T e x t s
Cennino D’Andrea Cennini.The Craftsman’s Handbook. The Italian “Il Libro dell’ Arte.” Translated by Daniel V. Thompson, Jr. New York: Dover Publications, Inc. 1933, by Yale University Press. ” . . . . And so Adam, recognizing the error which he had committed, after being so royally endowed by God as the source, beginning, and father of us all, realized theoretically that some means of living by labor had to be found. And so he started with the spade, and Eve, with spinning. Man afterward pursued many useful occupations, differing from each other; and some were, and are, more theoretical than others; they could not all be alike, since theory is the most worthy. Close to that, man pursued some related to the one which calls for a basis of that, coupled with skill of hand: and this is an occupation known as painting, which calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them [Fermarle. Perhaps read formarle “give them shape.”] with the hand, presenting to plain sight what does not actually exist. And it justly deserves to be enthroned next to theory, and to be [p. 2] crowned with poetry . . . . ” [The First Chapter of the First Section of This Book, pp. 1-2]
Alberti, Leon Battista. On Painting. [First appeared 1435-36] Translated with Introduction and Notes by John R. Spencer. New Haven: Yale University Press. 1970 [First printed 1956]. “Leon Battista Alberti’s Della pittura is the first modern treatise on the theory of painting. Although it appeared at a moment [1435-36] when the old and the new order in art were still existing side by side in Florence, it broke with the Middle Ages and pointed the way to the modern era. While Cennino Cennini’s almost contemporary Libro dell’ arte summed up preceding medieval practice, Della pittura prepared the way for the art, the artist, and the patron of the Renaissance. As a result the art of painting was given a new direction which made a return to the Middle Ages all but impossible. . . . ” p. 11.] “The essence of Alberti’s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, la pi* grassa Minerva, his use of the mathematical sciences as a means of controlling this reality, mathematica, and the means and aim of humanist painting, istoria.” [p. 13.]
Eastlake, Sir Charles Lock, [One-time President of the Royal Academy]. Methods and Materials of Painting of the Great Schools and Masters [Formerly titled: Materials for a History of Oil Painting]. Vols. One and Two [Including Professional Essays ]. New York; Dover Publications, Inc. 1960 [Originally published by Longman, Brown, Green and Longmans in 1847. “What is called effect in painting consists in sacrificing many things for a few. The Italian word “Despotare” is a very strong one applied to the art of making the principal object tell. Effect is, however, incomplete till the objects or points in these objects [for the system may be forever subdivided] surpass what is round them in all the requisites of effect. Perhaps the most essential course is to have no lines equally cutting in the immediate neighbourhood. Nothing gives relief more, for it corresponds with the effect produced in nature; when we fix our attention on a particular object all round it is mist and indistinctness.” From the Professional Essays, p. 326] [Other Professional Essays, include: Crispness/Sharp-Before Toning; Depth of Light Tints; Depth/Transparent Medium; Facility of Execution; Finish; Gem-like Quality; Life in Inanimate Things; Means & End of Art; Natural Contrasts; Natural Harmonies; Necessity for Definitions; Negative Lights and Shades; Remedies; Space; Toning to Mitigate Crudeness; Transparent Painting; Vehicle for Shadows]
Giorgio Vasari – “I AM aware that it is commonly held as a fact by most writers that sculpture, as well as painting, was naturally discovered originally by the people of Egypt, and also that there are others who attribute to the Chaldeans the first rough carvings of statues and the first reliefs. In like manner there are those who credit the Greeks with the invention of the brush and of colouring. But it is my opinion that design, which is the foundation of both arts, and the very soul which conceives and nourishes in itself every part of the intelligence, came into full existence at the time of the origin of all things, when the Most High, after creating the world and adorning the heavens with shining lights, descended through the limpid air to the solid earth, and by shaping man, disclosed the first form of sculpture and painting