Interactions and answers

Rochester Institute of Technology

RIT Scholar Works

Theses

Thesis/Dissertation Collections

5-1-1989

Interactions and answers

Philip Murray

Follow this and additional works at:

http://scholarworks.rit.edu/theses

Recommended Citation

ROCHESTERINSTITUTEOFTECHNOLOGY

A Thesis Submittedto the

Faculty

of

The CollegeofFineandAppliedArts

in

Candidacy

fortheDegreeof

MASTER OF FINEARTS

INTERACTIONS & ANSWERS

BY

Philip Murray

Advisor: David C. Dickinson/

Date:

,/~

r f _

-Ass

Advisor: Robert Heishman!

_

Date:

/)VI1?<{flYJ

Special Assistant to the Dean forvCWaduate Affrrs:.

Philip Bornarthl,...---,...--,,...-

_

Date:

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(~

Dean, College of Fine and AppliedArts.:

Dr.

Robef H.lohn-tn! --",

-Date:

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l;rq

I

I

I,

, Hereby grant permission to the Wallace Memorial

Library of RIT, to reproduce my thesis in whole or in part. Any reproduction will not be

for commercial use or profit.

I WISH TO DEDICATE THIS THESIS

TO

INTRODUCTION

This

thesis report was written on the basisof_addressing that which describes what I

have come to believe to be the personal _process, thatresults in theproduction of an art

work. Thethesis hasservedthis_{purpose, clarifing,}and

justifing

some personalbeliefs as

INTERACTIONS

Interaction is an _activity, an _occurrence, observed and understood

by

a sensitive

individual,

an artist. It is a process _{resulting in:} a _comparison, a confrontation, or an

assimilation of_events, visual conditions or activities that _may

be

described as life. The

interaction

ofman with his natural _environment, and its elements, _{may be} defined as a

communication ordialoguewithnature, a continuous_activity

PAUL KLEE

"Communicationwith nature remainsthemost essentialcondition. The artistis

human,

himselfnature,part of naturewithin natural

space."

(1)

Selecting

materials provided

by

theenvironment establishes aphysicalcommitment

by

theartisttointeractwithnature. This interactionisreinforcedthrough adirectobservation,

andcontinued to

develop

through aresponsetosociety,or a particularhumancondition.

Theindividual's interaction withnatureis a

dialogue,

which determines_questions,that

inspire and serve asthebasis foraninquiry. The

inquiry

isaprocessor means of_sorting

out the _manyquestions that occur through the dialogue. Thisprocess will work, on the

basisthat theartistknowsand understandshisorherown

individuality,

and whatheor she

is

mostsensitive to,and respondsto, throughthe interaction.

ROBERTMOTHERWELL

"Asubject emerges out ofan interactionbetween_{myself,my I}, andmy medium."

QUESTIONS

Inorderfortheindividualtofeela sense of completecommitment,an an_{understanding}

mustbemade.

HERBERT READ

"Thewilltobean artist emergesfromtremendousinner_{conflicts...,} and it is only when all these have been resolved (and it is a problem which involves theindividual's_relationshipto_societyas awholeaswell as tohis immediate

family

_{environment) only} then can he face the considerable

hazards of an artistic

career."

(3)

Once theartisthascometo thisunderstanding, theinteraction anddialoguearefreeto

continue, withasearch or investigation.

PAUL KLEE

"The father ofthe arrow is the _thought; how do I expand _my reach? Over this river? This lake? That mountain? The contrast between man's ideological capacity tomove atrandomthroughmaterial andmetaphysical spaces andhisphysical

limitations,

istheoriginof all

tragedy."

(4)

The_arrow,or sense of motivation to

interact,

creates ideas tosearch forthe response

to particular questions.

Questions and decisions continue, contributing to _making more decisions as the

JASPER JOHNS

"I

was

interested

in what was _seen, and what was not seen. One

wanted to avoid the

idea

of an

interpretation,

and I know how simple

minded

it is

-

but

never the

less

those sorts of

images

gave a sense of

objectivity

ratherthan ofsubjectivity. Andthen one could deal with the question of when you see

it,

when you

don't

see

it,

whatdoyou _see, what do you thinkit

is,

howdoyou change what you see, and whatdifferences

dothesechanges maketo what you see and what youthink. It'sarich area fornuance there. Itsa_prettylimitedareaifyou are_goingto make a _strong

point. ButIwasinterested inthekindof_{nuance,modulation,play}between thinking,seeing, saying and

nothing."

