Leonardo

Private Foundations and Business Corporations Active in Arts/Humanities/Education. Vol 2 byDaniel MillsapsLeonardo, Vol. 9, No. 4 (Autumn, 1976), pp. 345-346Published by: The MIT PressStable URL: http://www.jstor.org/stable/1573403 .

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Christopher Cornford, Charles Gosford and Francis Routh. Two of them have held advisory posts with the Arts Council of Great Britain. Their joint purpose here is to criticize the Council's policy and practice since its inception in 1946, though Cornford feels obliged to make some personal reservations in an addendum.

It is possible to accept most of the individual arguments in this intelligently-written and well-researched report without always sharing the writers' attitude to art and its function in society. They unanimously believe that, if the huge sum awarded to Covent Garden were re-directed for one year to 'living art', the cultural life of Britain 'would flower into a new Renaissance in a few years'; that at present 'the creative artists are being starved out of existence'; that the giving away of small units of ?100-?500 apiece is 'useless for the creation of new art'; and that, as of 1973, 'the creative strength of this nation has been virtually wiped out'. They attribute this to '27 years of state patronage' from which it will take '50 years' to recover.

Despite this sombre pronouncement, they maintain that 'the last 15 years has witnessed what must be the greatest flowing [sic] of poetry in the history of the English language'. I am prompted to ask-by quantity (there are apparently 1000 poets writing today) or quality? And surely this Renaissance is not greater than that of the later Elizabethan and early Jacobean age? Well, if the recent flowering of genius has taken place without help from state patronage, or unhindered by it, British art is evidently not so sluggish after all; and, if the 'great wave of poetry writing' is now 'probably over', this is the fate of such waves and cannot be attributed to the passivity of the Arts Council-unless the authors believe that Renaissances are capable of indefinite prolonga- tion by public subsidy. If many poets have 'sunk into anony- mity and silence', perhaps this is because they have at the moment nothing to say. Would money make them talk ? It is doubtful.

Nevertheless, the constructive proposals put forward in Part 3 of the report, including (1) the setting up of an 'opposition Arts Council' or 'Council of Artists', which should hold public sessions to which any aspirant could appeal for help or guidance, (2) the organizing of comprehen- sive art shows where any artist able to afford a small fee could rent space for his works and (3) the publication of a giant national poetry anthology in which every poet would be allocated 6-10 pages (the idea being to avoid pre-selection by experts in each case), ought to be looked at and may be worth the attention of practitioners of the arts abroad as well as in Britain. (Have the authors of the report heard of the Salon des Independants in France, by the way ?) Mean- while, the instances of ham-handedness, not merely by the Arts Council but by other public bodies, are such as one must expect from time to time from hard-pressed bureau- crats and administrators and a polemic of this kind, conduc- ted without abuse or rancour, may serve to keep the author- ities on their toes. It is important to indicate that since the authors put pen to paper, the Arts Council has had its own internal changes, and its claim to additional funds amounting to even twice those it has at present is unlikely to be met. Finally, the question to be asked is what would have been the artistic life of Britain without the Arts Council. A desert without oases, perhaps?

Private Foundations and Business Corporations Active in Arts/Humanities/Education. Vol 2. Daniel Millsaps et al., eds. Washington International Arts Letter, Washington, 1974. 264 pp. $45.00.

This volume from The Arts Patronage Series is a reference on grants offered by foundations and corporations in the

Christopher Cornford, Charles Gosford and Francis Routh. Two of them have held advisory posts with the Arts Council of Great Britain. Their joint purpose here is to criticize the Council's policy and practice since its inception in 1946, though Cornford feels obliged to make some personal reservations in an addendum.

It is possible to accept most of the individual arguments in this intelligently-written and well-researched report without always sharing the writers' attitude to art and its function in society. They unanimously believe that, if the huge sum awarded to Covent Garden were re-directed for one year to 'living art', the cultural life of Britain 'would flower into a new Renaissance in a few years'; that at present 'the creative artists are being starved out of existence'; that the giving away of small units of ?100-?500 apiece is 'useless for the creation of new art'; and that, as of 1973, 'the creative strength of this nation has been virtually wiped out'. They attribute this to '27 years of state patronage' from which it will take '50 years' to recover.

Despite this sombre pronouncement, they maintain that 'the last 15 years has witnessed what must be the greatest flowing [sic] of poetry in the history of the English language'. I am prompted to ask-by quantity (there are apparently 1000 poets writing today) or quality? And surely this Renaissance is not greater than that of the later Elizabethan and early Jacobean age? Well, if the recent flowering of genius has taken place without help from state patronage, or unhindered by it, British art is evidently not so sluggish after all; and, if the 'great wave of poetry writing' is now 'probably over', this is the fate of such waves and cannot be attributed to the passivity of the Arts Council-unless the authors believe that Renaissances are capable of indefinite prolonga- tion by public subsidy. If many poets have 'sunk into anony- mity and silence', perhaps this is because they have at the moment nothing to say. Would money make them talk ? It is doubtful.

Nevertheless, the constructive proposals put forward in Part 3 of the report, including (1) the setting up of an 'opposition Arts Council' or 'Council of Artists', which should hold public sessions to which any aspirant could appeal for help or guidance, (2) the organizing of comprehen- sive art shows where any artist able to afford a small fee could rent space for his works and (3) the publication of a giant national poetry anthology in which every poet would be allocated 6-10 pages (the idea being to avoid pre-selection by experts in each case), ought to be looked at and may be worth the attention of practitioners of the arts abroad as well as in Britain. (Have the authors of the report heard of the Salon des Independants in France, by the way ?) Mean- while, the instances of ham-handedness, not merely by the Arts Council but by other public bodies, are such as one must expect from time to time from hard-pressed bureau- crats and administrators and a polemic of this kind, conduc- ted without abuse or rancour, may serve to keep the author- ities on their toes. It is important to indicate that since the authors put pen to paper, the Arts Council has had its own internal changes, and its claim to additional funds amounting to even twice those it has at present is unlikely to be met. Finally, the question to be asked is what would have been the artistic life of Britain without the Arts Council. A desert without oases, perhaps?

Private Foundations and Business Corporations Active in Arts/Humanities/Education. Vol 2. Daniel Millsaps et al., eds. Washington International Arts Letter, Washington, 1974. 264 pp. $45.00.

This volume from The Arts Patronage Series is a reference on grants offered by foundations and corporations in the

Christopher Cornford, Charles Gosford and Francis Routh. Two of them have held advisory posts with the Arts Council of Great Britain. Their joint purpose here is to criticize the Council's policy and practice since its inception in 1946, though Cornford feels obliged to make some personal reservations in an addendum.

It is possible to accept most of the individual arguments in this intelligently-written and well-researched report without always sharing the writers' attitude to art and its function in society. They unanimously believe that, if the huge sum awarded to Covent Garden were re-directed for one year to 'living art', the cultural life of Britain 'would flower into a new Renaissance in a few years'; that at present 'the creative artists are being starved out of existence'; that the giving away of small units of ?100-?500 apiece is 'useless for the creation of new art'; and that, as of 1973, 'the creative strength of this nation has been virtually wiped out'. They attribute this to '27 years of state patronage' from which it will take '50 years' to recover.

