Laura Arias Serrano. [The sources of art history in the contemporary era]. Part Two

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Laura Arias Serrano
Las fuentes de la historia del arte en la época contemporánea [The sources of art history in the contemporary era]

Barcelona, Ediciones del Serbal, S.A, 2012, 759 pages

Review by Francesco Mazzaferro. Part Two

Fig. 7) Laura Arias Serrano’s reasoned bibliography after an intense reading

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The sources in their historical context

The second part of Laura Arias Serrano's work on the sources of art history in the contemporary era, spreading over five hundred pages, offers a very rich, reasoned bibliography, structured according to the type of source and, within any of them, in chronological order. The analysed period goes from the beginning of the XVIII century to the end of the XX century.

It is obviously impossible here to discuss the content of the specific reviews which the authoress wrote on the different works. Instead, I would like to try to identify the common narrative, focusing on those texts which - according to the authoress - are the indispensable stages in the history of artistic literature during the last three hundred years, genre by genre. As mentioned in the first part, Laura Arias Serrano has always cited the works in their most recent edition: the bibliography therefore allows us to understand which have been released recently and which works, on the contrary, have not been for some time. In some cases, the writings are available on electronic archives and therefore easy to consult; in others we have only facsimile editions, which therefore reproduce the texts without updated comments.

A systematic comparison between the works available in Spanish and other languages (in particular French and Italian) reveals one of the reasons that may have perhaps prompted Laura Arias Serrano to draw up such a powerful bibliographic work: to remedy a relative scarcity of modern editions available on the Hispanic market and to offer a precise idea to Spanish scholars of what they can consult in a particularly equipped library, using rare editions (often many decades old, and in many cases due to the activity of publishing houses in Latin America). Since Spanish-speaking publishing was not enough, the authoress also reported what can also be read in English, French or Italian. The references are limited to these four idioms (German is excluded, for example).

I will focus on the first two chapters: (i) treatises, aesthetics and historiography texts, encyclopaedias and dictionaries and (ii) theoretical texts by the artists.

Treatises. Aesthetic and historiography texts. Encyclopedias and dictionaries

In this first section the authoress took into consideration those theoretical texts on art, which are not written by artists (those by artists are in fact considered separately, although, to be honest, the section also includes works by theorists who were well-known artists, like Flaxman, Füssli, Reynolds and von Hildebrand). The history of these writings, beyond the aesthetic theme, is in many cases also the expression of the general culture of an era.

The forms these texts have taken over the three hundred years vary considerably.

Fig. 8) On the left: Alexander Gottlieb Baumgarten's Aesthetics (1750-1758) in the Italian edition published in Palermo in 2000. Right: Johann Joachim Winckelmann's History of Antiquity in the Spanish edition published in Madrid in 1989.

In the XVIII century, the 'classic' form of the treaty was still prevailing [38]. In the middle of that century, in fact, “the word «source» itself is synonymous with treatise, in the same way in which the conception of art is always associated with an activity specifically dedicated to the selective imitation of reality in an attempt to reach beauty” [39]. Alexander Gottlieb Baumgarten's (1714-1762) Aesthetics  (1750-1758), reviewed here in the 2000 Italian edition [40], and the History of the art of antiquity (1764) by Johann Joachim Winckelmann (1717-1768), in a Spanish version of 1989 [41], were the two reference treatises on the theme of beauty in the German world. The first attempt at art history was the Thoughts on the imitation of Greek art in painting and sculpture (1755) by Winckelmann himself, reviewed in the Spanish edition of 1987 [42], and the History of sculpture from its resurgence in Italy up to the century of Canova (1823) by Leopoldo Cicognara (1767-1834), without Spanish translation to date, cited in the Giachetti edition of 1823 [43]. As to France, the authoress reviewed two works by Antoine Quatremère de Quincy (1755-1849): the Moral considerations on the destination of the works of art (1832), in a recent French edition [44] and the Study on the nature, purpose and means of imitation in the fine arts (1823) in a Belgian facsimile edition of 1980 [45]. As to Spain, the authoress wrote on one of the many works by Juan Agustín Ceán-Bermúdez (1749-1829), or the Sumario de las antigüedades romanas que hay en España, dated 1832 and consulted in a facsimile edition of 2003 [46].

