Art expression experiments inpainting related to ceramic sculpture

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Authors Freedman, Ben Frank, 1920-

Publisher The University of Arizona.

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ART EXPRESSIDM EXPERIMENTS IN PAINTING

RELATED TO CERAMIC SCULPTURE

by

lea Fo Freedman

A Thesis Submitted to the Faealty of the

■' . DEPARTMENT . OF ,Alf

In Partial'Fulfillment of the Reqairememts . For the Degree of

MASTER OF ARTS

In the Graduate College •

UNIVERSITY OF ARIZONA :

1957

i vt-v.T

fH3

•V.f

STATEMENT BY AUTHOR

This thesis has been submitted in partial fulfillment ofrequirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

SIGNED:

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below:

•DateAndreas S. Andersen, Head Department of Art

iDate

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' . " 'lo IMTBOBUGTIOM / ... . • ,.. . X ' ■■ ' ’■ ' • This. e.asay-g as the explanatory and descriptive segment of ' ,

’ the total thesis for th®. Master of . Arts degree in Art, is intended vV.'

primarily as an aid to understandingthe .paintings and terra cotta

sculptures that have Been pfddiiced for the fulfilment of the de- ■

gree requirements. As an ’’aid” to understandings I shall attempt

to make it more than a recipe for procedural methods.

; ;vv ■' : The problem, essentially, was the production of original .

V'. paintings'and ceramic sculptures. The validity of a painter '

projecting his abilities into the realm of a three, dimensional .

plastic medium, such as clay, was to be determined. This essay

discusses the compatibility of the two mediums. ‘ ' ;

i It is my intention to elaborate and.ponder two extremely'

: important problems that have arisen through the execution of the

works presented in this thesis. These; are; (1) Gan a painter

project his.' abilities into sculpture, and if so what, if any, is -.

. the essential relationship of sculpture to painting? and (2) Is ,•

the use of subject matter valid in cbnfempofary modern painting, !

especially.now that the trend in modern painting has moved so ;

decisively in favor of thenon-dbjectiveg or the style of the

Patch" as Andre Malraux describes its . .

V ' % : "Symptomatic ■ of what is happening is 'something of which■ ■ we ''.see ho trace. • in-:>'older ■painting ahd: wh i eh, ..for. want of a . V; • better name, we m a y call the ',pateho " A patch that is 'ty,..

1

neither worked into the structure of the picture nor into" its'composition in the traditional meaning of that term; nor is it a stress laid on any detail of execution or 9 as: in Japan$, on some detail of portrayal« ^t now seems to exist capriciously', in its own right," - ' '

1 , .Psychology', of Art<, (The . Bollingen ,Series X X W 9 ).Sew. orkp Pantheon''looks 9 . 1950, (3 Vols, ) -¥ol , . Ill , The" Twilight ■of the Absolute o p, 75;o . . ■ .

" IIo PAINTEBS A 8 SGmPTGBS

In the history of Western art 9 the idea of painters pro­

ducing sculpture is certainly not'new or unique» Pollaiuolo and

Michelangelo were beth great sculptors and great painters 0 Mi eh-

elaagelo was certainly,a rare genius in that he could do both

with exceptional energy and masterful resultso Modern painters

such as Daumier 9 Degas 9 Eenoir 9 and later Matisse 9, Miro 9 Modig«

liani 9 Picasso 9; and - Kokos ehka 9 ; have- projected their artistic

abilities into three dimensional sculpture 9 some with more pro­

found-" results than others * ,Pi casso 8 b production of sculptures "

has strongly affected contemporary sculptureo

We, know, that 'Tintoretto9 Veronese 9 Tiepolo 9 and other

painters made clay 81 sketches" for the purpose of compositional

arrangemente Daumier is known to have returned to his studio

from the Courts and Parliamentary sessions of Paris 9 and to have

made clay busts and figure sketches (caricatures) of his observa­

tions o He made drawings from these■ sculptureso •These sculptures

were not exhibited until 18789 a few months before his deatho

They were a continuous source of power and inspiration to himo ^

It is generally the case that a painter who sculptures

finds a dynamic relationship with drawing that can.be projected

into clay 9 stone 9 or metals 0 There is certainly a relationship

2c , Maurice Gobinq Daumier Sculpteur 9 1808-18780 Geneva Pierre C&iller 9 1952o pp 0 ;17f o