in the charming invention of things. Who will deny that from this man, as from a living example, the ideas of statues and sculpture, and the questions of pose and of outline, first took form; and from the first pictures, whatever they may have been, arose the first ideas of grace, unity, and the discordant concords made by the play of lights and shadows? Thus the first model from which the first image of man arose was a clod of earth, and not without reason, for the Divine Architect of time and of nature, being all perfection, wished to demonstrate, in the imperfection of His materials, what could be done to improve them, just as good sculptors and painters are in the habit of doing, when, by adding additional touches and removing blemishes, they bring their imperfect sketches to such a state of completion and of perfection as they desire. . . .[From Preface to the Lives] [“Architect, painter, and writer, Giorgio Vasari [1511-1574] was, in his versatility and indefatigability, a typical representative of the late Renaissance. While his oils and frescoes are now forgotten, he achieved immortality as the designer of the Uffizi in Florence and, above all, as the author of the fascinating biographies of more than a hundred Italian artists and architects.” (Alfred Werner)]
Trilling, Lionel. Sincerity and Authenticity. Cambridge, MA: Harvard Univ. Press. 1972
Eco, Umberto. The Aesthetics of Chaosmos. The Middle Ages of James Joyce. Translated from the Italian by Ellen Esrock. Cambridge, MA: Harvard Univ. Press. 1989.
Malraux, Andre The Voices of Silence. Translated by Stuart Gilbert. Garden City, New York: Doubleday & Co., Inc. 1953.
Lee, Rensselaer W. Ut Pictura Poesis, The Humanistic Theory of Painting. New York: W. W. Norton & Co., Inc. 1967. “This essay attempts to define the humanistic theory of painting and record in broad terms its development from its beginning in the fifteenth century to the eighteenth when new forces in critical thought and in art began to cause its decline. Everywhere in the theory is the fundamental assumption–an assumption which is made no longer–that good painting, like good poetry, is the ideal imitation of human action. From this it follows that painters, like poets, must express general, not local, truth through subjects which education in the Biblical narratives and the Greco-Roman classics has made universally known and interesting; must deploy a rich variety of human emotion; and must aim not merely to please, but also to instruct mankind. This theory, like much of the art of the period, had its roots in antiquity.” [From the Preface]
De Silva, Anil and photographs by Dominque Darbois. The Art of Chinese Landscape Painting in the Caves of Tun-Huang. New York: Crown Publishers, Inc. 1964. ” . . . . Thus space is like a musical pause, filled with mystery before the next phrase begins, giving it meaning and uniting it with what went before.”
Venturi, Lionello. History of Art Criticism. Translated from the Italian by Charles Marriott. New York: E. P. Dutton & Co., Inc. 1936.
Kern, Stephen. The Culture of time and Space, 1880-1918. Cambridge, Massachusetts: Harvard University Press, 1983.
Munro, Thomas. The Arts – And Their Interrelations. Cleveland: The Press of Western Reserve University. 1967.
Bullen, J. B., ed. Fry, Roger. Vision and Design. London: Oxford Univ. P Ress. 1981.
Lessing, Gotthold Ephraim. Laocoon, An Essay on the Limits of Painting and Poetry. Translated, with an Introduction and Notes, by Edward Allen McCormic. Baltimore: The Johns Hopkins University Press. 1962. Originally published, 1766.
Stout, George. The Care of Pictures. New York: Columbia Universit Press. 1948. “The aim of this piece of writing is not to review the means of preservation or conservation now at hand for pictures; this is not to be a technical work. It is to be a summary of information, put together and explained as briefly as seemed possible, for any persons who may have something to do with the care of any kind of pictures–the artist who make them, the students who are learning that craft, the curators or keepers responsible for such objects, and the collectors or householders who have them around. It is merely an introduction to problems in the care of pictures, and the hope is that it may prove to be a useful introduction . . . ” [ p. v.]
Rainwater, Clarence, Prof. of Physics, San Francisco State College. Light and Color. Original Project Editor Herbert S. Zim, Golden Press, NY, Western Publishing Company, Inc., 1971.