Also as a result of the Enlightenment and in the wake of the Encyclopédie (1751-1772) by Denis Diderot (1713-1784) and Jean-Baptiste Le Rond d'Alembert (1717-1783) - here reviewed in the edition of Franco Maria Ricci in 18 volumes of 1970-1979 [47] - attempts to give a systematic set-up to knowledge were multiplying. In the French world the role of the already mentioned Quatremère de Quincy and then Eugène Emmanuel Viollet-le-Duc (1814-1879) stands out, thanks to the reasoned dictionaries of the history of architecture, written respectively with a neoclassical inspiration in the first case, and with a neo-gothic one in the second. In the first case, it was the Dictionnaire historique d'architecture (1832), whose items on theory were published in Spanish in Buenos Aires in 2003 [48]. In the second case, they were the Dictionnaire raisonné de l'architecture française du xi au xvi siècle (1854-1868) [49] in 10 volumes, and the Dictionnaire raisonné du mobilier français de l'époque carolingienne à la Renaissance in 6 volumes (1858-1870), both reviewed in facsimile editions of the second half of the twentieth century [50].

Fig. 9) Spanish dictionaries on art in the late XVIII century: from left to right, the works by Francisco Martínez, Diego Antonio Rejón de Silva, Juan Agustín Ceán-Bermúdez and Eugenio de Llaguno y Amírola.

In the Spanish world the fashion of reasoned dictionaries spread in 1788 with two works. The first was the Introducción al conocimiento de las Bellas Artes, ó Diccionario manual de Pintura, Escultura, Arquitectura, Grabado, the work of father Francisco Martínez (1736-1794), cited in a facsimile edition of 1989 [51]. The second was the Diccionario de las nobles artes para instrucción de los aficionados, y uso de los profesores by Diego Antonio Rejón de Silva (1754-1796), of which the authoress reported a facsmile edition of 1989 [52]. A few decades later, it was time for bibliographic dictionaries, with works by Eugenio de Llaguno y Amírola (1724-1799) [53] and the aforementioned Ceán-Bermúdez [54] - the latter continued by the Count de la Viñaza (1862-1933) [55]. More recent were the bibliographic dictionaries by Manuel Ossorio y Bernard [56] (1839-1904) and José Ruiz de Lihory y Pardines [57] (1852-1920), dated 1883 and 1897 respectively. In the latter case there is no recent edition [58].

Fig. 10) From left to right: three recent Spanish editions of Joseph Addison's The Pleasures of the Imagination, Edmund Burke's Inquiry into the beautiful and the sublime and William Gilpin's Three essays on picturesque beauty.

Alongside the neoclassical vulgate, new sensibilities spread in the XVIII century starting from Great Britain. A new typology of artistic literature was also being born, which no longer aimed at having a systematic nature, but rather at corroborating a thesis: treatises or reasoned dictionaries were replaced by speeches and essays. The authoress referred first of all to the Pleasures of the imagination (1712) by Joseph Addison (1672-1719), a work she took into consideration in a Spanish edition of 1991 [59].  Edmund Burke (1729-1797) and William Gilpin (1724-1804) follow. Laura Arias Serrano reviewed Burke's Inquiry into the beautiful and the sublime (1757) [60] in a 1985 Spanish edition. Gilpin was present with the Three essays on picturesque beauty (1794), translated into Spanish in 2004 [61] (there is no Italian edition). As to the Discourses on Art by Joshua Reynolds (1723-1792), only an Argentine edition of 1943 is mentioned [62], even if a Spanish one was published in 2005 [63]. The Discourses on Sculpture by John Flaxman (1755-1826), cited in the nineteenth-century English edition, belong to the new suggestions produced in the English world of the nineteenth century [64] (there were no modern editions neither in Spanish nor in Italian [65]). The same cultural climate applies to the Lectures on painting by Johann Heinrich Füssli (1741-1825) in the French edition of 1994 (they were recently reissued in 2017) [66]. There is no complete modern edition in the English original [67]. Laura Arias Serrano obviously also took note of the contributions to the aesthetic philosophy of Jean-Jacques Rousseau (1712-1778) and Immanuel Kant (1724-1804).

Fig. 11) From left to right: two Spanish versions of Joshua Reynolds' Discourses on Art, published in Buenos Aires (1943) and Madrid (2005) and a French edition of Johann's Heinrich Füssli Lectures on painting (1994).