Despite this sombre pronouncement, they maintain that 'the last 15 years has witnessed what must be the greatest flowing [sic] of poetry in the history of the English language'. I am prompted to ask-by quantity (there are apparently 1000 poets writing today) or quality? And surely this Renaissance is not greater than that of the later Elizabethan and early Jacobean age? Well, if the recent flowering of genius has taken place without help from state patronage, or unhindered by it, British art is evidently not so sluggish after all; and, if the 'great wave of poetry writing' is now 'probably over', this is the fate of such waves and cannot be attributed to the passivity of the Arts Council-unless the authors believe that Renaissances are capable of indefinite prolonga- tion by public subsidy. If many poets have 'sunk into anony- mity and silence', perhaps this is because they have at the moment nothing to say. Would money make them talk ? It is doubtful.

Nevertheless, the constructive proposals put forward in Part 3 of the report, including (1) the setting up of an 'opposition Arts Council' or 'Council of Artists', which should hold public sessions to which any aspirant could appeal for help or guidance, (2) the organizing of comprehen- sive art shows where any artist able to afford a small fee could rent space for his works and (3) the publication of a giant national poetry anthology in which every poet would be allocated 6-10 pages (the idea being to avoid pre-selection by experts in each case), ought to be looked at and may be worth the attention of practitioners of the arts abroad as well as in Britain. (Have the authors of the report heard of the Salon des Independants in France, by the way ?) Mean- while, the instances of ham-handedness, not merely by the Arts Council but by other public bodies, are such as one must expect from time to time from hard-pressed bureau- crats and administrators and a polemic of this kind, conduc- ted without abuse or rancour, may serve to keep the author- ities on their toes. It is important to indicate that since the authors put pen to paper, the Arts Council has had its own internal changes, and its claim to additional funds amounting to even twice those it has at present is unlikely to be met. Finally, the question to be asked is what would have been the artistic life of Britain without the Arts Council. A desert without oases, perhaps?

Private Foundations and Business Corporations Active in Arts/Humanities/Education. Vol 2. Daniel Millsaps et al., eds. Washington International Arts Letter, Washington, 1974. 264 pp. $45.00.

This volume from The Arts Patronage Series is a reference on grants offered by foundations and corporations in the

Christopher Cornford, Charles Gosford and Francis Routh. Two of them have held advisory posts with the Arts Council of Great Britain. Their joint purpose here is to criticize the Council's policy and practice since its inception in 1946, though Cornford feels obliged to make some personal reservations in an addendum.

It is possible to accept most of the individual arguments in this intelligently-written and well-researched report without always sharing the writers' attitude to art and its function in society. They unanimously believe that, if the huge sum awarded to Covent Garden were re-directed for one year to 'living art', the cultural life of Britain 'would flower into a new Renaissance in a few years'; that at present 'the creative artists are being starved out of existence'; that the giving away of small units of ?100-?500 apiece is 'useless for the creation of new art'; and that, as of 1973, 'the creative strength of this nation has been virtually wiped out'. They attribute this to '27 years of state patronage' from which it will take '50 years' to recover.

Despite this sombre pronouncement, they maintain that 'the last 15 years has witnessed what must be the greatest flowing [sic] of poetry in the history of the English language'. I am prompted to ask-by quantity (there are apparently 1000 poets writing today) or quality? And surely this Renaissance is not greater than that of the later Elizabethan and early Jacobean age? Well, if the recent flowering of genius has taken place without help from state patronage, or unhindered by it, British art is evidently not so sluggish after all; and, if the 'great wave of poetry writing' is now 'probably over', this is the fate of such waves and cannot be attributed to the passivity of the Arts Council-unless the authors believe that Renaissances are capable of indefinite prolonga- tion by public subsidy. If many poets have 'sunk into anony- mity and silence', perhaps this is because they have at the moment nothing to say. Would money make them talk ? It is doubtful.

Nevertheless, the constructive proposals put forward in Part 3 of the report, including (1) the setting up of an 'opposition Arts Council' or 'Council of Artists', which should hold public sessions to which any aspirant could appeal for help or guidance, (2) the organizing of comprehen- sive art shows where any artist able to afford a small fee could rent space for his works and (3) the publication of a giant national poetry anthology in which every poet would be allocated 6-10 pages (the idea being to avoid pre-selection by experts in each case), ought to be looked at and may be worth the attention of practitioners of the arts abroad as well as in Britain. (Have the authors of the report heard of the Salon des Independants in France, by the way ?) Mean- while, the instances of ham-handedness, not merely by the Arts Council but by other public bodies, are such as one must expect from time to time from hard-pressed bureau- crats and administrators and a polemic of this kind, conduc- ted without abuse or rancour, may serve to keep the author- ities on their toes. It is important to indicate that since the authors put pen to paper, the Arts Council has had its own internal changes, and its claim to additional funds amounting to even twice those it has at present is unlikely to be met. Finally, the question to be asked is what would have been the artistic life of Britain without the Arts Council. A desert without oases, perhaps?

Private Foundations and Business Corporations Active in Arts/Humanities/Education. Vol 2. Daniel Millsaps et al., eds. Washington International Arts Letter, Washington, 1974. 264 pp. $45.00.

This volume from The Arts Patronage Series is a reference on grants offered by foundations and corporations in the

the world's filmmaking was attempted at all is remarkable. During the years intervening since the last text, the output of serious films and hence those that must be considered in a general history, has risen all over the world. The critic for the London Times is the author of this latest, prodigious book.

Besides a general history his book contains an appendix on the animated film; a filmography of 500 leading directors (many complete); a selected and careful, if necessarily limited, bibliography arranged by category; indices cross- referenced and arranged by film title, leading actors and directors, and country and genre. These appendices alone show something of the care that went into the preparation of the book; the text itself is remarkably comprehensive.

Robinson begins with the prehistory of cinema and carries his narrative virtually up to the present day. He deals with production from a cosmopolitan point of view but does center his attention on western Europe and, in particular, on the U.S.A. He attempts to capture the chronological growth of the movies and, also, to show something of the internal artistic and political forces at work in shaping that history. Considerable attention, including the publication of

sequences of shots, is concentrated on depicting the early schools of editing, though this kind of analysis must soon be discontinued, as the grammar of film has become so complex and diversified. Likewise, the rise of the different studios and the major personalities involved is chronicled, while the forces impelling contemporary production cannot be so clearly sketched. A single book, however replete, cannot hope to accomplish the exposition more properly contained in a film library: editing, criticism, acting, finance, technique and the mechanical advances of the art. That so much is lucidly arranged at a superficial level is credit to the command of history that Robinson possesses.

Usually precise, undogmatic and optimistic, World Cinema reads smoothly without becoming merely suave. (Occasionally Robinson will use a strange turn of phrase, for example, the sets for 'The Cabinet of Doctor Caligari' while apt, and terrifying, are not 'magnificent' (p. 93) as they were necessitated by a minute budget.)

The book immediately suggests itself as an introductory text, although many points rely on the sympathetic exper- ience of the movies. Without the space to describe many of the moments and effects he cites, Robinson's work would have to be accompanied by a rich program of viewing for novices to get much out of it.