Kay, Reed. The Painter’s Guide to Studio Methods and Materials. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1983. “The purpose of this book is to provide practicing artists and art students with information concerning the various painting media and to indicate some of the reasons that painters might chose one method or material over others. Studio procedures are described in step-by-step detail to avoid misunderstanding about the sequence of the work or the equipment required to prepare and use the standard materials of the painting studio in a craftsmanlike way. . . . ” [p. xi] [Included are chapters on: Binders & Diluents; Casein; Cold Wax Techniques; Encaustic Wax Painting; Fresco Painting; Gilding; Oil Technique; Pastels; Photography of Paintings; Picture Framing; Pigments; Supports & Grounds; Synthetic Resin Paints; Tempera; The Studio; Water Paints]
Wehlte, Kurt. The Materials and Techniques of Painting. Translated by Ursus Dix. New York: Van Nostrand Reinhold Company. 1975.
Kemp, Martin, ed. and Margaret Walker. Leonardo on Painting. An anthology of writings by Leonardo da Vinci with a selection of documents relating to his career as an artist. New Haven: Yale Univ. Press. 1989.
Dolloff, Francis W. and Roy L. Perkinson. How to Care for Works of Art on Paper. Museum of Fine Arts, Boston. Fourth Edition. 1985
Generations In Clay, Pueblo Pottery of the American Southwest , by Alfred E. Dittert, Jr., and Fred Plog, Northland Publishing in Cooperation with the American Federation of Arts, 7th Printing, 1989.
Wong, Wucius. The Tao of Chinese Landscape Painting, Principles & Methods. New York: Design Press. 1991.
Art of Our Century, The Chronicle of Western Art, 1900 to the Present. [Excerpts] Ferrier, Jean-Louis, Director and Yann le Pichon, Walter D. Glanze [English Translation]. New York: Prentice-Hall Editions. 1988.
Frye, Northrop. Anatomy of Criticism, Four Essays. Princeton, NJ: Princeton University Press, 1957.
Ashton, Dore, ed. Twentieth-Century Artists on Art. New York: Pantheon Books. 1985.
Canaday, John. Mainstreams of Modern Art. New York: Simon and Schustesr. 1961.
Thompson, Daniel V., Jr., Research and Technical Adviser, The Courtauld Institute of Art, University of London. The Practice of Tempera Painting. New Haven: Yale University Press. 1936. Fourth Printing, 1946. “This book is intended for painters, modern painters, preferably very modern painters. I shall be glad if it is acceptable to the historian as an exposition of trecento Italian techniques, but that is not its purpose. If I have looked for my material in an old, disused quarry, it is with no wish that the newly quarried stone should be used in an antique style. Parian marble could be cut in modern shapes . . . . ” [From the Preface]
Blanchkenhagen, Peter H. V. and Christine Alexander. The Paintings from Boscotrecase. With an Appendix by Georges Papadopulos. Heidelberg: F. H. Kerle Verlag. 1962.
An Encylopedia of Decorative Arts and Antiques – L. G. G. Ramsey, F.S.A., ed. The Complete Color Encyclopedia of Antiques. Preface by Bevis Hillier, Editor of The Connoisseur. Compiled by The Connoisseur, London. New York: Hawthorn Books, Inc. 1962. Revised and Expanded Edition. [Antiquities, Furniture, Glass, Pottery & Porcelain, etc.]