At the University of Jena, the German world developed an aesthetic theory of romanticism strongly characterized by idealistic historicism. Wilhelm Heinrich Wackenroder (1773-1798) and Ludwig Tieck (1773-1853) published in 1797 the Outpourings from the Heart of an Art-loving Monk, which marked a real revolution in taste in Germany. The work was reviewed in a Spanish version of 2008 [68]; I would also like to point out a more recent Italian translation [69]. To these were added the major theoretical texts of aesthetics by Friedrich Schiller (1759-1805), Georg Wilhelm Friedrich Hegel (1770-1831), Friedrich Schelling (1775-1854) and Friedrich Schlegel (1772-1829).

Fig. 12) Spanish and Italian editions of German-language aesthetic texts. On the left: Outpourings from the Heart of an Art-loving Monk by Wilhelm Heinrich Wackenroder and Ludwig Tieck. On the right: Alois Riegl's Problems of style.

At the turn of the nineteenth and twentieth centuries, the treatises were replaced by theoretical texts of aesthetic and historiographic orientation, which were the reflection of the irruption of new currents of thought - think of Friedrich Nietzsche (1844-1900) - and of new disciplines, such as example psychology [70]. The new approaches to studying art would help create the foundations of modernism. The Vienna school is present with Problems of style: foundations of a history of ornamental art (1893) by Alois Riegl (1858-1905), reviewed in a Spanish translation of 1980 [71] (the most recent Italian edition was from 1963 [72]). As to abstraction theory, the bibliography includes Wilhelm Worringer's (1881-1965) Abstraction and Empathy (1908) in a 1983 Mexican edition [73] (there was a reprint in 2015; the most recent Italian edition was from 2008 [74]). It should be noted that the Mexican interest in the work was not occasional: it has been reprinted six times in Mexico City since the fifties by Mariana Frenk Westheim (1898-2004), scholar of literature and art and wife of Paul Westheim, one of the protagonists of the modernist culture of the Weimar Republic (the couple flied to Mexico at the arrival of Nazism).

Fig. 13) Spanish and Italian editions. In order: Abstraction and empathy by Wilhelm Worringer, The Problem of Form in Painting and Sculpture by Adolf von Hildebrand and Writings on figurative art by Konrad Fiedler.

The formalist school is present with Adolf von Hildebrand (1847-1921) and Konrad Fiedler (1841-1895). The former was included with The Problem of Form in Painting and Sculpture (1893), in a Spanish translation of 1989 [75] (in Italy the last edition was dated 2001 [76]). As to the second, two works are presented: The Writings on Art (1896) in a Madrid translation of 1992 [77] and On the essence of art (1914) in the Argentinian edition of the 1950s [78] (the last Italian edition of his Writings was dated 2006 [79]). The Argentinian edition was curated by Hans Eckstein (1898-1985), whose anthology of artistic literature in the versions of 1938 and 1954 we have reviewed in this blog.

Fig. 14) The Dehumanization of Art by José Ortega y Gasset. Above: Spanish versions from 1960, 2007, 2009, 2015 and 2016. Below, Italian versions from 2005, 2010 and 2016.

The important contribution of Spanish artists to modernism is testified by a philosopher and two leading literates. The first is José Ortega y Gasset (1883-1955), with his The Dehumanization of Art (1925), reviewed in his tenth Spanish reprint of 1996 [80] (in the meantime, the latest edition is from 2009). It was one of the first texts, which tried to interpret, in philosophical terms, the choice of abstract artists to break with the classic definition of art as an imitation of nature. His unbroken editorial fortune in many languages (including Italian) shows that the text is still considered as a fundamental testimony of the aesthetic debate in the 1920s. On the literature side the authoress added Guillelmo de Torre (1900-1971) with European avant-garde literatures (1925) [81] and Ramón Gómez de la Serna Puig (1888-1963), with Ismos (1931) [82]. The former was a very young writer and literary critic, exponent of the poetic-literary-artistic movement of Ultraism, and representative of the dialogue of the Spanish avant-garde with France and Italy. The second - a poet who invented the new aphoristic-conceptual genre of greguería - was close to many Spanish and non-Spanish modernist artists, from Picasso to Delaunay, from Léger to Diego Riveira. The cited works have not yet been translated into Italian or English. Instead they belong to the classics of Spanish literature; they were reviewed in editions of 2001 [83] and of 2002 [84] respectively.

