ARCHETYPES IN THE ARTS
REFERENCES
ALEXANDRIAN, S. (1970 [1969]). Surrealist art [orig. 'L'Art surréaliste' translated fr. French by Clough, G]. London: Thames & Hudson, pp.7 '[surrealists] set out to liberate the workings of the subconscious'; 8 'André Breton, its founder'; 8d 'art not an end in itself, but a method of creating an awareness'; 9ff. 'precursors'; 27a 'a revolt against aesthetics' [roots in the early avant-garde]; 29 'Dada: declaration of the rights of fantasy'; 54 'metaphysical painting'; 60 'purely interior model' [illustration & pictorialism of imagination]; 100-1 'Dalí's definition of painting as photography of concrete irrationality & of the imaginary world in general'; 103 'art of cultivating phantasms'; 232 'bizarre work [using] power of the dream to pass beyond the confines of reality'; 232b 'applied phantasmagoria' & 'ineffable states'.
ARNASON, H.H. (1977 [1969]). A history of modern art. London: Thames & Hudson, pp.26 'impressionism'; 43 'neo-impressionism & post-impressionism'; 55 'origins of modern architecture'; 64 'origins of modern sculpture'; 80 'Art Nouveau'; 84 'Art Nouveau architecture & design'; 96 'Fauves & Cubists'; 159 'expressionist architecture'; 162 'expressionism in painting'; 193ff. 'spread of Cubism'; 220 'Futurism'; 226 'emergence of Abstract art'; 249ff. 'International Style in architecture'; 331 'painting in Paris in the 1920s & 1930s'; 348ff. 'Surrealism'; 410ff. 'Abstraction'; 432 'Realism, Social Realism & Regionalism [in the US]'; 507 'Abstract Expressionism'; 616 'Pop Art & offshoots'; 645 'New Realism'; 651 'Minimal[ism]'; 699 'Photo Realism'; 703 'Conceptualism'.
BACON, F. (1968 [1952-1955, 1963]). Statements, 1952-1955; Interview, 1963. In: Chipp, H.B. (ed.), Theories of modern art: a source book by artists & critics. Berkeley, Los Angeles: University of California Press, pp.620 'art a method of opening up areas of feeling rather than merely an illustration, [however] the object is necessary to provide the problem & the discipline in the search for the problem's solution' [1952]; 620c 'a mysterious & continuous struggle with chance' [1953]; 621a 'shapes are remade or put slightly out of focus to bring in their memory traces' [1955].
BAUDELAIRE, C. (1899, 1923). Extracts fr. 'L'Art Romantique' & 'Curiosités esthetiques'. In: Osborne, H. (ed.), Oxford companion to art. Oxford University Press, pp.11 'aestheticism: doctrine that art is self-sufficient'; 119 'Baudelaire: scientific naturalism; friend & supporter of Manet & Courbet [Romantic Realism]; but also wrote, 'le beau est toujours bizarre' [High Romanticism, cf. Edgar Allan Poe]; led aestheticist movement, 'art for art's sake'; 'beauty indifferent to good & evil'; 'particular task of art is to extract beauty from evil'.
BECK, J. (1979). Leonardo's rules of painting: an unconventional approach to modern art. New York: Viking Press & Penguin Books, pp.82 [quoting da Vinci:] 'let the painter composing narrative pictures take pleasure in wealth & variety, and avoid repeating any part that occurs in it, so that the uniqueness & abundance attract people to it & delight the eye of the observer'.
BERGER, J. (1977 [1972]). Ways of seeing. London: British Broadcasting Corporation [BBC] & Penguin Books, pp.10 'images were first made to conjure up the appearances of something that was absent'; 13 'compositional unity contributes fundamentally to the power of its image: [but if] the composition becomes the emotional charge of the painting... all conflict disappears, one is left with the unchanging human condition [in return for] a marvellously made object' [perspective of 'Social Realism', cf. Marxist perspectives of aesthetics]; 86 'art serves the ideological interests of the ruling class'; 129ff. 'publicity' [& art as publicity]; 153 'publicity is a political phenomenon [which] recognises nothing except the power to acquire'; 153e 'all hopes are gathered together, made homogenous, simplified, intense yet vague: no other kind of hope or satisfaction can be envisaged within the culture of capitalism'.