(5)

Thesearchfora responsetoa question travelsa circular route.

Returning

to thebasis

of: _observing one's _{environment, responding} to a particular human condition, and an

application of a material or media. Question: Shall Imirror whatIsee,or changeit ?

GERTRUDE STEINonPABLO PICASSO "

His drawingswere notofthings seenbutofthings expressed.

"(6)

The interaction continues and ideas make themselves visible as questions to be

resolved.

REALITY

Reality

and _somethingaboutit can serve as a source of

ideas,

initiating

responsesto

the questions. How reality and nature are

interpreted,

is what the art _may become.

Revealing

a_realityabout_nature, thatisnot visibletoall, isa responsetoa question. The

onlyberecognized

by

himself.

PAUL KLEE

"

Art does not reproducethe visible;rather,itmakesvisible."(7)

"Torevealthe_realitythatis behindvisible_things,"(8)

Based upon what is _observed, the artist is free to make changes in his or her

observations of_nature, anditsappearance.

MEDIA

Theapplication ofones materialsor_medium,isan

interaction;

andits relationshipto the

questionsuncovered

by

theartist,revealmore questions. WhatcanIuse, andhow ? An answerto thequestion ofwhat,and

how,

will_onlycomefrom aninteractionwith a media.

A direction is

found,

questions are _resolved, and the artist's _sensitivity to what media is

being

used, developsand growswiththeinteraction.

JIM DINE

"

Like Giacometti not in his drawings somuchas inthe sculpture, in the _{way it}wascorrectedand_corrected, that'sabout

drawing

to"

(9)

ARTHUR DOVE

"Then there was the search for a meansof expression... There was a

long

period of _{searching for} a _{something in} color which I then called a "conditionof

light."

Itappliedtoallobjects.

evaluation and review occurs. A process that will reveal additional questions. What is

considered as mistaketoone_{mayserve as creative process to another,}acondition resolved

by

theindividual.

MARY FRANK

accidents are your accidents... to some degree you can feel them

coming, so you harnessthemorthrow themout."

(11)

Theresultof anapplicationofthemedia serves as ananswerthatfacilitates a response

towhat was questionedorneeded_resolution, through theinteraction.

DAVID HOCKNEY

"

I uselineandIthinkalinecan somehow tell a

story."

(12)

SOCIETY

A sensitivityto the_environment, and_media, hasa_relationship toan _{understanding}of

society, or aparticular society. Attitudes from a_culture, create an influence and

help

determine a direction. For_example, a sense of confusion and

disorder,

a contrast to

structureand _{order, may} serve as the _{basis for communicating}whatthe artistis sensitive

to. A response _{may be} one of _rejecting the ideas held in common with a _group of

THE METAPHOR

MARGEGOLDWATERonJENNIFER BARTLETT

"

interestedinthe

big

obviousfactsofnatural_existence,facts familiarto everyone and_easilyreducedtosigns and

systems."

(13)

The metaphor is determined

by

the artist, and is used as a tool to facilitate the interaction with nature and media. _{It may be}general and non specific to many. Forthe

individual,

it is an integral part of the

interaction,

describing

his or herresponse to the

questions found.

The artist determines the descriptive qualities ofthemetaphor with activity, through

observation, andmaterials.

Determining

whatthemetaphorwill

be,

before theart_activity

occurs, is fruitless. One maynotdeterminethemetaphor or whatis

being

questioned and

respondedtountiltheinteraction evolves.

PABLOPICASSO

"Itsneverbeen likethisbefore. This isthemostdifficult_thingI'veever

done. Idon't know if_{it's any} good. Perhaps it's terrible. _{But I'm going}

todo it anyhow. I'll dothousandsof

them."

(14)

A number of works viewed _collectively can determine the nature of the artist's

metaphor, developed through an immediate response, one without consideration of

directionormeaning.

basisforthenaturaldevelopment ofthemetaphor. A sensitivity tooneselfis_essential,

and_{understanding}howone

interacts,

provides apathforthedevelopmentofthatpersonal

metaphor.

MARY FRANK

"The handhas itsownlife. It makes marks and gestures whicharenot

deliberate. Ioften thinkofthemas tracksofanimals. Thereis adialogue between materials and the original intention that is both pleasure and a warfare.

