succeeding "found objects" of the Dadaists and Surrealists, were reinter-

preted and combined into a new world of fantasy, irony, and poetry. The 91

object was removed from its rational connections and given a new and
unprecedented meaning. The intellectual aggression which that implied
sprang in part from a critical outlook on the world. In this spiritual process,
a new language of form was also discovered which persisted through later

periods. Thus, Picasso's Bull, 1943, a late work in this series, is translated 93

into an esthetically startling form by the slightest of deviations from its

functional use. By a recombination of parts of a common object, here the

seat and handlebars of a bicycle, the artist fans into life a miraculous ex-

pressiveness which springs equally from formal and utilitarian roots. There

is good reason why the succeeding sculptors of all camps repeatedly turned
back to this work, in which a "nothing" had become art, and which was
actually created by the eyes, rather than the hands, of the sculptor.

The return to the human figure, a trend evident not only in Giacometti, but Return to the Human Figure
also in Laurens, Lipchitz, Moore, Hepworth, and, to a lesser degree, in Arp
and a nimiber of other sculptors of the last twenty years, does not imply a

return to the static representation of the human form, or to the classical

idea of beauty based on man as the isolated and sole center of the world.
This new image of man is made from a totally new angle, incorporating the

sculptor's spiritual and formal experience. It is man closely bound up with

the life of all created things, man as one small point in the huge web of
time and space, or, as Klee put it, "a creature on one star among other
stars". The human figures of Lipchitz, and to a certain extent, those of

Laurens, return to the mythical foundations of human history. In Arp's

work, man seems to exist in his archetypal and primeval form, in a recollec-

tion of beginnings. This feeling also pervades the figures of Henry Moore
and Barbara Hepworth, with their cavities hollowed out, as it were, by the
elemental forces of time and nature. But the synthesis and simultaneity
of outer and inner form is again entirely contemporary. 144-150, 153, 155

This recollection of a mysterious participation of man with nature and the

world of creatures is also expressed in sculptures which embody a demoniac
menace to man's existence and have a certain kinship of form with the

XXVIII
 masks and totems of primitive cults. From this irrational sphere, the
eternally active past of man makes its way into the present, and so into
present-day art.

The conscious and merciless domination of the present by technology, on

the other hand, has left its mark on the sculpture of the younger generation.
The predicament of modern man finds its paradoxical counterpoint in the
precision of the machine. The humorous fables which flowed from Gon-
195-201 zalez' hand in his mastery of traditional Catalan wrought-iron work are
matched by the current and rising generation of sculptors with technical

harshness and cruelty. This is the language and vision of a generation which
213, 215, 253-257 has again been taught by recent events to turn a critical eye on the world.
If we look back and ask whether, in the last generation or two, determinant
new directions may be discerned whilst still retaining the great basic tenden-
cies—, we may note in particular a process of transformation which may be

of great significance for the future: where a form, originally purely geo-

metrical, begins to approximate an organic form. We can, for instance,

note a great divergence from the former purely mathematical and technical
means of expression when organic forms and associations — echoes of shells
and insects unfolding — suddenly emerge from a mathematical method.
180-183 Even a comparison between the titles of today and yesterday shows the
difference; Pevsner introduces such names as Construction in the Egg,
Germ, and World, as contrasted with his former titles: Projection into
Space, and Developable Surface. If we think of Kandinsky's late work,
which is interspersed with organic forms, we can detect the same process
175, 180-183, 189, 205, 227 of transformation as in Gabo, Pevsner, Moholy or Calder. Even in archi-

tecture, this symbiosis of biological growth and technological construction

seems to be making increasing headway. In the domain of technology the
hard angular frame of the aeroplane is developing more and more into the
great simplified lines of a gigantic bird.

While on the one hand the pure constructions of today show a bias toward

flexible, living form, on the other, the organic form, already referred to,

197, 213, 253-256 displays a tightened structure and often a tendency toward the technical.

In this all-around expansion, this complex interpenetration of different

domains, of the primitive and the contemporary, of the psychological, bio-
logical and technological, we can discern the complex and far-flung nature
of our world, which is simultaneously symbolized in the burning-glass of
art. This art, which encloses nature and civilization in pure forms of energy,
mirrors our dynamic conception of the world, whether its shapes incorpo-
rate the basic principles of growth in nature, or express in constructions

the mind of man again on the march into the future. Thus, the art of today
has returned to the essential centers of life, nature and the spirit, and from
them it draws its manifold impulses and directions towards basic themes
expressed in the universal language of symbols. On the one hand it relates

man to the organic world in organic forms; on the other it constructs sym-

bols of the contemporary mind with specifically contemporary means in an

abstract mathematical language.

XXIX
What still remains to be said is that we are witnessing the shaping of a

new, inward beauty. It seems to be evolving in multiple aspects. Its muta-

bility and manifoldness were already proclaimed by Guillaume Apollinaire
in crass contrast to all static and final aesthetic standards. "That monster
beauty, is not eternal." No definition of this new conception of beauty can

as yet be made. It can only be sensed in the intensity it draws from spiritual

sources, encompassing the conscious and unconscious, emotion and thought.

It is the symbol of the "world wideness" of the man of today, while on the
other hand it springs from the deepest sources of his unchanging inner life.

The most significant name which James Joyce gave to his many-armed
river goddess in his modern myth, Finnegan's Wake, is the third and last,
as it flows from the past through the present to the future. It sounds like a
prophecy: "Plurabelle is to be."

Zurich, 1954

XXX
XXXI
 Illustrations

Single measurements refer to height. Where several measurements are given, height precedes.
Honore Daumier's work as a sculptor is beginning to attract increased attention for its vital importance in the evolution

of present-day sculpture. Through him the baroque tradition descends directly to Rodin. Ratapoil, 1850; the Cari-

cature of Napoleon III; the Self -Portrait, 1855; and 36 clay busts of French deputies (Le Ventre Legislatif ), 1830-32,

are the most outstanding examples of his manner. These busts were modeled from memory, not from life. Their most
striking characteristics, like those of Ratapoil, are the fleeting quality of the poses, the freedom of the contours, and the
intense quality of life which radiates from them. The material seems to have liquefied under the pressure of the physical
and emotional atmosphere. These are more than rapid caricatures; they are prototypes of the great human comedy.

Honore Daumier Le Degout Personnifie Portrait Bust of Senator Fruchard 1830-32 Colored clay 51/^" Louvre, Paris
 WF^:V^ ff^"'^'

Honore Daumier Ratapoil 1850 Bronze 18 V2" Louvre, Paris Plaster original Coll. Henry Bing, Paris
 Edgar Degas Girl Dancer of Fourteen 1880 Bronze and fabric 40" Louvre, Paris

A shifting balance of space and light plays around Degas' Dancers. They are snapshots in the round, and the impres-
sion of a fleeting moment captured is enhanced by the improvised costumes in aaual materials (tulle, silk). They
perpetuate the realism and illusionism of the Baroque, and at the same time "debunk" the solemnities of academic
sculpture by restoring three-dimensional art to everyday subjects. '".
. . to express everything that can bedevil reality —
that is the art which it is our duty to practice ... to give reality the appearance of madness." (E. Degas, Letters, 1890.)
In defense of this kind of sculpture, which seemed revolutionary to its time, Joris Karl Huysmans, Degas' friend and
contemporary, made points which still hold good today: ". . . to catch a pose, a movement, on the wing — that is his

great personal achievement, but the interest of his exhibition is entirely centered on a statuette called Girl Dancer of
Fourteen. The public, startled, even uneasy, turns away. The terrible reality of this statuette clearly causes discomfort.

All our notions of sculpture, of cold, immaculate whiteness, of solemn pomposities which have been copied for cen-
turies, go by the board. The fact is that, from the outset, M. Degas has overthrown the tradition of sculpture just as he
undermined the conventions of painting years ago. While returning to the methods of the old Spanish masters, he
makes them both indi idual and modern through the originality of his talent. This statuette, both refined and barbaric,
with its sophisticated costume and its palpitating, colored flesh, is the one real attempt to create a language for modern
sculpture known to me today." (J. K. Huysmans, L'Art Moderne, I'Exposition des Independants, 1881.)
 Edgar Degas Variations on the Grande Arabesque 1882-95 Bronze 15 M" Musee de Paume, Paris

Degas' chief aim in these variations of movement is to express the extension of the body in space, its thrust and spread.
This is akin in principle to the later Constructivist idea of space, but Degas is an Impressionist, and his point of depar-
ture is the human figure. His greatness in conceiving and shaping complex sculptural experience is also revealed in the

suppression of all incidentals such as the individual features, and in the merging, here and there, of the feet with the
surface of the pedestal.
.*t**^
 r^ Auguste Rodin Balzac 1893-98 Bronze 8' 11"

>^ Boulevard Raspail, Paris

Brancusi considered this statue of Balzac to mark the beginning of modern sculpture.

Auguste Rodin Le Jongleur 1909 Glazed clay 16" Musee Rodin, Paris

Auguste Rodin broke away from the emotional rigidity and academic routine of his time by using light to break up
masses and lend them movement. He abandoned classical composition based on the relief in favor of the "all-round"

view. In our day the appeal of his work has suffered somewhat owing to its theatricality, yet its veracity and elan of
pure feeling poured new life into sculpture. "1 feel the cubic meaning of all things — the plane, the volume — come
home to me as the law of all life and all beauty ... I believe I have always remained a realistic sculptor . . . Beauty is not
a starting point — it is a goal; a thing can only be beautiful if it is true." (Etude de Auguste Rodin, Le Musee, 1904.)
1
". . . And then again the human body is conceived as an urn. Viewed from that standpoint, all that appears is the sil-

houette, tapering to the waist, widening at the hips, and forming a vase of exquisite shape with an outline of astounding

perfection — the amphora, which holds in its flanks the life of the future." (Rodin, L'Art, Edition Mermod, p. 172.)

Auguste Rodin Great Head of Iris Bronze 24" x 14" Musee Rodin, Paris

Auguste Rodin Torso 1914 Bronze 21^4" x 241/2 "

Tate Gallery, London

10
Medardo Rosso's great artistic achievement was the use of Ught to demateriahze volume. "It is all a question of light.

There is no matter in space." He believed that sculpture could be made to vibrate in countless ruptures of the line,

and come alive in the wing-beat of light and shade. He strove to rid vision of 19th century detail, to unite man with
the cosmos, and to comprehend the figure in and through its surroundings. Rodin's effects are dramatic and dynamic,

both in conception and form. Rosso worked in more lyrical fashion with delicate gradations of reflected light. And
while Rodin's volumes are agitated by humps and hollows, Rosso preserves his surfaces, winning from them through
softer handling a new translucency. His groups are born of merging vibrations of forms, of the movement of drapery,

as in his Conversazione in Giardino, 1893, or in the flitting and fluttering of his Paris at Night, 1895. Madame X is

one of the mature works of Rosso's Paris period. The features shimmer through a play of light and shade on the calm
ovoid of the head. Only the essential elements of a head are alive; it is a head as stripped of all incidentals as Brancusi's

later Sleeping Muse. A new language of symbols has evolved. These are real achievements of Impressionistic tech-

nique, while his heads are subtly differentiated statements of changing emotions and moods. That "human clockwork,
that flashing trepidation of our state of mind, ever one yet ever changing," as he wrote to a friend, was what he wished
to shape. He disliked intensely the academic blandness of isolated and limited "statuary" as deeply as he disliked all

conventional notions of beauty. A new nobility and an equally challenging ugliness find mature expression in his work.

Medardo Rosso Yvette Guilbert 1894 Terracotta 16" Ca Pesaro, Galleria d'Arte Moderna, Venice

The portrait bust of the French chanteuse, which Rosso made in Paris, contains more than close and lively observation.

It is a grandly conceived expression of the human soul.

12
13
Constantin Brancusi Supplice (Torment) 1906 Wilhelm Lehmbruck Bust of Kneeling Girl 1911
Bronze 8" Coll. G. David Thompson, Pittsburgh, Pa. Cast stone 19M" Gift of
Robert AUerton, The Art Institute of Chicago

Medardo Rosso Sick Child 1895 Bronze 101/4" x 7" Coll. Gianni Matteoli, Milan

Rosso found the inspiration for this bronze in a Viennese hospital. The inclined head is characteristic of his work; the
light makes it translucent and weightless, and seems to impart the sublime expression of vanishing life. "The human
countenance is no longer a shell, a motionless form, for nothing is motionless; every object participates in the swift
and multiple improvisation of the universe." (M. Rosso.)

14
^i\

:ir ;

m^..¥'
 Medardo Rosso Conversazione in Giardino
1893 Plaster original 12^8" x 25^"
Medardo Rosso Museo, Barzio/Lecco

Here is the fluid grouping of the Impressionists. In

the foreground, seen from behind, the superb figure of
the sculptor, which inspired Rodin's Balzac. As com-
pared with the heroic compressions of the Burghers
of Calais, this group is remarkable for the fine inner
vitality of form which gives life to an impersonal
situation.

Medardo Rosso Boulevard Impressions, Paris at Night 1895

Wax 21" X 22 14" Cast of the original in the Noblet
Colleaion, Gesains sur Aube, destroyed in World War I

The later group was made in Paris. It captures the

movement of anonymous beings, flitting and fluttering
like great birds under the street lamps and vanishing
in the depths like spectres melting into the night.

Medardo Rosso Madame X 1913 Wax 11%'

Ca Pesaro, Galieria d'Arte Moderna, Venice

16
17
 )

As a sculptor, Matisse started to model in the style of the Impressionists. His

work is marked by freedom in the distribution of masses and in the play of

light and shade. We can see in it how the artist liberates himself from the
subject by means of certain expressive deformations. "I wish to be judged by

my work as a whole, by the general line it took." ( Henri Matisse.

Henri Matisse Torso 1906 Bronze

8 Ys" Photo Courtesy Curt Valentin Gallery,
: New York

Pablo Picasso Statuette 1945-47 Bronze

554" Coll. G. David Thompson, Pittsburgh, Pa.

Picasso's Statuette is an interesting example of the evolution of the small

figures with which Matisse had begun early in the century. It carries the
simplification of the form still farther in the direction of the ritualistic idol.

18
 fc«^?:Vi<«ii^^agMSiJ**'<i.i>^'^,;^«ffi'.,^

Henri Matisse Serpentina 1909 Bronze 221/4"

Museum of Modern Art, New York, Gift of Mrs. John D. Rockefeller, Jr.

The most impressive feature of this Fauve piece is the delicate outline of
the figure, the "linea serpentinata." Matisse is expressing only the rhythm
of a movement, without any shaping of detail.

19
Raymond Duchamp- Villon Female Head (Maggy) 1912 Pablo Picasso Female Head 1932 Bronze 34i/2
Bronze 28" Galerie Louis Carre, Paris Coll. the artist

In their female heads of 1910 and 1912, Matisse and Duchamp-Villon had already introduced that grotesque emphasis

on single forms which became, in Picasso's hands, the domination of the whole by great expressive volumes.

HGTiiiMdAKse JeannetteV (1910-11?) Bronze 22%" Art Gallery, Toronto

20
«^^?!1-^. «.-

21
Henri Matisse Tiara (Le Tiare) 1930 Bronze 8Vi" Coll. Martin Becker, New York

Henri Matisse Venus on a Shell ca. 1930 Bronze 13" The Cone Collection, Baltimore Museum of Art

22
23
 Archaic Torso of Apollo 6th century B.C. Marble Louvre, Paris

24
 )

Aristide Maillol Night ca. 1902 Stone 38" Kunstmuseum, Winterthur

Aristide Maillol L' Action Enchainee (Fettered Action) Torso Monument to Louis- Auguste Blanqui 1906 Bronze 49"
Tate Gallery, London

Maillol is one of the inaugurators of a new epoch in sculpture. He had no feeling for the disrupted forms of Rodin,
and aimed at compression and compactness, building up the human figure in fundamental organic volumes. Since he
championed the classical and static ideal of the human body, his figures are simple, self-contained structures. They
radiate a feeling of natural animal strength and beauty. Maillol helped to revitalize sculpture by restating classical

ideas, and by overcoming both the petrified formulas of Neo-Classicism and the subjective sentimentality of the late

19th century. He realized anew, in a radiant Mediterranean spirit, the clear, architectural representation of the human
figure. "There is something to be learned from Rodin ... yet I felt I must return to more stable and self-contained forms.
Stripped of all psychological details, forms yield themselves up more readily to the sculptor's intentions." ( A. Maillol.

26
^
.M||ix
''""^1

>
The fresh emphasis on clarity and self-sufficiency which Bourdelle inaugurated with his reaction against the tumultuous

stress and strain of Rodin's work renewed the bond between sculpture and architecture. Bourdelle found much of
his inspiration in early Greek art. "From the life in the human model the sculptor must pass on to the life in his work,

and from that to its setting against an architectural background. That is the great law by which stone can achieve its

august destiny in human gestures." Yet Bourdelle was closely in touch with his time. He might be called the symbolist
of sculpture. For him, as for the symbolist poets of his time, music was the supreme art, "the great harmony of
numbers." Like Mallarme, he strove to achieve "the pure canticle of perfect balance."

Antoine Bourdelle L'Eloquence 1917 Bronze 19" Musee Bourdelle, Paris

28
Antoine Bourdelle Hercules 1909 Bronze 8'3" x 4'H" x 5'5Vi" Musee d'Art Moderne, Paris

29
 Antoine Bourdelle Grand Masque Tragique de Beethoven
(4 ieme etude) 1901 Bronze 303^^" x 173/4" x 193^"
Musee Bourdelle, Paris

The romantic expressiveness of Bourdelle's art is effectively displayed in this pathetic mask of Beethoven.

Antoine Bourdelle Selene 1917 Bronze 34" Musee Bourdelle, Paris

The fine tension of this figure, the freedom of its proportions, and the expressiveness it gains through elongation
show another aspect of Bourdelle's work vt'hich continues the French tradition of the 17th century and reappears also
in the work of Henri Laurens.

30
*»f)e?ii,J %. ' I
^/:•:v^^"i^^V;^,,..•v'; ^'^^^'^^'''t^.-KY^£^^ .,
^' t^^

31
Like Bourdelle, Karl Burckhardt was mainly inspired by early Greek art in his evolution towards the simplification
and compression of sculptured form, which interested him chiefly as a "space-forming energy." In his conception

sculpture was a pure source of elemental vitality, to be stripped of all naturalistic and psychological ballast. Liberated
from the weight of detail, and from every intrusive individual shape, it was to become the embodiment of basic

proportions. He regarded "distant form" (form as seen from a distance), extending into space and bathed in air, as

the essential form of sculpture, the ultimate aim being the radiation of its inner structure.

Karl Burckhardt In Memory of H. Dieterle 1919 Bronze 26Vi" Kunsthaus, Zurich

This bust, as the sculptor makes clear in his title, is the vision of the inner man. This is not his outward aspect, but
his spiritual being, frim which all realism of anatomical detail has fallen away.

32
 Karl Burckhardt St. George 1923 Bronze 6' 2" Am Kohlenberg, Basel

Owing to the height of its pedestal, this composition takes on something of the nature of a column. The figure mounts
quite naturally towards the sky from out of its urban environment, the living background of a city hill with its rows
of houses. The bold arch of the horse's legs outlines a space which is set in deliberate contrast to the massive parts
of the body. This is the "sculpture of distance and daylight," (as the sculptor himself called it), rising to an ideal
height above the workaday world, yet without breaking the bond between the real and the ideal.

33
Between the compact and solidly established forms of Maillol and the bold and sensuous "linea serpentinata" of Matisse,
there stands the sensitive attitude of Wilhelm Lehmbruck's figures. A profound inwardness casts a Gothic light of
contemplation over his line, which derives from Art Nouveau in its organic, sinuous movement. This deepening of

the meditative element finds expression in the attenuation of the human figure and. the delicacy of the silhouette. It is

the same close interrelation of proportions as we find in Modigliani, though here in more tender and contemplative
form. But it is not only the depth of feeling which saves Lehmbruck from mannerism. "AH art is dimension — that is

the whole of art. Dimension, or in figures, proportion, determines the impression, the effect, the bodily expression,
the line, the contour, everything. A good sculpture must, therefore, be handled in the same way as a good composition,
as a building in which dimension responds to dimension." (W. Lehmbruck, 1918.)

Wilhelm Lehmbruck Kneeling Woman 1911 Symhetic stone 69 V2"

Museum of Modern Art, New York Mrs. John D. Rockefeller, Jr., Purchase Fund

Ste. Radegonde 2nd half of 15th century Stone Castle Chapel, Chateaudun (Eure-et-Loire)

34
 SI-

''fH-K^iiW
Wilhelm Lehmbruck The Fallen 1915-16 Synthetic stone 30" x 96" Coll. Lehmbruck, Tuebingen

This tragic tribute to those who fell in World War I was originally intended as a war memorial and stands in marked
contrast to the official notions of heroism of its time. There is no monumental or artistic architecture without contour
or silhouette." (W. Lehmbruck, 1918.)
A completely unheroic but very profound conception of a war memorial also finds expression in one of Lehmbruck's
poems:
Who remains?
Who stands alive, a relic of the slaughter?
Who has arisen from the sea of blood?
Itake my way across the stubble field
And look about me where the crop lies spread.
The aftermath of hideous murdering.
Friends lie in peace ail round me on my way.
My brothers are no longer by my side.
And faith and hope have far from me departed,
For death has covered every path and flower.
O fate! O
thousandfold and cruel fate!
Hast thou, who granted death to all these hosts.
No death for me?
January, 1918.

Wilhelm Lehmbruck Standing Youth 1913 Synthetic stone 92"

Museum of Modern Art, New York Gift of Mrs. John D. Rockefeller, Jr.

36
In Modigliani, the expressiveness of the proportions and the consohdation of organic form go hand in hand with

spiritual intensity. The structure of his heads is formally akin in its austerity to primitive and archaic art. The kinship,
however, is not to be sought in any borrowing of form, but rather in a similar method of stressing essential volumes.
In this head we can see a close relationship between Modigliani and his friend Consrantin Brancusi.

Prehistoric Effigy Persian alabaster 42" x 29V^" x 2OV2" Museum of Fine Arts, Boston

38

,
Amedeo Modigliani Head of a Woman 1910-13 Stone 35" Tate Gallery, London

39
Constantin Brancusi Head 1907-08 Stone 11%'

Amedeo Modigliani Head of a Woman 1912 Stone 23" x 5" Musee d'Art Moderne, Paris

40
Amedeo Modigliani Study of a Head for a Sculpture Drawing 1913 IQi/^" x 5%" Collection Jesi, Milan

Amedeo Modigliani Woman's Head 1913 Wood 22" Coll. M. & Mme. Deltcheff, Paris

42
43
The painter Andre Derain has created, in his only sculptural work of importance, a precubistic piece of sculpture of

great force. Here is a monumental transformation of the human figure into an architectural structure. In contrast to

the frontal view, the accentuation in the rear view is based on simple, organic forms. This work is permeated by a
rustic strength, approaching the feeling of folk-lore.

Andre Derain Crouching Man 1907 Stone 13" Coll. L. Leiris, Paris

44
'i

»l

45
Pablo Picasso The Jester 1905 Bronze 161/4 "
Kunstmuseum, Winterthur

Picasso's origins in the French Impressionist tradition, which he shares with Matisse, emerge clearly in this example
of his scultpure belonging to his "periode rose" in painting.

Pablo Picasso Female Head 1910 Bronze 16^" Kunsthaus, Zurich

With Picasso's bronze head, cubist analysis of the object is inaugurated. The flickering light of Impressionism has

yielded to a harder technique, though traces of it still remain. In this head, light is used as an active factor in compo-
sition, giving us the dynamics rather than the description of form. The volume of the head seems to have been shattered
into many facets and reconstructed in a free rhythm. The relationship between positive and negative form is clearly

brought out. "When we created cubism, our intention was not to create cubism, but to express what was in us."

( Picasso, Cahiers d' Art, 1930-35.)

46
 Otto Freundlich Head 1910 Bronze ca. 47" Coll. Carl Jatho, Cologne

Otto Freundlich's Mask marks the mature stage in an evolution of heads which proceeded slowly from Impressionistic

modeling with light to a grand and monumental condensation of rhythm and form. After his first abstract sculpture

in 1916, Freundlich developed steadily in the direction of bold and dynamic balance, with an upward shift in the

center of gravity. "The artist's work is a summary of constructive acts. Artistic culture is and has always been the
same thing — preparation for the future." (O. Freundlich, Le Mur, Academie, 1938.)

Otto Freundlich Mask 1912 Bronze cast ca. 47" Coll. Dr. Wissinger, Berlin

48
Otto Freundlich Ascension 1929 Plaster 60" Coll. Mme. Freundlich, Paris

49
Juan Gris Harlequin 1917 Colored plaster 22" Philadelphia Museum of Art

The only sculpture made by Juan Gris, the Cubist painter, again illustrates the architectural quality of his approach.

It is the establishment of a relationship of clear, geometrical masses, of positive and negative volumes —a mathe-
matical depersonalization of the human figure.

Alexander Archipenko Boxing Match Paris, 1914 Painted plaster 23 M"

The Solomon R. Guggenheim Museum, New York

50
Archipenko, the Russian, and Schlemmer, the South German, who are contemporaries, both regard the human figure

simply and solely as the starting point of a fugue in three dimensions. Archipenko pioneered in this conception,

taking up this line as early as 1911. His is another attempt to strike a mean between the antique attitude toward the

human body and the modern formal dynamic. The work of both sculptors shows how great has been the development

since Maillol's more natural forms; it marks the growth of a new freedom in the creation of independent form.
Volumes, and above all, hollows, light and shade, air and mass, give Archipenko's figures a contrapuntal rhythm, while
Schlemmer grasps the body in its functional aspect and shapes it into abstract form. Schlemmer's work is almost
a grammar of fundamental sculptural values.

Oskar Schlemmer Sculpture 1921 Plaster 43" x 27" Coll. Frau Tut Schlemmer, Stuttgart

Alexander Archipenko Standing Figure 1920 Hydrostone 5V2" Coll. Museum Darmstadt

52
I
Oskar Schlemmer Dance in Metal 1926 Bauhaus stage

What Schlemmer expressed in Mensch und Biihne also holds true of his sculpture — it is the relationship of the
organism "man" to space, a mutual understanding on the part of subject and object. "Man, the dancer, obeys
both the law of the body and the law of space. He expresses both his own physical being and his sense of space."
(O. Schlemmer, Die Biihne im Bauhaus, 1926.)

54
 The montage of various materials (wood, metal, glass) in what Archipenko calls "Medranos" is an experiment in
a new means of expression. Constructivism developed the method later, although from a different angle, making
conscious use of the industrLil materials of our time. The Dadaists ostentatiously stressed the common things of
everyday life with the same means; Archipenko's work, however, is primarily based on a new conception of volume
and concavity as an active element in the whole.

Alexander Archipenko Medrano Paris 1915

Paintedtin, glass, wood, oilcloth 491/^"
The Solomon R. Guggenheim Museum, New York

55
 Jacques Lipchitz Man uith Guitar 1917
Stone 29M" Yale University Art Gallery, New Haven

Jacques Lipchitz Figure 1926-30 Bronze 7' \Va"

Museum of Modern Art, New York.
Photographed at Exhibition in Varese.

In his early work Lipchitz achieved a vertical, block-hke orchestration of stone in a strictly cubist sense. The Cubist
painters, too, set up their "unreal vertical" in opposition to "descriptive perspective". A new sense of space was
struggling through to expression. Works such as Man with Guitar, 1917, retain of the "subject" only the original
impulse to a free association of forms. Subsequently Lipchitz dissolved the mass of his early sculpture in stone into
a mobile pattern of lines ( 1925-28), in which nothing remains but shapes of air bounded by ropy strands of bronze.
This extreme disembodiment results in elasticity and rhythm.

56
57
Jacques Lipchitz Song of the Vowels 1931-32 Bronze 6' 6%" without base Photographed at Le Pradet-Toulon, France
Gift of Mme. H. de Mandrot to Kunsthaus, Zurich

"For my part, I maintain that sculpture, being essentially an art of the crowd, should be conceived and executed with
the people in mind. The great sculpture of all epochs was an art which brought some kind of satisfaction to every-
body. But if the artist thinks of the crowd, the crowd, in turn, must think of the artist; art can only become great

through this mutual comprehension." (J. Lipchitz, Cahiers d'Art, 1935.)

58
Jacques Lipchitz Joie de Vivre 1927 Bronze 78" without base Coll. Comte de Noailles, Hyeres

This sculpture, which stands in a southern garden, is related both to its natural setting and to the house beside it

(G. Guevrekian, architect). It is this harmony which brings out its intrinsic beauty.

59
Jacques Lipchitz Mother and Child 1941-45 Bronze 50" Coll. Edgar Kaufmann, Bear Run, Pa.
House by the Waterfall, Frank Lloyd Wright, architect

In this group a human emotion finds superb expression. It becomes a monumental gesture, revealing a natural relation-

ship between free-standing sculpture and architecture. The same note sounds through the sculpture, the building,
and the structure of the walls.

60
^'^C>^

Jacques Lipchitz Prometheus and the Eagle

1943-44 Bronze 102" Ministry of Education, Rio de Janeiro
(Photomontage in the proportions intended)

In this work, forms are compressed into cloudy shapes with fluttering ba-
roque effects of Hght and shade. As the size of the sculpture was considerably
reduced in the execution, the work is dwarfed by the expanse of the wall.

The original proportions have been lost, along with the superb play of

light and shade on the white surface.

61
Jacques Lipchitz Woman with Guitar 1927 Bronze 14" Coll. the artist

62
 Jacques Lipchitz Barbara 1942 Bronze 145^" Smith College Museum, Northampton, Mass.

In his mature period, after he had transformed matter into a mobile play of lines, Lipchitz's characteristic development
of the organic human form into "transparent sculpture" was fulfilled. This airy sculpture of his, created as early as

1925, belongs to the most important new directions in modern sculpture. It involves a hitherto unknown method of

sublimation and graphic expression, one which is still being practiced by the generation of today. This development
also involves the elaboration of a special manner of "portrait sculpture" in which the individuality of the head is

treated in terms of the fantastic. Something similar occurs in Picasso's painting when, with an actual experience
as his original impulse, he achieves an absolutely unprecedented transposition of the individual into the abstract by
means of the bizarre quality of the picture's internal relationships.

63
Henri Laurens Man with a Pipe 1919 Stone l4Vi" x 9V2" Fine Arts Associates, New York

In his early work, Laurens, like Lipchitz, starts out with a strictly architectural construction, which he transforms into

an artistic creation by the methods of "collage" in painting, with its deliberate contrasts between different materials

(wood, sand, tin, paper) drawn from the "elements of reality". In his Compositions in Sheet Iron, with their positive
and negative volumes and basic forms, he anticipates the methods which were later systematically developed by the
Constructivists. Later, Laurens became increasingly preoccupied with the female figure, which he shapes like a

reclining Gala Tellus in every possible variation, and in the fabulous forms of sirens and nereids as the incarnation

of the forces of nature.

64
Henri Laurens Composition 1914 Black and red sheet iron
8" X 1 1 %" Coll. Maurice Raynal, Paris

Umberto Boccioni Horse and Houses. Dynamic Construction of a Gallop

1912-13 Wood, metal, cardboard 28"
Coll. Benedetta Marinetti, Rome (Courtesy Cahiers d'Art)

65
Constantin Brancusi The Prodigal Son 1914 Wood 29H" x 8Vi" x 8%"
Arensberg Collection, Philadelphia Museum of Art

66
Henri Laurens Crouching Woman 1931 Wood Coll. Mme. H. Laurens

67
Constantin Brancusi Three Penguins 1914
Marble 26" x 21" x llVz" Arensberg Collection, Philadelphia Museum of Art

68
Henri Laurens The Water 1937 Terracotta Paris World Exhibition, 1937

This monumental group embodies a superb interplay of welling forms reduced to their essence. They are not unlike
those of Brancusi's Three Penguins although the latter seem more like archetypal shapes coming to life in the stone.

69
 Henri Laurens The Mother 1935 Bronze
24" Coll. S. and C. Giedion-Welcker, Zurich

Taddeo Landini Fontana Delle Tartarughe

(The Tortoise Fountain) 1585 Rome
(Giacomo della Porta, architect)

The abstractness which Laurens achieved at one time through the strictly constructive quality of his work is now
generated in the rhythm and expressive deformation of organic forms which are pure creations of the sculptor's
imagination. The attenuated proportions recall the formal language of Italian mannerism towards the end of the
Cinquecento. Even their allegorical significance seems recreated in a current language as he combines animal and
human forms to express natural forces.

Henri Laurens Siren 1944 Bronze 48" x 25" x 26" Musee d'Art Moderne, Paris

The Siren of 1944 is one of a long series of variations on the theme which Laurens began in 1937. With soaring grace

a fabulous creature arises which seems to have its origin in the "linea serpentinata " of the late Cinquecento. For

all its intense, space-creating vitality, the movement has great delicacy. It recalls the swiftness of Bourdelle's Selene.

70
71
 Henri Laurens The Great Musician 1938
Plaster 84" x 48"
Musee d'Art Moderne, Paris

72
This figure was made during the dark days of the fall of France, and it is a powerfully dramatic symbol of the collapse.

In contrast to the strictly structural quality of the Crouching Woman, 1931, the psychological content finds expression
in a ponderous massing of organic volumes.

Henri Laurens U Adieu 1941 Bronze 29" x 34" x 26" Bronze cast in the Musee d'Art Moderne, Paris

73
 13' 3" University of Caracas, Venezuela
Henri Laurens Amphton 1952 Bronze

74
75
Raymond Duchamp-Villon The Ltttle Horse 1914 Lead 17 Yi" Galerie Louis Carre, Paris

Raymond Duchamp-Villon, a cubist pioneer who died early, left behind in his work a premature but important

foundation for future developments in sculpture. There is first the reduction to essentially plastic values, as in the
Head of Baudelaire, 1911, and in the Seated Woman, 1914, where the upward spiral already prefigures the bold syn-
thesis of different phases of movement which was to find supreme realization, in a completely new artistic language,
in The Horse, 1914. This sculpture seems to have captured bodily function and rhythm alone, so that the natural
creature, horse, vanishes entirely in the presentation of the principle of energy. "Movement was at all times the

goal of Duchamp-Villon's art." (Guillaume Apollinaire, 1912.) The definition of this "ideographic writing" is pro-
vided by the humorous name applied to it by contemporaries, "machine horse — almost steam horse". The work is

also linked with the dynamics of the Futurists and their synthesis of successive movements.

Raymond Duchamp-Villon The Horse 1914 Bronze 39" x 44" x 44" Musee d'Art Moderne, Paris

76
Raymond Duchamp-Villon Seated Woman 1914 Bronze 27" x 9" x 11" Yale University Art Gallery, New Haven

78
Raymond Duchamp-Villon Baudelaire 1911 Bronze I'bVi" x 8V2" x 10" Musee d'Art Moderne, Paris

79
Duchamp-Vilion's last work, Head of Professor Gosset, 1917, shows progressive simplification and concentration
on a few large sculptural elements. "It is impossible to express the needs of art in our own day in the idiom of
bygone times. W'c wish to comprehend in sculpture things with which sculpture has never yet been involved. Who
is right, sculpture or we.'" (Duchamp-Villon, Military Hospital, 1915.)

80
Raymond Duchamp-Villon Head of Professor Gosset 1917 Bronze 4" x ZYs" Coll. Jacques Villon, Puteaux

81
 Hermes Bicephalus ( detail ), Roquepertuse 3rd-2nd Century B.C. Musee Borely, Marseilles

82
83
Umberto Boccioni Concave and Convex Abstraction of a Head Alexander Archipenko Head
1912 Plaster (Destroyed) (Construction with Crossing Planes)
1913 Bronze 15" Perls Galleries, New York

Both artists construct the human head by means of expressive concavities and intersecting planes.

Wilhelm Lehmbruck Head of an Old Lady 1913 Plaster 201/2"

Stadtisches Museum Duisburg, Germany

In Boccioni's Antigrazioso (Head of the Artist's Mother), the humorous vitality of the grotesque stands out in contrast
to all academic notions of "bellezza". The sculptor is out to grasp the intensity, the dynamic quality of life. The inter-

section of the head by architectural details (a window) is characteristic; it is a means of expressing man's link with

his surroundings. A comparison with Medardo Rosso's Concierge, 1883, shows that even Rosso, who was Boccioni's
predecessor, and whom Boccioni always regarded as a pioneer, had made a stand against academic formulas by the
direct and living relationship to his model and by his grasp of essential sculptural values. In this portrait, an unusual
one for him, Wilhelm Lehmbruck achieves a similar forthrightness in form and interpretation.

84
Medardo Rosso Concierge 1883 Wax 151/^" Ca Pesaro, Galleria d'Arte
Moderna, Venice

Umberto Boccioni Antigrazioso (Head of the Artist's Mother) 1911 Bronze

28" Coll. Benedetta Marinetti, Rome

85
The most important works by Umberto Boccioni, the Futurist, date back to 1910-13, before World War I. The titles

themselves sound like the proclamation of a new departure — for instance, Concave and Convex Abstraction of a Head,
or Forms which Exist only in the Continuity of Space. Marinetti, the inaugurator of Futurism, speaks of a deliberate

rejection of the notion that the human figure is the sole foundation of beauty in sculpture. The new sculpture, according
to him, must unite a feeling for movement with a feeling for mass ( as in Cubism ) As in Duchamp-Villon's Horse,
.

the function of stepping is the focus of interest — energy, not the static anatomy of the mass in the sculpture Muscles
in Motion.

Pierre Puget Perseus and Andromeda 1684 Marble 126" Louvre, Paris

86
Umberto Boccioni Muscles in Motion (Muscoli in Velocitd) 1913 Bronze Private Collection, Milan

87
Pablo Picasso Absinthe Glass 1914 Bronze 8%" x 3" Coll. Curt Burgauer, Zurich

88
 Umberto Boccioni Development of a Bottle in Space 1912 Bronze 15" Museum of Modern Art, New York Aristide Maillol Fund

This representation of the expansion and development of a simple object in space and time, the gyration of a life-

sized bottle and plate, expresses in simplest form the relationship of mass to space. The newly-added dimension of

time can be felt more clearly than in the slightly later compositions of the Cubist sculptures of Picasso. The common-
placeness of the object and its reduction to mathematical forms are as fundamental as in the Cubist conception.

89
Marcel Duchamp Ready Made (Bottle Rack) 1914 Iron Coll. Man Ray, Paris

These specimens of Dada have primary importance as documents of their time, demonstrating its new anti-aesthetic

feeling and technique, and its preoccupation with everyday life. The decisive factor is invention, the expressive quality
that can be distilled from the most commonplace materials. Kurt Schwitters' Merz Construction and Max Ernst's Objet
Dad'Art, which are of the same period, use the Dada method of combining "found objects" to create anew world of the
imagination. Raoul Hausmann's Mechanical Head ridicules the shattered Greek ideal and the mechanized man of
today who lives on "ready mades." This world had already been discovered in 1912 by Marcel Duchamp, and apart
from the joke, it reveals the expressive power of simple forms. In this composition, the object, transferred from the
utilitarian to the irrational sphere, acquires an entirely new force of expression. In being considered solely for its

form it seems to take on a new and absurd intensity. "What we call Dada is a tomfoolery in the void in which all

great questions are involved ... a game with shabby remains." (Hugo Ball, Zurich, 1916 )

90
 )

Raoul Hausmann Mechanical Head 1919-20 Wood Sophie Taeuber-Arp Dada Head 1920 Wood 13"
and various other materials 10" Coll. the artist Coll. Jean Arp, Meudon

Max Ernst Objet Dad' Art 1919-20 String, wood, fabric Kurt Schwitters Merz Construction (Gallows of Lust)
and wire 31 Vi " ( Destroyed 1919 Wood, iron and papier mache (Destroyed)

91
 .

Marcel Janco Construction 3 1917 Wire and plaster

In this vibrating skeletal construction much is basically anticipated which later became pulsing movement in space

( see Calder )

Pablo Picasso The Bull (Metamorphosis) 1943 Bronze

16V^" Coll. the artist

Picasso's Bull, the last link in this chain, is composed of bicycle parts. As compared with Marcel Duchamp's "ready
mades," this is not merely a reinterpretation of a real object; it is a transformation executed with a gesture of pure
genius. The result is a strange fusion of purely expressive and purely utilitarian form.

92
 .I'l i'i.t iWii'SI.
m^m

93

i
94
Men an Tol Prehistoric Monoliths Neolithic age Cornwall

95
Alberto Giacometti Head 1934 Plaster IV2" Coll. the artist

Everything Alberto Giacometti has ever created has been a fresh start in his progress toward a distant goal. His works
are conscious experiments in capturing and keeping ahve vitaHty and mobility. He prefers plaster as a medium, since
its ductility lends itself most readily to the shaping of his nervous and sensitive vision.
Sartre realized Giacometti's central problem when he wrote: "In frontally opposing classicism, Giacometti restored
an imaginary and inseparable space to his statues." (Catalogue, Matisse Gallery, New York, 1948.)
He began with "mobile, dumb objects," bodies which, floating or at rest, are primarily expressive as volumes. These
"objects" possess a radiant vitality which is both natural and strange. There is at times a contrapuntal relationship
between the organic and the geometrical in their subsequent integration in a single body. There are unexpected
transformations, contrasts and connections, often recalling prehistoric sculpture in the manner of awakening form
in the stone, and in the crescendo and diminuendo of volume. We find in Giacometti's work pure, basic form and a

relentless search for a language to describe the relation of sculpture to space fProjet potir une Place). Side by side
with this are freely associated dream fantasies (Palace at 4 A.M.). But, as in the contemporary work of Miro and Arp,
even here the dominant factor is the basic form in its strange spatial relationships.

96
mkP 1
f-^
4.

tur

Alberto Giacometti TAePa/<^ce<?/

4 ^.Al. 1932.:5:; Con<;rrnrnV.n io „
'''""'°" '" a
^°°^' ,

Museum of Modern Art, New York Purchase «^^^^' ^''^' ^"i"g 28I/4" x 1534"
Fund ° x 25'

"I wh.I m the void. In broad dayl.ghc I contemplate space and

the stars which traverse the liquid
silver around me

97
Liver. Etruscan Votive Offering Hellenistic Bronze ca. 3V8 " x 8" Museum of Piacenza

Parts of entrails are loosely arranged as dwelling places for the gods. Their size, color and position predict good or
evil fortune. Their flat surface is divided into regions, each named after a god and oriented toward the friendly sun
and hostile moon. In this way the microcosm relates to the macrocosm.

There is no direct ritual reference in Giacometti's work. Yet it is filled with mysterious psychic energies seeking their
own expression in symbols. At the same time it reveals a mysterious relationship to the peasant tradition of his own
country.

"Once the object is constructed, I tend to see in it, transformed and displaced, facts which have profoundly moved
me, often without my realizing it; forms which I feel quite close to me, yet often without being able to identify them,
which makes them all the more disturbing." (Alberto Giacometti, Minotaure, 1933.)

Swiss Peasant Table (Muldentisch) 17th- 18th Century Wood Schweizer Landesmuseum, Zurich

98
Alberto Giacometti Proje( Pour Une Place 1930-31 Wood 4" x 12" x 9" Coll. the artist, Paris

Giacometti's Model for a Square is an interplay of primitive forms which cast a powerful and mysterious spell, an
interaction of hollow and mass on the most basic level.

99
Alberto Giacometti The Hand 1947 Bronze 16" x 28" x 8" Coll. the artist

What we feel in this lonesome hand is the magic aura of the fragment, its solitude in space and, still more, the
symbolic expressiveness of a detached form, lost and floating in the universe.

While Bourdelle's treatment of an isolated arm with its poetic attribute (the lyre) derives from the nostalgic era of
symbolisme, Giacometti's expression is developed from the inexorable existentialist consciousness of his generation.

100
101
 Man Walking Across a Square in Sunshine
Alberto Giacometti
1948 Bronze llVj" Galerie Maeght, Paris

Venice The Piazza

102
 J!5/ * ^

'xW-

Alberto Giacometti City Square 1948-49 Bronze figurines 5"-6" Coll. Peggy Guggenheim, Venice

Giacometti does not deal with the human group as it was understood by medieval artists and by Rodin in his Burghers
of Calais, that is, as a whole, united from within through a common action and emotion. He is interested in the
movement of the anonymous city-dweller, both in his individual isolation and his collective relationships. The mysteri-
ousness of everyday life, and the relationships of amorphous bodies in space that marked Giacometti's early work
are now transformed into a counterpoint of moving human figures composed of little more than armatures. Everything
is tense with movement and ravaged by space, and in this space, the human figure moves like a disembodied cipher.
This work could not suffer a tactile approach since that would rob it of its mysterious tension in time and space.
Very often Giacometti withdraws his figures from possible intimacy by interposing a pedestal and raising them into
a spatial and spiritual zone of unreality. Their presence is submerged in dreamy remembrance; their intensity is

psychic. They are parables of life, and they embody no actual event. They stand in complete contrast to Rodin's heroics,
and are spiritually and formally more related to Medardo Rosso's anonymous groups.

103
Alberto Giacometti Female Figure 1948 Bronze 5' 8" Coll. the artist Statuette of a Youth
called The Shadoiv of Evening Etruscan idol
ca. 200 B.C. Bronze
221/2 "
Museo Guarnacci, Volterra

Alberto Giacometti Man Pointing (L'Homme au Doigt) 1947 Bronze 70" Tate Gallery, London

"I have never regarded my figures as a compact mass, but as transparent constructions. It was not the outward form
of human beings which interested me, but the effect they have had on my inner life." (Alberto Giacometti.)

104
In contrast to the fully developed, quiet vibration of Lehmbruck's contours, in Giacometti's work it is the erosion
of the plastic substance by space that comes home to us as a dynamic form of energy. The point of similarity between
the two artists is the subtlety of the psychic atmosphere emanating from their work.
Giacometti, who began with the objet surrealiste, has since 1940 devoted himself more and more to the human
figure. His first work in this line was a portrait bust of his brother in many variations, some in minute dimensions.
In the treatm.ent of proportions he discovered an affinity between himself and the 17th century artist, Jacques Callot,
who also sought to enclose a totality in the most minute dimensions. "Impossible to grasp the whole of a figure.

We were too close to the model, and if we started on a detail —a heel or a nose — there was no hope of arriving at

the whole. The distance between one nostril and the other is like a Sahara, boundless and elusive." ( Alberto Giacometti,
Letter to Pierre Matisse, 1947.)

Alberto Giacometti Head of the Sculptor's Brother 1950 Plaster 8" Coil, the artist

Wilhelm Lehmbruck Head of a Thinker with Hand 19\[

Synthetic stone 241/2" Coll. Lehmbruck, Tiibingen

106
107
 Prehistoric Statuette from the Cave of Lespugue, Aurignacian Mammoth Ivory ca. 6" Musee St. Germain-en-Laye, (S.&O.)

108
Jean Arp arrived at sculpture in the round via the relief. In his early work, he sets basic geometrical and organic forms

in contrast. His cylinders, bottles, and discs are arranged "acccording to the laws of chance." Intimate objects take on
human form, human figures become things, all with the same undertone of humor that distinguished his reliefs. Later,

he turns his attention almost exclusively to the great processes of nature. The spirit of growth and change, he says,

must be felt in the organic form and fused with the human. His sculptures are signs, condensations of nature. They
are related to trees, to stones and earth, yet they are transformed by the human and artistic substance in which they
are embodied.

"Works of art should remain anonymous in nature's great studio — like the clouds, the ocean, the animals, man. Yes,
man must re-enter nature." (Jean Arp.)

Snow Formations

110
Jean Arp Configurations 1932 Three Forms Movable on One Large Form ' Plaster 9" x 13" Coll. the artist

"When I exhibited my first 'concrete' reliefs, I issued a little manifesto declaring that bourgeois art was sanctioned
lunacy. These naked men, women and children in stone or bronze, set up in public places, gardens and forest clearings,

indefatigably dancing, chasing butterflies, shooting arrows, offering apples and playing flutes, are the perfect expression
of a crazy world. These gibbermg figures should no longer be allowed to sully nature. Like the early Christians, we
must go back to essentials. The artist of today must let his work create itself directly. We are no longer concerned
with subtleties. My reliefs and sculptures merge of themselves into nature. But if observed more closely, they reveal
the work of a human hand. That is why I named a number of them 'Stone Shaped by Human Hand'." (Jean Arp,
On My Way, Documents of Modern Art, Vol. IV, New York, 1938, p. 97.)

Ill
 Yverdon, Switzerland Coll. the artist
JeanArp The Shepherd of the Clouds 1949-53 Plaster 128" Exhibmon

112

J
The peaceful, slumbrous atmosphere of forms nestling together in nature, an essential gesture of animal creation,

finds its artistic echo in Jean Arp's "Concretions Humaines".

Young Swan Asleep

113
 Jean Arp Concretion Humaine 1936 Stone 19V^" Coll. Mrs. Maja Sacher Pratteln/Basel

114
115
Modulations in Snow

116
 m'^-^^ammuim i

•fJ«t^?2iS3

Jean Arp PruU of a Pagan Stone (Fruit D'Une Pierre Paienne) 1942 Black granite 8" x 131^" Coll. Mrs. Mary Gallery, New York

"Art is a fruit which is born of man, just as a fruit grows on a tree, or an embryo in the mother's womb. But whereas
all fruits have forms intrinsically their own, the human fruit we call art nearly always embodies a ridiculous resem-
blance to something else ... It is reason that has inflated man's pride with the fond belief that he is lord over nature
and an infallible criterion in himself. Reason has turned him into a tragic and ridiculous figure ... I love nature, but
not its substitutes." (Jean Arp, On My Way, 1948, p. 93.)

117
Jean Atp 7^0/ 1950
and C.
Plaster 431/2" Coll. S.
Giedion-Welcker, Zurich

Jean Arp Evocation of a Form

Human, Lunary, Spectral 1950
Cast cement i^Vi" Museo d'Arte
Moderna, Rio de Janeiro
n,--:^^
Jean Arp Star 1939 Gilded bronze 6%" x AYs" x \y^" base: Si/s" x 45i" Coll. Baronne Lambert, Brussels

120
Jean Arp Ptolemy (Ptolemaeus) 1953 Limestone 401/2" Coll. Ambassador and Mrs. William A. M. Burden, New York

121
 Head of an Idol Bronze age Marble Amorgos Islands, Cyclades, Louvre, Paris

122
 '^^.

#.
Constantin Brancusi's work points to a region where the contingent is reborn to become a comprehensive synthesis
of the universal. It seems to have been born of a higher kind of consciousness, and communicates to the spectator
that feeling of detachment and sublimity which is the distinguishing mark of Eastern philosophy and religion." "Crime,

Ordeal, Nirvana," the confessions of the Tibetan monk and poet Milarepa ( Ilth century) became Brancusi's book
of books. For the sculptor, however, the path trodden by the poet led to a final clarification of form, and the ultimate

penetration of matter by the spirit. Thus the centuries were linked by a common spiritual atmosphere.

Brancusi's work unites the radiant formal beauty of the Mediterranean with an Oriental wisdom of form and symbolic

power. It stands at the point of intersection of Eastern and Western civilization. No other sculptor of our day has

achieved this fusion of sensuous understanding of all creaturely life with the supreme spiritualization of form. The
essential shape, the universal significance of his forms resides in their ultimate simplicity. They have reached perfection
through the unremitting labor of the master's hand. The products of this slow process of creation stand in almost
startling contrast to the rapid sculptural improvisations of Picasso, having left behind them all that is personal and
contingent, and expressing a devout submergence of the individual in the universal. While his works in stone and
marble have a transcendental radiance, his wood carvings, as might be expected from the different material, are

inhabited by another spirit. What they have to say is not primarily harmonious, relaxed, but very often grotesque
and fantastic. Ancient bedevilments are coupled with a humor which brings relief. Brancusi works direct on his
marble with the chisel, without any preliminary studies in clay; in the same way he goes straight to work on his tree

trunks with the axe. His strange monsters, chimeras and witches, Adam and Eve, The Prodigal Son and Socrates, seem
to rise in bizarre and burlesque form from trees, cottages and myths.

Constantin Brancusi Sleeping Muse (La Muse Endormie) 1906 Marble

124
 *?!?»«..

Constantin Brancusi Sleeping Muse (La Muse Endormie) 1909-10 Marble 11" x 12" x GYi" Coll. B. A. Davies

Sleeping Muse, Constantin Brancusi's female head of 1909-10, is stripped of all incidentals. The mere hint of eyebrows
and eye sockets interrupts the surface of the ovoid. Since producing this work, Brancusi has become increasingly
preoccupied with the ovoid and its simple, flowing outline as a primary element of sculptural form. It symbolizes
the genesis of life in the widest sense, beyond all psychological analysis and detail. The distinctive feature of Brancusi's

work, whether in wood, metal, or stone, is its floating poise, at times unbelievable from a strictly technical point of

view. He calls his sculptures fish, bird, column, and head, but these names are mere tags for grandiose symbols of
nature which have essential truths to express, and which arise from the depths of time immemorial.

125
 )

Here again, Brancusi plucks from the marble the simplest of forms, the egg; it is poised on the faint movement of

the neck, which is rendered in a few large curves. This rhythm of the human body was already intimated in the

earlier Pogany Busts and in the model for the Narcissus spring.

Brancusi's works need freedom, space and light. He created them, as he says himself, "for everybody's recreation,

and for large, open spaces." Their perfection of technique has raised them above the level of personal expression.

"There is an aim in all things; to reach it we must detach ourselves from ourselves." ( Brancusi.

Constantin Brancusi Mile. Pogany 1919 Marble llVi" x 8%" x 11" Coll. Mr. Lee A. Ault, New Canaan, Conn

Constantin Brancusi Study Gouache Brancusi's Studio

126
127
 Constantin Brancusi The Beginning of the World 1924 Marble 6" x 12" x 7" Coll. Mme. H. P. Roche, Sevres, France

volume — which began by making an abstract form of the human head

-
Here the purest form of ovoid originally
"the stone
becomes the symbol of the mythical beginnings of the world. Its owner, the late Mr. Roche, called it

that conveys the most forceful messages and is filled with immeasurable undertones."

128
'%'.
Constantin Brancusi Leda 1923 Marble 26" x 19"; height with base: SlVs" The Art Institute of Chicago, Catherine S. Dreier Estate

130
Constantin Brancusi Leda 1922-24 Burnished bronze 26%" Brancusi's Studio

131
Constantin Brancusi Yellow Bird 1925 Marble Arensberg Collection,
Philadelphia Museum of Art

132
Constantin Brancusi Fish 1930 Blue-green marble 21" x 71" Museum of Modern Art, New York Acquired through
the Lillie P. Bliss Bequest

The Fish, an elongated oval in polished marble, rotates on a stone drum. Created not for the confined studio or
museum, but for the open spaces of nature, to respond to the wind and draw life from all growing things, this fish
embodies the primeval form of all fish.

133
 Constantin Brancusi The Miracle (Le Miracle) 1936 Marble 64" x 44" x 14 1/2"
Photographed in Brancusi's studio The Solomon R. Guggenheim Museum, New York

Camel Ming Tombs North of Peking

134
135
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Constantin Brancusi The Kiss 1908 Granite Cemetery of Montparnasse, Paris

The first important commission Brancusi received in Paris was for a tombstone. He executed it with superb simplicity
as a double vertical, the coupling of two stelae, a symbol of union and love triumphant over death.

Constantin Brancusi The Gate of the Kiss 1935-38 Stone Targujiu, Carpathians, Rumania

In this work the double column of the early tombstone reappears, but in disembodied form, incised in the stone,
and acting as a kind of leitmotif.
Brancusi's conception of architecture represents a principle totally different from that governing the all-round openness

of contemporary architecture. An example is his design for a temple of meditation in India. Its primary aim is medi-
tation and withdrawal from the world; it is the vessel of the contemplative life. Brancusi's architectural ideas recall

the self-contained beauty of the massive peasant architecture of Europe's Mediterranean coast and Greek islands.

Pagoda on the shore of Lake Batur Central Bali

 ^'

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Constantin Brancusi Endless Column (Final Version) 1937 Gilt steel 97' 6" Targujiu, Carpathians, Rumania

Brancusi never abandoned the conception of prayer as a vertical on which every cathedral and every pagoda is based.

In his Colonnes sans Fin, 1916-37, he repeatedly gave expression to that fervent ascent to heaven. The daring equipoise
he achieves in his proportions defies belief; yet they are pure creations, not based on technical calculations.

139
Constantin Brancusi Maiastra 1912 Burnished bronze 30" Coll. Peggy Guggenheim, Venice

In the Rumanian fairy tale, Maiastra, the fabulous bird, leads the wandering lover to his beloved. From 1912 on,
Brancusi treated this bird subject repeatedly in marble and bronze as a symbol of the soaring spirit. It led him to

impart an unprecedented elasticity and vitality to his material. As in the Coloitnes sans Fin, the concept of verticality,

of a great upward urge, is expressed in three-dimensional form. The first name he gave the sculpture was not only
pregnantly poetic, but also descriptive of the problem he had set himself: Bird, a Design Which Should Expand to

Fill the Vault of Heaven. All that is incidental and personal has fallen away, so that the form, pure and radiantly
spatial, may take on a symbolic function. The vitality of Brancusi's work has increased steadily, hand in hand with
the sublimation of his material. "All my life I have been seeking to capture the essence of flight." (Brancusi.)

140
Constantin Brancusi
Bird (L'Oiseau) 1940
Burnished bronze 59"
Coll.Peggy Guggenheim,
Venice
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Wood 36V^"; base: 23Vi" Arensberg Collection
Philadelphia Museum of Art

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Brancusi carves forms in wood which recall the gar-

goyles on medieval cathedrals. They are bizarre crea-

tures with oval and round apertures; they have wings
and talons; their heavy beaked heads are precariously
poised. The underlying structure, however, is strictly

\ architectural.

X
Constantin Brancusi The Cock 1924
Polished bronze 41" x SVi" x
414" Musee d'Art Moderne, Paris

Brancusi has treated the cock in a number of vari-

ations since 1924. The teeth of the comb are also
intended to symbolize the rising tonal scale of the
cock's crow. Its shape is a synthesis of bird and scale.

(Pages 140 and 141).

Henry Moore Two Forms 1934 Pynkado wood 11" Museum of Modern Art, New York Gift of Sir Michael Sadler

Henry Moore Sculpture 1937 Stone 20" Coll. the artist

In the early work of Henry Moore we can trace a
steady movement away from the naturalistic and per-
sonal towards the fundamental and symbolic form. In
his intense preoccupation with the inherent properties

of his material, he is concerned mainly with grasping

an underlying biological concept. From time to time,
mathematically sharp incisions in these symbols of
natural growth seem to imply the introduction of an
urban element. In his later work, Moore
architectural,

has shown an increased interest in the human figure.

"The human figure is what interests me most deeply,
but I have found principles of form and rhythm from
the study of natural objects such as pebbles, rocks,
bones, trees, plants, etc." (Essays by Henry Moore,
edited by Herbert Read, 1934.)

144
 Ara Head Toltec Basalt 23" Xochicalco, Mexico

146
 Henry Moore Square Form 1936 Brown Hornton stone 24" long Coll. the artist

"A hole can itself have as much shape — meaning — as a solid mass. The mystery of the hole — the mysterious fasci-

nation of caves in hillsides and cliffs." (Essays by Henry Moore, 1934.)

147
 Henry Moore
Double Standing Figure
3"
1950 Bronze 7'

Coll. L. J. Salter,
New York

148
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Henry Moore Reclining Figure 1945-46 Wood 76" long Cranbrook Academy of Art, Michigan

Moore realizes the human figure in its static vitality as a grand rhythm of convex and concave, of dark cavities and
brilliant protuberances. He has himself defined this transmutation and dissolution of the static as follows: "Masses

being static in the sense that the center of gravity lies within the base (and does not seem to be falling over or moving
off its base) — and yet having an alert dynamic tension between its parts." (Essays by Henry Moore, 1934.)

149
Henry Moore Family Group 1945-49 Bronze 59?4" Museum of Modern Art,
New York Acquired through the Lillie P. Bliss Bequest

The variations in the conception of the group may be touched on here in connection with Henry Moore's Family
Group. In it we find the static coordination of large and small figures, differing from the natural human body only in
the large deformations of detail and free treatment of the proportions. Contrasted with this is the free conception of
Arp's Mediterranean Group, which retains as the symbol of the family the basic mass, and then thrusts out in all direc-
tions, stretching and contracting. It is intentionally ambiguous. The same interweaving and upward movement may be
seen in Lipchitz Rescue, where, however, it takes on a dramatic tension deriving from its particular subject.

150
 Jacques Lipchitz The Rescue 1945 Gilt bronze 16"
Fine Arts Associates, New York

Jean Arp Mediterranean Group 1941-42 Bronze 10" x 15'

Coll. the artist

151
Barbara Hepworth Carving in Marble 1936 12" Coll. the artist

Barbara Hepworth has progressed from studies of the human body to an ever increasing and more expressive simpli-
fication of form. In her early work certain influences from Arp, Brancusi and Henry Moore can be traced. Since 1946
she has returned to the study of the human figure with an entirely new approach. She regards sculpture as a link
between the human scale and the architectural. "Sculpture should act not only as a foil to architectural properties, but

the sculpture itself should provide a link between human scale and sensibility and the greater volumes of space and
mass in architecture." (Barbara Hepworth, Carvings and Drawings, 1952.)

152
Barbara Hepworth Pendour \9Al Painted wood 28" long Coll. the artist

Pendour expresses the physical sensation of lying on a beach, the surge of the sea hollows out the form, creating a

rhythm like a whorl in the grain of the wood. A fusion of cosmic and human experience is translated into organic and
geometrical terms. However lively the movement may be in detail, the hollows and masses, the light and color, create

an effect of calm and balance. "From the sculptor's point of view, one must either be the spectator of the object or the
object itself. For a few years I became the object —I was the figure in the landscape and every sculpture contained to
a greater or less degree the everchanging forms and contours embodying my own response to a given position in that
landscape." (Barbara Hepworth, Carvings and Drawings, 1952.)

153
 Barbara Hepworth The Cosdon Head 1949
Blue marble 24" City Art Gallery,
Birmingham, England

The impressive block of this head takes on an inner expressiveness as a result of a few simple accents.