Study Abroad: (1975-76), 1976-77). Unesco. Unesco Press, Paris, 1974. 523 pp. FF24,00. This book, a trilingual handbook (in English, French and Spanish), is addressed mainly to students and educational advisors (including those interested in the visual fine arts). It is divided into two main parts: one listing more generally accessible foreign study scholarships at university level (undergraduate, graduate and post-graduate) covering various forms of financial or material aid and the other listing courses, formal study programmes of 10 weeks (1 term) duration or longer (some carrying various forms of financial aid). In the entries on courses, reference is also made, whenever possible, to sources of information on relevant vacation language courses.

The scholarships and courses listed are offered by both international organizations and national institutions. In the case of the latter, information is often given on academic, language, financial and other requirements and on infor- mation facilities. At the end of the book there are indexes of international organizations, national institutions and subjects of study.

Patronage of the Creative Artist. Ian Bruce et al. Artists Now, London, 1974. 91 pp. Paper, ?1.00. Reviewed by E. W. F. Tomlin*

the world's filmmaking was attempted at all is remarkable. During the years intervening since the last text, the output of serious films and hence those that must be considered in a general history, has risen all over the world. The critic for the London Times is the author of this latest, prodigious book.

Besides a general history his book contains an appendix on the animated film; a filmography of 500 leading directors (many complete); a selected and careful, if necessarily limited, bibliography arranged by category; indices cross- referenced and arranged by film title, leading actors and directors, and country and genre. These appendices alone show something of the care that went into the preparation of the book; the text itself is remarkably comprehensive.

Robinson begins with the prehistory of cinema and carries his narrative virtually up to the present day. He deals with production from a cosmopolitan point of view but does center his attention on western Europe and, in particular, on the U.S.A. He attempts to capture the chronological growth of the movies and, also, to show something of the internal artistic and political forces at work in shaping that history. Considerable attention, including the publication of

sequences of shots, is concentrated on depicting the early schools of editing, though this kind of analysis must soon be discontinued, as the grammar of film has become so complex and diversified. Likewise, the rise of the different studios and the major personalities involved is chronicled, while the forces impelling contemporary production cannot be so clearly sketched. A single book, however replete, cannot hope to accomplish the exposition more properly contained in a film library: editing, criticism, acting, finance, technique and the mechanical advances of the art. That so much is lucidly arranged at a superficial level is credit to the command of history that Robinson possesses.

Usually precise, undogmatic and optimistic, World Cinema reads smoothly without becoming merely suave. (Occasionally Robinson will use a strange turn of phrase, for example, the sets for 'The Cabinet of Doctor Caligari' while apt, and terrifying, are not 'magnificent' (p. 93) as they were necessitated by a minute budget.)

The book immediately suggests itself as an introductory text, although many points rely on the sympathetic exper- ience of the movies. Without the space to describe many of the moments and effects he cites, Robinson's work would have to be accompanied by a rich program of viewing for novices to get much out of it.

Study Abroad: (1975-76), 1976-77). Unesco. Unesco Press, Paris, 1974. 523 pp. FF24,00. This book, a trilingual handbook (in English, French and Spanish), is addressed mainly to students and educational advisors (including those interested in the visual fine arts). It is divided into two main parts: one listing more generally accessible foreign study scholarships at university level (undergraduate, graduate and post-graduate) covering various forms of financial or material aid and the other listing courses, formal study programmes of 10 weeks (1 term) duration or longer (some carrying various forms of financial aid). In the entries on courses, reference is also made, whenever possible, to sources of information on relevant vacation language courses.

The scholarships and courses listed are offered by both international organizations and national institutions. In the case of the latter, information is often given on academic, language, financial and other requirements and on infor- mation facilities. At the end of the book there are indexes of international organizations, national institutions and subjects of study.

Patronage of the Creative Artist. Ian Bruce et al. Artists Now, London, 1974. 91 pp. Paper, ?1.00. Reviewed by E. W. F. Tomlin*

the world's filmmaking was attempted at all is remarkable. During the years intervening since the last text, the output of serious films and hence those that must be considered in a general history, has risen all over the world. The critic for the London Times is the author of this latest, prodigious book.

Besides a general history his book contains an appendix on the animated film; a filmography of 500 leading directors (many complete); a selected and careful, if necessarily limited, bibliography arranged by category; indices cross- referenced and arranged by film title, leading actors and directors, and country and genre. These appendices alone show something of the care that went into the preparation of the book; the text itself is remarkably comprehensive.

Robinson begins with the prehistory of cinema and carries his narrative virtually up to the present day. He deals with production from a cosmopolitan point of view but does center his attention on western Europe and, in particular, on the U.S.A. He attempts to capture the chronological growth of the movies and, also, to show something of the internal artistic and political forces at work in shaping that history. Considerable attention, including the publication of

sequences of shots, is concentrated on depicting the early schools of editing, though this kind of analysis must soon be discontinued, as the grammar of film has become so complex and diversified. Likewise, the rise of the different studios and the major personalities involved is chronicled, while the forces impelling contemporary production cannot be so clearly sketched. A single book, however replete, cannot hope to accomplish the exposition more properly contained in a film library: editing, criticism, acting, finance, technique and the mechanical advances of the art. That so much is lucidly arranged at a superficial level is credit to the command of history that Robinson possesses.

Usually precise, undogmatic and optimistic, World Cinema reads smoothly without becoming merely suave. (Occasionally Robinson will use a strange turn of phrase, for example, the sets for 'The Cabinet of Doctor Caligari' while apt, and terrifying, are not 'magnificent' (p. 93) as they were necessitated by a minute budget.)

The book immediately suggests itself as an introductory text, although many points rely on the sympathetic exper- ience of the movies. Without the space to describe many of the moments and effects he cites, Robinson's work would have to be accompanied by a rich program of viewing for novices to get much out of it.

Study Abroad: (1975-76), 1976-77). Unesco. Unesco Press, Paris, 1974. 523 pp. FF24,00. This book, a trilingual handbook (in English, French and Spanish), is addressed mainly to students and educational advisors (including those interested in the visual fine arts). It is divided into two main parts: one listing more generally accessible foreign study scholarships at university level (undergraduate, graduate and post-graduate) covering various forms of financial or material aid and the other listing courses, formal study programmes of 10 weeks (1 term) duration or longer (some carrying various forms of financial aid). In the entries on courses, reference is also made, whenever possible, to sources of information on relevant vacation language courses.

The scholarships and courses listed are offered by both international organizations and national institutions. In the case of the latter, information is often given on academic, language, financial and other requirements and on infor- mation facilities. At the end of the book there are indexes of international organizations, national institutions and subjects of study.

Patronage of the Creative Artist. Ian Bruce et al. Artists Now, London, 1974. 91 pp. Paper, ?1.00. Reviewed by E. W. F. Tomlin*

the world's filmmaking was attempted at all is remarkable. During the years intervening since the last text, the output of serious films and hence those that must be considered in a general history, has risen all over the world. The critic for the London Times is the author of this latest, prodigious book.

