FOOTNOTES FOR CHAPTER 1
1. |
Giedion, Sigfried. Space,
Time and Architecture. Cambridge: Harvard University Press, 1956.
p.33. |
2. |
Huemer, Frances. Conversation,
April 14, 1961. |
3. |
Giedion, op.cit., p.36. |
4. |
Encyclopedia of World Art.
Vol. II, London: McGraw-Hill Publishing Company Limited,
1960. p. 595. |
5. |
Ibid., p. 597. |
6. |
The same circular design is
used at the bottom left, in the background of the fireplace wall
and in the circular balistrade. |
7. |
Tietze, E.-Conrat. Mantegna.
(New York: Phaidon Publishing, Inc., 1955,) p. 17. |
8. |
Hartt, Frederick. "Raphael
and Giulio Romano." Art Bulletin, June, 1944, p.73. |
9. |
Friedlaender, Walter. Mannerism
and Anti-Mannerism in Italian Painting. (New York: Columbia
University Press, 1957,) p.17. |
10. |
Goldsheider, Ludwig. Michelangelo
(London: Phaidon Press), p.5. |
11. |
Quadri riportate: framed easel
pictures transferred to the ceiling and incorporated in a quadrature
framework. |
12. |
Friedlaender, op. cit., p.15. |
13. |
Quadratura: Illusionist architectural
painting aimed at extending real architecture into an imaginary
space. |
14. |
Wittkower, Rudolf. Art and
Architecture in Italy (Maryland: Penguin Books, 1958), p. 37. |
15. |
"Illusionist architectural
painting (quadratura), aimed at extending real architecture into
an imaginary space, had existed ever since Peruzzi had 'opened
up' the Sala delle Colonne in the Villa Farnesiana about 1516,
but it was not until the second half of the sixteenth century
that quadratura on ceilings really came into its own." Ibid.,
p. 165. |
16. |
Ibid., p. 220. |
17. |
"Exuberant Rococo Art
in Germany - a Celestial Celebration," Life Magazine. |
18. |
Wittkower, op. cit., p.243. |
19. |
Summerson, John. Architecture
in Britain - 1530 to 1830. (Maryland: Penguin Books, 1954. |
FOOTNOTES FOR
CHAPTER 2
01. |
Delacroix's commissions in
1835 and 1855: the Palais Bourbon, The Chamber of Deputies, the
Library of Luxemburg, Galleries in the Louvre, Hotelde Ville.
Puvis de Chavanne: Hotel de Ville (1874), Panteon (1874). Ingres:
Hotel de Ville (1853). |
02. |
Sloane, Joseph C. French Painting
Between the Past and the Present, (New Jersey: Princeton University
Press, 1951), p. 134. |
03. |
Ibid., p. 137. |
04. |
Giedion, Sigreied, Space,
Time and Architecture - The Growth of a New Tradition. (Cambridge:
Harvard University Press, 1956), p. 224. |
05. |
"Revue Generale d'Architecture,"
1867, p.6. |
06. |
Art Nouveau, Museum of Modern
Art, (New York: doubleday and Co., Inc.), p.55. |
07. |
Ibid., p.8. |
08. |
de Stijl, Cat. 81, Stedlijk
Museum, Amsterdam, 1951, p.93. |
09. |
Examples: Georges Vantongerloo;
"Volume-construction," plaster, (1918); Mondrian;
paintings of 1916, 1918, etc; Theo Van Doesburg and C. van Easteren;
scheme for a villa in 1923; Walter Gropius's Bauhaus, (1926). |
10. |
For further study of abstract
painting related to architecture see: J.J. Oud's "Café
de Unie" in Rotterdam, 1925; Weissenjog Sledlung, Stuttgart,
1927, Directio Gehouwtje, 1923 and Woonwijk Kiefhoff, 1925. Richard
Neutra's numerous residences in California. Walter Gropius's
professor's homes and the main Bauhaus building, 1926; his own
home in Lincoln, Mass., 1938. |
11. |
Swenny, James Johnson. Theo
van Doesbrug (New York: High Grade Press, 1947), p.1. |
12. |
Barr, Alfred H., Jr. "de
Stijl," The Museum of Modern Art Bulletin, 1952-53, p.11. |
13. |
Damaz, Paul, Art in European
Architecture (New Youk: Reinhold Publising Corporation, 1956),
p.31. |
14. |
This will be taken up later. |
15 |
Barr, Alfred H., Jr., Matisse