Barbara Hepworth Form Enclosed 1951-52

Alabaster 1
7" Coll. the artist

154
Barbara Hepworth Dyad 1949
Rosewood 50" Coll. the artist

In Dyad, the dynamics of living growth flow naturally into a firm, yet soaring body.

155
156
Visual representation of an algebraic formula, xyz =:k^(x +y+ z — 1)^ H. Henrici 1876 Science Museum, London

157
Georges Vantongerloo Construction in a Sphere 1917
Plaster 7" x 7" x 7" Museum of Modern Art, New York Purchase Fund

While a faint trace of "subject" can still be discerned in the work of the Cubists, Vantongerloo eliminates it entirely.

His impulse to create comes from the desire to express an objective law in art. The early work of Vantongerloo, the
only sculptor member of the Stijl group until 1919, is based on elementary volumes and proportions.

158
 Georges Vantongerloo Construction in an Inscribed and Circumscribed
Square oi a Circle 1924 Cement
10" X 10" X 14" Coll. Peggy Guggenheim, Venice

In Vantongerloo's work, geometric form plays a leading part in the clarification and purification of the structure as a

whole. "The proportional relations between the volumes impart a sense of space, the distance between them a sense
of time." (Georges Vantongerloo, Abstraction, Creation, Paris, 1932.)

159
Georges Vantongerloo Construction 1931 Wood 26^4" x 21 Vi" x 2OI/2" Coll. the artist

160
 Georges Vantongerloo Nucleus 1946 Nickel wire 8" x 8" x 8" Coll. the artist

Vantongerloo has abandoned his earUer, strictly architectural formations and the pure relationship of volumes. He is

evolving toward a disembodied dynamic of space expressed, with supreme artistic asceticism, in transparent materials.
Here is the artistic imagination working in the spirit of the modern scientist's conception of the universe, with the
notion of energy as its starting point.

161
Theo van Doesburg Design for a Monument for the City of Leeuwarden 1916 Coll. Nelly van Doesburg, Meudon

H. P. Berlage, pioneer of modern Dutch architecture, awarded the prize to this design for a public monument, the
work of the leader of the Stijl Group. The design reveals the clear interplay of slabs and rectangular solids in a great

upward movement. Though it is constructed in an architectural spirit, it has no actual architectural aim.

162
Kasimir Malevich Dynamic Architecture \'^1Q-11 Wood

Kasimir Malevich Suprematist Architecture

1920-22 Wood Coll. H. and S. Syrcus, Warsaw

The work of the Suprematist painter, Kasimir Malevich, also shows, in

these years, a dose connection between sculpture and architecture. His
constructions are not architectural models, but a general expression of the
laws of proportion and of the interrelationships of simple geometrical solids.

163
Hermann Obrist Design for a Monument Before 1902 Plaster 36" (Posthumous) Kunstgewerbemuseum, Zurich

"The fatal delusion that the human figure is the alpha and omega of sculpture has been a stumbling-block for genera-
tions. True, the human figure contains wonderful potentialities for the sculptor. But look at the Tortoise Fountain in
Rome. Its basins are a riot of sculptured forms, perhaps the most luxuriant in the world, but what has the shape of
their contours to do with the human nude?" (Hermann Obrist, Catalogue of the Exhibition "Um 1900", edited by
H.Curjel, Zurich, 1952.)

164
 .

Antonio Gaudi Casa Mila Sculptured Chimney 1905-07 Mosaic surface with fragments of crockery, Amigos de Gaudi, Barcelona

This outstanding modulation of a functional form shows, in full vigor, even as early as the "Art Nouveau" period, the
interrelation of solid and perforated volumes with their interplay of lights and shadows. These methods of giving
sculptural life to architecture and architectural details were later adapted by Le Corbusier in a more geometrical
manner ( see page 204 )

165
Auguste Rodin Project for a Monument to Labor 1897 Plaster model Rodin Museum, Meudon

Rodin's project renews in the epoch of "Art Nouveau" the Gothic structure of a perforated tower (Pisa) moving
upwards in a spiral curve.

166
 Vladimir E. Tatlin Design for a Monument to the Third International 1920 Iron Moscow

Thus Rodin, Gaudi, Obrist and Tatlin illustrate how vigorously movement has overcome static form and how
the vital, sinuous line of "Art Nouveau" has been ultimately transformed into the abstract language of today. In a

fundamentally similar direction, Boccioni's Development of a Bottle in Space should also be mentioned here.

167
Vladimir E. Tatlin Construction 1919 Iron Moscow

This work is one of the earliest of purely abstract constructions. In its unprecedented use of a new and unusual material,

it is related to Cubism and Dada, though the spiritual approach is quite different.

168
 Vkim

Kasimir Meduniezky Construction 1919 Iron and brass 17%" Yale University Art Gallery, New Haven

In Meduniezky there is an interplay of air volumes circumscribed by iron bands. The massive cube of the pedestal
enhances the freedom and buoyancy of the construction. The clarity and force of the whole is increased by the reduction

of the medium to a minimum.

169
Alexander Rodchenko Construction 1921 Metal Moscow

Rodchenko, with supreme technical precision, dissolves the mass of a spherical body into compartments of air, achiev-

ing an effect of floating lightness.

Though primarily structural in intention, Picasso's design for a construction in wire is humanized by the addition of

witty and paradoxical details like the head and hands.

170
Pablo Picasso
Design for a Construction in Iron Wire
1928 30" Coll. the artist

171
Laszlo Moholy-Nagy Construction 1923 Opaque, ground and transparent glass, nickel and vulcanite fibre
Coll. Sybil Moholy-Nagy, New York

Moholy-Nagy was first chiefly preoccupied with the contrast of materials and the relationship of simple geometric
forms. At the Bauhaus his teaching was along these lines. His work embodies the ideas of Constructivism, both in its

mathematical precision and in the "newness" of the materials used. But the effects he achieves by these methods and
media are purely artistic.

172
 Laszlo Moholy-Nagy Space Modulator 1940 Plexiglass and wire 24" Coll. Sybil Moholy-Nagy, New York

This composition was modeled by hand in plexiglas, a material more ductile than glass, and combining the advantages
of transparency and airy lightness. Space modulators are constructions in the most contemporary of materials; but their
form begins to show a closer approximation to organic spontaneity and mobility. The wires spread like veins, and the
perforations create a free play of light and shade which informs the whole with vitality and poetry. Moholy-Nagy
himself described the aesthetic effect of this material: "This composition demonstrates three types of transparent walls,
circumscribed by the thick edges of the flexible glass or wire. One is moderately transparent (rhodoid), the second
perfectly transparent (plexiglas), and the third super-transparent (air)." {Vision in Motion, 1947.)

173
 Laszio Moholy-Nagy Scupture with Perforated Forms 1946 Plexiglass 12" x 24" Coll. Sybil Moholy-Nagy, New York

In his Light Requisite of 1930, Moholy-Nagy 's aim was to elicit a time-space effect from the interpenetration of sepa-
rate phases of movement. In his later work he abandoned entirely these pure technical constructions in favor of

spontaneous artistic utterance, bursting with kinetic energy —a perfect synthesis of rhythm and sensitivity expressed

with modern means.

Interpenetrating forms bathed in light are immediately intelligible by virtue of their transparency. The totality of the

composition is superbly fused with the shifting interplay of its parts. A similar suggestiveness, a similar rhythm and
ghostly unreality are attained, but with a totally different means of expression, in Arp's Human, Lunary, Spectral.

"Since light is an element of the time-space continuum, by the mere fact of devoting fresh attention to the problem
of light, we enter into the domain of a new feeling for space which it would be premature to analyze today. And yet it

is a thing which can be summed up in a word — floating." (From a letter to C. G.-W. by Moholy-Nagy, 1937.)

174
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Naum Gabo Head 1916 iron 17?^" Gemeente Museum van Amsterdam, Holland

Naum Gabo's Head, 1916, shows a systematic refining away of material and a recombination with open spaces. Its

mathematical sharpness stands out in comparison with the much softer transitions of Picasso's Cubist head and
Boccioni's head of 1912, both of which already demonstrated the break-up of the volume. The predominance of
expressive hollows demands a new kind of vision.
Naum Gabo, the founder, with his brother Antoine Pevsner, of the Constructivist movement, aspires to give expres-
sion to the new and expanded conception of the universe opened up by science. This new conception of the universe
is, for him, constructive in character. ("The new image is a constructive image.") The determining factor in his
view of things, as in that of the Stijl group and Moholy-Nagy, is the reahzation of a definite stage in a process of
spiritual development —a stage absolutely of the present and pointing to the future. It is not, as with Arp, the idea
of a biological cycle. "Those mentally constructed images are the very essence of the reality of the world which
we are searching for." (Naum Gabo, On Constructive Realism, lecture, Yale University, 1948.) This is a testimony
to his belief in the progress of homo sapiens. Gabo's choice of materials is fully consonant with his ideas. He began
with constructions in iron and glass, later turning to combinations of light, synthetic substances. He does not use
them exclusively toward certain aesthetic ends; their transparency is a means of capturing space and rendering it

visible in an absolutely new way.

176
It is interesting to note that methods so different as shown in Brancusi's Bird and Gabo's Kinetic Sculpture attain

very similar results: a fundamental similarity of vision and approach due simply to their being contemporaries.
Brancusi achieves momentum precisely by retention of the solid mass, by proportion, and by his use of light to

impart vitality and luminosity to his polished surfaces. In works created quite independently of each other, there

is the same expression of disembodied flight into space.

Naum Gabo Kinetic Sculpture 1920 Steel spring 30" Coll. the artist

177
Naum Gabo Construction for Chicago Swimming Pool 1932 Model in metal and glass Maryland Club Gardens

"We call ourselves Constructivists because we no longer paint our pictures or carve our sculptures, and because both
are "constructed' in space and with the help of space. Thus we break down the old distinction between painting and
sculpture. By way of the Constructivist principle the visual arts enter the domain of 'architecture;' by architecture
I mean not only the building of houses, but the whole edifice of our everyday existence." (Naum Gabo, Abstraction,
Creation, Paris, 1932; Circle, London, 1937.)

178
Naum Gabo Model for the Entrance Hall of the Esso Building, Rockefeller Center, New York
1949 Ironwire and plastic ca. 17' Museum of Modern Art, New York

Gabo regards a close collaboration between sculptor and architect as indispensable. He means no mere juxtaposition,
but a close and intimate union of their work on the basis of a common idea. By their lightness and radiance, these
fantastic "architectures," which are constructed with extreme mathematical precision, cast a veil of poetry and
freedom over the commonplace architectural environment. In these works Gabo reveals himself as the lyric poet of
space and light. "There is no more mathematics in my work than there is anatomy in a figure of Michelangelo."

(Naum Gabo, On Constructive Realism, 1948.)

179
 Naum Gabo Translucent Variations on a Spheric Theme
1937 Plastic and nylon 22%"
The Solomon R. Guggenheim Museum, New York

Along with a penchant for monumental construction, which he was able to realize for Marcel Breuer's Bijenkorf Build-
ing in Rotterdam ( 1955-1957), Gabo has also conceived smaller works of sublime translucency and linear beauty in
a more lyrical manner. These creations tend (since 1937 ) more and more toward a spontaneous, flexible organic form.

180
181
Naum Gabo Linear Construction in Space 1949 Plastic and nylon 3' Coll. the artist

182
l/IIMMlltljU/lflt'lM H>. •
Naum Gabo Construction in Space l9?5-57
Steel covered with bronze;middle sculpture stainless steel; base covered
with Swedish granite 84' 6" Bijenkorf, Rotterdam, Holland

184
The interior view of this spatially activated construction ( here seen from below ) reveals the effect of interpenetrating
forces which was first accepted esthetically in the Eiffel Tower and is here conveyed by means of today's intensified
dynamics.

185
Antoine Pevsner Composition in Space (Project for a Fountain)
1929 Sheet-brass and glass 27" Kunsunuseum Basel Emanuel Hoffmann Foundation

Pevsner's forms open up and leap into space like projectiles. There is no area of softness or yielding; all is dynamic,
structural, and incisive. Under Pevsner's hand the mass disintegrates, weight is shed, and dimensions multiply. Like
Gabo, he gives increasing emphasis and vitality to the spatial element.

In his later work, Pevsner's dynamic development in space progressively loses its mechanical character. Within a
serried bundle of metal strands, a grand upward movement unfolds in a curved plane. Pevsner's artistic development
is akin to that of his brother, Naum Gabo, in his steady approach to organic form. The rational and functional aspects
of form vanish in the face of Pevsner's power to "energize" space and enclose it in the funnels and pockets created
by light. Here color is not applied; it is produced by light that falls on prepared structures and is eternally renewed
by the intersection of planes. While Gabo mainly uses transparent materials, Pevsner prefers bronze, which, disem-
bodied by light, relates the construction to natural atmospheric happenings. Most of Pevsner's works are models for
execution on a monumental scale, emblems for airports and fountains. They are free symbols of the movement of

the universe, rapid in pace and animated by deep and genuine feeling. What these forms express is, in the main,

space and energy, bur their ultimate source is the depths of human emotion.

186
Antoine Pevsner Projection tnto Space 1938-39 Bronze 19V4" Coll. Mrs. Maja Sacher, Pratteln/Basel

187
Naum Gabo Construction in Space with Crystalline Center 1938 Plastic and crystalloid I8I/2" Coll. the artist

188
Antoine Pevsner World Construction 1947 Brass and oxidized tin 28" Coll. the artist

These examples illustrate in various ways a dynamic

They express
event, the radiation of a cell into form.
the dynamic relationship of microcosm and macro-
cosm and the genetic center of growth. (Refer also to
the expressive methods of Barbara Hepworth in this
direction. Page 154 and Vantongerloo page 161).

189
Antoine Pevsner Developable Column of Victory 1945-46 Brass and oxydized tin 41" Coll. the artist

This V-sign is conceived as a universal symbol of liberation and victory. It is designed for our time, and replaces the
obsolete, heroic triumphal arch. The flow of space can be felt at all points. The movement is accomplished before
our eyes in a great, pulsating rhythm. This contemporary symbol is permeated by genuine, restrained emotion.

190
Antoine Pevsner Dynamic Projection in the 30th Degree
1950-51 Brass and oxydized bronze 8' 4" x 7' 4" University of Caracas, Venezuela

191
 Antoine Pevsner Column Symbolizing Peace (La Colonne Symbolisant La Paix)
1954 Bronze 53" x 351/2" x 19%" Rijksmuseum, Kroller-Miiller, Otterlo, Holland

Walking around this piece of sculpture one discovers one surprise after another. From each new viewpoint it seems
to be a different composition. The rich and lively orchestration of this group of forms, with their centrifugally moti-

vated rhythms, emerges in ever fresh variations. It is worked out to the minutest detail and filled with that "emotion"
of poetic spatial dynamics which is peculiarly Pevsner's own and on which he has been working for the past forty years.

192
193
 Julio Gonzalez Mask 1929-30 Iron 9i4" Coll. Roberta Gonzalez, Paris

Julio Gonzalez, who abandoned painting for sculpture only late in life, carries on in modern form the old Catalonian
tradition of wrought iron work. In Paris, under the influence of Cubism, he refines away more and more of the
material — sheet iron and iron rods — of which his complex and space-enclosing constructions are made. Some are
purely constructive in intention; others are humanized by gesticulation and achieve a kind of sparkling wit. Gonzalez
executed a large number of pieces for Picasso, inspiring the latter's work in this medium. He is one of those who
exert the strongest influence on the younger generation today, particularly in England and America.

194
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Julio Gonzalez Venus 1927 Wrought iron Julio Gonzalez Dancer 1934 Wrought iron 25'
Private Collection, Paris Coll. Roberta Gonzalez, Paris

196
Julio Gonzalez Reclining Figure 1936 Wrought iron I21/2" Coll. Roberta Gonzalez, Paris

"All true artists are of their time. It could not be otherwise, for if it is true that a period produces its artists, that is

because the artists have left their mark on the period. If one generation has not succeeded in giving full expression to

its aims, the next may succeed. Whether the public understands or not, the artist must not yield an inch." (Julio

Gonzalez, Cahiers d' Art, 1935.)

197
 Julio Gonzalez Angel 1933
Wrought iron, 63"
Musee d'Art Moderne, Paris

198
Julio Gonzalez Woman Combing Her Hair
1936 Wrought iron 52"
Museum of Modern Art, New York

199
 *!

Julio Gonzalez Woman and Mirror (Femme Au Mtrrotr) 1936 Iron 82" Coll. Roberta Gonzalez, Paris

200
Julio Gonzalez Standing Figure (Personnage Debout) 1937 Iron llVz" Coll. Hans Hartung, Paris

201
Eduardo Chillida Mute Music (La Musica Callada) 1955 Iron width 61" Private Collection, Basel, Switzerland

Himself a blacksmith, Chillida administers and transmutes the inheritance he received from his Catalan compatriot,

Gonzalez. In his work we can plainly see the trend of the younger generation. The gently lyrical (and often humorous)
half-tones of his forerunner, with their psychological allusions by means of bizarre details of form and highly contrasted
combinations (including Ready-Mades ) , have been swallowed up in a sea of universal psychic vibrations. Here,
too, the material is uniform and the work permeated by great waves of rhythm. We experience the flow of a dramatically
exciting development and variations of themes expressed with unbroken but wonderfully disciplined vehemence.

The emotional timbre and power of these forms, forged in fire, are richly orchestrated in space. Even their titles,

In Praise of Fire, In Praise of Iron, The Tremor of Iron, Mute Music, Articulated Reverie, imply the different "degrees
of heat" — and also the inner temperatures — involved. Expressive scansion, sudden retardation, aggressive thrusts and
sharply silhouetted movements create a musical interplay of the component elements. The result is an intensive gesticu-
lation in space, a passionate language conjured out of intransigeant material. This mysterious blend of passion and
asceticism is grounded in the depths of Spanish tradition.

202
Eduardo Chillida Murmur of Boundaries No. 3 (Rumor de Limites No. 3) 1959 Steel width 51" Galerie Maeght, Paris

203
The progenitors of Calder's art are those airy constructions that revolve on roofs and church spires. Their movement
is borrowed from the wind, their existence airy and playful. Calder's "mobiles", as children of their time, are made
of plain sheet iron and tin, mounted on thin wires and rods. They belong to a mechanical age and a technological
country, but both mechanics and technology are overcome by their human sensitivity and poetry. A master of delicate
craftsmanship, Calder uses the simplest of elements, outlining, balancing, and combining them with the utmost
precision in a spreading play of forms. The vivacity of this unprecedented fusion of the organic and the mechanical

is revealed when these black or colored discs rise along their stems of wire, cutting into space like a knife and combining
in ever-new constellations. A "fish", a metal oval, swims irrationally in air inside a flexible system of coordinates of
points and lines; a black "morning star" quivers in the wind among the grass, set in a poised interplay of balls and
lines. Calder's extremely sensitive art developed out of the humorous wire and wood toys with which he began.
"Homo ludens" plays just as great a part in his work as it does in the poetic burlesques of William Saroyan. Against
the background of the rationalized and overorganized life of our day, his art stands out in joyous detachment. It is just

as true to the physical laws of its constructive principle (and hence to the industrial mind of America) as it is to

capricious spontaneity. A kinetic energy is released in Calder's early work by mechanical means (motor power),
and later by cosmic currents, by the faintest breath of wind. It is a dance of abstract forms in their simple, dynamic
interrelationships in time and space.

Alexander Calder A Universe 1934 Wire, wicker

and wood 401/^" Coll. Museum of Modern Art
Gift of Mrs. John D. Rockefeller, Jr.

204
 Alexander Calder S(eel Fish Mobile 1934 Sheet metal, sheet aluminum and steel rods 10' Museum of Fine Arts, Richmond, Va.

Calder's Steel Fish is a montage of steel rods and sheet aluminum, set up in a natural background and translated into
a free play of natural movement. Under the influence of the wind it indulges in fantastic dips and floppings. A shifting

equipoise results like that which Brancusi achieves in his marble Fish by means of proportions and the play of light
which sublimates the block of solid marble on the rotating stone drum.

205
Alexander Calder Portrait of Shepard Vogelgesang 1930 Wire 15" Coll. Vogelgesang, New York

The living lines of this wire relief describe three-dimensional forms as it sways in space. A similar effect can be

found in the drawing-, of Klee, Picasso and Braque, where the line moves of its own volition.

206
Alexander Calder Alornmg Star 1943 Sheet iron, wire and wood 6' 7" Coll. the artist

207
 I

Alexander Calder Le Plumeau Bleu 1950 Sheet iron and wire 43 V^" Galerie Maeght, Paris

"Any element that possesses motion, whether within itself or in space, that can oscillate, come and go, stands in a
dynamic relationship to the other elements composing its world." (Alexander Calder, Abstraction, Creation, 1932.)

208
 Alexander Calder Black Beast Stabile 1940 Sheet iron 8' 9" Curt Valentin Gallery, New York

A fantastic construction comes stepping along on pointed feet, describing triangles and curves, and throwing its

dainty elegance open to space. There is a free rhythm of plane and void, air and metal. Although the soberly technical
character of the construction stands fully revealed, it never detracts from the poetic atmosphere of the whole.

209
 Kenneth Armitage Standing Group 2 (Large Version)
1952-54 Bronze 4114"
Bertha Schaefer Gallery, New York

Here, construction of plane surfaces like walls, rhythmically aaivated and extending into space coalesces with the
figuration to form a single unit.

Kenneth Armitage Family Going for a Walk

1951 Bronze 26" Museum of Modern Art, New York

A forward movement, streaming and gliding, is held in a grand, flat diagonal form. It is a subdivided unit, and not,

like Giacometti's groups, a juxtaposition of separate spatial rhythms. The fluttering of the clothes, a rare motif in

modern sculpture, had already been an outstanding feature of Medardo Rosso's Boulevard. Viewed from any angle,

the work has its surprises, all of which lie within the sculptor's intention. The whole is dominated by the equipoise
of a complex organism in a state of dynamic movement.
"In Family Going for a Walk, 1951, 1 desire to express a large volume with a minimum of material. The discovery
of flatness has dominated my work for the time being. Hence a large, flat slab in the middle. Pleasure from wondering
what is on the other side. Pleasure from the division. Pleasure from seeing washing hanging on a line." (Kenneth
Armitage, Letter to C G.-W., 1953.)

210
Reg Butler the English sculptor-engineer-architect, creates fragile constructions in iron and stainless steel. Some look
like plants, others recall insects, and all are enclosed in delicate silhouettes. It is characteristic of Butler's work that

it retains human gestures and rhythms. Though fundamentally constructive, its original impulse is obviously an
encounter with nature. Bathed in light and air, it shares in the life of nature. The dominants are line and structure.

The tendency is toward a rigid economy of material. This sculptor, who combines the mechanical with the poetic,

the cruel with the tender, was influenced in his beginnings not only by Henry Moore, but also by Gonzalez and Calder.

The Oracle is a fusion of the archaic and technological. Mechanical (aircraft) and organic forms are combined in
a new symbolic expression of traditional and present-day life. In the sculptor's own words: "The Oracle is a personage

in the depths of the college."

Reg Butler The Oracle 1952 Shell bronze on forged armature 6' 6" long Hatfield Technical College

212
Reg Butler Boy and Girl 1950 Iron 6' 9" Arts Council of Great Britain, London

213
214
Pablo Picasso Construction
1930-31 Wrought iron 823/4"
Coll. the artist

Lynn Chadwick The Inner Eye

and wire 7'
1952 Iron, glass
Museum of Modern Art, New York

There is in this construction that

sensitivity of form which so many
young British sculptors so ably distill
from the hard and linear medium of
iron. Here again we find the dema-
terialization of mass and the vitality
of line which is also characteristic
of modern drawing. The austerity of
the construction is mitigated by the
variety of textures, colors and media.
Chadwick unites "stabile" and "mo-
bile" in a single construction.

215
Throug^h purely abstract means, lines and plane surfaces are stretched and curved in dynamic movement and
interwroven into floating structures.

Walter Bodmer Wire Composition 1936 7" x 11" Coll. the artist

Walter Bodmer Floating Sculpture 1953

Wire and tin, painted in red 11" Owned by the Federal Government, Berne, Switzerland

The wire compositions of Walter Bodmer, the Swiss sculptor and painter, unfold in space, delicate and fantastic as

spider's webs. Uncontaminated by subject, they live in an atmosphere of their own. Rising and falling movement and
swaying flight are expressed in many variations and rhythms. The thin lines create zones of tension which recall
Klee's linear architectonics. In Bodmer a powerful imagination goes hand in hand with supreme precision of crafts-
manship. The quivering balance of these subtle constructions seems to ignore the law of gravity.

216
217
William Turnbull Mobile-Stabile 1949 Bronze base: 26" x 18" Coll. the artist

The early work of William Turnbull, one of the youngest of the English group, shows an interpenetration of planes

thrusting into space such as can be found in the early reliefs of Pevsner. His later tendency has been toward purely
linear effects. With his fine sense of rhythm and proportion, he is able to create vital, space-enclosing compositions
with elementary and fragile means.

218
Hans Uhlmann Sculpture 1954 Steel 31V^" x 47" x 39" Coll. the artist

219
Mary Vieira Tension-Expansion (Rythmes Dans L'Espace) 1959 Aluminum 66V4" x 99V4" Middelheim Park, Antwerp, Holland

220
Jose de Rivera Construction No. 48 1957 Chrome-nickel-steel, forged rod 9" Coll. Mr. & Mrs. George Staempfli, New York

Mary Vieira and Jose de Rivera, both of Latin origin, iiave in common an ascetic purity of spatial conception. Wliile
the connection with mathematical thought and proportional distinction is evident in Vieira's work, the floating
swiftness of Rivera's airy constructions seem to be based, to a certain extent, on the impact of industrialism.

221
 >«
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Norbert Kricke Space-Time Sculpture. Red and White 1954 Steel rod 23V^" x 27V^" x 15%" Museum Wuppertal, Germany

Norbet Kricke Space Sculpture 1958

Stainless steel, Museum Schloss Morsbroich,
Leverkusen, Germany

Commencing with rigid geometric constructions, Kricke's art has gradually developed a more relaxed but dynamic
linear expressiveness and use of space. The movement is richly orchestrated to attack space from all angles. "My
problem is not concerned with mass and not with the figure but with space and motion, with space and time. I do not
want to describe real space nor create real movement ( mobiles ) , but I do want to suggest movement by developing
a spatial activity from all directions. I want to express the unity of space and time." (Norbert Kricke.)

222
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Richard Lippold Variation No. 7, Full Moon 1949-50 Nichrome and brass wire 10'

Museum of Modern Art, New York Mrs. Simon Guggenheim Fund

224
In his gossamer constructions in wire, Richard Lippold expresses "a mystical, boundless sense of space." His Full Moon
makes the radiation of moonlight the symbolic expression of the structure of the world. If a single link in this closely

woven chain breaks, the whole complex structure collapses.

"The world is learning to exist with all of matter in a most tentative state . . . The firmer the tensions within this

construction (Full Moon) are established, the more placid is the effect." (Richard Lippold, 1952.)

Ibram Lassaw Nebula in Orion 1951 Bronze 35" Coll. John D. Rockefeller, III

This scaffolding, opened -up from all sides, shows the same complex interplay of spacial relationships that characterizes
the free spatial fantasies of the younger generation of painters: Vieira da Silva, Mark Tobey or Bazaine. In this case,

too, the subtle variation of tensions arises from the changing density of interweaving and the elastic interplay between
the various compartments of air.

225
Max Bill Construction of 30 Identical Elements 1938-39 Gilt brass Coll. the artist

Max Bill carries the "mathematical way of thinking" into the domain of art, and attempts to overthrow the barriers
between artistic intuition and scientific knowledge. He sees geometry, the mutual relationships of surfaces and lines,

as the primary foundation of all form. Herein lies also the source of the aesthetic expression of mathematical figures.
By giving concrete form to abstract thought — as in the mathematical models of space — he introduces an element
of feeling into it. "Mathematical thought in our time is not mathematics itself. It is the creation of rhythms and relation-
ships, of laws which have a personal origin, just as mathematics originates in the thought of pioneer mathematicians."
Thus art is characterized as "thought in form," although, as he emphasizes, "thought which leads to the frontiers

of the inexplicable."

226
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Max Bill Rhythm in Space 1947-48 Plaster 60" x 20" x 58" Coll. the artist

227
Max Ernst Lunar Asparagus (Mondspargeh
(Les Asperges De La Lune) 1935 Plaster 65" high
Museum of Modern Art, New York Purchase Fund

Kurt Schwitters Spherical Form 1932 Plaster and

stone, painted ca. 20" (Destroyed)

Compared with the fantastically tall and thin dream-growth of Max Ernst's Lunar Asparagus, the Spherical Form of
Kurt Schwitters is an elemental composition with "found" materials. An upward shift of the centre of gravity brings

out the precariousness of the balance.

228
 ) )

With steady consistency, Etienne Beothy has evolved a sculptural language full of inner vitality and musicality to

evoke the gesture of plant life. "The whole life of the plant is one great gesture, — an ever-welling spring, coming

from the depths." ( Etienne Beothy.

Etienne Beothy Couple 1947 Wocxl 231/2" Antoine Pevsner Twinned Column 1947 Bronze 42" x 20" x 17"
Coll. Landau, Paris The Solomon R. Guggenheim Museum, New York

Pevsner's construction presents very subtly the familiar problem of top-weight and duplication of form which is

frequent in modern sculpture and space constructions. ( Brancusi, Beothy, Gabo, Hepworth, Moore, etc.

229
Architecture with a sculptural approach

230
Le Corbusier Chapel of Ronchamp 1955 Ronchamp, France

Through the intensity of its plastic modelling the building also becomes a sculptural symbol dominating the landscape.

231
 •
tA^^>

Le Corbusier Ozon 2 (Recherches en faveur d'une plastique destinee a I'architecture)

1948 Painted wood 43 V2" Executed by J. Savina Coll. the artist

According to Le Corbusier, sculpture is the resonance and radiation of its architectural and natural environment.
His aim is to insert it, as an organic construction, into a larger whole, the essence of which it incorporates and reflects
poetically. The Cubist origins of Le Corbusier 's sculpture are obvious in the interpenetration of planes, but it evolves
in more organic shape towards a more general synthesis and symbol of life.

"Around the building, inside the building, there are definite places, mathematical points, which integrate the whole
and which establish platforms from which the sound of speech would reverberate in all parts. These are the predestined
sites for sculpture. And that sculpture would be neither a metope, a tympanum, nor a porch. It would be much more
subtle and precise. The site would be a place which would be like the focus of a parabola or an ellipse, like the precise

point of intersection of the different planes which compose the architecture. From there the word, the voice would
issue. Such places would be focal points for sculpture, as they are focal points for acoustics. Take up your stand here,

sculptor, if your speech is worth hearing." (Le Corbusier, Les tendances de I'architecture avec la collaboration de la

peinture et de la sculpture. Rome, Typogi-Bardi, 1936.)

232
 Here simple volumes achieve monu-
mental effect, regardless of their
technical function, through contrast
and proportional relationships. Thus
they pass out of the purely utilitarian
into a poetic atmosphere where they
come to life in a completely new
significance.

Le Corbusier Unite D'Habitation

Terrace roof with ventilation
shafts 1952 Marseilles

The Open Hand is a monumental work, the crowning point of an urban situation; it is a visual and emotional synthesis
linked to the great natural background of the Himalayas and to the architecture surrounding it. The sweeping symbolic
gesture penetrating space has a human derivation. This sculpture is made of carved wood overlaid with wrought iron,

the technique employed in India for water jars. It rotates on ball bearings and thus contains within itself a multiple
kinetic energy. Uncontaminated by functional intention, it emphasizes the emotional origin and aim of what has
been built by human hands for man.
''

Le Corbusier The Open Hand 1952

8"
Sketch for Chandigar, India 54'

233
Sculpture as fantastic architecture

Gilioli has chosen a closed, crenelated form for his Monument for the Unknown Political Prisoner, one that well
illustrates its title, Prayer and Force. This powerful sculpture diffuses at one and the same time a strong feeling of
confinement and inner strength.

Day Schnabel The Toun 1953 Stone 35" x 78" The Brooklyn Museum, New York

Here is the sculptured symbol of a city, growing out of tensions and proportions of volume and containing a strong
rhythmical expression.

234
Emile Gilioli Priere et Force. Monument for the Unknown Political Prisoner 1953 Marble 43 V4" Tate Gallery, London

235
Paul Speck Bread and Wine (Pane e Vino) Architectural Composition 1957 Granite 49^4 "
Coll. the artist, Zurich

This horizontally elongated stone architecture, austerely rustic in form, is endowed with the meaning and visible

symbols of the meal as a sacred rite.

236
Constantino Nivola Vadiano 1958 Cast stone 35' Coll. the artist

"Nivola has made magnificent sculptures on sand. Where the devil did he go to look for the undeniable style which
animates his work? He is a son of Sardinia, an island left, until now, happily sheltered from covetous machinations.
There must be on this island traces of the oldest civilizations, and Nivola has unquestionably made a discovery
at the right moment." (Le Corbusier.)

237
Andre Bloc Construction 1953 Plaster 24" x 12" Coll. the artist

Andre Bloc constructs an architectonic shell, enclosing space and displaying here a marked tendency to organic form.

This is set, as a mass, a dynamic balance with the hollow.

238
 Luciano Baldessari Architectural Construction for the Entrance to the Breda Works Exhibition
1952 Concrete 52' 8" Milan Industrial Fair

An expressive sculptural form, a huge spiral, encloses and articulates space, giving rhythm to the shifting life of an
exhibition. The movement spreads ribbon-like out of a huge shell. The activity of an industrial concern, ramifying
and concentrating, finds expression in a gigantic sculptural form, and the visitor's passage through the section is

guided and enlightened.

239
Emile Gilioli Paquier 1951 Bronze 26V2" Coll. the artist

Gilioli achieves that fusion of basic geometrical and organic forms out of which the expressive quality of volume
emerges as a unity. "In sculpture we must break the absolute sphere, as the egg breaks it to give birth to life."
(Emile Gilioli.)

240
George Henri Adam Sculpture Monument for the Gardens of the Museum of Le Havre 1959 Concrete 22' 6" x 72' 11"

In its geometrical acuity, this monumental sculpture

for the Museum at Le Havre is perfectly adjusted to
the spirit of the building.

George Henri Adam Sleeping Woman 1945 Plaster 9' 6" long
Garden of the Villa Mirabello, Varese

Adam disrupts the anatomical continuity of a body in

order to transmute it into fantastic architecture of

convex and concave forms, and to express the chang-
ing aspects of rise and fall. Like his graphic work, his
sculpture is markedly monumental in character.

241
 I

Maurice Lipsi Sculpture 1958 Lava 17" x 18" x 734" Coll. the artist

Lipsi, too, allows the natural power of the rough lava full play and contrasts it contrapuntally, with a geometric
precision of volume and contour. The central part relates to the oval form arching over it in a unifying spatial activity.

Hans Aeschbacher Figure I 1955 Lava 73" The City of Bienne, Switzerland

This austere architectural stela works on us through the sensitivity of its proportions, through the way its monolith
quietly unfolds and fans out. The quality of the raw material out of which it is formed (lava) is strongly accented.

It binds the organization and articulation of the condensed geometrical forms to their natural surroundings.

242
 V c '^iri

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Gabriel Kohn Pitcairn 1959 Wood 36" x 48" x 33" Albright Art Gallery, Buffalo

The artist has achieved a taut interpenetration of forms by the use of free construction within the confines of an
architectural discipline. The texture of the wood plays thereby a decisive role through the rhythms of its variegated
graining.

244
At first glance, just two simple, related forms. But slowly we become aware of the mysterious interplay of relationships
created by the vision and hand of the artist. They have given a uniformly black hue to the wood and endowed the

silhouettes and surfaces with the most delicate traces of incisions and knife-indentations. Despite this treatment, the

material continues to exist in its natural graining, playing the role of animate "Nature" in the well-modulated realm

of light and shadow created by the two basic forms. Impregnated with monumental traits quite independent of their

actual size, fantastic leafy mountains become the bearers of a multiplicity of emotions. Architectural design and
natural growth have been fused into a new unity.

"My total conscious search in life has been for a new seeing, a new image, a new insight. This search not only includes
the object, but in-between places. The dawns and the dusks " (L. Nevelson statement for Nature in Abstraction
byj. H. Baur, 1958.)

Louise Nevelson Lovers Leaves 1955 Wood Haskell Collection, New York

245
Day Schnabel Temple New York 1957 Bronze 7" Coll. the artist

Open and loosely composed organic forms dominate here, both in structure and in the interplay of interior and
exterior space.

246
Vojin Bakic Leaf Form No. I (Razlistana Forma I) 1958-59 Plaster 311/2"

247
Lynn Chadwick Moon of Alabama 1937 Iron composition 60" Coll. the artist

248
 Ibram Lassaw Zodiac House 1958 Copper, nickel-silver and bronze 31" x 14" x 17" George Staempfli Gallery, New York

In Lassaw's Zodiac House, as well as in Chadwick's Moon of Alabama fantastic architectural forms are balanced on
light supports with the action on the main upper portion. (See also pages 228 and 229).

249
 )

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Robert Jacobsen Hengist 1953 Wrought iron 30" x 1734" Musee de Liege, France

Jacobsen, whose artistic expressions exploit the utmost potentialities of his material, proceeds from a basis of rhyth-
mically soaring, yet architecturally disciplined forms. "Material repays in inspiration what you have given it in your
attempt to serve it." ( Robert Jacobsen.

250
 Berto Lardera Sculpture 1950 Iron 6' 6" x 6' 6" Coll. F. Pensotti, Legnano

Here again, by building into space, the sculptor imparts rhythm to the fluctuating interplay of hollows and surfaces.

This construction, floating in space, seems to capture and concentrate its natural environment and to reflect it in a

multiplicity of different aspects.

251
The development of opened spatial composition.

Mary Gallery Fish in Reeds 1948 Bronze 1234" x 15Vi "

Coll. the artist

The undulating forward glide of the simplified, elongated fish form acts as a counterpoint to the verticals of the
reeds. A delicately orchestrated harmony results from the economy of the forms.

252
 David Smith Arc-Wing 1951 Steel 20 3^" Willard Gallery, New York

Like Richard Lippold, and in keeping with the American situation, David
Smith gained his first experiences of material in industry. Compared with
the flexibility of the handicraft of Gonzalez, with whom he has many points
in common. Smith shows a greater aggressiveness in conception and a
crasser emphasis on the technical aspects of formulation. "Possibly steel is

so beautiful because of all the movement associated with it, its strength,

and functions. Yet it is also brutal, the rapist, the murderer and the death-
dealing giants are also its offspring." (David Smith.)

David Smith Cock Fight Variation 1945 Steel A'bVk" City Art Museum, St. Louis

The dynamics of a cockfight are given spatial expression by the mobility

of a few basic forms and the shifting interplay between them. "A form
going places," as the sculptor calls it.

253
 an open scaffolding. The dynamic quality which an earlier generation
Mirko's Bull is pure movement encased in

(Duchamp-Villon in his Horse) first elicited from volume is here -as in David Smith's Royal B?V^ - rendered

as a pure form of energy.

Mirko Basaldella The Bull 1948 Bronze

David Smith The Royal Bird 1948 Steel, bronze and stainless steel 23" x W2" x 60" Walker Art Center, Minneapolis

254
255
Roszak's fantastic bird unfolds in space through variations of structure and color. The gnarled and thorny lines

and shapes symbolize the powers of nature, both creative and destructive. It is with the same idea in mind that
the sculptor scorches and scratches his surfaces — to reach a final synthesis of instinct and discipline. "The rhythm
between the discipline of the classic and the emotional stirring of the baroque may well establish a new synthesis
toward the completeness of man and his hopes for the fullness of life." (Th. J.
Roszak in: Andrew C. Ritchie,

Symposium on the New Sculpture, 1952.)

Theodore J. Roszak Fire-Bird 1950-51 Welded and hammered steel 32" x 42" Coll. J. Z. Steinberg, Chicago

256
 Luciano Minguzzi Model for the Monument to the Unknotvn Politicals Prisoner 1953 Bronze 22" x 22" Tate Gallery, London

Here again, in the symbolic expression of the deprivation of liberty, the crushed and enwebbed volume comes
into an intense relationship with space. It is a sculptural parable of the menace to a personal sphere of life.

257
 Maria Martins Ritual of Rhythm
5"
1958 Bronze 23' x 16'
Palace of the President, Brasilia

258
Germaine Richier The Bat 1952
Plaster 47"

Germaine Richier, who worked for

many years in the studio of Bour-
delle, has joined Giacometti — also
once a pupil of the same master —
in the disembodiment of the surface.
The disintegration and fraying out
of the compact mass give rise to new
and expressive structural life with a
demonic undertone. The Bat shows
a strange transmutation of animal
into vegetable life, of the animal's
body and wings into a significant
and ambiguous ramification.

259
Eduardo Paolozzi T/ '
Cage 1950-51 Bronze 6' x 4' Arts Council of Great Britain, London

260
Herbert Ferber Spheroid 2 1952 Copper and lead 42" Kootz Gallery, New York

261
James Rosati Bull 1951 Bronze 30" Coll. the artist

262
 Carel Visser Bird Lovers 1954 Iron 19M" Stedelijk Museum, Amsterdam

This twin bird form, an irregular, oval air-space, is flight-poised horizontally but, at the same time, seems to dart

forward. The harsh, dark material from which they are formed delineates these floating shapes, conceived with

architectural tautness. Positive and negative volumes are equilibrated. One is aware that here a younger generation
is at work, converting the achievements of the De Stijl movement into new forms freer than those of the preceding

period.

263
Richard Stankiewicz My Bird 1957 Iron and steel 45" x 17" x 16" Coll. the artist

264
RoLert Miiller Larva 1957 Steel 21 14" iong Private Collection, Paris

Both artists integrate odds and ends of "Ready-Mades" into the basic composition of their work. In Miiller's method
there is a perceptible tendency to transform these into basic fundamental forms that modulate space like curved
armor, while Stankiewicz's final effect achieves a sensitive transparency of bizarre component parts.

265
The works of younger artists, who lean towards methods of expression initiated by Brancusi and Arp, show a
new evolution throug^h changes in proportion and shifts in accentuation. (Pages 266-275).

Alberto Viani Sitting Nude (Nudo Seduto) 1954 Marble 67" x 63" Coll. Willard Gidwitz, Chicago

Viani's figures are in a process of eternal metamorphosis. He does not, like Arp, start out from an archetypal vision,
but from the transformed and abbreviated expression of human form.

266
Karl Hartung Primeval Branchings 1950 Plaster for execution in bronze 781/2 "
wide Coll. the artist

267
Antoine Poncet Tripatte 1958 Bronze iGli" x ^Vs" x 4"

268
 Wander Bertoni Ikarus 1953 Stainless steel 4714" x 3978" x 193/4"

A special tendency towards rhythmical balance is elaborated in the sculptures of Antoine Poncet ( Paris ) and Wander
Bertoni (Vienna), recalling similar tendencies in the realm of architecture, such as the gracefully floating columns
of Oscar Niemeyer's presidential palace in Brasilia.

269
Etienne Hadju Head 1946 Marble 19!4" x 19M" Coll. the artist

The most impressive features of this Head are the magnificently fluid simplifications of form and the extreme subtlety
with which the surface and the structure of the relief are treated. Again in the double form of Bird Lyre it is a nearly
archetypal shape that dominates. Its great dignity and serenity is due to its harmonious proportions and to the soft

modulation of its large frontal planes. The beautifully veined marble of Paros seems to rise quietly by interior breathing.

The silhouette is designed through simple cuts and curves showing perforation of the mass and contouring the outer
and inner space that permeates the volume. In its noble simplicity this sculpture approaches the idol-like shaping of
form which distinguishes Brancusi's work, and its patient and meditative treatment of the material also seems related
to the methods of the Rumanian master. However, like many sculptors of his generation Hadju is interested in other

problems as well and these he attacks especially in his reliefs.

270
Etienne Hadju Bird Lyre 1956 Marble 21" x 13^/4" Coll. Baronne Lambert, Brussels

271
Isamu Noguchi Capital 1939 Marble 16" Museum of Modern Art, New York Gift of Miss Jeanne Reynal

272
 Isamu Noguchi Cross Form Development 1958 Marble 13" Coll. the artist

The delicate power of this form glides gently into a torso-like expression of organic life. The inner animation of its

stereometrical elements is of the same order as Brancusi's Torso of a Young Man 1924.

ll-b
274
 James Rosati Phoenix and the Turtle 1958 Marble 12" x 10" Fine Arts Associates, New York

The intensity of this work is not merely due to the precision of its craftsmanship; it also stems from a definite intellec-

tual approach that is primarily concerned with essentials. A self-contained duality that melts into a whole is a motif
often found in contemporary art, but here the wonder of transformation is achieved with calm assurance. The dignity
which permeates the entire mass is enriched by the play of variations over its voluptuous surfaces.

275
By means of various contemporary techniques and ideas the image of the human head has been formed and
transformed into new expressiveness. This is achieved not only by intensive structural articulation (bronze)
but also by the high polishing and subtle modelling of integral volume (marble).

mysterious inner
As far back as 1932, Lipchitz invented the form of a head dramatically broken open to show a
spatial construction. Despite its small size, this piece of sculpture exerts a monumental effect and
opens new areas.

276
Jacques Lipchitz Head 1932 Bronze 9%" Stedelijk Museum, Amsterdam

277
William Turnbull Head-Object 1955 Bronze 9" Coll. D. Blinken, New York

278
Fritz Wotruba Head 1954-55 Bronze 18 V^" Coll. Baronne Jeanne Lambert, Brussels

279
Carlo Sergio Signori Black Portrait 1958 Marble 17%" x 111/4" Coll. the artist

280
Vojin Bakic Head 1956 Marble 141/4" Coll. the artist

281
The modern expression of primeval forces.

The Mediterranean Mother from Senorbi ca. 1500 B.C. Marble 17 14" Museo Nazionaie, Cagiiari, Sardinia

282
•
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In wood carving, a younger generation too creates, like Brancusi, a magical

simplicity in realizing the potentialities of the material, the total effect being

determined entirely by the intensity of feeling uncontaminated by any

decorative intention. The forms here suggest those dominating, irrational
and primeval forces whose ritual sense has been lost in our time.

Ginstantin Brancusi The Chief (Le Chef)

1922 Wood 20" without base
Coll. Mrs. B. Lambert, New York

Erik Thommesen Head of a Child

1951 Wood 12" Coll. the artist

284
Helen Phillips Genetrix Erich Miiller Woman 1951 Wood 263^" x 1134" Coll. the artist
1943 Grey marble 28"
Coll. Jeanne Reynal, New York

Juana Miiller Head of a Child

1950 Wood 6" Galerie Mai, Paris

285
 w'

Marino Marini Horse 1957 Bronze I21/2" x I41/2" World House Galleries, New York

286
Since his beginnings in the Munich "Blauer Reiter" group, Mature has been especially interested in the elementary

forms and self-containedness of the recumbent animal. "I am not copying, I visualize the lying down. I construct

the act anew and try to build the quality and sensation of lying." In spite of its compression, this variation of the

theme is also charged with natural vitality. For Matare, the essential appeal of sculpture is tactile. "A sculpture can

exist in the dark, but not a painting." (Ewald Matare.)

Ewald Matare Cow 1948 Wood 61/4" Coll. the artist

 Louise Bourgeois Garden at Night
1953 Wood 36"
Mr. & Mrs. Arnold Maremont, Chicago

Like Stahly, Louise Bourgeois com-

bines single forms in a group which
is balanced in its proportions, cre-
ating spatial and awak-
tensions
ening free associations through the
elemental quality of its shape.

288
Francois Stahly The Castle of Tears
(Chateau des Larmes) 1952 Wood 51"
Coll. Miss Darthea Speyer, Paris

In Stahly's work, organic life lux-

uriates in a firmly built composition.
It has a poignant rhythm and poetry.
"In the work of art, the prejudice
of the single solution has been re-
placed by a multiplicity of changing
significances." (F. Stahly.)

289
 Mountain Mothers {An-Dt-Andt ou Les Meres Montagnes)
Frangois Stahly
1956-57 Cherry wood 51 !4" x 231/2" x 1734" Coll. the artist, Paris

The abundance and density of volume to be found in Stahly's Mountain Mothers is reminiscent of prehistoric fertility

symbols, but it is absolutely free of stylization or imitation of such forms.

290
 Etienne Martin D'Eux (From Them) 1955-56 Wood 4' 8" Coll. Miss Darthea Speyer, Paris

These densely-crowded, gnarled forms seem to be struggling up from a mysterious root -world. They give an over-
whelming impression of growth, of deeply rooted psychic forces. The transformation of a primordial aspect of

nature at the hands of the artist, in the form of a triple-rhythmed sculpture, is superbly fused into a primeval caryatid
structure upon which our world rests as on the roots of an ancestral tree.

291
Elementary simplification in archaic and surrealist modes of expression.

Group of Deer and Faun From the Kabeirion at Thebes 8th-7th Century B.C. Bronze lYs" Museum of Fine Ans, Boston

292
293
Georges Braque Ibis 1940-45 Bronze 5" Galerie Maeght, Paris

294
Georges Braque Horse's Head 1943-46 Bronze ASV2" Galerie Maeght, Paris

Braque's Horse's Head, which starts out from the shaping of surfaces, is mainly effective by reason of its structural

contrasts and fluidity of line. The Ibis, whose vivid silhouette is reduced to an elementary linear pattern, possesses a
powerful spatial energy. "The limitation of the means gives style, engenders form, and impels to creation." ( Georges
Braque, 1948.)

295
David Hare Catch 1947 Bronze 15" Kootz Gallery, New York

In David Hare's work, the surrealist metamorphosis of form is marked by ironic accents. Later, the grotesque atmosphere

is underlined not only by the adventurousness of the form, but also by a peculiarly fantastic use of material. Owing
to its formal diversity, Catch is particularly stimulating to free associations, the wanderings of the mind's memory,
as Hare puts it. "The universe of emotion has no space in the sense of distance, but it has memory, which is the
space of time." (David Hare, The Spaces of the Mind, 1950.)

296
 Pablo Picasso Sculpture 1929 Bronze 9" Coll. the artist

Picasso's fabulous creature, which belongs to his Dinard period, is a burlesque assemblage of organic fragments

in an absolutely unprecedented sculptural form. There is a multiplicity of themes so that the whole becomes involved
in a perpetual process of transformation.

297
 Max Ernst King Playing uith the Queen
9"
1944 Bronze 3' x 2'
Museum of Modern Art, New York

This chimeric king belongs to the family of modern, anthropomorphic creations, where organic and mathematical
forms are fused into a new fantastic unity.

Joan Miro Bird 19^4-46 Bronze 7" Galerie Maeght, Paris

In Miro's bronzes, as in his painting, the spatial force resulting from the deployment of primal organic volumes is

felt along with a certain burlesque bias on the part of the artist.

298
''"-i"
Max Ernst Sculpture 1935 Granite Giacometti Residence, Maloja, Switzerland

"Alberto Giacometti and I are afflicted with sculpture-fever. We work on granite blocks, large and small, from
the moraine of the Forno Glacier. Wonderfully polished by time, frost and weather, they are in themselves fantas-
tically beautiful. No human hand can achieve such results. Why not, therefore, leave the spadework to the elements

and confine ourselves to scratching on them the runes of our own mystery." (Max Ernst, from a letter to C. G.-W.,

Maloja, 1935.)

Pablo Picasso Design for a Monument 1928 Pen and ink drawing

Picasso, who devoted himself almost exclusively to painting for ten years after 1918, began work for monumental
sculpture in 1928 on a series of designs. His Design for a Monument shows a superb merging of simple biomorphical
and geometrical forms. These monuments, designed in many variations as sculptural signs for the outermost coastline
of the Riviera, stand in perfect and vital relationship to the surroundings and scenery.

300
 .

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stelae and totem forms from the contemporary standpoint.

Le Corbusier Totem 1945 Wood 47 Vi" Executed by J. Savina Private Collection, Paris

The expressive, mask-like head, extended open-mouthed into space is connected by its columnar base with the
central rectangular part, discharging into softer curves. At play here is an exciting contrast of natural and contrived
forms, both organic and geometrical, tautly and plastically expressed. Deep troughs of shadow, that seem to be
listening, activate the empty spaces. Here the primitive and the contemporary are consciously welded into a single unity.

302
s^
Pablo Picasso Bather 1958 Bronze 78" x 69" Galerie Leiris, Paris

Picasso has created a totemlike configuration of his Bathers with the most modern means. Gesticulating in a fan-

tastic sign-language, mysterious yet whimsical forms have been contrived out of odds and ends of planking, from
broom-handles and frame-corners to round and curved staves. The transformation of the wood texture into bronze

produces a magical effect.

304
 The Tanktotem consists of strongly contrasted spatial
forms, convex-bellied and standing on a three-tiered
base. It has a throat-like, elongated upper part which
encircles the "head" in a horizontal movement that

brings fresh spatial animation to the composition by

a change of direction. This artistically balanced con-
cept is enlivened by a humorous internal play on the
tank "deus ex machina" of our time.

H. J. Gisiger Totem 1956-58

Steel 75" Coll. the artist

David Smith Tanktotem 111

1953 Steel 87" Coll. the artist

Gisiger 's Totem, made of bent and elongated bars,

stands out sharply in space. Despite its mechanical
severity it has lyrical overtones and a rhythmically
accentuated swing. Its various elements are precisely
dovetailed so as to develop spatial activity. Here, too,
one can feel a certain humorous attitude towards
"Homo-Totem". The artist is not merely interested
in solving an esthetic problem but is also concerned
with expressing emotional content.

305
Rudolf Hoflehner "Sysiphus" (Homage to Albert Camus) 1959 Solid iron 7' 41/2" Coll. the artist

This austere yet generously constructed Sysiphus Figure— a memorial to the poet Albert Camus— has a monumental
character throughout. Its curved and rectangular iron components are cut from solid stock and welded together. With
its tense verticalit)' and spatially expanding planes of its upper part it embodies not a static but a dynamic attitude,
making a completely new and original contribution to the theme of the transformed human statue.

306
 Roel D'Haese Legendary Personage (Personnage Legendaire) 1956 Bronze ISY-i" x 14" Coll. B. Goldschmidt, Brussels

In Roel D'Haese's work we find a highly animated plastic microcosm created out of both "Ready-Mades" and ingen-
iously new forms fused into an organic unity. Again, it is the vibrating texture with its fantastic details, the tensions

generated by its varying proportions, the changing contrast of light and shadow, which define the strange, prickly
character of this figure from the world of legend.

307
 Cesar Baldaccini Homage
1958 Iron 5114"
Coll. Maillard, Paris

Cesar's iron tree, entitled Homage, shoots up vertically in triple rhythm from a stem-like columnar base to branch
out luxuriantly in richly contrived relief. The three vertical notes of the base are repeated in the horizontal bands
of hollowed spaces that entrap deep shadows. The whole rises out of darkness into light in a play of strong contrasts.
A sense of humor often evident in Cesar's work (he was, by the way, born in Marseilles) and which first appeared
in his amusingly grotesque sculptural "collages" of "Ready-Mades" is reminiscent of Flemish Roel D'Haese's weird
methods of expression, but today the meridional French artist seems to be turning more and more to simpler and
bolder forms.

308
 )

Robert Miiller Aaron's Rod (Aaronstab)

1958 Iron 56" Private Collection, Paris

This vertical plant-like form, with

its upward thrust and the biblical
overtones of its botanical title, has
the character of a bizarre stele.

Arching masses are richly built up

in a rhythmical crescendo to culmi-
nate in a full display at the top. The
various elements grouped together
here are made up of odds and ends
( tubes and bars, bowls, scythes, etc.

cut,hammered and welded into a

new sculptural existence. They rise,
linked together in steady equilib-
rium, to form a new, organic whole
filled with spatial vitality. Moreover,
this well-crafted, precisely handled
sculptureis imbued with inner
meaning beside the purely esthetic
perfection of its form.

'Sfiar
Alicia Penalba Plant Liturgy No. 1
(Liturgie Vegetale No. 1) 1956 Bronze 261/^'
Galerie Claude Bernard, Paris

Alicia Penalba's Plam Liturgy

builds up its sacramental stele in
a series of concave forms whose
shadowed niches contribute to the
articulation of the organic structure.
Growth is built up, fused, combined
with architectural principles in such
a way that the horizontal and verti-
cal accents give the impression of a
contrasting vertical whole.
 Mirko Basaldella The Great Initiated (II Grande Initiato) 1956 Bronze 110" Coll. the artist, Cambridge, Mass.

The Great Initiated is a hollowed, highly articulated construction. The human figure on which it is based has been
architecturally transformed and the surface strewn with hieroglyph-like forms. Human proportions appear to be
on a giant scale. The upward-surging detail, with its alternating play of convex curves and concave hollows, its

heavily accented contrasts of light and shadow, achieves a strange transformation of the human into the superhuman.

By elementary sculptural means it manages to suggest an aura of the magical. Thus, the sculpture in its entirety is

endowed with the power of a ritual statue.

311
Bernard Rosenthal Jericho II 1957 Red brass 84" x 45" Catherine Viviano Gallery, New York

Here, the horizontal accents unfold like a flag fluttering above its vertical shaft. Thin, angular metal plates, made of

reddish brass, are combined in rigid forms and endowed with an expressive rhythm through the contrast of proportion
and direction, both in height and width. The patterns of light and shadow strike a fine lyrical note. If it can be said
that Lipton's organic imagination continually reactivates his material, then one might also say, in the same sense,

that Rosenthal's style is dominated by a geometric concept of form.

312
Seymour Lipton Pioneer 1957
Nickel-silver on monel metal 81"
Museum of Modern Art, New York

Lipton cuts, bends and hammers his

thin sheets of metal; beats, rolls and
elongates them into biomorphic
forms. The elan with which he as-
sembles them into a fulcrum is al-
most dramatic. The light that streams
from their convex surfaces is con-
trasted with dark, shadowed shafts,
creating strong interior movement.
"Gradually the sense of the dark in-
side, the evil of things, the hidden
areas of struggles became for me a
part of the cyclic story of living
things " (S. Lipton.)

313
Isamu Noguchi The Family. Three Columns 1957 Stone
On the Grounds of the Connecticut General Life Insurance Company, Bloomfield, Conn.

Noguchi's three columns stand in front of a low, elongated building set in a large, park -like area. They bring a

massive, primordial element into the highly technical atmosphere of this glassed-in building. These sonorous,
sculptural organisms, with their spreading capitals, stand out like so many cyclops — mythical echoes from the past
that still permeate the present. The balance of their spatial and formal interrelationship is as sensitively conceived
as is their proportioning within a consciously archaic concept.

In contrast to Chillida's tautly intertwined stelae and Noguchi's massive rustic stone constructions, Henry Moore
modulates his Glenkiln Cross (1936) from swelling organic forms, then stretches and compresses them into a vertical
column, thereby accentuating the elastic vitality of their amorphous elemental parts.

314
 'jaieet

Henry Moore Glenkiin Cross Eduardo Chillida llarik, Sepulchral Stele

1956 Bronze 1203/8" 1951 Iron 29" ColL F. Meyer-Chagall, Berne
Marlborough Fine Art, Ltd., London

Two right-angled shapes in a power-

ful spatial embrace form the apex of
this high plinth, expressed in the in-
exorable language of somber iron.
This monumental memorial with its

strong spatial tensions and controlled

form belongs to the artist's early
period.

315
Rows of Monoliths at Carnac, Brittany Neolithic Age

316
Monoliths grouped for ritualistic purposes in harmony wuh space, the cult, and the natural background

317
Constantin Brancusi Endless Column ( Final Version ) 1937 Gilt steel 97' 6" Targujiu, Carpathians, Rumania

'His gaze uplifted to the heights

Is farewell to the world of creatures.
His flight into the immensities of space
Is arrival on the shores of salvation."

Crime —
Ordeal —
Nirvana, by Milarepa,
Tibetan monk, llth-12th century.