Fig. 15) Open work by Umberto Eco in Italian and Spanish.

Since the mid-twentieth century, the multiplication of ideas and perspectives has led to an increasingly varied debate and more and more to the use of periodical publications, designed to inform the public about the continuous development of new ideas and their comparison [85]. And this is where the section on theoretical texts stops. The only work cited is Umberto Eco's The open work. Form and indeterminacy in contemporary poetics (1962), considered a fundamental book to understand the transition to an art that can increasingly be interpreted in different directions. The work was reviewed in a Spanish edition of 1990 [86].

In conclusion, I would like to note three aspects of the fortune of the texts cited in the Spanish-speaking world: firstly, the treatises of the XVIII century were often made available only in a facsimile edition, without modern comments; secondly, since the 1940s and 1950s the role of Latin American publishers in the dissemination of the most significant aesthetic texts (Reynolds, Worringer, Fiedler) has been anything but marginal; finally, the role of some specialized publishing houses was instrumental to spread art literature in Spanish. In particular, the Madrid-based Visor presented to the Spanish public the works of Addison, Fiedler, Hildebrand, Reynolds with the two series Discurso Artístico (Discourse on art) and La Balsa de la Medusa (The raft of the jellyfish).

Theoretical texts of the artists

According to Laura Arias Serrano, theoretical texts written by artists themselves are undoubtedly the category of sources “which we consider most important” [87] and also the one where the spectrum of the reasoned bibliography is wider. In a roundup of 150 pages, it starts with the Reflections on Beauty and Taste in Painting (1762) by Anton Raphael Mengs (1728-1779) and ends with The Philosophy of Andy Warhol: From A to B and Back Again (1975) by Andy Warhol (1928-1987).

The XVIII-century artists, as the authoress wrote, not only manifested their personal preferences, but also those of the circles in which they were firmly anchored: the academies (more related to political power), secret societies and masonry (alternatives to monarchs and principalities) or, again, the art market as an expression of a developing civil society. Studying the artistic literature of this period, therefore, has above all the goal to draw "key information on the artist's relations with society, on his training and on the intellectual profile that artistic practice is taking on, completely separate from pure artisan practice” [88].

Fig. 16) Writings of Anton Raphael Mengs in Spanish and Italian editions. From left to right: a 1989 Spanish facsimile edition and Italian translations by Giuseppe Faggin (1948 and 2003) and Michele Cometa (1996).

The section opens - as it has been said - with an author tightly linked to the Spanish world, i.e. Mengs. Laura Arias Serrano reviewed his Reflections on Beauty and Taste in Painting of 1762 in the facsimile edition of the first Spanish translation of 1780, edited by José Nicolás de Azara (1730-1804). The facsimile edition was published in 1989 [89] by the Dirección General de Bellas Artes y Archivos in Madrid, with an introduction specially written for the occasion by Mercedes Aguedas Villar. In Italian we have two versions, edited by Giuseppe Faggin (1948 [90], reprinted in 2003 [91]) and Michele Cometa (1996) [92] respectively.

Fig. 17) On the left, a 1983 Spanish anthology of art history sources about Baroque; at the centre, a recent Italian edition of the Writings on sculpture by Étienne Maurice Falconet (2018); on the right, William Hogarth's The Analysis of Beauty in a 1997 Spanish translation.

In addition to the aforementioned Reynolds (there are some evident repetitions between the two chapters), Mengs’s works were also joined by the Reflections on sculpture (1762) by Étienne Maurice Falconet (1716-1791) and The Analysis of Beauty (1752) by William Hogarth (1697-1764). Only a partial edition of Falconet is available in Spanish, thanks to an anthology of sources of baroque art history dated 1983 [93] (while the full text has just been published in Italian [94]). Hogarth's writing was reviewed in a version printed by the publishing house Visor in 1997 [95].

The arrival of romanticism affirmed the idea of the artist as a man of genius. His artistic expression was seen as the result of an exclusively intimate experience; it followed that his writings were a unique and revealing expression of his works. The artist "writes with much greater force, explaining how he can and where he can his thoughts, his yearnings, his concerns” [96]. Academic thought and criticism were therefore contested by artists as reliable sources of reading their work. The writings of the artists became shorter and less systematic, while the publication of the correspondence was affirmed, as an authentic testimony of a way of thinking.