BERGER, P.L. & LUCKMANN., T. (1967). The social construction of reality. London: Allen Lane, pp. 77-80, 149 'society to be understood in terms of ongoing dialectical process between subjective and objective reality' [interactive dialectic].
CEZANNE, P. (1968 [1921]). Une Conversation, rec. by Bernard, E. In: Chipp, H.B. (ed.), Theories of modern art: a source book by artists & critics. Berkeley, Los Angeles: University of California Press, pp.12-13 'I ended up attaching myself more to nature than [the Masters] did: one must make a vision for oneself. One must make an optic, see nature as no-one has seen it before you, a logical vision, that is, with nothing of the absurd. The optic is based upon nature. Art is [thus] a personal apperception [which] I situate in sensation, & I ask that intelligence organise it into a work; [yet one must] attach oneself first of all to visual sensation'.
CHIPP, H.B. (ed). (1968). Theories of modern art: a source book by artists and critics. Berkeley, Los Angeles: University of California Press, pp.11ff. letters of Cézanne; 24ff. letters of van Gogh; 58 'Paul Gauguin: Synthetist Theories'; 87 'symbolist theories'; 129ff. 'Fauvism'; 146 'Expressionism'; 193ff. 'Cubism: form as expression'; 281 'Futurism: dynamism as the expression of the modern world'; 309 'Abstract & non-objective art'; 366-444 'Dada & Surrealism'; 456 'art & politics: the artist & the social order' [social realism, imaginitive pictorialism & fantasy]; 487 [Pablo Picasso:] 'Statement about the artist as a political being'; 487b 'Conversation on Guernica' [rec. by Seckler, J.]; 546 [Jackson Pollock:] 'Three Statements'; 620 [Francis Bacon:] 'Statements, 1952-55', 'Interview'.
CLARK, K. (1969). Civilisation: a personal view. New York: Harper & Row, pp.61 'Gothic world: of chivalry, courtesy & romance; in which serious things were done with a sense of play'; 87 'a vision of divine order & heavenly beauty'; 91-2 'Renaissance largely based on the study of antique literature'; 91-137 [icons of Renaissance painting, sculpture, architecture & literature: perspectivism, humanism & classicism]; 139ff. 'protest & communication' [Reformation, Counter-Reformation & Late Renaissance Mannerism]; 167ff. 'grandeur & obedience' [cf. early Baroque]; 193ff. 'the light of experience' [Baroque Classicism]; 221ff. 'the pursuit of happiness' [Rococo]; 245 'the smile of Reason' [Classicism]; 269 'the worship of Nature' [Early Romanticism]; 293 'the fallacies of Hope' [Late Romanticism]; 321 'Heroic Materialism' [cf. Romantic Realism, Impressionism, Avant-Garde, Modernism, Post-Modernism].
CLARK, K. (1976 [1973]). The romantic rebellion: romantic versus classic art. London: Futuris Publications, pp.39-40 'a picture should be like a heroic poem' [David, cf. Classical Romanticism]; David's work 'depended [for its success] on the romantic projection of his own moral struggle'; 42 'David a victim of his own classicism, which in the end, was rooted 'in a fixed & rational philosophy; whereas the spirit of the Revolution was one of change & of emotion'; 129 'Ingres threw himself on Raphael as a bewildered penitent might throw himself on God' [cf. classicism]; 141 '[but] he was enchanted by the opportunity of assembling the inhabitants of his imagination' [cf. romanticism];199 'all Delacroix's painting was, and was intended to be, a communication of his character' [cf. 'subjectivism']; 200 'nearly all his great works involve the shedding of blood'; 207 'frenzied, Dionysiac'; 220 'belief in the ultimate victory of the spirit' [cf. High Romanticism]; 309-29 'Degas': 'last classicist', yet 'revolutionary in devotion to truth': cf. 'moral realism'.
GLEESON, J. (1976 [1971]). Australian Painters. Dee Why West [Sydney]: Lansdowne Press, esp. pp.106 'Glover'; 118 'Conrad Martens'; 122 'Buvelot'; 124 'von Guérard'; 228 'Roberts'; 249 'Bunny'; 254 'Norman Lindsay'; 277 'Roland Wakelin [&] Roy de Maistre'; 278 'Margaret Preston'; 280 'Lloyd Rees'; 345 'Cossington Smith [&] William Dobell'; 347 'Drysdale'; 353 'Arthur Boyd'; 362 'Jeffrey Smart'; 363 'Justin O'Brien'; 368 'Ralph Balson'; 383 'Whiteley'.
