Books Received

480 Books-Livres appeared here and in England, showing 'the stress now attached to art history' has given art libraries greater prominence than before. Besides the excellence of the technical material in this small volume, a general reader can gain insight into how material is arranged in catalogues and how periodical articles are classified in the various indexes, as Broxis stresses the importance of the Art Index and the British Humanities Index in locating relevant material. One of the most valuable chapters in this book is the position the author gives to visual materials in a library. Quoting Frederick Cummings, Curator of European Art at the Detroit Institute of Arts, he notes that 'an art library is made unique by its visual collections'. This is ofparamount significance for teachers and researchers, as the properly stored photographs or reproductions, coinciding with a substantial slide collection, are key areas for education in the arts. This volume clearly notes the role of the slide library and carefully presents guidelines for the formation of such a collection. Thus, for all these reasons, Organising the Arts is a good handbook or reference guide for those interested in proper ways of classifying, storing and using material relating to the fine arts. The book by Williams J. Dane expands upon the guidelines for the visual collections in Broxis' volume. This small book shows how visual material has been selected at the Newark Public Library, Newark, New Jersey for nearly seventy years. But instead ofpresenting a history ofcollecting material, it provides the different subject headings under which the pictures can be found in the library. A short introduction states how pictures have been selected, the easy accessibility of the material, the formation of the slide collection and the acquisition ofposters by the Public Library. The text, in noting that it 'is hoped that this list will serve as a guide to picture classifiers particularly those establishing new collections', reinforces the reason for the publication of this volume, which clearly serves ..as a practical extension ofsome of the concepts noted by Broxis in the last chapter of his book. It is hoped that researchers, art historians, artists and lovers of the fine arts will use these two books as they clearly provide methods of finding art material. While they occasionally become very technical, both volumes are worthy of examination. Catalogue of Reproductions of Paintings-1860 to 1969. Ninth Edition. Unesco, Paris, 1969. 549 pp., illus. $8.50 £2.55 34 Fr. Francs. The purpose of this catalogue was 'to make the masterpieces of painting more widely known by promotingthe reproduction and distribution ofhighquality colour reproductions on a world scale'. The text is in English, French and Spanish. Reproductions of over 1500 paintings, selected by a committee of experts, are listed and illustrated in black and white. The criteria of selection were the fidelity of the colour reproduction, the significance of the artist, the importance of the original painting and availability for purchase of single copies. A copy of each reproduction is kept in the archives of Unesco in Paris. There is an index of painters represented (over 250), a list of publishers (over 100) and a list of printers (over 125). Addresses and instructions for ordering copies of reproductions are provided. Although the catalogue is intended to be a guide to available good reproductions, it can also serve as a compact and convenient reference book. BOOKS RECEIVED Architecture Since 1945, J. Joedicke, Pall Mall Press, London, 1969, 179 pp., illus. £5.25. Australian Abstract Art, P. McCaughey, Oxford University Press, Melbourne, 1969, 32 pp., illus. Clefs pour l'esthetique, E. Souriau, Editions Sechers, Paris, 1970, 189 pp. Cultural Policy in Great Britain, M. Green and M. Wilding, Unesco, Paris, 1970, 62 pp. The Hand and Eye ofthe Sculptor, P. W. Schwartz, Pall Mall Press, London, 1969, 244 pp., iHus., 84s. The History and Philosophy of Art Education, S. Macdonald, University of London Press, London, 1970,400 pp., illus., £4.20. The New Painting, U. Kultermann, Pall Mall Press, London, 1969, 207 pp., illus., £7. Op Art, C. Barrett, Studio Vista, London, 1970, 192 pp., ilIus., £4.20. Renaissance and Renascences in Western Art, E. Panofsky, Granada Publications, London, 1965...