Fig. 18) On the left, the two volumes on Ingres narrated by himself and his friends in the Geneva edition of 1947-1948. On the right: Ingres' Thoughts on art, edited in Italian by Elena Pontiggia in 2003.

The nineteenth century opened with the contrast between Jean-Auguste-Dominique Ingres (1780-1867) and Eugène Delacroix (1798-1863). The complete collection of Ingres' writings, in two volumes, came out in 1947-1948 with the title Ingres: Raconté par Lui-Même et par ses amis: Pensées et Ecrits du Peintre [97], as part of a Swiss-French series of memories of great artists (such as Manet, Van Gogh, Courbet, Corot), always seen by themselves and by friends. The first volume largely presented the artist's unpublished papers, while in the second the testimonies of friends prevailed. There was no Spanish edition of the painter's writings, while Elena Pontiggia published Ingres' Thoughts on the art in Italian in 2003 in the Carte d'Artisti series; Laura Arias Serrano also dedicated a separate review to Ms Pontiggia's introductory text [98].

The writings of Delacroix, if compared to those of Ingres, had a much greater fortune. In the French world Delacroix was considered, for the style of writing, the master of nineteenth-century artistic literature (it is famous the edition edited by A. Joubin, to which Laura Arias Serrano also referred) [99]. As to Spain, the authoress reviewed an anthology of the Journal of 1998, recently reissued in 2011 in an enlarged version [100]. It is a selection that presents about a quarter of the diaries; the chosen pages are concentrated on themes of style and artistic theory (excluding biographical episodes). A larger (but incomplete) version had been published in Spanish in Mexico City in 1946 [101]. As for Italy, this blog reviews the Einaudi version in 3 volumes, dated 1954 and edited by Lamberto Vitali [102]. The most recent Italian edition was brought out 2017 [103] (however, it was a reprint of the translation made by the writer Lalla Romano in 1946 [104]).

Fig. 19) On the left, selected passages taken from Delacroix's Journals in Spanish (1998) and Italian (2017). On the right: the two volumes on Corot narrated by himself and friends in the 1946 Geneva edition.

Among the landscape painters, Laura Arias Serrano reviewed a set of writings by and on Jean-Baptiste-Camille Corot (1796-1875), entitled Corot raconté par lui même et par ses amis (1946) [105], published in the aforementioned collection of Swiss-French art literature of the 1940s. There were no more recent editions, neither in French nor in Spanish or in Italian. The English edition of John Constable's Discourses (1836) (1776-1837) [106], published by the Suffolk Records Society, dated back to 1970. It should be added that, in addition to the Discourses (the only volume cited by the author), the same society published the complete correspondence of the painter in six volumes in the 1960s [107]; two further volumes were added in 1975 in cooperation with the Tate Gallery [108]. There were no Spanish or Italian editions.

Fig. 20) On the left, the important edition of John Constable's writings by the Suffolk Records Society. From left to right, the Discourses and some volumes of correspondence.

Madrid's Visor publisher edited an anthology of Letters and note on landscape painting (1831) by Carl Gustav Carus (1789-1869) [109], also documenting his friendship relationship with Goethe. In Italian, editions came out in 1991 and 2002 by Edizioni Studio Tesi of Pordenone. Finally, the authoress also reviewed a fragment by Caspar David Friedrich (1774-1840) on The inner voice (1820), taken from a Spanish anthology of romantic sources on art [110]. There were many editions in German, including a full critical edition of Friedrich's texts (started, but not yet completed, in 1999) [111]; in Italian, a collection of writings by the German painter was published by Abscondita in 2001 by Luisa Rubini (with reprint in 2017) [112].

Fig. 21) Art literature of early German romanticism. On the left, Carl Gustav Carus’ Letters on landscape painting in Spanish (1992) and Italian (1991). On the right, collections of letters and other writings by Caspar David Friedrich in German (1974 and 2006) and Italian (2017).

Laura Arias Serrano presented Nazarenes and Pre-Raphaelites in parallel, referring to Johann Friedrich Overbeck (1789-1869) and John Ruskin (1819-1900). Overbeck's script was drawn from a famous American anthology about art art literature, published by Prentice Hall [113], in the absence of Spanish publications. The complete publication of the letters and texts of the Nazarene painter in German also dated back to the nineteenth century [114] and I have found no evidence of more recent versions. Ruskin's huge written production is represented here by a Spanish translation [115] of 1906 of Pre-Raphaelitism: Lectures on Architecture and Painting. To tell the truth, a recent reprint of the same volume (2014) was published in Pamplona [116]. Furthermore, this is certainly not Ruskin's only work in Spanish, and many other works of his have been printed, even recently. Several of them are mentioned in other sections of the volume: all in all, the main concern of the authoress - including the non-artist Ruskin also in the chapter of artists' texts - must have been the absence on the Spanish market of translated texts by pre-Raphaelite artists.