Walberg, Gisela. Tradition and Innovation, Essays in Minoan Art. Mainz am Rhein: Verlag Philipp Von Zabern. 1986. “Most art is made up of two elements: tradition and innovation. The relationship between the two varies and is determined by many different factors, such as the personality of the artist, his background and training and the general attitude towards art in the society in which he lives. . . .” [p. 1]
Babelon, Ernest. Librarian of the Department of Medals and Antiques in the Biblioth*que Nationale, Paris. Manual of Oriental Antiquities , including the Architecture, Sculpture, and Industrial Arts of Chald*a, Assyria, Persia, Syria, Jud*a, Ph“nicia, and Carthage. “If the staged towers of Mugheir, Tello and Abu Shahrein, are too much destroyed for us to be able to restore their different steps except in thought, we are sure, nevertheless, that these old Chald*an edifices were similar to the towers the lower stories of which were excavated at Kouyunjik, Nimroud, Khorsabad, and finally at Babylon, where stood, from the remotest antiquity, the two famous temples called E-saggil and E-zida and where Nebuchadnezzar built, according to the testimony of his inscriptions, the famous Tower of the Seven Lights. . . . . “At the summit of the ascent,” he says, “Semiramis placed three golden statues wrought with the hammer.” These statues were perhaps in the interior of the sanctuary which generally crowned the building; everything makes it probable also that little chapels were constructed at each stage in the thickness of the structure, and that each of them was consecrated to the stellar deity of whom the colour of the stage was emblematic. The chapel on the summit was covered by a gilded cupola, which glittered under the glorious sunlight of the pure eastern sky, and dazzled all beholders. Nebuchadnezzar relates in his inscriptions that he overlaid the dome of the sanctuary of Bel Marduk “with plates of wrought gold so that it shone like the day.’ . . . . these sanctuaries erected on the top of staged towers, in which the priests passed the night in watching the courses of the stars . . . .” [from the chapter on Assyrian Architecture] London: H. Grevel and Co. 1906.
Porada, Edith [With the collaboration of R. H. Dyson and contributions by C.K. Wilkinson]. The Art of Ancient Iran, Pre-Islamic Cultures. New York: Crown Publishers, Inc. Art of the World. 1962.
Woolley, Leonard. The Art of The Middle East , including Persia, Mesopotamia and Palestine. New York: Crown Publishers. 1961.
Oates, Joan. Babylon . Revised Edition, Thames & Hudson, 1986.
Ellmann, Richard and Charles Feidelson, Jr, eds. The Modern Tradition, Backgrounds of Modern Literature. New York: Oxford University Press. 1965. “We have grown accustomed to speak offhandedly of “modern literature,” of the “modern temper,” and even of “the modern,” but until recently we have not made much effort to analyze the meaning of this term that we find so useful. We have postponed the task of defining it for the same reason we feel it to be important–it refers to something intimate and elusive, not objective and easily analyzed. The modern is not like the reassuring landscape of the past, open and invadable everywhere. It is at once more immediate and more obscure; a blur of book titles, a mood of impatience with anachronisms, a diffuse feeling of difference. Or it is a voice to which we intuitively respond, a language that gives new valences to words long enrolled in the dictionary, including “modern” itself . . . . ”
Eternal Greece [Glossary, Geography, History, Myth, Architecture, Painting & Sculpture, etc.]. Translated by Harry T. Hionides. A Chat Publication.
Petruck, Peninah R. Y. American Art Criticism 1910-1939. New York: Garland Publishing, Inc. 1981. [A dissertation in the Dept. of Fine Arts submittted to the faculty of the Graduate School of Arts and Science in partial fulfillment of the requirements for the degree of Doctor of Philosophy at New York University. June, 1979.]
Brody, J. J. Mimbres Painted Pottery, School of American Research, Santa Fe. Albuquerque: University of New Mexico Press [With support from the Weatherhead Foundation]. 1977, 1989.
Fewkes, Jesse Walter. The Mimbres Art and Archaeology, with an Introduction by J.J. Brody. Albuguerque, New Mexico: Avanyu Publishing, Inc. [A reprint of three papers . . . . Published by the Smithsonian Institution between 1914 and 1924.] 1989.
Mattil, Edward L. Meaning in Crafts. 3rd Ed. Englewood Cliffs, New Jersey: Prentice-Hall, 1971.