4between the - painted wBketeb 90 and the eeulptured gosketch 0 As , •

Malraux says of the painted sketch:

"Strictly speakings the sketch is an early state of a work of art 9 lacking; the. • accents, of f inai touches o Many painters 9 as widely differing as Horace Vernet and Hojas^ean • (fhe - Bonanier) 9 made no preliminary ‘ sketches 5, but painted straight aheado. For most artists the sketch serves as a lay-omto’ Bmt there’ is .a type of sketch in' which the painter 9

oblivions of the spectator and indifferent to the corres­pondence of his picture with the evidence of our senses 9 reduces .a real or imagined scene to its purely pictorial content; . an aggregate of patches 9 colour 9 movemento.

-"There ,is often a'failure to distinguish between the two kinds of sketch: The working sketch (or study) 9 and thesketch which records t h e .artist0s direct^ "raw" Impression - just as there is s.ome confusion "between the Japanese sketch

, and. the great synthetic wash-drawings of the Far Eastj be­tween the preparatory sketches of De-gas" or Toulouse-Lautrec and the draughtmanship of some of their engravings 9 which appear to have been dashed off quite 'casually<> The true rough sketch i s a me mo r andum; the -eipressive;sketch^ an end "ih: itself9- and being an end ig itself 9 it differs essentially, from the completed picture0”

• ; Daumier worked mostly with the "raw" sketch9 which he

used as a sort of memorahdum for the production of drawings0

Whether the modern painter9 in sculpture9 works with the "ex­

pressive 01 sketch or with the "raw" sketeh9 a three dimensional

medium offers a rich challange to the painter who wishes to

realize, his ideas in .a medium other than, painting and drawingo

It would not be justifiable to make any regulations or

predictions as to whether an artist should or should not work

in a three dimensional medixmo Malraux has written about

Cezanne9 "with his [Cezanne s] discovery of . a synthesis of Gothic

3 o Opc cito o Volo "Id Museum Without Wallso p 0 63o

5'planes and Doric art 9 he foreshadowed twentieth-eentnry archie

fectp.reo:o oThough he invented a style which qombined architect

tare, paiHtiBg and sca.lpture $> Cezanne was .neTer a seialptor« "

Malraux states fnrttier that “ no plastie 'expressieii is foreign t©

the lainguage on which it art is based. " - . ' Certainly it has

been the case that seiilphnre has offered a new freedom to. the

artist who has 1 explnred- his ideas in sculptnre.

Modern painters snch as Picasso 9 Mirog and lately Cha,=

ga.ll; have - eyem, extended their' search •- f or new .plastic .expression. ‘

into the realm of ceramics. There seems to be a tendency for

. .the contemporary painter to .search for new mediums of expression

'other than painting and the decorative,arts. Malraux states that

. in the case of Picasso and Mire 9 art has "pointed the way to

ceramicsindeed it;seems to spring from a wish for some pietor-■ ■: ' ' " ' " . , ' g - . ■ .. . 'tai outlet-other than, the picture. " ■ • He further stafes that.;

"Here there is no question of decorative art'; it is a far cry from these earthenware objects to what some gay vase painted by Renoir might have been 9 or to the tapestry designs made .by Poussin 9 or ■ t© Goya in his first ■ phase. ."You can eat off them;" Picasso says, pointing to his.plates 9 khowing quite well that most are made for preventingpeople's eating off them. This'accidental 9 tempestuousj dazzling art of his brings to mind those darkly glowing patches, on some kinds of Persian^crockery; above all when it has come to us In fragments." . \:

t. Ibid . 2 I; 140. 5. Ibid.* Ill; 93=

Ibid. 9 ill; 75. 7. Ibid.

This type of artistic projection, as. Malraux has explained, is a

most nnique kind of expression,, . Since it is in'a Class of its. .

