Творение. История искусства с самого начала

Примечания автора

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Ван Вэй. Оленья засека / пер. А. Штейнберга // Классическая поэзия Индии, Китая, Кореи, Вьетнама, Японии. М., 1977. С. 257.

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Clunas C. Chinese Painting and Its Audiences. Princeton, NJ, 2017. P. 85.

226

Ibid. P. 85.

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См. Sullivan M. Symbols of Eternity: The Art of Landscape Painting in China. Oxford, 1979. P. 8.

228

Цит. по: Early Chinese Texts on Painting / ed. S. Bush, H. Shih. Hong Kong, 2013. P. 36.

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Цит. по: Cahill J. Chinese Painting [1960] New York, 1985. P. 91.

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Sullivan M. Symbols of Eternity. Op. cit. P. 77.

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Cahill J. Hills beyond a River: Chinese Painting of the Yüan Dynasty, 1279–1368. New York; Tokyo, 1976. P. 118.

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См. Clunas C. Chinese Painting and Its Audiences. Op. cit. P. 51–57.

233

Ibid. P. 55.

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Medley M. The Chinese Potter: A Practical History of Chinese Ceramics. Oxford, 1976. P. 106–114.

235

Ibid. P. 177.

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Чжан Цзи. Ночью причалил у моста Кленов // Китайская поэзия в переводах Льва Меньшикова / пер. Л. Меньшикова. СПб., 2007.

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Sullivan M. Symbols of Eternity. Op. cit. P. 124.

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Soper A. C. The Evolution of Buddhist Architecture in Japan. Princeton, NJ, 1942. P. 89.

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Уничтожены во время пожара 1949 года. Stanley-Baker J. Japanese Art. London, 1984. P. 44.

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Kyōtarō N., Sano E. J. The Great Age of Japanese Buddhist Sculpture AD 600–1300. Exh. cat., Kimbell Art Museum, Fort Worth. Fort Worth, TX, 1982. P. 24.

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Clunas C. Chinese Painting and Its Audiences. Op. cit. P. 9.

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256

Akiyoshi W., Hiroshi K., Varley P. Of Water and Ink: Muromachi-Period Paintings from Japan, 1392–1568. Exh. cat., Detroit Institute of Arts. Detroit, MI, 1986. P. 98.

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Meech-Pekarik J. Momoyama: Japanese Art in the Age of Grandeur. Exh. cat., Metropolitan Museum of Art, New York. New York, 1975. P. 2.

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368

Филострат Старший. Картины. Книга I. Указ. соч. С. 103.

369

Howard D. Venice and the East: The Impact of the Islamic World on Venetian Architecture, 1100–1500. New Haven, CT; London, 2000.

370

Палладио А. Четыре книги об архитектуре / пер. И. Жолтовского. М., 1938. С. 13.

371

Ackerman J. S. Palladio. London, 1966. P. 39.

372

Wittkower R. Architectural Principles in the Age of Humanism. New York, 1962. P. 93. См. также: Burns H., Fairbairn L., Boucher B. Andrea Palladio 1508: The Portico and the Farmyard. London, 1975.

373

Челлини Б. Жизнь Бенвенуто, сына маэстро Джованни Челлини, флорентийца, написанная им самим во Флоренции / пер. М. Лозинского. М., 1991. С. 428–429.

374

Pope-Hennessy J. Cellini. London, 1985. P. 185.

375

Even Y. The Loggia dei Lanzi: a showcase of female subjugation // Women’s Art Journal. Vol. 12. No. 1. Spring — Summer 1991. P. 10–14.

376

Avery C. Giambologna: The Complete Sculpture. Oxford, 1987. P. 109.

377

Perlingieri I. S. Sofonisba Anguissola: The First Great Woman Artist of the Renaissance. New York, 1992.

378

Mann J. W. Artemisia and Orazio Gentileschi // Orazio and Artemisia Gentileschi. Exh. cat., Metropolitan Museum of Art, New York / eds. K. Christiansen, J. W. Mann. New York, 2001. P. 248–261.

379

Christiansen K. Becoming Gentileschi: afterthoughts on the Gentileschi exhibition // Metropolitan Museum Journal. Vol. 39. 2004. P. 10, 101–126.

380

Blunt A. Artistic Theory in Italy, 1450–1600. Oxford, 1956.