"(15)

The artist's interactions produce _work, as a response to _{questions, serving} the

individualwitha sense of

identity,

facilatating

thedevelopementofhisorhermetaphor.

ROBERTMOTHERWELL

"I thinkone's art is justone's effortto wed oneselfto theuniverse. To

unify oneselfthrough

union."

(16)

ANSWERS

To aparticular artist, a printmaker, an interaction persists with his environment, his

culture,andhismaterial.

Hemaintainsabondwith thethingsor objectshe

finds; leaves, branches,

vines,blades

of_grass, integralparts,or elements. Thesecommon elementsoften takenforgranted are

of interest because _they are

important,

and contribute to _making our environment

beableto walkinthewoods, tocollect and observe.

A physical interaction continues with materials. He describes them as tools, that

provide a meanstoan end. Thisphysicalinteraction has alwaysbeen with

him,

having

a

persistentdesiretosolve a mechanical or visual problem. Aproblem,wheretheapplication

of some particulartool orimplementis needed. Theprintmakerinvolves himselfwith a

widerange ofinteractions:

by

drawing,

_usingthe

burin,

alinoleum

block,

alithographic

stone,acopper_{etchingplate,} an aluminumlithoplate,etchingneedles, mezzotint_rockers,

zinc, acids, and a _printing press. An applicationof_tools, will always _{persist, searching}

fora responseto a question.

He hasa concernforthoseand thatwhichsooftenare takenforgranted. In his work,

makingan efforttorecognize

individuals,

andtheir nature,is important. Personalitiesare a

fundamental _element, a compliment to a _whole, so often

ignored,

or pushed _aside, as

leavesorbladesofgrass andbranches. Forthis artistthe_realityof

having

tointeractwitha

wide rangeof_{personalities,} isan aspectof_societythatis unavoidable.

Being

selectiveis

not _realistic,

interacting

with a _variety of _conditions, related to society, and the

environment,isreality. Hehas foundan unanswered_question; is ourculture

ignoring,

or

in theprocess of_adjusting and_replacingthe conditions thatprovideus with our sense of

individuality

?

By

responding to thisquestion he hasmadea choicetointeractwithwhathe believes is

somethingthatiscommontoall, natureandit'selements.

Selecting

theparts from_nature,

and

dealing

with them as

individuals,

_exploring their potential in terms of visual

Decisions continue to

develop

toward how. _{The only way} to determine this, is to

respond with the aspects of one's _personality that come _naturally . As an artist this

printmaker hasmaintained a sketchbookwith drawingsand_{photos, serving} as themeans

for recording: an

instant,

a moment, or visual condition.

Drawing

is the

interaction,

helping

toredefine qualities oftheoriginals. _{In turn,}thesedrawingsare_redrawn,in brush

and

ink,

thenagaintranslated toa_printingplate.

The initial conditionsthatdescribedthe subjectsoftheprints are_enhanced, some_may

have been leftout in orderto _convey aparticular _something about that

leaf,

or branch.

Theseconditions _maygo unnoticedbecauseofthecontinuedinteractionsthatare_occurring

all aroundthesubjectsin_nature, often we_mayrecognize _somethingspecial inaperson or

thing

by

a _{very brief}glance, and wish we hadremembered. Itis his beliefthat_nothing

remainsthesame.

Change is continuous, an on _{going activity} thatis asmuch about_reality as its literal

appearance. Hisprints_mayappear_verydifferent fromhowtheobjects_{may look in}reality.

Colors are selected onthe basis ofhow_they interactwith themselves. The printmaker's

intentionsare maintained

by interacting

withqualitiesthatretain_primaryimpressionsofthe

objects . His intent is forthe observertorespond toavariety ofconditionsthatdescribe

theobjectas_art,through itscharacteror

individuality

asanobjectfound innature.

The artist has come into contact with: _questions, reality, materials, society, and the

THEPRINTS

Thesubjects ofthe

following

prints were chosenthrough an

interaction,

begining

with observations ofobjects in their natural environment.

Finding

blades of _{grass, twigs,}

branches,

or

leaves,

and

interacting

with them through

drawing,

and

determining

an interpretationoftheobject's

individuality,

orcharacter. The _process, in turn,contributed

to_resolving thequestion asto_why theobjectwaschosen. This

interaction,

ofobserving,

choosing, and

drawing,

provided visual information thatserved as an_application, ofthe

subject,toa print medium.

