Version: v2, Published online: 2011
Retrieved March 28, 2024, from https://www.rep.routledge.com/articles/thematic/art-abstract/v-2
References and further reading
Readers of this article have at their fingertips a rich fund of helpful sources. Information and images regarding all the artists and works mentioned can easily be located by use of common search engines. Taking advantage of this treasure trove is highly recommended (without any implication whatever that studying reproductions is an entirely adequate substitute for face-to-face encounters with the works themselves).
Barr, A. H., Jr (1936) Cubism and Abstract Art, New York: Museum of Modern Art, 1966.
Cheetham, M. (1991) The Rhetoric of Purity: Essentialist Theory and the Advent of Abstract Painting, Cambridge: Cambridge University Press..
Clark, T. J. (1999) Farewell to an Idea: Episodes from a History of Modernism, New Haven, CT: Yale University Press..
(Chapter 4 arguably offers the most insightful and admirably detailed treatment of Picasso’s analytic cubism so far produced. Chapter 6 does a comparable job on Pollock, deploying social theory and Hegelian ideas as well as close observation of the works. Relates interestingly to the views on Pollock in Fer 1997.)
Courbet, G. (1861) ‘Letter in the Courrier du dimanche, December 25, 1861’, in L. Nochlin (ed.) Realism and Tradition in Art, 1848–1900: Sources and Documents, Englewood Cliffs, NJ: Prentice Hall, 1966, 34–36.
Danto, A. C. (1981) The Transfiguration of the Commonplace, Cambridge, MA: Harvard University Press.
Fer, B. (1997) On Abstract Art, New Haven, CT: Yale University Press.
Fer, B. (2004) The Infinite Line: Remaking Art After Modernism, New Haven, CT: Yale University Press.
Golding, J. (1985) Boccioni: Unique Forms of Continuity in Space, London: Tate Gallery.
Golding, J. (2000) Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, and Still (A. S. Mellon Lectures in the Fine Arts, 1997), Princeton, NJ: Princeton University Press.
Greenberg, C. (1973) Art and Culture, London: Thames & Hudson.
Kandinsky, W. (1912) Über das Geistige in der Kunst, insbesondere in der Malerei, mit acht Tafeln und zehn Originalholzschnitten, Munich: R. Piper; trans. and with intro. by M. T. H. SadlerasConcerning the Spiritual in Art, New York: Dover, 1977.
Museum of Modern Art (1984) The Museum of Modern Art, New York: The History and the Collection, New York: Harry N. Abrams and Museum of Modern Art.
Osborne, H. (1979) Abstraction and Artifice in Twentieth-Century Art, Oxford: Clarendon Press.
Rosenberg, C. M. (1971) ‘Cubist Object Treatment: a Perceptual Analysis’, Artforum 9 (8): 30–36.
Schapiro, M. (1978) Modern Art: 19th and 20th Centuries, Selected Essays, New York: George Braziller.
Tomkins, C. (1968) The Bride and the Bachelors: Five Masters of the Avant Garde, New York: Viking Press.
Varnedoe, K. (2006) Pictures of Nothing: Abstract Art Since Pollock (A. W. Mellon Lectures in the Fine Arts, 2003), Princeton, NJ: Princeton University Press.
Walton, K. (1990) Mimesis as Make-believe: On the Foundations of the Representational Arts, Cambridge MA: Harvard University Press.
Walton, K. (2008) ‘Style and the Products and Processes of Art’, inMarvelous Images: On Values and the Arts, Oxford: Oxford University Press.
Whitford, F. (1984) Understanding Abstract Art, New York: E. P. Dutton.
Worringer, W. (1908) Abstraktion und Einfühlung: Ein Beitrag zur Stilpsychologie, Munich: R. Piper; repr.1959, trans. Michael BullockasAbstraction and Empathy: A Contribution to the Psychology of Style, Cleveland, OH: World Publishing Company, 1967.
Brown, John H.. Bibliography. Art, abstract, 2011, doi:10.4324/9780415249126-M001-2. Routledge Encyclopedia of Philosophy, Taylor and Francis, https://www.rep.routledge.com/articles/thematic/art-abstract/v-2/bibliography/art-abstract-bib.
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