318
Biographies

ADAM, GEORGES HENRI, sculptor, designer, painter, gra- of modern sculpture. He simplified volume, inventing a large-
phic artist and illustrator, was born in Paris, France, 1904, scale rhythmical interplay of convex and concave forms. As
the descendant of a long line of goldsmiths. He began as a early as 1912, in his "Medranos", he had introduced construc-
painter and designer, and had his first exhibition in 1935, at tions of the greatest variety and had begun the use of trans-
Billet Worms, where he was introduced by Cassou. In the parent materials. In 1921 he opened his own school in Berlin,
same year he was awarded the Prix Blumenthal de Gravure, and two years later moved it to New York. He was appointed
and came into contact with Picasso. He became a sculptor in to the faculty of Washington State University, 1935. In 1937
1939-40, executing the statue Mouches (The Flies) after a play he founded an art school in Chicago, and became an instructor
of Sartre, for Dullin's Theatre de I'Atelier, Paris. His Grand in Moholy-Nagy's New Bauhaus. He reopened his school for
Gisant (Recumbent Figure). 1943, exhibited at the Salon de la sculptors in New York, 1939, and now lives in Woodstock,
Liberation, was followed by Femme debout (Standing N. Y., where he has a summer school. Exhibitions: Section
Woman) and Bete a cornes (Animal with Horns). In his d'Or, Paris, 1912; Herbstsalon, Berlin, and Armory Show,
graphic work he has abandoned etching and cold-needle tech- New York, 1913; Societe Anonyme, New York, 1921; Dres-
nique for the burin with which he obtains striking effects of den, 1922; Kingore Galleries, New York, 1924; retrospective
depth. In 1946-47 he designed tapestries, recreating the pow- exhibition, Anderson Gallery, New York, 1928; Galerie Art
erful rhythm of his graphic work on a monumental scale in Vivant, Brussels, and San Francisco Art Museum, 1931; Chi-
black-and-white threads. In 1947-49 he designed the black- cago World's Fair; Oakland Art Museum, and Los Angeles
and-white illustrations to Chimeres, by G. de Nerval, com- Art Museum, 1933; Museum of Fine Arts, Seattle, 1934;
bining tense emotion with economy of form. His monumental University of California at Los Angeles, 1935; Museum of
sculpture, Grand Eve (Nude) was bought by the Musee d'Art Fine Arts, Seattle, 1936; Art Institute of Chicago, 1937;
Moderne, Paris. In 1949 a one-man show of his sculpture, Kansas City Art Museum, Indianapolis Art Museum, 1938;
graphic arts and tapestries took place at the Galerie Maeght, Art Institute of Chicago, and Passadoit Gallery, New York,
Paris. In 1952 his burins sur cuivre, exhibited at the Galerie 1939; Art Alliance Gallery, Philadelphia, 1940; Art Institute
La Hune, Paris, showed him achieving spatial effects by print- of Chicago, 1942; La Plata, Argentina, 1946; Association of
ing several plates on one sheet. In 1953 he exhibited at the American Artists, New York, 1948; Witte Memorial Museum,
Sao i''aulo Biennial. A show of his entire work was given at San Antonio, Texas; University of Omaha; Syracuse Museum
Museum, Amsterdam, in 195 5, at Venice Biennale
the Stedelijk of Fine Arts, Museum of Fine Arts, Seattle, Santa Barbara
(graphic prize) 1956. He has contributed to the Biennial Museum, all in 1949; Springfield, Mass., Art Museum, and
Liubliana and Tokyo, 1957; the Brussels World's Fair, 1958; Omaha University, 1950; Museum of Fine Arts, Kenosha,
and the "Documenta" exhibition in Kassel, Germany, 1959. Wis., 1951; Museo d'Arte Moderna, Sao Paulo, Brazil, 1952;
Exhibition, New York, 1954; Brussels World's Fair, 1958;
AESCHBACHER, HANS, sculptor, was born in Zurich, Perls Galleries, New York, 1959.
Switzerland, in 1906. Self-taught, he began his career as a
sculptor in 1936, doing figurative work. He soon developed ARMITAGE, KENNETH, sculptor, was born in Leeds, York-
more and more purely abstract forms. He executed a monu- shire,England, 1916. He attended Leeds College of Art, 1934-
mental sculpture, The Harp ( 1946) for the Hospital Gardens 37, and the Slade School of Art, 1937-39. From 1939-46 he
in Zurich, and a stele-like Figure 1 (1955) for the town of was on active duty. His first exhibition was at the Institute of
Bienne, Switzerland. He participated in exhibition at Bienne, Contemporary Art, London, 1946. Further Exhibitions:
1955 and 1958; Park Middleheim, Antwerp, 1957; the "Young Sculptors ", Institute of Contemporary Art, London;
Venice Biennale, 1956; Basel, 1959; and the "Documenta," 26th Venice Biennale, British Pavilion; first one-man show
Kassel, 1959. His work is mentioned in the following publi- Gimpel Fils, London, 1952; "Tendances de la Peinture et de
cations: Werk. Winterthur, 1948, 1953, 1957; Domus, Milan, la Sculpture Britannique Contemporaine", Galerie de France,

1949, 1956; Quadrum, Brussels (U.S.A. Wittenborn), 1956; Paris; 9th Salon de Mai, Paris; 2nd International Exhibition
Du Griffon, ed.. La Sculpture Moderne en Suisse, 1955; H. of Open-air Sculpture, Varese (Italy), and Antwerp; Indus-
Schaefer Simmern, Sculpture in Europe Today. Berkeley, trial Design Exhibition, Zurich; Art Council Exhibition
California, 1956. Lives in Zurich and near Toulon. "Sculpture in the Home", London, 1953; first one-man show
Bertha Schaefer Gallery, New York; London County Council,
ARCHIPENKO, ALEXANDER, sculptor, painter, designer 3rd International Exhibition of Sculpture, Holland Park,
and teacher, was born, the son of an engineer, at Kiev, Russia, London, 1954; "New Decade", Museum of Modern Art, New
May 30, 1887. He
attended the local art school, 1902-05, tak- York, 1955; one-man shows at Bertha Schaefer and Rosenberg
ing up sculpture in 1903. From 1905-08 he continued his Galleries, New York; Brussels World's Fair, 1958; "Docu-
studies in Moscow, where he also exhibited. In 1908 he at- menta" exhibition, Kassel, Germany, 1959- He lives in Cor-
tended the Ecole des Beaux Arts, Paris. He exhibited in Berlin sham, Wilts., England.
and The Hague, 1910, and came into contact with the Cubists.
A year later he introduced his first spatial sculptures. He ARP, JEAN, painter, sculptor, poet and graphic artist, was
opened his first school in Paris, 1912. His work was first ex- born in Strassburg, France, September 16, 1887. He studied
hibited in the U.S.A. at the Armory Show, 1913. In the same first at the Weimar Academy, and in 1908 attended the
year he joined the Berlin Sturm Group and exhibited at the Academie Julian in Paris. From 1909-12 he lived at Weggis,
Herwarth Walden Gallery. Archipenko is one of the pioneers Switzerland, where he founded the Moderner Bund with

321
 Max Bill Andre Bloc Umberto Bocciom Walter Bodmer

322
Swiss whose exhibitions included the work of Paul
artists his early and Nco-Cubist periods, he achieved an
realistic
Klee. He Switzerland for Munich, 1911, where he joined
left essential in his choice and shaping of pure
simplification
the Blaue Reiter Group and was impressed by Kandinsky's organic forms. He created compact volumes in marble, in the
art and personality. He participated in Blaue Reiter exhibi- patient manner of Brancusi, and, in recent years, he has ex-
tions and publications, 1912. He was a joint founder of the ecuted a number of open bronze sculptures which have a
Dada movement with Hugo Ball and Tristan Tzara at Zurich, tendency to fold at the edges, as if to envelop space. His aim
1916, and with Max Ernst in Cologne, 1919. In 1921 he here is "the simultaneous composition of the concave and the
married Sophie Taeuber. From 1922-26 he lived mostly in convex," as he himself formulated it. He was awarded the
Paris, occasionally in Zurich. With El Lissitzky he edited 2nd Prize for sculpture at the First Mediterranean Biennial
Ismen Rentsch Verlag, Zurich, 1925. He joined the
for the in Alexandria, and many prizes in his native country. He
Surrealist movement in Paris, and exhibited at the Galerie lives in Zagreb.
Surrealiste. Like Miro, he adhered to his own method of non-
literary creation using simple, basic forms. In 1926 he settled BALDESSARI, LUCIANO, architect, stage designer, was born
at Meudon, near Paris. With Theo van Doesburg and Sophie at Rovereto, near Trento, Italy, December He took
10, 1896.

Taeuber-Arp he decorated the interior of the Aubette Restau- his degree as an architect Technology, Milan,
at the Institute of

rant and Bar at Strassburg, 1927-28. These large mural deco- and worked in that profession in Berlin and Paris, 1922-26.
rations for the bar were painted over shortly before World He settled in Italy as an architect, 1927, and organized the
War II. During the years 1930-40 he forsook relief for free Volta Exhibition of modern architecture at Como. In 1939 he
sculpture. At the war's outbreak he fled to Grasse, Southern lectured on modern Italian architecture at Zurich, Berne, and

France, where his plan for collective artistic work, started with Basel. From 1939-48 he lived in the United States. In 1951,

his wife, was carried out in collaboration with Magnelli and 1954 he was an executive member of the Milan Triennale.
Sonja Delaunay. He returned to Switzerland in 1942. Sophie Baldessari has specialized in stage design and engineering
Taeuber-Arp died from an accident in Zurich, 1943- Arp problems connected with the theatre and cinema. He is respon-
visited the United States in 1949, and was commissioned a sible for the interior decoration of many apartments, commer-
year later to do the mural reliefs for Walter Gropius' Gradu- cial buildings, and yachts, among them the
restaurants
ate Center at Harvard University in Cambridge. In 1952 he interiors for the Notari Bookshop, Milan. He lives in Milan.
traveled to Rome, Naples and Athens. Arp's On My Way,
Poetry and Essays, 1912-47, was published, 1948, and his
BEOTHY, ETIENNE, sculptor, theorist, was born at Heves,
Hungary, September 2, 1897. In 1915, upon graduation from
Dreams and Projects, 1952. In 1953-54 he was awarded an
high school, he volunteered for active service and was wound-
important commission for sculptures together with Calder,
ed. During his long convalescence he studied modern French
Pevsner and Laurens for the University of Caracas (Vene-
and Russian literature and German philosophy. In 1918, after
zuela) built by the architect Villanueva. In 1954 he won the
,

the dramatic end of the war in Hungary, he entered the Buda-

Biennaie prize for sculpture at Venice. He lives at Meudon.
pest School of Architecture, and began his mathematical
Exh hitions: Moderner Bund, Lucerne and Zurich; Der Blaue
studies on proportion a year later, working on his first con-
Reiter, Munich, 1912; Erster Deutscher Herbstsalon, Berlin,
cept of the Serie d'Or. He was carving tombstones, 1919-21,
1913; Galerie Tanner, Zurich, 1915; Galerie Dada, Zurich,
1916; Galerie Montaigne, Paris, 1922; Galerie Goemans,
and became friendly with Moholy-Nagy and the MA
Group.
From 1920-24, he studied sculpture at the Ecole des Bea^ix
Paris; Galerie Surrealiste, Paris, 1926; Societe Anonyme,
Arts, Paris, showing an increasing tendency toward simpli-
Brooklyn, 1926; Kunsthaus, Zurich; Galerie L'Epoque, Brus-
fication of form. In 1924-25 he toured Europe on a traveling
sels, 1927; Galerie Le Centaure, Brussels, Kunsthalle, Berne;
scholarship, visiting Vienna, Munich, Paris, London, Florence,
Kunsthalle, Basel, 1929; Kunsthaus, Zurich, 1929, 1932,
Rome, Naples and Venice. Returning to Paris, 1925, he set-
1934; Kunsthaus, Zurich; Museum of Modern Art, New York,
tled down and attended the studios of Brancusi, Laurens,
1936; Galerie Jeanne Bucher, Paris, 1939; Galerie des Eaux
Maillol and Despiau. In the years 1928-31 exhibitions of his
Vives, Zurich, 1945; Galerie d'Art Moderne, Basel, 1946;
work were held at the Galerie Sacre du Printemps, Paris; Zak
Exposition Surrealiste, Paris, 1947; Buchholz Gallery, New
and Kovacs Galleries, Budapest; Galerie Wolfensberg, Zur-
York; Galerie Maeght, Paris; Modern Art Society, Cincinnati,
ich (Exhibition: Production Paris, 1930). His work was on
1949; Sidney Janis Gallery, New York; Galerie Denise Rene,
permanent exhibition at the Galerie Leonce Rosenberg, Paris,
Paris; Galerie Maeght, Paris, 1950; Librairie La Hune, Paris,
1931-39. He was co-founder and vice-president, 1932-36, of
1951; Bienal, Sao Paulo, 1952; A. P. I. A. W., Liege, Mons
the Abstraction-Creation Group, exhibiting at the Galerie
and Brussels, 1953; Curt Valentin Gallery, New York, and
Abstraction-Creation (Wagram), 1934. In 1938 he or-
Walker Art Center, Minneapolis; Galerie Bing, Paris; Yver-
ganized an exhibition of abstract French and Hungarian art
don (Switzerland), and Zurich; Venice Biennaie, 1954; Ex-
in Budapest. His lecture. The Problem of Form Creation and
hibition in Berne, Switzerland, 1956; Retrospective, Museum
his Serie d'Or were published by Chant, Paris, 1939. In 1939
of Modern Art, New York, 1958; Brussels World's Fair, 1958;
he participated Nouvelles Exhibition, Galerie
in the Realites
"Documenta", Kassel, Germany, 1959. A monumental sculp-
Charpentier, Paris. From 1941-43 he
led an underground
ture for Bonn (garden of the university) and a relief for the
group of Hungarian artists and intellectuals living in Paris.
Institute of Technology in Braunschweig, Germany, I960.
After the war he participated in the Galerie Rene Drouin,
BAKIC, VOJIN, sculptor, was born at Bjelovar, Croatia, in Paris, 1945. In 1947 he was a committee-member of the Salon

1915. He studied at the Academy of Fine Arts in Zagreb with des Realites Nouvelles and exhibited at the Galerie Denise
Mestrovic and Frank Krsinik. He had his first exhibition at Rene, Paris. He exhibited at the Galerie Maeght, Paris, 1948,
Bjelovar in 1940. At that time he created a monument for the Galerie Blanche, Stockholm and in the Sculpture since
the town of Bjelovar and, later, for other towns in his own Rodin Exhibition, Maison de la Pensee Fran^aise, Paris, 1949-
country. He traveled in Italy, France and England. His works He was co-editor of Forme et Vie, and a committee member of
have been shown in numerous exhibitions, including the Groupe-Espace, 1951. In 1952 he collaborated with a group
Venice Biennaie, 1956; a show in Poland, 1956; the Brussels of architects on problems of form and proportion, and in
World's Fair, 1958; the Galerie Denise Rene, Paris, 1959; 1953 was appointed instructor of color and proportion in the
the "Documenta" exhibit, Kassel, Germany, 1959. Following Department of Architecture of the Ecole des Beaux Arts, Paris.

323
 BERTONI, WANDER, sculptor, was born in Codisotto, 1902 he was in Rome, at the studio of Giacomo Balla whose
Reggio Emilia, Italy, in 1925 and came to Vienna in 1943, pointillism influenced his paintings. Later, at Milan, Praeviati
where he studied under Wotruba at the Academy. Still living and Segantini impressed him with their use of light to dissolve
in Vienna, he is a member of the Art Club and an artistic par- mass. In 1902 he was in Paris, in 1903, St. Petersburg, and
ticipant in city planning. He has exhibited in Vienna, Prague, in 1906, Padua and Venice. He settled in Milan, 1907. In
Rome, Turin, Stockholm and at the Venice Biennale since 1909 he came into contact with Marinetti and was a joint
1950. He lives in Vienna, (see photo page 353) founder of the Futurist group with Carra, Severini, Balla and
Russolo, taking the lead in sculpture. In 1912 he wrote his
BILL, MAX, architect, painter, sculptor, designer, typog- Manifesto tecnico delta scultura futurista. The theoretical con-
rapher and theorist, was born at Winterthur, Switzerland, ceptions of the movement had been summarized by Marinetti
December 22, 1908. He studied at the Kunstgewerbeschule, and published as the Futurist Manifesto in the Paris Figaro,
Zurich, and the Bauhaus, Dessau. In 1931 he married Binia February 20, 1909. As the leading sculptor of this movement,
Sporri. Since 1930 he has practiced architecture in Zurich. In Boccioni was the first to introduce the concept of the dynamic,
1944-45 he lectured on formal design at the Kunstgewerbe- emotionally expressive antigrazioso as opposed to the static,
schule, Zurich, and in 1948 was visiting professor at the Insti- petrified bellezza. He and his fellow Futurists were the first in
tute of Technology, Darmstadt. His publications include: Italy to draw attention to the work of the Piedmontese sculp-
13 Variations on One Theme, Paris, 1938; Le Corbusier and tor, Medardo Rosso, contrasting its direct expressiveness and
Pierre Jeanneret. 1934-1938, Zurich, 1938; Robert Maillart, spiritual radiance with the sterility and trite naturalism of
Zurich-Erlenbach, 1949; Modern Swiss Architecture, 1925- officially recognized academic art. In 1913 he lectured and
1945, Basel, 1950; Co-editor of a book on Kandinsky with exhibited at the Galerie de la Boethie, Paris. Shortly before
text by Hans Arp, Charles Estienne, Carola Giedion-Welcker, the war he met Picasso and Braque. Boccioni volunteered for
Will Grohmann, Ludwig Grote, A. Magnelli, Edition Maeght, active service in 1914 and was killed two years later in an
Paris, 1951. His architectural work include the following accident, August 16, 1916, at Verona. There is a striking
buildings with prefabricated elements: Swiss Pavilion, Trien- resemblance between the short lives of Boccioni and the
nale, Milan, 1936; designs for the exhibition Good Form, French sculptor, Raymond Duchamp-Villon. Both were con-
Basel, 1949 (circulating exhibition shown at Cologne, Zur- vinced of the necessity of an artistic reorientation and renewal,
ich, Constance, Ulm, Stuttgart, Darmstadt, Linz, Amsterdam and both gave their lives in the same war. Exhibitions: First
and Vienna); Swiss Pavilion, Triennale, Milan, 1951; Hoch- futurist show, Milan, 1911; Galerie Bernheim Jeune, Paris;
schule fiJr Gestaltung in Ulm, 1953-54. His sculpture in- Galerie Thannhauser, Munich, 1912; Herbstsalon Sturm,
cludes: Endless Loop, 1935; Continuity, 1947; Tripartite Berlin; "Exhibition of Futurist Sculpture", Galerie de la
Unity, 1948. One-man shows of his work have been held at: Boethie, Paris, 1913; Panama Pacific Exhibition, San Fran-
Bauhaus Dessau, 1928; Kunsthalle, Berne, 1930; Kunsthalle, cisco, 1915; "Internationale Kunst", Diisseldorf, 1922; So-
Basel, 1944; Stuttgart, 1948; Galerie fiir Moderne Kunst, ciete Anonyme, New York, 1923; retrospective exhibition
Basel, and Kunsthaus, Zurich, 1949; Sao Paulo, Art Museum, Palazzo Sforza, Milan, 1933; "Twentieth Century Italian Art",
and Institute of Modern Art, Buenos Aires, 1951; Bienal, Sao Museum of Modern Art, New York, 1949; "L'Art Moderne
Paulo, 1953. He was appointed director of the Hochschule Italien", Musee d'Art Moderne, Paris; Arts Council, London;
fur Gestaltung at Ulm which he built. In 1958, he contrib- Kunsthaus, Zurich, 1950; Rome, Winterthur, 1959; Venice
uted to the Brussels World's Fair; and, in 1959, to the Biennale, 1950, 1952, I960.
"Documenta" in Kassel, Germany. BODMER, WALTER, painter, sculptor, teacher and graphic
BLOC, ANDRE, sculptor, architect, painter, writer, was born
artist was born in Basel, Switzerland, August 12, 1903. He
studied painting at the Kunstgewerbeschule, Basel. In 1928
in Algiers, 1896. Completed his engineering degree in Paris
he visited Paris, Southern France and Spain. His first exhibi-
and pursued that profession until 1930. Returning from
tion was a joint one with his friends, Birrer, Otto Abt, and
travels in Europe and South America, he founded the
Walter Kurt Wiemken, at Basel, 1928. In 1933 he aban-
periodical. Architecture d'Aujourd'hui, 1930. In 1941-42 he
doned the impressionist technique for free use of form and
produced his first sculptures in plaster, cement, and stone. In
color, first in painting and graphic art, then in wire sculptures,
1945-46 he abandoned sculpture with special subject content
where the spatial problems attracted him. Since 1939 he has
and showed his first abstract work at the Salon des Realites
been an instructor in drawing at the Kunstgewerbeschule,
Nouvclles and in the show. Fifty Years of Sculpture, at the
Maison de la Pensee Fran(;:aise, 1949- In the same year he
Basel. He has exhibited in the larger Swiss cities and in
Milan, Turin, Paris, Copenhagen, and Freiburg/Breisgau.
founded his review. Art d'Aujourd'hui. In 1950 he exhibited
Shortly after the war, a traveling exhibition of his work,
at the Institute of Contemporary Art, London, and at Denise
Rene's "Espaces Nouveaux", Paris. In 1951 he showed at the
sponsored by Pro Helvetia, visited Germany. He was repre-
sented at the First Bienal, Sao Paulo. Examples of his work
Galerie Mai, Paris, in Nice, and in Copenhagen. In that year
are owned by the art museums of Basel, Zurich, and Berne.
he founded the "Groupe Espace". He was given one-man
shows at: Galerie Apollo, Brussels, 1952; Galerie Denise
Rene, Paris, 1953 and 1958; Galleria del Fiore, Milan, 1954; BOURDELLE, ANTOINE, sculptor, painter, poet and teach-

A. P. I. A. W., Liege, 1955. He participated in the "Docu- er, was born Montauban, France, October 30, 1861. He
at

menta" Kassel, Germany, and exhibited in the Museum of attended the Ecole des Beaux Arts, Toulouse, and from 1876-

Modern Art in Rio and Sao Paulo, 1959- He is interested in 85, the Ecole des Beaux Arts, Paris, at first under Falguiere,

spatial construction as well as in carving and tends towards

and then under Dalou, the pupil of Carpeaux. In 1896 he
a synthesis of architecture, painting and sculpture. In his
worked for Rodin. In later years Rodin often supported him
in discussions with official authority. The classic idealism and
Rencontres de Plans and Volumes Complexes, he achieves an
structural discipline of early Greek sculpture gradually super-
interpenetration of organic and geometric forms. He lives
seded the influence of Rodin and became the starting point for
at Boulogne-sur-Seine.
his own simplification of form and economy of expression.
BOCCIONI, UMBERTO, painter, sculptor and theorist, was Unlike Rodin, whose aim was to capture spontaneity and
born at Reggio Calabria, Italy, October 19, 1882. From 1898- movement, Bourdelle aspired to the monumental gesture. His

324
favorite poets were Ronsard, Moreas (a Greek poet living in 1876. He attended the local carpentry school, where his talent
Paris) and Mallarmc. When serious illness forced him tem- was discovered. In 1902 he won a scholarship to the Bucharest
porarily to abandon sculpture, he took up painting and draw- Art Academy and received the Diploma on September 24,
ing. In 1902 he completed his Monument to the Dead of 1870 1902. Setting out on a slow, frequently interrupted journey
at Montauban. He had worked on the sculpture since 1893 from East to West, he passed through Munich, Zurich
when Rodin's influence was still strong. The same influence is and Basel, where he looked in vain for work in the building
apparent in his Beethoven bust. His personal style emerged trades. In 1904 he arrived in Paris, where he settled for
clearly in the years 1900-09, for the first time in the Head of life. He worked at first with Mercie, an official academician

Apollo, which adds a modern sensitivity to a rigidly archaic of his time. In 1907, at an exhibition at the Grand Palais,
form. 1905 marked his first exhibition at the Galerie He- where he was represented, he met Rodin who was struck
brard, Paris. In 1907 he made
a statuette of Penelope, and a by his genius and asked him to become his assistant. Brancusi
larger version of thesame in 1912. His Heracles, the Archer, refused, convinced that "nothing can grow under big trees",
1909, a monumental work of prime imoortance, caused a and continued to live in retirement and poverty. Since 1909
scandal when exhibited at the Salon in 1910. It was inspired he was an intimate of Modigliani, later of Eric Satie, influenc-
by the archer on the Temple of Athena at Aegina. The work ing Modigliani's first sculptures, and encouraging Satie to
was re-exhibited at Toulouse, 1926, as the Monument to publish his opera (lost after the composer's death). Brancusi
Sport. It is notable for its vitality of movement within the exhibited at the Grand His sculpture, Princess,
Palais, 1920.
framework of strict structural principles. His Pomona (Le 1916, was attacked by the on the grounds of obscenity.
critics

fruit). 1911, is noted for itsBourdelle lectured

fine S-curve. His first exhibition at the Brummer Gallery, New York, took
in Prague, on Rodin 1909, describing him as
et la sculpture, place in 1926. From 1926-28 he was engaged in a lawsuit
the "poet of the human body" and his statue of Balzac as his against the United States Customs Service which maintained
most impressive work. ("One can hear the human spirit seeth- that his sculpture. Bird in Space, was not a work of art and
ing in this block of stone"). From 1909 until his death should be declared as "metal". With the help of American
Bourdelle taught in his studio. La Grande Chaumiere. His collectors and art critics, Brancusi won his case. He visited
sculptural work for the Champs Elysees, 1912, gave him, for India, 1937, designing for the Maharajah of Indor a walled-in
the first time, the opportunity of uniting sculpture with archi- temple of meditation. It was to have been built in the form
tecture, for him the fulfillment of all plastic creation. This of a cross with a central pool reflecting his bird sculptures.
new tendency, opposed to Rodin's, is expressed in the double The war and the changed political situation of India forced the
meaning of Bourdelle's saying, "The time has come to build." abandonment of this project. Fragments of it still exist in
His Dying Centaur, 1914, Buenos Aires, corresponds in spirit Brancusi's studio in the form of sketches for mural paintings
to symbolist poetry to which he was particularly attracted. In (white birds on a blue ground) and 3 bird-sculptures that
this statue the detachment of the arm with the lyra, nearly were to have been welded into a spirittial and architectural
isolated from the whole composition, already foreshadows the unity. Brancusi's latest works are two turtles in wood and
Ion ly Hand of Giacometti in its tragic expressiveness. From marble. His book of books is the Milarepa, the confessions of
1920-22 he produced a series of portrait busts (Anatole an 11th century Tibetan monk. The French translation,
France, Auguste Perret, etc.) and in 1922, his Virgin of Al- Milarepa: Ses crimes, ses epreuves. son nirvana, is for him an
sace, which is mounted on a rock at Niederbruck. In 1923 he inexhaustible fountain of wisdom, spiritual beauty and sim-
finished his equestrian statue of Alvear for Buenos Aires; plicity. Until a few years ago the works of this great sculptor
preliminary sketches for this work date back to 1913- Bour- had found their way into only a few American, British,
delle died in Paris, 1929. His teaching has had a lasting in- French, and Indian private collections. Today important mu-
fluence on the younger generation of sculptors. His theoretical seums own examples of his work: the Museum of Modern
work and lectures show that he approached the problem of Art, New York; Musee d'Art Moderne, Paris; Solomon Gug-
sculpture from all directions, trying to relate it to the general genheim Museum, New York; Chicago Art Institute; Phila-
perceptions of his time. His intimate knowledge of music and delphia Art Museum; Institute of Contemporary Art, London;
his love of symbolist poetry complement his plastic symbol- Societe Anonyme Collection, Yale University, New Haven;
ism. He advised his pupils to be "mathematicians in form and Kunsthaus, Zurich, and Kunsthaus, Winterthur. He had a
musicians in proportion." one-man show at the Solomon R. Guggenheim Museum,
1955-56, and at the Venice Biennale, 1960. Brancusi died
BOURGEOIS, LOUISE, painter, sculptor and graphic artist,
March 16, 1957.
was born in Paris, France, where she studied first at the Ecole
des Beaux Arts, then with Fernand Leger. Since 1937 she has
lived in New York, where she attended the Art Students
BRAQUE, GEORGES, painter, sculptor and illustrator, was
League. She now works exclusively as a sculptor. Her one-man born at Argenteuil, near Paris, France, May 13, 1882, the son

shows include: Bertha Schaefer Gallery, New York, 1945; of a house painter. He entered the Ecole des Beaux Arts, Le
Norlyst Gallery, New York, 1947; Peridot Gallery, New Havre, 1893- In 1900, after a year of apprenticeship to his
father, he went to Paris and lived at Montmarte. He attended
York, 1949, 1950, 1953; Galerie Mai, Paris, 1952; Allan
the Ecole des Beaux Arts (Studio Bonnat) for two months,
Frumkin Gallery, Chicago, 1953; White Art Museum, Cornell
University, 1959. Her work has been included in exhibitions then the Academie Humbert. In 1906 he exhibited at the Salon
the Museum of Modern Art, the Metropolitan Museum des Independants (Fauvism). In 1907 and 1908 he again
at:
and Whitney Museum, New York; the San Francisco, Los contributed paintings to this salon, all of which were sold. His

Angeles, Rochester and Philadelphia Art Museums; the work done at La Ciotat and I'Estaque, 1907-08, showed the
Walker Art Center, Minneapolis; the University of Illinois; influence of Cezanne. At this time he met Picasso. At the

the Allen Memorial Art Museum, Oberlin, Ohio; the Library

Salon d'Automne, 1908, the jury rejected five of his pictures.
In 1910 he adopted the style of analytical Cubism. He painted
of Congress, Washington, D. C. The Museum of Modern Art
and the Whitney Museum own examples of her work. with Picasso in 1911 at Ceret, and in 1912 at Sorgues,
Provence, producing his first collage in 1912. He saw active
BRANCUSI, CONST ANTIN, sculptor, architect and painter, military service, 1914-16, and was severely wounded in the
was born at Pestisani, near Targujiu, Rumania, February 21, head, 1916. In 1919 he had a one-man show at the Galerie

325
 Leonce Rosenberg, Paris. His first sculpture in plaster was College; calledThe Oracle, it is a fusion of archaic and modern
Femme 1920, Collection Kahnweiler, Paris, Curt
debout, (technological) form. This subject is also in the collection of
Valentin Gallery, New York. In 1923-24 he designed settings the Museum of Modern Art, New York. Exhibits of his work
and costumes for Les Facheux for the Ballets Russes. He moved include: the Venice Biennale, 1954; a one-man show. New
to his present address, 6 Rue du Douanier, Paris, in 1924. York, 1955; "New Decade", Museum of Modern Art, New
Braque was awarded first prize at the Carnegie International York, 1955; "Documenta", Kassel, Germany, 1959. He lives
Exhibition, Pittsburgh, 1937. Since 1939 he has made small in Berkhamsted, Herts.
sculptures in limestone: Pony, 1939; Fish, 1942; Ibis, 1945;
and severalreliefs with incised patterns. In 1940 he fled to the CALDER, ALEXANDER, sculptor, graphic artist, engineer

Pyrenees, but returned to Paris in the autumn. In 1947 he and illustrator, was born in Philadelphia, U.S.A., July 22,
published his Cahier de Georges Braque; it is an extract of 1898, of a family of painters and sculptors. From 1915-19 he
sketchbooks kept for 30 years, a sort of diary with running studied engineering at Stevens Institute of Technology, Phila-

illustrations, and the inspiration for many of his works. He delphia, while designing and painting in New York. In 1926,
was awarded the international prize at the Venice Biennale, while an illustrator for the National Police Gazette, he had
his first exhibition of animal sketches and started wood carving
1948. In 1949 he had a large one-man show at the Museum
of Modern Art, New York. In 1950 he designed the settings and wire sculpture. In 1926-27 he visited Paris. Regular
for Tartuffe, a Louis Jouvet production at the Theatre de attendance at circus performances stimulated him to create a
I'Athenee, Paris. In the same year his illustrations to Milarepa miniature circus which he peopled with amusing figures in
were shown at the Galerie Maeght, Paris. In 1953 Braque was wood and wire. It was in this period that he developed his
commissioned to paint ceiling decorations for the Louvre. His technique of suggesting three-dimensional form through linear
sculpture was exhibited at the Venice Biennale, 1948, 1958, movement. Back in Paris, 1929-32, he was in close contact with
and at the Brussels World's Fair, 1958. Mondrian, Miro, Leger and Arp, and his work became increas-
ingly abstract. Calder's mobiles were at first based on mechani-
BURCKHARDT, KARL, painter, sculptor and theorist, was cal, motorized movement, reminiscent of the important role

born Lindau, near Zurich, Switzerland, January 13, 1878,

at technology has played in early Constructivist sculpture. He
the son of a clergyman. His first encounter with classic art then progressed towards free organic movement, set in motion
was a liberation from his strict Pietist background. In 1900 he by natural means and obeying the laws and hazards of
made Rome, Capo Circeo and
his first journey to Italy, visiting rhythmical vibration. In 1931 he married Louisa James and
Capri. Under the influence of Hans von Marees his painting returned to Paris, joining the Abstraction-Creation Group. In
became monumental and severely structural. In 1901 he took the same year he produced his illustrations for the Fables of
up sculpture in Rome. Disregarding the variety of natural Aesop. His mobiles were exhibited for the first time in Paris
shapes, he concentrated on elementary form and rigid struc- at the Galerie Vignon, and in New York at the Julien Levy
ture, surpassing Maillol, who was his inspiring teacher. He Gallery, 1932. Since 1933 he has lived on his farm in Rox-
exhibited in Florence and Forte dei Marmi, 1905-07. During bury, Connecticut, and has made frequent trips to Paris. In
the period 1909-14 he did reliefs, commissioned by the 1936 he designed settings for Eric Satie's Socrate. In 1937 he
architect Karl Moser, for the Kunsthaus. Zurich. In 1918 he executed the Mercury Fountain for the Spanish Pavilion at the
opened the Rodin exhibition at Basel. His book, Rodin and Paris Exposition, and in 1939, a water ballet for the New York
the Pmhlem not only a brilliant study of Rodin,
of Sculpture, is World's Fair. In 1944 he had a large one-man show at the
but also the illuminating confession of a modern sculptor in Buchholz Gallery, New York. In the same year he illustrated
search of new plastic values. From 1914-21, in collaboration Three Young Rats, and in 1946, the Fables of La Fontaine. He
with other young Swiss artists, he executed fountain figures was commissioned to design a mobile for the Terrace-Plaza
for the Badischer Bahnhof (Railway Station) in Basel, another Hotel, Cincinnati (where Miro painted a large mural) in
C(5mmission from Karl Moser. His later works include: In 1946. In 1947 he exhibited with Fernand Leger in Berne
Memory of H. Dieterle. 1919. Kunsthaus, Zurich; Dancer. and Amsterdam. Visiting Mexico and Brazil, 1948, he ex-
1921, Kunsthaus, Winterthur; St. George. 1923, Kohlenberg, hibited at Sao Paulo and Rio de Janeiro. In 1950 he had a
Basel; and Amazon. 1923, now standing near the Rhine Bridge, retrospective exhibition at the Galerie Maeght, Paris, and
Basel. Burckhardt died December 24, 1923, at Ligornetto, traveled through the prehistoric regions of Southern France
Ticino, Switzerland. His sculpture still ranks among the best (Lascaux), Brittany, Sweden and Finland. In 1953 he was
and most advanced of Switzerland. His work has been shown included in the exhibition, "American Painters and Sculptors"
at the Kunsthalle, Berne, 1952, and the Venice Biennale, 1954. at the Kunsthaus, Zurich. His works have been exhibited at
the Brussels World's Fair, 1958; the "Documenta" in Kassel,
Germany, 1959; at Amsterdam, Zurich and Perls Gallery,
BUTLER, REGINALD, COTTERELL, sculptor, engineer, New York, I960. Retrospective, Venice Biennale, 1952.
architect, teacher and editor, was born in Buntingford, Hert-
fordshire, England, 1913. He made his first sculptures at the GALLERY, MARY, sculptor, was born in New York City,
age of seven, but trained as an architect, qualifying in 193^- U.S.A., 1903. She grew up and was educated in
in Pittsburgh,
From 193"'-39 he taught at the Architectural Association New York, attending the sculpture class of Edward McCartan
School, and from 1939-50 practiced as an engineer. During at the Art Students League; later she studied under the
the war years he worked as a blacksmith in a Sussex village. sculptor Jacques Loutchansky in Paris. After working eight
From 1946-50 he was technical editor of The Architects years in Paris she exhibited at the Salon des Tuileries. Her
Journal. His first one-man show was at the Hanover Gallery, first one-man show was at the Buchholz Gallery,
York, New
London, 1949. Since 1950 he has been Gregory Fellow in 1944; she has since exhibited there regularly. Other ex-
sculpture at Leeds University, and in 1952 began to teach at hibitions of her work include: Chicago Arts Club, 1945;
Hatfield, Hertfordshire, then at the Slade School, London Galerie Mai, Paris, 1949; Margaret Brown Gallery, Boston,
University. In 195 2 he entered in the Venice Biennale, and in 1951; Salon de la Sculpture en Plein Air, Musee Rodin, Paris,
1953 took first prize in the competition for the Monument to 1956; a one-man show, Knoedler Galleries, New York, 1957.
the Unknown Political Prisoner. In 1954 he finished a commis- She contributed a Mobile Fountain of Bronze to the Brussels
sioned sculpture for the entrance of the Hatfield Training World's Fair, 1958. Examples of her work are owned by the

326
 Antoine Bourdelle Louise Bourgeois Constantin Brancusi Georges Braque

Karl Burckhardt Reginald Cotterell Butler Alexander Calder Mary Gallery

Cesar Lynn Chadwick Eduardo Chillida Honore Daumier

327

I
 Edgar Degas Andre Derain Jose De Rivera Roel D'Haese

Theo van Doesburg Marcel Duchamp Raymond Duchamp-Villon Max Ernst

Herbert Ferber Otto Freundlich Naum Gabo Antonio Gaudi

328
 —

Museum of Modern Art, New York; Museum of Fine Art, Empire. For the next 40 years he was unflagging in his activity
Toledo; San Francisco and Cincinnati Art Museums. and society. From 1830-32
as a satirical cartoonist of politics
he modeled 36 polychrome clay busts of French deputies. His
CESAR, (Cesar Baldaccini) sculptor, was born in Marseilles, emphasis in sculpture on the grotesque element which
France, in 1921. He began his studies at the Ecole des Beaux- transcends individual likeness and expresses a fundamental
Arts in Marseilles and, in 1943, went to Paris for further human experience, plus the tendency toward dissolution of
studies at the Ecole des Beaux-Arts. His works have been volume in his work, make him a forerunner of modern
exhibited at: Galerie Durand, Paris, 1954; Galerie Rive sculpture. In 1850 he completed Ratapoil, a lampoon of
Droite, Paris, 1955; Salon de Mai, Paris; Venice Biennale, Napoleon III. His Emigrants, 1871, a bas-relief in terracotta,
1956; Galerie Creuzevault, Paris, 1957; Sao Paulo Biennial, expresses the elegiac mood of the subject in the slow, floating
1957; Biennale di Carrara, Italy, 1957; Hanover Gallery, movement of the bodies. In 1878 a collective exhibition of
London, 1957; "International du Bronzetto", Musee Rodin, his paintings and sketches was inaugurated by Victor Hugo,
Paris, 1957. He was awarded the Sculpture Prize for Foreign but proved a commercial failure. It was only after the Centen-
Participants at the Biennale di Carrara. Three of his works nial Exposition, Paris, 1900, that his art was universally recog-
are owned by the Musee d'Art Moderne, Paris, and many are nized. Daumier died at Valmondois, February 10, 1879. His
in private collections in New York, London, Paris, Venice, principal sculptural work comprises: the 36 clay busts of the
Brussels, Zurich and Amsterdam. He resides in Paris. French deputies, now in the Philipon Collection, Paris; the
Ratapoil statuette, (originally owned by the Galerie Bing,
CHADWICK, LYNN, sculptor, designer, was born in Lon-
Paris; a bronze cast is in the Louvre) and the Emigrants, now
;

don, England, 1914. In 1933 he took his degree in architec-

in the Geoffroy-Dechaune Collection, Paris. Many hitherto
ture. His first independent work, designs for exhibitions and
unknown sculptures of Daumier have recently been found and
textiles, was done in 1946. In 1947 he produced his first
today the artist is esteemed almost as highly for his sculptures
mobiles and constructions, exhibiting them at Gimpel Fils
as for his paintings and graphic art.
Gallery, London, 1949. His work shows the influence of
Calder and Gonzalez. His "balanced sculptures" can be set in
motion in various ways. These were exhibited at the Venice DEGAS, EDGAR, painter and sculptor, was born in Paris,

Biennale, 1952. He works in iron, bronze, copper, and glass. France, July 19, 1834, of mixed Italian and Creole descent.
In recent years he has taken up stable constructions in iron, From 1845-53 he attended a Paris lycee; among his classmates

which he expands and develops as space-enclosing forms. In were the brothers Rouart, famous as collectors. In 1853-
later
54, while training as a lawyer, he studied with Ingres' pupil,
1952 he was represented at the Venice Biennale. Chadwick
Lamothe. His earliest extant paintings date from 1854. From
lives in Pinswell, Gloucestershire, London. The Tate
and in
Gallery, London, the Museum of Modern Art, New York, the 1854-60 he made frequent journeys to Italy with long visits in
Salon de Mai, Paris, own examples of his work. Exhibitions: Florence, Rome and Venice. He was impressed by the work of

"The Unknown Political Prisoner," Tate Gallery, London; Donatello and Benvenuto Cellini. His growing interest in
Salon de Mai, Paris, 1953; Park Middelheim, Antwerp, 1953; sculpture made him hesitate between painting and sculpture.

Whitechapel Gallery, Holland Park, London, 1954; Venice In 1855 he entered the Ecole des Beaux Arts together with

Biennale, 1956; "New Decade," Museum of Modern Art, New Fantin-Latour and Bonnat. In the next year he was strongly
York, 1956; "Sculpture In Iron," Kunsthalle, Berne, 1956; impressed by Japanese woodcuts. In 1861 he first began to
Palace of Fine Arts, Brussels, 1957; Stedelijk Museum, Am- use horses as subjects for his painting. He came into contact in
sterdam, 1957; Brussels World's Fair, 1958; "Documenta," 1866 with the group of painters who formed the Impressionist
Kassel, Germany, Galerie Lienhard, Zurich, 1959. He won movement: Bazille, Renoir, Cezanne, Sisley, Monet and
the Venice Biennale prize for sculpture, 1956. Pissarro; and, at the Cafe Guerbois, with the writers, Zola
and Duret. In the same year he produced his first sculptures
CHILLIDA, EDUARDO, sculptor, was born in San Sebastian, horses, then dancers —
in wax. Working mainly in wax and
Spain on January 10, 1924. He first studied architecture in clay, his technique was to build up volume out of bits of
Madrid, 1943-1947, then turned to sculpture in 1947. He first material, approximating the Impressionist technique of paint-
exhibited in the group show, "Les Mains Eblouies," Galerie ing. Degas saw active service in the Franco-Prussian War,
Maeght, Paris, 1950. The Galerie Clan, Madrid, gave him his 1870-71. His first exhibition was held at the Durand-Ruel
first one-man show. He received an honorable mention at the Gallery, London, 1871. In 1872 he began to paint dancers.
1954 Triennale, Milan. In the same year he created four iron In 1872-73 he was in New Orleans. From 1874-86 he
doors for the Basilica of Aranzazu. In 1955 he built a monu- exhibited at every Impressionist exhibition except that of
ment to Sir Alexander Fleming in San Sebastian and par- 1882. In 1881 he exhibited his dancer in colored clay with
ticipated in the "Eisen Plastik" exhibition at the Kunsthalle, a real tulle dressand real hair (Danseuse de 14 ans de la petite
Berne. He wasgiven his most important one-man show in classe de I'Opera, modelee aux trois quarts de la nature) at the
1956 at the Galerie Maeght, Paris, to which he contributed Salon des Independants. It attracted general attention but the
twenty-seven sculptures. He also contributed to the exhibition, press and the public were hostile because he had dared to defy
"Architecture Contemporaine, Integration des Arts," in 1957. the academic tradition of heroic classicism by employing
He had a show of sculptures, drawings and collages at the "grotesque" themes and "vulgar" materials. As a result of this
Solomon R. Guggenheim Museum, New York, in 1958. reception Degas ceased to exhibit his sculptures publicly, and
Winner of the Biennale Prize, Venice and fellowship of the showed them only to his intimate friends. In 1886 he was
Graham Foundation, Chicago, 1958. His work is represented included in the Impressionist exhibition in New York. He
in countless private collections in Paris, New York, Zurich, traveled to Spain, 1889; the impressions received on this
Berne, Basel, La Chaux de Fonds, Sao Paulo and other cities. journey may have inspired his sculpture, Danseuse Espagnole.
In 1893, his eyesight, already impaired, deteriorated. Degas
DAUMIER, HONORE, painter, lithographer and sculptor, died in Paris, 1917. In his studio were found over 150 wax
was born in Marseilles, France, February 26, 1810. He pub- models of sculpture that he had never shown publicly. In
lished his first lithographs in 1829, and in 1831 became a 1919-21, 73 pieces were cast in bronze, each in 22 copies. All
contributor to Caricature, a Paris journal opposed to the Third originals, including those not cast in bronze, were destroyed.

329
 DERAIN, ANDRE, painter, graphic artist and sculptor, was Oud. In the same year he and Mondrian founded the review,
born inChatou, France, in 1880, but lived most of his life in De Stijl. After touring Europe, 1920-21, he settled in Wei-
Paris. Although he had intended to become an engineer, he mar and Berlin. He edited (with Arp, Schwitters, Tzara and
began painting seriously at the age of fifteen. In 1904, he Hausmann) the literary review, Mecano, in 1922, and ar-
studied at the Academie Julian. He exhibited with Vlaminck ranged a Dada tour through Holland. In 1923 he exhibited at
and Matisse at the "Salon des Independants," in 1907, and the Galerie Rosenberg, Paris, where a model of De Stijl house,
again at the "Salon d'Automne," in 1907. In that same year, constructed with the architect C. van Eesteren, was shown.
he became affiliated with Kahnweiler and produced some In 1923-24 he lectured on modern architecture and produced
sculptures and woodcuts. Crouching Man was executed in his first neo-plastic paintings. During 1926-28 he worked on

1909- In 1910, he did the woodcut illustrations for Apolli- the interior decoration of the Aubette Restaurant and Bar in
naire's L'Enchanteur Pourrissant. He joined Picasso in Spain collaboration with Arp and Sophie Taeuber-Arp. In 1929-30
and later visited the "Bateau Lavoir" in the rue Ravignan. he built his house at Meudon and lectured on architecture in
During the first world war, he made masks from empty shells Barcelona and Madrid. Van Doesburg died at Davos, March
found on the battle fields. In his Anecdotiques, Apollinaire 7, 1931. Examples of his work are in the collections of the

refers to the "transparency of his painting during the war art museums of The Hague and Amsterdam, the KroUer

years." In 1919, Derain designed scenery for the Ballets Museum, Otterlo, the Kunstmuseum, Basel, the Philadelphia

Russes. In 1928, he was awarded the Carnegie Prize. He had Art Museum and Yale University Art Gallery, and in Swiss

a one-man show at Paul Guillaume in 1931. He died in com-

and French private collections.

plete seclusion near Versailles, in 1954.

DUCHAMP, MARCEL, painter, poet and writer, was born
DE RIVERA, JOSE, sculptor, was born in Louisiana in 1904. in Blainville, France, 188"^, the youngest brother of the
For eight years he worked in various industrial plants, where painter, Jacques Villon, and the sculptor, Raymond Duchamp-
he acquired foundry and machine shop practice. He studied Villon. Their father was a lawyer in Rouen. Duchamp at-

drawing with John W. Norton in Chicago, then studied sculp- tended the Academie Julian in Paris, 1904, training also as a
ture on his travels through Europe and North Africa. His librarian. In 1911 he joined the Cubist movement. His paint-

work was first shown at the 1930 Annual of the Chicago Art ing. Nude Descending a Staircase, 1912, is a pioneer work of

Institute and has since been seen at all major American ex- modern art. In it, Duchamp was not concerned as much with
hibitions, including the Whitney Museum, New York, 1934- painting, as with the invention of a new optical language that
1958; the Museum of Modern Art, New York, 1938, '39, '40, would express motion in time and space. From 1913-15 he
"42, '56; the New York and San Francisco World's Fairs; the traveled in the U.S.A. on the occasion of the Armory show in

School of Design at Harvard University, 1945; the Metro- New York. He was a co-founder and spiritual leader of the

politan Museum of Art, New York, 1951; and many others. Dada movement in New York along with Man Ray and
He has also exhibited at the Willard Gallery, 1942, the Buch- Francis Picabia. His "ready-mades ", a protest against lifeless

holz Gallery, 1942, and has had five one-man shows at the aestheticism, demonstrates how an artist's personality, his

Grace Borgenicht Gallery, New York, between 1952 and choice and interpretation of accidental and hackneyed forms,
1958. He was included in group shows at the Galerie Denise can endow dead objects with new vitality and expressive
Rene, Paris, 1956, and at the American National Exhibit in power. From 1915-23 he worked on his most original paint-
Moscow, 1959. Examples of his sculpture are owned by many ing, the fantastic La mariee mise a nu par ses celibataires,

museums and private collectors. mime (The Bride Stripped Bare by her Bachelors, Even).
Painted on glass, it is an interplay of abstract forms expressed
D'HAESE, ROEL, sculptor, was born in Grammont, Belgium, in symbolic language. Its formal arrangement may, by shock,
on October 26, 1921. While still very young, he worked for confer on the spectator its philosophical essence. In 1918 he
a blacksmith and later as a wood carver in a workshop where visited Argentina, and a year later, returned to Paris. He was
religious figures were made. He studied at the Academie co-founder of the Societe Anonyme with Katherine Dreier
d'Alost, and from 1938 through 1942 he worked with the and Man Ray, 1920. In 1921 he produced his first abstract
sculptor, Oscar Jespers. After carving for a time directly in film composed of circles and spirals. He joined the Paris Sur-
stone, he returned to iron forging, finally choosing bronze as realist movement in 1925, and wrote under the pen name
his medium. Since the ordinary casting process did not meet Rose Selavy. He has completely abandoned any form of artistic
his precise demands, he adopted the lost-wax technique. He creation in favor of chess. The spiritual independence and
works unassisted in his own studio, which explains the dimen- intellectual vitality of the artist are paramount to him. This
sions of his recent works. He had his first one-man show in attitude is confirmed by his influence on the younger genera-
April, 1949. He has since contributed to the Bienal in Sao tion. Examples of his work were shown at the Brussels World's
Paulo, 1953, and won the Prix de la Jeune Sculpture in Fair, 1958. Duchamp now lives in New York.
Belgium, 1954. Twenty-five of his works were exhibited at
the XXIX Biennale in Venice, 1958. He was given a one-man DUCHAMP-VILLON, RAYMOND, sculptor, architect and
show at the Palais des Beaux-Arts in Brussels, 1958, and has physician, was born at Damville, Eure, France, November 5,
participated in numerous exhibitions both in Belgium and 1876, the brother of Jacques Villon and Marcel Duchamp.
abroad. He now lives in Bierenberg near Brussels. Abandoning his medical studies, he took up sculpture in 1898.
Early influences on his work were Rodin and Art Nouveau.
DOESBURG, THEO VAN, painter, sculptor, architect, typog- In 1912 he joined the Cubists and produced his Project for a
rapher, poet and was born in Utrecht, Holland,
theorist Cubist House. From 1912-14 he worked on numerous varia-
August 30, 1883. His first ambition was to become an actor. tions of his Horse, which became the manifesto of Cubist
In 1899 he began to paint, and in 1902, to write plays and worked on his Seated Woman
sculpture. In those years he also
fables. His first exhibition was at The Hague, 1908. In 1912 which composed of simple, basic shapes, and on his Head of
is

his poems were published under the title Voile Moan (Full a Woman (Maggy I, the prototype of Picasso's grotesque heads.
Alooni. In 1914, the year he was called up for active service, During this period he was friendly with the poet Apollinaire.
he wrote the poem, De Stem Uit de Diepte (The Voice from In 1914 he enlisted as a medical officer; he died at Cannes,
the Depths). In 19n he worked with the architect, J. J. P. 1918, of an infection incurred while carrying out his profes-

.^30
sional duties. "One might almost say that the sculptor gradu- sculpture, exhibited inNew York in 1937, 1943, 1947, and
ally persuades an immaterial vision to descend to earth till it 1950, combines various metals, such as brass, tin, lead and
finally crystallizes into matter" (Duchamp-Villon) His exhi-. copper, through soldering. His work was included in the
bitions include: Societe Naturelle des Beaux Arts, Paris, 1910; exhibition, "Abstract Painting and Sculpture in America",
Salon d'Automne, Paris, 1905-13; Armory Show, New York, Museum of Modern Art, New York, 1951. In 1951-52, he
1913; Salon d'Automne, retrospective exhibition, 1919; So- executed a large sculpture for the facade of the Millburn (New
ciete Anonyme, Brooklyn, N. Y., 1921; Brummer Gallery, Jersey) synagogue. In 1952 he was selected for the "15 Ameri-
New York, 1929; Galerie Pierre, Paris, 1931; Galerie de cans" show at the Museum of Modern Art, New York. He
France, Paris (with Villon and Duchamp), 1942; Yale Uni- was given a one-man show by the Kootz Gallery, New York,
versity Art Gallery (with Villon and Duchamp), 1945. "Le in 1955 and in 1957. In 1959 he was a contributor to the
Cubisme", Musee d'Art Moderne, Paris, 1953; "Sept Pion- "Documenta", in Kassel, Germany. He lives in New York.
niers de la Sculpture Moderne", Yverdon and Zurich, 1954.
FREUNDLICH, OTTO, painter, sculptor, graphic artist and
ERNST, MAX, was born at
painter, illustrator, sculptor, poet, teacher, was born Pomerania, Germany, July 10, 1878.
at Stoll,
Bruehl, near Cologne, Germany, April 2, 1891. In 1910 he After studying art history with Woelfflin in Berlin he began
entered Bonn University. From 1914-18 he was on active duty. to work as an artist, attending Kunowski and Corinth's school.
In 1919, with Baargeld, he launched the Dada movement in In 1909 he left Berlin for Paris where he developed his art
Cologne and was editor of Die Schammade and Der Venti- without reference to Cubism. "I brought the conception of
lator, 1919-21. He first met with Arp, Eluard, Tzara and purely flat painting with me, therefore, I could not join the
Breton in the Tyrol, 1921. In the next year he met again with Cubists" (Letter to S. Giedion). From 1909-15 he had his
Eluard, whose Repetitions and Malheurs des Immortelles he studio at Montmartre. In 1909 he produced his first sculptures,
illustrated in that year. In 1924 he was one of the founders of and the bronzes, Female Bust, 1910, and Great Mask, 1912.
the Surrealist movement in Paris. His Histoire Naturelle was His first Paris exhibition was at the Galerie Saguet, 1910. He
published by Jeanne Bucher, Paris, 1925. From 1925-30 he was included in the Kunstring exhibition, Amsterdam, 1911,
worked with the Revolution Surrealiste. In 1925-26 he col- and the Colognei Sonderbund exhibition, 1912. In 1918-19 he
laborated with Miro on settings and costumes for Diaghilev's did a mosaic for the house of Feinhals, Cologne. In 1919 he
ballet, Romeo and Juliet at Monte Carlo. During the years participated in the November Group exhibition, Berlin. One
1926-39 he had one-man shows in Paris, Diisseldorf, Brussels, of his sculptured heads was reproduced in Genius in the same
London, Zurich, Madrid, Berlin, New York and Los Angeles. year. In 1924 he returned to Paris where he designed a stained-
In 1929 he wrote and illustrated La Femme 100 Tetes which glass window. He began to exhibit regularly at the Inde-
was published by Carrefour, Paris. The same firm published pendants, Salles des Tuilleries, Surindependants and Musi-
his Reve d'une petite fille qui voulutentrer au Carmel, 1930. calistes. His first monumental abstract sculpture was done in
In 1933 Ernst was branded a decadent artist by the Nazis. 1928. In 1932 he exhibited with Group 1940 at the Galerie
In 1934 his Semaine de Bonte was published by Jeanne Renaissance, Paris.From 1932-35 he took part in Abstraction-
Bucher, Paris. In that year he carved stones for Giacometti's Creation exhibitions and was represented in that group's
garden at Maloja and painted a mural for the Corso Bar, publications. On his 60th birthday in 1938 a retrospective ex-
Zurich. In 1937 he designed settings for Jarry's Ubu En- hibition of his work opened at the Galerie Jeanne Bucher.
chaine, a Comedie des Champs Elysees production. In that In that year he founded the Academie de Peinture, Dessin,
same year Cahiers d'Art devoted a special issue to Ernst. In Sculpture, Gravure, Le Mur, where he taught. In 1939-40 his
1938-39 he executed grotesque sculptures and reliefs for his sculpture Homme Nouveau was used by the Nazis as the
country house at St. Martin d'Ardeche. From 1941-45 he cover illustration for the catalog of their Decadent Art Exhi-
lived in New York. During those years he had one-man shows bition; it was also reproduced in the Nazi journal, Der
in New York, Chicago, New Orleans and Washington, and Stiirmer. He was twice interned and compelled to interrupt
was co-editor of VVV magazine. In 1942 a special number of his lecture courses. From 1940-43 he lived with his wife in
Vieiv magazine was devoted to his work. His sculpture was fhe Pyrenees area. On
February 21, 1943, he was arrested and
exhibited at the Julien Levy Gallery, New York, 1944. In on March 4 deported to Lublin where he died. The last news
the same year he designed chess figures in boxwood. A retro- of him was contained in a letter written by a nurse to his wife:
spective exhibition was held at the Galerie Denise Rene, Paris, "We are face to face with such unspeakable misery that our
1945. At this time Ernst collaborated with Hans Richter on spirit is numbed. But the composure of your husband. Madam,
the film Dreams that money can buy (New York). In 1946 is so magnificent that I must write to you about it." Exhibi-

he settled in Arizona. In 1948 his Beyond Painting was pub- tions of his work were held at the Galerie Drouin, Paris, 1945;
lished by Wittenborn Inc., New York. He exhibited at the Musee d'Art Moderne, (Peintures et sculptures); Salon des
Galerie Rene Drouin, Paris, 1950, and the following year at Realites Nouvelles, Paris, 1946; Salon des Artists Indepen-
Bruehl, Hamburg, Karlsruhe and other German cities. In dants, Paris, 1947; Galerie Maeght; Musee de Grenoble; Mu-
195 1 he lectured at the University of Honolulu on the relation seum of Modern Art, Sao Paulo, 1949; since 1945 every year
between primitive and modern art. In 1953, he exhibited at in his atelier, 38 Rue Henri Barbusse, "Les expositions du
the Galerie Spiegel, Cologne, and in the same year his book souvenir" are held. Exhibitions at Galerie Colette Allendy,
Das Schnabelpaar. 8 colored etchings and 1 poem, was pub- Paris, 1952; Galerie Rive Droite, Paris, 1954.
lished by E. Beyeler, Basel, Switzerland. At the 1954 Venice
Biennial he received the international prize for painting. He
GABO, NAUM, sculptor, painter, architect, designer, theo-
rist in Bryansk, Russia, 1890. He at-
and teacher, was born
was given a show at the Galerie Creuzevault, Paris, in 1958;
tended high-school in Kursk. From 1910-14 he studied in
a Retrospective at the Musee D'Art Moderne, Paris, 1959 and
Munich, at first medicine and natural sciences, then, under
there will be one at the Museum of Modern Art, New York,
Woelfflin's influence, art history. After a journey to Italy he
in 1961. He lives in Paris and Huismes (Loire).
returned to Moscow where he became thoroughly familiar
FERBER, HERBERT, sculptor, was born in New York, with the Stchukine and Morosow collections. His wide range
He studied dentistry and oral surgery, then en-
U.S.A., 1906. of interests also included mathematics and technology. From
tered the Beaux-Arts Institute of Design, New York. His 1914-17 he was in Oslo with his brother, Antoine Pevsner.

331
 From 1917-20 he was again in Russia, teaching with Kandin- of Architecture, he developed an expressive "Art Nouveau"
sky, Malevich and Tatlin (who had been making reliefs out by giving new vitality to line, space and volume and creating
of everyday objects since 1913) at Vchutema, the Moscow original constructions, such as sloping pillars to take diagonal
school of art. The growing influence of Social Realism caused pressure. Gaudi was a deeply religious man and an uncompro-
him to leave this school and led to a breach with Tatlin and mising artist. Barcelona was the center of his life and work,
Rodchenko. "Art is not a political instrument" (Gabo) 1920 . and there, for his patron, Count Giiell, he built a town house
saw the publication of the Realist Manifesto, the proclama- (1889), the Giiell Chapel (1898-1914) and GUell Park
tion of free art, by Gabo and Pevsner. In the Realist Mani- (1900-1914). Here, he created an imposing children's play-
festo time and space are explained as fundamental elements terrace on high ground, it is shaped in swinging curves and
of art and life; static mass is replaced by dynamic form. Un- inlaid with colored tile mosaics, which anticipated the Cubist
derlying the whole is the new concept of space. As early as principle of "collage." The Cathedral of Sagrada Familia,
1918-19 Gabo had opposed mechanical naturalism, calling it begun in 1883 and not completed at the time of his death,
a "pseudo-constructive" art. "Either build functional houses was his most ambitious project. Based on a plan which indi-
and bridges or create pure art, but do nor mix the two. That cates a departure from Neo-Gothic concepts and an embracing
simply means imitating a machine." To Gabo movement is of new theories of construction, it is noteworthy for its mag-
an integral part of construction. Starting from the demon- nificent tower and its ornamental figures. His apartment
stration of a physical movement, as in Kinetic Sculpture, 1920, houses and office buildings in the Paseo Gracia, Casa Batillo
where a steel spring vibrated in space, he moved gradually (1905-1907), and Casa Mila (1905-1910) illustrate his
away from Calder's realm of actual movement to that of stylewhich simultaneously exploits facade and spacial values.
virtual movement. From the outset, Gabo has shown a marked Here, his sculptural imagination reaches its highest expres-
interest in architecture, designing in 1919-20 a project for sion in the fluid lines of chimneys and ventilators, as well as
radio stations at Serpuchow, and in 1931 a project for a in the wave-like trellis-work of iron gates and balconies. Gaudi
theatre auditorium. His first sculpture dates from 1916, busts died June 10, 1926.
in sheet iron, and heads in celluloid and metal. In 1922 he
was represented in the Constructivist exhibition at the Galerie GIACOMETTI, ALBERTO, sculptor, painter, designer and
Van Dieman, Berlin. In 1923 he went into exile with Pevsner, poet, was born, 1901, at Stampa in the Italian-speaking area
remaining for the next ten years in Berlin. In 1924 he ex- of Switzerland. His father was Giovanni Giacometti, the well-
hibited with his brother at the Galerie Percier, Paris, and known Impressionist landscape painter. He produced his first
joined the Berlin November Group (Klee, Kandinsky, Bar- sculpture in 1914. In 1919 he attended the Ecole des Arts et
lach, Mies van der Rohe and Belling), founded under the Metiers, Geneva. In Italy, 1921-22, he studied Tintoretto in
Weimar Republic, 1918. In 1926, Gabo, Pevsner and Does- Venice, and early Christian mosaics and Baroque art in Rome.
burg exhibited at the Little Review Gallery, New York. In From 1922-25 he was in Paris, working in Bourdelle's studio,
1927 Gabo was included in the Societe Anonyme Exhibition La Grande Chaumiere. His first "idolic" sculptures were
at the Brooklyn (N. Y.) Museum. In the same year he col- produced in the years 1925-28. He joined the Surrealists,
laborated with Pevsner on settings and costumes for the Dia- 1929, becoming their leading representative sculptor with his
ghilev ballet. La Chatte. produced in Paris, Monte Carlo, "objets" and cage-like constructions —
emanations of sub-
London and Berlin. In 1928 Gabo lectured at the Bauhaus, conscious psychic powers of a strange and dreamlike inten-
and in Hanover, Cologne, Amsterdam, Rotterdam, Utrecht, sity. He also wrote poetry in these years. Since 1935 he has
and met Mondrian and Rietveld. In 1930 he exhibited at the shown increasing interest in the human figure. Starting with
Kestner Gesellschaft, Hanover. From 1932-35 he was in Paris, portrait busts of his brother, he progressed to minute works of
and became a member of the Abstraction-Creation Group. In art expressing his painstaking investigation into new laws of
1936 he left Paris for London, exhibiting at the Lefevre Gal- proportion and their psychological and spatial effects. In the
lery. In that year he exhibited at the Arts Club of Chicago course of these experiments he encountered the work of
with Pevsner and Mondrian. In 1936 his work was included Jacques Callot (1592-1635). "Our eye can absorb an object
in the Cubism and Abstract Art show at the Museum of Mod- only if its measure is reduced" (G). In accordance with this
ern Art, New York. Also in that year he edited the magazine conviction, Giacometti believes that he can convey the
Circle in London with Ben Nicholson and J. L. Martin. After essence of reality only by representingit on an abnormal scale.

a visit to the U.S. he retired to St. Ives, Cornwall from 1939- He has adopted the method of reducing the normal size and
45. There he became head of a group of young English artists. density of an object in order to express its essential qualities.
In 1946 he left England for the U.S.A., settling in Woodbury, His unflinching self-criticism leads him to destroy his sculp-
Conn. Since 1948 he has lectured during the summer at the tures again and again. In 1938 Giacometti was a patient in
Graduate School of Design at Harvard University. He shared Bichat Hospital, Geneva, for him a period of rich personal
an exhibition with Pevsner at the Museum of Modern Art, experience. From 1940-45 he was in Geneva, experimenting
New York, 1948. In 1952 he had a one-man show at the with increasing intensity on his "long-distance" sculpture;
Pierre Matisse Gallery, New York. In 1953, he won a second completely renouncing all tactile effects, he concentrates in-
prize in the Unknown Political Prisoner Competition. He stead on rendering the impression of movement in space by
completed Construction in Space, a monument
Rotterdam,
in means of a synthetic approach. After the war he returned to
in 195^. He participated in the Brussels International Expo- Paris where, in addition to sculpture, he has resumed painting
sition, 1958, and in the "Documenta ', Kassel, Germany, 1959- with increased intensity. His exhibitions include: representa-
tion in all Surrealist exhibitions, 1930-47; a one-man show at
GAUDI, ANTONIO, architect, sculptor and ceramic artist, the Pierre Matisse Gallery, New York, 1948 (with a catalog
was born in Reus, Tarragona, Spain, in 1852. The spacial free- introduction, The Search for the Absolute, by J. P. Sartre);
dom and organic unity of Gaudi's work has remained of stim- Stedelijk Museum, Amsterdam, 1949 (13 Paris Sculptors);
ulating interest. Valued at the beginning of the 20th Century Kunsthalle, Basel, 1949 (with Andre Masson); and a one-
primarily for his "bizarre" imagination, he later became man show at the Galerie Maeght, Paris, (sculpture), 1951
appreciated as an architectural innovator, a constructor and and (paintings) 1954; Venice Biennale and Kunsthalle Bern
a sculptor of the organic. A graduate of the Barcelona School (with sculptures and paintings), 1956; a one-man show,

332
 ;.