THE LITHOGRAPHS

Visual interactions such as: spatial relationships between blades of_grass, the

long

flowing

almost fluid like stroke of a brush suggesting the

blade,

and one

bending

or

curving in frontof_another, werethreeconditions foundas answersin

drawing,

_providing

informationtobetranslated toan aluminumplate lithograph. Additional_plates,orcolors

fortheprints, were developed through

taking

advantage ofthenegative _spaces, andtheir

relationshipto theinitial forms. These spaces suggestedaformor_shape, interpretedas a

mass ofvisual _{activity, surrounding}oneofthe original objects. In _nature, thisessential

form may distract fromthe original,

leaving

itunnoticed. Thismass_{in reality is something}

reducing its complexity, and _{strengthening} theinitial visual

interaction, transforming

an

overwhelmingcondition intoonewhichcomplements or completestheprints.

The printingoftheseplates developed intoan interactionwithcolor. A seriesprinted

onone

day,

resulted in the question: what color should be printedon the next ? Atthis

point the conditions determined at the onset have been resolved with another set of

conditions thatbecamequestions tobe answeredthroughcontinued

interaction,

_printing,

and color applications.

THE ETCHINGS

Questionsevolved through _examining the twisting, curving, wrap aroundtexturesof

wood,

branches,

or limbs. Drawings ofbrush and_wash, with additions made

by

pencil,

crayonand

ink,

transformedthequestionsintoaninteraction.

Identifying

the

individuality

oftheobjects through

drawing,

resultedinamultimedia_{application, transfered to} a print

media, one that could respond with similar interactions. Etchings _using a lift ground

process were developed

facilitating

the brush

drawing

application, allowing for a

continuation.

These prints were developed with a number of facets that contributed to each as

individuals. Once images wereestablished withthe

lifting,

interactionscontinuedwitha

printmakershand tools,theburinandrollette. Additionalplates weredeveloped inorderto

contributeto the

individuality

oftheinitial lift groundprints. The contributions ranged

from flat rolled _{colors, to} a few suggestions ofred line. The additional plates were

developedinordertoaccept _something that_alreadyexisted, and to takeadvantage ofits valueas an

individual,

_resolvingthe_print, without

being

destructive. Thisprocess created aninteraction between printing_plates,

by

printing two togetheror

doing

whatisdescribed as adoubleprinting. Oneparticular print resulted_{in its printing}witha pieceof paper made

fromthe fibersof cat tail _stalk, a process described as a china

colle'

print (see 23 & 24).

Theprintmakerselected a materialfrom_nature,

interacting

withasubjectfromnature, and

printingwitha piece of zinc.

Anunansweredquestion,found inanother_etchingwasresolvedthrough an interaction

with the ideas ofthe _{previously discussed}prints. Unlike the others, thisprint originated

from anotherpoint of_view, an observation of naturethat_{is confusing}and_{chaotic, the}print

wasdevelopedtoa pointwhere one_{may describe}

it,

as that. Theprintis animage full of

activity, or_confusion, a collection ofindividuals fromnature:

leaves,

textures, lines and forms as

they

_{may be found. Often it is difficult}to

identify

thecharacter of_objects, andit

requiresaninvestigationto understand,orappreciatethem.

Thequestion_{persisting in}relation to theprintwas: whatmorecanbe donetocomplete

theinteractionandimage? Throughthedevelopementofthe_{previously discussed}

images,

an answer was found.

By introducing

a broad general

form,

_simply stated, _reducing its

individuality

or character to a flat tone, resolved the lithograph. The solution for this

etching was found

by

_reversing the descriptive nature of two _areas, the positive and

negative spaces. In contrastto the flattonesofthelitho's negative areas, theprintmaker

took advantage ofthe_exsistingareaas it was. Thatarea in theprint described anatural

an

understanding

ofthe character of certain leafand vine forms was _established, and a

simply

described

flattonewas _applied, as a positive

form,

tointeractwiththe_active,

fully

involved,

or negative areas of the etching.

By

taking

advantage of _something as it

exsisted,a solution was found (see 21 & 22).

APPEARANCES

For the observer one _{may have} the impression that these prints were concluded,

resolved,orpreconcieved,andthoughtout

by

theprintmaker. Thequalitiesthatdescribed

thecharacter ofeachoftheprints weredeterminedthrougha periodof_time, with littleor

no pre-determined notions abouttheircompleted appearance.