'own, these ceramic "patches-” can be mere readily classified as

@bjets d"arto

It has been i 1.1mstrated that there is a plastic relation”

ship between drawing and scmlptmre o- Another important relation­

ship between painting, which is two-dimensional, and'sculpture,

which is three-dimensional, is the use of color* From the Greeks

to the ceramic "'patchM of . Picasso, color has been used in both

ceramics and sculpture.® •

How shocking it must.have been to the artistic authori­

ties of the 19th centmry, who favored monochromatic sculpture,

that excavators in 1885 - 1889 discovered, at the Acropolis, the

debris of broken statues that had been highly colored. These

colored soulptures had been utilized as part of the foundation

for new buildings; the old buildings and their statues having .

been destroyed during .a-. Persian invasion of about 480 Bo Co In

describing some of the heads of these newly found sculptures,

Ha Bo Walters states l • : ,-:-

”The latter the giant Typhon has three heads, all of which.are well preserved, but present to us a somewhat

, grotesque.appearance'with their bright red fgees, bright' blue beards, and half-humorous expression,"

These were works in marble which were highly colored. In another

description, .Walters.states that these finds,were

So The Art of the - Greeks.Hew:'$"ork,;,1906d'. "pp, 80f,

7-wgaudily.-and. crudely colored* without even an'attempt at

reproducing nature* hair and beards and the skins, of animals being colored a bright bine 9^while green and Tarleus shades' of red were also empleyedo 09

The authorities were puzzled by this phenomenon of gaudy*

color* They reasoned that perhaps its' purpose was to soften the

effect of white marble against the brilliance of the sun*' What­

ever the functional reason for it * the important: thing is that

color.was used by the Greeks* and in a most expressive- way* The

visual impact of colored sculpture.used on the buildings of the

Acropolis must have been extremely sensuous*

Although the Benaissance sculptors did not use color*

except in the case "of the Bella Robbias * history has pointed- out

that - color: was used ip.-Greek and Gothic sculpture 9 and, later in

-.Rococo" art* Whether; color is used sublimely or for theatrical

reasons * it is. valid as a further accent of ‘expression* Professor

iyikolaus Pevsner has this to say about color and sculpturei

"In f act * I always have a suspi cion that those who insist so much' oh the superiority of art of the‘Middle Ages over " that o f .the Baroque * forget that -medieval sculpture was as fully painted as much in the-Recoco exhibition* and certainly not more sparing of silver and gold* The colours * of course * differ* The Middle Ages*.with their younger* mere naive senses, and minds * liked blue and red and green* where the Rococo prefers white and heliotrope and a pale silvery greenv It was a - curious experience in the Exhibition to see * side ' by side* coloured and uneoloured sculpture * We are so used to appreciating sculpture in the monochrome that we are in­clined to call,without hesitation all coloured sculpture

9* Ibid** 63*

8. vmlgar and sensationai =. Yet here the absence ef colour eer^ tainly made the lime•‘•XYOod look naked.« I'hat was all the more ' remarkable s because the coloured figures were deprived of the ir natural settings and ought9 ©se would thinm, .to have suffered irom thatow •

As a painterg I would advocate the use of color in modern

seulpture« Its potentialities , as a means ox expression for the

sculptor are as rien in the present as.they _have been in the past 0

It was ox ten the practice during the Bocoeo period in

Bavaria to hire a .painter . t.h "finish." a work of sculpture. I'nat .

it. was common for painters and: sculptors to cooperate on ■commis­

sions is also, a known facto . . Little has been done in modern

sculpi/ure to develop the use of color beyond monochromatic tones» •

Col dr ji rather than glaze 9 was used exclusively on the •

f our'terra cotta sculptures that I have submitted f or 'this .thesis«

After each piece was - bisque :fired, heavy tfansparent .varnish was -

used in order to'seal the surface so that color could be retained„■

Oil colors were then applied to the sealed surface« During the

painting of some of the pieces $, the ■color was thinned, or wiped,:

fro# the surface in order' to allow parts of the original terra '■

cotta finish to come to the surface» - This was done in, order- to

avoid ' the. solidness of a " completely painted surf ace»" The. pieces

were' waxed hfher the paint was dry« . The wax was; applied to pro— - -

10 o .Bo coco Art From Bavarian London a Lund Eumphrxe-s 9 1956o 3rd page ’after. Introduetion<> ' '

% ' Ilf Ibid.« jJotes to pi. 118'» '

: ■ ■ ' . . ;.: :V ■ :vide a 'protective coating over the painted surface o -

. ' ffae Proplret Isaiah is a full figure in terra cotta, twelve-

■ and. a half inches high and seven and a half inches wide„ The

f irst, layer of eeler painted on the figure was- a-light ultras - , -

marine blue ■mixed with a large amount of white, At first the co-i-or'

was applied thinly and. in even c o a t s T h e secondhand third coats-.

