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

CLICK HERE FOR ITALIAN VERSION

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 Three

Fig. 28) The anthology by Francisco Calvo Serraller, Ángel González García and Simón Marchán Fiz on Avant-garde art writings 1900/1945, published in 1999

Go Back to Part One

As we have already mentioned, Laura Arias Serrano structured her reasoned bibliography of art literature in a chronological order, differentiating the reviewed works according to their sorts. We have analysed, in the previous Part Two, the theoretical texts of artists between the early eighteenth century and Van Gogh. We are now proceeding to examine those from the symbolism in the early twentieth century to abstraction in the first part of the century. In the forthcoming Part Three we will consider the writings of the artists from the ‘return to order’ to contemporary art. As previously done, in addition to reporting the works reviewed by the authoress (especially in the Spanish-speaking world, but also in French and English), we will try to establish whether they are available in Italian. Furthermore, as for the works originally drafted in Spanish, we will use the bibliographic search engine www.worldcat.org to study the mechanisms of diffusion of the texts: when and where they were translated and how they re-proposed over the decades. We will also investigate the ability of specific linguistic areas to offer as complete a panorama as possible of the writings of artists.

Symbolism

The bibliography section is dedicated to the writings of artists. However, the role of symbolist literates in the art discussion was so important that it required the authoress to establish a link with literary criticism in the person of the poet and critic Remy de Gourmont (1858-1915). From the pages of the magazine Le Mercure de France (1889-1965), which he founded, de Gourmont supported, with a group of other critics, the merits of symbolist novelists and poets. Laura Arias Serrano reviewed the article Le symbolisme [135] (1892), a short Art Nouveau manifesto, published on the Revue blanche (1889-1903). Only a French edition exists of it.

Fig. 29) Collections of theoretical writings by Maurice Denis, in French editions of 1913 and 1920, and in an Italian translation of 2014.

The first text by an artist is Defense of Neo-traditionalism, an article by Maurice Denis (1870-1943), published first in Art et critique (1890) and then in a famous collection of writings, entitled Théories, 1890-1910; du symbolisme et de Gauguin vers un nouvel ordre classique [136], which came out in 1912 and 1920. The text on Neo-traditionalism, written by the painter still in his twenties, was destined to have a profound effect in France as a manifesto of the Nabis art. We found it in both the 1945 anthology by Goldwater and Treves and the 1968 anthology by Herschel Chipp. In Italy a collection of Denis's writings on Neotraditionalism appeared only in 2014 [137]. In Spain, Denis’ article was included in a fortunate anthology of avant-garde art writings by Francisco Calvo Serraller, Ángel González García and Simón Marchán Fiz, which was one of the authoress' privileged sources [138]

Fig. 30) Émile Bernard’s role in artistic literature: from left to right, a collection of writings published in 1994, the Memoirs of Paul Cézanne in the 1920 edition, and the Letters of Vincent van Gogh and Paul Gauguin to Émile Bernard, in editions of 1911 and 1954.

Another Nabis painter, Émile Bernard (1868 - 1941), was included with a French collection of writings on art (Propos sur l'art) [139] in two volumes of 1994. His multi-fold role in art literature is also linked to the Memories of Paul Cézanne. A conversation with Cézanne [140] in two volumes of 1994, as well as to the Memories of Paul Cézanne. A conversation with Cézanne [141]) and to the letters which Bernard received from Van Gogh (1911) and Gauguin (1954). Outside France, his reception was major in German-speaking Switzerland [142]. In Italy the Memoirs and Letters of Cézanne were published in two different editions (1953 [143] and 2011 [144]). The reception in Spanish was minor and indirect: it was limited to the publication of the Spanish translation of the Conversations with Cézanne (originally in French) by Michael Dorian (1978) [145], first in Barcelona(1980) [146] and then in Buenos Aires in 2016 [147]; those conversations, however, concern not only Bernard, but many other painters and critics of his time. The Italian edition of Dorian's essay was released in 2015 [148].