Pierre Matisse Gallery, New York, 1958; Brussels World's His chief concern was always the problem of space. Gonzalez
Fair, 1958; "Documenta", Kassel, Germany, 1959. worked with Picasso, 1929-32, teaching him technical im-
provement of his then strictly Constructivist work. Material
GILIOLI, EMILE, was born in
sculptor, designer, painter, difficulties during the war forced him to leave several of his

Paris, France, June 1928 he attended the Ecole

10, 1911. In works unfinished. He died at Arceuil, March 27, 1942. Gon-
des Arts Decoratifs, Nice and in 1931 the Ecole des Beaux zalez has had a vital and fundamental influence on the younger
Arts, Paris.He first exhibited at the Galerie Bretau, Paris, generation of American and English sculptors. In 1952, the
1945. In 1947 he joined the Abstraa Group, exhibiting at Musee d'Art Moderne, Paris, held a retrospective exhibition
the Denise Rene, Colette Allendy, and de Beaume galleries. of his work, buying a considerable part for its permanent

In 1941 he designed a figure of Christ for the church of Sacre collection. Exhibitions: Yverdon and Zurich, 1954; Berne,
Coeur, Grenoble. He has designed several monuments: at Amsterdam, Brussels, 1955; Museum of Modern Art, New
Voreppe, 1946; Grenoble (Monument to the Deported), York and Institute of Arts, Minneapolis, 1956; Kestner
1950; Chapelle-en-Vercors, 1951; Vassieux, 1951. He won Gesellschaft, Hanover and Galerie Berggruen, Paris, 1957;
an award in the Unknown Political Prisoner Monument com- Galerie de France, Paris, 1959.
petition, 1953, in which he received a special distinction. He
lives in Paris. Examples of his work are owned by the Musee GRIS, JUAN (JOSE GONZALEZ), painter, illustrator and
d'Art Moderne, Paris, the art museums of Grenoble and Nice, sculptor, was born inMadrid, Spain, March 23, 1887, where
and the Tate Gallery, London. Exhibitions: "Les Fran^ais Con- he attended the school of Arts and Crafts up to 1906. There-
temporains", Vienna, 1949; Galerie Exlibris (Sculptures, after he moved to Paris and witnessed the birth of Cubism.
Tapisseries) , Brussels, 1952; Pare Soonsbeek, Antwerp, 1953; He was closely associated with the Rue Ravignan 13 Group,
Palais des Beaux Arts, Luttich, 1953 (with painter Poliakoff ) where he rented his first atelier in Paris. In 1912 he exhibited
"Tendances actuelles de I'Art Fran^ais", Ostende, 1954; Trien- for the first time at the Salon des Independants. During World
nale, Milan, 1954; Bienal, Sao Paulo, 1954; Salon de Mai, War I he lived in Paris and the Touraine. Besides his Arlequin,
Paris, each year; Galerie Denise Rene, Paris, 1955 (Dessins, 1917, there exists an expressive Masque (paper), which he
Sculptures, Tapisseries). Regular participation at the Salon made for the Swedish ballet, 1923. His lecture "On the
de la Jeune Sculpture. One-man show at the Galerie Carre, possibilities of Painting" at the Sorbonne, May 15, 1924,
Paris, 1958; Documenta, Kassel, Germany, 1959; Galerie contains the basic idea of Cubism. Juan Gris died at Boulogne-
Craven, Paris, Svensk Franska, Stockholm, I960. sur-Seine, 1927.

GISIGER, HANSJORG, sculptor and graphic artist, was born HAJDU, ETIENNE, sculptor, designer, painter, was born
in Basel, Switzerland, in 1919. He studied medicine for sev- in Turda, Transylvania, August 12, 1907, of Hungarian de-
eral years then decided todevote himself to sculpture ( stone ) scent. Coming to Paris in 1927, he worked with Niclausse

For a period of two years he worked as an apprentice with a and Bourdelle. His first encounter with modern art, at the
former student of Rodin. From 1945 to 1948 he lived in the Fernand Leger exhibition, 1930, made a lasting impression
French section of Switzerland, working independently and on his artistic development. A naturalized French citizen, he
searching for a contemporary plastic language to express es- saw active service in 1930. The years following again brought
sential human values. At this time he was inspired by Maillol, him into contact with modern art. On a visit to Greece and
Laurens and Arp. Although trained as a stonecutter, he has Crete he gained a special interest in early Greek art and an-
more recently preferred iron and steel to stone and devel- tique relief. He made a cathedral tour through France, and
oped a personal style somewhat reminiscent of Gonzalez. His traveled in Holland, where the work of Mondrian was a revel-
graphic work remarkable for its austerity and precision.
is ation in the use of fundamental forms. Vieira da Silva intro-
He had his first show
in 1948, and he has subsequently ex- duced him to Jeanne Bucher in whose gallery he first ex-
hibited in Basel, Paris, Lausanne, Geneva, Bienne, Zurich and hibited his sculptures. In 1940, after demobilization, he
Diisseldorf. Examples of his work are owned by museums in worked as a stone grinder at Bagneres, Pyrenees, becoming
Switzerland and France, as well as by private collectors in mtimately acquainted with the potentialities of stone. Return-
France, Germany, Spain, England and the United States. Dur- ing to Paris, he began to make full use of this experience, as
ing the summer he lives in Epalinges, near Lausanne, and shown by his delicate handling of stone surfaces and simple,
during the winter months in Paris. direct treatment of bronze volumes. Exhibitions: Galerie
Jeanne Bucher, Paris (1939-1958); Salon de Mai, Paris
GONZALEZ, JULIO, sculptor, designer, was born in Barce- (since 1947) Group Exhibition, Lausanne, 1955; "The New
;

lona, Spain, September 21, 1876. His father was a Catalan Decade", Museum of Modern Art, New York, 1955; Galerie
blacksmith, a craft in which his family had excelled for gen- Suzanne Feigel, Basel, 1956; Galerie La Roue, Paris, 1956
erations. While apprenticed to his father he decided to become Bienal at Sao Paulo, 1956; Cite Radieuse, Marseilles, 1956
a painter and attended evening classes at the Barcelona Art Kunstgewerbemuseum, Zurich, 1957; Galerie Claude Ber
Academy. In 1900 he left Barcelona for Paris. Though at- nard, Paris, 1958; Guggenheim Museum, New York, 1958
tracted at first by the work of Degas and Puvis de Chavannes, Knoedler Art Galleries, New York, 1958; Musee Rodin
he soon joined the group led by Picasso, Manolo, Max Jacob, Paris, 1958; "The 1958 Pittsburgh International Exhibition"
all closely linked by friendship and common artistic interests. Park Middelheim, Antwerp, 1959; "Documenta", Kassel
From 1908 on he devoted himself almost exclusively to sculp- Germany, 1959; Musee d'Art et d'Industrie, Saint Etienne,
ture in wrought iron, leading a lonely existence made bearable 1960. He lives in Bagneux near Paris.
only by the friendship of Picasso and Brancusi, who offered
material and moral support. In 1927 he produced his first HARE, DAVID, sculptor and writer, was born in New York,
wrought-and-cut-iron sculptures, a series of masks and still- U.S.A., 1917. He attended school in New York, California
lifes; with these he overcame cubist influence which had still and Colorado. He began his career as a commercial artist,
been noticeable in his Venus. 1927, and earlier work. His portraitist and color photographer. He has published an album
sculpture, although starting from a given theme, often wittily on the Indians of New Mexico and Arizona. During the war
interpreted, tends at the same time towards absolute form. he worked with Andre Breton, Max Ernst and Marcel Du-

333
 champ on the New York review, VVV. His first sculpture, the Unknown Political Prisoner Monument Competition. She
done 1942, showed the influence of Giacometti's magic
in was given a retrospective at the Walker Art Center, Minne-
objects. In developing his style he has moved in the direction apolis, in 1955. Since 1956 she has exhibited at Gimpel Fils,
of Picasso's Surrealist metamorphoses. His latest work is London, at the Martha Jackson Gallery, New York, 1956.
characterized by an increasing dematerialization into trans- She was a participant in the Brussels World's Fair exhibition,
parent cobweb-like structures. At present he is the leading 1958, the "Documenta" in Kassel, Germany, in Park Middel-
exponent of Surrealist sculpture in America. He participated heim, Antwerp, 1959. She has exihibted in all the major cities
in the "New Decade" exhibit, at the Museum of Modern Art, of Europe and the U.S. Her works are in the collection of the
New York, 1955, and in the Sao Paulo Bienal, 1957. Since Tate Gallery, London; the Museum of Modern Art, New
1952 he has lived mostly in France. York; the Kroller-Miiller Museum, Holland; the Walker Art
Center, Minneapolis.
HARTUNG, KARL, sculptor, was born in Hamburg, Ger-
many, May 2, 1908. He studied with Bossert at the Landes- HOFLEHNER, RUDOLF, sculptor, was born in Linz, Austria,
kunstschule, Hamburg. From 1929-32 he was in Paris, com- in 1916. He completed his studies
School of Engineer-
at the
ing under the influence of Maillol and Despiau. In 1932-33, ing and at the Academy of Fine Arts in Vienna. From 1945
working in Florence, he was impressed by Donatello and to 1951 he taught at the Institute of Applied Arts in Linz,
Etruscan art. Returning to Hamburg in 1933, he took up and in 1947 he received a prize for artistic achievement from
abstract sculpture. In 1936 he moved to Berlin. On active the Austrian Government. Since 1952 he has lived andworked
service, 1941-45, he was taken prisoner. Upon his release in in Vienna as an independent artist. He participated in ex-
1945 he returned to Berlin where, in 1951, he was made an hibits in Munich, Basel and Vienna. In 1953 he was awarded
instructor at the Akademie fiir Bildende Kiinste. Since 1945 a prize for his contribution to the Unknown Political Pris-
he has had exhibitions in all major German cities, in the oner International Competition. In 1954 he spent six months
U.S.A., Brazil, Switzerland, Sweden, Paris, Madrid, Antwerp, in Greece on a UNESCO grant. His work has been included
London and Amsterdam. His works were exhibited at the in group shows at the "Art-Club," Vienna, as well as in Rome,
Biennale Venice, 1956; in Munich, Germany, 1958; at the Turin, Linz and Salzburg. He has also contributed to the
Brussels World's Fair, 1958; the "Documenta", Kassel, Carnegie Institute exhibit, 1952; the 2nd Sao Paulo Bienal,
Germany, 1959. He lives in Berlin. 1953-54; the Venice Biennale, 1954, I960. Examples of his
work areowned by private collectors in Austria, Italy and
HAUSMANN, RAOUL, painter, sculptor, photographer, poet the U.S., and by museums in Austria and Germany. He cre-
and writer, was born in Vienna, Austria, July 12, 1886. With ated a number of "architectural sculptures" for bars, cafes,
Huelsenbeck he founded in 1919 the Dada movement in and espresso houses in Vienna. Bibl.: "Magazine of Art,"
Berlin; he is the author of Dada manifestoes, pamphlets, poetic 1953; "Das Werk IX," 1953; "Die Plastik des XX. Jahr-
grotesques and abstract drawings. His sculpture includes Ready hunderts," by W. Hofmann (Fischer Verlag 1959).
Made Sculpture (Head), 1920; one year later his Optophonetic
Poem, inspired Schwitters to compose his Ursonata. Opto- JACOBSEN, ROBERT, sculptor, was born in Copenhagen,
phonetic Construction followed, 1922. In 1933, in the Balearic Denmark, 1912. His first sculptures in wood were done in
Islands, he made studies and photographs of ancient architec- 1930; he began carving directly in stone in 1940. His first
ture. He lives in Limoges, France. work was abstract. During the war he was impressed by Viking
folk sculpture of his country. His first exhibitions were held
HEPWORTH, BARBARA, sculptor, graphic artist and the- in Denmark, 1940-41. In 1944-45 he was a member of the
orist, was born in Wakefield, Yorkshire, England, January Salon d'Automne jury in Copenhagen. Since 1946 he has
10, 1903- She started to model portraits in clay at the age of lived in Paris, closely linked with the Danish painter Morten-
sixteen. In 1920 she attended the Leeds Art School, and from sen and the Galerie Denise Rene. He has worked in iron since
1921-24, the Royal Art College, London. There she held a 1949, creating spatial compositions in which he achieves a
scholarship in drawing, but was soon attending only the harmonious balance between the open spaces and the metal
sculpture classes. It was at this time that she met Henry Moore. strands enclosing them. He also works in stone and marble.
In Italy, 1924-25, the master carver, Ardini, instructed her His work is distinguished by an almost classical sensitivity to
in the technique of carving in marble. In 1930 she married harmony and balance of form. He has had exhibitions in Ire-
the English painter, Ben Nicholson. In 1932 she met Arp and land, Holland, Finland, Norway, Sweden, Denmark, Austria
Brancusi in Paris. In her art the emphasis on craftsmanship is and France. His Paris exhibitions include; Salon des Realites
fundamental. Her trained sensitivity and technical skill are Nouvelles, 1948; Sculpture since Rodin Exhibition, Maison
almost exclusively devoted to the material itself, revealing its de la Pensee Fran^aise, 1949; Salon de Mai, 1949; Salon de la

essential beauty by emphasizing its inherent qualities. She Jeune Sculpture, 1950, and one-man shows at the Galerie
prefers hard woods for their great variety of color and surface Denise Rene, 1947-50; Galerie de France, 1957, at the Basel
finish. During the wartime shortage of wood she enriched her Kunsthalle, 1958. His works have also been shown at the
work with color, using it eflfectively to emphasize concave Palais des Beaux-Arts, Brussels, 1954; the Brussels World's
surfaces. From 1931-36 she belonged to Group 7 & 8, 1933- Fair, 1958; and the "Documenta," Kassel, Germany, 1959-

34 to Unit One, and from 1933-35 to the Paris Abstraction-

Creation Group. Since 1936 she has lived in St. Ives, Corn- JANCO, MARCEL, sculptor, painter and architect, was born
wall, an area whose light and color remind her of the Mediter- in 1895, in Bucharest, Rumania. He was one of the founders
ranean seaside. There, living close to nature, she may observe of the Dada Group in Zurich and a co-founder, in 1919, of the
with unflagging interest the interrelation between the human "artistes radicaux" group in Switzerland. In that same year,
figure and its natural surroundings. In recent years her interest he was editor of a Rumanian avant-garde art periodical:
in the human figure has steadily increased. She had a retro- "Contimporanul." He contributed to many Dada exhibitions
spective at the Venice Biennale, 1950 and won the Sao Paulo and made posters, decorations and masks for performances
prize of 1959, was awarded the Leeds Gold Medal for her at the "Cabaret Voltaire" in Zurich. He did woodcut illustra-
Biolith. and in 19"^ \ she won a second prize for her entry in tions for the first "Collection Dada," and he also created

.334
architectural reliefs in plaster and sculptures in wire. Founder LASSAW, IBRAM, sculptor, was born in Alexandria, Egypt,
of the Israeli artists' village,Ein Hod, he now lives in May4, 1913. He came in his early youth to New York, where
Tel-Aviv. he studied at the Clay Club, Beaux-Arts Institute of Design
and at the Art School of Amedee Ozenfant. He has created
KOHN, GABRIEL, sculptor, was born in Philadelphia in several constructions in bronze and cast iron for the Temple
1910. He Cooper Union and the Beaux- Arts Insti-
studied at of Beth El, Providence, Rhode Island. He was given a one-
tute of Design in New York and at the Atelier Zadkine in man show at the Kootz Gallery, New York, in 1952, 1954 and
Paris. From 1930 to 1934, he worked as an assistant sculptor 1958. He participated in the Venice Biennale, 1954, and the
on various architectural commissions, doing preparatory "Documenta, Kassel, Germany, 1959. He lives in New York.
"

sketches. He assisted C. P. Jennewein with the relief facade of

the British Empire BIdg. in Rockefeller Center, N. Y. From
1934 until he enlisted in the U.S. Army in 1942, he worked
LAURENS, HENRI, sculptor, painter, illustrator and graphic
artist, was born in Paris, France, February 18, 1885. Like
independently. After 1946, he lived for seven years in Europe,
Braque, he began to work for a decorator. Starting with real-
experimenting primarily in terra cotta. After a year in Paris,
istic sculpture in clay, he came under the influence of Rodin's
he went to work at Beaulieu-sur-Mer, by arrangement with
drawing and sculpture, notably works like the Danaids, Eve
the Ecole des Arts Decoratifs at Nice. He continued his terra
and La Source. Laurens' lyrical temperament attracted him to
cotta experiments in Rome, 1948-49, then in Paris and later
Paul Reverdy, who belonged to the group of poets around
in the U.S. at Cranbrook Academy, in Michigan. His works
Apollinaire, Max Jacob and Andre Salmon. In 1911, as a
have been shown at: Galleria d'Arte Moderna, Rome, 1949;
result of meeting Braque, he joined the Cubists and became,
Salon de la Jeune Sculpture, Paris, 1950; Whitney Museum;
with Lipchitz, their foremost sculptor. The Cubist movement
"New Talent" show. Museum of Modern Art, N. Y., 1957;
began with the painters who laid great stress on the structural
Sao Paulo Bienal, 1959; one-man show, Leo Castelli Gallery,
austerity of their paintings and collages. Translated into sculp-
N. Y., 1959. He won First Prize in the American entries to
ture this meant an almost exclusive concentration on the inter-
the Unknown Political Prisoner International Competition,
play of geometrical forms. The subjects were the same as the
1953. He is represented in the collections of: Museum of
painters', chiefly still-lifes. Some of Laurens' Cubist construc-
Modern Art, N. Y.; Albright Art Gallery, Buffalo; Cranbrook
tions still retain something of the relief, but some may be
Museum, as well as in many private collections.
regarded as true sculpture in the round. They correspond very
KRICKE, NORBERT, sculptor, was born in Dusseldorf, Ger- closely to collages in their stress on fundamental contrasts of

many, November 30, 1922. He was educated in Berlin where materials and forms. Laurens' polychrome sculptures in sheet
he graduated from high-school. In World War II he took part iron, 1914, now in the M. Raynal collection, Paris, were a

as German flyer. He visited the academy in Berlin when Pro- daring anticipation of Constructivist ideas in their deliberate
fessor R. Scheibe was director. In 1947 he returned to Diissel- use of voids and curved planes. Since 1930 he has shown a
dorf to develop his sculptural work independently. In the strong tendency toward humanization. The human figure, par-
next years he traveled in France, Spain, Holland, and Italy. ticularly the female, whose lyrical quality is achieved entirely

Exhibitions: In Holland, Belgium, and Germany. First one- apart from any literary associations, emerges in stone and
man show at Orphir Gallery, Munich, and again at the Parnass bronze, the product of proportions, the rhythm of light and
Gallery, Wuppertal, 1954. Contributed to German pavilion of shadow, and broad modelling of form. The severely geo-
International Exhibition at Liege (The Beauty of Steel) with metrical discipline of the Cubists can still be discerned in the
a colored sculpture, 1954. He was given a one-man show at Braque and Picasso,
clear definition of his organic shapes. Like

Kunstverein, Freiburg, Germany, in 1957. Exhibits of his Laurens strives to re-embody Greek mythology (sirens,
works include, Galerie Iris Clert, Paris, 1957; "Documenta," nymphs, Luna, Aurora, the elements and seasons). At the
Kassel, Germany, 1959; Staempfli Gallery, New York, 1959. Paris World Fair, 1937, he exhibited in front of the Pavilion
He designed a "Water Forest" of Plexiglass columns, nine de Sevres a monumental group, L'Eau. But he also aims at the
feet in height, to adjoin the Opera at Gelsenkirchen, Germany, syrnbolic expression of the present time, as in his cowering

1957, and a moumental composition in wire for the theater female figure. Adieu, 1940, which expresses the tragic hour
of Miinster, Germany, 1959- He is greatly interested in a new of France. In his graphic work Laurens is also intent on re-
way of "forming water." He wants "to endow water, itself a viving ancient mythology; he obtains striking effects by elon-
silent and shapeless element, with a voice and a form of its gating slender bodies in the style of the I6th century Manner-
own." He will collaborate with Walter Gropius on a fountain ists, a tendency that can sometimes be seen in his sculptures as

design for the University of Bagdad. His works are to be well. His illustrations for the Idylls of Theocritus, 1945, and

found in many private collections in Germany, England, of Lucian's Golden Ass, 1947, bear witness to a revival and
Switzerland and America. He is represented in some of Ger- new interpretation of classical themes. In 1953 Laurens was
many's museums and in the Huntington Art Gallery, U.S.A. awarded the sculpture prize of Sao Paulo and in the following
He lives in Dusseldorf, Germany. year he contributed a monumental sculpture to the University
of Caracas. Venezuela. In 1954 he illustrated Three stories by
LARDERA, BERTO, sculptor and graphic artists, was born in W. Saroyan. He died of a heart attack in Paris, May 18, 1954.
La Spezia, Italy, 1911. He studied the classics at the Univer- His last confession as an artist is included in a few lines, which
sity of Florence, also attending art schools. He is self-taught he wrote down for his friends two years before his death:
in sculpture and creates space constructions, "employing the « . . . une nouvelle assimilation de I'architecture : ce sera le
materials which my age offers me and using the techniques travail des jeunes sculpteurs. Nous autres, qui venant de
that these materials demand." In 1945 he designed a monu- I'epoque cubiste, livres tout entiers aux recherches, aux essais,
ment Pian d'Albero, Florence. He has ex-
to the partisans of a leur lente mise au point, ne pouvions nous occuper de leurs
hibited at Milan; Paris (Galerie Denise Rene); the Venice applications. Le temps n'etait pas encore venue, et les archi-
Biennale, 1948, 1952, I960; and the Sao Paulo Bienal, 1951; tectes ne cherchaient qu'a obtenir un parfait depouillement,
Palais des Beaux Arts, Brussels, 1954; Haus Lange, Krefeld, revanche des surcharges a la mode au XlXieme siecle. lis
1956; Knoedler Gallery, New York, 1957; Venice Biennale, n'etaient pas disposes a une collaboration trop decriee. Mais
1960. He lives in Paris. je pense que, dans I'avenir, a la faveur du travail accompli par

335
 .

leur aines, sculpteurs et architectes etabliront les conditions 1947; Le Modular, Poesie sur Alger, 1950; Une Petite Maison,
d'une nouvelle alliance. » {XXieme Steele, 1952.) 1954; Oeuvre Complete, 1910-1957, 6 Vols.; One Vol. Ed.
Exhibitions: First exhibition Salon des Independants, Paris, (Condensed) I960, Editions H. Girsberger, Zurich. Exhibi-
1913; Leonce Rosenberg, Section d'Or, Salon des Indepen- tions: Galerie Gabriel Thomas, Paris, 1918; Galerie Drouet,
dants, Paris,1920; Museum of Modern Art (Cubism and Paris, 1921; Salon des Independants, Paris, 1922-23; Galerie
Abstract Art), New York, 1936; Salon des Independants, Leonce Rosenberg (Effort Moderne), Paris, 1923; first great
Paris, 1937; Petit Palais, Paris, 1937; Drummer Gallery, New exhibition of his paintings: Kunsthaus, Zurich, 1938 (paint-
York, 1938; Oslo, Copenhagen, Stockholm (with Picasso, ings from 1921-1937); Galerie Louis Carre, Paris, 1939;
Braque, Matisse), 1938; Galerie Pierre Loeb, Paris, 1939; Walker Art Center, Minneapolis, 1946; Stedelijk Museum,
Galerie Jeanne Bucher, Paris, 1942; Galerie Louis Carre, Amsterdam, 1947; first exhibition of his sculpture: Musee
Paris, 1945; Curt Valentin Gallery, New York, 1947; Bien- d'Art Moderne, Paris, 1953, and Kunsthalle, Berne, 1954,
nale, Venice, 1948, 1950; Kunsthalle, Berne (Sculpteurs (including paintings and carpets).
Contemporains de I'Ecole de Paris); Stedelijk Museum, Am-
sterdam, 1949; Musee d'Art Moderne, Paris, 1951; Bienal, Sao LEHMBRUCK, WILHELM, sculptor, painter, graphic artist
Paulo prize; Musee d'Art Moderne, Paris (Le Cubisme), and poet, was born in Duisburg-Meiderich, Germany, Janu-
1953; Yverdon and Zurich (Sept Pionniers de la Sculpture ary 4, 1881, the son of a miner. He attended the Kunstge-
Moderne), 1954; Curt Valentin Gallery, New York, 1952; werbeschule of Diisseldorf, 1895-99, and the art academy
Galerie Spiegel, Cologne, Galerie Stevenson, Hamburg, Gal- there, 1901-07. In 1905 he traveled to Italy on the proceeds
erie Springer, Berlin, Galerie Berggruen (Collages), Paris, of first prizes in sculpture. A second Italian tour followed in
Galerie Creuzevault, Paris, 1955; Haus am Waldsee, Berlin, 1912. In 1910 he settled in Paris where his own style devel-
Kunsthalle Bale, Hamburg, 1956; Fine Arts Associates, New oped rapidly, culminating in his Kneeling Woman, 1911.
York, Galerie Louise Leiris, Paris, 1958; Documenta, Kassel, This statue was first shown publicly the following year at the
Germany, 1959; Galerie Claude Bernard, Paris, I960. Laurens Cologne Sonderbund Exhibition, a survey of the decisive cul-
died in Paris, May 8th, 1954. tural trends of the time. Meier-Graefe was the first to acclaim
Lehmbruck as the great German sculptor. He lived then in the
LE CORBUSIER (JEANNERET), CHARLES EDOUARD, Avenue du Maine. After an important exhibition in Paris,
architect, painter, sculptor, writer, was born La Chaux-de-
in 1914, he returned to Berlin when war broke out. In Paris he
Fonds, France, October 6, 1887, the son of Georges-Edouard had tried uncompromisingly to realize his artistic vision de-
Jeanneret and Marie-Charlotte-Amelie Jeanneret-Perret. From spite the most harrowing poverty. His artistic development
1901-03 he gained technical experience as an engraver. In had been greatly stimulated in the company of the interna-
1908 he went to Paris to work with Auguste Perret. In 1910 tional group of artists living and exhibiting in Paris: Maillol,
he took a trip to Germany, stopping at Munich, Berlin, and Archipenko, Modigliani and others. When his work was
Hellerau. He settled down in Paris, 1917, and started to build attacked by reactionary critics, Meier-Graefe, Paul Westheim,
on his own since 1922. He constructed his first building at Hans Bethge and Theodor Daubler rallied behind him. His
age of seventeen, then built numerous private houses in France Dying Warrior, later renamed The Fallen, was singled out
and in foreign countries, planned cities of Buenos-Aires, for the most violent attacks when it was exhibited at the
Stockholm, Antwerp, Algiers, Nemours (Africa), Bogota, Berlin Secession, 1916. In 1917-18 he was in Zurich, working
Chandigarh (India). Since 1921 he has been invited by gov- in a studio on the Zurichberg. In 1919 he returned to Berlin,
ernments and professional centres to lecture on architecture where on March 25 he committed suicide. Lehmbruck left
and town planning (Paris, Brussels, Madrid, Barcelona, Am- etchings on zinc plates that rank with his sculptures. These
sterdam, Rotterdam, Stockholm, Moscow, Rio de Janeiro etc. ) include illustrations to the Bible and Shakespeare. Important
In 1925 he constructed the Pavilion de I'Esprit Nouveau, In- exhibitions of Lehmbruck's work include that at the Galerie
ternational Exhibition of Decorative Arts, and in 1929-32 the Levesque, Paris, 1914 (catalog introduction by Andre Sal-
Camp of Salvation Army and the Stciss pavilion, university mon) Kunsthaus, Zurich, 1917; Paul Cassirer Gallery, Berlin,
;

city, in Paris. He was invited by the Russian Government to 1920; Goltz Gallery, Munich, 1921; Stadtisches Museum,
make report for urbanization of the city of Moscow, 1931, and Duisburg, 1925; Museum of Modern Art, New York, 1930;
planned the construction of the Soviet Palace, 1932. Then Kunsthalle, Berne, 1945; "Deutsche Kunst, Meisterwerke des
followed the plan for the university city of Ministry of Edu- 20. Jahrhunderts," Kunstmuseum, Lucerne, 1953; ""German
cation and Public Health in Rio de Janeiro, 1937, the Pavilion Art of the Twentieth Century," Museum of Modern Art, New
Des Temps Nouveaux for the International Exhibition in York, 1957; Brussels World's Fair, 1958.
Paris, 1937, and the construction of the Unite d'Habitation of
Marseilles, 1948-52. He was chief of the architectural mission LIPCHITZ, JACQUES, painter and sculptor, was born in
to U.S.A., 1945. He is consultant for town and country plan- Druskieniki, Lithuania, August 22, 1891. Visited the com-
ning to numerous governments in Europe, Africa, America mercial school at Bialystok 1902-06 and the high school at
and Asia. Le Corbusier has always been directed towards the Vilna till 1909- Living since 1909 in Paris, he studied at the
pure poetical side of creative work which he realized in his Ecole des Beaux Arts and the Academic Julian. In 1913 he
paintings and sculptures. He lives in Paris. Publications: met Picasso and collaborated in the Cubist movement. In
Apres le Cubisme, 1918; Founder and director of L'Esprit 1913-14 he was strongly interested in Achipenko's sculptures.
Nouveau (review), 1919-25; Vers une Architecture, 1923; Since 1916 close friendship with Juan Gris. His encounter
Urbanisme. 1925; La Peinture Moderne, 1925; Une Maison, with Negro sculpture had also a certain influence on his work
un Palais. 1928; La Ville Radieuse. 1933; Quand les Cathe- in the following years. Since these early times he developed
drales etaient blanches, 1937; Destin de Paris, 1941; Sur les also a special interest and faculty in collecting exotic and early
quatre routes. 1941; La Maison des Hommes, 1942; Entretien Among his friends were Matisse, Modigliani, Picasso, and
art.
avec les Etudiants des Ecoles d' Architecture. 1943; La Charte Max Jacob. In 1922 Lipchitz was a member of the Esprit
d'Athenes, 1943; Les 3 Etablissements Humains, 1945; Nouveau Group, with its tendencies to unite art with archi-

Maniere de Penser I'Urbanisme, 1945; Propos d'Urbanisme, tecture (Le Corbusier, Ozenfant). In the years 1925-27 he
1946; United Nations Headquarters, 1947; L'Espace indicible. began to alter the strictly structural spirit of his earlier work,

336
Raoul Hausmann Barbara Hepworth Rudolf Hoflehner Robert Jacobsen

337
 Marcel Janco Norbert Kricke Gabriel Kohn Berto Lardera

Jacques Lipchitz Richard Lippold Maurice Lipsi Seymour Lipton

338
(Mirko Basaldella) Mirko Joan Miro Amedeo Modigliani Laszlo Moholy-Nagy

339
 Henry Moore Erich Muller Juana Muller Robert Muller

Louise Nevelson Costantino Nivola Isamu Noguchi Hermann Obrist

Eduardo Paolozzi Alicia Penalba Antoine Pevsner Helen Phillips

540
 ,

relieving with linear movements, in which he disintegrated

it Paris, in 1922. He was given his second show by the Galerie
volume by mass and void. He called
a skilful interweaving of de I'Art Contemporain (Boulevard Raspail) in 1927. In 1930
,

these bronze sculptures transparents. In his later development he married Hildegard Weber, a Swiss painter. He participated
he abandoned purely abstract construction, but retained the in the International Sculpture Exhibition in Zurich, 1931. A
powerful tension between intricate forms and movements, third one-man show was given him by the Galerie Druet,
using these methods to suggest dramatic scenes from the Bible Paris, 1935. He became a French citizen and joined the French
or mythology, now more in a baroque manner of modelling Army in 1940. From 1942 to 1943 he was forced to hide in
expressive lights and shadows. In 1927 his sculpture ]oie de Southern France and in Savoy. He finally made his way to
Vivre was acquired by Vicomte Charles de Noailles for Hyeres, Switzerland, where he created his series of Masks and Leaves
1928, the Femme a la Guitare by Madame Helene de Mandrot (Geneva) It was during this period that he turned to abstract
.

for her garden in Le Pradet, Toulon. One of his most famous sculpture. Before returning to France, he exhibited at Kunst-
statues Chant des Voyelles was executed in 1931 also for her halle, Berne, 1945. He had a one-man show at the Galerie
garden (today Kunsthaus, Zurich) In 1939-40 he temporarily
. PierreMaurs (Avenue Matignon), Paris, in the same year
lived in Toulouse. In 1941 he left Paris for New York, where that he created a large stone group for the Pare Montsouris.
he has carried out important commissions in connection with An impressive list of exhibitions includes Maison de la Pensee
:

architecture: for the facade of the Ministry of Education Fran^aise, 1949; Galerie Palette, Zurich, 1951; "Three Artists
(architects Le Corbusier and Oscar Niemeyer), Rio de from Paris" at Recklinghausen, Germany, 1952; Galerie Art
Janeiro, a sculpture of Prometheus and the Eagle, 1936-44; Vivant, 1953; "Groupe Espace/' Biot, 1954; Galerie Benno
for the Edgar Kaufmann House by Frank Lloyd Wright in 1954; Biennial Park, Middelheim, Antwerp, 1955; Citadella,
Bear Run, Pa., Mother and Child, 1945. Short stay in Paris, Ascona, 1956; French Plastic Art Exhibition, Berlin; Galerie
1946, connected with his one-man show at the Galerie Maeght. de Coninck, Paris, 1957; the Gaieties Arnaud and Claude
Chosen for the collaboration at the church of Assy (Savoye), Bernard, Paris, 1958; Museum of Nantes; Galerie Denise
1950, he began working at the group Birth of Muses acquired Rene, 1959. His works are represented in the Petit Palais,
by Mrs. Th. Rockefeller, New York. He settled down in his Paris; Musee National d'Art Moderne, Paris, and the Museum
own house at Hastings-on-the-Hudson, N. Y., 1953. His ex- of Jerusalem. He lives in Chevilly-Larne, near Paris.
hibitions include: representation at the Salon des Independants
from 1919 on; first one-man show at the Galerie Leonce LIPTON, SEYMOUR, sculptor, was born November 6, 1903,
Rosenberg, Paris, 1920 (Effort Moderne) Salon des Tuileries,
; in New York City. Agraduate of Columbia University, he is
Paris, from 1920 on; Galerie La Renaissance, Paris, 1930 self-taught as an artist. The ACA Gallery, N. Y., gave him his
(retrospective) Art Vivant, Brussels, 1931; Brummer Gallery,
; first one-man show in 1938. Since then he has had shows at

New York, 1935 (first one-man show in U. S. A.), 1942; the Galerie St. Etienne and the Betty Parsons Gallery, both in
Museum of Modern Art, New York, 1936 (Cubism and New York. He was included in the "12 Americans" show at
Abstract Art) Petit Palais, Paris, 1937; Curt Valentin Gallery,
; the Museum of Modern Art, 1956, and in the Venice Biennale
Ne- York, since 1942; Galerie Maeght, Paris, 1946; Biennale,
'
of 1958. His works have been exhibited in all the major
Venice, 1952, 1954; Museum of Modern Art, New York, 1954 museums both in the U. S. and abroad, including: Museum of
(one-man show) one-man show at Fine Arts Associates, New
; Modern Art and Whitney Museum, N. Y.; Art Institute of
York, 1957 and 1959; at Amsterdam and Zurich, 1958; Brus- Chicago; San Francisco Museum; Baltimore Museum of Fine
sels World's Fair, 1958; "Documenta," Kassel, Germany, and Art; Brooklyn Museum; Albright Museum, Buffalo; Jewish
Fine Arts Associates, New York, 1959. Museum, New York; Musee d'Art Moderne, Paris; Tate Gal-
lery, London; as well as in museums in Barcelona, Belgrade,

LIPPOLD, RICHARD, constructivist and industrial designer, the Venice Biennale, Frankfurt, and in Japan and Australia.
was born Milwaukee, Wisconsin, U.S.A., 1915. In 1933-34
in He is represented in the permanent collections of many mu-

he attended the Art Institute of Chicago and the University of seums, as well as in important private collections. In 1957,
Chicago. After a career as an industrial designer, 1937-41, he was awarded both the First Prize at the Chicago Institute
he gave up that profession and became a self-taught sculptor, Annual and the Top Acquisition Prize at the Sao Paulo
working in fine wire of every type. The spatial nature of his Bienal. Examples of his work were shown at the Brussels
constructions is achieved through tense elaboration of the World's Fair, 1958. "Sculpture by Lipton," a 15-minute
finest elements. He has taught at the Layton School of Art, sound film, demonstrates his technique and recent work.
Milwaukee, 1940-41; the University of Michigan, 1941-44;
Goddard College, Plainfield, Vermont, 1945-47; and since MAILLOL, ARISTIDE, sculptor, painter, illustrator and de-
1947 at Trenton Junior College, where he heads the Art signer, was born in Banyuls-sur-Mer, France, 1861. He started
Department. His first one-man show at the Willard Gallery, as a painter and carpet designer and studied first at the Ecole
New York, included his Variation No. 7: Full Moon, now des Beaux Arts in Paris with Alexander Cabanel (1882-86).
owned by the Museum of Modern Art, New York. His work Impressed by Gauguin's paintings and the "Nabis," he aban-
was included in the "15 Americans" show at the Museum of doned impressionism for a more flat formation of colored
Modern Art, New York, 1952, and in "Fifty Years of Art in planes. To realize this tapestry method his designs seemed
the U. S.," at the Musee d'Art Moderne, Paris, 1955. From most appropriate. He built majolica vases in the tradition of
1953 to 1956, he worked on a sculpture. The Sun, commis- his country in these early years. His friendship with Maurice
sioned by the Metropolitan Museum, New York, and now on Denis was also important for his artistic development. Only at
exhibit there. 40 he became a sculptor. In 1906 he lived in Greece, studied
Greek art and was especially interested in the early sculpture
LIPSI, MAURICE, sculptor, was born in Lodz, Poland in of the 6th and 5th century. Maillol spent most of his life in
1898. He went to the Ecole des Beaux-Arts in 1916, where Banyuls cultivating wine and olives in the traditional way of
he studied with Coutan, Mercie and Injalbert. The Place de la his ancestors. Some months each year he spent at Marly-Le-
Concorde with its Obelisk and the Chartres Cathedral were his Roy, near Paris. He was killed in an accident near Banyuls,
first major spatial impressions. He had his first one-man show September 24, 1944. His main works are: in the Museum of
of ivory sculpture at the Galerie A. A. Hebrard (Rue Royale) Modern Art, New York; in the Tate Gallery. London; in the

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 .

Wallraff-Richartz-Museum, Cologne; in the Art Galleries of tismal font for the church at Audaincourt ( 1956) the steeple
;

Diisseldorf; in the Musee d'Art Moderne, Paris; in the Kunst- for the church Vaize (1957; and the ceiling for the Vati-
at
haus, Zurich; in the Kunstmuseum, Winterthur, Basel, Berne; can Pavilion, Brussels, 1958.
in the collections of Oscar Reinhardt and Hahnloser, Winter-
thur; in the Rijksmuseum, Kroeller-Mueller, Otterlo (Nether- MARTINS, MARIA, Brazilian sculptor, born in 1900, studied
lands); and in the Stedelijk Museum, Amsterdam. His first painting and music. Her first sculpture, in Ecuador, 1926, was
one-man show was at the Galerie Vollard, 1905, and from inspired by the Baroque style surviving in native art. From
1905 onwards mostly at the Galerie Druet, Paris. 1936-39, in she worked mainly in terracotta. In
Japan,
Brussels, 1939, she was inspired by the sculptor Oskar Jespers.
MALEVICH, KASIMIR, painter, sculptor, art critic, theorist In the same year she settled in Washington, D. C, where she
and teacher, was born at Kiev, Russia, February 11, 1878. In met the art dealer Brummer who encouraged her work. Her
1908 he was influenced by Post-Impressionist and Fauve paint- first exhibition was held in Washington, 1940. In 1943 her

ings seen in Moscow private collections. By 1910 his work book, Amazonia by Maria published by Valentine Gallery
showed marked Cubist tendencies. He founded the Suprematist appeared. In 1946, at the Museum of Modern Art, New York,
movement in Moscow, 1913. In 1918 he exhibited his paint- she exhibited sculptures inspired by legends of the Amazon
ing White on White. In 1919 he became a teacher at the region. In 1949 she exhibited at the Galerie Rene Drouin,
Moscow Art Academy. In 1926 he met Kandinsky at the Paris. A poetical appreciation of her sculpture by Andre

Bauhaus, Dessau. A year later, his treatise, The Non-Objective Breton appeared in 1949. She executed sculptural work for
World, was published in the Bauhaus Books series. In 1935 the French Embassy in Rio de Janeiro, 1957, and a garden
he died in complete retirement in Leningrad. His exhibitions sculpture for the president's palace in Brasilia, 1958-1959.
include: individual works shown in Moscow, 1913-19; Con-
structivist Exhibition, Berlin, 1922; Societe Anonyme Ex- MATARE, EWALD, sculptor, painter and graphic artist, was
New York, 1924; Philadelphia, 1926; Museum of
hibition, born in Aachen, Germany, February 25, 1887. He studied
Modern Art, New York, 1936 (Cubism and Abstract Art); painting and graphic art at the Berlin Academy under Kampf
Yale University Art Gallery, 1948. and Corinth, from 1907-14, later (1918) taking up sculpture
in which he is self-taught. In 1911-12 he was in contact with
MARINI, MARINO, sculptor, was born in Pistoia, Italy, the Blaue Reiter Group of Munich, and traveled in France,
February 27, 1901. He studied at the Florence Academy with Italy and Finland. In 1932 he was appointed professor at the

Trentacoste, and began as a painter. In 1928 he studied sculp- Diisseldorf Academy along with Klee. In the following year
ture in and traveled to Greece and other European
Paris both were dismissed. Matare was reinstated at the Academy in
countries. In 1929 he worked in Milan. From 1930-40 he 1945. In 1947 he designed new doors for the Cologne Cathe-
concentrated on sculptured and painted portraits of acrobats dral. His exhibitions include: November Group, Berlin, 1925;

and performers. From 1942-46 he lived in the Ticino, Switzer- Berlin, 1928, 1930 (one-man show); Galerie Moller,
land. Since 1946 he has lived in Milan and Forte dei Marmi. Cologne, 1931; Societe Anonyme, Brooklyn, N. Y., 1931. Ex-
He has exhibited in Milan, Basel, Zurich, Berne and at the hibition of his works, Galerie Moller, Cologne, 1947. (see
Venice Biennale of 1950, 1952 and 1954. He was represented H. T. Fleming, E. Matare, Prestel Verlag, 1955)
at the Brussels World's Fair, 1958, and at the "Documenta,"
Kassel, Germany, 1959. MATISSE, HENRI, painter, sculptor, graphic artist, illustrator
and writer, was born at Le Cateau, Dpt. Nord, France, Decem-
MARTIN, ETIENNE, sculptor, was born
1913, in Loriol,
in ber 31, 1869. In Paris, 1892 he attended the Academie Julian,
France. He entered the Ecole des Beaux-Arts, Lyon, in 1929, working with Bouguereau and Ferrier; in 1893 he was at the
getting his diploma in 1933- Awarded a scholarship toward Ecole des Beaux Arts, under the intelligent guidance of
worked from 1934 to 1937 at the
further studies in Paris, he Gustave Moreau. Visiting Provence in that year, he came under
Academie Ranson, under Malfray and Maillol. He won the the influence of Cezanne. In 1900 he and his friend Marquet
Prix de Paris, 1933; Prix Paris-Lyon, 1938; Prix Blumenthal, did decorative work for the Paris Exposition. His first figure
1948; Prix Jeune Sculpture, 1949; Honorable Mention, the sculpture, Slave. 1900-03, is reminiscent of Rodin's Striding
Unknown Political Prisoner International Competition, 1952; Torso. In 1901 he modelled his first female figure. La Made-
Award, Milan Triennale, 1954. In 1952 the Salon de la Jeune leine, already using the linea serpentinata. Turned down as a
Sculpture made him a member of their committee. His works pupil by Rodin, he worked with Bourdelle at La Grande
have been shown at: Galerie Rene Drouin, 1945; Luxembourg Chaumiere. In 1904, after a short preoccupation with point-
Museum, 1946; Maison de la Pensee Fran(jaise, 1950; Galerie illism in painting, he returned to pure, fiat colors. In 1905
Mai, 1948, 1950; Galerie Jeanne Bucher, 1948, 1949, 1950, he showed his painting. Luxe, Calme et Volupte in a joint
1952; Galerie Rive Droite, 1955-195""; exhibits in Angers and exhibition with Detain, Vlaminck, and Rouault at the Salon
Dijon; Park Middelheim, Antwerp, 1953; Arnheim Biennial, —
d'Automne, Paris the beginning of Fauvism. In 1906 he
1954; Festival of Marseilles (Cite Radieuse), 1956; Galerie organized his own school in the Rue de Sevres, later moving
Claude Bernard 195^; Musee de Tours, 195"^; Galerie Breteau, to the Boulevard des Invalides. Gertrude and Leo Stein intro-
1954, 1958; Musee Rodin, 1956, 195^. His work has also duced him to Picasso. Matisse bought Negro sculpture in 1906
been exhibited regularly at the Salon de la Jeune Sculpture which he showed to Picasso and other young artists. In 1908
and the Salon de Mai, as well as in Japan, 1950-1951; the Tate he published Notes d'un Peintre (A Painter's Notebook) in
Gallery, London, 1953; and subsequently in Germany, Nor- which he stressed the expressive power of line and color. In
way, Sweden, Finland, Italy and Switzerland (1958). He 1908-09 he completed his sculpture, La Serpentine; the entire
participated in exhibitions at the Biennale, Venice, 1956; the freedom of its proportions make it one of his most impressive
Guggenheim Museum, New York, 1959; the Carnegie Insti- works. In 1910-11 his five studies of heads for Jeannette with
tute. Pittsburgh, 1959. The French government has commis- their broad treatment of volume prepared the way for the
sioned several works, and he is represented in numerous later heads of Picasso, and are similar to those of Duchamp-
private collections. He has also executed a variety of works Villon. From 1911-13 he made two visits to Morocco. In those
for churches in France: reliefs for Baccarat ( 1955); the bap- years contact with the Cubists reawakened his interest in

.M2
sculpture. In 1915, his Head of Marguerite again stressed the Gallery, New York, 1950, at the Galleria del Milione, Milan,
theme of movement. In a certain sense he anticipates the heads and at the Galleria San Marco, Rome, 1951. His work in-
done much later by Alberto Giacometti. Matisse settled in cludes: bronze balustrades in the Mausoleo delle Fosse
Nice in 1917. In 1920 he designed the settings for the ballet, Ardeatine, reliefs, murals, mosaics and balus-
Rome, 1950;
Le Chant du Rossignol. In 1930 he traveled in Europe, Russia, Food and Agriculture Organization Building,
trades for the
Oceania (spending three months in Tahiti) and in the U.S.A., Rome, 1951. In 1953 he was awarded a second prize in the
where he painted murals for Dr. Albert C. Barnes in Philadel- international competition for the Monument to the Unknown
phia. The influence of these travels could be traced in his Political Prisoner. He participated in the Brussels World's Fair
sculpture which became more elemental in conception, freer 1958, and in the "Documenta," Kassel, Germany, 1959, and
in the handling of volumes, more polished and compact in in theVenice Biennale, 1960. For the last three years he has
form. Under the spell of Oceania he created Tiara and Venus been professor at the Graduate School of Design, at Harvard
in the Shell. In 1936 he had large, retrospective exhibitions in University.
Paris, New York and Stockholm. In 1939 he settled in Vence.
At that time he made numerous compositions of colored, cut MIRO, JOAN, painter, graphic artist and sculptor, was born
paper. In 1943-44 he illustrated works by Ronsard, Monther- in Montroig, near Tarragona, Spain, April 20, 1893. In 1907
lant and Baudelaire. In 1949 he began the decoration of the he entered the Barcelona Art Academy, and from 1910-15
Dominican Chapel at Vence. Matisse died in Nice, November attended the Gali Academy in the same city. In 1915 he
3, 1954. His exhibitions include: four paintings at the Salon produced his first original work. In Barcelona, 1917, he met
de la Societe Nationale, Paris, 1896; Salon des Independants, the art dealer, Dalmau, a supporter of modern Catalan art, in
Paris, 1901, 1907, 1909; Galerie Berthe Weill, Paris, 1902; whose gallery in 1918 Miro showed 64 paintings and draw-
Salon d'Automne, Paris, 1903, 1906, 1909; his first retrospec- ings, his output of the previous four years. He first visited
tive exhibition, Galerie Bernheim Jeune, Paris, 1910; repre- Paris in 1919, and settled there the following year, making
sentation at the Carnegie International Exhibition, Pittsburgh, the acquaintance of the Paris Dada group. In 1921 his exhibit
1929; Galerie Thannhauser, Berlin, 1930; Museum of Modern at the Galerie Licorne was introduced by Maurice Raynal.

Art, New York, 1931 and 1951; Petit Palais, Paris, 1934; In 1922 he finished his large painting. La Ferme (The Farm-
Salon d'Automne (Les Fauves), Paris, 1944; Victoria and house). In 1925 he exhibited with the Surrealists at the Galerie
Albert Museum, London, 1945; Palais des Papes, Avignon, Pierre, Paris, and with Max Ernst designed costumes for the
1947; Philadelphia Art Museum, 1948; Kunsthalle, Berne, Diaghilev ballet, Romeo and Juliet. His work was included in
1950; Biennale, Venice, 1950; Curt Valentin Gallery (sculp- the first exhibition of the Galerie Surrealiste, Paris, 1926. In
ture) New York, 1953; Tate Gallery, London; Kunstmuseum,
,
1928 he was mentioned in Andre Breton's Le Surrealisme et
Freiburg/Breisgau (Germany), 1953; Fine Arts Associates la Peinture as one of the leaders of the movement. In the

and Pierre Matisse Gallery, New York, Galerie Berggruen, same year he had his first American exhibition at the Valentine
Paris, 1958; Kunsthaus Zurich, Kunsthalle Berne (Collages Gallery, New York. In 1930 he exhibited at the Galerie Pierre-
a.nr' sculpture), 1959- and was included in the collage exhibition at the Galerie
Goemans, Paris, referred to by Louis Aragon in La peinture
MEDUNIEZKY, KASIMIR, constructivist, was born in au Defi, 1930. At this time he made Surrealist sculptures
Russia, 1899- He studied at Vchutema, the Moscow art school, called "objects" which are a combination of ready-mades and
and was a leader of Obmochu, a group of young artists. In fantastic forms. In 1932 he designed costumes for the Monte
1920 he was represented at the first Constructivist exhibition Carlo ballet, ]eux d'Enfants. In 1937 he painted a mural for
in Moscow, and in 1922 at the Constructivist exhibition in the Spanish Pavilion at the Paris Exposition, and in 1938
Berlin. In 1924 the Societe Anonyme introduced his work to murals for the summer house of the American architect, Paul
the U.S.A. He later worked in Russia as a designer for in- Nelson, at Varengeville, Normandy, where he was a frequent
dustry and the theatre. guest. In 1940-41 he returned to Barcelona, then to Palma
di Majorca. In 1942 he decorated ceramics for Artigas. In
MINGUZZI, LUCIANO, sculptor, was born in Bologna, Italy, 1946 he resumed sculpture which he had first attempted in
May 24, 1911- He attended the Art Academies at Bologna 1943. In contrast to his earlier combined objects he now
and Milan. From 1940-45 he worked on reliefs which he en- created fundamental forms. In 1947 he made his first visit
tered for the Milan Cathedral Doors Competition. He lives to the U.S.A. where he was commissioned to paint a mural
in Milan. He was represented at the Venice Biennale, 1948, for the Terrace-Plaza Hotel in Cincinnati. In 1948 he returned
1950, 1952, 1954, and the Sao Paulo Bienal, 1951; Varese, to Europe. He lives in Montroig, Spain, making frequent
1953. In 1953 he won a third prize in the Unknown Political visits to Paris. In 1948, 1950, 1953 he exhibited paintings,
Prisoner Competition. He was a contributor to the "New sculptures and ceramics at the Galerie Maeght, Paris. His
Decade" show, at the Museum of Modern Art, New York, mural for Walter Gropius' Graduate Center at Harvard Uni-
1955, to the "Documenta," Kassel, Germany, 1959, and to versity, Cambridge, was completed in 1950. In 1952 he com-
the Venice Biennale, I960. pleted a series of constructions recalling primitive fetishes,
for his estate at Montroig. He received the International
MIRKO (MIRKO BASALDELLA) sculptor and painter, was Prize for Graphic Art at the Venice Biennale of 1954. List of
born at Udine,September 28, 1910. He studied in
Italy, exhibitions to 1959 in the Mirko monograph by James Thrall
Venice, Florence and Monza. Since 1934 he has lived in Rome. Soby, p. 151.
His exhibitions include one-man shows in Rome, 1935, at the
Galleria della Cometa, Turin, 1936, at New York, 1937, and MODIGLIANI, AMEDEO, painter and sculptor, was born
in 1940 at the Galleria Nazionale d'Arte Moderna and the at Livorno, July 12, 1884, the son of a banker. In 1898
Italy,
Galleria Roma at Rome. In 1938 he was represented in he abandoned classical studies for painting. From 1901-05 he
numerous Italian exhibitions shown in Paris, Brussels, Vienna, was convalescing in Naples after several illnesses. He attended
Budapest, London, San Francisco, and New York. His paint- variously the art schools at Naples, Rome and Florence, and
ings were first shown at the Galleria dell'Obelisco, Rome, the Venice Academy 1906 he left for Paris where
of Art. In
1947. Both his paintings and sculptures were exhibited at the he set up his studio in Montmartre, 1907-08. In 1908 he was
Knoedler Gallery, New York, 1947 and 1948, at the Viviano represented for the first time at the Independents. In 1909 he

343
 met Brancusi, beginning a life-long friendship. Brancusi ini- 1947; Chicago Art Institute, 1947; Institute of Design,
tiated and encouraged Modigliani's interest in sculpture. His Chicago, 1947; Yale University Art Gallery, New Haven,
painting, The Cellist, one of the first to be characteristic of his 1947; Kunsthaus, Zurich, 1953; Galerie Lutz & Meyer,
artistic intentions was shown to the public at large at the Salon Stuttgart, 1953.
des Independents, 1910. From 1910-14 he concentrated
almost exclusively on sculpture, shaping heads and caryatids MOORE, HENRY, sculptor, painter, draftsman and writer,
for which many preliminary sketches still exist. He worked was born at Castleford, Yorkshire, England, 1898, like
under the influence of Brancusi and was impressed, to a Lehmbruck, the son of a miner. His first training was for the
slighter degree, by the strange work of the Polish sculptor, teaching profession. In 1917 he was gassed at the Battle of
Ellie Nadelmann, who was exhibiting in Paris, 1913-14. In Cambrai. In 1919 he entered the Leeds School of Art, and in
1914-15 he met the Polish poet Leopold Zborowski who at 1921 won a scholarship at the Royal College of Art, London,
once realized Modigliani's extraordinary genius, bought some for study in Paris, Florence, Venice and Ravenna. The aim
of his paintings and recommended him to the art dealer, Paul behind his early sculptural work is the release of the expressive
Guillaume. In 1917 Modigliani married Jeanne Hebuterne force inherent in natural stone. Later he created human figures
who committed suicide after his death. His first one-man and simple forms with rhythm obtained through
a pulsating
show was held at the Galerie Berthe Weill, Paris, and was an intense interplay of mass and void. During World War II
unfavorably received by the public. This was his most intense Moore displayed his extraordinary talent as a draftsman by
period of artistic creation. In 1918-19 he was in Nice, re- translating contemporary events into artistic visions. Here
cuperating from a serious illness. He exhibited at the Salon again, his attention was focused on the human figure and the
I'Automne, Paris, and at the Hill Gallery, London, 1919. On space surrounding it as in his drawings of the underground
January 25, 1920, Modigliani died of tuberculosis in dire air-raid shelters. Moore lives at Hadham, north of London.
poverty at the Charite, Paris. Shortly after his death the full His exhibitions include: Warren Gallery, 1928; Leicester
importance of his art became universally known. Galleries, London, 1931, 1935, 1936, 1940; Temple News-
ham, Leeds, 1941 (retrospective); Museum of Modern Art,
MOHOLY-NAGY, LASZLO, painter, sculptor, photographer, New York, 1946; Venice Biennale, 1948, 1952, 1954; Paris,
filmwriter and teacher, was born at Bacsbarsod, Hungary, 1949; Berne, 1950. The following institutions own examples
July 20, 1895, the son of a farmer. During World War I he of his work: Victoria and Albert Museum, London; White-
was wounded and began to sketch while convalescing in a field worth Institute, Manchester; Museum fiir Kunst und Gewerbe,
hospital. Portraits in watercolor and oil soon followed. After Hamburg; City Art Gallery, Wakefield; Tate Gallery, London;
his discharge from the army he showed increasing interest in City Art Gallery, Leeds; Albright Art Gallery, Buffalo; Mu-
the modern movement, Malevich, Lissitzky, and the Russian seum of Modern Art, New York. A partial list of his works in-
School. In 1919, the year he obtained his law degree, he cludes: Relief, on Time-Life Building, London, 1953; Brick
founded the MA Group and published an art quarterly. In relief for the Bouw Centrum, Rotterdam, 1955; Several ver-
Berlin, 1920, he progressed from representational Cubist sions of Glenkiln Cross, 1955-56; Reclining Figure, for
painting to the pure abstraction of his collages and photo- UNESCO Building, Paris, 1957. His works were exhibited at
grams. In 1921 he joined the Constructivists. His work was the Brussels World's Fair, 1958, and at the ""Documenta," Kas-
first shown at the Sturm Gallery of Herwarth Walden, Berlin, sel, Germany, 1959, where the following sculptures were
in 1922. In 1922 he became a member of the Stijl Group. In shown: Glenkiln Cross, 1956; Fallen Warrior, 1957; Draped
the following year Gropius appointed him head of the metal Reclining Woman, 1957, as well as other works. List of his
workshop at the Bauhaus, where he worked with Schlemmer exhibitions since 1928 in W. Grohmann's monograph, Rem-
and other members on murals, stage and ballet designs, ex- brandt Verlag, Berlin, I960.
periments in light and color and typography. The focus of
his interest was the conquest of space, an aim to which he MULLER, ERICH, sculptor and graphic artist, was born at
devoted all his creative energy. From 1925-28 he and Gropius Berne, Switzerland, 1927. There he went to school only up to
edited the Bauhaus Books which included Moholy's Malerei, the age of sixteen, as his one wish was to become a sculptor.
Photographie, Film. 1925, and his Von Material zu Archi- For one year he worked as taxidermist at the Museum of Natu-
tektur. 1928 (published in English as The New Vision, 1938, ral History, Berne. After several unsuccessful attempts to
1946). He and Gropius resigned from the Bauhaus in 1928. undergo a regular apprenticeship as a sculptor, he started on
Moholy went to Berlin working as a stage designer for Pis- his own at Berne in 1947. He exhibited here in the following
cator's Theatre and for the State Opera. He designed settings years and received an art prize of the town of Berne in 1949
and costumes for Tales of Hoffmann. Madame Butterfly, and and a state scholarship in 1951. Since 1951 he visited Paris,
The Merchant of Berlin. In 1930 he constructed his Lichtre- Brittany and Southern France. His latest sculptural works
quisit. a light-display machine which is also a rotating sculp- correspond in a certain degree to the painting of Jean Dubuffet
ture providing innumerable variations and degrees of light. (Art Brut). Exhibitions: Winterthur (Sculpture and graphic
From 1932-36 he was a member of the Paris Abstraction- works), Solothurn, Thun, Galerie Chichio Haller, Zurich,
Creation Group, visiting Paris frequently, traveling in France, Galerie Reveil, St. Moritz, 1952; Lucerne and Biel, 1953.
Finland, Norway, Italy, and Greece, an experimenting with
color film in Holland. From 1935-37 he was in London. In MULLER, JUANA, sculptor, was born in Santiago, Chile,
1938 he settled in Chicago where he was appointed director 1911. In France after 1917, she became a citizen and lived in
of the New Bauhaus, founded by the Association of Arts and Paris. She worked mostly in wood, embodying human sub-
Industries. After a year financial difficulties closed the New jects in simple, basic forms. There is a noticeable influence of

Bauhaus, but it was reopened 1939 by Moholy and his staff Brancusi in her work. « J'ai toujours cherche la meme chose
as the School of Design. Moholy died of leukemia, November dans routes mes sculptures, une resonance d'une etat interieur
24, 1946, in Chicago. His last book. Vision in Motion, ap- tres different de I'ordinaire dans lequel le conflit est depasse

peared in 19i". His exhibitions include: Berlin, 1926; et qui nous laisse le gout d'avoir touche a quelque chose qui
Societe Anonyn;c, Brooklyn, 1926; Museum of Modern Art, nous depasse infiniment. Elle devait apparaitre dans mes
New York (Cubism and Abstract Art), 1936; Museum of sculptures sous des jours differents seule la forme exterieure
Non-Objective Painting, New York (Memorial Exhibition), etait changee, tel un vetement. » (Juana Miiller, La jeune

344
 .

