Subject Index
Abbild, 38
Abstract art, 11, 293–369; religious heritage in, 304–307
Abstract as crystalline, 176
Abstraction, Worringer on, 179–180
Abstract painting, subject matter of, 309–319
Abstraktion und Einfühlung, 171–172
Accozamento, Baldinucci on, 354
“A esthetic culture,” 20
“A estheticism,” 18
Aesthetic laws, 86
Aesthetics “from below,” 85; as applied psychology (Jung), 175; empirical (Fechner), 85; as science (Fechner), 88
African art, 272–289; discovery of, 272–273
African masks, 273–274, 280, 281, 285
Alienation, 183
Altamira, 211; reception of the wall paintings, 211–212
Anatomy, 4
Animatio: Fechner, 90; Vischer, 104
“A ntedeluvian,” 205, 206
Anthropology, 295
Arabesque, 346
Archaic art (Löwy), 258
Archetypes, 140
Architecture, origin of (Semper), 208
Art and magic (Reinach), 213–214
Art and nature: Bergson on, 31; Fiedler on, 129
Art criticism, 3
Art of drawing, 251
Associationism, 326–327
autonomous fragment, 70–73
Beauty (Darwin on), 97
Benin, 276
Blaue Reiter, 274–275, 329
Body, in occult doctrines, 303
Bozzetti, in Renaissance, 70–71
Brightness and darkness, 40
Brücke, Die, 274–275
Brushwork, 62–66
Carving, Hildebrand on, 137, 141
Cave painting, 213
Character, 94
“Charm of imperfection” (Nietzsche), 72
Chiaroscuro, 57
Children's drawings, 254
Color, 54–61; in abstract painting, 320–340; aesthetics of, 59–61; affects spectator directly, 326; Byzantine approach to, 337; evokes moods, 325; in Greek art, 259; without mimetic function, 325; power of, 322; scientific aspects of, 55–57
Color experience, levels of, 320–323
Color and line, 323–327
Color perception, 321–323
Color scale, 338–339
Color symbolism, 335
Composition, 342, 352–369; definition of, 354–357; in Impressionism, 51–54; spiritual origin of, 357–360
“Confusing promiscuity” (Goncourt), 22
Contemplation, 14, 19
Crafts, 145
Creatio ex nihilo, 130
Creative process: Fiedler on, 129; Hildebrand on, 134
Crystalline, 162, 180
Crystallinism, 162
Cube, in Egyptian sculpture, 137
“Cubic space vision,” 285
Cubism, 313
Cumulative image, 258
Cycle, historical, 152–153


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Modern Theories of Art


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