Thesolutionsto theprints,wasfound through the

interaction,

oftheprintmaker with

his environment, and his media. The solutions could not have been found without a

commitment

by

theprintmakerto the

interactions,

_accepting,and_{understanding}thatwhich

heismost sensitiveto.

Theinteractiveprocess, identified

by

that

individual,

providedhimwiththeinformation

thatwill leadtocontinuedinteractions. He has gainedan _{understanding} ofhimselfas he

relatestoart andhismedia.

LIST OF PRINTS

LITHOGRAPHS

1. BLADES IN BLACK 27 1/4"

X 40" Aluminum Plate

2. GRAY

W/

BLUE 27 1/4"

X 40" Aluminum Plate

3. GRAY&PALE BLUE 27 1/4 X 40"

Aluminum Plate

4. GRAY AND GREEN 27 1/4"

X 40"

Aluminum Plate

5. BLUE

W/

BLACK 27 1/4 X 40"

Aluminium Plate

6. GRAYW/ GREEN

27 1/4"

X 40" Aluminum Plate

7. THREEIN A ROW

40"

X 82" Aluminum Plate

8. AND PURPLE 27 1/4" X 40"

9. BLACK

W/

GREEN

27 1/4"

X 40" Aluminum Plate

10. GREEN &RED

27 1/4"

X 40" on white paper

Aluminum Plate

11. GREEN& RED

27 1/4"

X 40"

ontanpaper

Aluminum Plate

12. BLADES OF GRASS

W/

ORANGE 27 1/4" X 20

Aluminum Plate

13. THE RED LEAF 27 1/4"

X 20" Aluminum Plate

14. BLADES

W/

SOME RED 27 1/4"

X 20" Aluminum Plate

ETCHINGS

15. BRANCH

9 7/8 " X 67/8" Lift Ground- Zinc Plate

16. BRANCH

W/

MAGENTA &YELLOW

9 7/8"

X 67/8"

Lift

Ground,

Rolled Color- Zinc Plate

17. BRANCH

W/

RED LINES 97/8"

X 67/8"

Lift

Ground,

Soft Ground Zinc Plate

18. BRANCH

W/

RED & YELLOW 97/8"

X 67/8"

Lift

Ground,

Rolled Color- Zinc Plate

19. A FOURTH

5 1/2" X 75/8" Lift Ground

-Zinc Plate

20. THREE WITH ATRUNK

8"

X 12"

Lift

Ground,

Soft Ground

-Zinc Plate

21.

LEAVES, TEXTURES,

LINES &FORMS

117/8"

X 161/4"

Lift

Ground, Engraving,

Soft Ground- Copper Plate

22.

LEAVES,

&

TEXTURES,

WITH A VINE

117/8"

X 16 1/4"

Lift

Ground, Engraving,

Soft

Ground,

Open Bite

- Copper Plate

23. A TWIST

93/4" X 13 1/2"

Lift

Ground,

Engraving

- Zinc

Plate

24. BRANCH

W/

CAT TAIL PAPER

93/4"X 13 1/2"

FOOTNOTES

o

A

xPauul,K!fTe'

^dagQeicnl

Sketchbook,

Introduction

and Translation

by

rwn

?.

?

y;Su^y'

lVndon'

E1" Faber andFaber

Limited>

Whitstable

Kent,

Great Britain:

Whitstable

Litho

Limited, 1953),

p.7.

d

1*

??relAshton

_{and Jack}

D-FIam

with an

introduction

by

RobertT. Buck

fte^

1983)

TJ

(Buffal'NY-:

AlbriSht Knox Art

Gallery> NY-

NY" Abbeville

v

Hfn^

R^' A

Lger to a

Young

Painter, (N.Y.,

N.Y.: Horizon

Press,

First

Jbdition,

1962),

p.195.

4.

Paul

Klee,

Pedagogical

_Sketchbook

Introduction

andTranslation

by

Sibyl

Moholy-Nagy,(London,

_{El.: Faber and Faber}

Limited,

Whitstable

Kent,

Great

Britain: Whitstable

Litho

Limited,

1953),

p.7.

5. Riva

Castleman,

JasperJohns _aPrint

Retrospective (N.Y..N.Y.: The Museumof Modern

Art, Boston,

_{Mass.: Graphic}

Society

Books/Little,

Brownand

Co., 1986),

p.19.

6.

Gertrude

Stein,

Gertrude Stein on Picasso.