- His Art and His Public (New York: The Museum of Modern Art,
1951), pp. 220-221. |
16. |
Ibid., pp. 241, 242. |
17. |
Interesting to note that he
based his studies for the crucifix on Matthias Grunewald's figure
of Christ in the Isenheim altarpiece. |
18. |
Le Corbusier, The Chapel at
Ronchamp (New York: Frederick A. Praeger, Inc,1957), p. 25. |
19. |
"Each man in Corbu's
drafting room has a list of two columns of ten numbers, each, pinned
up on the wall next to his table. According to Corbu, these ten
pairs of numbers are all that is required for the use of the
modular scale in practice. The two systems of fenestration shown
here demonstrate the great flexibility of the scale: the slot
windows at Ronchamp make a tense, abstract pattern of light and
shade, oddly in balance despite the great variety of openings.
(other reference is to the Convent de la Tourette.) Architectural
Forum (New York: Time, Inc., April, 1961), p. 101. |
20. |
The Unesco Courier (Paris:
The United Nations Educational, Scientific, and Cultural Organization,
Nov., 1958), p. 3. |
21. |
Ibid. |
22. |
Possibly the most successful
result in this field of joint or collaborative expression is
the Church of the Sacred Heart at Audincourt, France - finished
in 1951. The architect, Novarina, collaborated most closely with
the artist, Leger. However, it is possible to have the greatest
artists of a century come together and yet produce nothing more
than an appendage to the architecture. It is sadly true of the
Church of Our Lady of Grace, in Assy, France (1950). Some of
the artists assembled included: Roualt, Bonnard, Leger, Lurcat,
Braque, Lipchita and Matisse. Because the individual artists
involved worked separate at their assignments, it is almost impossible
to concentrate jupon the church as a whole: it stands as an assemblage
of isolated parts. |
23. |
New York Times, "An Artist
Sees Mexico" by Edward Alden Jewell, "In the Realm
of Art: Rivera - Museum of Modern Art." Dec. 17, 1931, p.124. |
24. |
Editorials, Ibid. |
25. |
Giedion, Sigfried. Space,
Time and Architecture, the Growth of a New Tradition, (Cambridge:
Harvard University Press, 1956), p. 544. |
26. |
Damaz, Paul, Art in European
Architecture (New York: Reinhold Publishing Corporation, 1956),
p.37. |
27. |
Ibid., p.52. |
28. |
Ibid. |
29. |
Giedion, Sigfried, Walter
Gropius (New York: Reinhold Publishing Corporation, 1954), p.39. |
30. |
Giedion, Space, Time and Architecture,
p. 505. |
31. |
Ibid., p. 762. |
FOOTNOTES FOR
CHAPTER 3
1. |
Within the next two years
I plan to use plastics, but in the formative stages, I think
it is important to use familiar materials. |
2. |
The existing architecture,
except as a shelter, played no part in articulating the "free-standing
painting." My work took on new meaning as an architectonic
entity in its own right. |
3. |
Future projects are entered
on page v. They will be constructed in plastics and conceived
as both an interior and exterior composition. They will become
architectural, exist in the elements and derive part of their
source of life and illumination from the world about. Characteristic
movements of both constructed and painted composition are to
be found, moreover, in the music of Schonberg, Bartok, Nikolais
and Varese. Ideally, a musician should be employed to work with the
painter in order to develop a musical composition for the
environment. |
4. |
Papadake, Stamo, Le Corbusier
- Architect, Painter, Writer (New York: Macmillan Co., 1948),
p. 140. |
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