Brendel, Otto F. Etruscan Art. New York: Penquin Books. 1978. – “The Etruscan cities, like their Greek counterparts, looked towards the sea. But the oldest, such as Tarquinia, were founded on suitable high plateaus, with convenient outlets to the sea itself, thus combing the characteristics of Hill town and harbour towns: they were not merely fortified harbours like the Greek settlements. At least at the beginning, their populations must largely have drawn on the natives from inland, and their earliest art, which was Villanovan, in all cases about which we can judge was not imported from overseas, and has no counterpart in the eastern Aegean.”
Lavin, Marilyn Aronberg. The Place of Narrative – Mural Decoration in Italian Churches, 431-1600. Chicago: The University of Chicago Press. 1990.
Excavations at Thera Vi. [1972 Season]. By Spyridon Marinatos, Prof. of Arch., EM., Uiversity of Athens. Athens. 1974. With 6 Figures in the Text, 112 Plates n Black and White, and 11 Colour Plates with 7 Maps in Spearate Pocket. Athens. 1974.
Fol, Alexander and Ivan Marazov. Thrace & The Thracians. New York: St. Martins press. 1977.
Eaves, Morris, [1944-]. William Blake’s theory of art. Princeton, N.J. : Princeton University Press, c1982. [SERIES Princeton essays on the arts]
Gaitskell, Charles D., Al Hurwitz, Maryland Institute College of Art, and Michael Day, Univ. of Minnesota, eds. Children and Their Art, Methods for The Elementary School. Fourth Edition, Harcourt Brace Jovanovich, Inc., 1982.
Newsom, Barbara Y, and Adele Z. Silver, eds. The Art Museum as Educator, A Collection of Studies as Guides to Practice and Policy – Council on Museums and Education in the Visual Arts. Berkeley: Univ. of California Press. 1978.
Coon, Dennis [Dept. of Psychology, Santa Barbara City College, California]. Introduction to Psychology, Exploration and Application, Fifth Edition. St. Paul, New York, Los Angeles, San Francisco: West Publishing Company. 1989.
Efland, Arthur D. A History of Art Education, Intellectual and Social Currents in Teaching the Visual Arts. New York and London: Teachers College, Columbia University, 1990.
Logan, Frederick M . Growth of Art in American Schools, New York: Harper & Brothers, 1955. [Univ. of Wisconsin.]
Zigler, Edward F. and Matia Finn-Stevensen, Yale University. Children, Development and Social Issues, D.C. Heath and Company, Lexington, MA & Toronto, 1987.
Coles, Robert. “When I draw the Lord He’ll be a Real Big Man.” In A Study of Courage and Fear. Vol. I of Children of Crisis. Boston and Toronto: Little Brown, 1964.
Brandt, Ron. “On Assessment in the Arts: A Conversation with Howard Gardner.” In Educational Leadership. December 1987/January 1988.
Wong, Wucius. Texts on Design and Color Principles. [New York: Van Nostrand Reinhold.]
Collier, Graham. Form, Space & Vision, An Introduction to Drawing and Design. 4th ed. Englewood Cliffs, New Jersey: Prentice-Hall, 1985.
Bay, Timothy. “Ideas and Information: Managing in a High-Tech World.” In The New York Times. New York: New York Times, April 9, 1989.
Ghiselin, Brewster, ed. The Creative Process, A Symposium. Berkeley, California: University of California Press, 1952.
Harlan, Calvin. Vision & Invention, An Introduction to Art Fundamentals. Englewood Cliffs, NJ: Prentice-Hall, 1986. [See the Chapter on Color.]
Moss, Howard. The Magic Lantern of Marcel Proust. New York: The Macmillan Company, 1962.- “The regaining of time is the true quest of mankind. An instant freed from the order of time in the individual is man liberated from the same order. Time, more deceptive even than memory, can prevent us from knowing this. We assume chronology is succession . . . . Yet, as Proust shows us, he holds the magic lantern that illuminates everything . . . . ” [pp. 109-110]
Ruskin, John. “On Composition,” from The Elements of Drawing. New York: Dover Publications, 1971.