Sculpture, 4ieme Salon, Edition Gizard, Paris.) This promis- 1951 he had a one-man show at the Tibor de Nagy Gallery,
ing artist died in Paris, 1952. Her exhibitions include two at New York, and also presented some of his sculptures at a
the Galerie Mai, Paris, where her Head for a Tomb and group show, Kootz Gallery, New York. In 1953 (-54) he
Caryatide .Enigmatique were shown in 1950, and Head of a was commissioned to do a mural (70' by 15') employing a
Child in 1951. new technique (polychrome, bas-relief) for the Olivetti store,
New York, in collaboration with the architects Peressutti,
MULLER, ROBERT, sculptor, was born in Zurich, Switzer-
Rogers and Belgiojoso. In 1954 the Graduate School of De-
land, in 1920. From 1939 he studied with Germaine
to 1944,
sign, Harvard University, Cambridge, Mass. gave him an
Richier. In 1947 he went to live in Italy, and in 1950 he
appointment to their staff and he became director of the
moved to Paris. Since 1953 he has exhibited at the Salon de design workshop (1956-57). Nivola exhibited in New York
Mai. His work has been shown at the Galerie Craven in Paris,
at the Tibor de Nagy Gallery, 1950, Kootz Gallery, 1951, and
1954; the "Eisenplastik" exhibition in Berne, Switzerland;
Peridot Gallery, May 1954. He executed monumental works
the Swiss Pavilion at the Venice Biennale, 1956; the Brussels
for a memorial fountain near Washington, 1956 and murals
World Fair, 1958; the Kunsthalle, Basel, and Helmhaus,
for the Metropolitan Fair Exposition Center, Chicago, 1957,
Zurich, Switzerland, 1959; the "Documenta" exhibit, Kassel,
and a monument in cast stone (Seneca) for the garden of
Germany, 1959; the Galerie de France, Paris, I960. Bibl.:
H. Bayer (Aspen)
Rene de Solier, Introduction, "Catalogue Galerie Craven,"
Paris,1954; Francois Stahly, "Werk VIII," Winterthur, 1955; NOGUCHI, ISAMU, sculptor, designer, photographer, writer,
"Quadrum I," Brussels, 1956; "'XX Siecle VIII," Paris, was born in Los Angeles, U.S.A., November 17, 1904, of
1956/57. In 1956 he was awarded the Prize at the Sao Paulo Japanese-American parentage. He lived in Japan until the age
Bienal and in 1957 the Regina Feijel Prize at the Sao Paulo of 14, attending school in Yokohama. In 1918 he was appren-
Bienal. ticed to a cabinet maker. Returning to the U.S.A., he attended
school in Indiana. He was apprenticed to Gutzon Borglum
NEVELSON, LOUISE, sculptor, came to Maine at the age of
while tutoring the latter's son. In 1923 he took a pre-medical
four and now and works in New York. She received her
lives
course at Columbia University, New York. In 1924, his in-
training in art both in America and in Europe and owes much
terest in sculpture increasing, he studied at the Leonardo da
of the quality of her work to her archaeological studies in
Vinci Art School and East Side Art School, New York. In
Central America. An artist of varied skills, her first sculptures
Paris, 1927-28, on a Guggenheim Fellowship, he worked for
were shown Nierendorf Gallery in 1940, and that
at the
two years with Brancusi, but was also influenced by Calder and
gallery represented her until 1947. Her works are included
Giacometti. In 1929 he was back in New York, and from
in the permanent collection of the Museum of Fine Arts,
1929-31, in China and Japan. He studied drawing in Peking
Texas; the Farnworth Museum of Art, Maine; Brandeis Uni- and worked as a potter in Kyoto. He returned to the U.S.A.
versity, Massachusetts; the Birmingham Museum, Alabama; in 1931. In Mexico, 1936, he constructed a relief 65 feet long
the Whitney Museum, New York; the Carnegie Institute, in colored concrete. In 1938 he won a competition for a relief
Pittsburgh; Newark Art Museum, New Jersey; the Brooklyn for the Associated Press Building in Rockefeller Center, New
Museum, New York; and the Sara Robi Foundation as well York, and the following year was commissioned to design a
as in many private collections. In 1958, she had a one-man fountain for the Ford Motor Co. pavilion at the New York,
show at the Grand Central Moderns, her fourth yearly show; World's Fair. In 1941 he voluntarily entered a Japanese seg-
and in 1959, she was included "16 Americans" exhibit
in the regation center in Arizona. In 1949-50 he traveled in France,
at the Museum of Modern Art, New
York. She is now repre- Italy, Spain and the Far East. In 1953 he designed sculpture
sented by the Martha Jackson Gallery, New York, where she for Lever House in New York City. He now lives in New York
had a one-man show in 1959. and near Tokyo. His one-man shows include: Schoen Gallery,
New York, 1929; Marie Sterner Gallery, New York, 1930;
NIVOLA, COSTANTINO, sculptor, painter, draughtsman,
Harvard Society for Contemporary Art, Cambridge, 1930;
was born in Sardinia, Italy, 1914, of artisan-parents. In 1922
Mellon Gallery, Philadelphia, 1933; Sidney Burnay Gallery,
he began to work in the family trade as a mason. He left his
London, 1934; Museum of Modern Art, New York, and San
native village in 1926 to become assistant to a local painter-
Francisco Art Museum, 1942. Examples of his work are owned
decorator, using plaster-stucco and other techniques. In 1930
by the Albright Gallery, Buffalo, the Metropolitan Museum of
he won a scholarship to the Art Institute, Monza (Milan).
Art, the Museum of Modern Art, New York, and the Toronto
He executed in 1933, along with R. Francello, a ceramic
S.
Art Gallery. In 1959, he was among the exhibitors at the
mural for the Triennale, Milan. He
graduated in 1935 from
"Documenta," Kassel, Germany.
the Istituto Superiore d'Arte, Milan, and in the same year
he visited Paris for the first time. In 1936 he joined the Oli- OBRIST, HERMANN, sculptor, designer and theorist, was
vetti Corporation as Art Director. He painted murals in the born atKilchberg, near Zurich, Switzerland, 1863, the son
rural Arch. Pavilion for the VI Triennale and participated in of a Swiss country doctor and a Scottish aristocrat. He spent
the "Exhibition of the Mountain," Turin. He did murals for his youth at Weimar, at first in the study of medicine, but
the Fiat Pavilion, Milan, and executed sculpture and display turning in 1888 to pottery. He then attended the Kunstge-
panels for the Textile Exhibition, Rome. In 1937, he did some werbeschule, Karlsruhe. In 1890 he studied sculpture in Paris
murals for the Italian Pavilion at the World's Fair in Paris. and opened an artistic embroidery workshop in Florence. His
In Milan he produced murals for the Olivetti Store, and in lively designs were forerunners of abstract art. In 1894 he
1939 settled in New York, where he met Saul Steinberg. In settled in Munich and became a leading figure in the rising
the following years they exhibited together at the Betty Parsons Art Nouveau movement. Around 1900 and later he produced
Gallery. In 1937 he met Le Corbusier, who shared his paint- pre-abstract sculptures of daring design. His best-known writ-
ing studio with Nivola in U.S.A. and was an important ing is New Possibilities in Art, Critical Essays, 1896-1900,
influence on his further development. In 1947 he took a Leipzig, 1903- In 1902 he opened a training and experimental
European trip, including France and Italy. In 1948 he ex- workshop for applied art in Munich, together with the painter
hibited in "American Abstract Art Show," Riverside Museum. Wilhelm von Debschitz who succeeded him as head of the
By 1950 he had developed a new technique; sandcasting. In school. He died in Munich, February 26, 1927.

345
 PAOLOZZI, EDUARDO, was born in Edinburgh, Scotland, Competition. In 1950-1951 he executed a monumental sculp-
March 7, 1924; he studied at the Academy of Art there, and ture for Carracas (Venezuela); in 1955 one for Detroit
later in London. His early work showed the influence of Henry (General Motors building). He lives in Paris.
Moore {Bird, 1950); his subsequent work has tended more
and more towards the skeletal in form. His sensitive treatment PHILLIPS, HELEN, sculptor, graphic artist, was born in
Fresno, California, 1913. She was educated at the California
of relief recalls that of Hajdu. In 1951 he made a temporary
fountain for the South Bank Exhibition, London. He has been School of Fine Arts, 1932-35. She is the wife of the painter

associated with the Arts Council Commission in London

and graphic artist, Stanley William Hayter. Her first com-
mission came in 1936, to design a crucifix for St. Joseph's
since 1953. He has designed several fountains for a public
park in Hamburg and reliefs for the flats of Maxwell Fry and
Church, Sacramento. In the same year she won the Purchase
Prize at the San Francisco Art Association and a Phelan Travel-
Jane Drew, London. His exhibitions include the Venice Bien-
nale, 1952, 1954; group show, Solomon R. Guggenheim Mu-
ing Scholarship. From 1937-39 she lived in Paris. In 1938 she
seum, New York, 1958; the "Documenta," Kassel, Germany, was represented at the International Exhibition in San Fran-
cisco. She has won the Edgar Walter Sculpture Prize, 1947,
1959; the Venice Biennale, I960. He lives in London.
the Timothy Pflueger Sculpture Prize, 1948, and a prize in
PENALBA, ALICIA, sculptor, was born in 1918, in Buenos the competition for the Monument to the Unknown Political
Aires. After winning the "Prix de Peinture" at the National Prisoner, 1953. She has exhibited at the San Francisco Mu-
Salon of Buenos Aires in 1947, she went to France on a grant seum of Art, 1940; New School for Social Research, New
from the French Government, and there devoted herself to York, 1942; Art of This Century Gallery, New York, 1944;
sculpture. Her works have been shown at the Salon de Mai, Hugo Gallery, New York, 1947; Whitney Museum, New
1952; the Salon de la Jeune Sculpture, for six consecutive York; Chicago Art Institute, 1948; American Abstract Group,
years, 1952-57; the "15 Sculptors" exhibit at Galerie Suzanne 1949; Man and Wife Exhibition, Sidney Janis Gallery, New
de Coninck, 1955, 1957; Park Middelheim, Antwerp, 1953, York, 1949; Petit Palais, Paris, 1950; Galerie Pierre, Galerie
1955; the Galerie Breteau; the Rodin Museum; the Tours La Hune, and Salon de Mai, Paris, 1951; American Embassy,
Museum, 1957; the Galerie Claude Bernard, 1957-59. She Paris, 1952; Salon de la Jeune Sculpture, Paris, 1952; Bien-
was represented in "I'Ecole de Paris," at Angers, 1956, in a nale, Antwerp; Galerie Martinet, Amsterdam, 1953; Copen-
show in Japan, 1956; at the Biennale Triveneta, Padova, 1959, hagen; Galerie Numero, Florence, 1954; "4 Artistes Ameri-
as well as in the "Documenta" exhibit, in Kassel, 1959. She cains de Paris," American Cultural Center, Paris. Since the
has had one-man shows at the Galerie du Dragon, 1957; at the war she has lived in Paris.
Otto Gerson Gallery, New York, I960, and at the Galerie
Claude Bernard, I960. Her work is in various museums and PICASSO, PABLO, and
painter, sculptor, graphic artist, stage

private collections in South America, the U.S. and Europe. ballet designer, potter and poet, was born in Malaga, Spain,
October 25, 1881. In 1895 he studied painting in Barcelona,
PEVSNER, ANTOINE, constructivist, painter and theorist, and in 1897 in Madrid. He first went to Paris in 1900, re-
was born in Orel, Russia, 1886. He studied at the Kiev Art turned there in 1901 and 1902, and settled down in 1904.
Academy, 1902-09, and continued his
visited Paris in 1910, Picasso's sculpture has developed in the same direction as his
studies at the St. Petersburg ArtAcademy. In 1913, in Paris, painting. The first sculptures. Seated Woman and Harlequin
he became friendly with Modigliani and Archipenko. He spent of 1899-1905 showed a marked Impressionist influence, but
the years 1914-17 in Oslo with his brother Naum Gabo. In his Head of a Woman, 1909, already showed the beginnings
1917 he was appointed professor at the Moscow Art Academy of a free treatment and interplay of tectonic forms, paralleling
with Gabo, Tallin and Malevich. He abandoned the Cubist his painting. The Demoiselles d' Avignon, which was influ-
approach for abstract construction. In 1920, with Gabo, he enced by Negro sculpture. From 1912-14 he executed collage
wrote the Realist Manifesto, the theoretical and definitive reliefs and freestanding objects representing a new stage of
foundations of Constructivism. He exhibited with his brother development, a skilful interplay between areas of mass and
in Moscow in open opposition to the official use of art as interspersed voids. This stressed the structural contrast, break-
politicalpropaganda, publicly proclaiming the spiritual inde- ing up mass and making it transparent. This tendency culmi-
pendence of the artist. In January 1923 he left Moscow for nated in his Absinthe Glass, 1914, first modelled in wax and
Berlin where he had participated in the Constructivist Exhibi- later cast in six bronze copies. After an interval of ten years
tion and now devoted himself entirely to sculpture. In October From 1928-30 his
Picasso again concentrated on sculpture.
he left Berlin for Paris. In 1924 he exhibited with Gabo at Surrealist period ofDinard found equivalent expression in
the Galerie Percier, Paris. In 1926 his work was exhibited at fabulous sculptural metamorphoses. Later these were suc-
the Little Review Gallery and at the SocieteAnonyme, New ceeded by austere iron constructions reminiscent of his ab-
York. In 192" he collaborated with Gabo on settings and cos- Chef-d'Oeuvre Inconnue, 1931- He
stract illustrations for the
tumes for the Diaghilev ballet. La Chatte. In 1931 he was a also designed monumental compositions in 1928-29, destined
co-founder of the Paris Abstraction-Creation Group. He re- for a siteon the Riviera, looking out to sea. With these de-
newed his friendship with Kandinsky when the latter settled signs,which were never executed, Picasso rose to a new peak
in Paris in 1933. In 1934 he exhibited at the Kunsthalle, of powerful spatial expression, welding both the constructive
Basel. From 1946-52 he was an active member of the Salon and organic element into a telling symbolic synthesis. From
des Realites Nouvelles. Recent exhibitions include: Galerie 1929-32, with the technical assistance of his friend Julio Gon-
Rene Drouin, Paris, 194^; Museum of Modern Art, New zalez he constructed several sculptures in cast iron, which,
York, 1948; Kunsthaus, Zurich, 1949; Battersea Park Exhibi- standing in the garden of his Boideloup studio, look like
tion, London, 1952; Musee d'Art Moderne, Paris, 1952; Tate fusions of vegetable and constructive forms. In later years his
Gallery, London, 1952; "Seven Pioneers of Modern Sculp- attention again turned to the human figure as he modelled
ture," Yverdon, Switzerland, 1954; Retrospective, Musee d'Art small "figurines batons", carved from cylindrical pieces of
Modern, Paris, 195"; Venice Biennale, Brussels Worlds Fair, wood and then cast in bronze. Their proportioning recalls
1958; "Documenta," Kassel, Germany, 1959. In 1953 he both Etruscan statuettes and although differing in structure
became vice-president of the Salon des Realites Nouvelles the work of Alberto Giacometti. During the war years Picasso
and won a second prize in the Unknown Political Prisoner applied himself to turning "found objects" (in the Dada sense,

346
 Pablo Picasso Antoine Poncet Germaine Richier Auguste Rodin

James Rosati Bernard Rosenthal Medardo Rosso Theodore J. Roszak

I
ti§ ««f OluMr/r/yxvO

Oskar Schlemmer Day Schnabel Kurt Schwitters Carlo Sergio Signon

347
 Paul Speck Henri Francois Stahly Richard Stankiewicz

Sophie Taeuber-Arp Vladimir E. Tatlin Erik Thommesen William Turnbull

Hans Uhlinann Georges Vantongerloo Alberto Viani Mary Vieira

348
but without stressing the ironic overtones) into expressive 1957. She was represented at the Brussels World's Fair and
sculpture. Thus, he transformed a saddle into a "prehistoric" Kunsthalle Berne, 1958. She has illustrated the following
head of a bull, or a hollowed-out stone into a macabre Death's works: Arthur Rimbaud's Les Illuminations; Rene de Solier's
Head ( 1943 ) With these experiments, however, he moved to
. Contre Terre; and Pliny's Natural History. Germaine Richier
the borderline of art. They represent the playful outburst of died in Montpellier, France, in 1959.
artistic vitality rather than fully developed works of art. In
this quick attitude Picasso is the complete opposite of Brancusi, RODCHENKO, ALEXANDER, painter, constructivist, typog-
whose slow, painstaking labor is inspired by an unflinching rapher and photographer, was born in St. Petersburg, Russia,
desire for absolute perfection. Picasso's statue, L'homme au 1891. He attended art school in Kazan. His first abstract work
Mouton, executed, after some preliminary sketches, in a single was done in 1914. From 1915-20, in Moscow, he worked with
day in 1944, and his Cock, 1943, constructed in an apparently the Suprematists, exhibiting with Malevich in 1919. From

friable material, may well be counted among his "vivacites 1920-22 he took part in Russian Constructivist exhibitions,
sculpturales". The statue of L'homme au Mouton now stands and in 1922, the Berlin Constructivist Exhibition. In 1925 he
town square of Vallauris. His Bathers exhibited in Paris. He lives in Moscow, working in the applied
in the (1958), orig-
arts field, designing furniture, type faces, posters, and stage
inally constructed in wood in the collage manner and then
cast in bronze, achieve a structural and proportional expres- and cinema decor. He was a member of the Lyev Group.

siveness with a minimum of means. For major exhibitions,

RODIN, AUGUSTE, sculptor, painter, designer, writer,was
see: Catalog by Alfred H. Barr, Jr.; Museum of Modern Art,
born in Paris, France, 1840. At fourteen he attended drawing
New York, 1946. Further exhibitions of his sculpture: Maison Rue de I'Ecole de Medecine, Paris. From 1864-70
classes at the
de la Pensee Frangaise, Paris, 1951; Musee de Lyon; Palazzo
he worked in the studio of Carrier-Belleuse. In 1864 his Man
Reale, Milan; Galleria dell'Obelisco, Rome, 1953. Picasso
with a Broken Nose was rejected by the Salon. His entry for a
now lives in the Chateau de Vauvenargues, Aix-en-Provence.
competition at the Ecole des Beaux Arts was also rejected. In
PONCET, ANTOINE, sculptor, was born in Paris in 1928. Brussels, 1870-77, he worked in the studio of the painter
Son of the Swiss painter. Marcel Poncet, grandson of Maurice Lecoq de Boisbaudran, studying Flemish primitive masters,
Denis, he assisted his father in the latter's stained glass and Gothic art and Rubens. At this time he allied himself with
mosaic workshop. In 1942 he turned from painting to sculp- the Impressionists in their fight against the Academy. In the
ture. Encouraged by Germaine Richier, who then lived in years 1877-80 his statues, Man with a Broken Nose, The
Switzerland, he studied at the Ecole des Beaux-Arts in Lau- Bronze Age, and St. John the Baptist, were accepted by the
sanne, 1943-46. After the war he settled in Paris and worked Salon. In 1884 he began the Burghers of Calais, which was
with Jean Arp on several sculptures. Since 1951 he has ex- erected in 1895. In 1886 he made his first study for the Victor
hibited in group shows at the Salon de la Jeune Sculpture, Hugo monument and in 1887, Project for the Monument au
the Salon des Realites Nouvelles, as well as in Bienne, Win- Travail. Along with paintings by Monet, his sketches for the
tfrthur, Yverdon and Paris. He was
given a one-man show Burghers of Calais were shown at the Galerie Georges Petit,
at the Galerie Iris Clerc, Paris, in 1959-60. He now lives in Paris, 1889. He worked on The Gate of Hell, and on The

St. Germain-en-Laye, near Paris. Thinker which was finished in 1904. His international fame
was established when, in 1900, he was given a special pavilion
RICHIER, GERMAINE, sculptor, painter and graphic artist, at the Paris Exposition. From 1895-98 he concentrated his
was born in Grans, Southern France, 1904. She attended the labors on the Balzac statue which was rejected by the Societe
Ecole des Beaux Arts, Montpellier. From 1925-29 she was a des Gens de Lettres. In 1903 he completed his bust of Victor
pupil and assistant of Bourdelle, and exhibited at the Salon Hugo. From 1906-10 he worked on a monument to Puvis de
d'Automne and Tuileries. In 1934 she won the Blumenthal Chavannes, from 1911-14 on a bust of Clemenceau, and in
Prize for Sculpture, and in 1937 was honored for her sculpture 1915, a bust of Pope Benedict XV. Rodin died in Meudon,
at the Paris Exposition. She spent the years 1939-45 in Switzer- 1917. The bulk of his works are exhibited at the Musee Rodin,
land. In 1952 she won the Sculpture Prize at the Sao Paulo P-aris, the Musee Rodin, Meudon, the Rodin Museum, Phila-
Bienal. She was a committee member of the Salon de Mai. delphia. From the judgment of Brancusi —
as well as from that
Her recent work has included collaboration with the painter
Vieira da Silva. Since 1946 she has lived in Paris. Her exhibi-
of Bourdelle —
one can conceive, what new directions and im-
pulses Rodin gave the further development of sculpture and
tions include one-man shows at: Petit Palais, Paris; Galerie to the following generation: «Au XlXieme siecle la situation
Kaganovitch, Paris; Kunsthalle, Basel; Kunsthalle, Berne; de la sculpture etait desesperee. Rodin arrive et transforme
Kunsthaus, Zurich; Kunsthaus, Winterthur; Anglo-French Art tout. Grace a lui, l'homme redevient la mesure, le module
Center, London, 1947; and Galerie Maeght, Paris, 1948. She d'apres lequel s'organise la statue. Grace a lui, la sculpture
has also been represented at the following exhibitions since redevient humaine dans ses dimensions et dans la signification
1934: Blumenthal Foundation, New York, 1934; Exposition de son contenu. L'influence de Rodin fut et reste immense. .» .

International, Paris, 1937; Kunsthaus, Winterthur, 1942 (Constantin Brancusi, La jeune Sculpture, 4ieme Salon, Edi-
(with Auberjonois) Kunsthalle, Basel, 1943 (with Marini
;
tion Gizard, Paris.)
and Wotruba); Art frangais contemporain, Ottawa, 1947; La
Sculpture frangaise, Berlin, 1948; Sculpteurs contemporains ROSATI, JAMES, sculptor, was born in Washington, Penn-
de I'Ecole de Paris, Berne and Amsterdam, 1948; Frank sylvania, in 1912. He studied with the sculptor, Frank Vittor,
Konst, Stockholm, 1949; Institute of Contemporary Art, Lon- in Pittsburgh and, in 1943, came to New York Ciry, where he
don, 1950; Bienal, Sao Paulo, 1951; Biennale, Venice, 1952; has lived ever since. Hiswork was first exhibited at the Ninth
Plastik im Freien, Hamburg, 1953; Venice Biennale, Kuns- Street show, 1952, and he was given his first one-man show
thalle, Basel, with Vieira da Silva, 1954. Musee d'Art Mod- by the Peridot Gallery in 1954. He has participated in the
erne, Paris, and the museums of Montpellier, Winterthur, Whitney National exhibits of 1952, 1953 and 1954, and in
Zurich, Basel, Curasao, Sao Paulo, Stockholm and Rome own all of the Stable Gallery Annuals. His work has also been

examples of her work. More recently, she has had one-man shown at: Ohio State University; ""Collectors' Show," Leo
shows at: Stedelijk Museum, Amsterdam, 1955; Musee d'Art Castelli Gallery, 1957; Tanager Gallery, 1956, 1957; Rutgers
Moderne, Paris, 1956; Martha Jackson Gallery, New York, University, 1958; Carnegie International of Pittsburgh, 1959-

349
 ..

He was given a one-man show by the Fine Arts Associates in 22 sculptures in Vienna. Italy, his native land, was late to
1959. He teaches at Cooper Union Art School and at Pratt acclaim him. Only the Futurists, Boccioni, Carra, and Soffici,
Institute. from 1909 on began increasingly to praise him in their pam-
phlets, manifestoes and lectures as a pioneer of modern Italian
ROSENTHAL, BERNARD, sculptor, was born in Illinois, in art. They admired Rosso's -attempt to replace the academic con-

1914. A graduate of the University of Michigan, he studied cept of sculpture as the representation of isolated objects with
with Carl Milles at Cranbrook Academy, in 1939- He has ex- a new approach that stressed its relation to space. In 1910, at
hibited extensively in the U.S. and has had twelve one-man the suggestion of the painter, Ardengo Soffici and the writer
shows since 1947, several of them in public museums. His Giovanni Papini, he took part in the Florence exhibition,
works were shown at the Catherine Viviano Gallery, N.Y.C., Prima Mostra dell'Impressionismo, which finally brought him
and at the Brussels' World Fair, in 1958. In 1950 he won fame in his own country. In 1920 examples of his work were
prizes at both the San Francisco Museum and the Los Angeles acquired by the art galleries of Florence, Rome, Venice, Turin
County Museum, and, in 1957, the Los Angeles County Mu- and Piacenza. From 1923-28 he had several exhibitions in
seum awarded him its Sculpture Prize. His many architectural Milan. He died in that city, March 31, 1928. In 1929 the first
commissions include bronze reliefs, thirty feet in height, for retrospective exhibition of his work was held at the Salon
1000 Lake Shore Drive, Chicago, and reliefs three stories in d'Automne, Paris. In 1946 the first posthumous exhibition in
height for 260 Beverly Drive, Beverly Hills, California, Italy was arranged by the Galleria Santo Spirito, Milan. In

(1950). He has also executed bronze fountains and other 1950 a retrospective exhibition providing a general survey
works for the Museum of Science and Industry, Chicago, of his work and development formed part of the Venice Bien-
1941, and a ballet group for R.K.O. Studios, in 1952. His nale. The Museo Barzio, Valsassina (a church transformed
works are to be seen in numerous private collections, as well and provided with special light sources arranged by Rosso's
as at the Los Angeles County Museum; the Illinois State Mu- son Francesco) houses most of the sculptor's works.
seum of Natural History and Art; and the University of
Arizona. He lives in Malibu, California. ROSZAK, THEODORE J., sculptor and painter, was born in
Poznan, Poland, May 1, 1907. In 1909 he emigrated to the
ROSSO, MEDARDO, sculptor, painter, designer, writer, was U.S.A. In 1928-29 he studied at Columbia University and at
born in Turin, Italy, 1858, the son of a railway official. From the Chicago Art Institute where he received a teaching ap-
1881-83 he attended Brera Academy, Milan, revolted against pointment. From 1929-31 he visited Europe. In 1935 he took
the sterile curriculum of the School and was expelled. In up abstract composition in the manner of the early Construc-
1881-82 he produced his first sculpture comprising groups and tivists and was influenced by Moholy-Nagy. Since 1945 his

individual figures taken from everyday life and a "bozzetto" style has undergone a fundamental change; he has replaced

for the Garibaldi monument. There followed various impres- geometric order with organic growth, dynamic in movement,
sionist portraits and figures still reflecting 19th century nat- but structural in composition. ""The work that I am doing now
uralism. In El Cantant a Spass. 1882, the first sculpture mod- constitutes an almost complete reversal in idea and feeling of
elled in his studio on the Via Appia, Milan, he found his my former work (constructivist sculpture done before 1945)
personal style, characterizing the desperation of his own Bo- Instead of looking at densely-populated, man-made cities, it
hemian existence in the resigned gesture of the starving street now begins by contemplating the clearing. The only reminder
singer. This kind of social criticism in sculpturehad started of my earlier experiences that I have retained is the overruling
around 1850 with Daumier's Ratapoil. Rosso's Impressione structure and concept of space..." From 1937-39 he was an
d'Omnibus, 1883-84, a group of figures, and a truly remark- instructor for the "W.P.A. Art Project in New York. In 1940
able work was unfortunately destroyed. It marked the first he became an instructor at Sarah Lawrence College, Bronx-
use of Rosso's original method of combining a series of im- ville, N.Y. He lives in New York. His exhibitions include:

pressionist snapshots of everyday life within the framework Alberton Gallery, Chicago, 1928; Roerich Museum, New
of a structural group. In 1884 he exhibited in Milan, Paris York, 1935; Albany Institute of History and Art, 1936; Julian
and Rome. Leaving Milan for Paris, he worked in Dalou's Levy Gallery, New York, 1940; Museum of Modern Art, New
studio. In 1886 he had an exhibition at the Salon de Paris. York, 1946; Musee d'Art Moderne, Paris and Kunsthaus
From 1886-89, in Milan again, he executed several commis- Zurich, 1953; "Documenta," Kassel, Germany, 1959; Venice
sions for tombstones. Examples of his work, including La Biennale I960. He is represented in the permanent collections
Portinaia and Lo Scaccino. were shown at "Venice. In 1893 his of the Whitney Museum of Art and the Museum of Modern
sculptural group, Contersazione in Giardino, 1893, with the Art, New York, and the Smith College, Northampton, Mass.
great figure turning its back, inspired Rodin in his Balzac

statue, 1898. In 1896 several of his works were shown in SCHLEMMER, OSKAR, painter, sculptoi, stage designer and
London. In 1900 he was represented at the Paris Exposition teacher, was born in Stuttgart, Germany, September 4, 1888.
with his Sick Child. 1893, Laughing Woman. 1891, Head of He attended the Stuttgart School of Arts and Crafts after a
a Child. 1893, Head of a Youth, and Portrait of Af. Rouart, short apprenticeship at designing patterns for inlaid wood
1890, and gained public recognition. His personal relations furniture. On a scholarship at the Stuttgart Academy he
with Degas, Rodin and the collector Rouart brought him into studied under Adolf Hoelzel, the avant-garde leader of the pre-
contaa with the center of artistic life in France. The diagonal, war period. There he met the painters Otto Meyer-Amden and
replacing immobility with expressive movement, is a predomi- Willi Baumeister who became his life-long friends. In 1911
nant element in his compositions. It was the note of social he went to Berlin. In 1914 he designed murals for the German
realism that made Zola purchase Rosso's Portinaia (1883), Werkbund Exhibition in Cologne. During his military service,
while Rodin bought his Laughing Woman (1891), purely 1915, he was seriously wounded. Like Paul Klee, Schlemmer
for its great artistic quality. During the Paris Exposition, 1900, showed a very mystic temperament in his early years; his diary
the art critic, Charles Morice, devoted a lecture at the Rodin contained entries like "the mystic of pictorial means", "the
Pavilion to the work of Rosso which had been by-passed by inner vision granted by the intercourse with nature..." He
the judging Art Committee. In 1904 he exhibited with Rodin aimed at extreme simplification of figure composition and
at the Salon d'Automne, and in 1905 he had an exhibition of symbolic expression (as in his paintings K, and Homo, 1915 )

350
In 1917-18 he was cartographer in the military headquarters with the Sturm Group. He exhibited again, with Klee and
at Colmar. In 1919 he exhibited at the Sturm Galerie of Her- Molzahn, at the Sturm Galerie, 1919, and the review Der
warth Walden, Berlin. In the same year he produced his first Sturm published his poem Anna Blume. In 1921 he com-
abstract relief, a human figure reduced to ovoid and amphora posed Ursonata, a highly fantastic work in basic sound tones,
shapes in a combination of organic and geometrical forms. stimulated by a phonetic poem of Raoul Hausmann. From
From 1919-24 his sculpture stressed the rhythmical interplay 1921-23 he contributed to Mecano, the Dutch Dada review
of concave and convex forms. In 1920 Gropius appointed edited by van Doesburg (De Stijl). In 1921 he also exhibited
him to teach stone-carving at the Bauhaus. In 1921 he was at the Galerie Goltz, Munich and lectured in Prague with
producing free-standing sculpture of abstract figures. He de- Raoul Hausmann and Hanna Hoch. At that time he was con-
signed the Triadic Ballet in 1922, and a year later, murals and structing sculpture out of pieces of wood and other "found"
reliefs for the Bauhaus workshop. In 1925-26 he produced materials. From 1924-35 this modern Till Eulenspiegel was
Hamlet and Don Juan in Berlin, and Manuel de Falla's A fashioning in his Hanover home a Merz-Bau, a monumental
Short Life in Magdeburg. In 1929 he was made a professor at example of ironic Merz art, a "colonne sans fin" of wit, poetic
the Breslau Art Academy. In 1929-30 he painted murals for and picturesque ideas to which he constantly made fantastic
the Hall of Fountains at the Folkwang Museum, Essen. These additions, though always careful to preserve its architectonic
were destroyed in 1933. In 1931 he executed a metal figure for vigor and unity. It was destroyed in an air raid in 1943. In
the hall of Dr. Raabe's house in Zwenckau and worked on 1925 his Sonate in Urlauten was recorded. He took part in the
wire constructions based on reliefs. In 1934 he settled at great exhibition "Surrealistische und abstrakte Malerei",
Eichberg, near the Swiss border and wrote a monograph on Kunsthaus Zurich, 1929- In 1930 he collaborated with the
Meyer-Amden. In 1937 he moved to Sehringen, near Baden- Paris review Cercle et Carre, edited by Michel Seuphor. His
weiler. His works were shown at the Munich exhibition of Merz 21, Erstes Veilchenheft with a description of the Merz-
Decadent Art in the same year. In 1940 he painted murals for Bau KDeE (Cathedral of Erotic Misery, 13,5" x 6,8" x 3,3")
Dieter Keller of Stuttgart. Schlemmer died in Baden-Baden, was published in 1931. The following year he joined the
April 13, 1943. Abstraction-Creation Group. In 1935 Schwitters went into
voluntary exile in Norway, lived at Lysaken near Oslo. He was
represented at the exhibitions Cubism and Abstract Art, and
SCHNABEL, DAY, sculptor, painter, American of Austrian Fantastic Art, Dada and Surrealism, New York, 1936. In 1937
origin. She had a humanist education and studied painting at his art was defamed by his countrymen, four examples of his
the Vienna Academy of Fine Arts, followed by architectural work were shown at the Decadent Art Exhibition, and 13 were
studies and sculpture in Holland, Italy and Paris. World confiscated in German museums. Schwitters was represented
War II she spent in New York. Since 1947 she works and at the English "Counter-Exhibition" Modern German Art at
exhibits both in U.S.A. and Europe. Exhibitions: One-man the Tate Gallery, London, in the following year. After the
show Betty Parsons Gallery, New York, 1947, 1951; Group German invasion of Norway, 1940, he fled to London on
shews: Denise Rene, 1948; Salon des Realites Nouvelles, board an English ship. He lived in London, and later in
Paris, 1948, 1949; "Vry Beelden", Stedelijk Museum, Amster- Ambleside. There he was given an old tower surrounded by
dam, 1949; Whitney Museum Annual, New York, 1949, an organized wilderness of weeds, where he planned and
1950, 1952, 1953; "La jeune Sculpture", Jardin du Musee started a new Merz column. In 1946 he exhibited his paintings
Rodin, Paris, 1948, 1951, 1952, 1953; Salon de Mai, Paris, in London and recited Ursonata and Eve Flower. He died at
1949, 1950, 1951, 1952, 1953; Maison de la Pensee Franfaise, Ambleside, January 8, 1948.
(La Sculpture en France de Rodin a nos Jours), Galerie
Colette Allendy, (Group of Abstract Painters and Sculptors
presented by Charles Estienne), Paris, 1949; Third Open Air SIGNORI, CARLO SERGIO, sculptor, was born in Milan
Biennale, Brussels, 1950; Traveling shows in U.S.A., 1953; in 1906. At the age of eighteen he came to Paris. Starting off
Exposition Particuliere, Galerie Exiibris, Brussels, 1953; one- as a painter, he worked under Bissiere and Andre Lhote. He

man show Palais des Beaux Arts, Brussels, 1953; Open Air thep studied sculpture at the Academie Ranson under the
Show, Middelheim, Antwerp, 1953; Santander (Spain), direction of Malfray. After the Liberation he was commis-
1953; Open Air Show, Ministry of Reconstruction, Paris, sioned to design a monument in memory of the brothers
1954; Betty Parson Gallery, New York, 1957. Her works are Roselli, who were assassinated by the fascists at Bagnoles de
represented in Museums and private collection in both rOrne. This monument, carved out of a single piece of white
hemispheres. Carrara marble weighing 24 tons, was one of the first abstract
monuments in Europe. The potentiality of marble deter-
mined the goal of Signori as a sculptor of hard materials.
SCHWITTERS, KURT, painter, sculptor, designer, typogra- His works are almost exclusively carved out of white and
pher, illustrator and poet, was born in Hanover, Germany, black marble, onyx and other stones. He taught at the Lycee
June 20, 1887. From 1909-13 he studied at the academy in Artistique in Venice in 1940, then he was made professor at
Dresden under Bantzer, Hegenbarth and Kiihl, and later in the Academie des Beaux-Arts and assistant to Arturo Martini.
Munich. He married Helma Fischer 1915 and settled in Han- He had a one-man show in Milan in 1946 and group shows
over at 5 Waldhausenstrasse. In 1917 he did active duty and in Milan, Venice, Trieste, Palermo, Rome and in all the
worked as machine designer in the steel Wiilfel plants. At major national and international exhibitions in Italy, as well
that time his artistic work was expressionistic; his first abstract as those sponsored by Italy abroad. Signori received the Prix
painting dates from 1918. In that year he exhibited at the de la Jeune Sculpture at the XXIV Biennale in Venice and the
Sturm Galerie, Herwarth Walden, Berlin. In 1919, in oppo- Premier Prix de la Ville de Varese at the first outdoor inter-
sition to the semi-political nature of the Berlin Dada move- national exhibition in 1949. His one-man shows include ex-
ment, he founded Merz, a German variant of the Zurich Dada. hibitions at the Galleria del Fiore, Milan, 1954; Galerie Rive
His first Merz picture dates from 1919, and his poems, prose Droite, 1957; a room at the Biennale in Venice, 1958; Galerie
and sculptures, 1919-27, bear witness to his spiritual inde- Creuzevault, 1958; Hanover Gallery, London, 1959. He won
pendence. His artistic work shows the influence of De Stijl. the Prix d'Honneur de la Ville de Paris in 1950 and the Prix
He was an active member of the Berlin avant-garde and worked de Florence in 1953. He lives in Paris and in Carrara.

351
 SMITH, DAVID, sculptor, was born in Decatur, Indiana, hibition, Paris, 1956; religious sculptures for the Vatican
U.S.A., 1906. He attended Notre Dame and George Washing- Pavilion, Brussels World's Fair, and collaborated on the ceil-
ton Universities. Working for a year at the Studebaker auto- ing with Etienne Martin, 1958; worked on the belfry of the
mobile factory in South Bend, Indiana, riveting and casting, new cathedral at Algiers with the architects Herbe and Le
he gained first-hand technical experience. He studied painting Couteur, 1959; created a sculpture and fountain for a park
at the Art Students League, New York. His early sculpture was near Paris, I960.
influenced by Calder and Gonzalez' cast-iron constructions.
Where Gonzalez, however, is still rooted in the old European
STANKIEWICZ, RICHARD, sculptor, was born in Phila-

craft tradition, Smith is a genuine product of the American

He lived in Detroit from 1929 until
delphia, in 1922. 1941,
then served in the U.S. Navy until 1947. Self-taught, he has
industrial background in his choice of materials and formal
worked both at painting and sculpture. In 1948, he came to
expression. "The change from one machine to another means
no more than changing brushes to a painter or chisels to a
New York and studied at the Hans Hoffmann School of Fine
Arts. In 1949, he went to Paris, where for three months he
carver..." In 1934 he made his first sculpture in steel. He
studied at the Atelier Fernand Leger before going on to work
carves directly in steel, bronze, and iron, rarely casting,
at the Atelier Ossip Zadkine. Returning to New York in
but frequently cutting and welding. His work shows a strong
1951, he set up his own studio and, in 1952, helped to found
sense of humor. In 1941 he set up his own workshop at the
the Hansa Gallery, to which he belonged until 1958. He has
Terminal Iron Works, Bolton Landing, Lake George, N.Y.
had one-man shows each year at the Hansa Gallery through
In 1950 he was awarded a Guggenheim Fellowship. Since
1958, and, subsequently, at the Stable Gallery. His works
1937 he has exhibited at the Willard Gallery, New York. He
have been exhibited in a number of shows, among them: the
was represented in a group exhibition of American artists
Academy of Fine Arts, 1954;
Biennial, at the Pennsylvania
shown in Paris, at the Kunsthaus, Zurich, 1953, at the Bienal
the Whitney Museum Annual, 1956; the American Federa-
at Sao Paulo and "Documenta," Kassel, Germany, 1959. His
tion of Artists' traveling exhibit, 1956; "Sculpture U.S.A.,"
one-man shows include: Museum of Modern Art, N.Y.,
at the Museum of Modern Art, 1958, the International Ex-
1957; French & Co., N.Y. I960. Bibl.: special David Smith
hibition, at the Carnegie Institute, 1958; the Venice Biennale,
number, "Arts," New York, February, I960.
1958; "16 American Artists," at the Museum of Modern Art,
SPECK, PAUL, painter, sculptor and ceramic artist, was born 1959. He is represented in numerous private collections, as
in Hombrechtikon, Switzerland in 1896. A self-taught crafts- well as in the Whitney Museum, the Museum of Modern Art
man, he worked and taught in Munich and Karlsruhe, Ger- and the Albright Museum.
many, from 1914 to 1934. In 1934 he took up residence in
TAEUBER-ARP, SOPHIE, painter, weaver and
sculptor,
Zurich, where he created fountains and garden sculptures,
teacher was born at Davos, Switzerland, 1889. Her mother
both figurative and abstract. His work has been exhibited at
was of Polish descent. From 1908-10 she studied at the Kunst-
the Venice Biennale, 1954, and at the Swiss Exhibition of
gewerbeschule, St. Gall, and from 1911-13 at the Debschitz
Sculpture at Bienne, 1955 and 1958. He lives in Zurich.
School, Munich. She taught at the Kunstgewerbeschule,
STAHLY, HENRI FRANCOIS, sculptor, graphic artist and Zurich, 1916-29. In 1916 she met Jean Arp and became an
writer, was born in Constance, Germ^any, March 8, 1911. Up active member of the Zurich Dada Group until 1920. At that

to the age of 20 he lived in Switzerland, at Lugano, Winter- time she attended the Laban dancing school and performed at
thur and Zurich. He began his career as a graphic artist. In Dada evenings. In 1921 she and Arp married. In 1926 they
Paris, 1931, he attended the Academic Ranson under Malfray, settled in Meudon, in a house of her own construction. With

and studied in Maillol's studio. In 1937 he was represented Arp and van Doesburg she decorated the Aubette Restaurant
at the Paris Exposition and worked with the Temoignage and Bar at Strasbourg, 1927-28. She belonged to the Paris
Group. His first abstract work was done in 1938. In 1939 he Abstraction-Creation Group, 1931-36, and to the Swiss
enlisted in the French Army, thus becoming in French Allianz Group, 1937-43. In 1937 she edited the review
citizen. In 1945 he was represented in a collective exhibition Plastique. From 1941-43 she lived at Grasse in Southern

of young artists at the Galerie Rene Drouin, Paris. After the France, sharing an artistic communal life with Arp, Magnelli
war he exhibited at the Salon de Mai, Realites Nouvelles, and and Sonja Delaunay. She died through an accident in Zurich,
the Salon de la Jeune Sculpture, Paris. Examples of his work 1943- Her exhibitions include: Museum of Modern Art, New
were shown in group exhibitions in Germany, Sweden, Italy York, 1936 (Fantastic Art, Dada and Surrealism); Kunst-
and Japan, at the opening exhibition of the Museum of Sao halle, Basel, 1936, 1944; Galerie Jeanne Bucher, Paris, 1939;

Paulo, at the exhibition of contemporary French sculptors, Galerie des Eaux Vives, Zurich, 1945; Sidney Janis Gallery,
Berne (1949), and at the Antwerp Biennale (1951). Since New York; Galerie Denise Rene, Paris, 1950; Kunstmuseum,
1949 he has lived at Bellevue-Meudon near Paris. In 1952 he Berne; Galerie Bing, Paris, 1954.
had his first one-man show at Studio Facchetti, Paris. In the
TATLIN, VLADIMIR E., constructivist, painter and designer,
same year he collaborated with the architects Herbe, Le Cou-
was born in Moscow, Russia, 1885. He
studied there at the
teur and Pinsard on a church at Bizerte, Tunis, and later
Academy 1910, then he worked at the school of Larionov's
till
worked with Kazis on a church at Baccarat. His most recent
till 1912; cooperated with the Moscow "Primitives" and
exhibits include: Park Middelheim, Antwerp, 1953, 1954;
Cubists. His first constructions belong to the period 1913-15.
Biennial Arnheim and Bienal Sao Paulo, 1954; Milan Trien-
He was a teacher at the Moscow Academy up to 1919. His
niale (Gold Medal), 1954; Contemporary Sculpture exhibit,
project for a Monument to the 111 International dates from
Rodin Museum, Paris, 1956; Sao Paulo Bienal (Grand Prix
1920. "The town itself must live in the monument of today"
de Matarazzo), 1957; "Documenta," Kassel, Germany, 1959;
(Tatlin). He lived in Moscow.
Sculpture exhibition, Arnheim, 1959; Open-air exhibits,
London and Amsterdam, I960; one-man show, Bertha Schae- THOMMESEN, ERIK, sculptor, was born in Copenhagen,
fer Gallery, N.Y., I960. In 1958, Stahly founded an art school Denmark, February 15, 1916. He is a self-taught sculptor who
in Meudon. His works include: window reliefs for the church began with clay and has progressed to carving in wood and
of Baccarat, in collaboration with Poncet, Etienne Martin and stone. His aim is to express in sculpture the organic move-
Delahaye. 1955; transparent wall for the General Motors Ex- ment of life. "Sculpture should grow into space as naturally

352
Carel Visser Wander Bertoni Fritz Wotruba

353
as a plant." He has exhibited in Copenhagen, Stockholm, Am- 193 1; Aero-Nautique Exhibition, Paris, 1931; Abstraction-
sterdam, Liege, and at the Salon de Mai, Paris. He lives at Creation, Paris, 1934; Museum of Modern Art, New York,
Blistrup near Graested, Denmark. 1936; Mural Art Exhibition, Paris, 1936; Kunsthalle, Basel,
1937-39; Galerie L'Equipe, Paris, 1937-39; Galerie de Berri,
TURNBULL, WILLIAM, sculptor, was born in Dundee, Paris, 1943; Kunsthalle, Basel, 1944; Realites Nouvelles,
Scotland, 1922. He grew up in Edinburgh and now lives in Paris, 1946; Kunsthaus, Zurich, 1949; Rose Fried Gallery,
London. He is now more interested in the human figure. In New York, 1953. Lives in Paris.
1950 he had his first exhibition at the Hanover Gallery, Lon-
don. In 1952 he was represented at the Venice Biennale. Ex-
VIANI, ALBERTO, sculptor, was born at Quistello, near
Mantua, Italy, March 26, 1906. From 1944-47 he studied at
amples of his work are in private collections in London and
the Venice Art Academy under the sculptor Arturo Martini.
Paris. His exhibitions include: Venice Biennale, 1952; exhi-
bition of British Sculptors, Sweden, 1956; Sao Paulo Bienal,
He is a member of the Fronte Nuovo delle Arti, a postwar
group. There is strong influence of Arp in his designs. In
1957; and a one-man show at the Institute of Contemporary
Arts,London, 1957. 1949 he won the Prize for Sculpture in Varese. His Torso
feminile was bought by the Museum of Modern Art, New
UHLMANN, HANS, sculptor, designer, teacher, was born in York. At present he is teaching at the Academia delle Belle
Berlin, Germany, November 27, 1900. Up to 1933 he was at Arte, Venice. His exhibitions include the Venice Biennale,
the Institute of Technology, in Berlin, first as a student, then 1950, 1952, 1954, 1956, 1958; "Documenta," Kassgl, Ger-
His sculptural work dates back to 1925. His first
as a teacher. many, and the exhibitions at Varese, Antwerp, Sao Paulo
exhibition was at the Galerie Gurlitt, Berlin, 1930. From Bienal, 1953.
1933-1945 he did not show his work to the public; he was VIEIRA, MARY, sculptor, was born in Sao Paulo, Brazil,
then working on sculpture constructed of metal sheets, wires July 30, 1927. First she joined a group of young Brazilian
and rods. This was exhibited for the first time in 1945 at the sculptors, turning towards elementary forms of expression in
Galerie Rosen, Berlin. Since then he has often exhibited in 1950. She was impressed by an exhibition of the complete
Berlin and other cities (Galerie Giinther Francke, Munich, work of Max Bill at Sao Paulo and decided to become one of
1950; Galerie Ferd. Moller, Cologne, 1952; Kestner-Gesell- his pupils. Therefore she went to Zurich, 1952, and has been
schaft,Hanover, 1953) In 1950 he was awarded the "Kunst-
.
living there ever since. From Switzerland she took various
preis der Stadt Berlin" and, in 1954, the German Critics' trips to Germany, Italy and France. Exhibitions: II Bienal,
Award. Exhibitions: Sao Paulo Bienal (where he was awarded Sao Paulo, 1953, (where she was awarded the "National Prize
a prize for hisdrawings), 1952; Lucerne, 1953; Hamburg, for Young Sculptors"); III Bienal, Sao Paulo, 1955; Kunst-
1953; Amsterdam, 1954; "New Decade," Museum of Modern gewerbemuseum, Zurich (Brazil Builds), 1954; Brazilian
Art, New York, 1955; Kleeman Galleries, New York, 1957; Plastic Arts Exhibition at the Morsbroich museum, Lever-
"German Art of the Twentieth Century," Museum of Modern kusen, Germany, 1956; "Interbau," Berlin, 1957; Gallery of
Art, N.Y., 1957; Brussels World's Fair, 1958; "Documenta," Art, Basel, 1958; Brussels World's Fair, 1958; Musee
Modern
Kassel, Germany, 1959. In 1954, he created a sculpture for des Beaux Arts, Yxelles, Belgium, I960, and Kunstmuseum
the new Berlin Music Hall and in 1957, a metal sculpture for St. Gallen, Switzerland, I960.
"Innenbau-Ausstelung," Berlin-Hansaviertel, and, in 1958, he
VISSER, CAREL, sculptor, was born in Papendrecht, Holland,
was commissioned to create several monuments and sculptures
May 3, 1928. He first studied at the University of Delft, 1948-
for the towns of Munich, Frankfurt/Main, Leverkusen, Frei-
49, then at the Academy of The Hague, 1949-51. He traveled
burg/Breisgau University. Since 1959 he has been a professor
through England and France in 1951, then settled in Amster-
at the Academy of Fine Arts, Berlin.
dam. He created sculptures for the waterworks of Leerdam,
VANTONGERLOO, GEORGES, sculptor, painter, architect 1954; the Netherland's Pavilion at the 1955 exhibition; the
and theorist, was born Antwerp, Belgium, November 24,
in
Police Station in Amsterdam West, 1957; the Netherland's
Pavilion at the Brussels World's Fair, 1958. In 1957, he was
1886. He attended the academies at Antwerp and Brussels,
studying sculpture and architecture. After moving to Holland
awarded a grant by the Italian Government. His works have
he met Mondrian and Doesburg and joined the Stijl move- been shown at the Venice Biennal of 1958; Park Middelheim,
ment. Vantongerloo, the youngest member of the group rep- Antwerp, 1958; in Sonsbeek, 1954, 1956, 1958. He was
given a one-man show at the Stedelijk Museum, Amsterdam,
resented the movement in the field of sculpture, and contrib-
in 1960.
uted stimulating suggestions to the development of the group.
Today he is the sole survivor. From 1914-17, on active service, WOTRUBA, FRITZ, sculptor, was born in Vienna in 1907.
he designed airports and bridges and worked on city planning. In 1938, he went to live in Switzerland and remained there
From 1919-21 he lived on the Riviera and in Brussels, writ- until 1945, when he was recalled to Vienna to assume the
ing a series of essays on modern formal design in its relation directorship of the sculptor's school at the Academy of Arts.
to the contemporary cultural situation. His approach combines Trained as a stonecutter, Wotruba has been sculpting in stone
scientific knowledge, artistic invention, the mysteries of crea- since 1926. His work has been represented in numerous ex-
tive power, in one all-embracing unity. He expounded this hibits, among these: Werkbund Exhibition, Vienna, 1930;
theory for the first time in his critical study. Art and Its Folkwangmuseum, Essen, 1931; Kunsthaus, Zurich, 1931;
Future. Antwerp, Sikkel, 1924, and later in Paintings, Sculp- Basel Museum, 1942; Kunsthalle, Berne, 1943; Venice Bien-
tures. Reflections. New York 1948. Although his art is based nale, 1932, '34, '48, '50, '52; Musee d'Art Moderne, Paris,
on measure and proportion, he moves poetically within newly 1948; Institut Fran^ais d'Innsbruck, 1950; Salzburg, 1952;
discovered spatial dimensions that are both universal and Gallery Wiirthle, Vienna, 1954; traveling exhibit to North
unlimited. From 1932-35 he was an active member of the and South America, arranged by the Institute of Art, Boston,
Paris Abstraction-Creation Group. He lives in Paris. His ex- 1955-56; Brussels World's Fair, 1958, "Documenta," 1959.
hibitions include: Geneva, 1922; Art d'Aujourd'hui, Paris, His work is in private collections as well as in numerous
1926; Brooklyn Museum, 1926; Kunsthaus, Zurich, 1929; museums, including the City Museum and the Austrian Gal-
Galerie Bonaparte, Paris, 1929; Stockholm, 1930; Wolfens- lery, Vienna; the Winterthur Museum; the Kunsthaus, Zurich;
berg Gallery, Zurich, 1930; Palais des Beaux Arts, Brussels, the Tate Gallery, London.

354
Modern art and sculpture

A Selective Bibliography by Bernard Karpel

The Librarian, Museum of Modern Art, New York

355
Within the framework established by the preceding text, this bibliography

attempts to encompass the relevant literature. Consideration has been given

to the need for: (1) general and individual references to books, catalogs
and periodicals; ( 2 ) comparable materials in several languages when avail-

able; ( 3 ) divergent views on developments and artists of significant accom-

plishments; (4) bibliographical listings which indicate readings beyond

the present survey of sculpture and sculptors; ( 5 ) incorporation into this

record of all references noted in the first edition (1937), but under appro-

priate sections. Illustrations in the bibliography have been selected from

material actually cited.
Of course, there remain matters of detail which are best answered by con-
sulting the known magazine indexes, a point to be particularly observed

in the instance of younger talents who lie just outside or inside the periph-

ery of art publications. Too often, the "authoritative" study in the con-

temporary area seeks to revive a past already dead, or ignore the present
which insistently eludes it. Only in recent years, dating approximately

from the conception of Giedion-Welcker's text, has there been a sense of

modernity among historians and critics able to escape the orbit of sculp-
tural academism. In no small measure, that strength has been imparted by
the artists themselves, whose insights have been not only plastic but ver-

bal. Granted, as Reg Butler says, that "finding active verbal equivalents
for plastic manifestations is the writer's excitement, not the working
artist's," it is none the less true that creator and critic are jointly dedicated
to a search for clarity in form and meaning. Perhaps it has never been
more so than today, which itself is part of the contemporary esthetic.
The I960 edition of Contemporary Sculpture has undergone numerous
revisions, except for the scholarly bibliography by Bernard Karpel, which
has been taken over without any corrections and changes from the 1955
edition. Readers of this new edition should consult other recent publications
for additional information.

356
 Arts of Today
An History & Theory A 1-56

Movements & Styles

Abstract Art 8c Cubism B 1-16

Constructivism & Concrete Art C 1-10
De Stijl, Neoplasticism &c The Bauhaus D 1-13
Expressionism & Futurism E 1-18
Fantasy, Dada & Surrealism F 1-15

General Periodicals G 1-24

Special Numbers on Sculpture H 1-8

International Sculpture I 1-23

Selected Articles 1-35
J
Collections & Exhibitions K 1-22
National Groups L 1-69

Modern Sculptors
"

M 1-479
Adam - Archipenko - Armitage - Arp - Baidessari - Beothy -
Bill - Bloc - Boccioni - Bodmer - Bourdelle - Bourgeois - Brancusi
- Braque - Burckhardt - Butler - Calder - Callery - Chadwick -

Daumier - Degas - Doesburg - Duchamp - Duchamp - Villon

- Ernst - Ferber - Freundlich - Gabo - Giacometti - Gilioli -
Gon^ale^ - Gris - Hajdu - Hare - Hartung - Hausmann
- Hepworth - Jacobsen - Lardera - Las saw - Laurens -
Le Corbusier - Lehmbruck - Lipchit\ - Lippold - Maillol
- Malevich - Marini - Martins - Ma tare- Matisse - Medunie^^ky -
Mingui(tii - Mirko - Miro - Modigliani - Moholy-Nagy - Moore
- Mailer - Nivola - Noguchi - Obrist - Paolo^t^i - Pevsner -
Phillips - Picasso - Richier - Rodchenko - Rodin - Rosso - Ros^ak
- Schlemmer - Schnabel - Schwitters - Smith - Stahly -
Taeuber-Arp - Tatlin - Thommesen - Turnbull - Uhlmann
- Vantongerloo - Viani

Addenda: Books & Catalogs N 1-10

Abbreviations

bibl. item so numbered in the bibliography

ch. chapter

ed. editor(s), edited by ; edition(s)

ill. illustrated ; illustration(s)

incl. including

no., nr. number, numero, nummer, heft

n. s. new series

p. page(s)
pi. plate(s)
data supplied
[ ]
* noted in bibliography, 1937 edition

357
 Chan of Stylistic Evolution. From bibl. K 20, no. 2, 1948.

358
 . .

Arts of Today: *A 19 HAUSENSTEIN, WILHELM. Die bildende Kunst

Art History and Theory der Gegenwart. Stuttgart und Berlin, Deutsche Ver-
lags-Anstalt, 1914.
A 1 BALL, HUGO. Die Flucht aus der Zeit. Miinchen A 20 HILDEBRANDT, HANS. Die Kunst des 19. und
und Leipzig, Duncker & Humblot, 1927. New edition: 20. Jahrhunderts. p. 279-452 ill. Potsdam, Athenaion,

Lu:(ern, Stacker, 1946. 1924 (postscript 1931).

*A2 BENDIEN, J. Richtingen in de hedendaagsche A 21 JAKOVSKI, ANATOLE. Six Essais. 47 p. ill.

Schilderkunst. Rotterdam, Brusse, 1935. Patis, Povolozky [1933]. Includes Arp, Calder, Pevsner.

A3 BILL, MAX. Form: a Balance Sheet of Mid — Subsequently enlarged to 20 Essais (1935), including

Twentieth Century Trends in Design. 168 p. ill. Ernst, Giacometti, Gon:^ak:^, Lipchit:^, Picasso, Taeuber-
Basel, Werner, 1952. Text in French, English, German. Arp etc.

A4 BILLE, EJLER. Picasso, Surrealisme, Abstrakt Kunst. *A 22 KANDINSKY, WASSILY. Uber das Geistige in der

286 p. Copenhagen, Helios, 1945. Bibliography.

ill. Kunst. Miinchen, Piper, 1912. Several language editions

A5 BITTERMANN, ELEANOR. Art in Modern Archi- and translations, e.g. London, 1914, New York, 1946.
tecture, p. n-\49. New York, Reinhold, 1952. Recent authorir^ed edition: Concerning the Spiritual in
*A6 BURGER, FRITZ. Einfuhrung in die moderne Art and Painting in Particular. 93 p. ill. Wittenborn,
Kunst. Berlin-Neubabelsberg, Athenaion, 1917. New York, 1947,
Schultz, reprint 1955.