Fig. 31) Italian and Spanish editions of Memoirs and Letters by Cézanne, edited by Émile Bernard

Laura Arias Serrano reviewed the complete collection of writings by Gustave Moreau (1826-1898), which appeared in French in two volumes in 2002 [149] and without translations in Spanish or Italian. As to Odilon Redon (1840-1916), she reviewed the posthumous memories Aux soi-même. Journal 1867-1915 [150] (1922), subject to regular publication in French, and recently also in Spanish [151] and Italian [152]. The British symbolists are present with a collection of writings by Walter Crane (1845-1915) entitled Ideals in art: papers--theoretical--practical—critical, published in London in 1900 [153] and subject to repeated facsimile editions thereafter. There were no Spanish or Italian editions.

Fig. 32) From left to right, the collection of writings by Gustave Moureau and the memoirs of Odilon Redon in the French original and in Spanish and Italian translations

The comment of a fragment by Gustav Klimt (1862-1918), with a quote from the inaugural speech at the exhibition held at the Kunstschau in Vienna in 1908, seems above all justified by the desire not to forget a very famous artist (and one who, however, has not left significant writings). The Spanish world is represented by the painter, poet and writer Santiago Rusiñol (1861-1931), whose writings were published in Catalan (and, albeit not entirely, also in Spanish): his complete works, in two volumes, appeared in Barcelona in 1947, 1956 and 1973 [154]; a short collection of writings in Spanish was published in the appendix to a 1998 Madrid catalogue [155].

 

Fig.33) On the left: collections of writings by Santiago Rusiñol in the original of 1947 and in the following edition of 1973 - 1976. On the right: Rule and Bulletin of the Salons (1892) by Joseph Péladan.

The esoteric symbolism of the six Salons de la Rose + Croix (1892-1897) was present with a programmatic writing by a decadent writer, albeit very close to the world of art: the Rule and Bulletin of Salons [156] (1892) by Joseph Péladan (1859-1918), cited in a Spanish translation from the anthology of Francisco Calvo Serraller, Ángel González García and Simón Marchán Fiz. His Italian fortune has remained limited (albeit with the translation of his text on About the Androgyne. Love Theory. Plastic Theory [157]), also because probably his 'niche' was occupied by Gabriele D’Annunzio (1863-1938). In the field of art literature, Péladan had the merit of a French translation of Leonardo's Treatise on Painting in 1910.

Fig. 34) Writings and thoughts on the art, a collection of texts by Henri Matisse in French, Spanish and Italian.

The avant-garde became more radical with Henri Matisse (1869-1954) and the other Fauves artists. As to the Spanish reception of his writings, Laura Arias Serrano reviewed the collection of Writings and Opinions on Art (1993), which appeared in Spanish in 1993 [158] and more recently (with a partially different title) in 2010 [159]. Actually, it was a translation of the very successful French anthology Ecrits et propos sur l'art (1972) by Dominique Fourcade, which also had great success in Italy thanks to two publishers: Einaudi first [160] (1972, 1979 and 1988) and Abscondita then [161] (2003, 2014 and 2017). The memoirs of Maurice de Vlaminck, with the evocative title Tournant dangereux: souvenirs de ma vie (1929), were reviewed in the original edition [162], never republished in French before 2008 [163], (but released three times in English in the 1960s [164]). Finally Georges Roualt (1878-1951) is present with texts drawn from two anthologies of artistic literature writings (Goldwater and Treves, 1953; Francisco Calvo Serraller, Ángel González García and Simón Marchán Fiz, 1999).

Fig. 35) French (left and centr) and English (right) editions of Tournant dangereux: souvenirs de ma vie by Maurice de Vlaminck.

The reasoned bibliography offers a very limited (and in my opinion insufficient) selection of writings by expressionist artists, probably due to two reasons. First, the Blue Knight (Blauer Reiter) is discussed separately. Furthermore, many texts by German artists of the twentieth century have never crossed the German linguistic frontier. Laura Arias Serrano first reviewed a programmatic text of 1913 by Ernst Ludwig Kirchner (1880-1938), the Chronicle of the artistic union of the Bridge [165] , whose Spanish edition (1998) was included in the Spanish edition [166] of the 1959 anthology of the Italian art historian Mario De Micheli The artistic avant-gardes of the twentieth century [167].