Besides a general history his book contains an appendix on the animated film; a filmography of 500 leading directors (many complete); a selected and careful, if necessarily limited, bibliography arranged by category; indices cross- referenced and arranged by film title, leading actors and directors, and country and genre. These appendices alone show something of the care that went into the preparation of the book; the text itself is remarkably comprehensive.

Robinson begins with the prehistory of cinema and carries his narrative virtually up to the present day. He deals with production from a cosmopolitan point of view but does center his attention on western Europe and, in particular, on the U.S.A. He attempts to capture the chronological growth of the movies and, also, to show something of the internal artistic and political forces at work in shaping that history. Considerable attention, including the publication of

sequences of shots, is concentrated on depicting the early schools of editing, though this kind of analysis must soon be discontinued, as the grammar of film has become so complex and diversified. Likewise, the rise of the different studios and the major personalities involved is chronicled, while the forces impelling contemporary production cannot be so clearly sketched. A single book, however replete, cannot hope to accomplish the exposition more properly contained in a film library: editing, criticism, acting, finance, technique and the mechanical advances of the art. That so much is lucidly arranged at a superficial level is credit to the command of history that Robinson possesses.

Usually precise, undogmatic and optimistic, World Cinema reads smoothly without becoming merely suave. (Occasionally Robinson will use a strange turn of phrase, for example, the sets for 'The Cabinet of Doctor Caligari' while apt, and terrifying, are not 'magnificent' (p. 93) as they were necessitated by a minute budget.)

The book immediately suggests itself as an introductory text, although many points rely on the sympathetic exper- ience of the movies. Without the space to describe many of the moments and effects he cites, Robinson's work would have to be accompanied by a rich program of viewing for novices to get much out of it.

Study Abroad: (1975-76), 1976-77). Unesco. Unesco Press, Paris, 1974. 523 pp. FF24,00. This book, a trilingual handbook (in English, French and Spanish), is addressed mainly to students and educational advisors (including those interested in the visual fine arts). It is divided into two main parts: one listing more generally accessible foreign study scholarships at university level (undergraduate, graduate and post-graduate) covering various forms of financial or material aid and the other listing courses, formal study programmes of 10 weeks (1 term) duration or longer (some carrying various forms of financial aid). In the entries on courses, reference is also made, whenever possible, to sources of information on relevant vacation language courses.

The scholarships and courses listed are offered by both international organizations and national institutions. In the case of the latter, information is often given on academic, language, financial and other requirements and on infor- mation facilities. At the end of the book there are indexes of international organizations, national institutions and subjects of study.

Patronage of the Creative Artist. Ian Bruce et al. Artists Now, London, 1974. 91 pp. Paper, ?1.00. Reviewed by E. W. F. Tomlin*

This foolscap-sized duplicated report is the product of five workers in various kinds of art: Ian Bruce, David Castillejo

*Tall Trees, Morwenstow, Cornwall, England.

This foolscap-sized duplicated report is the product of five workers in various kinds of art: Ian Bruce, David Castillejo

*Tall Trees, Morwenstow, Cornwall, England.

This foolscap-sized duplicated report is the product of five workers in various kinds of art: Ian Bruce, David Castillejo

*Tall Trees, Morwenstow, Cornwall, England.

This foolscap-sized duplicated report is the product of five workers in various kinds of art: Ian Bruce, David Castillejo

*Tall Trees, Morwenstow, Cornwall, England.

U.S.A. to individuals, groups and institutions. The number of private foundations has greatly multiplied since the mid- 1960's when 'there was only a handful'. It is a concise history of the activities of about 1,000 private foundations

U.S.A. to individuals, groups and institutions. The number of private foundations has greatly multiplied since the mid- 1960's when 'there was only a handful'. It is a concise history of the activities of about 1,000 private foundations

U.S.A. to individuals, groups and institutions. The number of private foundations has greatly multiplied since the mid- 1960's when 'there was only a handful'. It is a concise history of the activities of about 1,000 private foundations

U.S.A. to individuals, groups and institutions. The number of private foundations has greatly multiplied since the mid- 1960's when 'there was only a handful'. It is a concise history of the activities of about 1,000 private foundations

Books Books Books Books 345 345 345 345

This content downloaded from 185.44.79.179 on Thu, 12 Jun 2014 16:27:44 PMAll use subject to JSTOR Terms and Conditions

giving about 5,000 selected typical grants from among an estimated 60,000 examined and a capsule description of the more outstanding programs of some 298 business corpora- tions in the U.S.A. during the last decade.

Information is provided on typical grants over $1000 and who received them. Besides each foundation or corporation entry, a letter code states the areas in which grants were given. The fields include architecture, dance, education, writing, music, theatre, painting, sculpture and film. An ample discussion of legal restrictions concerning grants is given in the Introduction. Recommended procedures for applying for grants are outlined in a section at the end of the book.

Artist's Market '76. 2nd ed. Kirk Polking and Liz Prince, eds. Writers Digest, Cincinnati, 1975. 624 pp., illus. $9.95.

Artists in the fine arts as well as those in the commercial arts will find sections of interest in this comprehensive directory. For the former there are, in particular, the following sections: Art Competitions/Exhibitions, Arts Organizations, Associa- tions of Interest to Artists, A Commissioned Art Agreement, Foundations and Grants, and Galleries. For illustrators, photographers, cartoonists and others in the commercial arts there is an important section on copyrights (U.S.A.) and there are many sections on art markets and services. Most entries in each section contain at least a paragraph of helpful information. For example, art-market entries contain the name and address of the buyer, the type of work required, the price range and the terms. In the case of many art com- petitions and exhibitions, explanatory information is provided along with necessary dates, names and addresses. Although many of the listed events re-occur annually, only those persons who had had access to this book soon after publication in 1975 were able to profit fully from its 1976 coverage. This should be borne in mind by those contem- plating the purchase of future editions.

A glossary of terms used in the text is included. The Directory treats principally, but not exclusively, markets, services and events in the U.S.A. and Canada.

giving about 5,000 selected typical grants from among an estimated 60,000 examined and a capsule description of the more outstanding programs of some 298 business corpora- tions in the U.S.A. during the last decade.

Information is provided on typical grants over $1000 and who received them. Besides each foundation or corporation entry, a letter code states the areas in which grants were given. The fields include architecture, dance, education, writing, music, theatre, painting, sculpture and film. An ample discussion of legal restrictions concerning grants is given in the Introduction. Recommended procedures for applying for grants are outlined in a section at the end of the book.

Artist's Market '76. 2nd ed. Kirk Polking and Liz Prince, eds. Writers Digest, Cincinnati, 1975. 624 pp., illus. $9.95.

Artists in the fine arts as well as those in the commercial arts will find sections of interest in this comprehensive directory. For the former there are, in particular, the following sections: Art Competitions/Exhibitions, Arts Organizations, Associa- tions of Interest to Artists, A Commissioned Art Agreement, Foundations and Grants, and Galleries. For illustrators, photographers, cartoonists and others in the commercial arts there is an important section on copyrights (U.S.A.) and there are many sections on art markets and services. Most entries in each section contain at least a paragraph of helpful information. For example, art-market entries contain the name and address of the buyer, the type of work required, the price range and the terms. In the case of many art com- petitions and exhibitions, explanatory information is provided along with necessary dates, names and addresses. Although many of the listed events re-occur annually, only those persons who had had access to this book soon after publication in 1975 were able to profit fully from its 1976 coverage. This should be borne in mind by those contem- plating the purchase of future editions.

