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Index

Ackerman, James 109, 112, 156–58, 163–64, 173, 179, 222
The Architecture of Michelangelo 109n, 156–58, 164, 179
action, direct 178–79, 195
Agam, Yaacov 154
Agassiz, Louis 76
Alinari, Fratelli 61n, 63n, 72, 80, 91n, 159–62
Anderson, James 51, 73, 103n
Andre, Carl 175, 200, 208n, 225
Archer, Frederick Scott 45
Aristotle 12–13
Arnheim, Rudolf 168, 171, 196–97, 210
Art and Visual Perception 196–97, 210
Athens 28, 120
Acropolis 28, 63–70, 107, 119–20, 149–51, 166, 210
Erechtheion 69–71
Parthenon 75, 104, 127, 150, 166, 236
Propylaia 63, 150, 166, 210
Stillman, William James
Baedeker, Karl 61
Barasch, Moshe 14
Barnes, Albert 146
Barr, Alfred 146, 150
Barthes, Roland 230, 233
“The Death of the Author” 230
Bassano, Jacopo 114
Baudelaire, Charles 1–8, 12, 19
Salon of 1846 1–5, 8
“Le Masque” 6–8, 19
Bayard, Hippolyte 36–37
Beholder 9–11, 15–18, 21, 25, 79, 82, 106, 109–63 observer, spectator
Bellano, Bartolomeo 99–100
Benjamin, Walter 30–31
Berenson, Bernard 78–79, 83–86
Berenson, Mary 75
Berger, Miriam Roskin 182, 185–86 empathy
Bergson, Henri 23, 125–26, 134, 140, 142, 144, 152, 193
“Introduction to Metaphysics” 140
Creative Evolution 140
Matter and Memory 125–26, 134
notion of durée 193
Bewick, William 38
Bishop, Claire 178n, 179
Bisson Frères 51
Blanquart-Evrard, Louis-Désiré 46
Boccioni, Umberto 141–42
Bode, Wilhelm 86–87, 99–100
Bois, Yve-Alain 235–36
Bologna, Giovanni, 99
Bonasone, Giulio 56–58
Bonfils, Félix 69–71
Borromini, Francesco 167
Boschini, Marco 114–15
Bourdieu, Pierre 85
Bourdon, David 189
Bramante, Donato 156, 173
Brancusi, Constantin 12, 234
Braun, Adolphe; Braun & Cie 51, 70–75, 77–78, 80, 85, 121
Brendel, Otto 53
Bresolin, Domenico 52–53
Brogi, Giacomo 51, 94
Brown, Frank 165
Burckhardt, Jacob 20, 64–65, 86, 93, 97
Der Cicerone 64–65
Butler, Judith 25
Cage, John 174
Calder, Alexander 154
Campbell, Stephen 11–12
Caramuel y Lobkowitz, Juan 110
Caravaggio, Cerasi Chapel paintings 85, 157
Caro, Anthony 175, 199–200
Cassirer, Ernst 147
Cellini, Benvenuto 14, 110, 114, 116, 141
Charbonnier, Georges 168
Charcot, Jean–Martin 121
Christophe, Ernest 6–8, 19
chronophotography 112, 120–21, 134, 136, 142
Cicognara, Leopoldo 38
cinema, and cinematographic modes 23, 106, 125, 128, 135–36, 144, 152, 161
Clark, Lygia 194, 221
Coffin, David 158
Cole, Michael 11–12
concrete art 193
Coolidge, John 223
Cope, Maurice 84–85
Crary, Jonathan 19
Crowe, Joseph, and Giovanni Cavalcaselle 75
Crutwell, Maud 96, 102–03
Cundall, Joseph, and George Downes 72
d’Agincourt, Seroux 37–38
Daguerre, Louis 30n, 31n, 41
daguerrotypes 31, 34, 44–45, 47, 50, 64n, 76
Daumier, Honoré 2–3
de Lacretelle, Henri 47
Delacroix, Eugène 187
de Saint-Victor, Paul 59n, 72–73
Dewey, John 176–77
Dickins, Charles Scrase Spencer 42
Dickson, William Kennedy Laurie 124–25