GOTT, E. (1997). Symbolism. In: Kinsman, J. (ed.), Paris in the late nineteenth century. Canberra: National Gallery of Australia; Thames & Hudson, pp.116-129.
HUGHES, R. (1970 [1966]). The art of Australia. Ringwood, Victoria: Penguin Books, pp. 53-74 'Heidelberg School'; 113-134 'Post-Impressionism'; 169-196 'the Stylists'; 251-304 'Abstract Painting'.
KINSMAN, J (ed). (1997). Paris in the late nineteenth century. Canberra: National Gallery of Australia; Thames & Hudson, esp. pp.8-37 'Paris intense'; 38-57 'pastorals'; 66ff. 'the art of the [20th C] salons'; 156-169 'esprit de corps' [w. Gott, E. & Weir, K].
OSBORNE, H (ed). (1970). Oxford companion to art. Oxford University Press, pp.11 'aestheticism: doctrine that art is self-sufficient'; 108-111 'baroque'; 119 'Baudelaire: scientific naturalism; friend & supporter of Manet & Courbet [Romantic Realism]; but also wrote, 'le beau est toujours bizarre' [cf. High Romanticism, Edgar Allan Poe]; led aestheticist movement 'art for art's sake'; 'beauty indifferent to good & evil'; 'particular task of art is to extract beauty from evil'; 303 'David, Jacques-Louis: founder of [Classic-Romantic] Institut'; 395 'Expressionism' [orig. 1880s, in France 1905-]; 402 'Fauvism'; 486 'Goethe, Johann: major poet of German Romantic movement'; 486c 'van Gogh, Vincent: Dutch Post-Impressionist'; 490-4 'Gothic'; 562-5 'Impressionism [1874-]'; 617 'Jones, Inigo' [cf. Baroque Classicism]; 652 'Leonardo da Vinci: most variously accomplished artist of the Renaissance'; 671 'Louis XV Style =French Rococo'; 682 'Maillol, Aristide' [Neo-Classicism]; 686 'Mannerism'; 689 'Mansart, Louis Hardouin-: architect of Louis XIV' [Classic Baroque style]; 702-3 'Matisse, Henri' [Independent, cf. Avant-Garde]; 717 'Michelangelo Buonarroti' [High Renaissance painter, Mannerist architect]; 768 'Neo-Classicism'; 770 'Neo-Impressionism: Seurat, van Gogh, Gauguin, [Cézanne]'; 814-5 'School of Paris: movements after Impressionism influenced by abstraction, aestheticism & semi-abstraction'; 950 'Rafael =Raffaello Sanzio, cf. High Renaissance'; 963 'Rembrandt van Rijn' [Dutch school, cf. Early Baroque]; 965-70 'Renaissance: [naturalism, perspective, humanism, classicism]'; 971 'Renoir, Pierre Auguste: Impressionist'; 985 'Rococo' [1714-89]; 988 'Rodin, Auguste: most celebrated sculptor of French Romantic school'; 1007-11 'Romanticism'; 1021 'Rubens, [Sir] Peter Paul: [Franco-Flemish school, cf. Baroque Mannerism]'; 1113-4 'Suger, Abbot of St.Denis fr. 1122, inaugurated High [Early] Gothic style'; 1114 'Sullivan, Louis, American architect' [cf.Romantic Realism] 'form follows function'; 1115 'Surrealism'; 1142 'Tolstoy, Lev (1828-1910): Russian novelist, wrote 'What is Art?' (1896) in which he stigmatises as decadent all art of restricted appeal' [cf. Late Romanticism, Romantic Realism]; 1221 'Wren, Christopher (1632-1723): architect & scientist [cf. Classic Baroque]'; 1223 'Wright, Frank Lloyd (1869-1959): most influential architect of [modernism]'.
PARDO, V.F. (1971 [1966]). Le Corbusier: the life and work of the artist illustrated with eighty colour plates [transl. fr. Italian by Sanders, P]. London: Thames & Hudson, pp.7: reconciliation of 'apparent contradiction betw. communal organisation of housing unit type & psychological, plastic architecture [to be found in] formal, aesthetic values'; 10 'esprit de géométrie'; 21: dynamic values of functional space, aesthetic import of the agora.