381

Treves L. Beyond Caravaggio. Exh. cat. National Gallery. London. London, 2016. P. 66–69.

382

Clark K. The Nude: A Study in Ideal Form. New York, 1956. P. 148; русский перевод: Кларк К. Нагота в искусстве / пер. М. Куренной, И. Кытмановой, А. Толстой. СПб., 2004.

383

Wölfflin H. Renaissance and Baroque, trans. Kathrin Simon. New York 1961. P. 85; русский перевод: Вёльфлин Г. Ренессанс и барокко / пер. Е. Лундберга. М., 2024.

384

Burckhardt J. Recollections of Rubens. London, 1950. P. 42–44.

385

Rumberg P. Van Dyck, Titian and Charles I // Charles I: King and Collector. Exh. cat., Royal Academy, London. London, 2018. P. 150–155.

386

Martin G. Corpus Rubenianum Ludwig Burchard: XV: The Ceiling Decoration of the Banqueting Hall. London and Turnhout, 2005.

387

Blunt A. Nicolas Poussin, The A. W. Mellon Lecture in the Fine Arts 1958. New York, 1967. Vol. 1. P. 102.

388

The Paper Museum of Cassiano dal Pozzo: Catalogue Raisonné of Drawings and Prints in the Royal Library at Windsor Castle, the British Museum, Institut de France and Other Collections / eds. F. Haskell, J. Montagu. London, 1994–[ongoing].

389

Cropper E., Dempsey C. Nicolas Poussin: Friendship and the Love of Painting. Princeton, NJ, 1996. P. 110.

390

Bull M. The Mirror of the Gods. Oxford, 2005. P. 258–261.

391

Friedlander W. Caravaggio Studies. New York, 1969. P. 60.

392

Цит. по: Санников С. Тереза Авильская: страсть ко Христу // Богомыслие. № 18. 2016. С. 117.

393

Lavin I. Bernini and the Unity of the Visual Arts. Vol. 1. London and New York, 1980. P. 106.

394

Ibid. P. 6.

395

Blunt A. Lorenzo Bernini: illusionism and mysticism // Art History. Vol. 1. No. 1. March 1978. P. 67–89.

396

Lavin I. Bernini and the Unity of the Visual Arts. Op. cit. P. 146–157.

397

Friedländer M. Landscape-Portrait-Still-Life. New York, 1963. P. 92.

398

См.: Мандер К. Книга о художниках / пер. В. Минорского. СПб., 2007.

399

Цит. по: Alpers S. The Art of Describing: Dutch Art in the Seventeenth Century. London, 1983. P. 38.

400

Weststeijn T. The Middle Kingdom in the Low Countries: Sinology in the seventeenth-century Netherlands // The Making of the Humanities. Vol. II: From Early Modern to Modern Disciplines / eds. R. Bod, J. Maat, T. Weststeijn. Amsterdam, 2012.

401

Asia in Amsterdam: The Culture of Luxury in the Golden Age. Exh. cat., Peabody Essex Museum, Salem / eds. K. H. Corrigan, J. Van Campen, F. Diercks. New Haven, CT; London, 2016. P. 16.

402

North M. Art and Commerce in the Dutch Golden Age / trans. C. Hill. New Haven, CT; London, 1997.

403

Welu J. A., Biesboer P. Judith Leyster: A Dutch Master and Her World. Exh. cat., Worcester Art Museum. New Haven, CT, 1993. P. 162.

404

White C., Buvelot Q. Rembrandt by Himself. Exh. cat., National Gallery, London. London, 1999. P. 220–222.

405

Chapman H. P. Rembrandt’s Self-Portraits: A Study in Seventeenth-Century Identity. Princeton, NJ, 1990. P. 100.

406

Sandrart J. von. Lives of Rembrandt, Baldinucci and Houbraken. London, 2007.

407

Segal S. A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600–1700. The Hague, 1988. P. 180.

408

Gowing L. Vermeer. London, 1952. P. 22.

409

Sluijter E. L. Vermeer, fame and female beauty: The Art of Painting // Vermeer Studies: Studies in the History of Art. Vol. 33. Washington DC, 1998. P. 264–283.

410

Schama S. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York, 1987. P. 522.