were ■somewhat thickero ' Before- the final coat dried, some of

the paint was taken off the surface in order to enhance the

finish, and to add interest to the textured surfaceo In areas

where the paint has been remev-ed, the original terra cotta sur-

face, with its dark redvorange color, is exposedo ; If, however,

.some of the blue color is retained, forming a.thin coat over

the red-erange surface, the result'is a red-violet tint. The

tint is caused by the thin light blue color or glaze placed . -

over the .surfaceo With this- process of glazing, which is■similar %

- to glazing in painting, "■ it is possible to achieve a, variety .of - ■.-

rich color relationships. with which to-decorate the sculptures,

Related in color to The Prophet Isaiah is the largest

figure 9 The?Cat» It is- twenty inches long and seventeen inches'

high, the largest of the four pieces, The coil method of

building a clay, cylinder was used, in .construetiag The Gat as

.well as the other pieces, The coils were built as prefabricated. .

parts' foj^an^n±mai|'„eaehi-.cylinder being - a potential part - of the

body o' The coils were s e t u p in advance and" allowed to dry to

' firmness over night, in; order that they would have structural

The Prophet Isaiah

%

V , . ' ' 1 2 ' •

. vfliere' is a; teximrai diff erence . beiween The €at .and fl#

Pr©pke-t.■ Isaiab 0 ' the f ipst feeing partially ' textured :sfe£l6 >>the >li/tter;'

i s completely covered with texture * Both/s culptures were painted

at the same: time^ The highly textured. areas of the sculptures

presented a different problem because it was important to retain ■

the surface rather than to cover it with thick coats of painto

It/ was possible to use paint more thickly with the smoother areas o

The form of the sculpture suggests what kind of color

can be usedo The color used can give great richness to the form

and to the personality of the individual piece of sculpture«

Painting a canvas is intrinsically different from painting sculp=

ture in that the painter builds 9 composes 9 and creates the entire

painting with color and drawing» Painting the surface of sculp­

ture can only accentuate 9 or add to what has already feeen doneo

The color of the Punchinello was handled in what is a

descriptive attempt at theatrical realismo Punchinello is a

elown 9 perhaps even a Baroque one 0 His hat 9 collar'and features

have •been painted with an excitement that accentuate.s. his, elawn.^

ishnesso Per- a -aimilarr reason.The Prophet Isaiah was painted - -

with less exciting color in order to strengthen his solidity^ . ' v.

The small plaque of the Head of Saint John is the sketch-

iest 9 or the least complete of. the four pieces» It was built as

an idea for a projected head in the roundo The hair and beard

. are highly texturedo The color is somewhat dark compared to the

other three, pieces®

" : If these seulptures were not painted? they Would still

he valid and tnteresting as elay forms« The colorg however % adds

excitemento Sculpture is the essence ..of three-dimensi.onal forme

Sculptural form with color added is an .exciting further step<,

fhe serenity of the solid form is re-emphasized with the. use of

.color,.' ' -

. 'Ill* COMTEMP0BABY F A I N T i m AMD SUBJEGT m T T B R

I have painted an oil painting en a eanvas ferty^eight

. inehes by sixty inches % entitled Mtochner Bd.ergarten 1957 c

This painting was executed in a contempcrary manner 0 I have

attempted to maintain the movement of planes and the semsnens—

ness of color that are the basic •■principles of the non-objective

school^ but not without some regard £©r the subject matter<? ;

The organization, of the canvas was set:up by the strong; ■

diagonal of ’the tree in the left plane 9 which is counterbalanced

by the downward- diagonal.movement of the, upper,light yellow planeo

The right plane coumterbalances the movement of the left plane9-

- thus setting up tens ions o' The color builds the planes and eon-

sequentiy defines the structure of the paintingo _ ' •.