*A7 CARNAP, RUDOLF. Der logische Auf bau der Welt. A 22 a KARPEL, BERNARD. Arts of the Twentieth
Berlin, Weltkreisverlag, 1928. Century: a Bibliography. [1000 pp.] ill. New York,
*A8 CARNAP, RUDOLF. Scheinprobleme in der Philo- Wittenborn, (scheduled for 1956). Includes major
sophic. Berlin, Weltkreisverlag, 1928. section on Sculpture illustrating the polar concepts of
A9 COSTANTINI, VINCENZO. Architettura, Scul- realism and abstraction in contemporary practice.
tura, Pittura Contemporanea Europea in un Secolo A 23 KASSAK, LUDWIG & MOHOLY-NAGY, LA-
di Materialismo. 350 p. ill. Milano, Ceschina, 1951. DISLAS, ed. Buch neuer Kunstler. [94]p. ill. Wien,
*A10 CURJEL, HANS. Triumph der Alltaglichkeit. Berlin, Zeitschrift"MA", 1922.
Hesseverlag, 1929. A 24 LEBEL, ROBERT, ed. Premier Bilan de I'Art Actuel,
All DOCUMENTS OF MODERN ART. Edited by Ro- 1937-1953. 330 p. ill. Paris, Le Soleil Noir, 1953.
bert Motherwell. New York, Wittenborn,Schultz,l 944, At head of title: Le Soleil Noir. Positions. No. 3 <& 4,
in progress. Includes texts by Arp, Ernst, Kandinsky, 1953. Max Clarac-Serou: "Voies et impasses de la
Mondrian, Moholy-Nagy. Also Apollinaire, Duthuit, sculpture contemporaine" ,p. 123-127. Plates, p. 128-143.
Raymond on major movementes and personalities.
Kahnweiler, "Notices biographiques" ,p. 276-328.
*A 12 EINSTEIN, CARL. Die Kunst des 20. Jahrhunderts. *A25 LE ROUZIC, ZACHARIE. Corpus des Signes graves
3. Aufl. 656 p. ill. incl. pi. Berlin, Propylaen, 1931. desMonuments megalithiques. Paris, Picard, 1927.
Zur Plastik, p. 218-229. Second edition, 1928 (576 p.). A 26 MALRAUX, ANDRfi. Le Musee Imaginaire de la
First edition, 1926. Sculpture Mondiale. 66 p. plus 704 pi. Paris, Galerie
A 13 EVANS, MYFANWY, ed. The Painter's Object. dela Pleiade (Gallimard), 1952.
147 p. ill. London, Howe, 1937. "Notes on Sculpture" A 27 MEIER-GRAEFE, JULIUS. Entwicklungsgeschichte
by Moore, p. 21-29 ; "Mobiles" by Calder, p. 63-67. der modernen Kunst. 2. Aufl. 3 vol. ill. Stuttgart,
Also statements and essays by Kandinsky, Ernst, Picasso, Hoffmann, 1914-15. First edition, 1904. Partial con-
Moholy-Nagy, etc. tents, vol. 2 (1915): Europdische Plastik - Rodin -

A 13 a FOCILLON, HENRI. The Life of Forms in Art. Impressionismus in der Plastik - Maillol - Von Maillol ^«
94 p. ill. New York, Wittenborn, Schultz, 1948. Lehmbruck (p. 435-555) Supplemented by
. his Die Kunst

Second English edition, enlarged. French editions: Vie des unserer Tage von Cezanne bis heute, 2. eJ. (Miinchen,
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*A 14 FREUD, SIGMUND. Neue Vorlesungen iiber ''A 28 MOHOLY-NAGY, LASZLO. Malerei, Photogra-
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A 16 GIEDION, SIEGFRIED. Space, Time and Archi- hausbucher 14. "Der weitere Weg des Materials: das
tecture. 3. ed, 736Cambridge, Mass., Harvard
p. ill. Volumen (Plastik)" p. 93-192. Translation: The
,
New
University Press, 1953. The Charles Eliot Norton Vision, from Material to Architecture. 191 p. ill. New
lectures (1938-1939) first published 1941 ; also 1949. York, Brewer, Warren <& Putnam [1930]. Issued in
A 17 GIEDION-WELCKER, CAROLA. Poetes a I'Ecart; second edition by W. W. Norton (New York, 1938).
Anthologie der Abseitigen. 272 p. ill. Bern-Biimpliz, Third revised edition by Wittenborn, Schult^, (New York,
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Schwitters and others. Biographical notes. A 30 OZENFANT, AMfiDfiE. Foundations of Modern
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p. 403 seq. New York, Pantheon, 1945. Includes 1929 followed by 1931 editions: German (Leben und
Bourdelle, Maillol, Picasso, Braque, Boccioni, Malevich, Gestaltung, Potsdam), English and American editions,
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359
 *A31 OZENFANT, AM^DfiE & JEANNERET. La Movements
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ed. 144 p. ill. London, Faber & Faber, 1948; New by Dr. Lucien Goldschmidt.
York, Putnam, 1949. First edition issued 1936, "Epi- A 50 CIRLOT, JUAN EDUARDO. Diccionnario de los Is-

logue 1947" surveys American art. mos. 414 p. ill. Barcelona, Buenos Aires, Argos, 1949.
*A 34 READ, HERBERT. The Meaning of Art. Rev. ed. A 51 FARNER, KONRAD. Bibliographic. In LUCERNE.
191 p. ill. Bungay, Suffolk (England), Penguin & KUNSTMUSEUM. These, Antithese, Synthese.
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1932. Mar. 31 Pt. I. Ideologische Situation der Gesellschaft
.
—
A 35 READ, HERBERT. The Philosophy of Modern Art; //. Periodica — ///. Theorie — IV. Mathematik —
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*A 36 REICHENBACH, HANS. Wahrscheinlichkeitslehre. 156 p. ill. New
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Leiden, Sijthoff, 1935. Texts: Genesis and perspective of surrealism (Andre
A 36a RITCHIE, ANDREW C, ed. The New Decade: Breton) —
Abstract art, concrete art (Hans Arp) —
22 European Painters and Sculptors. Ill p. ill. New Abstract art ( Piet Mondrian) — Manifesto of the futurist

York, Museum of Modern Art, \955. Includes Armitage, painters, 1910 — Realistic manifesto, 1920 (Gabo and
Butler, Chadwick, Mingur^^i, Mirko, Richier. Pevsner) — Inspiration to order (Max Ernst) — Notes
A 37 SALVINI, ROBERTO. Guida all'Arte moderna. on abstract art (Ben Nicholson) — Quotations from
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Artisti", p. 231-295. A 53 HUNGERLAND, HELMUT, ed. Selective current

*A 38 SCHLICK, MORITZ. Raum und Zeit in der gegen- bibliography for aesthetics and related fields, fournal
wartigen Physik. Berlin, 1918. of Aesthetics and Art Criticism, 1945 — current. An
*A39 SCHULZE-MAIZIER, FRIEDRICH. Die Oster- international selection, compiled annually, covering all the
insel. Leipzig, 1931. arts, with emphasis on theoretical articles on art, literature,

*A40 SPEISER, ANDREAS. Die mathematische Denk- philosophy and psychology.

weise. Zurich, Rascher, 1932. A 54 LEMAITRE, GEORGES. From Cubism to Sur-
*A41 SWEENEY, JAMES J. Plastic Redirections in realism in French literature. 2. ed. 256 p. ill. Cam-
20th Century Painting. 103 p. ill. Chicago, Univer- bridge, Mass., Harvard Univ. Press; London, Oxford
sity of Chicago, 1934. Univ. Press, 1947. On cubism, dada and surrealism.
*A42 SYDOW, ECKART von. Kunst der Naturvolker First edition, 1941. Bibliography, p. 225-248.
(Sammlung E. von der Heydt). Berlin, Cassirer, 1932. *A 55 LISSITZKY, EL. & ARP, HANS. Die Kunstismen.
A 43 TAPlfi, MICHEL. Un Art autre, ou II s'agit de lip. plus pi. Erlenbach-Ziirich, Miinchen und Leip-
nouveaux Devidages du Reel. [122] p. ill. Paris, zig, Rentsch, 1925. Cover-title: Kunstism 1914-1924.
Gabriel-Giraud, 1952. Includes plates by Richier, Butler Text also in French and English.
and other sculptors. A 55 a MESENS, E. L. T., ed. 75 Oeuvres du demi-siecle,
A 44 THIEME, ULRICH & BECKER, FELIX, ed. All- 14 juillet — 9 septembre. 64 p. ill. Bruxelles, La
gemeines Lexikon der bildenden Kiinstler. 36 vol. Connaissance, \9S\."Knokke-Le Zoute — Albert Plage.
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and bibliographical notes, with meagre coverage of modern A 56 NEWHALL, BEAUMONT. Bibliography [of Ab-
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A 45 THREE LECTURES ON MODERN ART. By ments: Abstract expressionism, Bauhaus Group, Con-
Katherine Dreier, James Johnson Sweeney, Naum structivism, Cubism, Dada and surrealism. Futurism,
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*A 46 WEYL, HERMANN. Raum, Zeit, Materie. 4. Aufl.
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A 47 WHYTHE, LANCELOT L., ed. Aspects of Form: Abstract Art and Cubism
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A 48 ZERVOS, CHRISTIAN. Histoire de I'Art contem- ers,Aesthetic Meditations 1913. 2. ed. 65 p. ill. New
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360
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B 2 ALVARD, JULIEN & GINDERTAEL, R. V., ed. C4 BIEDERMAN, CHARLES. Art as the Evolution of
T^moignages pour I'Art abstrait. 292 p. ill. Paris, Art Visual Knowledge. 696 p. ill.Red Wing, Minn.,
d'Aujourd'hul, 1952. Biederman, 1948. Bibliography.
B3 AZCOAGA. ENRIQUE. El Cubismo. 33 p. plus C5 BILL, MAX. Von der abstrakten zur konkreten
51 pi. Barcelona, Omega, 1949. Kunst: eine Einfiihrung in Probleme der zeitgenossi-
B4 BONFANTE, EGIDIO & RAVENNA, JUTI. Arte schen Kunst. Amphioxus 2 no. 3 5 8, 1946. : —
cubista, con le Meditations esthetiques sur la peinture C6 CIRCLE. International Survey of Constructive Art.
di Guillaume Apollinaire. 225 p. incl. 67 pi. Venezia, J. L. Martin, Ben Nicholson, N. Gabo. 292 p.
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B 5 FORNARI, ANTONIO. Quarant 'anni di Cubismo: C7 DROUIN, RENF;, GALLERY. Art Concret. [16] p.
Cronache, Documenti, Polemiche. 190 p. ill. Roma, plus 12 pi. Paris, 1945. Exhibit held June —July, including
Capriotti, 1948. Arp, Freundlich, Pevsner, Taeuber-Arp, Van Doesburg.
B 6 LA GAZETTE DES BEAUX-ARTS. Les Createurs C 8 GEGENSTAND. Internationale Rundschau der
du Cubisme. Preface de Maurice Raynal, Catalogue Kunst der Gegenwart, no. 1 — 2. Berlin, 1922. Edited
par Raymond Cogniat. 2. ed. 32 p. ill. Paris, 1935. by El Eissit^ky and Ilya Ehrenburg in German, French
"Exposition . . . no. 13 . . . mars-avril." ("Obfet") and Russian ("Vesch") text.
*B 7 GLEIZES, ALBERT & METZINGER, JEAN. Du C9 HARTLAUB, G. F. Riickblick auf den Konstrukti-
"Cubisme". 44 p. plus 24 ill. Paris, Figuiere, 1912. vismus. Das Kunstblatt 10 no. 7: 253-263, 1927.
B8 GLEIZES, ALBERT & METZINGER, JEAN. C 10 KALLAI, ERNST. Konstruktivismus. Jahrbuch der
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T. Fisher Unwin, 1913.
*B 9 GLEIZES, ALBERT. Kubismus. 101 p. incl. 47 ill.
Miinchen, Albert Langen, 1928. (Bauhausbiicher 13). De Stijl and Neoplasticism
B 10 JANNEAU, GUILLAUME. L'Art cubiste: Theories
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ill. Schultz, into English and French.
1949. Published 1920 as Der Weg zum Kubismus by *D2 MONDRIAN, PIET. Neue Gestaltung, Neoplasti-
Daniel Henry. zismus, Nieuwe Beelding. 66 p. ill. Miinchen, Langen,
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B 13 KUPPERS, PAUL ERICH. Der Kubismus, ein kiinst- York, Wittenborn, Schultz, third printing 1951 ; first
lerisches Formproblem unserer Zeit. 62 p. plus 40 ill. edition, 1945. Bibliographical note.
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Leipzig, Klinkhardt D4 NEW YORK. MUSEUM OF MODERN ART. De
*B14 NEW YORK, MUSEUM OF MODERN ART. Stijl. 13 p. ill. 1952. The museum Bulletin, v. 20 no. 2,
Cubism and Abstract Art. 249 p. ill. New York, Winter 1952153, issued for the exhibition also shown at
Museum of Modern Art, 1936. Historical survey of Amsterdam and the Biennale, Venice.
abstract and cubist art in Europe for exhibition organin^ed D 5 SEUPHOR, MICHEL. Piet Mondrian et les origines
by Alfred H. Barr, Jr. "Cubist sculpture", p. 103-115. In- du neo-plasticisme. Art d" Aujourdhui no. 5 : [8-9] ill.

cludes valuable chronologies, extensive catalogandbibliography. Dec. 1949. This number contains a sequence of articles: Piet
B 15 PARIS. MUSfiE NATIONAL D'ART MODERNE. ''
Mondrian [ Texte manuscrit],p. [6-7] ; Le home, la rue, la
Le Cubisme (1907—1914), 30 Janvier 9 Avril. 63 p. — cite, p. [ 1 0- 1 1].DelMarle,Influence de Mondrian,p. [ 12-13].

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B 16 SEUPHOR, MICHEL, ed. L'Art abstrait: ses Ori- 178 p. ill. Milano, Tamburini, 1953. Bibliography,
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bibliographical notes. D7 VORDEMBERGE-GILDEWART, F. Zur Ge-
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Constructivism and Concrete Art

C1 ART CONCRET. Num(^ro d'introduction du Groupe The Bauhaus

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C2 BASEL. KUNSTHALLE. Konkrete Kunst. 64 p. ill. D8 ARGAN, GUILIO CARLO. Walter Gropius e la
1944. Exhibition, held Mar. 18—Apr. 16, included Bauhaus. 202 p. Torino, Einaudi, 1951. Bibliography
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361
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Expressionism and Blaue Better

E 1 APOLLONIO, UMBRO. "Die Briicke" e la Cultura

dell'Espressionismo. 102 p. ill. Venezia, Alfieri, 1952.
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E2 BERN. KUNSTHALLE. Briicke [3. Juli bis 15. Au-
gust]. 32 p. Texts by Kirchner, Rudlinger,
ill. 1948.
Artitz- Bibliographies, p. 15-22.
E3 BOLLIGER, HANS. Special-Bibliographic der Ex-
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Malerei: Matisse, Munch, Rouault: Fauvismus und
Expressionismus, [v. 2] Geneve, Skira, 1950. Appears
only in German edition of Skira^s tri-lingual History of
Modern Painting.
E4 CHENEY, SHELDON. Expressionism in Art. 415 p.
ill. New York, Tudor, 1948 (c. 1934).

*E 5 FECHTER, PAUL. Der Expressionismus. 55 p. ill.

Munchen, Piper, 1914. Third edition, 1919.

E6 HODIN, J. P. Expressionism. Horizon 19 no. 109:
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*E 7 KANDINSKY, WASSILY. Uber das Geistige in der
Kvinst. Miinchen, Piper, 1912. Several editions and trans-
lations include authorised edition : Concerning the Spiritual
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Blaue Reiter (Miinchen, Piper, 1912). Edited in asso-
ciation with Franz Marc ; second edition, 1914.
E8 MONCHEN. HAUS DER KUNST. Der Blaue
Reiter: Munchen und die Kunst des 20. Jahrhunderts,
1908—1914. 45 p. ill. Miinchen-Pasing, Filser, 1949.
Shown at Kunsthalle, Basel, 1950. Text by L. Grote.
Extracts from writings by Kandinsky, Klee, Marc.
E9 READ, HERBERT. Art Now. p. 76-87 ill. London,
Faber & Faber, 1948; New York, Putnam, 1949.
"Expressionism: the theory of subjective integrity".
E 10 SAMUEL, RICHARD & THOMAS, R. HINTON.
Expressionism in German Life, Literature and the
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b) Basic Composition in Sculpture
c) Basic Composition in Architecture From bib/. D 4. Futurism

E 11 BENET, RAFAEL. El Futurismo comparado, el

Movimiento dada. 77 p. ill. Omega, 1949.

Barcelona,
DIO MONCHEN. HAUS DER KUNST. Die Maler am E 12 CLOUGH, ROSA TRILLO. Looking back at fu-
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turism. 207 p. York, Cocce Press, 1942. Doc-
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Dll NEW YORK. MUSEUM OF MODERN ART. Bau- p. 205-207.
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occasion of exhibition organised and installed by Herbert E14 GIEDION-WELCKER, CAROLA. Vergangliches
Bayer. Bibliography. Second printing: Boston, Branford, und Zukiinftiges im Futurismus. Werk "hi no. 11:
1952, retains the "bibliography of Bauhaus publications" 345-353 ill. Nov. 1950.
German edition issued 1955 by Gerd Hatje, Stuttgart. E 15 LACERBA Directore: Giovanni Papini.
(Firenze).
D12 STAATLICHES BAUHAUS, WEIMAR, 1919— no. 1 1913 — no.
22 1915. A
futurist journal. Mani-
1923. 226 p. ill. Weimar —Munchen, Bauhaus-Verlag, festoes, writings and reproductions, e. g. Ugo Tommei
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D13 THVC'AITES, J. A. The Bauhaus painters and the E 16 MARINETTI, FILIPPO TOMMASO. Le futurisme.
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362
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E17 DER STURM (GALLERY). Zweite Ausstellung: EXPRESSIONNISME ALLEMAND

Die Futuristen. 2. Aufl. ill. Berlin, 1912. "Manifest des
Futurismus" , p. 3-9. Texts, illustrations, and manifestoes
appearedfrequently in the 1912 — 1913 pages of Der Sturm,
maga:^ine edited by H. Walden, director of the gallery. JAMES ENSOR PALL GAUGUIN
E 18 VERGNET— RUIZ. Notice historique sur le Futu- Le grotesque
ARTS
PniMITIFS Attt-aclion de
Lea masques exotismc
risme. In Huyghe, Rene. Histoire de I'Art con- I

temporain. p. 479-480 Paris, Alcan, 1935. Biblio-

graphy on Italian paintings, p. 479. — Futurist exhibitions,
FOLKLORE
books, periodicals, "notices", p. 480-482. EXPRESSIONNISME
MODERN-STYLE. BAROQUE <- CORINTH
ALLEMAND

Fantasy, Dada and Surrealism

ROMANTISME >
EDVARD MUNCH VINCENT VAN COGH
PSYCHANALYSE
Fl BASEL.KUNSTHALLE. Phantastische Kunst des Syiiibolisnie
nordiqii^ DesNns d*alienes
(voir < Les Fauves »)

XX. Jahrhunderts, 30. August bis 12. Oktober. 38 p. et d'enfanta

plus pi. 1952. Biographical notes.

F la BAZIN, GERMAIN. Notice historique sur Dada et
le Surrealisme. In Huyghe, Rene, ed. Histoire de I'Art
contemporain. p. 340-342 Paris, Alcan, 1935.
F 2 BO, CARLO. Antologia del Surrealismo. 315 p. ill.
Principaux groupei
Milano, Edizione di Uomo, 1944.
Die BrUcke avec Erich Meckel, Ludwig Kirchner, Max Pechatcin, Karl Schmidt-RottlufC,
F3 BOSQUET, ALAIN. Surrealismus, 1924—1949: Emil Nolde, etc...

Texte und Kritik. 192 p. Berlin, Henssel, 1950. Bio-

graphical and bibliographical notes, p. 185-192. Der Blai;e Reiter avec Alfred Kubin, et tres touches par le Cubisme. Franz Marc, August
Macke, von Jawlensky, Kandinsky, Klee, etc...
*F 4 BRETON, ANDRfi. Les Manifestes du Surrealisme.
211 p. Paris, Ed. du Sagittaire, 1946. Texts dated tndependantt : Paula Modersohn-Becker, Oskar Kokoschka, Kiiihe Kollwitz, Karl Hofer,
1924—1942. Max Beckmano, George Grosz, Otto Dix, Ludwig Meidner, etc...

F5 BUFFET-PICABIA, GABRIELLE. Matieres plas-

Scu'pleurt expre$iionnitte BarUch.
XXe Siecle no. 2: 31-35 ill. May 1938.
tiques.
:

Expressionist Synthesis. Diagram from bibl. A. 55 a.

Ih.tallation View, Bauhaus Show, New York, 1938. See bibl. D 11.

*F6 HUELSENBECK, RICHARD. En avant Dada; eine

ffP- Geschichte des Dadaismus. 44 p. Hannover, Leipzig,
Wien, Zurich: Steegemann, 1920. (Die Silbergdule,
iiuiiAtts
sunius 50-51).
F7 MATARASSO, H. Surrealisme: Poesie et Art con-
temporains. Catalogue a prix marques. [108] p. ill.

Paris, Matarasso, 1949.

F8 MOTHERWELL, ROBERT, ed. The Dada Painters
and Poets: an Anthology. 388 p. ill. New York,
Wittenborn, Schiiltz, 1951. Extensive bibliography by
B.Karpel, p. 318-377.
F9 NADEAU, MAURICE. Histoire du Surrealisme.
2 vol. Paris, Editions du Seuil, 1945. Vol. 1, Histoire.
— Vol. 2: Documents surrealistes. Bibliographies.
FIO NEW YORK, MUSEUM OF MODERN ART.
Fantastic art, dada, surrealism. Edited by Alfred
H. Barr, Jr.; essays by Georges Hugnet. 3 ed. New
York, Museum of Modern Art, distributed by Simon
and Schuster, 1947. Revision of 1936 catalog. Biblio-
graphy.
Fll PARIS. GALERIE MAEGHT. Le Surrealisme en
1947. 139 p. ill. Paris, Pierre a Feu (Maeght), 1947.
"Exposition Internationale du surrealisme pre sen te par
Andre Breton et Marcel Duchamp". Also an edition de

luxe, with supplementary material.

F12 RAYMOND, MARCEL. From Baudelaire to Sur-
realism. 428 p. New York, Wittenborn, Schultz, 1950.
Translation of Corti edition (Paris, 1947). Bibliography
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363
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F 13 READ, HERBERT, ed. Surrealism. 251 p. ill. Lon- *G 8 Documents. (Paris). "Secretaire general: Georges
don, Faber & Faber, 1936. Bataille. Comitede redaction: J. Babeln, G. Contenau,
*F14 TZARA, TRISTAN. Sept Manifestes Dada. 97 p. C. Einstein," etc. Vol. 1—2 1929—1933.
Paris, Editions du Diorama, Jean Budry, [1924]. G9 L'Esprit Nouveau. (Paris). Edited by Le Corbusicr
Texts dated i 91 6— 1920. Translated in bibl. F 8. and A. Ozenfant. 1920—1925.
F 15 WYSS, DIETER. Der Surrealismus : Eine Einfuhrung Material published here subsequently incorporated
und Deutung surrealistischer Literatur und Malerei. in bibl. A 30, A 31.
88 p. ill. Heidelberg, Schneider, 1950. "Quellenver- *G 10 "G" . elementaren Gestaltung.
(Berlin). Material zur
Zeichnis", p. 87-88. Hrsg.: Hans Richter. Redaktion: W.Graff, El Lis-
sitzky, H. Richter. no. 1—5/6 1923— [1926].
Nos. 1,2 in newspaper format; nos. 3, 4, 5/6 issued
General Periodicals in standard format. No. 4 Mar. 1926; no. 5/6 not
dated.
While the asterisk (*) indicates inclusion in the 1937 *G 11 Gaceta de Arte. (Tenerife). Editor: E. Westerdahl.
bibliography of this text, some additions have been 1932—1936?
made, sometimes by indexing relevant contents in the *G 12 "/ 10". (Amsterdam). Edited by Arthur Miiller-
appropriate sections of this bibliography. An excellent Lehning. 1927—1928.
international list of significant magazines in art and *G 13 Mern^. (Hannover). Edited by Kurt Schwitters.
literature was compiled by Konrad Farner for the 1923—1932.
Lucerne catalog These, Antitbese, Synthise p. 22-23 1935 Special numbers on "Holland-dada", "Arpaden",
(bibl. A 51). Inadequate in some details, and now in prints and texts by Schwitters etc. Collaborative
need of revision, it is the most convenient starting work with Doesburg, El Lissitzky etc.
point as well as a startling summary of the ex- *G 14 Minotaure. (Paris). Directeur: E. Teriade. Editeur:
perimental ferment that characterized its generation. A. Skira. no. 1—13 1933—1939.
Numerous contributions by writers and artists of
*G 1 Abstraction, Creation, Art Non Figuratif (Paris) no. 1 — the surrealist movement.
1932—1936. G 15 Plastique. (Paris, Meudon, New York). Editor:
Issued by the Association Abstraction-Creation, S. H. Taeuber-Arp. no. 1—5 1937—1939.
established Feb. 15 1931. Occasional English texts. "Avec la collaboration de A. E. Gallatin, G. L. K.
Spirit of the group revived by Realites Nouvelks. Morris et H. Arp."
G2 "^ C". Documentos de ActividadContemporanea. (Barce- *G 16 Quadrante. (Roma). Editors: P. Bardi, M. Bontempelli.
lona, Madrid), no. 1 1930—1936? no. 1—34 1932—1936.
G3 Art d^Aujourd'hui. (Boulogne, Seine). Editor: Andre G 17 Realites Nouvelks. (Paris). 1947 —current.
Bloc. 1949—current. See bibl. K 20. The annual catalog of the asso-
Special numbers include "Cinquante annees de same name, issued serially as a record
ciation of the
sculpture" (1951), "Art et cubisme" (1953). Ex- of painting and sculpture in the non-objective
cellent review of current art in Paris as well as the tradition.
international avantgarde in Germany, Great Britain, *G 18 La Revolution Surrealiste. (Paris). Editors: Pierre
Italy, etc. Naville, Benjamin Peret. no. 1—12 1924—1929.
G4 Axis. A Quarterly Review of Contemporary "Abstract" Continued as Le Surrealisme au Service de la Revolution.
Painting <& Sculpture. (London). Editor: Myfanwy Editor: Andre Breton, no. 1—5/6 1930—1933.
Evans, no. 1—8 1935—1937. G 19 De Stijl. (Leiden, Clamart, Meudon). Maandblad
*G5 Bauhaus. (Dessau). See bibl. D 9. voor Nieuwe Kunst, Wetenschap en Kultur. Editor
G6 Cahiers d'Art. (Paris). Edited by Christian Zervos. Theo van Doesburg, 1917—1931. no. 1— [90].
1926 —current. 1917—1932.
"A major archive on modern art, which in its early No. 79—84: "Jubileum Serie (XIV) 1927, 10 Jahren
years rallied to cubism and such artists as Braque, Stijl 1917—1928." no. 87— 89: — "Aubette
Gris, Picasso. The editor has also issued separate Nummer (XV) 1928." —
"Dernier numero", Jan.
monographs based on material published in this 1932, is not numbered.
encyclopaedic periodical, as well as a pictorial *G 20 Der Sturm. (Berlin). Editor Herwarth Walden. V. 1-21
:

anthology." 1910—1932.
*G 7 Dada. (Zurich, Paris). Edited by Tristan Tzara. A magazine of futurism and expressionism as well
1917—1920. as modern art in Germany, especially the pioneer
—
No. 1 5 printed by J. Heuberger, Ziirich. No. 4 — gallery of the same name, directed by Herwarth
issued in variant German edition. Dada 4 — 5: cover- Walden.
title, "Anthologie Dada" May 15 1919, Zurich. — G 21 Transition. (Paris, Haag, New York). Editor: Eugen
Dada 6: cover-title "Bulletin Dada", Feb. 5 1920. Jolas; Associate Editor: J. J. Sweeney, no. 1 —27
— Dada 7: cover-title "Dadaphone", Mar. 1920, 1927—1938.
Paris. No. 6 has lettered on cover "Programme de : *G 22 Valori Plastici. (Roma). Direttore: Mario Broglio.
la matinde du mouvement Dada le 5 Fevrier 1920." no. 1 1918 — no. 5 1921.
Sometimes Dada Au Grand Air is cited as a final Primarily a document on the metaphysical group
number, continued in Cannibale. in Italy.

364
G 23 XXe Sikle. (Paris). Editor: G. di San Lazzaro. 6 nos. P. Courthion: Look out for sculpture. H. Read: —
1938—1939. Three English sculptors. P. Fierens Marino— :

No. 4 (Christmas 1938), no. 5—6 (1939), and 2 no. 1 Marini. —

M. Bill: The mastery of space. Numerous
(supplement to no. 5 — 6) also issued in English plates. Important material in other issues (no.

text as Twentieth Century. No. 1 —3 includes Pierre 1-5/6).

Guegen's "Esthetique de I'identite" on sculpture.

G 24 XXe Sikle, Nouvelle Serie. (Paris). Editor: G. di San

International Sculpture:
Lazzaro. 1951—current. History and Technique
Already issued: no. (June 1951), "Nouveaux
1

destins de — no. 2 (Jan. 1952), "Nouvelles

I'art." I 1 ADRIANI, BRUNO. Problems of the Sculptor. 99 p.
conceptions de I'espace." — no. 3 (June 1952), New York, Nierendorf Gallery, 1943.
"Art et poesie depuis Apollinaire." No. 1 includes I 2 AUERBACH, ARNOLD. Sculpture, a History in
"Message de la sculpture", p. 59-70. Brief. Ill p. ill. London, Elek, 1952.
I 3 BRUMMfi, C. LUDWIG. [Bibliography of] Con-
temporary American and European Monographs and
Special Numbers on Sculpture Autobiographies. In his Contemporary American
Sculpture, p. 150-156, New York, Crown, 1948.
H1 U Architecture d'Aujourd'hui. (I) Apr. 1946. — (II) I 4 CLARIS, EDMOND. De I'lmpressionisme en Sculp-
Mar. 1949. ture: Lettres et Opinions de Rodin, Rosso. 132 p. ill.
(I). "Art, numero hors-serie." Texts and plates, Paris, La Nouvelle Revue, 1902.

p. 50-85, titled"La sculpture." M. Raynal: "La I 5 FEGDAL, CHARLES. Ateliers d'Artistes. 322 p. ill.
sculpture devant I'architecture." Paul Herbe: — Paris, Stock, 1925.
"Visite a —
Brancusi." A. Marchand: "Les *I 6 FIERENS, PAUL. Sculpteurs d'Aujourdhui. 22 p.
'mobiles' de Jean Peyrissac." Other sections include plus 53 pi. Paris, Chroniques du jour; London,
material on Le Corbusier. — "2e numero hors- (II). Zwemmer, 1933.
serie . consacre aux arts plastiques." Edited by
. . I 7 GERTZ, ULRICH. Plastik der Gegenwart. 224 p.ill.

A. Bloc. Artistes chez eux, vus par Maywald, p. 3-43. Berlin, Rembrandt, 1953. Text, p. 5-40. Plates, p. 41-
— L' Atelier, par F. Ponge, p. 44-46. Art abstrait — 216. Biographies, p. 219-224.
et architecture (p. 72 — 79). GIEDION-WELCKER, CAROLA. Moderne Plastik:
H2 Art d'Aujourd'hui. Jan. 1951. Elemente der Wirklichkeit, Masse und Auflockerung.
Ser. 2 no. 3: 1-27, titled "Cinquante annees de Zurich, Girsberger, 1937. Translated as: Modern
sculpture". Brief, illustrated articles from Rodin Plastic Art: Elements of Reality, Volume and Dis-
to 1950. Important sculptural references in special num- integration. 161 p. ill. 1937. Biographical appendix,
bers May-June 1953 ("Synthese des Arts") and May- bibliography. Revised edition, 1955.

June 1954 ("Le Cubisme"), etc. I 9 HEILMEYER, ALEXANDER. La Escultura mo-

H3 Axis. no. 3 July 1935. derna y contemporanea. p. 159-280 ill. Barcelona,
Contemporary sculpture issue devoted to Brancusi, Buenos Aires, Poseidon, 1928.
Calder, Hepworth, Moore. Additional sculpture I 10 HUDNUT, JOSEPH. Modern Sculpture. 90 p. New
plates in other numbers, no. 1 8 1935 1937. — — York, Norton, 1929.
H4 Cahiers d'Art. no. 1—3 June 1936. *I 11 KUHN, ALFRED. Die neuere Plastik, von Achtzehn-
Special illustrated issue on "L'Objet: objets mathe- hundert bis zur Gegenwart. 2. Aufl. 128 p. 77 pi.
matiques, naturels, sauvages, trouves, irrationnels, Miinchen, Delphin, 1922.
ready made, interpretes, incorpores, mobiles." I 12 NEW YORK. MUSEUM OF MODERN ART.
Articles include "Mathematiques et art abstrait" Modern Sculpture. 4 leaves plus 40 plates (boxed)
(11 no. 1—3: 4—20 1936). 1949. Teaching portfolio no. 1 . Bibliography.
H5 Formes et Couleurs. no. 2 1943. 13 RAMSDEN, E. H. Sculpture: Theme and Variations.
"Sculpture", 5e annee, no. 2, unpaged. Includes 56 p. plus 103 ill. London, Lund Humphries, 1953.
R. Claude: "Aristide MaiUol a I'Acropole" (12 p.). 14 RAMSDEN, E. H. Twentieth Century Sculpture.
— R. Cogniat: "Sculptures de peintres" (7 p.).
— 42 p. plus 63 pi. London, Pleiades, 1949.
C. Reymond: "Sculpture". 15 RICH, JACK C. The Materials and Methods of
H6 Le Point, no. 12 1937. Sculpture. 416 p. ill. New York, Oxford University
"La Sculpture", v. 2 no. 6: 223-260 Dec. 1937. Press, 1947. Includes glossary and extensive bibliography.
Articlesby G. Besson, A.-H. Martinie, J. Cladel, 16 RINDGE, AGNES M. Sculpture. 186 p. plus 40 pi.
C. Roger-Marx. Excellent illustrations. New York, Payson & Clarke, 1929.
H7 The Tiger's Eye. no. 4 1948. 17 RITCHIE, ANDREW C. Sculpture of the Twentieth
Special section: "The 14 sculptors
ides of art; Century. 238 p. ill. New York, Museum of Modern
write", no. 4: 73-107 June 1948. Statement by Arp, Art, 1953. Plates p. 48-224. Bibliography by B. Karpel.
Calder, Callery, Giacometti, Hare, Lippold, 18 ROTHSCHILD, LINCOLN. Sculpture through the
Noguchi, Phillips, Smith. Plates, p. 85-106. Ages. p. 208-250 ill. New York, McGraw Hill, 1942.
H8 XXe Sikle. no. 1 1939. 19 SCHEFFLER, KARL. Geschichte der europaischen
English edition: XXth Century, "Ilnd year, 1939, Plastik im neunzehnten und zwanzigsten Jahrhun-
Sculpture, supplement to no. 5/6." Contents: dert. p. 225-338 ill. Berlin, Cassirer, 1927.

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1 20 SEYMOUR, CHARLES. Tradition and Experiment J 21 LIPTON, SEYMOUR A. Experience and sculptural
in modern Sculpture. 86 p. ill. Washington, D. C, form. College Art fournal <) no. 1: 52-54 1949.

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\ 21 STRUPPECK, JULES. The Creation of Sculpture all'aperto. Commentari 4 no. 4: 306-317 ill. Oct. — Dec.
260 p.New York, Holt, 1952. Bibliography.
ill. 1953. Footnotes refer to the following exhibitions: Batter sea
22 VALENTINER, WILHELM R. Origins of modern Park (London, 1948, 1951), Kelvingrove Park (Glasgow,
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ill. 1949), Villa Mirahello (Varese, 1949, 1953), Middel-
23 WILENSKI, REGINALD H. The Meaning of mo- heimpark (Antwerp, 1950, 1953), Arnheim (Sonsbeck,
dern Sculpture, p. 83-164 ill. New York, Stokes, 1935. 1 952) Alstervorland( Hamburg, 1953).
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J 22 MORRIS, GEORGE L. K. Relations of painting and

sculpture. Partisan Review 1 no. 1 : 63-71 ill. Jan. —Feb.
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J 23 OESTREICH, DIETER. Formtendenzen unserer

1 BENSON, EMANUEL M. Seven sculptors. Maga:(ine Zeit.Werk 40 no. 6: 194-199 ill. 1953.
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no. 2: 59-65 ill. Jan. 1952. J 24 RAYNAL, MAURICE. Dieu — table — cuvette.
3 BILL, MAX. Die mathematische Denkweise in der Minotaure no. 3—4: 39-53 ill. 1933.
Kunst unserer Zeit. Werk 36 no. 3: 86-91 ill. Mar. J 25 ROSZAK, THEODORE J. Some problems of
1949. modern sculpture. Magazine of Art 42: 53-56 ill.

4 BLANC, PETER. The artist and the atom. Maga^^ine Feb. 1949.
of Art 44 no. 4: 145-152 ill. Apr. 1951. J 26 SCHACK, WILLIAM. On abstract sculpture.
5 BRUMMfi, C. LUDWIG. Contemporary sculpture, Magazine of Art 27: 580-588 ill. Nov. 1934.
a renaissance. Magazine of Art 42 no. 6: 212-217 ill. J 27 SECKLER, DOROTHY. This march of the sculp-
Oct. 1949. tors. Art News 49 no. 1 28-29, 66-67 ill. Mar. 1950.
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6 CURJEL, HANS. Bemerkungen zum Thema "Skulp- J 28 SWEENEY, JAMES J. Eleven Europeans in
tur". Werk 37 no. 10: 313-319 Oct. 1950. French resume America. Museum of Modern Art Bulletin (New York)
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abstrait. 2:49-58 ill. Jan. 1952. J 30 TERIADE, E. Aspects actuels de I'expression
9 Enquete sur la sculpture. Cahiers d'Art 3 no. 9 plastique. Minotaure no. 5: 33-44 incl. ill. 1934.
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3 no. 10: 370-378 ill. 1928. — J 31 UEBERWASSER, WALTER. Zur Entwicklung der
4 no. 4: 143-148 111. 1929. Draht-Plastik. Werk 35 no. 4: 118-122 ill. Apr. 1948.
10 FLORISOONE, MICHEL. La sculpture moderne et J 32 VALENTINER, WILHELM R. The simile in
I'espace. L' Amour del' Art 27 no. 5: 219-224 ill. 1947. sculptural composition. Art Quarterly 10 no. 4:
1 FREY, ERWIN F. Humanist sculpture or meaningless 262-277 ill. Autumn 1947.
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1951/52. Gestaltens. Das Kunstblatt no. 7: 193-208 ill. July
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modern sculpture. Transition no. 23: 198-201 July J 35 ZERVOS, CHRISTIAN. Sculptures des peintres
1935. d'aujourd'hui. Cahiers d'Art 3: 276-289 ill. 1928.
14 GREENBERG, CLEMENT. Cross-breeding of
modern sculpture. Art \ews 51 no. 4: lA-11 , 123-124
ill. June— Aug. 1952. Collections and Exhibitions
15 GREENBERG, CLEMENT. The new sculpture.
Partisan Review 16 no. 6: 637-642 June 1949. K 1 AMSTERDAM. STEDELIJK MUSEUM. 13 Beeld-
16 GUEGUEN, PIERRE. un expressionisme
Existe-t-il houwers uit Paris. [48]p. ill. Amsterdam, 1948. Biogra-
dans la sculpture contemporaine? Art Present no. 1: phical notes ; portraits ; studio views.

[54-59] ill. 1945. English summary. K 2 AVIGNON. PALAIS DES PAPES. Exposition de
17 GUfiGUEN, PIERRE. La sculpture cubiste. Art Peintures et Sculptures contemporaines 92 p. ill. 1953.
d'Aujourd'hui 4 no. 3—4: 50-58 May— June 1953. Biographical notes ; preface by C. Zervos.
18 HESS, THOMAS B. Many-sided look at modern K 3 BERN. KUNSTHALLE. Sculpteurs contemporains
sculpture. Art News 51 no. 6: l6-21 ill. Oct. 1952. de I'Ecole de Paris. 18 p. ill. 1948. Biographical and
Reriew of "Sculpture of the 20th Century", bibl. K 21. bibliographical notes.
19 JANIS, HARRIET. Mobiles. Arts and Architecture K4 CHICAGO. ART INSTITUTE. 20th Century Art
ill. 65 no. 2: 26-28, 56-59 Feb. 1948. from the Louise and Walter Arensberg Collection.
20 K A INWEILER, DANIEL HENRY.
1 Negro art and 104 p. ill. 1949. A pioneer collection now in the Phila-
cubism. Horizon 18 no. 108: 412-420 ill. Dec. 1948. delphia Museum of Art.

366
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K5 HAMBURG. ALSTERPARK. Plastik im Freien, K15 NEW YORK. MUSEUM OF MODERN ART.
hrsg. von Carl Georg Heise. 64 p. ill. Miinchen, Modern Art in Your Life, by R. Goldwater in colla-
Prestel, 1953. Catalog and biographical notes, p. 11-16. boration with R. d'Harnoncourt. 48 p. ill. 1949. The
Also supplementary exhibition catalog, 30 p., with preface influenceof new plastic forms on modern design and
by W. Haftmann. living. Catalog issued as museum Bulletin, v. 17, no. 1

K 6 HANNOVER. KESTNER GESELLSCHAFT. [Ex- 1949.

hibition Catalogs], ill. 1916-current. Numerous collec- K16 NEW YORK. MUSEUM OF MODERN ART.
tive and individual shows, e. g. no. 37, Lehmbruck (1920) ; Painting and Sculpture in the Museum of Modern Art,
no. 108, Gabo (1930). Recent shows have included: edited by Alfred H. Barr, Jr. [2. ed.] 327 p. ill. New
Deutsche Bildhauer der Gegenwart (1951), Plastik York, Museum of Modern Art, distributed by Simon
im Garten und am Bau (1951),M2inno (winter 1951 — and Schuster, 1948. "Sculpture", p. 237-249. ff.
52), Henry Moore (1953). Notes by A. Hent^en and Supplemented by the Bulletin of the Museum, 17 no. 2-3
others. 1950, 20 no. 3-4 1953.
K7 LONDON. COUNTY COUNCIL. Sculpture, an K 16 a NEW YORK. MUSEUM OF MODERN ART.
open air Exhibition at Battersea Park, May to Sep- Masters of Modern Art, edited by Alfred H. Barr,
tember 195L [10]p. plus 85 ill. London [Lund Humph- Jr. 239 p. ill. 1954. The most important publication
ries]1951. "/« association with the Arts Council of issued by the Museum, on the occasion of its 25th anniver-
Great Britain". Essay by Nikolaus Pevsner. First sary, to accompany its showing of major works in the
Battersea catalog issued 1948. collection. Other language editions in preparation in Europe
K 7 a LONDON. COUNTY COUNCIL. Sculpture in the and elsewhere. Sections on sculpture in the most important
open air. [14] p. ill. 1954. "Third international exhi- public collections of its kind.
bition of sculpture, Holland Park, May to September." K17 NEW YORK UNIVERSITY. MUSEUM OF
Preface by Sir Kenneth Clark. Note Martinelli's review LIVING ART. A. E. Gallatin Collection. [40] p. plus
of open air shows, bibl.f 21 a. 48 pi. 1936. Catalogs issued 1930, 1933, 1937. Collection
K8 LONDON. TATE GALLERY. The Unknown began 1927, now in the Philadelphia Museum of Art.
Political Prisoner, International Sculpture Compe- Texts by Gallatin, Helion, Sweeney ; notes by G. L. K.
tition sponsored by the Institute of Contemporary Morris.
Arts. [24] p. plus insert ill. London [Lund Humphries] K18 OSLO. KUNSTNERFORBUNDET. International
1953. Illustrations and biographical notes on major winners : Nutidskunst: Konstruktivisme, Neo-Plasticisme, Ab-
Butler, Basaldella, Hepworth, Pevsner, Gabo, Chadwick, strakt Kunst, Surrealisme. [24] p. ill. 1938. Organised
Adam, Colder, Hinder, Bill, Lippold, Mingu^zi- by Arp, Bjerke-Petersen, Taeuber-Arp.
K9 LUCERNE. KUNSTMUSEUM. These, Antithese, *K 19 PARIS. GALERIE GOEMANS. La Peinture auDefi:
Synthese. 47 p. ill. 1935. Catalog for Feb.-Mar. show Exposition de Collages. 32 p. plus 23 ill. 1930. March
of 22 artists. Bibliography by K. Farner, p. 18-38. exhibition, with text by Louis Aragon.
K 10 MINNEAPOLIS. WALKER ART CENTER. The K 20 PARIS. SALON DES RfiALITfiS NOUVELLES.
Classic Tradition in Contemporary Art. 56 p. ill. 1953. Realites Nouvelles. 6 parts ill. 1947 —current. Annual
Apr.-fune exhibition ; biographical and bibliographical notes. catalog, no. 1 (1947) — no. 6 (1952). President-fondateur
K 11 NEW HAVEN. YALE UNIVERSITY. ART GAL- A. Fredo Sides. Catalog of French and international abstract
LERY. Collection of the Societe Anonyme: Museum painting and sculpture.
of Modern Art 1920. 223 p. ill. 1950. Collection K21 PHILADELPHIA. MUSEUM OF ART. Sculpture
presented by Katherine S. Dreier and Marcel Duchamp, of theTwentieth Century. 47 p. ill. New York,
trustees. Catalog edited by G. H. Hamilton, Curator. Museum of Modern Art, distributed by Simon and
Numerous biographical and bibliographical notes. '
Schuster, 1952. Exhibition shown successively at the Phila-
K 12 NEW YORK. ART OF THIS CENTURY [GAL- delphia Museum of Art (1952), the Art Institute of
LERY]. Art of This Century ...1910 to 1942, ed. by Chicago (1953), and at the Museum of Modern Art,
Peggy Guggenheim. 156 p. ill. 1942. A personal New York (1953). Brief introduction byA.C. Ritchie,
"anthology of non-realistic art". Also exhibited as "La director of the exhibition and author of its major text
Colle:^ione Guggenheim" , with minor catalogs and modifi- (bibl.I 17).
cations, at Venice (1948), Florence and Milan (1949), K22 VENICE. PALAZZO VENIER DEI LEONE.
and at Zurich (1951). Mostra di Scultura Contemporanea, Presentata da
K13 NEW YORK. ASSOCIATION OF AMERICAN Peggy Guggenheim. 34 p. ill. Venezia, [Carlo Ferrari],
PAINTERS AND SCULPTORS. Catalogue of 1949. September show at the Giardino del Pala:(^o, with
International Exhibition of Modern Art. 105 p. 1913. preface by G. Marchiori.
Variant catalogs for Chicago and Boston. Best known as Yill2. YVERDON. HOTEL DE VILLE. Sept pionniers
the "Armory" show. de la sculpture moderne. [40] p. ill. 1954. Exhibit,
K 14 NEW YORK. BUCHHOLZ GALLERY. Catalogues. held fuly 18—Sept. 28, of Laurens, Duchamp-Villon,
4 vols. ill. New York, Curt Valentin, 1948—1954. Brancusi, Arp, Chauvin, Pevsner, Gonzalea^. Introduction
A partial record, bound by exhibition seasons, of a distin- and editing of artists^ texts by Michel Seuphor. M.
guished series of sculpture exhibitions dating from the early Hagenbach annotates the 31 works Arp. Show
by
forties, in which almost every artist of international signi- reviewed by C Giedion-Welcker in Werk no. 9: 209-
ficance has been represented. Illustrations, biographical notes, 210 Sept. 1954. For variant exhibition and catalog see

texts and statements, occasional bibliographies. bibl. N 10.

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1948. Foreword by William Zorach. Biographical notes Andrew C. Ritchie. 159 p. ill. 1951. Bibliography by
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L3 GREENBERG, CLEMENT. The present prospects L8 PARIS, MUSEE NATIONAL D'ART MODERNE.
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R. Motherwell, A. Reinhardt, B. Karpel. p. 9-22 ill. fornia, 1948. Largely plates.
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35" reports conversations in which Lippold,
Sessions at Studio rican Painting and Sculpture. 236 p. ill. Urbana, ill.,
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368
 National Groups: English L 16 MacEWEN, FRANK. Regate France Angleterre.
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Lll ALLOWAY, L.Britain's new iron age. ^r/A/eirj 52: L 17 MIDDLETON, MICHAEL. Huit sculpteurs britan-
18-20, 68-70 ill. June 1953. niques. Art d' Aujourd' hui no. 2: 6, 18 Mar. 1953.
Lll a ALLOWAY, LAWRENCE. Non-figurative art in L 18 NEWTON, ERIC. British Sculpture. 1944—1946.
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L 13 CASSON, HUGH. South Bank sculpture. Image XXe Siecle 2 no. 1 : 45 ill. 1939.
no. 7: 48-60 ill. Spring 1952. L 21 READ, HERBERT, ed. Unit 1 : The modern Move-
L 14 DEGAND, LEON. ... La sculpture d'aujourd'hui ment in English Architecture, Painting and Sculpture.
en Grande-Bretagne. Art d' Aujourd'hui no. 2: 16-17 124 p. ill. London, Cassell, 1934.
Mar. 1953. L 22 THWAITES, JOHN A. Notes on some young Eng-
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129-130 ill. Aug. 1952. L 23 WALDBERG, ISABELLE. Essor de la sculpture
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attuale. Sele Arte 2 no. 9 57-64 Nov.
: —
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National Groups: French L42 DOCUMENTS (Periodical). L'Art allemand con-

temporain. p. 50-59 ill. Offenbourg en Bade, Bureau
L 24 AMSTERDAM. STEDELIJK MUSEUM. Rondom international de Liaison et de Documentation, 1951.
Rodin Tentoonstelling hondred Jaar fransche Sculp-
: Also English edition, with text by Alfred Hent^en on
tuur. [150] pi. plus ill. 1939. sculpture.

L 25 BASLER, ADOLPHE. Die neue Plastik in Frank- L43 HENTZEN, ALFRED. Deutsche Bildhauei der
teich. Jahrhuch der Jmgen Kunst 3: 211-216 ill. 1922. Gegenwart. 126 p. ill. Berlin, Rembrandt [1934]. Bio-
*L26 BASLER, ADOLPHE. La Sculpture moderne en graphical notes, p. 113-119. Brought up to date by his

France. 169 p. incl. 76 ill. Paris, Cres, 1928. catalog Deutsche Bildhauer der Gegenwart [26] p. ill.

L 27 BLOC, ANDRfi. La sculpture abstraite en France. Hannover, Kestner-Gesellschaft, 1951

Spa^io 3 no. 6: 13-20 ill. Dec. 1951— Apr. 1952. L 43 a HILDEBRANDT, H. Deutsche Plastik der Gegen-
L28 CASSON, STANLEY. XXth Century Sculpture. wart. Werk 39 265-272 ill. Aug. 1952.
:

130 p. ill. London, Oxford, 1930. L44 LUCERNE, KUNSTMUSEUM, Deutsche Kunst:
L 29 COQUIOT, GUSTAVE. Cubistes, Futuristes, Passe- Meisterwerke des 20. Jahrhunderts. 64 p. plus 56 pi.
istes: Essai sur la jeune Peinture et la jeune Sculpture. 1953.
230 p. Ollendorf [1923]. First edition, 1914.
ill. Paris, L 45 NEMITZ, FRITZ. Junge Bildhauer. 79 p. ill. Berlin,
L 29 a ESPACE (ASSOCIATION). Catalogue de I'exposi- Rembrandt-Verlag, 1939.
tion organisee a Biot par le groupe Espace. Paris, L46 NEW YORK. MUSEUM OF MODERN ART.
Architecture d'Aujourd'hui, 1954. Reviewed by P. German painting and sculpture. Mar. 13 - Apr. 26
Guiguen in U Art d'Aujourd'hui 5 no. 6: 18-21 ill. 1931. 43 p. ill. 1931. Biographical notes. Preface by
Sept. 1954. A. H. Barr also published in Omnibus 1932.
L 30 GEORGES-MICHEL, MICHEL. Peintres et Sculp-
teursque j'ai connus, 1900—1942. p. 261-284 ill.
New York, Brentano [1942]. National Groups: Italian
L 31 GISCHIA, LEON & VfiDRfiS, N. La Sculpture en
France depuis Rodin. 182 p. ill. Paris, fid. du Seuil, L47 ART D'AUJOURD'HUI (Periodical). Italie. 1951.
1945. Special number, v. 3 no. 2, Jan. 1951, on "Uart d' avant-
L32 THE HAGUE. GEMEENTEMUSEUM. Franse garde en Italie"
Beeldhouw Kunst: Rodin, Bourdelle, Maillol, L 48 CAIROLA, STEFANO, ed. Arte italiana del nostro
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. . .

L33 HAMBURG. KUNSTHALLE. Junge franzosische Istituto italiano d'Arte grafiche, 1946. Anthology of
Plastik. 54 p. ill. 1953. Exhibit of July —August, organ- painters and sculptors ; biographical sections include photo-
ised by Le Service des Relations Artistiques ; texts by graph of the artist ; text accompanies each plate.

J. Mougin, R. Cogniat, C. Goldscheider in French and L 49 CARRIERI, RAFFAELE. Pittura, Scultura d'Avan-
German. guardia in Italia (1890—1950). [345] p. ill. Milano,
L 34 LE POINT. Les Maitres de I'Art independant, 1895— Conchiglia, 1950. Extensive bibliography.
1925: Portraits d'artistes. p. [133-143] ill. Colmar, L50 COSTANTINI, VINCENZO. Scultura e Pittura
1937. Vol. 2, no. 3 of"Le Point". italiana contemporanea (1880 — 1926). 502 p. ill.

L35 LE POINT. La Sculpture, [p. 223-260] ill. Colmar, Milano, Hoepli, 1940. Supplemented by his L'Arte
1937. Vol. 2, no. 12 of"Le Point". italiana modema. 350 p. ill. Milano, Ceschinia,
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det 19. og 20. Aarhundrede. 80 p. incl. 61 pi. Copen- L51 MARCHIORI, GIUSEPPE. Scultura italiana mo-
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L37 SALMON, ANDRfi. La jeune Sculpture frangaise. annotated ; bibliography. English summary inserted.
Paris, Societe des Trente (Messein), 1919. l.bl NEW YORK. MUSEUM OF MODERN ART.
L37a SALON DE LA JEUNE SCULPTURE. La jeune Twentieth-Century Italian Art, by James T. Soby and
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M. Aubert, D. Chevalier; biographical notes. B. Karpel, p. 136-144.
L38 SALON DES RfiALITfiS NOUVELLES. Paris, L 53 SAPORI, FRANCESCO. Scultura italiana moderna.
1947—current. See bibl. K 20. 508 600 ill. Roma, Libreria dello Stato, 1949.
p. incl.
L39 STAHLY, FRANgOIS. Die junge franzosische English edition 1950 ; Spanish edition 1951.
Plastik. Werk 39 no. 11 : 369-376 ill. Nov. 1952, L 54 ZERVOS, CHRISTIAN, ed. Un Demi-Siecle d'Art
italien. 276 p. ill. Paris, Cahiers d'Art, 1950.

Special number, Cahiers d'Art, 25e annee, tome 1. Biblio-

National Groups: German graphy.

L 40 L' Art abstrait en Allemagne. Art d'Aujourd'hui 4 no. 6

[1-32] ill. Aug. 1953. National Groups: Russian
L 41 BIERMANN, GEORG. Enquete sur la sculpture en
Allemagne et en France. Cahiers d'Art 3 no. 9 382-387 : L 55 DIEMEN, GALERIE Van. Erste russische Kunst-
ill. 1928. Continued by W. Grohmann in no. 10 1928 and ausstellung. 31 p. plus pi. Berlin, 1922. Reviewed in
P. Westheim in no. 4 1929. Das Kunstblatt, bibl. L 64.

370
 . ; .

L 56 EHRENBOURG, ELIE. L'Art russe d'aujourd'hui. Modern Sculptors

U Amour de I'Art 2 no. 11: 367-370 ill. November
1921. At this point, attention should be directed to the
L57 FREEMAN, J., KUNITZ, J. & LOZOWICK, L. numerous references in the preceding material which
Voices of October: Art and Literature in Soviet add significantly to the following lists. Calder's article
Russia, p. 265-291 ill. New York, Vanguard, 1930. in Evans (bibl. A 13), for example, is not repeated
L 58 GABO, NAUM. The concepts of Russian art. World below. Similarly, no complete analysis has been att-
Review (London) p. 48-53 June 1942. empted for such entries as bibl. H 7. It is presumed
L 59 KARPFEN, FRITZ. Gegenwartskunst : I. Russland. the initiative of the reader will replace the require-
42 p. plus 21 pi. Wien, Literaria, 1921. ments of a detailed cross-index.
L 60 LOZOWICK, LOUIS. Modern Russian Art. 60 p. ill.

New York, Museum of Modern Art, Societe Ano-

nyme, 1925. Adam
L61 NEW YORK. MUSEUM OF MODERN ART.
Cubism and abstract Art. 249 p. ill. 1936. In addition M1 ADAM. [Message de la sculpture]. XXe Siecle (n. s.)

to text passim, the bibliography refers to numerous, although no. 1: 61-62,64111. 1951.
inaccessible, Russian references. M2 ADAM. [Statement]. In Premier Bilan de I'Art actuel.
L62 SALMON, ANDRE. Art russe moderne. Paris, p. 276 1953. (See bibl. A 24). Portrait, biographical note.

Laville, 1928. M3 DEGAND, LfiON. Adam. Art d'Aujourd'hui no. 5:

L63 STEPUN, FEDOR. Das Schicksal der abstrakten [4] ill. Dec. 1949.
Kunst in Russland. Das Kunstwerk 4 no. 8 9: — M4 DERRlfeRE LE MIROIR. Adam [8] p. ill. Paris,
61-62 1950. Maeght, 1949. Special number 24, Dec. 1949. Includes
L64 STERENBERG, D. Die kiinstlerische Situation in catalog of Maeght show ; texts by Marchiori, Elgar, Cassou,
Russland. Das Kunstblatt 6 no. 11: 484-492 ill. 1922. Badouin.
Review of van Diemen exhibit (bibl. L 55) followed,
p. 493-498, by additional comment by P. W. (Paul West-
heim) Archipenko
L 65 UMANSKIJ, KONSTANTIN. Neue Kunst in Russ-
land, 1914 —
1919. Potsdam, Kiepenheuer; Miinchen, M5 ARCHIPENKO, ALEXANDER. The spirit of music
H. Goltz, 1920. Bibliography. Supplemented by his "Die in sculpture. Europa no. 1 : 32-35 ill. May— July 1933.
neue Monumentalskulptur in Russland". Der Ararat M6 ARCHIPENKO, ALEXANDER. Nature and the
no. 5—6: 29-33 Mar. 1920. point of departure. The Arts 5: 31-36 ill. Jan. 1924.
L 66 WASHBURN, GORDON. Isms in Art since 1800. M7 ANDERSON GALLERIES. Archipenko: Catalogue
p. 64-68 [Providence, R. I., The Author] 1949. of Exhibition and Description of Archipentura. 20 p.
Suprematism, non-objectivism and constructivism : Malevich, ill. New York, 1928. Archipentura, p. 3-5, 8. Catalog

Rodchenko, Kandinsky, Lissita^ky, Pevsner. (99 works, 17 drawings). List of exhibitions ; extracts from
reviews. Literature, p. 20.

M8 COLLEGE ART ASSOCIATION. Index of Twen-

Sculpture: Swiss tieth-Century Artists, V. 3, no. 6. New York, 1934.
"Alexander Archipenko — Sculptor", a bibliography in
L 66 a GIEDION-WELCKER, CAROLA. Wettbewerb fiir its issue of Mar. 1934, p. 249-252. Includes preface, col-

cin Denkmal des unbekannten politischen Gefangenen lections, exhibitions, reproductions, books, articles.

diedeutschen und schweizerischen Einsendungen. l/t9 DAUBLER, THEODOR. Archipenko -Album: 32

Werk 40, sup. 65-66 ill. Apr. 1953. Abbildungcn. Einfiihrungen von Theodor Daubler
L67 LEONHARD, KURT. Ziiricher konkrete Kunst. und Ivan Goll. Gedicht von Blaise Cendrars. [16]
Das Kunstwerk 3 no. 4: 41-42 1949. plus ill. Potsdam, Kiepenheuer, 1921.
L 68 SCHMIDT, GEORG. Abstrakte und surrealistische MIO HILDEBRANDT, HANS. Alexandre Archipenko,
Kunst in der Schweiz. Werk 30 no. 2: 41-45111. Feb. son Oeuvre. 65 p. ill. Berlin, Ukrainske Slowo, 1923.
1943. Text in French, German, English, Ukrainian. Spanish
L69 ZURICH. KUNSTHAUS. Zeitprobleme in der edition issued 1924 by Edit ora Internacional ( Buenos Aires)
Schweizer Malerei und Plastik. 42 p. ill. 1936. Exhibit M 11 RAYNAL, MAURICE. A. Archipenko. 14 p. ill.
held fune —July. Texts by Bill, Le Corbusier and Giedion. Roma, Valori Plastici, 1923. Previously published: Die
Skulptomalerei Alexander Archipenkos. " DerArarat"
Readings on Swiss sculpture should be supplemented no. 5—6: 33-34 Mar. 1920.
hy general tcicrencc, e. g. C 2, N 10, etc., as well as indi- M 11 a SCHACHT, ROLAND. Alexander Archipenko.
vidual references on Bill, Bodmer, Burckhardt, Gia- Berlin, Verlag Der Sturm, 1924. Sturmbilderbuch II.
cometti, etc. M 12 SOFFICI, ARDENGO. Alessandro Archipenko. In
his Trenta Artisti moderna. p. 305-308 Firenze,
Valecchi, 1950.
M 13 WIESE, ERICH. Alexander Archipenko. 9 p. plus
32 ill. Leipzig, Klinkhardt & Biermann, 1923 (Junge
Kunst, Bd. 40).

371
 7

FORMES Poem by Arp. From bib/. M 16,

no. 11-12, 1950.

LES FORMES QUE JAI CREEES DANS LES ANNEES 1927 A 1948 ET QUE J'AI NOMMEES

DES FORMES COSMIQUES,

ETAIENT DES FORMES VASTES,

QUI DEVAIENT EN6L0BER UNE MULTITUDE DE FORMES, TELLES PAR EXEMPLE : LdUF,

L'ORBITE PLANETAIRE,

LE COURS DES PLANETES,

LE BOURGEON,

LA TETE HUMAINE.

LES SEINS,

LA COQUILLE,

LES ONDES,

LA CLOCHE.

JE CONSTELLAIS CES FORMES

« SELON LES LOIS DU HASARD ».

J'OBEISSAIS INCONSCIEMMENT A UNE LOI QUI AUJOURDHUI EST DEVENUE UNE LOI SUPREME.

JE DONNAIS CE NOM .. SELON LES LOIS DU HASARD »

NAIVEMENT. SANS 5AV0IR QUE C'ETAIT UNE LOI QUI ENGLOBAIT LA LOI DE CAUSE ET EFFET SELON PLANCK.