411

Waiboer A. E. Gabriel Metsu: Life and Work. A Catalogue Raisonné. New Haven, CT; London, 2012. P. 129–131.

412

Rembrandt and the Inspiration of India. Exh. cat. J. Paul Getty Museum, Los Angeles / ed. S. Schrader. Los Angeles, CA, 2018.

413

Smart E. The death of Ināyat Khān by the Mughal artist Bālchand // Artibus Asiae. Vol. 58. No. 3/4. 1999. P. 273–279.

414

The Jahangirnama: Memoirs of Jahangir, Emperor of India / ed. W. M. Thackston. Washington, DC, 1999. P. 279–281.

415

Chou J., Brown C. The Elegant Brush: Chinese Painting under the Qianlong Emperor, 1735–1795. Exh. cat. Phoenix Art Museum. Phoenix, AZ, 1985. P. 2.

416

«Один или два? / Мои два лика никогда не встречаются, но и никогда не расходятся. / Один может быть конфуцианцем, другой — моистом. / Почему я должен беспокоиться или даже задумываться?» Цит. по: Kleutghen K. One or two, repictured // Archives of Asian Art. Vol. 62. 2012. P. 33.

417

Sullivan M. The Meeting of Eastern and Western Art from the Sixteenth Century to the Present Day. London, 1973. P. 68.

418

Wang C. A global perspective on eighteenth-century Chinese art and visual culture // The Art Bulletin. Vol. 96. No. 4. December 2014. P. 379–394.

419

Bald R. C. Sir William Chambers and the Chinese garden // Journal of the History of Ideas. Vol. 11. No. 3. June 1950. P. 287–320. Jacques D. On the supposed Chineseness of the English landscape garden // Garden History. Vol. 18. No. 2. Autumn 1990. P. 180–191.

420

Павсаний. Описание Эллады / пер. С. Кондратьева. СПб., 1996. С. 236.

421

Crow T. Painters and Public Life in Eighteenth-Century Paris. New Haven, CT; London, 1985. P. 56.

422

Stein P. Boucher’s chinoiseries: some new sources // The Burlington Magazine. Vol. 138. No. 1122. September 1996. P. 598–604; La Chine rêvée de François Boucher: une des provinces du rococo / eds. N. Surlapierre, Y. Rimaud, A. Laing, L. Mucciarelli. Paris, 2019.

423

Дидро Д. Салон 1769 года / Пер. В. Дмитриева // Д. Дидро. Салоны. Т. 2. М., Искусство, 1989. С. 191; о прищуренном взгляде см.: Bryson N. Looking at the Overlooked: Four Essays on Still Life Painting. London, 1990. P. 91–95.

424

Waterhouse E. K. English painting and France in the eighteenth century // Journal of the Warburg and Courtauld Institutes. Vol. 15. No. 3/4. 1952. P. 122–135.

425

Egerton J. Hogarth’s Marriage A-la-Mode. Exh. cat., National Gallery, London. London, 1997.

426

Cowley R. L. S. Marriage A-la-Mode: A Re-View of Hogarth’s Narrative Art. Manchester, 1989. P. 58.

427

Uglow J. Hogarth: A Life and a World. London, 1997. P. 387–388.

428

Waterhouse E. K. English painting and France in the eighteenth century. Op. cit. P. 129.

429

Hayes J. The Landscape Paintings of Thomas Gainsborough. Vol. 1. London, 1982. P. 45.

430

Hayes J. Gainsborough: Paintings and Drawings. London, 1975. P. 213.

431

Reynolds J. Discourse XIV // Discourses on Art / ed. R. R. Wark. New Haven and London, 1975. P. 250.

432

Stephens F. G. English Children as Painted by Sir Joshua Reynolds. London, 1867. P. 32.

433

Élisabeth Louise Vigée Le Brun. Exh. cat. Grand Palais, Paris / ed. J. Baillio, X. Salmon. Paris, 2016. P. 194.

434

Платон. Федон. 68а / Пер. С. Маркиша // Платон. Собрание сочинений в 4 т. Т. 2. М., Мысль, 1993.

435

Brookner A. Jacques-Louis David. London, 1980. P. 85–86.

436

Arnason H. H. The Sculptures of Houdon. London, 1975. P. 76.

437

Honour H., Fleming J. A World History of Art. London, 1982. P. 477.

