- GILL, ERIC: Last Essays, London, Jonathan Cape, 1942, p.10.
- WYLDE, CECIL (Ed.): Universal English Dictionary, London, 1932.
- READ, HERBERT: The Meaning of Art, Penguin-Faber & Faber, 1956, p. 14.
- cf. OGDEN, C.K., RICHARDS, I.A., WOOD, JAMES: The Foundation of Aesthetics, London, Allen & Unwin, 1922:- “‘Beauty is pleasure regarded as a quality of a thing’ (Santayana). All pleasures are intrinsic and positive values, and beauty is conditioned by the objectivation of pleasure.” Objectification, or projection, have an implied meaning which may be linked with the Einfühlung of Worringer, (P.53).
- READ, HERBERT: Icon and Idea, London, Faber, 1955, pp. 74 and 75.
- GILL, ERIC: op. cit., p.10. Note: Gill also wrote of the usefull arts-writing, drawing, painting and engraving-“they are like language itself, a means of communication”. Ibid., p.57.
- Gustaf Britsch made a clear-cut distinction between art and non-art by drawing a line between man-made forms and nature. He insisted that only those objects which through the artistic powers of man attain a form independent of the form of nature can be considered art since only they are created subject to artistic laws.—From ANDERSON, WAYNE V.: A Neglected Theory of Art History, The Journal of Aesthetics and Art Criticism, vol. XX/4, 1962. (U.S.A.).
- OGDEN, RICHARDS, WOOD: op. cit., p. 20.
- READ, HERBERT: Art and Society, London, Faber, 1936.
- KÜLPE: The Conception and Classification of Art, Toronto, quoted ibid., p.3.
- READ, HERBERT: The Discipline of Art, in symposium, Education Today, 1949–1950, New York, Columbia Univ. Press, Teachers College, 1950, p.9.
- THOMPSON, D'ARCY WENTWORTH: On Growth and Form, Cambridge, 1942, new edition, p.6. cf. ref. 7 above. Britsch took up the standpoint that that which imitated nature could not have the meaning of art since the visible appearance of such a work is fixed by natural laws. This differentiation is found also in the writings of Fiedler: “Thus it is that art has nothing to do with forms that are found ready-made prior to its activity and independent of it. Rather, the beginning and the end of artistic activity reside in the creation of forms which only thereby attain existence. What art creates is no second world alongside the other world which has an existence without art; what art creates is the world, made by and for the artistic consciousness. Nature can never become an object of artistic representation”. Quoted by Wayne V. Andersen, op. cit., p.395-from FIEDLER, On Judging Works of Art, trans. Henry Schaefer-Simmern and Fulmer Mood (Berkeley and Los Angeles, 1959) sec. ed. Britsch and in general the followers of Fiedler maintained that artistic activity is a creation of order out of chaos (ibid.) but this seems only true of the broad visual aspects of nature. Natural growth is the antithesis of choas.
- Some paintings, particularly through their colour, seem to be capable of arousing olfactory sensations.
- FIEDLER, CONRAD, quoted by Herbert Read, A Letter to a Young Painter, London, Thames & Hudson, 1962, p. 14. Cf. ref. 12 above.
- READ, HERBERT: Art and Society, p. 8. Cf. BRITSCH, GUSTAF: Theorie der bildenden Kunst, Ratigen, A. Henn Verlag, 1966 (reprint of 1930 edition). Britsch makes an exhaustive and important study of the significance of line in the evolutionary development of drawing in this volume.
- MARITAIN, JACQUES: Art and Scholasticism, trans. J.F. Scanian, London, Sheed & Ward, 1943:-“A work of art is kneaded and prepared before emerging into matter”, and “The work to be done is merely the matter of art, the form of it is the undeviating reasons”, (p.8).
- FIEDLER, CONRAD: quoted by Herbert, op. cit., p. 14.
- Cf. READ, HERBERT, Art and Society, p. 12 et seq., and Icon and Idea, p.52 et seq. In these references Read shows that he subscribes to the theory of the spontaneous development of primitive art, which, as with the art of children, grows from chance scribbling and the recognition of forms.
- Haptic is a word invented by Lois Riegl, an Austrian art historian, to describe types of art in which the forms are dictated by inward sensations. Cf. Read, H., Icon and Idea, p.52.
- Read attributes a faculty for eidetic imagery to the paleolithic rock painters who evinced such a remarkable facility in their realistic mode of representation of animals, vide Icon and Idea, p. 23.
- RAPHAEL, MAX: Prehistoric Pottery and Civilisation in Egypt, p.89, quoted by Herbert Read, op. cit., p.43.
- LOWENFELD, VIKTOR: Creative and Mental Growth, New York, MacMillan, 1953. Lowenfeld, in this work, identifies two extreme mental types which he sets one against the other-the haptic and the visual-and these two opposite types give rise to expressionism, which is subjective, and impressionism, which is objective, in their orientation, respectively.
- Cf. JACOBENSON, EGBERT, Basic Color, Chicago, 1948, p. 35.
- READ, HERBERT: A Letter to a Young Painter, p.43.
- READ, HERBERT: Icon and Idea, p. 18.
- Ibid., p. 18.
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