Fig. 22) On the left: A 1906 Spanish translation of Pre-Raphaelism and lectures on architecture and painting by John Ruskin. Right: the two volumes on Courbet narrated by himself and friends in the 1950 Geneva edition.

The nineteenth-century realism is testified by the review of the manifesto that Gustav Courbet (1819-1877) attached to the catalogue of the 1855 realist exhibition. He organized that show in protest after the refusal of the direction of the Universal Exposition to exhibit his works. The authoress showed marked interest in the manifesto, using a 1969 Italian edition of an essay by the French art critic Georges Boudaille [117]. There were several versions of the Courbet manifesto: a different version, which appeared in 1950 in the collection of writings Courbet raconté par lui-même et par ses amis (1950), was published in the aforementioned collection of Franco-Swiss artistic literature of the publisher Pierre Cailler [118]. Courbet's political texts were defended in particular by the philosopher Pierre Joseph Proudhon (1809-1865) in his posthumous work Du principe de l'art e de sa destination sociale (1871) [119], a text which was a best-seller in the Hispanic world (with editions in Peru in the nineteenth century [120] and then in Argentina in the twentieth century [121]), but has not yet been printed in Italy.

Fig. 23) The two volumes on Manet narrated by himself and friends in the 1945 Geneva edition.

Significantly, the reasoned bibliography does not include impressionist artists. According to the authoress, in fact, no painters of this orientation have left written testimonies worthy of mention. Interestingly, she did not include in her bibliography the two volumes of writings, Manet raconté par lui-même et ses amis, published in the Swiss-French series in 1945 in the usual two-volume structure (the first with texts by the artist, the second with the testimonies of friends) [122].

Fig. 24) On the left: a French anthology of Georges Seurat's writings from 1991. On the right: Paul Signac's essay From Eugène Delacroix to neo-impressionism in the French original (1899) and in Argentinian (1943) and Italian (1992) editions.

Post-Impressionism opens with the works of Georges Seurat (1859-1891) and Paul Signac (1863-1935). As to the former artist, a French anthology of writings was brought out in 1991 [123]; as to second, the painter published the work From Eugène Delacroix to neo-impressionism (1899), which he dedicated to Seurat. Signac's essay was reviewed here in an Argentinian version of 1943, the only one available in the Hispanic world [124]. The work is one of the most fortunate artists' texts in the French world (about twenty reprints, the latest in 2014); it is present in Italy with three editions between 1964 and 1993.

Fig. 25) Two Spanish collections of writings by Paul Cézanne, deriving from diverging American editions, curated by Richard Kendall and John Rewald.

The following section is devoted to Paul Cézanne (1839-1906), Paul Gauguin (1848-1903) and Vincent Van Gogh (1853-1890). And here it must be said that the editorial success in the Spanish world has produced an overlap of similar editions.

Cézanne's writings were reported in two recent Spanish editions, 1989 and 1991 respectively. The first was the Spanish translation [125] of Cézanne by Himself: Drawings, Paintings, Writings, edited by art historian Richard Kendall [126]. The second was the translation [127], published by Visor of Madrid, of the edition [128] (1937) of Correspondence by the American art historian John Rewald (1912-1994) [129]. We know well the vicissitudes of the very successful Rewald edition, no longer considered reliable. To be noted, the recent new critical edition by Alex Danchev [130] of 2013 is not yet available outside the English-language book market. The Visor edition was the latest of the Spanish versions of the collection edited by Rewald, which has appeared regularly, albeit in different translations, starting from the Argentine translation of 1948 [131].

Fig. 26) Four editions of Paul Gauguin's anthology of writings Writings of a savage.