Fig. 36) The anthology of Mario De Micheli The artistic avant-gardes of the twentieth century, in the Italian and Spanish edition.

As well known, the text was written by Kirchner only eight years after the creation of the Bridge group (1905) and paradoxically marked its dissolution. From De Micheli's same anthology is drawn the text of a lecture by the writer Kasimir Edschmid (1890 - 1966) on expressionism in poetry [168].

Fig. 37) The text On my painting by Max Beckmann in German and in English, and a Spanish collection of texts of the painter.

With a notable time leap, we are moving on to 1938 [169], with a London conference by Max Beckmann (1884-1950) in the years of the repression of the so-called "degenerate art" by Nazi Germany and the escape of the painter to Holland. It is On my painting (Über meine Malerei), a text read by the painter in German at the New Burlington Galleries. The English translation was published in New York three years later [170] thanks to two great German art dealers active in the US: Curt Valentin (1902–1954) and Karl Buchholz (1901-1992). The conference has been the focus of several American publications, but not in Spanish or Italian. It should be noted, however, that a Spanish collection of Beckmann's writings appeared in 2003 [171].

Fig. 38) Four editions of James Ensor's collections of writings in French since 1921 until 1974, the collection of letters of 1999 and a recent collection of writings in Italian

The section on Expressionism ends with the review of a collection in French of the writings by the Belgian James Ensor (1860-1949), which was published in 1999 [172]. Collections of Ensor's writings have been edited since 1921 [173] in different forms, including a national edition in 1974 [174]. Also noteworthy is the impressive collection of letters dated 1999 [175]. A collection of writings also came out in Italy in 2008. No writings were published in Spanish. Finally, it must be said that, while Kirchner can certainly be placed in the expressionist sphere, Beckmann and Ensor were certainly influenced by Expressionism, but not necessarily expressionist artists. 

Fig. 39) Writings of Albert Gleizes, Jean Metzinger and Guillaume Apollinaire in French and Spanish.

As for Cubist writings, Laura Arias Serrano opened the section with the 1912 manifesto of Albert Gleizes (1881-1953) and Jean Metzinger (1883-956), which was released [176] five years after the first Cubist exhibitions and in reality was marking a direction of cubism adverse to Picasso (see what Herschel Chipp wrote on this). The Spanish translation [177] was actually based on the second, rethought and increased edition of 1947 [178]. There is no Italian version. In parallel, the authoress inserted a 2001 Spanish translation of the Aesthetic Meditations - The Cubist painters [179] (1913) by Guillaume Apollinaire (1880-1918). Also in this case, please refer to Chipp's critical considerations, which explain that even Apollinaire adhered to the anti-Picasso approach. There were a dozen Spanish translations of Apollinaire's writing (since 1913 in Buenos Aires [180]); there were seven in Italian since 1945 (three of them came out simultaneously that year), the last of which in 2003 by Abscondita, with a reprinted essay by the painter Carlo Carrà.

Fig. 40) The three Italian editions of Guillaume Apollinaire's Cubist Painters of 1945, in the translation by Libero di Libero (Editions of the Century), Giorgio Peri (Le Tre Venezie) and Franca Minoia (Il Balcone).

There is no real body of writings by Pablo Picasso (1881-1973). Laura Arias Serrano cited the selection of writings Picasso on Art: A selection of Views by Dore Ashton (1928-2017) and drew three other writings from the Spanish version of Herschel Chipp's anthology.

Fig. 41) Georges Braque Memoirs The day and the night, in the French, Spanish and Italian editions and a survey by Michele Dantini on them.

The reasoned bibliography continues with reviews of later writings by Georges Braque (1882-1963) and Juan Gris (1887-1927), both in Spanish editions. Braque is present with his 1917 Pensees et Réflexions sur la peinture (Thoughts and reflections on painting) [181], originally released in the Nord-Sud magazine which was published in Spanish in 2001 together with the notebooks The Day and the Night 1917-1952 [182]. Starting from that essay – as the authoress observed – Braque softened his painting and differentiated himself more and more from Picasso.

Fig. 42) Writings and collections of writings of Juan Gris in Spanish and in French.