A glossary of terms used in the text is included. The Directory treats principally, but not exclusively, markets, services and events in the U.S.A. and Canada.

giving about 5,000 selected typical grants from among an estimated 60,000 examined and a capsule description of the more outstanding programs of some 298 business corpora- tions in the U.S.A. during the last decade.

Information is provided on typical grants over $1000 and who received them. Besides each foundation or corporation entry, a letter code states the areas in which grants were given. The fields include architecture, dance, education, writing, music, theatre, painting, sculpture and film. An ample discussion of legal restrictions concerning grants is given in the Introduction. Recommended procedures for applying for grants are outlined in a section at the end of the book.

Artist's Market '76. 2nd ed. Kirk Polking and Liz Prince, eds. Writers Digest, Cincinnati, 1975. 624 pp., illus. $9.95.

Artists in the fine arts as well as those in the commercial arts will find sections of interest in this comprehensive directory. For the former there are, in particular, the following sections: Art Competitions/Exhibitions, Arts Organizations, Associa- tions of Interest to Artists, A Commissioned Art Agreement, Foundations and Grants, and Galleries. For illustrators, photographers, cartoonists and others in the commercial arts there is an important section on copyrights (U.S.A.) and there are many sections on art markets and services. Most entries in each section contain at least a paragraph of helpful information. For example, art-market entries contain the name and address of the buyer, the type of work required, the price range and the terms. In the case of many art com- petitions and exhibitions, explanatory information is provided along with necessary dates, names and addresses. Although many of the listed events re-occur annually, only those persons who had had access to this book soon after publication in 1975 were able to profit fully from its 1976 coverage. This should be borne in mind by those contem- plating the purchase of future editions.

A glossary of terms used in the text is included. The Directory treats principally, but not exclusively, markets, services and events in the U.S.A. and Canada.

giving about 5,000 selected typical grants from among an estimated 60,000 examined and a capsule description of the more outstanding programs of some 298 business corpora- tions in the U.S.A. during the last decade.

Information is provided on typical grants over $1000 and who received them. Besides each foundation or corporation entry, a letter code states the areas in which grants were given. The fields include architecture, dance, education, writing, music, theatre, painting, sculpture and film. An ample discussion of legal restrictions concerning grants is given in the Introduction. Recommended procedures for applying for grants are outlined in a section at the end of the book.

Artist's Market '76. 2nd ed. Kirk Polking and Liz Prince, eds. Writers Digest, Cincinnati, 1975. 624 pp., illus. $9.95.

Artists in the fine arts as well as those in the commercial arts will find sections of interest in this comprehensive directory. For the former there are, in particular, the following sections: Art Competitions/Exhibitions, Arts Organizations, Associa- tions of Interest to Artists, A Commissioned Art Agreement, Foundations and Grants, and Galleries. For illustrators, photographers, cartoonists and others in the commercial arts there is an important section on copyrights (U.S.A.) and there are many sections on art markets and services. Most entries in each section contain at least a paragraph of helpful information. For example, art-market entries contain the name and address of the buyer, the type of work required, the price range and the terms. In the case of many art com- petitions and exhibitions, explanatory information is provided along with necessary dates, names and addresses. Although many of the listed events re-occur annually, only those persons who had had access to this book soon after publication in 1975 were able to profit fully from its 1976 coverage. This should be borne in mind by those contem- plating the purchase of future editions.

A glossary of terms used in the text is included. The Directory treats principally, but not exclusively, markets, services and events in the U.S.A. and Canada.

giving about 5,000 selected typical grants from among an estimated 60,000 examined and a capsule description of the more outstanding programs of some 298 business corpora- tions in the U.S.A. during the last decade.

Information is provided on typical grants over $1000 and who received them. Besides each foundation or corporation entry, a letter code states the areas in which grants were given. The fields include architecture, dance, education, writing, music, theatre, painting, sculpture and film. An ample discussion of legal restrictions concerning grants is given in the Introduction. Recommended procedures for applying for grants are outlined in a section at the end of the book.

Artist's Market '76. 2nd ed. Kirk Polking and Liz Prince, eds. Writers Digest, Cincinnati, 1975. 624 pp., illus. $9.95.

Artists in the fine arts as well as those in the commercial arts will find sections of interest in this comprehensive directory. For the former there are, in particular, the following sections: Art Competitions/Exhibitions, Arts Organizations, Associa- tions of Interest to Artists, A Commissioned Art Agreement, Foundations and Grants, and Galleries. For illustrators, photographers, cartoonists and others in the commercial arts there is an important section on copyrights (U.S.A.) and there are many sections on art markets and services. Most entries in each section contain at least a paragraph of helpful information. For example, art-market entries contain the name and address of the buyer, the type of work required, the price range and the terms. In the case of many art com- petitions and exhibitions, explanatory information is provided along with necessary dates, names and addresses. Although many of the listed events re-occur annually, only those persons who had had access to this book soon after publication in 1975 were able to profit fully from its 1976 coverage. This should be borne in mind by those contem- plating the purchase of future editions.

A glossary of terms used in the text is included. The Directory treats principally, but not exclusively, markets, services and events in the U.S.A. and Canada.

The Writers' and Artists' Year Book 1974. Adam & Charles Black, London, 1974. 435 pp. Paper, ?1.00

The Year Book, now in its 67th year of issue, is a handy directory that is oriented primarily to writers. It is divided into several parts: 'Writing for Newspapers, Magazines, etc.' (132 pp.), 'Writing Books' (96 pp.), 'Writing for Theatre, Films, Radio and Television' (41 pp.), 'Artists Designers and Photographers' (22 pp.). The final part 'General' (134 pp.) is of principal interest to writers.

The part directed to artists is useful primarily to British Commercial artists. British art agents and commercial art studios are listed. Then there is a tabulation of firms that accept drawings and verses for greeting cards etc. The code of professional conduct issued by the society of Industrial Artists and Designers Ltd. is included. For photographers, advice is given on marketing news pictures and feature pictures and an international (primary British, however) listing of agencies and picture libraries is given. In conclusion, there is a short article giving advice on picture research- that is, 'the selection and collection of illustrations suitable for reproduction'.

A Dictionary of Impressionism. R. Cogniat, F. Elgar and J. Selz. Eyre Methuen, London, 1973. 168 pp., illus. ?1.75.

The Dictionary is really a collection of short bibliographies of 21 artists, five art dealers and four writers connected with Impressionism. There are only four non-bibliographical entries. There are 134 reproductions of art works, of which over 100 are in color. The space given to the illustrations and bibliographical material for each artist seems to vary in proportion to his/her prominence in the movement. The introduction summarizes concisely the history of Impres- sionism, Neo-Impressionism and Post-Impressionism. The text concludes with a bibliography of books on Impression- ism in English, French and German published up to 1971. Not only is the book a handy reference, it is also pleasant bed-side reading.