Diderot, Denis 17–18, 23, 115–16, 119–20
Salon of 1767 18, 115–16, 120
Digby, Lord 117
Dine, Jim 172, 180
Disdéri, A.-A.-E. 47, 49, 54–55, 58, 63
Donatello 94, 96, 162–63, 229
bronze David 94, 96
high altar in Il Santo 229
Judith and Holofernes 162
Saint John 229
Doni, Anton Francesco 185n
Dorner, Alexander 146
Doxiadis, Constantin 165–66
Dreier, Katherine 146
Duany, Andrés 166–67
Duchamp, Marcel 142–45, 152, 168, 208n
Large Glass, To Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour 143
Nude Descending a Staircase 142
Rotative plaques verre (Optique de précision) 144
Rotative demisphére 144
Dunn, Robert 176
Eagleton, Terry 232n
Eastlake, Sir Charles Lock 65
Eco, Umberto 144n, 157, 230
“The Poetics of the Open Work” 157, 230
Edison, Thomas 124–25
Edwards, Jonathan 218
Einfühlung 88, 95n, 121, 126, 130, 180n, 187n empathy
Elsner, Jás 96
Emerson, Ruth 178–79
empathy 180–87, 189, 199, 222 Berger, Miriam RoskinEinfühlung
Falconet, Étienne Maurice 16–17
Fenton, Roger 43
Ferenczi, Sántor 131–33
Fiedler, Conrad 88
Fish, Stanley 230–31
Flavin, Dan 189, 200, 223
Florence 51, 53–54, 80–81, 95, 111, 124, 128, 159–162
Duomo 81, 161
Palazzo Vecchio 159
Fortuna 220–21
Foucault, Michel 228
Frangenberg, Thomas 9–10, 231–32, 238
Freud, Sigmund 23, 113, 127–36, 158
and cinema 113, 135–36
and Michelangelo’s Moses 113, 127–36
Jokes and their Relation to the Unconscious 133
Totem and Taboo 129
Fried, Michael 24, 164, 167, 169–71, 195, 198–204, 209–20, 225–26, 231, 234
“Art and Objecthood” 24, 169–71, 212–20
Three American Painters 203–4
use of the terms radical and situation 216–18
Furtwängler, Adolf 92–94
Gabo, Naum 112, 144–45, 152–53, 234
Kinetic Construction (Standing Wave) 144, 152
Realistic Manifesto 152–53
Gadney, Reg 154
gardens, landscape 18–19, 127, 235–36
garden design 112, 116–17, 119
Gefühl 4
Gerstner, Karl 168
Gestalt psychology and theory 168, 170–71, 188–124, 222 Morris, Robert
Giambologna 38, 111
Giampetrino 78
Giedion, Sigfried 146, 153
Gillette, Frank, and Ira Schneider 10
Gilpin, William Sawrey 119
Glazer, Bruce 200
Gleizes, Albert 141, 159
Gombrich, Ernst 54, 69, 196
Art and Illusion 54, 196
Goodyear, William Henry 195n
Gozzoli, Benozzo 80–81
Graham, Dan 10
Grand Tour, the 18
Greenberg, Clement 167, 203, 213, 216, 220, 222, 227–28
Grimm, Herman 86, 98, 99, 232–33
Groos, Karl 126, 159
Groupe de Recherche d’Art Visuel (GRAV ) 178
Gullar, Ferreira 24, 193–95, 210, 222
Happenings 174–75, 177, 179–80, 216–17 Kaprow, Allan
Hartt, Frederick 11–12, 186n
Haydon, Benjamin Robert 38, 45, 73, 232–33
Hege, Walter 149–51
Hegel, G.W.F. 17–18, 28, 64, 86, 149n
Hemsterhius, François 16
Hendricks, Jon 229
Henneman, Nicolaas 44
Herder, Johann Gottfried 4–6, 12, 17, 19, 23, 25–26, 28–29, 106, 114, 227
Heron of Alexandria 13n
Hess, Thomas 221–22
Hesse, Eva 208n, 223–26