438

Francisco de Goya. Diplomatario / ed. A. C. López. Zaragoza, 1981. P. 518.

439

Шлегель Ф. Фрагменты // Шлегель Ф. Эстетика. Философия. Критика. В 2 т. Т. 1 / пер. Ю. Попова. М., 1983. С. 294–295.

440

Цит. по: Turner: Imagination and Reality. Exh. cat., Museum of Modern Art, New York / ed. L. Gowing. New York, 1966. P. 48.

441

Ibid. P. 13.

442

Здесь и далее: Вордсворт У. Прелюдия / пер. Т. Стамовой. М., 2017. С. 20–21.

443

Grave J. Caspar David Friedrich / trans. F. Elliott. Munich, 2017. P. 151.

444

Ibid. P. 157.

445

Beenken H. Caspar David Friedrich // The Burlington Magazine. Vol. 72. No. 421. April 1938. P. 175.

446

См.: Littlejohns R. Philipp Otto Runge’s «Tageszeiten» and their relationship to romantic nature philosophy // Studies in Romanticism. Vol. 42. No. 1. Spring 2003. P. 55–74.

447

Ackroyd P. Blake. London, 1995. P. 119.

448

Butlin M. The physicality of William Blake: the large color prints of «1795» // Huntington Library Quarterly. Vol. 52. No. 1. 1989. P. 1–17.

449

См.: Vaughan W. Samuel Palmer: Shadows on the Wall. New Haven, CT; London, 2015. P. 110; Псалтирь, 64:14.

450

Palmer. S. From the 1824 Sketchbook, 15 July 9 o’clock P. M. // The Parting Light: Selected Writings of Samuel Palmer. 1985. P. 100; Grigson G. Samuel Palmer: The Visionary Years. London, 1947. P. 33.

451

Письмо Самуэла Палмера Джону Линнелу от 21 декабря 1828 г., цит. по: Grigson G. Samuel Palmer: The Visionary Years. Op. cit. P. 85.

452

«Луна… Иль нет ее? / Весна… Иль это всё не та же, / не прежняя весна? / Лишь я один / всё тот же, что и раньше, но…»; цит. по: Исэ моногатари / пер. Н. Конрада. М., 1979. С. 43–44.

453

Waterhouse D. B. Harunobu and His Age: The Development of Colour Printing in Japan. London, 1964. P. 23.

454

Tanaka M. Colour printing in the west and the east: William Blake and ukiyo-e // The Reception of Blake in the Orient / eds. S. Clark, M. Suzuki. London and New York, 2006. P. 77–86.

455

Goldberg D. A. Reflections of the floating world // The Print Collector’s Newsletter. Vol. 21. No. 4. September-October 1990. P. 132–135.

456

Poster A. G., Smith H. D. Hiroshige: One Hundred Famous Views of Edo. London 1986. P. 10.

457

Eitner L. Géricault’s Raft of the Medusa. London, 1972.

458

Дневниковая запись от 5 марта 1857, см.: Делакруа Э. Дневник / пер. Т. Пахомовой. М, 2022.

459

Vigne G. Ingres / trans. J. Goodman. New York, 1995. P. 68–70.

460

Rosen C., Zerner H. The Juste Milieu and Thomas Couture // Romanticism and Realism: The Mythology of Nineteenth-Century Art / eds. C. Rosen, H. Zerner. London, 1984. P. 117–118.

461

Banville T. de. Le Salon de 1861 // Revue fantaisiste 2. Juillet 1861. P. 236; Baudelaire. Salon de 1859 // Oeuvres complètes de Charles Baudelaire. T. 2: Curiosités esthétiques. Paris, 1868. P. 329.

462

Church’s Great Picture ‘The Heart of the Andes’. Exh. cat., Metropolitan Museum, New York / ed. K. J. Avery. New York, 1993; Гумбольдт А. Космос. Опыт физического мироописания. Ч. 1 / пер. Н. Фролова. М., 1862. С. 8.

463

Church’s Great Picture ‘The Heart of the Andes’. Op. cit. P. 31.

464

Young G. A. Aesthetic archives: the visual language of Plains ledger art // The Arts of the North American Indian: Native Traditions in Evolution / ed. E. L. Wade. New York, 1986. P. 45–62.