The Writers' and Artists' Year Book 1974. Adam & Charles Black, London, 1974. 435 pp. Paper, ?1.00

The Year Book, now in its 67th year of issue, is a handy directory that is oriented primarily to writers. It is divided into several parts: 'Writing for Newspapers, Magazines, etc.' (132 pp.), 'Writing Books' (96 pp.), 'Writing for Theatre, Films, Radio and Television' (41 pp.), 'Artists Designers and Photographers' (22 pp.). The final part 'General' (134 pp.) is of principal interest to writers.

The part directed to artists is useful primarily to British Commercial artists. British art agents and commercial art studios are listed. Then there is a tabulation of firms that accept drawings and verses for greeting cards etc. The code of professional conduct issued by the society of Industrial Artists and Designers Ltd. is included. For photographers, advice is given on marketing news pictures and feature pictures and an international (primary British, however) listing of agencies and picture libraries is given. In conclusion, there is a short article giving advice on picture research- that is, 'the selection and collection of illustrations suitable for reproduction'.

A Dictionary of Impressionism. R. Cogniat, F. Elgar and J. Selz. Eyre Methuen, London, 1973. 168 pp., illus. ?1.75.

The Dictionary is really a collection of short bibliographies of 21 artists, five art dealers and four writers connected with Impressionism. There are only four non-bibliographical entries. There are 134 reproductions of art works, of which over 100 are in color. The space given to the illustrations and bibliographical material for each artist seems to vary in proportion to his/her prominence in the movement. The introduction summarizes concisely the history of Impres- sionism, Neo-Impressionism and Post-Impressionism. The text concludes with a bibliography of books on Impression- ism in English, French and German published up to 1971. Not only is the book a handy reference, it is also pleasant bed-side reading.

The Writers' and Artists' Year Book 1974. Adam & Charles Black, London, 1974. 435 pp. Paper, ?1.00

The Year Book, now in its 67th year of issue, is a handy directory that is oriented primarily to writers. It is divided into several parts: 'Writing for Newspapers, Magazines, etc.' (132 pp.), 'Writing Books' (96 pp.), 'Writing for Theatre, Films, Radio and Television' (41 pp.), 'Artists Designers and Photographers' (22 pp.). The final part 'General' (134 pp.) is of principal interest to writers.

The part directed to artists is useful primarily to British Commercial artists. British art agents and commercial art studios are listed. Then there is a tabulation of firms that accept drawings and verses for greeting cards etc. The code of professional conduct issued by the society of Industrial Artists and Designers Ltd. is included. For photographers, advice is given on marketing news pictures and feature pictures and an international (primary British, however) listing of agencies and picture libraries is given. In conclusion, there is a short article giving advice on picture research- that is, 'the selection and collection of illustrations suitable for reproduction'.

A Dictionary of Impressionism. R. Cogniat, F. Elgar and J. Selz. Eyre Methuen, London, 1973. 168 pp., illus. ?1.75.

The Dictionary is really a collection of short bibliographies of 21 artists, five art dealers and four writers connected with Impressionism. There are only four non-bibliographical entries. There are 134 reproductions of art works, of which over 100 are in color. The space given to the illustrations and bibliographical material for each artist seems to vary in proportion to his/her prominence in the movement. The introduction summarizes concisely the history of Impres- sionism, Neo-Impressionism and Post-Impressionism. The text concludes with a bibliography of books on Impression- ism in English, French and German published up to 1971. Not only is the book a handy reference, it is also pleasant bed-side reading.

The Writers' and Artists' Year Book 1974. Adam & Charles Black, London, 1974. 435 pp. Paper, ?1.00

The Year Book, now in its 67th year of issue, is a handy directory that is oriented primarily to writers. It is divided into several parts: 'Writing for Newspapers, Magazines, etc.' (132 pp.), 'Writing Books' (96 pp.), 'Writing for Theatre, Films, Radio and Television' (41 pp.), 'Artists Designers and Photographers' (22 pp.). The final part 'General' (134 pp.) is of principal interest to writers.

The part directed to artists is useful primarily to British Commercial artists. British art agents and commercial art studios are listed. Then there is a tabulation of firms that accept drawings and verses for greeting cards etc. The code of professional conduct issued by the society of Industrial Artists and Designers Ltd. is included. For photographers, advice is given on marketing news pictures and feature pictures and an international (primary British, however) listing of agencies and picture libraries is given. In conclusion, there is a short article giving advice on picture research- that is, 'the selection and collection of illustrations suitable for reproduction'.

A Dictionary of Impressionism. R. Cogniat, F. Elgar and J. Selz. Eyre Methuen, London, 1973. 168 pp., illus. ?1.75.

The Dictionary is really a collection of short bibliographies of 21 artists, five art dealers and four writers connected with Impressionism. There are only four non-bibliographical entries. There are 134 reproductions of art works, of which over 100 are in color. The space given to the illustrations and bibliographical material for each artist seems to vary in proportion to his/her prominence in the movement. The introduction summarizes concisely the history of Impres- sionism, Neo-Impressionism and Post-Impressionism. The text concludes with a bibliography of books on Impression- ism in English, French and German published up to 1971. Not only is the book a handy reference, it is also pleasant bed-side reading.

The Writers' and Artists' Year Book 1974. Adam & Charles Black, London, 1974. 435 pp. Paper, ?1.00

The Year Book, now in its 67th year of issue, is a handy directory that is oriented primarily to writers. It is divided into several parts: 'Writing for Newspapers, Magazines, etc.' (132 pp.), 'Writing Books' (96 pp.), 'Writing for Theatre, Films, Radio and Television' (41 pp.), 'Artists Designers and Photographers' (22 pp.). The final part 'General' (134 pp.) is of principal interest to writers.

The part directed to artists is useful primarily to British Commercial artists. British art agents and commercial art studios are listed. Then there is a tabulation of firms that accept drawings and verses for greeting cards etc. The code of professional conduct issued by the society of Industrial Artists and Designers Ltd. is included. For photographers, advice is given on marketing news pictures and feature pictures and an international (primary British, however) listing of agencies and picture libraries is given. In conclusion, there is a short article giving advice on picture research- that is, 'the selection and collection of illustrations suitable for reproduction'.

A Dictionary of Impressionism. R. Cogniat, F. Elgar and J. Selz. Eyre Methuen, London, 1973. 168 pp., illus. ?1.75.

The Dictionary is really a collection of short bibliographies of 21 artists, five art dealers and four writers connected with Impressionism. There are only four non-bibliographical entries. There are 134 reproductions of art works, of which over 100 are in color. The space given to the illustrations and bibliographical material for each artist seems to vary in proportion to his/her prominence in the movement. The introduction summarizes concisely the history of Impres- sionism, Neo-Impressionism and Post-Impressionism. The text concludes with a bibliography of books on Impression- ism in English, French and German published up to 1971. Not only is the book a handy reference, it is also pleasant bed-side reading.

BOOKS RECEIVED

The Aesthetics ofGyorgyLukdcs. B61a Kiralyfalvi. Princeton Univ. Press, Princeton, N.J., and London, 1975. 164 pp. $11.25.

Allover Patterns for Designers and Craftsmen. Pictorial Archive series. Clarence P. Hornung. Dover, New York, 1975. 113 pp., illus. Paper, $4.50.