There has been a.definite attempt to keep the painting

-"flatly without depthg although the rich us6 of color sets up

vibrations : and movements in the space of the •. painting» No black

color has been used -in this painting, since I regard black as

the absence of color; and. also since it has a' tendency 'to cut

deeply into the color valuesf thus producing holes 9 ©r voids 9

in the surface <> ■ , ' '

. The; f igures; which are so numerous in the painting appear;

in the original sketch as cartoons or 'caricatures of -seated- apd

standing figures present within the framework of the canvaso

Mtlnchner Biergarten, 1957 (Stage 1)

Mflnchner Biergarten, 1957 (Stage 2)

Diiriag the first stages o-f the paiBting 9 1 made n© attempt t@

.’’indiTidaalize08 these’ |;igure§ ©r to consider them as anything

other than parts of the;'destgB-o fh-e-y w-ere treated as shapes and

forms which made np the total design of the paintingo .-As the

painting developed and an attempt was made to decide on a defi­

nite plan of action^ more attention was directed to the figureso

.In order to develop the color so that "is would have maximum ex- •

citement 9 numerous colors were painted in a "broken manner over

the surface, of the canvaso The colors with which the large and

-small shapes .within, the painting are defined were chosen over a

period of .time by a trial and. error method@ Throughout its

development 9 the entire picture was painted and repainted several

tixaeso The enclosed color transparencies illustrate three stages

of this developmemto

- a The subject matter for the picture was chosen f rom ideas •

that I had arrived at during my. studies in Germany in 1953 - 195.4o .

The initial sketch was, made from small pencil drawings and from

what 1 remembered about the scene.Q The design of the painting.

was" also inspired by, the painting • .-Mtoehner Bier gar ten o 1884 Q12 ’■ • "■ '-by. l$ax ':Liebermann.o'. ; ■ The palette .and color key for the paint­

ing were determined by the vivid light and color that exists here ,

in the State of Arizonao

.The. subject matter has not been used in a literal mannero

It has served only as a means toward assisting the development and

12o Collection of Countess Julie Vo Are©9 Berlino Bepr©-. dueed.in Erieh Han"eke91 Max Liebermann^ Seim Lebem umd seine WerkeQ - Berlin^ 1923, p.o"189s - ^ ’ " : ’ ' ' . '

direction: of tke eoiap-ositiono As iancb wf reedomw of expression

k&s. been. tbroBghonit the. production of this painting

as . it would "be possible to maintain in the production of a non-

objective paintingo Essentially^ the painting has been built

with coloro

- The preliminary - sketch bears, only a general resemblance

to the design of the large painting<> fhe sketch served, one purpose

in the production of the■large picture:* as a source of energy and

ihspirationo Beference .was made to it throughout the production

of the larger painting„ As has been described previously^ this

is a "raw" sketch? used to refire interest while working ©n the

la-rger • painting 6

It seems that sources of inspiration in the world are

as infinite and plentiful, as everQ From the master painters of

the past to the present "world of appearance " 9 there is much to

learn and. much to see 0 f-o- concern oneself with non-objective

painting is to be come a mystogogue % "leading his audience as far .

as it can follow along the dark and difficult paths of his they , . ■ .. .artist°s own mindo" It is my opinion that to adhere strongly

to n©n>==»©bjactive painting is an indication, that the painter has

little conviction' about the world he lives in 9 although possess*

ing convictions about the craft ©f painting*

13* Murray Krieger and Bliseo Vivas;9 The Problems of Aesthetics g New York 9 Rinehart and 9 ‘IS53* -

v .' ■'. m . cqnclusiom ;r; ..1 ■■■'. V ;:.;. -

'''.TJie,.es/sentiial .'g'tO'blews-.’Of... t.kis essay have not been solved

. in the, thesis, nor have they been solved in history. It is not

possible to make decisive statements about the real relationships

. between painting and sculpture as compatible means of expressione

; It would take much more time than one year and considerably more

. ' • experimentation to further examine, the problems „ ^ '

/ ' V' An attempt at the solution, of 'these problems has resulted ;

.. yin.,, the' release Of creative engrgy ; resulting in the production pf

• the paintings, and sculptures presented with this thesis,

The following quotation is a paragraph from Andre Malraux :

. 'describing the optimisti c and expressive nature o£.. att*'V : vyyyt

" , y ' "■«,,Whereas Greek culfure. sponsored man' s right. to. stand ■■v;, ■.; :y,;. " : - 'lap toh'is gods, and 'arraign/tkey uni verse, other cultures, no ;: : . less , whole-heartedlyg brought man. to judgment s, ' inveking. the: '::v;y

■■ ; ' y' y ' , authority, of the eternal,. or, more simply, al 1 that is other • y-- v;,- « .than he /. . Neither , death * s certainty nor the dark lures v,..1.