Hildebrand, Adolf 22, 88–94, 96–97, 103, 105–6, 120n, 161, 234–35
The Problem of Form in Painting and Sculpture 88–94, 97, 161
Homer 36n, 39
Hulme, T.E. 191
Husserl, Edmund 10, 106, 192n, 209n
inner mimicry 181 Martin, John
Janson, H.W. 162–63
Jauss, Hans Robert 230
Johns, Jasper 167, 183
Johnson, Geraldine 22, 32–33, 37, 96, 107, 162
Jones, Ernest 131
Judd, Donald 167, 169, 175, 189, 200–1, 203–6, 208–15, 222n, 223, 237
Judson Dance Theater 25, 167, 176, 178, 186–87
Judson Memorial Church 24, 172
Jung, Carl 128, 130–31
Jung, Jacqueline 110, 112, 151n
Kames, Henry 118
Kant, Immanuel 17, 87
Kaprow, Allan 24–25, 170–80, 188–89, 194–95, 214, 216, 225 Happenings
Kemp, Wolfgang 12, 232n
Kennedy, Clarence 104–6
kinesthetic empathyempathy
kinetic art 10, 23, 144, 152–55, 168, 178, 231
kinetic viewership 18, 23, 106, 109–10, 112–13, 1117–19, 136–37, 139, 142–64, 179, 222
Knight, Richard Payne 37, 118–19
Koffka, Kurt 191, 196, 198
Köhler, Wolfgang 191, 196
Konvitz, Milton 218
Kozloff, Max 24, 202–3, 206, 222
Krauss, Rosalind 10–12, 110, 204–6, 208–11, 215, 233–35, 237
Passages in Modern Sculpture 10–12, 110, 233–35
Kroll, Jack 221
Lakey, Christopher 110–12
landskips and kinema 113, 117, 127, 162
Lane, Robert 177
Lányi, Jenö 162–63
Le Gray, Gustave 45–47
Leider, Philip 214
Lemnian Athena 92, 105
Leonardo da Vinci 80n, 129, 159–61, 181, 184–85
The Last Supper 80n, 184, 185n
The Mona Lisa 181
The Virgin and Child with Saint Anne 129
Le Parc, Julio 178, 218
Lerner, Daniel 177
Le Secq, Henri 47–49
Lessing, Gotthold Ephraim 4, 29, 235
Lippi, Fra Filippo 83–84
Lipps, Theodor 126, 130, 159, 180–82
Lissitsky, El 109, 112–13, 145–51, 154–55, 172
Demonstration Rooms 145–46, 154–55, 172
Prouenraum 145–46
Londe, Albert 121, 136
Lorrain, Claude 119
Lotz, Wolfgang 173, 229
Lotze, Hermann 121–22, 126, 140
Louis, Morris 204, 216–17
Lysippos 13
Mackowsky, Hans 96
Macpherson, Robert 59–60
Maderno, Carlo 15
Malraux, André 107
Manet, Édouard 167
Marey, Etienne–Jules 121, 134, 136n, 142
Marshall, F.A.S. 49
Martin, John 180–82, 184–86
Introduction to the Dance 180–82
inner mimicry
Martin, R.F. 103–6
Masaccio 80
Meiss, Millard 81
Merleau-Ponty, Maurice 10, 24, 164, 171, 191–204, 206, 208–12, 219–20, 222, 234
Phenomenology of Perception 197–98, 202–07, 219–20, 234
Signs 203, 206n
Metzinger, Jean 141, 144, 159
Michelangelo 11, 38, 56–57, 68, 72–74, 94–96, 98, 109, 112–14, 126–37, 155–58, 164, 168–69, 173, 179, 183–84, 222, 229, 232
Bacchus 94, 232
Capitoline Hill design 112–14
David 95, 98, 232
Dying Slave 128
Florentine Pietà 11
The Last Judgment 184
Laurentian Library 155
Moses 68, 96, 113, 126–37, 158, 168, 232
Sistine Ceiling frescoes 38, 56–57, 72–74, 184, 232
kinetic viewership
Michelson, Annette 198, 209, 220
Michotte, Albert 181–82, 185
Minimalism 24, 169–72, 191–95, 200–1, 206–20, 223, 225, 234–35