CES FORMES COSMIQUES SEMBLAIENT MUETTES

PARCE QUE LEUR LANGAGE DEPASSE LES ONDES PERCEPTIBLES POUR L'HOMME.

EN VISITANT LA CATHEDRAL! DE CHARTRES. EN 1948,

LA PLENITUDE. L'AUGUSTE GRANDEUR ET LA PERFECTION DES VITRAUX

QU'AUCUN ART NE POURRA JAMAIS OEPASSER,

MENGAGEAIENT A REFLECHIR SUR LES LIMITES DE NOS FORCES ET A REDUIRE

LE REGNE DE NOTRE DEPLOIEMENT.

JE CHOISISSAIS DONC A PAP.TIR DE LA. DES FORMES PLUS PRIMITIVES.

DES FORMES PARTIELLEMENT RECTILIGNES,

QUI PERMETTAIENT DATTIRER. DINTERCEPTER. D INCLURE DES MOUVEMENTS ET DES IDEES SE RAPPROCHANT DE
L'IMAGE HUMAINE.

JEAN ARP.
I9S0

Armitag^e Arp

M 13 a Exhibition at Gimpel ¥i\%.Architectural Review 113: 133 M 14 ARP, JEAN. Notes from a diary. Transition no. 21:
ill. Feb. 1953. 190-194 Mar. 1932.
M 13 b SCHAEFER, BERTHA, GALLERY. Kenneth M 15 ARP, JEAN. On my Way: Poetry and Essays
Armitage: First American showing. Mar. 22 Apr. 15. — 1912 . . . 1947. 147 p. ill. New York, Wittenborn,
New York, 1954. Illustrated checklist with biographical Schultz, 1948. Preface by R. Motherwell, editor. Exten-
release. Reviewed Art Digest 28: 18 Mar. 15 1954, Art sive bibliography by B. Karpel. Documents of Modern Art, 6.
News 53: 47 Apr. 1954. M 16 [Arp]. Art d'Aujourd'hui no. 10— 11: [34-41] ill.

M 13 c YALE UNIVERSITY. ART GALLERY. Object May — June 1950. Includes illustrations, portrait, texts by
and image in modern art and poetry. [36] p. ill. 1954. Arp, article by C. Estienne and M. Seuphor.
Preface byG.H. Hamilton for Apr. fune collective show on — M 1 Arp, poete et sculpteur. Cahiers d'Art 28: 76-81 ill.

"aspectsofthepoeticprinciple" .Includes Armitage and others. 1953.

372
Manifesto by Boccioni 7h »^yy%*yityri^ vLB^ ^o^^^T ^J^cUtJcJyj'ii
From bib/. L 49.

-P<^

j**"^'-*!! ^ ?['*^2**'^^ A*''^ -Onto. «|M«<

"""""
'
V;^ ^

^>^

^i^^ -s^rA:*

/*

C^^a"^'^

M 18 BILLE, EJLER. Hans Arp; Udtaleser af Hans Arp. M 21 a GIEDION-WELCKER, CAROLA. Urelement und
/w^/'j- Picasso, Surrealisme, Abstrakt Kunst. p. 169-175 Gegenwart in der Kunst Hans Arps. Werk 39 164-172 :

Copenhagen, Helios, 1945.

ill. ill. May 1952.
M19 CROXLEY, HUBERT. Quelques considerations M 21 b HUELSENBECK, Richard. Die Arbeiten von Hans
sur le probleme plastique tel qu'il se pose pour Arp. Dada 3: 7 Dec. 1918. A signed English translation
Hans Arp. Centaure 3: 36-38 ill. 1928. v4/fo d«- is deposited in the Museum of Modern Art Library, N. Y.
o/Afr ar//V/« /« "Cahiers d'Art" 3 no. 5—6: 229-230
1928.
M 20 EINSTEIN, CARL. L'enfance neolithique. Documents Baldessari
2 no. 8: 35-43 111. 1930.
M21 GIEDION-WELCKER, CAROLA. Contemporary M 22 Breda, an experiment in exhibition design. Graphis
sculptors, IV: Jean Arp. Hori^^on 14 no. 82: 232-239 7 no. 37: 368-371 ill. 1951. With German and French
ill. Oct. 1946. texts by C. Bianconi.

373
 : . :

M 22a Design for industry: architecture as sculpture. M 36 DEGAND, LfiON. Antologia di Spazio : Andre Bloc.
Architectural Record 112: 18 ill. Oct. 1952. Luciano Spa:(_io no. 7: 47-48 ill. Dec. 1952— Apr. 1953.
Baldessari and Mariello Grisotti on the La Breda com- M 37 DELAHAUT & SEAUY, J. Exposition Andre Bloc 4
pany's building at the 1952 fair at Milan. Bruxelles. Art d'Aujourd'hui 4 no. 1 : 25 ill. Jan. 1953.
M 23 Pavilions de la Socidte Breda a la foire de Milan. M 37a GUfiGUEN, PIERRE. Andre Bloc. [48] p. ill. Bou-
Architecture d'Aujourd'hui 24: 74-77 ill. July 1953. logne, Seine, Collection Espace, 1954.

Beothy Boccioni

M23a BfiOTHY, fiTIENNE. L'abstraction et la qualite M 38 BOCCIONI, UMBERTO. Estetica e Arte futuriste.
spdcifique de I'homme. Abstraction Creation, Art Non 193 p. Milano, II Balcone, 1946. Reprints main text of
Figuratif no. 4:4 ill. 1935. Additional statements : no. 1:4 M41.
bib I.
1932, no. 3:4 1934, no. 5:3 1936.
2:3 1933, no. *M 39 BOCCIONI, UMBERTO. Manifeste technique de la

M 23b BfiOTHY, fiTIENNE. La conquete de la realite. Rea- sculpture futuriste, 11 avril 1912. Cahiers d'Art 25:
litesNouvelles no. 1:12 ill. 1947. Additional statements: 50-61 1950.
" Rythme-plastique" no. 4:5 ill. 1950; also no. 5 :5 ill.
. M 40 BOCCIONI, UMBERTO. Opera Completa. Foligno,
1951. Campitelli, 1927.
M 23c BfiOTHY, fiTIENNE. L'espace-temps. Art d'Au- *M 41 BOCCIONI, UMBERTO. Pittura, Scultura futuriste
ill. Apr.— May 1951.
jourd'hui 2 no. 5: 10 (Dinamismo plastico). 469 p. plus 51 pi. Milano,
M 23d BfiOTHY, fiTIENNE. Fonctionnalisme et euryth- Ed. Futuriste di "Poesia", 1914.
mie. Formes et Vie no. 1: 14—17 1951. English trans- M42 ARGAN, GIULIO CARLO. Umberto Boccioni.
lation p. 17. Scelta degli Scritti, Regestri, Bibliografia e Catalogo
M 23e DEGAND, LfiON. Les rythmes plastiques deBeothy. Opere a cura di Maurizio
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Art et Decoration 10: 37-40 ill. 1948. Roma, DeLuca, 1953.

M 23f GINDERTAEL, R. V. E. Beothy. In Temoignages M 43 COQUIOT, GUSTAVE. Boccioni. In his Cubistes,
pour I'Art Abstrait. p. 22-27 ill. Paris, Art d'Aujourd' Futuristes, Passeistes. p. 205-237 ill. Paris, OUendorf,
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M44 PASTONCHI, FRANCESCO. Boccioni. Cahiers
d'Art 25 no. 1 : 33-44 ill. 1950.
Bill M 45 SARFATTI, MARGHERITA G. Umberto Boccioni.
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M 24 BILL, MAX. La costruzione concreta e il dominio M 46 VALSECCI, MARCO. Umberto Boccioni. 8 p. plus
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della spazio. 12 pi. Venezia, Cavallino, 1950.
M 25 BILL, MAX. The mastery of space. XXe Siecle 2 no. 1

[51-54] ill. 1939.

M26 BILL, MAX. Uber konkrete Kunst. Das Werk 25: Bodmer
250-254 Aug. 1938.
M27 d'AGUINO, FLAVIO. Max Bill, o inteligente M 47 BODMER, WALTER. [Statement]. In Premier Bilan
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With complete English translation. portrait (bibl. A 24)
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no. 223—225: 40-43 ill. Oct.— Dec. 1947. M49 NETTER, M. Bilder und Drahtplastiken. Werk
M 30 KALLAI, E. Zu den Arbeiten von Max Bill. Plastique no. 36: 195-199 June 1949.
ill.

no. 5: 13-15 ill. 1939. M 50 SCHMIDT, GEORG. Walter Bodmer. Plastique no. 5
M 31 ROGERS, ERNESTO. Max Bill. Magazine of Art 46: 20-21 ill. 1939.
ill. May 1953.
226-230
M 32 SCHMIDT, GEORG. Max Bill. XXe Siecle (n. s.)
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M 33 SCHMIDT, GEORG. Max Bill's "Kontinuitat". Das
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I'Esprit dans I'Art. 90 p. Paris, Presses Litteraires de
France, 1952.
Bloo M52 BOURDELLE, fiMILE-ANTOINE. L'Oeuvre d'
Antoine Bourdelle, avec un Commentaire technique
M 34 ALVARD, JULIEN. Andre Bloc. In Temoignages par I'Artiste et une Autobiographic. 6 fascicules ill.
pour I'Art Abstrait 1952. p. 28-35 ill. Paris, Art d'Au- Paris, Librairie de France, n. d. [193?]. Includes 43 p.
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374
M 54 BASEL. KUNSTHALLE. Antoine Bourdelle, 1861— M73 VITRAC, ROGER. Constantin Brancusi. Cahiers
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vi trine". Introduction by Maurice Denis.
M 56 FONTAINAS, ANDRfi. Bourdelle. 64 p. ill. Paris, Braque
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M 57 LORENZ, PAUL. Bourdelle, Sculptures et Dessins. M 75 BRAQUE, GEORGES. Propos de Georges Braque.
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Arts 8: 184-205 ill. Oct. 1925. plus 35 pi. Paris, Damase, 1951.
M59 RONNEBECK, ARNOLD. Bourdelle speaks for M 77 GALLATIN, ALBERT E. Georges Braque, Essay
himself. The Arts 8: 206-222 ill. Oct. 1924. and Bibliography. 26 p. plus 12 pi. New York, Witten-
M 59a VARENNE, GASTON. Bourdelle par Lui-Meme. born, 1943.
Paris, Fasquelle, 1937. M78 NEW YORK. MUSEUM OF MODERN ART.
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M60 BOURGEOIS, LOUISE. Natural History. In Porter, M 79 ZERVOS, CHRISTIAN. Georges Braque et le deve-
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M 60a BOURGEOIS, LOUISE. [Statement]. Design Quar-
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M63 BRANCUSI, CONSTANTIN. [Texts]. This Quarter

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zine of Art 42: 290-295 ill. 1949. M 83 GASSER, HANS. Der englische Plastiker Reg Butler,
M 68 GIEDION-WELCKER, CAROLA. Constantin Bran- W'erlk 38 no. 6: 189-192 ill. June 1951.
cusis Weg. Das Werk 35: 321-331 ill. Oct. 1948. M 84 LONDON. TATE GALLERY. The Unknown Poli-
M 69 M , M Constantin Brancusi, a tical Prisoner; International Sculpture Competition
summary of many conversations. The Arts 4: 15-17 sponsored by the Institute of Contemporary Arts
ill.July 1923. A resume of "ideas suggested". Plates, [24] p. ill. London, 1953. Insert includes text by Butler
p. 18-29. on his prize-winning work.
M70 PALEOLOG, V. G. C. Brancusi. Bucharest, 1947. M 85 MELVILLE, R. Personages in iron: work of Reg
M 71 POUND, EZRA. Brancusi. The Little Review Autumn Butler. Architectural Review 108: 147-151 ill. Sept.
Number p. 3-7 plus 24 pi. 1921. 1950.
M 72 RICH, DANIEL. Constantin Brancusi. In Chicago. M86 SYLVESTER, A. D. B. El joven escultor ingles:
Art Institute. 20th Century Art, from the Louise and Cotterell Butler. Espacio (Lima) no. 4: 12 ill. Apr. 1950.

Walter Arensberg Collection, p. 19-23, 25, 34-42 ill. Modified text, with added illustrations, in "Espacios"
1949. (Mexico) no. 4 Jan. 1950.

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Calder M 102 Painting and sculpture collections, July 1, 1951 to

May 31, 1953. Museum of Modern Art Bulletin (New
M87 CALDER, ALEXANDER. [Statement]. Tiger's Eye York) 20 no. 3—4: 5, 40, 42 ill. Summer 1953.
no. 4: 74 June 1948. For a series "The ides of art — M 102a SORRELL, M. Mobiles of Lynn Chadwick. Studio
14 sculptors write". 144:76-79ill. Sept. 1952.
M88 CALDER, ALEXANDER. What abstract art means M 103 THWAITES, JOHN A. Notes on some young Eng-
to me. Museum of Modern Art Bulletin (New York) lish sculptors. Art Quarterly 15 no. 3: li'^lAX ill.

18 no. 3: 8 Spring 1951. Autumn 1952.

M89 BUFFET-PICABIA, GABRIELLE. Sandy Calder,
forgeron lunaire. Cahiers d'Art 20 21 324-333 ill. — :

1946. Supplemented by p. 334-335 : Uobjet de Calder, par Daumier

Georges Mounin.
M90 CARRfi, LOUIS, GALLERY. Alexander Calder: M104 BERLIN. DEUTSCHE AKADEMIE DER
Mobiles, Stabiles, Constellations. [44] p. ill. Paris, 1946. KUNSTE. Honore Daumier: Die Parlamentarier,
—
Major exhibition, Oct. 25 Nov. 16. Extracts from Die Biisten der Deputierten der Juli-Monarchie. Aus-
Sweeney monograph (1943). Essay by f.-P. Sartre "Les stellung. 28 p. plus 47 pi. 1952.
Konrad Kaiser : Honore
mobiles de Calder", p. 8-19, frequently reprinted. Daumiers Biisten, p. 7-18.
M91 CLAPP, TALCOTT. Calder. Art d'Aujourd'hui no. M 105 BOUVY, EUGENE. Trente-Six Bustes de H. Dau-
11—25: June 1950. Supplemented by p. 12:
[2-11] ill. mier. ill. Paris, Le Garrec, 1932.
"Notes sur Calder", par Leon Degand. M106 GOBIN, MAURICE. Daumier, Sculpteur, 1808—
M92 COAN, ELLEN S. The mobiles of Alexander Calder. 1879. Avec un Catalogue raisonne et illustre de
Vassar fournal of Undergraduate Studies. 15: 1-18 ill. rOeuvre sculpte. 336 p. pi. Geneve, Cailler, 1952.
May 1944. Illustrations, p. 165-328. Numerous footnotes.
M93 SARTRE, JEAN-PAUL. Existentialist on mobilist; M 107 GOBIN, MAURICE. Daumier, sculpteur. Art —
Calder's newest works judged by France's newest phi- Documents no. 28: 14-15 ill. Jan. 1953.
losopher. ^r/A^^M^x 46 no. 10: 22-23, 55-56 ill. Dec. 1947. M 108 SCHEIWILLER, GIOVANNI. Honore Daumier.
M94 SCHILLER, RONALD. Calder. In Portfolio, the 35 p. ill. Milano, Hoepli, 1936. Bibliography, p. 22-35.
Annual of the Graphic Arts. [16] p. ill. Cincinnati,
Zebra Press; New York, Duell, Sloane & Pearce, 1951.
M95 SCHNEIDER-LENGYEL, I. Alexander Calder, der Degas
Ingenieur-Bildhauer. Prisma 1 no. 6: 14—15 ill. Apr.
1947. *M 109 DEGAS, HILAIRE. Letters, ed. by Marcel Guerin.
M96 SWEENEY, JAMES J. Alexander Calder. 2. ed. rev. London, Oxford (& Cassirer), 1947. Also Grasset
80 p. New York, Museum of Modern Art, 1951.
ill. edition (Paris, 1931).
First edition issued 1943 as exhibition catalog. Bibliography MHO BERN. KUNSTMUSEUM. Degas, 25. November
by B. Karpel. 1951 bis 13. Januar 1952. [36] p. ill. 1952. 252 works.
M97 SZITTYA, EMIL. Alexander Calder. Kunstblatt 13: Texts by Huggler, Valery, S chmalenbach
185-186 June 1929. Mill BOREL, PIERRE. Les Sculptures Inedites de Degas.
12 p. plus pi. Geneve, Cailler, 1949.
M 112 HAUSENSTEIN, W. Degas der Plastiker. GanymedA.
Gallery TTi-216 plus 6 pi. 1922. Also article in "Kunstfur Alle",
fan. 1925.
M98 BUCHHOLZ GALLERY. Mary Gallery [exhibitions]. M 113 OSTY, LEIF. Omkering Degas' Skulpturer. Kunst og
4 catalogs New
York, Curt Valentin, 1944 1952. — Kultur 32 no. 2: 95-106 ill. 1949.
Shows held Oct. 9—28 1944, Apr. 29— May 24 1947, M 114 REWALD, JOHN, ed. Works in Sculpture, a com-
Mar. 14— Apr. 2 1950, Oct. 21— Nov. 15 1952. Zervos plete Catalogue. 124 p. 112 pi. New York, Pantheon,
article from "Cahiers d'Art" partially translated in 1950 1944. Plates, p. 33-144. Bibliography lists sculpture ex-
catalog; Henry McBride preface in 1952 catalog. 1921—1945.
hibitions,
M99 GINDERTAEL, R.V. Mary Gallery. Art d' Aujourd' hui M 115 RIVlfiRE, GEORGES. Mr. Degas, Bourgeois de
no. 4: 4 ill. Nov. 1949. Review of GalerieMai exhibition. Paris, ill. Paris, Floury, 1935.
M 100 MILLER COMPANY (Meriden, Conn.). The Miller M 115aVOLLMER, HANS. Allgemeines Lexikon der bil-
Company Collection of Abstract Art : Painting toward denden Kiinstler des XX. Jahrhunderts. V. 1, p. 531-
Architecture. Text by Henry-Russell Hitchcock, 532. Leipzig, Seemann, 1953. Extensive bibliography.
p. 1 14-1 16 ill. New York, Duell, Sloane & Pearce, 1948. M 116 ZORACH, WILLIAM. The sculpture of Edgar Degas.
M 101 Nouvelles Sculptures de Mary Callery. Cahiers d'Art The Arts 8: 263-265 Nov. 1925.
V. 20-21 303-306 1945-46. Illustrations only.
:

Doesburg^
Chadwick
M 117 DOESBURG, THEO Van. [About the art of sculp-
M 101a ALLOWAY, L. Britain's new iron age. Art News ture.] De Eenheid [no. ?] 1916. Dutch article in Mrs. Van
52:68 ill. June 1953. Doesburg's archives at Meudon.

376
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M118 DOESBURG, TH£0 Van. Classique Baroque — — M 132 VIEW. [Marcel Duchamp Number.] 54 p. ill. New
Moderne. 31 p. plus 17 pi. Anvers, De Sikkel; Paris, York, 1945. No. 1 , Series 5, Mar. 1945, also issued in

Rosenberg, 1921. Translation of 1920 De Sikkel edition. special autographed edition.

M119 DOESBURG, THfiO Van. The end of art. De Stijl M 133 YALE UNIVERSITY. ART GALLERY. Collection
7no. 73— 74: 29-30 1926. of the Societe Anonyme. p. 148-150 ill. New Haven,
*M120 DOESBURG, THfiO Van. Grundbegriffe der neuen Conn., 1950. Text by K. S. Dreier. Biography, ex-
gestaltenden Kunst. 40 p. plus 32 ill. Miinchen, Bau- hibition list, bibliography.

haus Verlag, 1925. Translatedfrom Dutch edition of 1919.

M121 DOESBURG, THfiO Van. The progress of the mo-
dern movement in Holland. Rayno.l: [11-13] ill. 1927. Duchamp -Villon
M122 DOESBURG, THfiO Van. Zur elementaren Ge-
staltung. G (Beriin) no. 1: 1-2 ill. July 1921. M 133a DUCHAMP-VILLON, RAYMOND. Variations de
M123 NEW YORK. MUSEUM OF MODERN ART la connaissance pendant le travail de I'art. [Unpublished
LIBRARY [Van Doesburgs Records, 1922—1949]. manuscript, n. d.J.

Unpaged [1950]. Includes unique documentation assembled *M 134 DUCHAMP-VILLON, RAYMOND. Raymond Du-
through the cooperation of Mrs. van Doesburg, plus check- champ- Villon, Sculpteur. 85 p. ill. Paris, Povolozsky,
list for dissertation by Mr. Scollar (Columbia Univ., N.Y.) 1924. A book of reproductions; preface by Walter Pach,
Typescripts include: Quelques notices biographiques sur le p. 11.
peintre et architecte Theo van Doesburg [4 p.]. — Van M 135 APOLLINAIRE, GUILLAUME. Duchamp-Villon.
Doesburg material, 1922 — 1931 , in the library of Mrs. In his The Cubist Painters, Aesthetic Meditations 1913.
Theo van Doesburg, Meudon, Paris [4 p.]. — Bibliography New York, Wittenborn, Schultz, 1949.
p. 48-50.

of published writings of Theo van Doesburg by Irwin Scollar, M 136 DORIVAL, B. Raymond Duchamp-Villon au Musee
New York, 1949 [11 p.], presumably a complete listing up d'Art moderne. Musees de France no. 3: 64-68 ill.

to Apr. 1, 1949. Apr. 1949.

M124 PRISMA DER KUNSTEN. Theo van Doesburg. M 137 HAMILTON, GEORGE H. Duchamp, Duchamp-
[32] p.ill. Zeist, Holland, De Torentrans, 1936. Special Villon, Villon. Bulletin of the Associates in Fine Arts at
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Doesburgs "Manifeste sur Part Concrete" and extracts joint exhibition. Bibliography.
(1912—1929); catalog of Stedelijk Museum exhibit. M 138 McBRIDE, H. Duchamps du monde, family exhibi-
—
May 2 31 1936, at Amsterdam. Biographical and biblio-
, tion at Rose Fried Gallery. Art News 51: 33-35 ill.

graphical note. Mar. 1952.

M 125 SCHWITTERS, KURT. Theo Van Doesburg and M 139 PACH, WALTER. A Sculptor's Architecture. New
Dada (1931). In The Dada Painters and Poets, York, Association of American Painters and Sculptors,
p. 21S~21G New York, Wittenborn, Schultz, 1951. 1913. An Armory show pamphlet.
From the German, "De Stijl", fan. 1932. Bibliography M 140 PACH, WALTER. Duchamp-Villon. Formes no. 15:
on Doesburg, p. 354-356. 84-85 May 1931.
M126 WICHMAN, ERICH. Monsieur Theo van Doesburg *M 141 PIERRE, G ALERIE. Sculptures de Duchamp-Villon,
et son Style. In his Erich Wichman tot 1920. p. 201-206. 1876 — 1918. Paris, 1931. fune exhibition; preface by
Amsterdam, Broekmans, 1920. A. Salmon.

Duchamp Ernst

M 127 DUCHAMP, MARCEL. Boite-en-Valise ... 69 prin- M 142 BOSQUET, JOE & TAPlfi, MICHEL. Max Ernst.
cipals Oeuvres de Marcel Duchamp. New York, 61 p. ill. Paris, Drouin, 1950.
1941 — 1942. Reproductions in miniature; limited edition in M 143 CAHIERS D'ART. Max Ernst: Oeuvres de 1919
leather case. a 1936. [110] p. ill. Paris, Cahiers d'Art, 1937. An
M 128 DUCHAMP, MARCEL. A
complete reversal of art anthology of numerous articles and plates from the maga-
opinions by Marcel Duchamp iconoclast. Arts and Zine.
Decoration 5 no. 11: 427-428, 442 Sept. 1915. M 144 ERNST, MAX. Beyond Painting, and other Writings
M 129 CHICAGO. ART INSTITUTE. 20th Century Art by the Artist and 204 p. ill. New York,
his Friends.
from the Louise and Walter Arensberg Collection, Wittenborn, Schultz, 1948. Preface by R. Motherwell.
p. 11-18 ill. 1949. Article by Katherine Kuh. Bibliography by B. Karpel, p. 197-204.
M 129a KRASNE, BELLE. A Marcel Duchamp profile. Art M 145 House at St. Martin d'Ardeche rebuilt and decorated
Digest 26 no. 8: 11, 24 ill. Jan. 15, 1952. by Max Ernst. London Bulletin no. 18 20: 23 June —
M 130 LEIRIS, MICHEL. Arts et metiers de Marcel 1940. Also illustrated in "Cahiers d'Art" 1939.
Duchamp. Fontaine no. 54: 188-193 ill. 1946. M 146 HUGNET, GEORGES. Max Ernst. Cahiers d'Art
M 131 MOTHERWELL, ROBERT, ed. The Dada Painters no. 5 — 10: 140-145 ill. 1939. A poem, supplemented by
and Poets, p. 136-140, 185-186, 207-211, 255-263, 10 illustrations of sculpture, p. 141-145.
306-315, 356-357 et passim ill. New York, Witten- M 147 VIEW (MAGAZINE). Max Ernst, ill. New York,
born, Schultz, 1951. Bibliography. Includes articles by 1942. Special number, v. 2 no. 1, Apr. 1942. Includes
fanis and others from View Magazine. catalog of Valentine gallery show; bibliography.

Ill
 Giacometti Manuscript.

From hibl. G 24, no. 3, 1952.

X^^^^uCr-P-^^O^^ 'CT'

%viy^ -^ o^^^<^^ ^/^ -C<^. 2«<^ c^^e^put'

Ferber M147dNEW YORK. MUSEUM OF MODERN ART.

15 Americans; ed. by D. C. Miller, with statement by
M 147a FERBER, HERBERT. On sculpture and painting. the artists, p. 10, 11, 46 ill. 1952. Also exhibited in

r/;g?rV £><f no. 4: 75-76 June 1948. 5fe a/xo «o. 2; ^^ their ''^Abstract Painting and Sculpture in America"
p. 124, 150 ill. 1951.
M 147b FITZSIMMONS, J. Artists put faith in new ecclesi-
astical art. Art Digest 26: 15, 23 ill. Oct. 15, 1951.
Ferber also reviewed in 22: 19 Jan. 1, 1948; 24: 14 Mar. Freundlioh
15 1950:27:16 May 1 1953.
M 147c GOODNOUGH, R. Ferber makes a sculpture: M148 FREUNDLICH, OTTO. [Statement]. Abstraction,
"And bush was not consumed". Art News
the Creation, Art Non Figuratif no. 2: 12 ill, 1933. Also
51: 40-43, 66 ill. Nov. 1952. briefly in no 1 : 13 1932.

378
 ^Jfr^v-^St^

I*. —-_. 1 jT

M 149 GINDERTAEL, R. V. Freundlich. ^r/ a^'^w- M 152 GABO, NAUM. L'Idee du Realisme constructif.
jourd'hui 3 no. 7—8: 59-60 ill. Oct. 1952. In Temoignages pour I'Art abstrait. p. 115-122. Paris,
M 150 SEUPHOR, MICHEL. Otto Freundlich. In his L'Art Art d'Aujourd'hui, 1952. "Extraits d'une conference
Abstrait. p. 292-293 et passim ill. Paris, Maeght, 1949. faite a Yale University . . . 1948." Full text below.
M 153 GABO, NAUM. A Retrospective View of Construc-
tive Art. In Three Lectures on Modem Art. p.
Gabo 65-87. New York, Philosophical Library, 1949. So
listed on title-page; chapter-title is "On Constructive
M 151 GABO, NAUM. The Constructive Idea in Art. In Realism".
Circle, International Survey of Constructive Art. M 154 GABO, NAUM. Toward a unity of the constructive
Editors: J. L. Martin, Ben Nicholson, N. Gabo. arts. Plus no. 1 : 3-6 ill. 1938. Same as "Architectural
p. 1-10 ill. London, Faber & Faber, 1937. Forum" 69: 455-458 Dec. 1938.

379
 . :

M 155 GABO, NAUM & PEVSNER, ANTOINE. Auszug M 172 PONGE, FRANCIS. Reflexions sur les statuettes,
aus einem Brief. Das Werk 25 no. 8 255 : ill. Aug. 1938. figures & peintures d'AlbertoGiacometti. Ca/'/crj- d'Art
Similar formulation in "Realites Nouvelles", no. 1 , 1947. 26: 74-90 111. 1951.
M 156 GABO, NAUM & READ, HERBERT. Constructive M 173 SARTRE, JEAN-PAUL. La recherche de I'absolu.
art, an exchange of letters. Horizon 10 no. 55: 57-65 Les Temps Modernes no. 28: 1153-1163 ill. Jan. 1948.
ill. July 1944. Also published in his The Philosophy of M 174 STAHLY, F. Der Bildhauer Alberto Giacometti.
Modern Art A 35). (bibl. Werk?>l: 181-185 June 1950.
M 157 GOLDWATER, ROBERT & TREVES, MARCO. M 175 VERONESI, GIULIA. Alberto Giacometti.
Artists on Art. p. 454-455. New York, Pantheon, 1945. Emporium 57 no. 7: 36-37 ill. July 1951.
Extracts from ^'Realistic Manifesto" (1920) ; frequently M176 WESCHER, HERTA. Giacometti: a profile. Art
printed in extracts. Digest 28 no. 5: 17, 28-29 ill. Dec. 1 1953.
M 158 KALLAI, ERNST. Der Plastiker Gabo. HO (Inter- M 177 ZERVOS, CHRISTIAN. Quelques notes sur les

nationale Revue) 1 no. 7: 245-249 ill. 1927. Supplemented sculptures de Giacometti. Cahiers d'Art 7 no. 8 — 10:
by his Der Raumplastiker Gabo. "Das Neue Frankfurt" 337-342 ill. 1932.
4 no. 1: 17-19 ill. 1930.
M 159 MATISSE, PIERRE, GALLERY. Gabo: Space and
Kinetic Constructions, Apr. 21 — May 16. [8] p. ill. Gilioli
1953. Introduction by G. H. Hamilton.
M 160 NEW YORK. MUSEUM OF MODERN ART. M 177a BORDIER, R. La progressivite chez Gilioli. Art
Naum Antoine Pevsner. Introduction by
Gabo, d'Aujourd'hui 5 no. 1 : 23-24 ill. Feb. 1954. Also
Herbert Read. Text by Ruth Olson and Abraham p. 32 by H. Wescher.
Chanin. 83 p. ill. 1948. ''''Constructivism: The art of M 178 CHEVALIER, DENYS. Emile Gilioli. Arts no. 291
Naum Gabo and Antoine Pevsner" , p. 7-13, also published 5 ill. Dec. 29 1950.
in Read's The Philosophy of Modern Art (bibl. A 35). M 179 GINDERTAEL, R. V. Emile Gilioli. 7«Temoignages
Detailed bibliography by H. B. Muller. pour I'Art abstrait. p. 130-136 ill. Paris. Art d'Au-
M 161 SWEENEY, JAMES J. Construction unconstruc- jourd'hui, 1952.
tible? Projects of N. Gabo. Art News 50: 34-35, M 180 GINDERTAEL, R. V. Gilioli. Art d'Aujourd'hui
61-62 ill. Mar. 1951. no. 1: 14-15 ^o-v. 1^)52). Biographical note, portrait.
M 180 GOLDSCHEIDER, CECILIE. Gilioli. In Hamburg.
Kunsthalle. Junge franzosische Plastik. p. 11, 38 1953.
Giacometti M 181 S , A . Gilioli: [Monument aux deportes
de ITsere]. Art d'Aujoud'hui 1 no. 10—11: [25] ill.
M 162 GIACOMETTI, ALBERTO. Mai 1920. Verve 7 —
May June 1950. Also illustrated in "Architecture d'Au-
no. 27—28: 33-34 ill. Dec. 1952. Jourd'hui" 20: XXXI
fuly 1950.
M 163 GIACOMETTI, ALBERTO. Objets, mobiles et
muets. he Surrealisme au Service de la Revolution no. 3:
18-19 Dec. 1931. Other articles and illustrations: no. 3: Gonzalez
18-19 1931, no. 5: 15, 44-45 May 1933.
M 164 GIACOMETTI, ALBERTO. 1 + 1 = 3... [and] M 182 BRUGIERE, P.-G. Julio Gonzalez, les etapes de
A letter from Giacometti. Trans (formation (N.Y.) 1 I'oeuvre. Cahiers d'Art 27 no. 1: 19-31 ill. July 1952.
no. 3: 165-167 1953. Letter reprinted from Matisse M183 DEGAND, LEON. Julio Gonzalez, 1876—1942.
catalog (1948). Art d'Aujourd'hui no. 6: [16-20] ill. Jan. 1950.
M 165 GIACOMETTI, ALBERTO. Le reve, le sphinx, et M 184 FERNANDEZ, LUIS. El escultor Gonzalez. A. C.
la mort de T. Labyrinthe no. 22 —23: 12-13 ill. Dec. 2 no. 5: 30-31 ill. 1932.
1946. M185 JAKOVSKI, ANATOLE. Julio Gonzalez. D'Aci
M 166 BASEL, KUNSTHALLE. Andre Masson, Alberto d'Alla 11 no. 179: 53 ill. Dec. 1934.
Giacometti, 6. Mai bis 11. Juni. p. 18-20 1950. M 186 PARIS. MUSfiE NATIONAL D'ART MODERNE.
M167 BILLE, EJLER. Alberto Giacometti; "Palaeet" af Julio Gonzalez, Sculptures. 23 p. ill. Paris, fid. des
Alberto Giacometti. In his Picasso, Surrealisme, Musees nationaux, 1952.
Abstrakt Kunst. p. 176-184 ill. Copenhagen, Helios, M 187 PfiREZ ALFONSECA, RICARDO. Julio Gonzalez.
1945. Madrid. 1934. Review by Pedro Garcia Cabrera in "Gaceta
M 168 LEIRIS, MICHEL. Alberto Giacometti. Documents 1 de Arte" no. 30 1934.
no. 4: 209-214 111. Sept. 1929. M 188 RITCHIE, ANDREW C. Sculpture of the Twentieth
M 169 LEIRIS, MICHEL. Thoughts around Alberto Gia- Century, p. 29-30, 104-105, 164-167, 228 ill. New
cometti. Hori-^on 19 no. 114: 111-117 ill. June, 1949. York, Museum of Modern Art, 1952.
Revised preface for Maeght exhibition (1951)
M 170 LIMBOUR, GEORGES. Giacometti. Magazine of
Art 41 : 253-255 ill. Nov. 1948. Gris
M 171 MATISSE, PIERRE, GALLERY. Alberto Gia-
cometti, Exhibition of Sculptures, Paintings, Draw- M 189 KAHNWEILER, DANIEL-HENRY. Juan Gris, his
ings (Jan. 19— Feb. 14). 47 p. ill. New York, 1948. Work. 178 p. plus 113 pi. New York, Curt
Life and
Preface by Sartre (bibl. M 173). Valentin, 1947. Translation of Juan Gris, sa Vie, son

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Oeuvre, ses ficrits. (Paris, Gallimard, 1946). Chap. X M 202 HUELSENBECK, RICHARD. En avant Dada; eine
Sculptures, Drawings and Engravings. Detailed biblio- Geschichte des Dadaismus 44 p. Hannover, etc.,

graphy by H. B. Muller. Steegemann, 1920. Translated in bibl. M 205.

M 190 YALE UNIVERSITY. ART GALLERY. Collection M 203 HUGNET, GEORGES. L'Esprit dada dans la pein-
of the Societe Anonyme. p. 59-60 New Haven, 1950. ture. Cahiers d' Art 7 no. 6— 7: 281-285 1932. "Part 11:
Comment by M. Duchamp and G. Stein; biographical and Berlin(1918—1922)." Translated in bibl. 205. M
bibliographical notes. M 204 JANIS, SIDNEY, GALLERY. Dada, 1916—1923...
April 15 to May 9. [1 sheet] New York, 1953.
Catalog lists nos. 1 13 —
122 by Raoul Hausmann, including
Hajdu sculpture.
M 205 MOTHERWELL, ROBERT, ed. The Dada Painters
M 190a SEUPHOR, MICHEL. Etienne Hajdu. ill. Paris, and Poets, p. XXIV-XXV, 41-42, 45-46, 144-152,
Presses Litteraires de France, 1950. Collection Artistes 254, 316, 361-362 et passim ill. New York, Witten
de ce Temps. born, Schultz, 1951. Bibliography.
M 190b ZERVOS, CHRISTIAN. Note sur Etienne Hajdu.
Cahiers d' Art 28 no. 1 : 100-106 ill. June 1953.
Hepworth

Hare M 206 HEPWORTH, BARBARA. [Statement]. Abstraction,

Creation, Art Non Figurat if no. 2: 6 ill. 1933. Similar
M 191 HARE, DAVID. The spaces of the mind. Maga:(_ine statements recorded in her monograph below, bibl. M 207.
of Art 43:48—53 ill. Feb. 1950. M207 HEPWORTH, BARBARA.
Barbara Hepworth,
M 192 KOOTZ, SAMUEL M., GALLERY. Women, a Carvings and Drawings. With an Introduction by
Collaboration of Artists and Writers, p. [33-35] ill. Herbert Read. [30] p. plus [165] pi. London, Lund
New York, Kootz Editions, 1948. Portfolio, with Humphries, 1952. Bibliography, p. XII-XV, notes

Sartre essay: N-Dimensional Sculpture. The gallery also numerous statements, e. g. The Studio no. 12 1932, no.
issued an illustrated checklist of 15 new sculptures from 643 1946; Unit One (London, 1934) ; Circle (London,
Cannes (Mar. 1952). 1937).
M 193 MODERN ARTISTS IN AMERICA: First Series. M 208 HEPWORTH, BARBARA. [Sculpture, an Album of
p. 10, 12, 14, 16. New York, Wittenborn, Schultz Photographs] [74] p. incl. 49 pi. 1940. Unique album of
[1951]. Quotations from "Artistes Sessions at Studio 55". original photographs, compiled and arranged by the artist.
M 194 NEW YORK, MUSEUM OF MODERN ART. Bibliography (Folio in the
. Museum of Modern Art Library,
Fourteen Americans, ed. by Dorothy C. Miller. New York)
p. 24-27, 77 ill. 1946. M209 BROWSE, LILLIAN, ed. Barbara Hepworth,
M 195 SARTRE, JEAN-PAUL. Sculptures a N dimensions. Sculptress. 65 p. ill. London. Published for the
Arts no. 144 : 1 Dec. 12, 1947. Part of text for Hare Shenval Press by Faber & Faber, 1946. Preface by
exhibit at Galerie Maeght (Paris) W. Gibson; bibliography.
M 210 FLEIG, HANS. Barbara Hepworth. Schweii^er Journal
(Zurich) 16 no. 9—10 ill. Sept.— Oct. 1950.
Hartungf M211 HODIN, J. P. Les oeuvres recentes de Barbara
Hepworth. Les Arts Plastiques no. 5 6: 2'iS-246 ill. —
M 196 HARTUNG, KARL. [Statement]. In Premier Bilan 1948. One of a series of articles, supplemented by "Werk"
de I'Art actuel. p. 298. Paris, Le Soleil Noir, 1953. Apr. 1949; "Kroniek van Kunst en Kultuur" Apr. 1950;
Biographical note; portrait. "Les Arts Plastiques" July— Aug. 1950; "Espacios"
M 197 BERLIN. HAUS AM WALDSEE. Karl Hartung, no. 7 1951, etc.

Ausstellung. 22 p. ill. 1952. Preface by K. L. Skutsch. M 212 LEWIS, DAVID. The sculptures of Barbara Hep-
M 198 KESTNER-GESELLSCHAFT. Karl Hartung [14] p. worth. Eidos no. 2: 25-31 ill. Sept.— Oct. 1950.
ill.Hannover, 1953. Text by A. Hent^en for May 28 — M 213 RAMSDEN, E. H. The sculpture of Barbara Hep-
June 28 show. worth. Polemic no. 5: 33-34 ill. Sept.— Oct. 1946.
M 199 ROSEN, GERD, GALLERY. Karl Hartung, Plastik Supplemented by another article in "Hori:(pn" 10 no. 42:
und Graphik. n. p. Berlin, 1946 1948. Exhibit pam- — 418^22 June 1943
phlets: Apr. 1946, signed H. H. ; Mar. 1948, signed C. L. M 213a WHITECHAPEL ART GALLERY, LONDON.
M 200 THWAITES, J. A. Karl Hartung. Art d'Aujourd'hui Barbara Hepworth. 31 p. ill. 1954. Carvings and
4 no. 6: [10] ill. Aug. 1953. drawings, 1927-1954; exhibited Apr. 8 —June 6. Texts
by the artist, B. Robertson, D. Baxandall.

Hausmann
Jaoobsen
M201 HAUSMANN, RAOUL, ed. Der Dada. Nos. 1—3
Berlin, 1919—1920. No. 1—2 edited solely by Hausmann, M214 JACOBSEN, ROBERT. [Statement]. In Premier
including many illustrations by him. No. 3 issued with Bilan de I'Art actuel. p. 300. Paris, Le Soleil Noir, 1953.
imprint of Der Malik Verlag. Biographical note; portrait.

381
 . :

M215 ALVARD, JULIEN. Robert Jacobsen. In Temoi- M 231 BRUSSELS. PALAIS DES BEAUX ARTS. Henri
gnages pour I'Art abstrait. p. 158-165 ill. Paris, Art Laurens. 29 p. ill. Bruxelles, fid. de la Connaissancc,
d'Aujourd'hui, 1952. 1949. Preface by D.-H. Kahnweiler.
M 216 DEGAND, LfiON. R. Jacobsen. Art d'Aujourd'hui M 232 GEORGE, WALDEMAR. Laurens et la pcrennitc
3 no. 1: 12 ill. Dec. 1951. Also review in 4 no. 1 : 26 des rythmes fran^ais. Art et Industrie 28 no. 26: 30-31
Jan. 1953. ill. 1953.
Mill DEWASNE, J. Jacobsen. Art d'Aujourd'hui no. 6: M 233 GIACOMETTI, ALBERTO. Henri Laurens. Verve
23 ill. Jan. 1950. Also "XXe Siecle" no. 4:78—79 27—28: 22 Dec. 1952. Plates, p. 23-27.
1 no.
Jan. 1954. M234 KOCHNITZKY, LfiON. Henri Laurens. //or/^o«
M 217a DEWASNE, JEAN. Le Sculpteur: Robert Jacobsen. 15 no. 85: 15-24 ill. Jan. 1947.
[46] p. ill. Copenhague, Galerie Denise Rene, 1951. M 235 PARIS. MUSfiE NATIONAL D'ART MODERNE.
Bilingual edition: Billedhuggeren Robert Jacobsen, et Henri Laurens, 9 Mai — 17 Juin. 14 p. ill. Paris, Ed. des
Udvalg aj bans seneste Arbejder. Collection Scripta no. 8. Musees nationaux, 1951. Text by Jean Cassou. Reviewed
M218 HULTEN, KARL G. Jacobsen. Art d'Aujourd'hui by L. Degand in "Art d'Aujourd'hui" June 1951 and ,

4 no. 7 23 : ill. Oct.— Nov. 1953. C. Zervos in "Cahiers d'Art" v. 26 1951.

M 236 LE POINT. Henri Laurens. 48 p. ill. Lanzac, 1946.
Special no. 3 3, July 1946; six essays by Raynal and others.
Lardera M 237 RAYNAL, MAURICE. Laurens. L' Esprit Nouveau 1
1152-1164 111. 1920.
M 219 LARDERA, BERTO. [Statement]. In Premier Bilan M 238 TAILLAUDIER, Y. Laurens talar om konst. Konst-
de I'Art actuel. p. 304. Paris, Le Soleil Noir, 1953. revy 28 no. 1: 1-8 1952.
Biographical note, portrait. M 239 VERONESI, GIULIA. Henri Laurens e la restaura-
M220 COURTHION, PIERRE. Berto Lardera — ou la zione della forma. Emporum 57 no. 7 2-8 ill. July 1951.
:

sculpture par plans. Art d'Aujourd'hui 5 no. 2-3: 60 ill.

Mar.— Apr. 1954.

M 221 GINDERTAEL, R. V. Berto Lardera. In Temoi- Le Corbusier
gnages pour I'Art abstrait. p. 174-181 ill. Paris, Art
d'Aujourd'hui, 1952. M 240 LE CORBUSIER. New World of Space. 128 p. ill.

M 222 Sculptures a la Galerie Denise Rene. Arts (Paris) New York, Reynal & Hitchcock; Boston, Institute
p. 4 Mar. 12 1948. of Contemporary Art, 1948. Includes previously published
M223 Scultura all' aperto. Domus no. 287 : 38-39 ill. Oct.1953. Foreword by F. S, Wight.
material.
M224 SEUPHOR, MICHEL. Lardera. [7] p. plus [31] ill. M 241 LE CORBUSIER. Recherches pour conduire a une
Milano, La Bibliofilia, 1953. sculpture destinee a I'architecture. Art d'Aujourd'hui
no. 2: 10-11 ill. July— Dec. 1949. The Marseille facade
in construction.
Lassaw M242 LE CORBUSIER & JEANNERET, PIERRE.
Oeuvre Complete. 5 vol. ill. Zurich, Girsberger,
M 225 LASSAW, IBRAM. On inventing our own art. In 1930—1953, New York, Wittenborn, 1953. Texts in
American Abstract Artists, part VIII. New York, English, French, German. Vol.5, p. 225-230: "Art et
[The A. A. A. Association] 1938. Biographical note. poetique (art as architecture) "
M226 LASSAW, IBRAM. [Statement]. Realites Nouvelles M243 ARCHITECTURE D'AUJOURD'HUI. Le Cor-
no. 4: 45 ill. 1950. busier, Numero hors Serie.16 p. ill. Boulogne (Seine),
1

M 227 CAMPBELL, L. Lassaw makes a sculpture : clouds 1948. "19e annee, avril 1948." Bibliography, p. 115.
of magellan. Art News 53: 24-27, 66-67 mar. 1954. M 244 GAUTHIER, MAXIMILIEN. Le Corbusier. 286 p.
M 227a KERN, WALTER. Ibram Lassaw. Werk 41 no. Paris, Denoel, 1944. "Catalogue sommaire" p. 275-283, ,

8: 335 ill. Aug. 1954. lists exhibitions (1918—1938).

M 227b KOOTZ, SAMUEL M., GALLERY. Lassaw, new M 245 PAPADAKI, STAMO, ed. Le Corbusier: Architect,
sculpture. [4] p. ill. New York, 1954. Shown Oct. Painter, Writer. 152 p. ill. New York, Macmillan, 1948.
23 —Nov. 13; biographical notes; prejace by J. Fit:^- Includes translations. Biographical and bibliographical notes,

simmons. p. 149-152.
M228 MODERN ARTISTS IN AMERICA: First Series,
p. 11-12, 17 New York, Wittenborn, Schultz[1951].
ill.

M229 NEW YORK. MUSEUM OF MODERN ART. Lehmbruck

Abstract Painting and Sculpture inAmerica, by
A. C. Ritchie, p. 123, 131, 152 ill. New York, The M 246 HOFF, AUGUST. Wilhelm Lehmbruck, Seine Sen-
Museum and Simon & Schuster, 1951. dung und sein Werk. 117 p. 90 ill. Berlin, Rembrandt,
1936. "Kurz^es Werkver:(eichnis" p. 115-117. ,

M247 MANNHEIM. STADTISCHE KUNSTHALLE.

Laurens Wilhelm Lehmbruck, April—Mai. 34 p. ill. 1949.
Also shown at Diisseldorf, Stuttgart, etc. Lists 184 works;
M 230 LAURENS, HENRI. [Temoignage: L'espace]. XXe texts by W. Passarge(&J. Meier-Graefe. Extensive biblio-

Siecle (n. s.) no. 2: 73-74 ill. Jan. 1952. graphy.

382
 —

M 247a NEW YORK. MUSEUM OF MODERN ART.

Sculpture [by] Wilhelm Lehmbruck [and] Aristide
Maillol. 10 p. plus 12 pi. 1930. Introduction by J(ere)
A(bbott).
M 248 VALENTINER, W. R. The simile in sculptural com-
Art Quarterly 10 no. 4: 264 ill. Autumn 1947.
position.
Comment on "The Kneeling Woman".
M249 WESTHEIM, PAUL. Wilhelm Lehmbruck. 65 p.
plus pi. Potsdam-Berlin, Kiepenheuer, 1919. "Medi-
tationen", p. 55-62. "Das Werk Lehmbrucks", p. 63-65.
Second edition, 1922.

Lipchitz

M 250 LIPCHITZ, JACQUES. The story of my Prometheus.

Art In Australia 4 no. 6: 28-35 ill. June— Aug. 1942.
M 251 LIPCHITZ, JACQUES. The Drawings of Jacques
Lipchitz. 3 p. plus 20 pi. New York, Buchholz Gallery,
Curt Valentin, 1944.
M 252 LIPCHITZ, JACQUES. Twelve Bronzes by Jacques
Lipchitz. 16 collotype plates with introductory note.
New York, Curt Valentin, 1943.
M 253 BARON, JACQUES. Jacques Lipchitz. Documents 2
no. 1 : 17-24 ill. 1930.
M254 CASSOU, JEAN. Lipchitz. Horizon 14 no. 84:
367-370 ill. Dec. 1946.
M255 GEORGE, WALDEMAR. Jacques Lipchitz. Das
Kunstblatt 6: 58-64 ill. 1922.
M 256 GUfiGUEN, PIERRE. Jacques Lipchitz, ou I'histoire
naturelle magique. Cahiers d'Art 1 no. 6 — 7: 252-258
ill. 1932.
M257 PORTLAND. ART MUSEUM. Jacques Lipchitz,
an Exhibition of his Sculpture and Drawings, 1914
1950. [32] p. ill. 1950. Organised by Portland; exhibited
later at San Francisco and Cincinnati. Text by A. C. Rit-
chie; statements by the artist; bibliography by H.B.Muller.
M 258 RAYNAL, MAURICE. Jacques Lipchitz. 17 p. plus
72 pi. Paris, Bucher, 1947.
M 259 SCHWARTZBERG, MIRIAM B. The Sculpture of
Jacques Lipchitz, a Dissertation. 136 p. plus 56 pi.

New York [New York University] 1941. Unpublished

typescript ; copy in Library of Museum of Modern Art,
New York. Extensive bibliography, p. 105-132.

Lippold

M 260 LIPPOLD, RICHARD, i to eye. Tiger's Eye no. 4:

79-80 June 1948.
M261 LIPPOLD, RICHARD. Sculpture? Magazine of Art
44: 315-319 111. Dec. 1951.
M 262 LIPPOLD, RICHARD. [Statement]. In Premier Bilan
de I'Art actuel. p. 305. Paris, Le Soleil Noir, 1953.
Biographical note; portrait.
M263 LIPPOLD, RICHARD. Variation number seven:
Full moon. Arts <& Architecture 67: 22-23, 50 May
1950. Another personal statement in Aug. 1947 number.
M 264 BREUNING, MARGARET. Lippold's lunar magic.
Art Digest 24 no. 12: 14 Mar. 15 1950.
M 265 Designing in space. Craft Horiv^ons 12 no. 3: 34-36 ill. Lippold Drawing for "Full
May— June 1952. Moon". From bibl. M 263.

383
 . :

M266 LONDON. INSTITUTE OF CONTEMPORARY M 284 WESCHER, H. Hommagc a Malewitsch, Malewltsch

ARTS. International sculpture competition: The in memoriam. Plastique no. 1 : 5-10 ill. Printemps, 1937
Unknown Political Prisoner, insert and ill. 1953.
Exhibited at Tate Gallery. Special insert includes comment
by L.ippold on his winning design. Marini
^Idl NEW YORK. MUSEUM OF MODERN ART.
15 Americans, ed. by D. C. Miller, p. 27-29 ill. 1952. M 285 APOLLONIO, UMBRO. Marino Marini. 40 p. plus
Biographical note; personal statement. 116 pi. Milan, Edizione del Milione, 1953. Lists of
works and exhibitions ; bibliography.
M286 CARLI, ENZO. Marino Marini. 27 p. plus 36 pi.
Maillol Milano, Hoepli, 1950. Bibliography, p. 22-27.
M 287 CARRIERI, RAFFAELE. Marino Marini, Scultore.
M 268 ALBRIGHT ART GALLERY. Aristide Maillol . . . 36 p. plus 90 Milano, pi. II Milione, 1948. Extensive
ed. by Andrew C. Ritchie. 128 p. ill. Buffalo, 1945. bibliography, p. 26-33.
Translations from "Sayings of Maillol" Bibliography by . M 288 HAFTMANN, WERNER. Marino Marini. Das Kunst-
fohn Rewald. werk 6 no. 4: 3-16 ill. 1952. Followed, p. 17-18, by Con-
M269 CLADEL, JUDITH. Aristide Maillol: sa Vie, son rad Westphal "Plastik als Raumwesen: Uber Marini"
Oeuvre, ses Idees. [182] p. ill. Paris, 1937. Biblio- M 289 HJERN, KJELL. Marino Marini. Konstrevy 29 no. 1

graphy, p. [177]. 20-28 ill. 1953.

M 270 DENIS, MAURICE. A Maillol. 42 p. plus 42 pi. M 290 KESTNER-GESELLSCHAFT. Marino Marini, erste
Paris, Cres, 1925. Ausstellung in Deutschland, 1951—1952. [15] p.iU.
M 271 GEORGE, WALDEMAR. Aristide Maillol. The Arts Hannover. 1951. "]/eranstaltet von der Kestner-Gesell-
5 no. 2: 84-109 Feb. 1924. schaft und dem Kunstverein in Hamburg,"
. . .

M272 KUHN, ALFRED. Aristide Maillol: Landschaft, M 290a TRIER, EDUARD. Marino Marini. Koln, Galerie
Werke, Gesprache. 24 p. plus 43 pi. Leipzig, Seemann, der Spiegel, 1954. First German monograph, with
1925. English and French translation. Bibliography.
M273 LE POINT. Les Ateliers de Maillol. [44] p. ill. M 291 VITALI, LAMBERTO. Marino Marini. Horizon 18
Colmar, 1938. Text by fohn Rewald. Special number 3 no. 105: 203-207 ill. Sept. 1948.
no. 17: 199-240 Nov. 1938. M 292 VITALI, LAMBERTO. Marino Marini. 25 p. plus
M 274 REWALD, JOHN. Maillol. 167 p. ill. London, Paris, 33 pi. Milano, Hoepli, 1937. Bibliography, p. 21-25.
New York, Hyperion, 1939. Extensive bibliography, Another monograph, subtitled" Maturita di Marini" issued ,

p. 29-30. by Edizione U, Firen^e, 1946 (37 p. plus 64 pi.).

M 275 RONNEBECK, ARNOLD. The teachings of Maillol.
The Arts 8 no. 1: 38-40 ill. July 1925. Preceded by
"Maillol speaks", p. 35-37. Martins
M 276 TERNOVETZ, BORIS. Aristide Maillol. 30 p. plus
30 ill. Milano, Hoepli, 1950. Bibliography, p. 25-30. M 293 BRETON, ANDRfi. Les Statues Magiques de Maria
M 277 WEBER, HUGO. Erinnerungen an Aristide Maillol. presentees par Andre Breton
et Michel Tapie. [23] p
W'erk 31 no. 12: 365-370 ill. Dec. 1944. ill. Paris, Drouin, 1948. Presentation par Andre Breton
'^'^

de r exposition de Maria a fulien Levy Gallery a New York

en 1947."
Malevlch M 293a GEORGE, WALDEMAR. Maria, sculpteur des
tropiques. Art et Industrie no. 16: 18-20 ill. 1949.
M 278 MALEVICH, KASIMIR. Die gegenstandslose Welt: M 294 LEVY, JULIEN, GALLERY. Maria, recent Sculp-
Begriindung und Erklarung des russischen Supre- tures. Introduction by Andre Breton. [12] p. ill. 1947.
matismus. 104 p. ill. Miinchen, Langen, 1927. Bauhaus- M 295 MINNIGERODE, C. POWELL. Sculptures by Maria
biicher 11. Martins. Pan American Union Bulletin 75 no. 12: 682-
M 279 MALEVICH, KASIMIR. Suprematismus. Aus den 685 ill. Dec. 1941. Early work in the naturalistic tradition.
Schriften, 1915—1920. Plastique no. 1 : 3 ill. Prin- M296 TAPlfi, MICHEL. 3 Artistes d'Amerique latine.
temps, 1937. XXe Siecle no. 1 : 78 ill. 1951.
M280 MALEVICH, KASIMIR. Suprematism: the non- M297 VALENTIN, CURT, GALLERY. Amazonia by
objective world. In Goldwater, R. & Treves, M. Maria. [13] p. plus 15 pi. New York, 1943. Issued in
Artists on Art. p. 452-453 New York, Pantheon, association with exhibition; at head of title : March 22 1943.
1945. Foreword by Jorge Zarur.
M281 ALVARD, JULIEN. Les idees de Malevich. Art M297aZERVOS, CHRISTIAN. La vision imaginative de
d'Aujourd'hui A no. 5: 16-21 ill. July 1953. Additional Maria. Cahiersd'Art 24: 139-143 ill. 1949.
Malevich material in fan. 1951 and fune 1952 numbers.
M 282 KALLAI, ERNST. Kasimir Malevitsch. Das Kunst-
blatt 10 no. 7: 264-266 ill. 1927. Matare
M283 NEW YORK. MUSEUM OF MODERN ART.
Cubism and Abstract Art, by Alfred H. Barr, Jr. M 298 KALLAI, ERNST. Der Plastiker Matare. Das Kunst-
p. 120-128, 215-216, 241-246 ill. 1936. blatt. 11:67-68 ill. 1927.

384
 .

M 299 SCHEFFLER, K. Matare, Ausstellung bei Flecht- M 317 DREIER, KATHERINE. Kasimir Meduniezky. In
heim. Kunst und Kiinstler 32: 152 Apr. 1933. Yale University Art Gallery. The Collection of the
M 300 SCHON, GERHARD. Die Kuh des Matare. Das Societe Anonyme. p. 119-120 ill. New Haven, 1950.
Kunstwerk 2 no. 8: 33-34 ill. 1948. Bibliography.

M 301 SCHOPPA, HELMUT. Matare: 8 Keramiken. 1 leaf M318 STERENBERG, D. Die kunstlerische Situation in
plus 8 pi. Wiesbaden [195?] (Saaten-Kunstmappe.) Russland. Das Kunstblatt 6 no. 11: 484-492 ill. 1922.
M 302 SVENSK-FRANSKA KONSTGALLERIET. Ewald Review of Diemen exhibition, followed, p. 493-498, by
Matare, Skulpturer, Trasnitt, 1921-1953. [12] p. ill. Paul Westheim: Die Ausstellung der Russen.
Stockholm, 1954. Preface by H.-E. Haack. 91 sculptures

shown Jan. 1954.

M303 VELLINGHAUSEN, ALBERT S. Ewald Matare. Mingfuzzi
Werk 34 no. 10: 337-340 ill. Oct. 1947.
M318aJAHIER, P. Minguzzi Scultore. 24 p. plus 24111.
Bologna, Orsa, 1946.
Matisse M 318b TATE GALLERY, LONDON. The Unknown
political prisoner: international sculpture compe-
M 304 MATISSE, HENRI. Notes d'un peintre sur son tition. [24] p. ill. 1953. Insert includes biographical note
dessin. ill. Le Point 4 no. 3: 8-15 July 1939. on Mingu^^^i, a prizewinner
M305 MATISSE, HENRI. [Temoignage: L'espace]. XXe M 318c Exposition a I'Athenee, Geneve. Werk 36: 112
Steele (n. s.) no. 2: 66-67 Jan. 1952. (suppl.)Aug. 1949.
M 306 ARTS COUNCIL OF GREAT BRITAIN. An Ex- M 318d RITCHIE, ANDREW C, ed. The New Decade: 22
hibition of the Sculpture of Matisse . . . [10] p. ill. European Painters and Sculptors, p. 90-93 ill. New
London, 1953. At the Tate Gallery, Jan. 9^Feb. 22. York, Museum of Modern Art, 1955. huludes statement
Texts by P. James and J. Cassou. by the artist and biographical note. Also Mirko, p. 94-97.
M 307 BARR, ALFRED H., JR. Matisse: His Art and his
Public. 591 p. ill. New York, Museum of Modern Art,
1951. Issued in association with Matisse retrospective at Mirko (Basaldella)
Philadelphia, New York and Cleveland. Bibliography by
B. Karpel, p. 564—574. M 319 APOLLONIO, UMBRO. Mirko Basaldella. /«Cairola,
M 308 GRUNEWALD, ISAAC. Matisse och Expressio- Stefano, ed. Arte italiano del nostro Tempo, p. 4-5,
nismen. p. 167-170. Stockholm, Wahlstrom & Wid- plate 11, 12 port. Bergamo, 1946.
strand, 1944. M 320 CARRIERI, R. Pittura, Scultura d'Avanguardia in
M 309 GUEGUEN, PIERRE. The sculpture of a great Italia (1890—1950). p. 278-282 ill. Milano, Conchiglia,
painter:Henri Matisse. Twentieth Century no. 4: 3-13 1950.
Dec. 1938. Also French edition, "XXe Steele". M321 MARCHIORI, GUISEPPE. Scultura italiano mo-
M310 PHOTO-SECESSION GALLERY. An Exhibition derna. p. 42-43, 47; plate 35. Venezia, Alfieri, 1953.
of Sculpture —
the first in America and recent — Bibliography.
Drawings by Henri Matisse Mar. 14 Apr. 6.
. . . — M 322 Mirko [exhibition reviews]. Le Arti 1: 291-293 Feb.
New York, 1912. Announcement and checklist of 24 works, 1939; 2: 196-197 Feb. 1940.
including 12 sculptures, at the "291" gallery of Alfred M 323 PADOVANO, ETTORE. Dizionario degli Artisti
Stieglitz- Reviews published in"CameraWork" no. 38 1912. contemporanei. p. 19. Milano, Istituto Tipografico,
M 311 POULAIN, GASTON. Sculptures by Henri Matisse. 1951.
Formes no. 9: Nov. 1930.
9-10 plus 6 pi. M 324 ROME. GALLERIA DELL'OBELISCO. Mirko.
M 312 SALLES, G. A visit to Matisse. Art News 50 no. 7: [4] p. 1952. Catalog of May show, with detailed bio-
part 2 Nov. 1951. Art News annual 1952, special Matisse graphical note. Other catalogs: Comet a Gallery, N.Y.,
number, which also includes "Matisse speaks" by E. Teriade. Apr. 1938; Knoedler <& Co. N. ¥., 1947; Viviano
M 313 SWANE, LEO. Henri Matisse. 165 p. ill. Stockholm, Gallery, N. Y., Apr.- May 1950. Also see bibl. M
Nordstedt, 1944. "Matisse som tecknare. Matisse som 318 d.
skulpt6r",p. 116-131. "Litteratur", p. 155-164.
M 314 SYLVESTER, DAVID. The sculpture of Matisse.
The Listener (London) 49 no. 1248: 190-191 Jan. 29 Miro
1953.
M 315 ZERVOS, CHRISTIAN, ed. Henri Matisse. 96 p. ill. M 325 CAHIERS D'ART. L'Oeuvre de Joan Miro de 1917
Paris, Cahiers d'Art; New York, E. Weyhe, 1931. a 1933. Paris, 1934. Special number, 9 no. 1 — 4. Also
Modified Matisse number of Cahiers d'Art 6 no. 5 — 6: note 24 no. 1 ( 1949) passim for later work.
229-316 1931. M 326 CIRICI-PELLICER, A. Miro y la Imaginacion. 41 p.
Barcelona, Omega, 1949.
ill.