PEARCE, B. (1995). Brett Whiteley: art and life. Art Gallery of New South Wales, Sydney, p.34-b 'he drew from the old alchemical interest in changing base metals to gold, a metaphor for painting as a vehicle by which life could become transmuted into art' [cf. Post-Modernism].
PENROSE, R. (1971 [1958]). Picasso: his life and work. London: Penguin Books, pp.2 'the tragic should be balanced by the comic, an equilibrium established: it [thus] becomes possible to indulge more profoundly in both extremes' [cf. 'perfect harmony']; 193 'poses the question what is beautiful, studies an object as a surgeon dissects a corpse, [insists] on the pursuit of beauty'; 484 'in his works there is a freedom, a virtuosity which is dazzling in its invention but which may disappoint the critic who is looking for subjects of political significance'; 484-d [paraphrased:] 'Picasso has always had at heart the desire to enlarge sensibility of colour, form, image or symbol' [cf. Neo-Classicism].
PICASSO, P. (1968 [1945]). On Guernica : conversation rec. by Seckler, J. In: Chipp, H.B. (ed.), Theories of modern art: a source book by artists & critics. Berkeley, Los Angeles: University of California Press, p.487 'my art is not symbolic; only the Guernica mural is symbolic: [it] is allegoric. The mural is for the definite expression & solution of a problem, that is why I used symbolism' [cf. Neo-Classicism, Sense No.3 'modern formalism'].
SPLATT, W. & BURTON, B. (1977 [1973]). One hundred masterpieces of Australian painting. Adelaide: Rigby, pp. 8, 10 'Conrad Martens'; 25 'von Guérard'; 28, 30 'Buvelot'; 20, 26 'Chevalier'; 34-41, 66-76, 92 'Tom Roberts'; 52, 62, 70-73, 90, 134 'Arthur Streeton'; 108, 122 'Rupert Bunny'; 132 'Norman Lindsay'; 142-4, 176-8 'Dobell'; 170 'Lloyd Rees'; 150, 160-2, 194 'Drysdale'; 164, 172 'Arthur Boyd'; 152 'Wakelin'; 204 'Fred Williams'; 174 'Fairweather, I.'; 182 'Brack, J.'; 200 'J. Smart'.
TOLKIEN, J.R.R. (1964). On fairy stories. Tree and leaf. London: Allen & Unwin, pp.43 'fantasy' embraces 'both the sub-creative Art in itself, and [2] a quality of strangeness & wonder in the expression derived from the Image'; 44 'fantasy a virtue not a vice, not a lower but a higher form of Art, indeed the most nearly pure form, and so the most potent'; 48 'to the elvish craft, Enchantment, Fantasy aspires, & when it is successful of all forms of human art most nearly approaches'; 50ff. 'recovery, escape & consolation' [proper objects of Art, cf. Oxford Neo-Romantics].
VAZQUEZ, S. (1973 [1965]). Art and society: essays
in Marxist aesthetics [orig. 'Las ideas estéticas de Marx:
ensayos de estética marxista' translated fr. Spanish by Riofrancos,
M). London: Merlin Press, pp.34 'a truly realist & socialist
art'; 35 'sectarian & dogmatic position is indefensible, for it narrows
the sphere of art, ignoring its specific nature in order to apply exclusively
ideological criteria to it'; 35c 'applying exclusively ideological or political
criteria to works of art denies their artistic character' [categorises
art as having no intrinsic human value except as propaganda]; 43 'if creation
is the substance of art, then we cannot exclude any particular artistic
tendency: realism therefore has no monopoly on creation'; 262 'the dilemma
between true art (minority art) & inauthentic art (majority or mass
art) [only exists] in an alienating society'; 270 'popular art transcends
narrow affiliations [yet] has its roots in the popular soil'; 273 'the
most indigenous, yet the most universal expression'; 274 'there is also
art which aspires to be beauty; though insufficient, it can realise certain
values'; 274 '[optimally, society needs] art imbued with the popular essence'.
Title: Archetypes in the arts
Sub-title: A synoptic historical
survey of western artistic movements from the 12th century to the present
day across all artforms by cluster analysis of their archetypal exponents.
Author: NEWMAN,
Campbell Alexander
Posting Date: October 1986
St.John's Catholic Secondary College
Art Department
Co-ordinator: AKSIONOV, Brenda
A.
Class Notes / Unit 1: Introduction
to Aesthetics & Western Art Studies
1. Fine Arts 2. History of Art 3. Art Education / Practicum