Art and Inquiry. Berel Lang. Wayne State Univ. Press, Detroit, Mich., 1975. 227 pp. $13.95. Art and Morality. Nishida Kitaro. Trans. from Japanese by David A. Dilworth and Valdo H. Viglielmo.

Univ. Press of Hawaii, Honolulu, Hawaii, 1973. 216 pp. $8.00. Art and the Aesthetic: An Institutional Analysis. George Dickie. Cornell Univ. Press, Ithaca, N.Y., and

London, 1974. 204 pp. ?6.15. Art Deco Designs in Color. Charles Rahn Fry. Dover, New York, 1975. 46 pp., illus. Paper, $5.00. Art in Paper. Carson I. A. Ritchie. Barnes, Cranbury, N.J., 1976. 209 pp., illus. $9.95. The Art of Print Making: A Comprehensive Guide to Graphic Techniques. Erich Rhein. Evans Bros.,

London, 1976. 238 pp., illus. ?5.95. The Awkward Embrace: The Creative Artist and the Institution in America. Joan Simpson Burns.

Knopf, New York, 1975. 528 pp., illus. $15.00. The Bachelor Machines. Harald Szeeman, ed. Text in English and Italian. Rizzoli, New York, 1976.

236 pp., illus. $14.95. Beyond Aesthetics: Investigations into the Nature of Visual Art. Don R. Brothwell, ed. Thames &

Hudson, London, 1976. 212 pp., illus. ?9.50. Biofeedback and the Arts: Results of Early Experiments. David Rosenboom, ed. A. R. C. Publications,

Vancouver, Canada, 1976. 162 pp., illus. Bocklin. Introduction by Ernest Fuchs. Text in English, French and German. Rizzoli, New York,

1976. 97 pp., illus. $16.50. Color Theory: A Guide to Information Sources. Mary Buckley and David Baum, eds. Gale Research,

Detroit, Mich., 1975, 173 pp. $18.00. Computer Graphics: 118 Computer-Generated Designs. Pictorial Archive series. Melvin L. Prueitt.

Dover, New York, 1975. 69 pp., illus. Paper, $3.00. Consciousness and Creativity: Transcending Science, Humanities and the Arts. Bill Romey. Ash Lad

Press, Canton, N.Y., 1975. 278 pp., illus. Paper, $5.00. Differences in Visual Perception: The Individual Eye. Jules B. Davidoff. Academic Press, London and

New York, 1975. 231 pp., illus. A Discourse on Novelty and Creation. Carl R. Hausman. Nijhoff, The Hague, 1975. 159 pp. Paper,

Gld.45.00

BOOKS RECEIVED

The Aesthetics ofGyorgyLukdcs. B61a Kiralyfalvi. Princeton Univ. Press, Princeton, N.J., and London, 1975. 164 pp. $11.25.

Allover Patterns for Designers and Craftsmen. Pictorial Archive series. Clarence P. Hornung. Dover, New York, 1975. 113 pp., illus. Paper, $4.50.

Art and Inquiry. Berel Lang. Wayne State Univ. Press, Detroit, Mich., 1975. 227 pp. $13.95. Art and Morality. Nishida Kitaro. Trans. from Japanese by David A. Dilworth and Valdo H. Viglielmo.

Univ. Press of Hawaii, Honolulu, Hawaii, 1973. 216 pp. $8.00. Art and the Aesthetic: An Institutional Analysis. George Dickie. Cornell Univ. Press, Ithaca, N.Y., and

London, 1974. 204 pp. ?6.15. Art Deco Designs in Color. Charles Rahn Fry. Dover, New York, 1975. 46 pp., illus. Paper, $5.00. Art in Paper. Carson I. A. Ritchie. Barnes, Cranbury, N.J., 1976. 209 pp., illus. $9.95. The Art of Print Making: A Comprehensive Guide to Graphic Techniques. Erich Rhein. Evans Bros.,

London, 1976. 238 pp., illus. ?5.95. The Awkward Embrace: The Creative Artist and the Institution in America. Joan Simpson Burns.

Knopf, New York, 1975. 528 pp., illus. $15.00. The Bachelor Machines. Harald Szeeman, ed. Text in English and Italian. Rizzoli, New York, 1976.

236 pp., illus. $14.95. Beyond Aesthetics: Investigations into the Nature of Visual Art. Don R. Brothwell, ed. Thames &

Hudson, London, 1976. 212 pp., illus. ?9.50. Biofeedback and the Arts: Results of Early Experiments. David Rosenboom, ed. A. R. C. Publications,

Vancouver, Canada, 1976. 162 pp., illus. Bocklin. Introduction by Ernest Fuchs. Text in English, French and German. Rizzoli, New York,

1976. 97 pp., illus. $16.50. Color Theory: A Guide to Information Sources. Mary Buckley and David Baum, eds. Gale Research,

Detroit, Mich., 1975, 173 pp. $18.00. Computer Graphics: 118 Computer-Generated Designs. Pictorial Archive series. Melvin L. Prueitt.

Dover, New York, 1975. 69 pp., illus. Paper, $3.00. Consciousness and Creativity: Transcending Science, Humanities and the Arts. Bill Romey. Ash Lad

Press, Canton, N.Y., 1975. 278 pp., illus. Paper, $5.00. Differences in Visual Perception: The Individual Eye. Jules B. Davidoff. Academic Press, London and

New York, 1975. 231 pp., illus. A Discourse on Novelty and Creation. Carl R. Hausman. Nijhoff, The Hague, 1975. 159 pp. Paper,

Gld.45.00

BOOKS RECEIVED

The Aesthetics ofGyorgyLukdcs. B61a Kiralyfalvi. Princeton Univ. Press, Princeton, N.J., and London, 1975. 164 pp. $11.25.

Allover Patterns for Designers and Craftsmen. Pictorial Archive series. Clarence P. Hornung. Dover, New York, 1975. 113 pp., illus. Paper, $4.50.

Art and Inquiry. Berel Lang. Wayne State Univ. Press, Detroit, Mich., 1975. 227 pp. $13.95. Art and Morality. Nishida Kitaro. Trans. from Japanese by David A. Dilworth and Valdo H. Viglielmo.

Univ. Press of Hawaii, Honolulu, Hawaii, 1973. 216 pp. $8.00. Art and the Aesthetic: An Institutional Analysis. George Dickie. Cornell Univ. Press, Ithaca, N.Y., and

London, 1974. 204 pp. ?6.15. Art Deco Designs in Color. Charles Rahn Fry. Dover, New York, 1975. 46 pp., illus. Paper, $5.00. Art in Paper. Carson I. A. Ritchie. Barnes, Cranbury, N.J., 1976. 209 pp., illus. $9.95. The Art of Print Making: A Comprehensive Guide to Graphic Techniques. Erich Rhein. Evans Bros.,

London, 1976. 238 pp., illus. ?5.95. The Awkward Embrace: The Creative Artist and the Institution in America. Joan Simpson Burns.

Knopf, New York, 1975. 528 pp., illus. $15.00. The Bachelor Machines. Harald Szeeman, ed. Text in English and Italian. Rizzoli, New York, 1976.