Mission Héliographique 49
Moholy–Nagy, Laszlo 152–55, 157
The New Vision 152–53
Vision and Motion 153–54
Morelli, Giovanni 75–79, 81–83, 85–87, 108, 133, 162
Morris, Robert 10, 24, 169, 183, 186–91, 198 200–1, 206–10, 214–15, 218
“Notes on Sculpture” 206–10, 215
notion of “co–extensive spectatorship” 10
Passageway 187
Untitled (Battered Cubes) 206–7
Gestalt psychology and theory, Minimalism
Murray’s Handbook for Travelers 61, 63, 68n
Muybridge, Eadweard 120–1, 134, 142
Myron, The Discobolus 59–60, 91, 134
Nègre, Charles 47, 50
neo-concrete art 220–21
Newman, Barnet 204, 216
Niépce, Nicéphore 31
Noland, Kenneth 203, 212, 216
Observer 22, 28, 32–33, 38–39, 49, 54, 57–58, 80, 87–88, 110–12, 126, 137, 148, 153, 157, 164–66, 176, 191, 197, 207, 229, 231, 238 beholder, spectator
Oldenburg, Claes 172, 180
Olitski, Jules 203–4, 212, 216
Olympia 28, 92, 166, 197, 222
Onians, John 13
Ono, Yoko 188
Opticality 98, 100, 152, 168, 199, 202–4, 216–17, 220, 222
Osborne, Robin 236
Paestum, the second temple of Hera at 166, 197
Palladio 155, 179
Panofsky, Erwin 23, 111, 113, 146–49, 151–52, 158
Perspective as Symbolic Form 146–49
“Style and Medium in the Motion Pictures” 152
paragone 4, 14
Passavant, Johann David 75
Pastrone, Giovanni 135–37
Paul, R.W. 125
Pedrosa, Mário 193
Perkins, Charles Callahan 68–69, 96, 106, 232
Perspective, linear 79–81
Perugino 78
Phenomenology 10, 13, 24, 134, 166–71, 176–78, 188–212, 219–20, 222, 228–29, 233–35
Photography 21–22, 27–85
debate about its status 46–47
Picasso, Pablo 141
Pinder, Wilhelm 149–51
Piot, Eugène 46
Pisa, and the Camposanto 55, 80–81
Plater–Zyberk, Elizabeth 166–67
Plato 12
Poincaré, Henri 23, 137–43, 147, 193
Science and Hypothesis 137–40
Pollock, Jackson 173, 176n, 203, 216
Poons, Larry 202, 223
Pope, Alexander 39, 117
Popper, Frank 154, 168, 226
Poussin, Nicolas 119
Praxiteles 89n, 105
Price, Uvedale 119, 235
Price, William Lake 50–51, 58, 78n
Promio, Alexandre 125
Raphael 78, 98
Rauschenberg, Robert 226–27, 230
Ray, Man 144
Reception theory 10–12, 232n, 238n
Rembrandt 227, 230
Reni, Guido 82
reproductions of works of art 84–85, 87, 91, 102, 105, 108, 125, 128, 131, 133, 235
Repton, Humphrey 18, 235, 236n
Richardson, H.H. 122
Riegl, Alois 147, 149n
Roberts, Francis 152
Rodenwaldt, Gerhart 149
Rodin, Auguste 12, 183, 187, 233–34
Jean d’Aire 183
Rome 9, 11, 16, 42, 51, 112 129, 131, 134–35, 198, 229
Chigi Chapel 173
Column of Marcus Aurelius 16
Column of Trajan 9
Piazza del Campidoglio 229
Sant’Agnese, Piazza Navona 112
Sistine Chapel 9, 38, 45, 56, 70, 72–75, 108, 232
Michelangelo
Rose, Barbara 24, 190–91, 200–1, 203, 206, 226
Rosenberg, Harold 176
Rosenthal, Earl 69, 168–69, 222
Rothko, Mark 228
Rothlein, Arlene 187
Ruskin, John 31–34, 44–45, 47, 119
Modern Painters 119
The Stones of Venice 44
Salzmann, Auguste 72
Sansovino, Jacopo 83
