A bibliography that would correspond to the scope of this book would almost be a bibliography of twentieth- century art. At best, then, the entries that follow are meant to be extensive rather than exhaustive, and are intended primarily to provide the reader with useful and up-to-date bibliographical clues for further exploration of artists and themes that may interest him. The first part of the bibliography deals with general studies of Cubism; the second part offers references to the individual artists and more specific problems considered in each chapter. Although certain items published in 1960 have been added, this bibliography should be considered comprehensive only up to 1959, the date of its compilation.
The fullest and most up-to-date study of Cubism is John Golding , Cubism: A History and Analysis, 1907-1914, New York, 1959, which provides a closely documented history of the movement during its first seven years, as well as a bibliography rich in early newspaper and periodical references to the movement. For a more general study of Cubism in its broader historical and chronological ramifications, the best work remains, despite its early date, Alfred H. Barr, Jr. , Cubism and Abstract Art, New York, 1936. The same combination of balanced historical interpretation, critical insight, and scholarly accuracy is found in Barr's equally fundamental study, Picasso: Fifty Years of His Art, New York, 1946, which, while focusing on Picasso, nevertheless provides an extremely lucid commentary on the evolution of Cubism. In addition to the bibliographies included in these books, the most useful recent bibliographies of general works on Cubism are in Guy Habasque, Cubism, Geneva, 1959 and in Guillaume Apollinaire, The Cubist Painters, New York, 1949 (bibl. by Bernard Karpel), the English translation of Apollinaire Les Peintres cubistes, Paris, 1913. An older, more detailed bibliography is found in L'Amour de l'art, No. 9 ( November, 1933), reprinted in René Huyghe and Germain Bazin (eds.), Histoire de l'art contemporain: la peinture, Paris, 1935, Chaps. VIII-IX. A more recent bibliography of general studies as well as of individual artists is to be found in Maurice Raynalet al., From Picasso to Surrealism, Vol. III, The History of Modern Painting, Geneva, 1950. For bibliographies of individual artists, see the volumes already published in Hans Vollmer (ed.), Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts, 5 vols., Leipzig, 1953- 196?. Useful, too, are the bibliographies in the catalogue, Collection of the Société Anonyme, Yale University Art Gallery, 1950. The most important early studies of Cubism are: Albert Gleizes and Jean Metzinger, Du Cubisme, Paris, 1912 (Eng. trans., London, 1913); Guillaume Apollinaire, Les Peintres cubistes: méditations esthétiques, Paris, 1913 (Eng. trans., New York, 1944, 1949); Arthur Jerome Eddy, Cubists and Post-Impressionism, Chicago, 1914, rev. ed., 1919; Gustave Coquiot , Cubistes, futuristes, passéistes, Paris, 1914; Ardengo Soffici , Cubismo e futurismo, 2nd ed., Florence, 1914; Daniel Henry [Kahnweiler], Der Weg zum Kubismus, Munich, 1920 (Eng. trans., New York, 1949); Paul Küppers, Der Kubismus, Leipzig, 1920; Rudolf Blümner, Der Geist des Kubismus und die Künste, Berlin, 1921. Later studies of Cubism are surprisingly few in number and generally unsubstantial. The fullest general account is Guillaume Janneau, L'Art cubiste, Paris, 1929. Two most erratic and polemic studies, interesting primarily as eccentricities, are: Antonio Fornari, Quarant'anni di cubismo, Rome, 1948; and François Fosca, Bilan du cubisme, Paris, 1956. Other texts that deal exclusively with Cubist art are, by and large, picture books with brief introductions of varying quality. These include: Egidio Bonfante , Arte cubista, Venice, 1945; Enrique Azcoaga, El Cubismo, Barcelona, 1949; Daniel Henry Kahnweiler, Les Années héroïques du cubisme, Paris, 1950; a special issue of Art d'aujourd'hui, IV, Nos. 3-4 ( May-June, 1953), dedicated wholly to Cubism; and Alfred Schmeller, Cubism, London, 1956. In addition to John Golding's study, the most recent, detailed account, again dealing only with the years 1907-14, is Guy Habasque, Cubism, Geneva, 1959. For a study of Cubism from the theoretical viewpoint, see Christopher Gray, Cubist Aesthetic Theories, Baltimore, 1953 (bibl.).
By and large, several catalogues of Cubist exhibitions offer more accurate information and more intelligent interpreta-