(N.Y.,

_{N.Y.: publishedin cooperation} withtheMuseumofModern

Art,

andLiveright

Publishing

Co., 1970),

p.4.

7. Paul

Klee,

Watercolors. Drawings. Writings.

(N.Y.,

N.Y.:

Harry

N.Abrams,

Inc.,

second_edition,

1969),

p.4

8. Ibid.

9.

Constance

W.

Glenn,

Jim Dine Drawings.

(N.Y.,

N.Y.:

Harry

N.

Abrams,

Inc.,

1985),

p.35.

10.

Dore

Ashton,

20th Century Artists on Art.

(N.Y.,

N.Y.:Pantheon

Books, 1985),

p.

41.

1 1. Hayden Herreraand Stella

Kramrisch,

Natural Histories. MaryFrank's

Sculpture-Prints, and Drawings.

(Lincoln,

Mass.: DeCordova andDana Museum and

Park, 1988),

p.13.

12. Mark

Glazebrook,

David

Hockney

Paintings. Prints, and Drawings 1960-1970. (WhitechapelHigh

St.,

London El,: WhitechapelArt

Gallery,

London and

Bradford,

El.: Lund

Humphries, 1970),

p. 8.

13. Marge

Goldwater;

Roberta

Smith;

Calvin

Tompkins,

Jennifer Bartlett.

(Minneapolis,

Minn.:WalkerArt

Center,

N.Y.,

N.Y.: Abbeville

Press, 1985),

p.83.

14. Klaus

Gallwitz,

Picasso the Heroic Years.( N.Y..N.Y.: Abbeville

Press,

1985),

15. Hayden Herreraand Stella

Kramrisch,

Natural Histories.

Mary

Frank'sSculpture. Prints, and Drawings.

(Lincoln,

Mass.: DeCordova andDana Museum and

Park,

1988),

p. 12,13.

16. DoreAshton andJack D. Flamwithan introduction

by

RobertT.

Buck,

Robert Motherwell.

(

Buffalo,

N.Y.: Albright Knox Art

Gallery, N.Y.,

N.Y.: Abbeville

BIBLIOGRAPHY

1.

Ashton,

Dore. 20th Century Artists_on Art.

N.Y.,

N.Y.: Pantheon

Books,

1985.

2.

Ashton, Dore,

and

Flam, Jack,

D.,

withanintroduction

by

Robert T. Buck.

Robert Motherwell.

Buffalo,

N.Y.: Albright Knox Art

Gallery, N.Y.,

N.Y.: Abbeville

Press,

1983.

3.

Castleman,

Riva. JasperJohnsA Print Retrospective. N.Y..N.Y.: The Museumof

Modern

Art, Boston,

Mass.: Graphic

Society

Books/Little,

Brown and

Co.,

1986.

4.

Gallwitz,

Klaus. Picasso theHeroic Years.

N.Y.,

N.Y.: Abbeville

Press,

1985.

5.

Glazebrook,

Mark. David

Hockney

Paintings. Prints, andDrawings 1960-1970.

London and

Bradford,

El.: Whitechapel Art

Gallery,

Whitechapel High

St.,

London,

El.: Lund

Humphries,

1970.

6.

Glenn,

Constance. W.. Jim Dine Drawings.

N.Y.,

N.Y.:

Harry

N.

Abramms,

Inc.,

1985.

7.

Goldwater, Marge; Smith, Roberta; Tompkins,

Calvin. Jinnifer Bartlett.

Minneapolis,

Minn.: WalkerArt

Center,

N.Y.,

N.Y.: Abbeville

Press,

1985.

8.

Herrera,

Hayden; Kramrisch,

Stella. Natural Histories.

Mary

Frank's Sculpture.

Prints,andDrawings.

Lincoln,

Mass.: DeCordovaandDana Museum , 1988.

9.

Klee,

Paul. Watercolors. Drawings. Writings.

N.Y.,

N.Y.:

Harry

N.

Abrams,

Inc.,

1969.

10.

Klee,

Paul. Pedagogical Sketchbook. Introduction and Translation

by

Sibyl

Moholy-Nagy

.London,El.: FaberandFaber

Limited,

Whitstable

Kent,

GreatBritain :WhitstableLitho

Limited,

1953.

1 1.

Read,

Herbert. A Letterto a YoungPainter.

N.Y.,

N.Y.:

Horizon

Press,

1962.

12.

Stein,

Gertrude. Gertrude Stein on Picasso, published in cooperation with the