465

The Plains Indians: Artists of Earth and Sky. Exh. cat., Metropolitan Museum of Art, New York / ed. G. Torrence. New York, 2015. P. 83.

466

Schaaf L. J. Sun Gardens: Victorian Photograms by Anna Atkins. New York, 1985.

467

Cox J. «To… startle the eye with wonder & delight»: the photographs of Julia Margaret Cameron // Julia Margaret Cameron: The Complete Photographs / eds. J. Cox, C. Ford. London, 2003. P. 42.

468

Thoré T. Nouvelles tendances de l’art // Salons der Th. Thoré, 1844–1848. Paris, 1868.

469

Schapiro M. Courbet and popular imagery: an essay on realism and naïveté // Journal of the Warburg and Courtauld Institutes. Vol. 4. No. 3/4. April 1941 — July 1942. P. 168.

470

Clark T. J. Image of the People: Gustave Courbet and the 1848 Revolution. London, 1973.

471

Leslie C. R. Memoirs of the Life of John Constable: Composed Chiefly of His Letters. London, 1845. P. 15; русский перевод: Лесли Ч.-Р. Жизнь Джона Констебля, эсквайра / пер. Р. Сефа, Л. Мирцевой. М., 1964.

472

Ibid. P. 93.

473

Ibid.

474

Tocqueville A. de. Journeys to England and Ireland / trans. G. Lawrence, K. P. Mayer. London, 1958. P. 67.

475

Paz O. ‘I, a painter, an Indian from this village… // Essays on Mexican Art / trans. H. Lane. New York, 1993. P. 89. См. также: Tibol R. Hermenegildo Bustos, pintor del pueblo. Guanajuato, 1981.

476

Weisberg G. P. The Realist Tradition: French Painting and Drawing, 1830–1900. Exh. cat. Cleveland, Museum of Art, 1980. P. 82–86.

477

Sensier A. La vie et l’oeuvre de J. F. Millet. Paris, 1881. P. 130.

478

Huysmans J.-K. L’art moderne. Deuxième édition. Paris, 1902. P. 138.

479

Kleinstück-Schulman C. Adolf Menzel: The Quest for Reality. Los Angeles, CA. 2017. P. 235.

480

Из описания картины самого Менцеля, цит. по: Adolph Menzel 1815–1905: Between Romanticism and Impressionism. Exh. cat., National Gallery, Washington, DC / eds. C. Keisch, M. U. Riemann-Reyher. Washington, DC, 1996. P. 385.

481

Бодлер Ш. Поэт современной жизни / пер. Н. Столяровой, Л. Липман // Ш. Бодлер. Цветы зла. Обломки. Парижский сплин. Искусственный рай. Эссе, дневники. Статьи об искусстве. М., 1997. С. 800.

482

Bowness A. Poetry and Painting: Baudelaire, Mallarmé, Apollinaire and Their Painter Friends. Oxford, 1994. P. 7.

483

См.: II. Зарисовки нравов в Бодлер Ш. Поэт современной жизни. Указ. соч.

484

Schivelbusch W. Disenchanted Night: The Industrialisation of Light in the Nineteenth Century / trans. A. Davies. Berkeley and Los Angeles, CA, 1988. P. 56.

485

Mallarmé S. The Impressionists and Édouard Manet // The Art Monthly Review and Photographic Portfolio. 30 September 1876.

486

Письмо Моне Базилю, сентябрь 1868 г. Ревалд Д. История импрессионизма / пер. П. Мелковой. Л.; М., 1959. С. 140.

487

Wedmore F. Pictures in Paris — the exhibition of «Les Impressionistes» // The Examiner. 13 June 1874. P. 633–634. Воспроизведено в Lilley E. A rediscovered English review of the 1874 Impressionist exhibition // The Burlington Magazine. Vol. 154. No. 1317, December 2012. P. 843–845.

488

Moore G. Impressions and Opinions. London, 1891. P. 308.

489

Kendall R., Devonyar J. Degas and the Ballet: Picturing Movement. Exh. cat., Royal Academy, London. London, 2011. P. 22; Browse L. Degas Dancers. London, 1949. P. 54.

490

Huysmans J.-K. Exhibition of the Independents in 1880 // J.-K. Huysmans. Modern Art / trans. B. King. Sawtry, 2019. P. 123.