M327 CIRLOT, J.-E. Joan Miro. 52 p. ill. Barcelona,

Meduniezky Cobalto, 1949. " Exposiciones" , p. 49-50.
M 328 DERRlfeRE LE MIROIR. [Joan Miro]. 2 parts ill.

M 316 DIEMEN, GALERIE Van. Erste russische Kunst- Paris, 1948 — 1950. Special exhibition numbers for the
ausstellung. 31 p. ill. Berlin, 1922. Galerie Maeght, no. 14—15 1948, no. 29—30 1950.

385
 (/UM'urv- -^y^ -/^vvcv - 1* oXA-iy i/Ci<^ Kite. 5|vfr-oi-,^ Ut/x/j«^

ijHtIt j/t^ l^wU, Wa_, ^v*<ir»^*t^ ti/^tvv^

^
^^vG^ v^vtr, S-

l/W Facsimile Notes on Sculpture by Moore. From

bibl. M 352a.

M 329 Exposition Miro de sculptures — objets. Cahiers d" Art M 335b JEDLICKA, GOTTHARD. Amedeo Modigliani.
6 no. 9—10: 431 ill. 1931. At the Galerie Pierre. Ziirich-Erlenbach, Eugen-Rentsch-Verlag, 1953.
M330 GASSIER, PIERRE. Miro et Artigas. Labyrinthe M336 LIPCHITZ, JACQUES. I remember Modigliani.
no. 22—23: 10-11 ill. Dec. 1946. Art News 49 no. 10: 26-29, 64-65 ill. Feb. 1951.
M 331 GREENBERG, CLEMENT. Joan Miro. 133 p. ill. M337 NEW YORK. MUSEUM OF MODERN ART.
New York, Quadrangle, 1948. Bibliography by H. B. Modigliani: Drawings, Sculpture; with
Paintings,
Muller,p. 123-128. introduction by James Thrall Soby. 55 p. ill. New
M 332 Joan Miro's sculptures. Formes no. 21: 210 ill. Jan. York, 1951. "In collaboration with the Cleveland Museum
1932. of Art". Bibliography by H. B. Muller.
M333 NEW YORK. MUSEUM OF MODERN ART. M 338 PFANNSTIEL, ARTHUR. Modigliani. Preface de
Joan Miro, by James Johnson Sweeney. 87 p. ill. 1941. Louis Latourettes. 199 p. 142 pi. Paris, Seheur, 1929.
Catalog for major exhibition. Bibliography, p. 85-87. "Catalogue presume" p. 1-[61]. Bibliography, p. 131-1 35.
,

M 339 SCHEIWILLER, GIOVANNI. Amedeo Modigliani.

5. ed. 24 p. plus 40 pi. Milano, Hoepli, 1950. Bihliogr.
ModifiTliani p. 14-24. First edition 1927, variant French edition 1928.

M 334 FRANCHI, RAFFAELO. Modigliani. 3. ed. 44 p.

plus 52 pi. Firenze, Arnaud, 1946. Bibliography, Moholy-Nag:y
p. 35-42.
M 335 GRAMANTIERI, TULLIO. Amedeo Modigliano e M340 MOHOLY-NAGY, LASZL6. The New Vision,
la scultura negra. Anteprima (Rome) Nov. 1948. 1928 (fourth revised edition 1947); and Abstract of
M 335a JEDLICKA, GOTTHARD. Modigliani als Plastiker. an Artist. 92 p. ill. New York, Wittenborn, Schultz,
Neue ZUricher Zeitung Aug. 18 1931. 1949. "Volume: Sculpture", p. 41-45. Translation of

386
 -H-+-

^tjwi^J
^__ .

^pfft^. ^ $t-4^^ ^UM. /^ Uc^^^u. lAuA.^ ^JikL

$^{^^^^^^g[^ggfea^-^iM*^z>^^^^

Von Material zu Architektur, 1929 (based on the Bau- M 344 MOHOLY-NAGY, SIBYL. Moholy-Nagy, Experi-
haus lectures) , later published as The New Vision From : ment in Totality. 253 p. ill. New York, Harper, 1950.
Material to Architecture f'A^. Y., Brewer, Warren (fr *M 345 TELEHOR. I: Moholy-Nagy. 136 p. ill. Brno, 1936.
Putnam, 1930, second edition 1938) and issued by Wit ten- >
Special number, I. 1—2: 1-136 (28. II. 1936), ed. by
born as a "third revised edition, 1946". Bibliography. Fr. Kalivoda. Texts by the artist, S. Giedion, and the

M341 MOHOLY-NAGY, LASZL6. Vision in Motion. editor, in French, English, Czech, German.
371 p. ill. Chicago, Theobald, 1947. "Sculpture",
p. 216-243, "is a revised version of the chapter on ^volume'
from The New Vision and contains examples of student Moore
work .
." Extraits published, in French, in "Art d'Au-
.

jourd'hui" 2 no. 5: 6-8 ill. Apr.— May 1951. M 346 MOORE, HENRY. Notes on Sculpture. In Ghiselin,
M 342 CHICAGO. INSTITUTE OF DESIGN. Paintings, Brewster. The Creative Process, p. 68-73. Berkeley
Sculptures, Photograms and Photographs. 14 p. ill. and Los Angeles, Univ. of California, 1952. Frequently
[1945 ?]. Exhibition catalog, with text by S. Giedion from A 13, M 356.
published, e.g. bihl.
"Telehor". Memorial catalogs also were published by Art M 347 MOORE, HENRY. Sculptor in modern society. Art
Institute, Chicago, Sept. 18—Oct. 26, 1947 (texts by Kuh News 51 no. 6: 24-25, 64-65 ill. Nov. 1952.
and Schniewind) ; by the New York Museum of Non- M 348 MOORE, HENRY. The sculptor speaks. The Listener
Objective Painting (text by Rebay with biographical and 18 no. 449: 338-340 Aug. 18 1937. Frequently reprinted.
bibliographical notes, 1947) ; by the Fogg Art Museum, M 349 ARGAN, GUILIO CARLO. Henry Moore. 26 p.
6—27 1950, etc.
Feb. plus 32 pi. Torino, Francesco De Silva, 1948.
M343 GIEDION, SIEGFRIED. Notes on the Life and M 350 ARNHEIM, RUDOLF. The holes of Henry Moore:
Work of L. Moholy-Nagy, Painter Universalist. In Ar- on the function of space in sculpture, fournal of
chitects' Year Book. No. 3, p. 32-35 ill. London, 1949. Aesthetics and Art Criticism 7: 29-38 ill. Sept. 1948.

387
 M 351 CLARK, KENNETH. Henry Moore's metal sculp- Nivola
ture. Magazine of Art 44: 171-174 ill. May 1951.
M 352 HENDY, PHILIP. Henry Moore. Art d' Aujourd' hui M 360 GUEFT, O. Sardinia and an artist: Nivoia's sand
no. 4: [8-12] ill. Nov. 1949. Also "Henry Moore" sculpture. Interiors 113: 86-93 June 1954. Additional
ill.

par Leon Degand, p. (13 15). — material in fan.' 1948 (Nightclub murals), Aug. 1948
M 352a MAN, FELIX, ed. Eight European Artists. [Chap- (Biographical sketch), fan. 1953 ( Pergola village) , Olivetti
ter 6] ill. London, Heinemann, 1954. Text in English, shop (Nov. 1954).
French, German. M 360a HUXTABLE, ADA L. Olivetti's lavish shop in New
M353 NEW YORK. MUSEUM OF MODERN ART. York. Art Digest 28:15 July 1954. Also review of
Henry Moore, by James Johnson Sweeney. 95 p. ill. Peridot Gallery show in May /, 1954 (Olivetti mural).
Yi Ad. Exhibition monograph,"' in collaboration with the Art M 360b KRAUS, H. F. Costantino Nivola at work in the
Institute of Chicago, the San Francisco Museum of Art". U.S.A. Art <& Industry 33:42-46 ill. Aug. 1942.
Bibliography by H. B. Muller. M 360c Nouveau magasin Olivetti a New York . . . Relief de
M354 RAMSDEN, E. H. Der Bildhauer Henry Moore. Nivola. Architecture d'Aujourd'hui 26 no. 58:58-59 ill.

Werk 34 no. 4: 129-135 ill. Apr. 1947. Feb. 1955.

*M 355 READ, HERBERT. Henry Moore. London, Zwem- M 360d Scultura dipinta all'aperto. Domus no. 274:46-49 ill.

mer, 1934. Oct. 1952.

M356 READ, HERBERT. Henry Moore, Sculpture and
Drawings. 3. rev. and enl. ed. 350 p. ill. New York,
Curt Valentin, 1949. "Copyright 1949 by Percy Lund, Noguchi
Humphries (& Co., London" Bibliography by H.B. Muller.
.

First edition, 1944. M361 NOGUCHl, ISAMU. Isamu Noguchi defines the
*M 357 RICHARDS, J. M. Henry Moore, sculptor. Archi- nature and enormous potential importance of sculp-
tectural Review 76: 90-91 ill, Sept. 1934. ture — "the art of spaces". Interiors 108 no. 8:
M 358 SYLVESTER, A. D. B. Evolution of Henry Moore's [118-123] Mar. 1949. "Quotations from a speech at Yale
sculpture. Burlington Magazine 90: 158-165, 189-195 University and from his outline for a proposed book The
June— July 1948.
ill. Environment of Leisure."
M359 VRINAT, ROBERT. L'evolution de la figure M 361a NOGUCHI, ISAMU. Meanings in modern sculpture.
couchee dans I'oeuvre de Henry Moore. L'Age Art News 48 no. 1 12-15, 55-56 ill. Mar. 1949.
:

Nouveau [insert, 16 p. J ill. Nov. 1949. Bibliography. M362 NOGUCHl, ISAMU. [Statement: Work in Japan]
Arts <& Architecture 67 no. 11: 24, 27 ill. Nov. 1950.
M 363 NOGUCHl, ISAMU. Toward a reintegration of the
Muller (Erich) arts. College Art fournal 9 no. 1: 59-60 1949.
M364 D[REXLER], A[RTHUR]. Noguchi in Japan.
M 359a W'erk no. 1952, p. 83.
6, Interiors 110 no. 9: 140-145 ill. Apr. 1951.
M 359b Werk no. 1954, p. 298.
7, M 365 HESS, THOMAS B. Isamu Noguchi, '46. Art News
M 359c GIEDION-WELCKER, CAROLA. Contemporary 45: 34-38, 47, 50-51 ill. Sept. 1946.
Sculpture, p. 239 ill. Stuttgart, Hatje; New York, M 366 LEVY, JULIEN. Isamu Noguchi. Creative Art 12
Wittenborn, 1955. Biographical notes. no. 1 : 29-35 ill. Jan. 1933.

Sketch by Pevsner. Fontaine imaginee au centre d'une ville moderne. 1929- (model page 186) Coll. E. Hoffmann, Basel.

388
Model of Project for Front of Esso Building by Gaho. From bib I. K 16, 1953.

M367 NEW YORK. MUSEUM OF MODERN ART. M 368i THWAITES, J. A. Notes on some young English
Fourteen Americans, ed. by Dorothy C. Miller, p. 39, sculptors. Art Quarterly 15 no. 3: 236-237 ill. 1952.
40-43, 78 ill. 1946. Includes personal statement. Also note bibl. L 1 1-23 passim.
M 367a PORTFOLIO, The Annual of the Graphic Arts,
ed. by G. S. Rosenthal & F. Zachary. [8] p. ill.

Cincinnati, Zebra Press; New York, Duell, Sloan & Pevsner

Pearce, 1951. Insert of unnumbered pages titled" Astro-
nomical City" . Photographs by Noguchi of structures at M 369 PEVSNER, ANTOINE. Espaces. Realites Nouvelles
faipur, India with quotations. no. 4: 12 ill. 1950. Also no. 6 1952.
M368 TAKIGUCHI, SHUZO (AND OTHERS). No- M370 PEVSNER, ANTOINE. [Statement]. Abstraction,
guchi. loop. ill. Tokyo, Bijutsu Shuppan-Sha, 1953. Creation, Art Non Figuratif no. 2: 35 ill. 1933.
Text infapanese and English. M371 PEVSNER, ANTOINE. [Temoignage: L'espace].
XXe Steele no. 2: 78-80 ill. 1952.
M 372 PEVSNER, A. [Propos]. In Temoignages pour I'Art
Obrist abstrait. p.213-214 ill. Paris, Art d'Aujourd'hui, 1951.
M 373 BILL, MAX. Anton Pevsner zum 60. Geburtstag.
M 368a OBRIST, HERMANN. Neue Moglichkeiten in der U^erk 34 no. 1 3-4 (suppl.) Jan. 1947.
:

bildenden Kunst. Kunstwart 16 pt. 2: 21 1903. M374 DROUIN, RENE, GALERIE. Antoine Pevsner.
M 368b OBRIST, HERMANN. Neue Moglichkeiten in der [10] p. plus 24 pi. Paris, 1947. Texts by Duchamp, Le
bildenden Kunst: Aufsatze von 1896-1900. 170 p. Corbusier, Giedion- Welcker and others.
ill. Leipzig, Diedrichs, 1903. M 374a GUfiGUEN, PIERRE. Pevsner, et la conquete
M 368c BRATTSKOVEN, O. Hermann Obrist. In THIEME, plastique de l'espace. Art d'Aujourd'hui 5 no.
U. & BECKER, F. Allgemeines Lexikon der bilden- 1:6-9 ill. Feb. 1954.
den Kiinstler. v. 25, p. 552 Leipzig, Seemann, 1931. }\ 375 MASS AT, RENE. Antoine Pevsner. Cahiersd' Art 25,
Biography and bibliography. part 2: 349-364111. 1950.
M 368d CURJEL, H. Konfrontationen. Werk 39: 382-384 ill. M376 NEW YORK. MUSEUM OF MODERN ART.
Dec. 1952. "Formensprache urn 1900 ." Also note . . Naum Gabo — Antoine Pevsner. Introduction by
p. 392: " Worte undbauten der pioniere". Herbert Read; text by Ruth Olson and Abraham
M368e GRADY, JAMES. A Bibliography of the Art Chanin. p. 50-83 ill. 1948. Bibliography by H.B.Muller.
Nouveau. [68] p. unpublished mss. [195?] Compiled by M 377 SOTTSASS, ETTORE, Jr. Antoine Pevsner. Domus
a faculty member of the School of Architecture, Institute of no. 281: 27-29 ill. Apr. 1953.
Technology, Atlanta, Ga. Commentary on and extensive sum- M 378 ZURICH. KUNSTHAUS. Antoine Pevsner, Georges
mary of the movement, with special section on Obrist. p. [45]. Vantongerloo, Max Bill. [30] p. ill. 1949. Preface by
M 368f PEVSNER, NIKOLAUS. Pioneers of Modern W. Wartmann; texts by the artists. Reviewed by C.Giedion-
Design. 2. rev. ed. p. 16, 63-67, 118, 137 ill. New Welcker in ''Werk" 36 no. 12: 167-168 Dec. 1949.
Museum of Modern Art, 1949.
York,
M 368g SCHEFFLER, KARL. Hermann Obrist. Kunst und
Kiinstler S: 555-559 Jan. 8 1910. Phillips

M 378a Young Americans: Helen Phillips. American Magazine

Paolozzi of Art 29 : 532-533 ill. Aug. 1936.
M 378b HUGO GALLERY, NEW YORK. Bloodflames
M 368h ALLOW AY, L. Britain's new iron age. Art News 1947. p. 14111. 1947. Collective show, including Phillips,
52: 68111. June 1953. with text by N. Calas.

389
 .

M 378c LA HUNE GALERIE, PARIS. Cuivres graves et M 392 Germaine Richier. Biennale (Venice), no. 7: 35-39 ill.

sculptures par Helen Phillips. [1 sheet] 1954. Folded Jan. 1952.

announcement for July exhibition. Sculptures: no. 25-34; M 393 JACOMETTI, NESTO. Femmes-artistcs d'aujourd'
biographical note; preface by Max Clarac-Serou. hui. Vie, Art, Cite (Lausanne) no. 3: [26-28] ill.
May — June 1946.
M 394 LIMBOUR, GEORGES. Visite a un sculpteur:
Picasso Germaine Richier. Arts de France no. 17 — 18: 51-58
ill. 1947.
M 379 PICASSO, PABLO. 2 Statements. 62 p. port. New M 395 SOLIER, REN£ DE. Germaine Richier. Cahiers
York, Los Angeles, Armitage, 1936. Texts were d'Art 28: 123-129 111. 1953.
published in "The Arts'' May 1923 and ''''Creative Art"
June 1930. Comment by Merle Armitage, p. 51-60.
M 380 ARGAN, GIULIO CARLO. Scultura di Picasso. Rodchenko
[36] p. plus 48 ill. Venezia, Alfieri, 1953. English trans-
lation, p. 23-34. M 396 LOZOWICK, LOUIS. Modern Russian Art. 60 p. ill.

M 381 BARR, ALFRED H., Jr. Picasso: Fifty Years of his New York, Museum of Modern Art, Societe Ano-
Art. 314 p. ill. New York, Museum of Modern Art, nyme. 1925. "The suprematists" , p. 18-27 ; "The con-
1946. Bibliography, p. 286-306. structivists" , p. 29-45.
M 382 BRETON, ANDRfi. Picasso dans son element. M397 NEW YORK. MUSEUM OF MODERN ART.
Minotaure no. 1: 4—37 ill. 1933. Includes "Uatelier de Cubism and Abstract Art, by Alfred H. Barr, Jr. passim
Picasso'' with photographs by Brassai. ill. 1936. Material on Russian movements and personalities.
M 382a GONZALEZ, JULIO. Picasso sculpteur; exposition Bibliography by Newhall mentions numerous titles in Russian,
de sculptures recentes de Picasso. Cahiers d'Art ill. including sculpture, e.g. nos. 38, 64-72, 120-124, 148,
11 no. 6— 7: 189-191 1936. 172, 201, 209-213, 358-360, 439-441.
M383 GIEURE, MAURICE. Initiation a I'Oeuvre de M398 UMANSKI, KONSTANTIN. Die neue Monu-
Picasso. 337 p. plus 142 ill. Paris,Deux Mondes, 1951. mentalskulptur in Russland. Der Ararat no. 5 6: —
M384 KAHNWEILER, DANIEL HENRY. The Sculp- 29-33 Mar. 1920. Also his Neue Kunst in Russland,
tures of Picasso. Photographs by Brassai. [8] p. plus 1914-1919. Potsdam und Munchen, 1920.
[218] pi. London, Rodney Phillips, 1949. Translated M 399 WASHBURN, GORDON. Isms in Art since 1800.
from the edition by Du Chine (Paris, 1948). p. 65 [Providence, R. I., The Author, 1949]. An exhibi-
M 385 PRAMPOLINI, ENRICO. Picasso, Scultore. 31 ill. tion at the ProvidenceMuseum ofArt. The Russians, p. 64-68.
ill. Rome, Bocca, 1943.
M 385a RUSSOLI, FRANCO. Pablo Picasso, Settembre-
Novembre, Palazzo Reale, Milano. [Introduzione e Rodin
Catalogo Franco Russoli]. 116 p. plus 236 ill.
di
Milano, Amilcare Pizzi, 1953. 329 works dated 1901- M 400 RODIN, AUGUSTE. L'Art. Entretiens reunis par
1953; chronology; bibliography. Paul Gsell. 318 p. ill. Paris, Grasset, 1911. English
M386 SWEENEY, JAMES JOHNSON. Picasso and editions: Boston, Small, Maynard, 1912; New York, Dodd,
Iberian sculpture. Art Bulletin 23 no. 3: 191-198 ill. 1916, 1928. German edition: Wien, Leip^^ig, 1947, etc.

Sept. 1941. M 401 AUBERT, MARCEL. Rodin Sculptures. Photo-

M 387 VENTURI, LIONELLO. Mostra di Pablo Picasso; graphies de Sougez et de Marc Foucault. 62 p. pi.
Catalogo Ufficiale. 69 p. plus 171 pi. Roma, De Luca, Paris, Editions Tel, 1952.
1953. "Sculture (1931—1953)", nos. 136—167, all M402 BOURDELLE, £MILE ANTOINE. La Sculpture
illustrated. Biographical and bibliographical notes, p. 63-69. et Rodin. 236 p. ill. Paris, £mile-Paul, 1937.
M 388 VERONESI, GIULIA. Scultura di Picasso. Emporium M 403 BURCKHARDT, CARL. Rodin und das Plastische
57 no. 4: 146-153 ill. Apr. 1951. Review of show at Problem. 98 p. plus Schwabe, 1921.
48 ill. Basel,
Maison de la Pensee, Paris. M404 CLADEL, JUDITH. Rodin: the Man and his Art.
M 389 ZERVOS, CHRISTIAN. Pablo Picasso. 4. ed. 38 p. Translated by S. K. Star. New York, Century, 1917.
plus 37 ill. Milano, Hoepli, 1946. Bibliography by Translated from the French (Bruxelles, Van Oest, 1908).
G. Scheiwiller,p. 20-38. Text by editor of" Cahiers d'Art" M 405 ELSEN, A. Genesis of Rodin's "Gates of Hell".
which published numerous Picasso articles, and also issued Magazine of Art 45: 110-119 ill. Mar. 1952.
definitive Picasso catalogs (Paris, 1932 — date) M406 EMDE, URSULA. Rilke und Rodin. 116 p. ill.
Marburg-Lahn, Verlag des Kunstgeschichtlichen
Seminars, 1949. Anmerkungen —
Schrifttum,p. 103-116.
Riohier M407 GOLDSCHEIDER, C. La genese d'une oeuvre: le
"Balzac" de Rodin. Revue des Arts 2: 37-44 ill.
M 390 DERRI£RE LE MIROIR. Germaine Richier. [7] p. Mar. 1952. Bibliography.
ill. Paris, 1948. Special number 1 5 of magas^ine issued by *M 408 GRAUTOFF, OTTO. Auguste Rodin. Leipzig, 1908.
Galerie Alaeght, with list of "sculptures exposees". Includes *M 409 MAUCLAIR, CAMILLE. Auguste Rodin. Paris, La
'ixts by Ponge, Limbour, de Solier. Renaissance du Livre, 1918. Earlier edition issued in
M 391 GASSER, MANUEL. Germaine Richier. W'erk 33 translationby C. Black: London, Duckworth, 1909.
no. 3: 69-77 ill. Mar. 1946. Includes chronology and bibliography, p. 124-135.

390
 . .

M 413a GlEDION-WELCKER, CAROLA. Sublimierung

und Vergeistigung der plastischen Form be! Medardo
Rosso. Werk 41 no. 8: 329-334 ill. Aug. 1954.
English summary.
M 414 Medardo Rosso, 1858—1928. Burlington Magaj^ine 92:
211-21^ ill. Oct. 1950. Bibliography.
M 415 MEIER-GRAEFE, JULIUS. Modern Art. v. 2,

p.31-36. New York, Putnam; London, Heinemann,

1908. Translated from the German. Essays on "Medardo
Rosso" and "Impressionism in Sculpture"
M 416 PAPINI, GIOVANNI. Medardo Rosso. 2. ed. 41 p.
Milano, Hoepli, 1945. Bibliography by G. Scheiwiller,
ill.

p. 21-41.
M 417 SOFFICI, ARDENGO. Medardo Rosso. 206 p. ill.
Vallecchi, 1929. "Pensieri e sentena^e di Medardo Rosso",
p. 199-206. A chapter on Rosso also included in his Trenta
Artisti Moderni ('F/r^«;^<', Vallecchi, 1950).
M 418 VIANELLO-CHIDDO,MARIO.RicordodiMedardo
Rosso. LaBiennale (Venice) no. 3: 27-28 ill. Jan. 1951.

Roszak

M419 ROSZAK, THEODORE J. Some problems of

modern sculpture. Magazine of A.rt 42: 53-56 ill.

Feb. 1949.
M420 KRASNE, BELLE. A Theodore Roszak profile.
Art Digest 27 no. 2: 9-18 ill. Oct. 15 1952. Extensive
quotations from the artist, including extracts from sculpture
symposium at the Museum of Modern Art.
M421 NEW YORK. MUSEUM OF MODERN ART.
Fourteen Americans, ed. by Dorothy Miller p. 58-61,
79 ill. 1949. Exhibition catalog includes personal statement.
M 422 PARIS. MUSfiE D'ART MODERNE. 12 Peintres
et Sculpteurs americains contemporains. [26] p. ill.
Drawing by Schlemmer. From bibl. M 427. 1953. The three chosen sculptors: Calder, Roszak, Smith.
Later shown at Zurich.
M 423 RITCHIE, ANDREW C. Sculpture of the Twentieth
Century, p. 37, 46-47, 222, 232 ill. New York, Museum
M 410 GRAPPE, GEORGES. Catalogue au Musee Rodin. of Modern Art [1953]. Quotes from sculpture symposium.
I. Hotel Biron. Essai de classement chronologique
des oeuvres d'Auguste Rodin. 159 p. ill. Paris, 1944.
Bibliography. Schlemmer
M 410a ROH, FRANZ. Rodin. Bern, A. Scherz, 1949.
M 411 STORY, SOMMERVILLE. Rodin. London, Oxford M 424 SCHLEMMER, OSKAR, ed. Die Biihne im Bauhaus.
University Press, 1951 (cop. 1939). Sculptures from the 87 p. ill. Miinchen, Langen, 1925. Bauhausbiicher 4.

Rodin Museum in a Phaidon picture book, published in Includes material by Moholy-Nagy, Molnar, Breuer,
several languages and many editions. Schmidt, etc.

M 425 BOHME, fritz. Konstruktivistische und choreo-

graphische Tanze. In his Der Tanz der Zukunft.
Rosso p. 20-34 ill. Miinchen, Delphin, 1926.
M 426 HILDEBRANDT, HANS. Oskar Schlemmer. Maga-
M411aBARBANTINI. NINO. Medardo Rosso. Venezia, zine of Art 43: 23-28 Jan. 1950. Also essays published
Neri Pozza, 1950. in "Prisma" no. 10 Aug. 1947, "Aussaat" no. 10 — 11
M 411b BORGHI, NINO. Medardo Rosso. Milano, Ed. del 1947, " Das Kunstwerk" no. 8—9 1946—1947, "Werk"
Milione, 1950. no. 1 fan. 1948.
M412 CARRIERI, RAFFAELE. Rivoluzione Plastica di M 427 HILDEBRANDT, HANS. Oskar Schlemmer. 152 p.
Medardo Rosso. In his Pittura, Scultura d'Avan- Miinchen, Prestel, 1952. Catalogof works, p.1 33-149.
ill.

guardia. p. 1-15 Milano, Conchiglia, 1950. Biblio- Bibliography by Frau Schlemmer, p. 1 50-1 52.
graphy, p. 341 M 428 SCHMIDT, PAUL F. Oskar Schlemmer. Jahrbuch der
M 413 FLES, ETHA. Medardo Rosso, der Mensch und der fungen Kunst 2: 269-280 ill. 1921. Supplemented by a
Kiinstler. Freiburg i. B., 1922. recent essay in "Prisma" no. 10: 33-34 Aug. 1947.

391
 SCULPTURE IS M 430a BERGGRUEN, HEINZ, GALERIE. Kurt Schwit-
ters: Collages. Paris, 1954. Illustrated catalog, with
important cljronology by Hans Bolliger.
The goddess Sephel, Hapi and
M431 GIEDION-WELCKER, CAROLA. Schwitters; or
NeitJi
the allusions of the imagination. Magazine of Art 41:
218-221 ill. Oct. 1948.
The bright face of Shamash illuminaled by ihe M 432 JANIS, SIDNEY, GALLERY. Schwitters: Merzbild,
son and the moon Merzrelief, Merzkonstruktion. [8] p. ill. 1952. Catalog
of 70 works and documents. Preface, "Kurt Schwitters
1887—1948", by Tristan Ti^ara.
Cilgainish Mrr«tling ihe lion
M433 HANNOVER. MERZAUSSTELLUNG. Kurt
Schwitters Katalog. ill. 1927. Mer^ no. 20: 98-105,
Eabuni lossing the bull with factual introduction by Schwitters, and catalog of
150 works (191 3—1926).
Isthur of INinevuh standing oil a gryphon M434 MOTHERWELL, ROBERT. The Dada Painters
and Poets, p. XXI-XXIV, 162-164, 275-276, 368-372.
New York, Wittenborn, Schultz, 1951. Bibliography.
the carrying iniid of bricks by yoke and cord
Includes translation of "Mer^" from "Der Ararat" 2:
3-10 1921.
the bald headed harpist in Thebian tomb pluck- M 435 NEBEL, OTTO. Kurt Schwitters. [32] p. ill. Berlin,
ing the >lrings of the goddess bod^ Der Sturm, n. d. Sturm Bilderbiicher, possibly 1923.
M436 SEUPHOR, MICHEL. L'Art Abstrait. p. 61, 180,
311-312 ill. Paris, Maeght, 1949. Essay by Edith
the dialectic of survival
Thomas; bibliography.
M 437 VORDEMBERGE-GILDEWART, F. Kurt Schwit-
everything I sought ters (1887—1948). Forum 3 no. 12: 356-362 ill.
1948.

everything I seek
M 438 YALE UNIVERSITY. ART GALLERY. Collection
of the Societe Anonyme. p. 89-90 ill. New Haven,
Conn. 1950. Biographical notes, exhibitions list, biblio-
what I will die not finding graphy by K. S. Dreier.

Statement by David Smith. From bibl. M447, 1947.

Smith

M 439 SMITH, DAVID. Art forms in architecture. Archi-

tectural Record 88: 77-80 ill. Oct. 1940.
Schnabel M 440 SMITH, DAVID. I never looked at a landscape. —
Sculpture. Possibilities (N. Y.) no. 1 24-26, 30, 33, 37
:

M 428a BRANDT GALLERY, NEW YORK. Day N. ill. Winter 1947/1948.

Schnabel, May 7 to May 25. 4 p. ill. [1946]. Bio- M 441 SMITH, DAVID. The language is image. Arts &
graphical note; figurative work oj the last five years. Reviewed Architecture 69 no. 2: 20-21, 33-34 ill. Feb. 1952.
Art Digest 20: 8 May 15 1946; Art News 45: 64 May M442 SMITH, DAVID. A Statement: Who is the artist?
1946. How does he act? Numero (Firenze) 5 no. 3: 21
M 428b Exhibition of non-objective sculpture at Parsons May — June 1953. "Comment by Herman Cherry" , p. 21.
gallery. Art Digest 25: 20 ill. Mar. 15 1951. Also M443 DE KOONING, E. David Smith makes a sculp-
reviewed Art News 50: 45 Alar. 1951. Current work ture. Cathedral. Art News 50: 38-41, 50-51 ill. Sept.
also illustrated in Werk 39: 119 (suppl.), 372 1952. 1951:
M 428c TfiMOIGNAGES POUR L'ART ABSTRAIT 1952. M444 KRASNE, BELLE. A David Smith profile. Art
p. 256-263 ill. Paris,Art d'Aujourd'hui, 1952. Digest 26 no. 13: 12-13, 26, 29 ill. Apr. 1 1952.
"Propos recueillis par R. V. Gindertael" Biographical . M 445 MELTZOFF, STANLEY. David Smith and social
notes; exhibitions. realism. Magazine of Art ill. 39: 98-101 Mar. 1946.
M 446 VALENTINER, W. R. Sculpture by David Smith.
Arts (& Architecture 65: 22-23, 52 ill. Aug. 1948.
Schwitters M447 WILLARD GALLERY. Medals for Dishonor by
David Smith. Foreword by William Blake and
M429 SCHWITTERS, KURT. Mer^. Hannover, 1923— Christiana Stead. [16] p. ill. New York, 1940. Includes
1932. Magazine edited by the artist, with numerous illustra- symbolic commentary. This November 1940 catalog also
tions and contributions. supplemented by texts for fan. 1946 show (W.R. Valen-
M 430 SCHWITTERS, KURT. Les Merztableaux. Abstrac- tiner) and Apr.— May 1950 exhibition (R. Motherwell).

tion, Creation, Art Non Figuratif no. 1: 33 1932. Apr. 1947 catalog prints Smith's statement on "Sculp-
Additional text and illustration in no. 2: 41 1933. ture Is".

392
 — .

Stahly M 455 JAKOWSKI, ANATOLE. S. H. Taeuber-Arp. In his

HansErnip.42-53iil. Paris, Abstraction, Creation, 1934.

M448 STAHLY, FRANCOIS. Die junge franzosische M 456 KANDINSKY, WASSILY. Les "reliefs coiores" de
Plastik. li^erk 39 no. 11 : 369-376 ill. Nov. 1952. Sophie Taeuber-Arp. 1943. Essay printed in Schmidt,
M 449 STAHLY, FRANgOIS. [Statement]. Rea/hes Nouvelles p. 88 (below), dated "Paris, June 1943'\
no. 1: 78111. 1947. M 457 SCHMIDT, GEORG. Sophie Taeuber-Arp. 152 p. ill.

M 450 STAHLY, FRANgOlS. [Statement]. In Premier Bilan Basel, Holbein, 1948. Catalog by Weber. Texts by
de I'Art actuel. p. 321 Paris, Le Soleii Noir, 1953. H. Arp, H. Ball, Ball-Hennings, Bryen, Bujfet-Picabia,
Biographical note; portrait. Kandinsky, Schlegel-Taeuber. Bibliography, p. 1 50~1 51
M 451 ARP, JEAN & ROCHfi, H. Frangois Stahly. 12 pi. M458 SEUPHOR, MICHEL. Sophie Taeuber-Arp, Jean
Paris, Facchetti [1953]. Arp. Art d' Aujourd' hui no. 10—11 : [28-36] ill. May-
M 452 GOLDSCHEIDER, CfiCILIE. Stahly. In Hamburg. June 1950. Additional text in "Abstraction, Creation,
Kunsthalle. Junge franzosische Plastik. p. 24, 50 ill. Art Non Figuratij" no. / 1936, and his L'Art Abstrait
1953. p. 109-111 (Paris, Maeght, 1949).

Taeuber-Arp Tatlin

M453 TAEUBER-ARP, SOPHIE, ed. (Revue

Plastique M 459 NEW YORK. Cubism and Abstract Art, by Alfred
internationale). 5 nos. ill. Paris, New
York, 1937 H. Barr, Jr. passim ill. 1936. Includes material on
1939. Edited in association with H. Arp, A. E. Gallatin, Russian art and personalities. Tatlin bibliography notes
G. L. K. Morris. references below.

M 454 BILL.MAX. Sophie Tauber- Arp. Werk no. 6: 167-171 M 460 PUNIN, N. Tatlin — Protiv Kubizma. 25 p. plus pi.
ill. 1943. Also issued as reprint. St. Petersburg, Gosudartsvennoe Izdatelistvo, 1921.

CENTRAL GALLERY OF PAINTING AND SCULPTURE

Component Elements of the Modern Style. From bibl. K 15. GALLERIES OF APPLIED ART

393
 . . . .

M 461 PUNIN, N. Pamiatnik III internationala. Petersburg, Viani

Izdonie Otela Izobratzitelnavo Isskusstva, 1920.
M 462 Vladimir Evgrafovich Tallin. [1915]. Reprinted from M475 APOLLONIO, UMBRO. Alberto Viani. Maga:^ine
"Novago Jurnala Dlia Vsekh". of Art 45: 203-208 ill. May 1952.
M476 EICHMANN.TNGEBORG. Letter from Italy: the
Fronte nuove. Magat^ine of Art 42 no. 2: 68-71 ill.

Thommesen Feb. 1949.

M477 MARCHIORI, GIUSEPPE. Viani. 24 p. plus pi.

M 463 THOMMESEN, ERIK. Le fond et la forme. Cobra 2 Paris, P. L. F., 1950.

no. 10: 2 ill. Automne 1951. M478 NEW YORK. MUSEUM OF MODERN ART.
M464 BILLE, EJLER. Erik Thommesen. Konstrevy 28 Twentieth-Century Italien Art, by J. T. Soby and
no. 4 —5: 221-223 ill. 1952. English summary. A. H. Barr, Jr. p. 32, 124, 135 ill. 1949.
M 479 SCULTURE DI ALBERTO VIANI. 29 p. plus 10 pi.
Milano, Spiga, 1946. "Testimonianzi di Anceschi, Apol-
Turnbull lonio, Bettini, Birolli, Emanuelli, Guidi, Marchiori,
Martini, Pallucchini, Valsecchi."
M 465 ALLOWAY, L. Britain's new iron age. Art News 52:
18-20 ill. June 1953.
M 466 MIDDLETON, MICHAEL. Huit sculpteurs britan-
niques. Art d'Aujourd'hui no. 2: 6, 18 Mar. 1953.

M467 WALDBERG, ISABELLE. Essor de la sculpture

anglaise. Numero 5 no. — 2:
1- —
12 Jan. Mar. 1953. Addenda: Books and Catalogs

N 1 BASEL. KUNSTHALLE. Ausstellung Henry Moore,

Uhlmann Oskar Schlemmer, 12. Jan.— 13. Feb. 29 p. ill. 1954.
Texts and biographical notes.

M 467a BREMER GALERIE, BERLIN. Hans Uhlmann: N 2 GROHMANN, WILL. Bildende Kunst und Archi-
Zeichnungen —Plastik. [1 sheet] 1953. Announcement tektur: Zwischen den beiden Kriegen III. p. 231-272.
of February show, biographical note Berlin, Suhrkamp, 1953.
M 467b SEEL, EBERHARD. Hans Uhlmann. Das Kunst- N3 HAMMACHER, A. M., ed. Europaische Bildhauer.
werk 4 no. 8-9: 81-82 ill. 1950. Also in special number [Series] Amsterdam, Lange, 1954; Cologne-Marien-
"Abstrakte Kunst" (Kunstwerk-Schriften, Bd. 19-20) burg, Kiepenheuer & Witsch, 1955. Bilingual series in
M 467c RITCHIE, ANDREW C. The New Decade, p. 44-47 progress, including booklets on Lipchita^ (R. Goldwater),
ill. New York, Museum of Modern Art, 1955. Marini (E. Langui), etc.

N4 HUMBERT, AGNES. La Sculpture contemporaine

au Musee d'Art moderne. 14 p. plus 32 ill. Paris,
Vantong^erloo Morance, 1954. French and English text.
N5 PHILADELPHIA. MUSEUM OF ART. The Louise
*M468 VANTONGERLOO, GEORGES. L'Art et Son and Walter Arensberg Collection: 20th Century Sec-
Avenir. [58] p. plus 27 ill. Anvers, De Sikkel; Sant- tion. [20] p. plus 200 ill. Philadelphia, 1954. Text by
poort, Mees, 1924. Texts dated 1919—1921. Part I: Fiske Kimball and Henry Clifford. Catalogue compiled by
UBvolution de I' Art Sculptural (1919) Marianne Winter-Martin.
M 469 VANTONGERLOO, GEORGES. Paintings, Sculp- N6 RAGON, MICHEL. Expression et Non-Figuration,
tures, Reflections. 48 p. plus 49 ill. New York, Witten- p. 21-24. Paris, La Revue Neuf, 1951. "Problemes et

born, Schultz, 1948. Essays written over a period of thirty tendances de Part d' aujourd^ hui"
years, with biographical and bibliographical note by the N7 RICHMAN, ROBERT, ed. The Arts at Mid-Century,
artist, including exhibitions list. Preface by Max Bill. p.269-282 New York, Horizon Press, 1954. From a
M470 VANTONGERLOO, GEORGES. [Statements]. contribution to the "New Republic" titled : American paint-
Abstraction, Creation, Art Non Figuratif ill. 1932-1936. ing and sculpture.

In no. 1: 40^1
1932, no. 2: 43-46 1933, no. 4: 30-32 N 8 TRIER, EDUARD. Moderne Plastik. 104 p. plus 96
27-28 1936.
1935, no. 5: ill. Mann Verlag, 1954.
Berlin, Gebr.
M 471 BILL, MAX. Georges Vantongerloo zum 60.Geburts- N9 VALENTIN, CURT, GALLERY. Reg Butler, Jan.
tag. M^erk 33 no. 11: 136-137 ill. Nov. 1946. 11— Feb. 5. 16 p. ill. New York, 1955. Recent works;
M 472 FREIBURG. KUNSTVEREIN. Max Bill, Julius preface by Roland Penrose.
Bissier, Georges Vantongerloo. p. [10-16] ill. 1951. N 10 ZURICH. KUNSTHAUS. Begriinder der modernen
With statement by the artist. Plastik. [44] p. plus 16 ill. 1954. Exhibit of Arp,
M473 HUBERMAN, BEATRIZ. Georges Vantongerloo. Brancusi, Chauvin, Duchamp-Villon, Gonxalet:^, Laurens,
Ver y Estimar (Buenos Aires) 5 no. 17: 30-36 Lipchit^i, Pevsner, from Nov. 27-Dec. Includes quotations,
May 1950. Also note '^Opina Vantongerloo" infune 1949 biographical notes. Notes on Arp by M. Hagenbach also

issue (3 no. 11— 12: 81-83). in Yverdon catalog, bib I. K 22a. Catalog and important
M 474 Vantongerloo. Arti Visive (Rome) no. 4— 5: 3 ill. bibliography by Hans Bolliger, p. 19-27, includes many
May 1953. recent and unpublici:{ed European citations.

394
 Index

Adam, George Henri 241, 321, 322 Doesburg, Theo Van XV, XXV, 162, 328, 330
Aeschbacher, Hans 243, 321, 322 Duchamp, Marcel XII, XXVIII, 90, 92, 328, 330
Apollinaire, Guillaume XXVI, 76 Duchamp- Villon, Raymond XI, XXVIII, 20, 76-81, 86, 328,
Aragon, Louis XII 330
Archaic Art 38, 292
Archipenko, Alexander XI, XXIV, XXVII, Eiffel Tower 185
51, 52, 55, 84,
Eluard, Paul XVIII
321,322
Ernst, Max XII, XXVII, 90, 91, 228, 298, 300, 328, 331
Armitage, Kenneth 210, 211, 321, 322
Arp, Jean XII, XIII, XIV, XV, XVIII, XXIII, XXIV,XXV,
Fauvism 19
XXVIII, 96, 110-115, 117-121, 150-152, 174, 176, 266, Ferber, Herbert 261, 328, 331
321,322 Freundlich, Otto 48, 49, 328, 331
Art Nouveau 34, 165, 167
Futurism X, XI, XII, XVI, XXIV, XXVIII, 78, 86
Bakic, Vojin 247, 281, 322, 323
Gabo, Naum XVI, XXIII, XXV, XXVI, XXVII, XXIX,
Baldessari, Luciano 239, 322, 323 176-186,188,229,328,331
Bail, Hugo XVIII, 90
Gaudi, Antonio 165, 167, 328, 332
Baroque 2, 4, X, XXIV
Baudelaire, CharlesXVIII Giacometti, Alberto XIII, XV, XXV, XXVII, XXVIII, 96,
Bauhaus XV, XVI, 172 97, 98, 99-107, 210, 259, 300, 332, 337
Bazaine, Jean 225 Gilioli, Emile 235, 240, 333, 337
Berlage, H. P. 162 Gisiger, Hansjorg 305, 333, 337
Beothy, Etienne 229, 322, 323 Gonzalez, Julio XVII, XXIV, XXIX, 194-202, 212, 253,
Bertoni, Wander 269, 322, 324 333,337
Bill, Max XVII, 226, 227, 322, 324 Gris,JuanXI, 50, 333, 337
Bloc, Andre 238, 322, 324 Gropius, Walter XV
Poccioni, Umberto X, XI, XX, XXVIII, 65, 84-87, 89, 167,
Hadju, Etienne 270, 271, 333, 337
176,322,324
Hare,David296, 333, 337
Bodmer, Walter 216, 217, 322, 324
Hartung, Karl 267, 334, 337
Bourdelle, Antoine 28-31, 70, 100, 101, 259, 324, 327
Hausmann, Raoul XII, 90, 91, 334, 337
Bourgeois, Louise 288, 325, 327
Hepworth, Barbara XV, XXVIII, 152-155, 189, 229, 334,
Breton, Andre XII, XIII
Breuer, Marcel 180
337
Hindemith Paul XIX
Brancusi, Constantin XIV, XV, XX, XXIV, XXV, XXVI,
Hoflehner, Rudolph 306, 334, 337
XXVII, 12, 14, 38, 40, 66, 68, 69, 124-133, 135-143, 152,
177, 205, 229, 266, 273, 284, 318, 325, 327 Impressionism X, XII, 6, 12, 16, 18, AG
Braque, Georges XII, 206, 294, 295, 325, 327
Burckhardt, Karl 32,33,32 6, 327 Jacobsen, Robert 250, 334, 337
Butler, Reg XXV, 212, 213, 326, 327 Janco, Marcel 92, 334, 338
i^ Jeans XXVII
Calder, Alexander XVII, XXIX, 92, 204-209, 212, 326, 327 Joyce, James XIV, XVIII, XXX
Gallery, Mary 252, 326, 327
Callot, Jacques 1 06 Kandinsky, Wassily XXIX
Carnap, Rudolph XIX Kemeny, A. XVI
Cesar 308, 327, 329 Klee, Paul XXVII, XXVIII, 206, 216
Chadwick, Lynn 215, 248, 249, 327, 329 Kohn, Gabriel 244, 335,338
Chaplain, Charlie XII Kricke, Norbert 222, 223, 335, 338
Chillida, Eduardo 202, 203, 314, 315, 327, 329
Landini, Taddeo 70
Collage XII, 64
Lardera,Berto251,335, 338
Constructivism XV, XVI, XXVII, 6, 55, 64, 172, 176, 178
Lassaw, Ibram 225, 249, 335, 338
Cubism XI, XII, XIV, XVI, XXIV, XXVIII, 46, 50, 56, 76,
Laurens, Henri XI, XXVIII, 30, 64, 65, 67, 69, 70-75, 335,
86,89, 158,168,194
Curjel, Vide H. XIX 338
Le Corbusier 165, 231, 232, 233, 237, 302, 303, 336, 338
Dada XII, XIII, XVII, XXVIII, 90, 168 Leger, Fernand XI
Daumier, Honore X, XI, XXIV, 2, 3, 327, 329 Lehmbruck, Wilhelm XXIV, XXVI, XXVII, 14, 34-37, 84,
Degas, Edgar X, XI, 4-7, 328, 329 106,336,338
Derain, Andre 44, 45, 328, 330 Lipchitz, Jacques XI, XXIII, XXIV, XXV, XXVIII, 56-64,
De Rivera, Jose 221, 328, 330 150, 151,276,277,336,338
D'Haese, Roel 307, 308, 328, 330 Lippold, Richard 224, 225, 253, 338, 341

395
Lipsi, Maurice 242, 338, 341 Read, Sir Herbert 144
Lipton, Seymour 313, 338, 341 Reichenbach, Hans XIX
Lobo, Balthazar XXIII Germaine XXVII, 259, 347, 349
Richier,
Rimbaud, Arthur XVIII
Maillol, Aristide X, XI, XXVII, 26, 27, 34, 52, 339, 341
Rodchenko, Alexander XVI, 170, 349
Malevich, Kasimir XV, XVI, XXV, 163, 339, 342
Rodin, Auguste X, XI, XXIV, XXVI, XXVII, 2, 8-12. 16,
Mallarme, Stephane XVIII, 28
26,28,103,166,167,347,349
Marinetti, Filippe 86
Rosati, James 262, 274, 275, 347, 349
Marini, Marino 286, 339, 342
Rosenthal, Bernard 312, 347, 350
Martin, Etienne 291, 339, 342
Rosso, Medardo XXVI, 12-17, 84, 85, 103, 210, 347, 350
Martins, Maria 258, 339, 342
Roszak, Theodore J. XXVII, 256, 347, 350
Matare, Ewald 287, 339, 342
Russell, Bertrand XIX
Matisse, Henri X, XI, 18, 19, 21-23, 34, 46, 106, 339, 342
Meduniezky, Kasimir 169, 343
Saroyan, William 204
Michelangelo XXVI
Sartre, Jean Paul XVII, 96
Milarepa 124, 318
Schlemmer, Oskar XI, XXVII, 52-54, 347, 350
Minguzzi, Luciano XXV, 257, 339, 343
Schlick, Moritz XIX
Mirko Basaldella XXV, 254, 255,311, 339, 343
Schnabel, Day 234, 246, 347, 351
Miro, Joan XII, XXVII, 96, 298, 299, 339, 343
Schwitters, Kurt XII, XVIII, 90, 91, 228, 347, 351
Modigliani, Amedeo XI, XXVI, 34, 38, 39, 41-43, 339, 343
Signori, Carlo Sergio 280, 347, 351
Moholy-Nagy, Laszlo XVI, XXIX, 172-176, 339, 344
Silva, Vieira Da 225
Mondrian, Piet XV
Smith, David 253, 254, 305, 348, 352
Moore, Henry XV, XXIII, XXVIII, 144, 145, 147-150, 152,
Speck, Paul 236, 348, 352
212,229,314,340, 344
Stahly, Francois XXVI, 288-290
Miiller, Erich 285, 340, 344
Stankiewicz, Richard 264, 348, 352
Miiller, Juana 285, 340, 344
Staelae 302
Miiller, Robert 265, 309, 340, 345
DeStijlXV, 158,162, 176
Neo-Classicism XXVI, 26 Stravinsky, Igor XIX
Neo-Plasticism XV Suprematism XV, XVI, 163
Nevelson, Louise 245, 340, 345 Surrealism XII, XIII, XXVIII, 292
Nivola, Constantino 237, 340, 345 Symbolism XXVI, 28, 100
Noguchi, Isamu 272, 273, 314, 340, 345
Taeuber-Arp, Sophie 91, 348, 352
Obrist, Hermann 164, 167, 340, 345 XVI, 167, 168, 348, 352
Tatlin, Vladimir E.
Paolozzi, Eduardo 260, 340, 346 Thommesen, Eric 284, 348, 352
Penalba, Alicia 310, 340, 346 Tobey, Mark 225
Pevsner, Antoine XVI, XXIII, XXV, XXVII, XXIX, 176, Totem 302
186, 187, 189-193, 218, 229, 340, 346 TurnbuU, William 278, 348, 354
Phillips, Helen 285, 340, 346 Tzara, Tristan XVIII
Picasso, Pablo XI, XII, XVII, XXVIII, 18, 20, 46, 47, 63, 88,
89, 92, 93, 124, 170, 171, 176, 206, 214, 297, 300, 301, Uhlmann, Hans 219, 348, 354
304, 346, 347
Poncet, Antoine 268, 269, 346, 349 Vantongerloo, Georges XV, XXV, 158-161, 189, 348, 354
Primitive Art 38 Viani, Alberto 266, 348, 354
Puget, Pierre 86 Vieira, Mary 220, 348, 354
Visser,Carel263, 353, 354
Ramuz, C. F. XIX
Ray, Man XII Wotruba, Fritz 279, 353, 354

396
 ,

Photo Credits

Aeschbacher Hans, Zurich 243 London 235, 257

F. L. Kenett,
Antoine, Paris 192, 193 New York 225, 261, 249
Kootz Gallery,
Archivio fotografico del Comune di Milano 87 Kunstmuseum Winterthur 46
ATP Bilderdienst, Ziirich 322 (Bill)
Mme. Henri Laurens, Paris 77
Ruth Baehnisch, Diisseldorf-Oberkassel 222, 338 (Kricke) Galerie Louise Leiris, Paris 18 (below) , 44. 45, 50, 64, 71, 88, 304
Oliver Baker, New York 245. 313 Alexander Liberman, New York 328 (Derain)
Berezov ( Kootz Gallery) New York 338 (Lassaw)
, Walter Lichtenstein, Studio Limot, Paris 338 (Le Cotbusier)
Galerie Claude Bernard, Paris 328 (D'Haese) 340 (Penalba) , Lidbrooke, London 210
Dr. H. A. Bernatzik, Wien 138 Herbert List, Miinchen 16 (above)
Betting, Kobenhavn 284 (below), 348 (Thommesen)
La Biennale de Venezia, Rivista lUustrata 191 Peter Loffler, Zurich 70 (right)
Paul Bijtebier, Brussels 120
Binia Bill, Zurich 216 Mandello, Paris 308
Kurt Blum, Bern 303, 315 Mme. H. de Mandrot, Le Pradet 58
Grace Borgenicht Gallery, New York 221 Herbert Matter. New York 205, 207, 209, 327 (Calder)
Borroni, Legnano 251 Jean Michalon. Paris 347 (Signori)
Tet Borsig, New York 327 (Gallery) Frits Monshouwer, Rotterdam 184
Constantin Brancusi, 40, 66, 124-133, 135-137, 139, 142, 284 Henry Moore, Hoglands, Much Hadham, Herts. 144 (below) 145, 148 ,

(above), 318 Musee Bourdelle, Paris 30, 31, 327 (Bourdelle)

Brassai, Paris 20 (above right) 214 , Musee de Paleonthologie, Paris 109
Brenwasser, New York 262 Musees Nationaux, Paris 25. 86
J. E. BuUoz, Paris 29, 41, 143 Museum of Fine Arts, Boston, Mass. 38, 293
Rudolph Burckhardt, New York 182, 183, 249, 273, 274, 275 Museum of Modern Art, New York 89, 165, 199, 206, 272, 328
Jo. Butler, Hatfield, Herts. 327 (Butler) (Ferber), 339 (Miro)
Reg Butler, Hatfield, Herts. 212,213
Hans Namuth, New York 246, 338 (Lippold) . 340 (Nivola)
Cahiers d'Art, Paris 65 (below) , 85 (below) , 91 (below left) , 195, O. E. Nelson, New York 286
297, 301 Lennart Olson, Enskede 337 (Jacobsen)
Pierre Cailler, Geneve 2, 3 Cas Oorthuys, Amsterdam 185
Carjat, Paris 327 (Daumier) Pierre Olry, Paris 268, 347 (Poncet)
Alfred Carlebach 340 (Moore)
Galerie Louis Carre, Paris 20 (above left) , 76 (below) Betty Parsons Gallery, New York 313
Leo Castelli Gallery, New York 244 Perls Gallery, New York 84 ( above right)
Yvonne Chevalier, Paris 73 Moris Perriti, Milano 42
Chevojon, Paris 93 Perusset, Yverdon 200
A. Cintract, Paris 108 H. B. Pflaum, Gebhard, Wien 269
Denise Colombe, Paris 218, 322 (Adam) Philadelphia Museum of Art 132
Conzett & Huber, Zurich 211 Picardy, Grenoble 140, 141
J. Custer-Cornut, Ziirich 113 Porta, Milano 57, 266
Praesens Group, Warsaw 163 (above)
Toso Dabac, Zagreb 247, 281, 322 (Bakic) Prodi, Varese 241 (below)
Robert Decharnes, Paris 339 (Martin)
Domon-Iken, Tokyo 340 (Noguchi) Man Ray, Paris 99, 339 (Matisse)
Walter Drayer, Ziirich 32 REP, Paris 19 (left)
Gilerie Druet, Paris 9 Riess, Berlin 322 (Archipenko)
Claire Roessiger, Basel 28
Atelier Eidenbenz, Basel 322 (Bodmer) Galerie Rosengart, Luzern 47
Hugo Erfurth, Dresden 339 (Moholy-Nagy) M. Routhier, Paris 295
Le Rouzic, Carnac 316, 317
Paul Facchetti, Paris 289
F. Fah, Gstaad 279 Dr. Salchow, Koln 84
David Farrell, Gloucester 215, 248 Andre Sas, Paris 327 (Cesar)
Felbermeyer, Miinchen 339 (Matar^) Ernest Scheidegger, Zurich 100, 101, 103, 105, 107, 208, 227, 299,
Ferruzi, Venezia 13, 17, 85 (above), 280, 294 337 (Giacometti)
Film Publishers Inc., New York 338 (Laurens) Giovanni Scheiwiller, Milano 16 (below)
Semo Flechine, Paris 186 Schuh. Davos 328 (van Doesburg)
Adrienne Fiissiner, New York 244, 338 (Kohn) Schweizer Landesmuseum (Ziirich 98 (above)
Ernst Schwitters 228 (right), 347 (Schwitters)
Naum Gabo, Woodbury, Conn. 168, 169, 179, 180, 181 Aaron Siskind, New York 288
A. E. Gallatin, Paris 347 (Picasso) R. Spreng, Basel 33
Giacomelli, Venezia 307 Stable Gallery, New York 273
C. Giedion-Welcker, Zurich 8, 70 (above) 94, 95, 101 (right) , Hans Stebler, Bern 21
.322 (Arp) Stichting Museum Boymans, Rotterdam 4
Giraudon, Paris 49 Ezra Stoiler. New York 314 ( above left)
Ewald Gnilka, Berlin-Charlottenburg 219, 267, 348 (Uhlmann) Studio St. Ives Ltd., St. Ives, Cornwall 152 (below) 153, 155 ,

Grand Central Moderns, New York 340 (Nevelson) Adolph Studly, New York 61
Marius Gravot, Paris 196 (below left) Soichi Sunami, New York 89. 206, 298, 339 (Miro)
Rene Groebli, Ziirich 328 (Ernst)
Solomon R. Guggenheim Museum, New York 51 Tate Gallery, London 10, 39 (right)
Rolf Tietgens, Basel 114, 115
ErnstHahn, Kunstgewerbemuseum Ziirich 164 Trewyn Studio, St. Ives, Cornwall 337 (Hepworth)
Hansa Gallery, New York 264
Hartnagel & Weider, Zurich 256 Curt Valentin Gallery, New York 14
A. Hebrard, Paris (below)
5, 7 Serge Vandercam, Paris 322 (Bloc)
Peter Heman, Basel 217, 259 Marc Vaux, Paris 62. 91 (above right) 240, 277, 285 (below), 291
,

Nigel Henderson, London 260 Jan Versnel, Amsterdam 263

Henrot 230 Jacques Villon, Puteaux/Paris 76 (above) 77 79, 81 ,

Hugo P. Herdeg, Zurich 283 The Virginia Museum of Fine Arts, ( Photo Whitaker) Richmond, ,

Lucien Herve, Paris 231 (above) ,233 Virginia 204 (below right)
Yves Hervochon. Paris 196 (right), 242, 310, 338 (Lipsi) Catherine Viviano Gallery, New York 312, 347 (Rosenthal)
Hesse, Bern 7 (above) Vizzavona, Paris 65 (above)
Friedrich Hewicker, Kaltenkirchen, Holstein 36
Martha Holmes, New York 340 (Nevelson) Hugo van Wadenoyen, Cheltenham 327 (Chadwick)
Hugo Weber, Basel 339 (Maillol)
Leni Iselin, Paris 348 (Stahly) 1 18, 1 19, 121, 238
Etienne Bertrand Weill, Paris
Jacques, Paris 43 Hermann Weishaupt, Stuttgart 35, 37, 106
Luc Joubert, Paris 234, 309, 340 (Robert Miiller) Sabine Weiss, Paris 146
Peter A. Juley & Son, New York 23 Dietrich Widmer. Basel 271
WillardGallery, New York 224, 253. 254, 305 (left)
Karquel, Aulnay-s/s-Bois (S-et-O) 270 Ruth A. Wuest, Ziirich 322 (Aeschbacher)
Bern! Kaufmann, New York 285 (above left)
Ida Kaw, Camera Press, London 327 (Chadwick) Yale University Art Gallery, New Haven 56 (right) 78

397
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Some Excerpts from the Reviews of the Second Edition:
"It is abundantly illustrated with good photographs which are
annotated. There are photographs and biographies of the
artists. For extra measure, there is a 'selective bibliography'
of Modern Art and Sculpture by Bernard Karpel, Librarian
of the Museum of Modern Art, New York." (Christian
Science Monitor, Feb. 9, 1956)
"This is an interesting and, in some ways, a provocative book.
Dr. Giedion-Welcker writes of the evolution of an era rather
than of individuals and it is rather startling to see, in the
photographs, how well the work melds together, be-
artists'

coming logical parts of a whole, some with strong affinities

for others." {Art Quarterly, Autumn 1956)
"There are not many books on art that are a creative accom-
plishment in themselves. One of the few is Carola Giedion-
Welcker 's "Contemporary Sculpture." This is the first pub-
lication on the subject, to this reviewer's knowledge, which

encompasses the whole range and scope of contemporary

sculpture and, by the mere impact of its pictorial presenta-

tion (and its omissions) succeeds in making it self-evident

what contemporary sculpture is." {Saturday Review of Litera-
ture, New York, Jan. 21, 1956)
"Sculpture has a natural affinity for architecture; it often
seems more architectural than architecture itself. The pub-
lication of this book is timely; it offers arc. ittas and other
readers a broad view of modern sculptuK- '

^F^ogreish'e
Architecture, May 1956)
"Mrs. Giedion-Welcker sets out to describe mt origins of a
movement which she shows to be extraordin ily vigorous,

still inventive and resourceful in its forms ^ id in spite of

local variants among the sculptors of each country, one

thoroughly internatiotial in its character."' (The London
Times Literary Supplement, June 15, 1956)

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