Index
305 INDEX ABC der Anschauung (Buss), 59–61 A-B-C of Aesthetics, The (Stein), 134 Abduction of the Daughters of Lycippus (Rubens), 184 abstract art, appreciation of, 240 abstracted design elements, Ross’s use of, 249 abstraction, 248; as universal language of machine age, 136 abstract motifs, cultural explanation of, 8 Académie Julian, 48, 89, 262n44 Accademia del Disegno, 2, 56 Adams, Henry, 16, 24–26, 81, 232–33, 235 Aesthetic Principles (DeGarmo), 217 aesthetics: connection with perception and geometry, 253; philosophical and psychological treatment of, 127; philosophy of, 243; psychophysical, 112; science of, 105 Aesthetics and History (Berenson), 128, 131 Aesthetische Idee, Die (Konijinenburg), 170 Agassiz, Louis, 108 Albers, Josef, 88; Interaction of Color, 1 Alberti, Leon Battista, 144 Allen, Grant, 112 American Academy of Arts and Sciences, 43; Ross’s election to, 28 American aesthetic thought, Ruskinian attitudes in, 103 American Architect, 150–51, 162 American Ceramic Society, 169 American Collegiate Schools of Architecture, 209 American Institute of Architects, Education Committee, 176–77 American Philosophical Association, 121–22 American Psychological Association, 122 Appleton, William Sumner, 1–2, 93–94, 181, 196, 254 applied psychology, origin of term, 114 appreciation: as disinterested interest, 122; faculties for, 121; objective basis for, 109; physical act of, 125–26; as physical sensation, 129; physiological perception and, 130; use of term, 6–7; vs. instruction, 240 architectural education, development of, 176–81 architectural history, and pure design, 194–98 Architectural League of America, 164, 209 Architectural League of New York, 162 Architectural Principles in the Age of Humanism (Wittkower), 170 architectural profession, and pure design, 205–9 Architectural Record, 162, 193 Architectural Rendering in Wash (Magonigle), 207–9 architecture: as fine art, 177; form and, 129 Architecture (journal), 162 Architecture, Mysticism, and Myth (Lethaby), 154 Architecture 7 (course), 178, 180, 193, 244 Aristotle, 108, 278n44; Poetics, 183, 233; Politics, 191, 233 Armory Show (1913), 136, 151 Arnheim, Rudolf, 9 Arnold, Matthew, 233 306 : Index art: benefits of study and practice of, 4– 5; and geometry, 78; John Stuart Mill’s definition of, 32; as motive and execution, 82; place of expression in, 251; practice of, 44–52; rational basis of, 250; Ross’s interest in, replacing history, 43–44 Art and Education (Dewey), 253 Art and Freedom (Kallen), 193 art appreciation courses, 248 Art as Experience (Dewey), 253 art deco, 152 art educators, and Summer School Course, 216–19 ‘‘art for art’s sake,’’ 84, 118 Art for Art’s Sake (Van Dyke), 7 Art for the Eye: Suggestions for School Decoration (Turner), 7, 218 art historians. See names of individuals art history: and art appreciation, 248; and art practice, 195; Norton and, 31, 36; and objects, 186; and physiological psychology, 110 Art Institute of Chicago, 210; Scammon Lectures, 162 Arts and Crafts movement, 26–27, 215, 225, 275n54; and pure design, 225–30; Ross and, 230–35 Art Students League, 143 Ashcan School, 3–4, 141–42 Ashwin, Clive, 60 Asian art, 175; Berenson and, 127–28. See also Chinese art; Japanese art Association of Collegiate Schools of Architecture, 213 Atkinson, Robert, 201, 214 attitude, effect of, 85 Austin, A. Everett ‘‘Chick,’’ Jr., 3, 194, 203, 254 Back Bay (Boston), investment in, 20 Bailey, Henry T., 194, 210, 220–23 Bain, Alexander, 112 balance, 4, 114, 184, 199; analysis of, 84– 86; asymmetrical, 231; Berenson and, 130; experience of, 131; and measure, 124; and order, 206; principles of, 181, 249; and symmetry, 124; of tone relations, 87–88 Barnes, Albert C., 5; attack on Ross, 253 Barr, Alfred, Jr., 193 Barry, Elizabeth, 240 Bases of Design, The (Crane), 7 Batchelder, Ernest, 213, 225–28, 254; Design in Theory and Practice, 228; Principles of Design, 225–27 battle of the styles, 176 Bauhaus, 1–3, 214, 249 Beautiful, The (Lee), 130 Beautiful Necessity, The (Bragdon), 162, 165, 169 beauty, 109; and architecture, 177; defined in Kantian terms, 116; as expression of harmony, balance, and rhythm, 206; geometrical basis of, 162; as goal of Art, 105, 270n17; instructional value of, 81; laws of, 165; Lee and, 130–31; Münsterberg and, 122; and order, 276n10; outline, as visual determinant of, 107–8; perception of, 104; and physiopsychologicalperception,133; rational understanding of, 199; sense of, 118, 237, 254 ‘‘Beauty and Ugliness’’ (Lee), 130 Bellows, George, 141, 254; Elinor, Jean, and Anna, 156–57; Evening Group, 96 Berenson, Bernard, 4, 13, 104, 114, 134, 252; Aesthetics and History, 128, 131; and Asian art, 127–28; Florentine Painters of the Renaissance, 114...
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