491

Цит. по: Mary Cassatt: Prints. Exh. cat., National Gallery, London / ed. K. Adler. London, 2006. P. 9. О методе Кассат: Shackelford G. Pas de deux: Mary Cassatt and Edgar Degas // Barter, Mary Cassatt: Modern Woman. Exh. cat., The Art Institute of Chicago / ed. A. Judith. Chicago, IL, 1998 P. 109–143.

492

Ревалд Д. История импрессионизма. Указ. соч. С. 134.

493

Moore G. Impressions and Opinions. Op. cit., P. 313.

494

Ruskin J. Modern Painters. Vol. IV. Of Mountain Beauty. London, 1856. P. 92. «И поэтому те пустынные и грозные хребты темных гор, на которые практически во все века люди смотрели с отвращением или с ужасом и бежали от них, как от извечных образов смерти, в действительности являются источником жизни и счастья, гораздо более полным и благодетельным, чем любые яркие плоды равнины» (P. 100).

495

Tanaka H. Cézanne and «Japonisme» // Artibus et Historiae. Vol. 22. No. 44. 2001. P. 209.

496

Reff T. Cézanne and Poussin // Journal of the Warburg and Courtauld Institutes. Vol. 23. No. 1/2. January — June 1960. P. 150–174.

497

Danchev A. The Letters of Paul Cézanne. London, 2013. P. 334.

498

Цит. по: Denis M., Fry R. Cézanne — I // The Burlington Magazine. Vol. 16. No. 82. January 1910. P. 207–219.

499

Цит. по: Половинкина О. От реализма к натурализму // Литература. № 6. 2005.

500

«Дерзновенно красная крыша, белая стена, зеленый тополь, желтая дорога и голубая вода. До Японии всё это было невозможно — художник всегда лгал». Duret T. Histoire des peintres impressionnistes: Pissarro, Claude Monet, Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin. Paris, [1874] 1922. P. 176.

501

Письмо Ван Гога Полю Гогену от 3 октября 1888 г.: Vincent Van Gogh: The Letters; The Complete Illustrated and Annotated Edition / eds. J. Leo, H. Luijten, N. Bakker. London and New York, 2009. Vol. 4. P. 304–305.

502

Ван Гог В. Письма / пер. П. Мелковой. М.; Л., 1966. С. 366.

503

Sund J. The sower and the sheaf: biblical metaphor in the art of Vincent van Gogh // The Art Bulletin. Vol. 70. No. 4. December 1988. P. 660–676.

504

Van Gogh & Japan. Exh. cat., Van Gogh Museum, Amsterdam / eds. N. Bakker, L. van Tilborgh. New Haven, CT, 2018. P. 26–27.

505

Письмо Поля Гогена Винсенту Ван Гогу, 26 сентября 1888 г.; цит. по: Декс П. Поль Гоген / пер. С. Суркова. М., 2003.

506

Bernard E. Souvenirs inédits sur l’artiste peintre Paul Gauguin et ses compagnons lors de leur séjour Pont-Aven et au Pouldu. Paris, 1939. P. 9–10; Herban M. The origin of Paul Gauguin’s Vision after the Sermon: Jacob Wrestling with the Angel (1888) // The Art Bulletin. Vol. 59. No. 3, September 1977. P. 415–420.

507

Письмо Поля Гогена Эмилю Шуффенекеру, август 1988 г.; цит. по. Ревалд Д. История импрессионизма. Указ. соч. С. 358.

508

Childs E. C. Vanishing Paradise: Art and Exoticism in Colonial Tahiti Berkeley, CA, 2013. P. 71.

509

Frèches-Thory C. The paintings of the first Polynesian sojourn // Gauguin Tahiti: The Studio of the South Seas. Exh. cat., Galeries Nationales du Grand Palais, Paris / eds. G. T. M. Shackleford, C. Frèches-Thory. Paris, 2004. P. 24.

510

Wright A. Paradise lost: Gauguin and the melancholy logic of reproduction // Paradise Remembered: The Noa Noa Prints. Exh. cat., Princeton University Art Museum in Alastair Wright and Calvin Brown. Princeton, NJ, 2010. P. 56.

511

Adorning the World: Art of the Marquesas Islands. Exh. cat., Metropolitan Museum of Art, New York / eds. E. Kjellgren, C. S. Ivory. New Haven, CT; London, 2005. P. 11.

