The Cubist Detective, or the Eclipse of the Flâneur

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Notes

Notes

1.  See Mark Cheetham for a detailed analysis of Mondrian's (and Kandinsky's) development of abstract painting as an antidote to the deceptiveness of the apparent world.

2.  For an account of Bertillon's method, which developed out of Johann Caspar Lavater's late-eighteenth century attempt to systematize the study of character through physiognomy and Franz Joseph Gall's early-nineteenth century phrenological studies, see Alan Sekula.

3.  My account of Picasso's use of what Pierre Daix has called “clue-objects” (82) is indebted to the observations made by Douglas Cooper (50), John Golding (90), and recently Natasha Staller.

4.  While Apollinaire seems to have no copy of Maurice Leblanc's tales of Arsène Lupin, he did own some twelve books by Sir Arthur Conan Doyle. See Boudar.

5.  Krauss elaborates on this in a number of essays on Cubism, one of which is included in the seminar that took place during the exhibition.

6.  Krauss’ argument has been largely uncontested for over two decades, and versions of it have been presented by a number of scholars since (Yve-Alain Bois, Christine Poggi most prominently). The flaw that I have pointed out here has not been addressed in the literature, although it is, I believe, implicit in the complex argument provided recently by Pepe Karmel (99–194).