As to Gauguin, the bibliography includes the anthological collection Escritos de un salvaje - Writings of a savage (2000) by Miguel Morán Turina [132]. The work celebrated Gauguin as a savage, giving an opposite interpretation to the rationalist one that Chipp provided in 1968. It was inspired, instead, by the French anthology of Gauguin’s writings Oviri: écrits d'un sauvage, published by Daniel Guérin in 1974 [133] and of which there are two Spanish translations. The first was edited by Margarita Latorre and brought out in 1975 and 1995. The second (2008) was by Marta Sánchez-Eguibar [134]. So, despite the same Spanish title, three different versions of Gauguin's writings have been published.

Fig. 27) Four Spanish editions of Vincent van Gogh's Letters to Theo.

Vincent van Gogh's Letters to Theo were reviewed in a paperback edition of 1985 with an introduction by the writer Mauro Armiño. In truth there were many editions, starting from the 1970s (edited for example by Fayad Jamís, Francisco de Oraa, Milagros Moleiro, Francisco-Luis Cardona Castro, David García López, Antonio Rabinad, Víctor Goldstein and others). It is therefore an 'inflated' text. Nevertheless, there is no complete Spanish edition of all the letters so far.

End of Part Two

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NOTES

[38] Arias Serrano, Laura - Las fuentes de la historia del arte en la época contemporánea, Barcelona, Ediciones del Serbal, S.A, 2012, 759 pages. Quotation at page 125.

[39] Arias Serrano, Laura - Las fuentes de la historia del arte en la época contemporánea (quoted), p.125.

[40] Baumgarten, Alexander Gottlieb - L'Estetica. Edited by Salvatore Tedesco; Palermo, Aesthetica, 2000, 368 pages.

[41] Winckelmann, Johann Joachim - Historia Del Arte En La Antigüedad. Seguida De Las Observaciones Sobre La Arquitectura De Los Antiguos. Con Un Estudio Crítico Por J.W. Goethe. Introducción Y Traducción Del Alemán Por Manuel Tamayo, Madrid, Aguilar, 1989, 606 pages.

[42] Winckelmann, Johann Joachim - Reflexiones sobre la imitación del arte griego en pintura y escultura. Edited by Ludwig Uhlig and Vicente Jarque, Barcelona Península, 1987, 163 pages.

[43] The work can be consulted at the address

https://archive.org/search.php?query=Storia%20Della%20Scultura%20Dal%20Suo%20Risorgimento%20in%20Italia%20Fino%20Al%20Secolo%20Di%20Canova.

[44] Quatremère de Quincy, Antoine - Considérations morales sur la destination des ouvrages de l'art. (suivi de) Lettres sur l'enlèvement des ouvrages de l'art antique à Athènes et à Rome, Paris, Fayard, 1989, 256 pagine. The moral considerations published in 1832 also include the famous letters to General Miranda, published as from 1796 in a series of newspapers.

[45] Quatremère de Quincy, Antoine - Essai sur la nature, le but et les moyens de l'imitation dans les beaux-arts, Archives d'Architecture Moderne, Bruxelles, 1980.

[46] Ceán Bermúdez, Juan Agustín - Sumario de las antigüedades romanas que hay en España, en especial las pertenecientes a las Bellas Artes, Valencia, Librería París-Valencia, 2003.

[47] Encyclopédie de Diderot et d'Alembert. Edited by Andrea Calzolari e Sylvie Delassus. Parma, Franco Maria Ricci editore, 1970-1979.

[48] Quatremère de Quincy, Antoine - Diccionario de arquitectura : voces teóricas. Edited by Fernando Aliata and Claudia Shmidt, Buenos Aires, Nobuko, 2007, 245 pages.

[49] Viollet-le-Duc, Emmanuel - Dictionnaire raisonné de l'architecture française du xi au xvi siècle, Parigi, F. de Nobele, 1967, 10 volumes.

[50] Viollet-le-Duc, Emmanuel - Dictionnaire raisonné du mobilier français de l'époque carolingienne à la Renaissance, Madrid, Asociación El Cid, Madrid, 1974, 6 volumes.

[51] Martínez, Francisco - Introducción al conocimiento de las Bellas Artes. Diccionario de Pintura, Arquitectura, escultura y Grabado, Colegio Oficial de Aparejadores y Arquitectos Técnicos. Introduction by Manuel Alvar Ezquerra, Madrid, 1989, 419 pages.

[52] Rejón de Silva, Diego Antonio - Diccionario de las nobles artes para instrucción de los aficionados, y uso de los profesores, Malaga, Fundación Cultural COAM, 1989, 217 pages.

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