512

Caldeira L., Hellmich C., Kaeppler A. L., Kam B. L., Rose R. G. Royal Hawaiian Featherwork: na hulu ali’i. Exh. cat. M. D. de Young Museum, San Francisco. Honolulu, HA, 2015. P. 26.

513

Kaufmann C. Korewori: Magic Art from the Rainforest. Exh. cat. Museum der Kulturen, Basel. Honolulu, HA, 2003. P. 25.

514

Moréas J. Le symbolisme // Le Figaro. 18 September 1886.

515

Малларме С. О литературной эволюции / пер. Г. Косикова // Поэзия французского символизма. М., 1993. С. 424–426; Wilson E. Axel’s Castle: A Study in the Imaginative Literature of 1870–1930. New York, 1931. P. 17.

516

Whitfield S. Fragments of an identical world // Bonnard. Exh. cat., Tate Gallery, London. London, 1998. P. 11; Watkins N. Bonnard. London, 1994. P. 21–22.

517

Carey F., Griffiths A. From Manet to Toulouse-Lautrec. French Lithographs, 1860–1900. Exh. cat. British Museum, London. London, 1978. P. 13.

518

Japonisme d’Art // Le Figaro Illustré. February 1893.

519

Deans J. Carved columns or totem poles of the Haidas // The American Antiquarian. Vol. XIII. No. 5. September 1891. P. 283

520

Deans J. The moon symbol on the totem posts on the northwest coast // The American Antiquarian. Vol. XIII. No. 6. November 1891. P. 342.

521

Attenborough D. The Tribal Eye. London, 1976. P. 30.

522

Joyce T. A. A totem pole in the British Museum // The Journal of the Anthropological Institute of Great Britain and Ireland. Vol. 33. 1903. P. 90–95.

523

Müller-Westermann I. Hilma af Klint — A Pioneer of Abstraction. Exh. cat., Moderna Museet, Stockholm. Ostfildern, 2013. P. 37.

524

Ruskin J. Modern Painters. Vol. IV. Of Mountain Beauty. Op. cit. P. 100.

525

Flam J. Matisse: The Man and His Art, 1869–1914. London, 1986. P. 283.

526

Цит. по: Матисс А. Заметки живописца / пер. Е. Георгиевской. СПб., 2001.

527

Там же.

528

Fry R. Vision and Design. London, 1920. P. X.

529

Маринетти Ф. Т. Первый манифест футуризма (1909) / пер. М. Энгельгардта.

530

Milner J. Mondrian. London, 1992. P. 67.

531

Mondrian P. The new plastic in painting (1917). Repr. // The New Art — The New Life: The Collected Writings of Piet Mondrian / eds. and trans. H., Holtzman, M. S. James. London, 1987. P. 28–31.

532

Mondrian P. Plastic art and pure plastic art (1936). Repr. // The New Art — The New Life: The Collected Writings of Piet Mondrian. Op. cit. P. 289–300.

533

Ibid. P. 292.

534

Шкловский В. Искусство как прием // В. Шкловский. О теории прозы. М., 1984. С. 15.

535

Малевич К. От кубизма и футуризма к супрематизму. Новый живописный реализм // К. Малевич. Собрание сочинений в пяти томах. Т. 1. М., 1995. С. 35–56.

536

Passos J. D. Paint the Revolution // New Masses. New York, March 1927. P. 15.

537

Эррера Х. Фрида Кало / пер. К. Сошинской. М., 2007. С. 84.

538

Там же. С. 101.

539

Херцфельде В. Первая международная дада-ярмарка. Введение // Дадаизм в Цюрихе, Берлине, Ганновере и Кёльне: тексты, иллюстрации, документы / пер. С. Дмитриева. М., 2001. С. 200.

540

Freud S. Creative writers and day-dreaming, 1908 // S. Freud. Collected Papers. Vol. 4 / ed. J. Strachey. London, 1959. P. 141–153.

541

Eldredge C. C. Georgia O’Keeffe. New York, 1991. P. 82–83.

542

Бретон А. Манифест сюрреализма / пер. Л. Андреева, Г. Косикова // Называть вещи своими именами: Программные выступления мастеров западноевропейской литературы XX века. М., 1986. С. 56.