■ : yy,.::.y.;; the - underworld,. nor the menaces of the f ate -fraught stars y.;f yr yhave, in all times prevailed against that- soaring hope which

y: has enabled hmnan aspirationg winged with love ,, to cohfront ; y-'v.-.t,- .;:. ; • . . . the • throbbing 'vas tne s s of tthe i nebulae with the puhy •■yet. in-.-' ■ ;. ; .■ vv,'i1 ;vy- ; . '.ydomitable f orms • of Galilean f ishermen or shepherds of Arcadia, -

Strange.:.indeed is that choice which the past seems to demand .y:'' y yyy-yyyryy yy-.;_y:' of us uhere and.-.mow..-. a choice whose making inoother ages called . ;* forveenturiesx of . groping in the dark. On the one hand arey:yt.y.yyy ';■: -.Vy:'t h e i f o r ; o£ -.alith'at pertains essentially to the human, f rom :y/'y:

, ,the beauty of women to the fellowship of men, from Titian's . :' yyy" IZerms- to his PietS,, On the other hand are all those f or ms :,,'y ' y.. .. '.-y. ■ :.v p,ertaining,.to ■ theyybutside world, or man himself , which crush : .

y::. ...j, or baff le him, froia Sphinx to f etish. The open hand of him \.y y> y : y■ y ■ ■: y y 'yywho- kneels i n gratitude 9 and the arms clamped tightly to the y" . .■ .y;-’:''::, ''' . . . body of the oriental j -prostrate in obeisance h o w many y y - . "y . -y y y y

•' gestures , varying with the ages,. are those of man communing . : ■-. W y ' t ' f ;yy;yh;;''#ith.' the sacrosanct!1 ' •- : y'---.‘t yyv:;:.d-yt;' . yyyyyyyy.; . y ,. . yyyyy-y.:"':

14, On, citi, yl|iy,y 122f .':

20

\ v, v i m -. , %

My first-formal training in art was at Lomisiana State •.

yni.Tersity 9 Baton Rouge 9 Louis ianao Buring my three years of

study, at .this school• (1947-1950)9 I studied" design with Caroline

Burie 11X 9 sculpture with Arain JL Seheler 9 and painting with Ralph

Lo Wickiser -9 Karl Forte as 9 Ralston Crawford and Louis Guglielmio

Buring, this period, of time the University Art Department was

fortunate in having the following painters as guest lecturers

and instructors t Zasuo Kuniyoshi 9 Edward Mi liman 9 Arnold Blanch 9

Paul Burlin 9 and Boris Lee o

In February 1951 9 .1 entered the Art School at Washington

University 9 Sio Louis 9 Missourio Buring my first year at- Wash-

' ington University.^. I . studied - with the painter Carl Heltjo It

was from Mro Holty that I. received most of those ideas upon which

,I have based my present convictions as a paintero ■ During my

second year at this art school I also studied painting "with Walter

W o Barker P. Edward Mi liman 9 and Paul Burl in<, -

In June of 1953 9 ' I graduated from Washington University

Tilth a Bachelor of Fine Arts Degree o 1 was awarded a Fulbright

Grant to study painting for one year at the graduate level at the

Hgchschule der Rildenden Kdnste in Munieh 9 West Sermanyo . During,

say,travels in Germany 9 I was fortunate to meet and be influenced

by Willi Baumeister in Stuttgart and Emil Molde in Berlin»

: ; ; v ' ' % ' • . v ■ ' '

GofoiB'g Matirice« Daumier SculpteBK 1808-1879» Geneva,: Pierre Caillers, J.952o

Han eke, Erichs, Max LiebermaaBo Sein Leben tind seiae Werke,' V Berlins, ..1923» ; V"

krieger j, Mur ran aad ,¥if as'? Elisee 0 fhe Problems of Aesthetics 0 New York 9 Binehart and Goo 9 195'3<, . .

Malranxg Andre<, Psychology of Art, Vol» I and Yoio III«'New York 9 Pantheon Books s 1950»

Pevsnera Nikolaus„ Bococo Art From Bavarian London 3 Lund- - - V - - Humphries 9 - 1956 o :-

Walters 9 H« B . , The Art of the Greeks, Mew Yorks 1906«