Schapiro, Meyer 39
Schjeldahl, Peter 211n, 217n
Schlichter, Joseph 186
Schlüter, Andreas 112
Schmarsow, August 20, 22–25, 98–101, 106, 112–13, 124, 126–27, 134, 139, 149, 155, 158, 161, 235
Schneemann, Carolee 186–87
Schopenhauer, Arthur 87–88, 93, 97, 101
Scott, Lawrence 177
Scott, William Bell 72–74
Scully, Vincent 164–68, 192, 196–98, 210, 222, 236
The Earth, the Temple and the Gods: Sacred Architecture 164–67, 197, 210, 236
Seitz, William 228
sensory turn, in art history 20, 25
Serra, Richard 167, 235–36
Seymour, Charles 229
Shearman, John 236–38
Shepley, John 235–36
Sierra, Santiago 9
Sieveking, Johannes 92
Smith, Colin 198
Smithson, Robert 225
Souriau, Paul 125
Spectator and spectatorship 1, 10, 13, 18, 21, 34, 63, 83, 87, 89, 101, 104, 109–14, 127, 145, 154, 157, 164, 168, 172, 176–79, 181–82, 187n, 194, 200, 208–9, 218, 227–31, 235–38 beholder, observer
Spix, J.B. 76
Springer, Anton 69, 131
Steinberg, Leo 20, 24–25, 74, 85, 157–58, 163, 167, 170–71, 180–89, 199, 222, 227–31, 238
“Contemporary Art and the Plight of its Public” 183
“Other Criteria” 227–28
Stella, Frank 167, 189, 200, 203, 212, 228
Stendhal 30
Stephens, Edward 117
Stillman, William James 66–68, 75, 107, 119–20, 122, 151, 235
The Acropolis of Athens 66–67, 119–20, 151
Stirling, William 44, 57
Stumpf, Carl 90, 120–21, 144
Sylvester, David 169
Talbot, William Henry Fox 34–46, 50, 59, 63, 92, 106
The Pencil of Nature 34–36, 38–39, 41–42, 46, 50
Therbouche, Madame 116
Tinguely, Jean 154
Tintoretto 84
Turner, J.M.W. 53, 119
Uccello, Paolo 80–82
Van Doesburg, Theo 152
van Lint, Enrico 55–57, 80–81
Varchi, Benedetto 14
Vasari, Giorgio 13
Venice 9, 31, 84, 211
Grand Canal 52, 125
S. Maria della Salute 211
Venturi, Adolfo 71
Verlaine, Paul 230
Vernet, Claude-Joseph 18, 115–116, 120
Verrocchio, Andrea del 94–96, 102–3, 106
bronze putto 102–3
David 94–96
equestrian statue of Bartolomeo Colleoni 103, 106
Vertov, Dziga 146
Viewership, mobile and kinetic 11, 16, 18, 22–24, 98, 101, 106, 108–28, 134, 136–37, 143–44, 148–159, 164, 183, 208, 229, 236
Vignola, Giacomo da 14–15
Vischer, Robert 88, 93, 126
Vitruvius 13
von Hildebrand, Adolf 88–97, 103, 105–6, 161, 234–35
von Humboldt, Alexander 76
von Mach, Edmund 126–27
von Usedom, Graf Guido 99
Waagen, Gustav Friedrich 19, 86
Warburg, Aby 112–13, 124–25
Wasserman, Jack 158
Weston, Edward 162
White, John 229
Winckelmann, Johann Joseph 17, 28–30, 37, 108
Winterhalter, Franz Xaver 39–40
Witasek, Stephan 126, 159
Wittkower, Rudolf 112, 155–57, 210–11, 237,
Wölfflin, Heinrich 20, 22, 27, 32–33, 93–104, 107–8, 111–12, 163, 232–33
“How One Should Photograph Sculpture” 32–33, 93–103
Principles of Art History 98, 101, 111
Wordsworth, William, The Excursion 18–19
You are There 175
Zevi, Bruno 157, 165

The Place of the Viewer

The Embodied Beholder in the History of Art, 1764-1968