543

Ades D. Dalí: The Centenary Retrospective. Exh. cat., Palazzo Grassi, Venice. London, 2005. P. 118.

544

Dalí S. The Rotting Donkey // D. Ades. Dalí: The Centenary Retrospective. Op. cit. P. 550–551; Dalí S. L’Âne pourri // La Femme visible. Paris, 1930. P. 11–20.

545

Klee P. On Modern Art. London, 1945. P. 51.

546

Hohl R. Alberto Giacometti. Sculpture, Painting, Drawing. London, 1972. P. 101.

547

Johnson J. W. Harlem: the culture capital // The New Negro: An Interpretation / ed. A. Locke. New York, 1925. P. 301–311.

548

Porter J. A. Modern Negro Art. New York, 1943. P. 151.

549

Ibid. P. 151.

550

См.: Хайдеггер М. Исток художественного творения / пер. А. Михайлова. М., 2008.

551

Сартр Ж. П. Экзистенциализм — это гуманизм / пер. А. Санина // Сумерки богов. М., 1990.

552

Newman B. The first man was an artist // The Tiger’s Eye. No. 1. October 1947; Repr. Newman B. Selected Writings and Interviews. Berkeley, CA, 1990. P. 160.

553

Rosenberg H. The American action painters // ARTnews, January 1952. P. 22–23, 48–50; русский перевод: Розенберг Г. Американские художники-боевики // Г. Розенберг. Традиция нового / пер. О. Демидовой. М., 2019.

554

Krauss R. Terminal Iron Works: The Sculpture of David Smith. Cambridge, MA, 1971.

555

Clark L. The Bichos (1960) // Lygia Clark: The Abandonment of Art, 1948–1988. Exh. cat., Museum of Modern Art, New York / eds. C. H. Butler, L. Pérez-Oramas. New York, 2014. P. 160; Clark L. Letter to Piet Mondrian, May 1959 // Lygia Clark: The Abandonment of Art, 1948–1988. Op. cit. P. 59; Fer B. Lygia Clark and the problem of art // Lygia Clark: The Abandonment of Art. Op. cit. P. 223–228.

556

Цит. по: Moorhouse P. Interpreting Caro. London, 2005. P. 12.

557

Stonard J.-P. Pop in the age of boom: Richard Hamilton’s Just What Is It That Makes Today’s Homes So Different, So Appealing? // The Burlington Magazine. Vol. CXLIX. No. 1254. September 2007. P. 607–620.

558

Уорхол Э., Хэкетт П. ПОПизм: Уорхоловские 60-е / пер. Л. Речной. М., 2016. С. 67.

559

Беньямин В. Произведение искусства в эпоху его технической воспроизводимости / пер. С. Ромашко // В. Беньямин. Краткая история фотографии. М., 2020. С. 62–120.

560

Andrews J. F. Painters and Politics in the People’s Republic of China, 1949–1979. Berkeley, CA, 1994. P. 365.

561

Ibid. P. 365.

562

Siegel K. Art, world, history // Postwar: Art between the Pacific and the Atlantic, 1945–1965. Exh. cat., Haus der Kunst, Munich / eds. O. Enwezor, K. Siegel, U. Wilmes. Munich, 2016. P. 49.

563

Baldwin J. The Fire Next Time. London, 1963. P. 80.

564

Цит. по: Traces: Ana Mendieta. Exh. cat., Hayward Gallery, London / ed. S. Rosenthal. London, 2013. P. 208.

565

Beuys zu Ehren. Exh. cat. Städtische Galerie im Lehnbachhaus, Munich / ed. A. Zweite. Munich, 1986; Joseph Beuys, Das Ende des 20. Jahrhunderts: Die Umsetzung vom Haus der Kunst in die Pinakothek der Moderne München / Joseph Beuys, The End of the 20th Century: The Move from the Haus der Kunst to the Pinakothek der Moderne Munich / eds. B. Heimberg, S. Willisch. Munich, 2007.

566

Owens C. The Medusa effect or, the spectacular ruse // We Won’t Play Nature to Your Culture: Barbara Kruger. Exh. cat. ICA, London / eds. I. Blazwick, S. Nairne. London, 1983. P. 6.

567

Shone R. Rachel Whiteread’s «House», London // The Burlington Magazine. No. 1089. December 1993. P. 837–888.