236 pp., illus. $14.95. Beyond Aesthetics: Investigations into the Nature of Visual Art. Don R. Brothwell, ed. Thames &

Hudson, London, 1976. 212 pp., illus. ?9.50. Biofeedback and the Arts: Results of Early Experiments. David Rosenboom, ed. A. R. C. Publications,

Vancouver, Canada, 1976. 162 pp., illus. Bocklin. Introduction by Ernest Fuchs. Text in English, French and German. Rizzoli, New York,

1976. 97 pp., illus. $16.50. Color Theory: A Guide to Information Sources. Mary Buckley and David Baum, eds. Gale Research,

Detroit, Mich., 1975, 173 pp. $18.00. Computer Graphics: 118 Computer-Generated Designs. Pictorial Archive series. Melvin L. Prueitt.

Dover, New York, 1975. 69 pp., illus. Paper, $3.00. Consciousness and Creativity: Transcending Science, Humanities and the Arts. Bill Romey. Ash Lad

Press, Canton, N.Y., 1975. 278 pp., illus. Paper, $5.00. Differences in Visual Perception: The Individual Eye. Jules B. Davidoff. Academic Press, London and

New York, 1975. 231 pp., illus. A Discourse on Novelty and Creation. Carl R. Hausman. Nijhoff, The Hague, 1975. 159 pp. Paper,

Gld.45.00

BOOKS RECEIVED

The Aesthetics ofGyorgyLukdcs. B61a Kiralyfalvi. Princeton Univ. Press, Princeton, N.J., and London, 1975. 164 pp. $11.25.

Allover Patterns for Designers and Craftsmen. Pictorial Archive series. Clarence P. Hornung. Dover, New York, 1975. 113 pp., illus. Paper, $4.50.

Art and Inquiry. Berel Lang. Wayne State Univ. Press, Detroit, Mich., 1975. 227 pp. $13.95. Art and Morality. Nishida Kitaro. Trans. from Japanese by David A. Dilworth and Valdo H. Viglielmo.

Univ. Press of Hawaii, Honolulu, Hawaii, 1973. 216 pp. $8.00. Art and the Aesthetic: An Institutional Analysis. George Dickie. Cornell Univ. Press, Ithaca, N.Y., and

London, 1974. 204 pp. ?6.15. Art Deco Designs in Color. Charles Rahn Fry. Dover, New York, 1975. 46 pp., illus. Paper, $5.00. Art in Paper. Carson I. A. Ritchie. Barnes, Cranbury, N.J., 1976. 209 pp., illus. $9.95. The Art of Print Making: A Comprehensive Guide to Graphic Techniques. Erich Rhein. Evans Bros.,

London, 1976. 238 pp., illus. ?5.95. The Awkward Embrace: The Creative Artist and the Institution in America. Joan Simpson Burns.

Knopf, New York, 1975. 528 pp., illus. $15.00. The Bachelor Machines. Harald Szeeman, ed. Text in English and Italian. Rizzoli, New York, 1976.

236 pp., illus. $14.95. Beyond Aesthetics: Investigations into the Nature of Visual Art. Don R. Brothwell, ed. Thames &

Hudson, London, 1976. 212 pp., illus. ?9.50. Biofeedback and the Arts: Results of Early Experiments. David Rosenboom, ed. A. R. C. Publications,

Vancouver, Canada, 1976. 162 pp., illus. Bocklin. Introduction by Ernest Fuchs. Text in English, French and German. Rizzoli, New York,

1976. 97 pp., illus. $16.50. Color Theory: A Guide to Information Sources. Mary Buckley and David Baum, eds. Gale Research,

Detroit, Mich., 1975, 173 pp. $18.00. Computer Graphics: 118 Computer-Generated Designs. Pictorial Archive series. Melvin L. Prueitt.

Dover, New York, 1975. 69 pp., illus. Paper, $3.00. Consciousness and Creativity: Transcending Science, Humanities and the Arts. Bill Romey. Ash Lad

Press, Canton, N.Y., 1975. 278 pp., illus. Paper, $5.00. Differences in Visual Perception: The Individual Eye. Jules B. Davidoff. Academic Press, London and

New York, 1975. 231 pp., illus. A Discourse on Novelty and Creation. Carl R. Hausman. Nijhoff, The Hague, 1975. 159 pp. Paper,

Gld.45.00

BOOKS RECEIVED

The Aesthetics ofGyorgyLukdcs. B61a Kiralyfalvi. Princeton Univ. Press, Princeton, N.J., and London, 1975. 164 pp. $11.25.

Allover Patterns for Designers and Craftsmen. Pictorial Archive series. Clarence P. Hornung. Dover, New York, 1975. 113 pp., illus. Paper, $4.50.

Art and Inquiry. Berel Lang. Wayne State Univ. Press, Detroit, Mich., 1975. 227 pp. $13.95. Art and Morality. Nishida Kitaro. Trans. from Japanese by David A. Dilworth and Valdo H. Viglielmo.

Univ. Press of Hawaii, Honolulu, Hawaii, 1973. 216 pp. $8.00. Art and the Aesthetic: An Institutional Analysis. George Dickie. Cornell Univ. Press, Ithaca, N.Y., and

London, 1974. 204 pp. ?6.15. Art Deco Designs in Color. Charles Rahn Fry. Dover, New York, 1975. 46 pp., illus. Paper, $5.00. Art in Paper. Carson I. A. Ritchie. Barnes, Cranbury, N.J., 1976. 209 pp., illus. $9.95. The Art of Print Making: A Comprehensive Guide to Graphic Techniques. Erich Rhein. Evans Bros.,

London, 1976. 238 pp., illus. ?5.95. The Awkward Embrace: The Creative Artist and the Institution in America. Joan Simpson Burns.

Knopf, New York, 1975. 528 pp., illus. $15.00. The Bachelor Machines. Harald Szeeman, ed. Text in English and Italian. Rizzoli, New York, 1976.

236 pp., illus. $14.95. Beyond Aesthetics: Investigations into the Nature of Visual Art. Don R. Brothwell, ed. Thames &

Hudson, London, 1976. 212 pp., illus. ?9.50. Biofeedback and the Arts: Results of Early Experiments. David Rosenboom, ed. A. R. C. Publications,

Vancouver, Canada, 1976. 162 pp., illus. Bocklin. Introduction by Ernest Fuchs. Text in English, French and German. Rizzoli, New York,

1976. 97 pp., illus. $16.50. Color Theory: A Guide to Information Sources. Mary Buckley and David Baum, eds. Gale Research,

Detroit, Mich., 1975, 173 pp. $18.00. Computer Graphics: 118 Computer-Generated Designs. Pictorial Archive series. Melvin L. Prueitt.

Dover, New York, 1975. 69 pp., illus. Paper, $3.00. Consciousness and Creativity: Transcending Science, Humanities and the Arts. Bill Romey. Ash Lad

Press, Canton, N.Y., 1975. 278 pp., illus. Paper, $5.00. Differences in Visual Perception: The Individual Eye. Jules B. Davidoff. Academic Press, London and

New York, 1975. 231 pp., illus. A Discourse on Novelty and Creation. Carl R. Hausman. Nijhoff, The Hague, 1975. 159 pp. Paper,

Gld.45.00

346 346 346 346 346 Books Books Books Books Books

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