As to the painter Juan Gris, the bibliography did not include the recent Spanish critical edition of Letters and Writings [183] (2008), nor the collection of writings in French of 2014 (his texts were, in fact, all originally drafted in French) [184]. Laura Arias Serrano instead reviewed a collection of writings published in Barcelona in 1971 [185], which brought together the text of the conference at Sorbonne On the possibilities of painting (1924) and other writings, with an introduction by the great collector, merchant and critic Daniel-Heinrich Kahnweiler (1884 - 1979). Gris' writings have never been published in Italian. As to Kahnweiler, Laura Arias Serrano reviewed the Spanish translation of The Rise of Cubism (originally Der Weg zum Kubismus [186] del 1920), published in 1997 [187]. Of this important essay, which explained cubism to public opinion in the 1920s in half of Europe, an Italian edition exists since 2001 [188].

Fig. 43) From left to right: Robert Delaunay’s From Cubism to Abstract Art in French and Spanish; Fernand Léger’s Functions of Painting in French, Spanish and Italian.

Robert Delaunay (1885-1941), father of Orphism, was reviewed with the posthumous collection of writings From cubism to abstract art in the original edition of 1957, never republished in the original language [189]. A very recent Argentine edition [190] is not mentioned, because it came out after the publication of the reasoned bibliography. Unfortunately, there is no Italian translation. The anthology Functions of painting by Fernand Léger, also posthumous, was released in France in 1965 [191] and was shortly after translated into Spanish [192]. In both French and Spanish the anthology was reprinted periodically (most recently in 2009 in French and in 1990 in Spanish). The only Italian edition is dated 2005 [193]. In the section on Cubism, Arias Serrano also included a joint work by Amédée Ozenfant (1886 - 1966) and Charles-Edouard Jeanneret (1887 - 1965), the latter better known as Le Corbusier. The two were associated with the birth of the theory of Purism. In the 1918 edition [194] (as in the subsequent French one in 1999 [195]) the pseudonym Le Corbusier was not used, but will instead be adopted in the subsequent versions in other languages. The original title After Cubism (Après le cubisme) was turned upside down in the 1994 Spanish edition (In search of purism) [196]. However, the Spanish collection of texts was much wider than the original and the versions in other languages. The Italian version was produced 2011 [197]. In the area of neo-Latin languages, I can also report a recent Brazilian edition [198].

Fig. 44) Beyond Cubism by Amédée Ozenfant and Charles-Edouard Jeanneret (Le Corbusier) in French, Spanish and Italian.

Futurism has been supported by a programmatic approach since the first manifestos of 1909-1910. The first text specifically addressed to the Spanish world was the Futurist Proclamation to the Spanish by Filippo Tommaso Marinetti (1876-1944) published in the magazine Prometeo in 1910 [199], preceded by a prologue from the writer Ramón Gómez de la Serna (1888-1963). The text was included in a Spanish anthology of Marinetti's texts [200], which was brought out very early (on an unspecified date between 1910 and 1912) thanks to the translation by Germán Gómez de la Mata (1887-1938) and Nicasio Hernández Luquero (1884-1912). That anthology was reprinted in 1968 and then included in a new larger anthology published in Barcelona in 1978 [201], but it has never appeared again since. Texts by other futurists are not available in Spanish, to the point that the authoress reviewed the Italian anthology Archives of Futurism in two volumes, due to the work of Maria Drudi Gambillo and Teresa Fiori between the fifties and sixties [202]. Otherwise, for many years the only sources of knowledge of the futurist texts of Boccioni, Carrà and others in the Spanish world were the Spanish translation of Herschel Chipp's anthology 1995 and the Spanish anthology Avant-garde art writings, edited by Francisco Calvo Serraller, Ángel González García and Simón Marchán Fiz 1999. Finally, a Spanish translation [203] of Boccioni's Aesthetics and Futurist writing [204] (1946) appeared in 2004. All in all the penetration of the very rich Futurist art literature has been surprisingly limited in Spain.

Fig. 45) Futurist texts in Spanish

Much more present in the Spanish-speaking world was the artistic literature of the first abstract artists, and first of all of Wassily Kandinsky (Василий Васильевич Кандинский, 1866-1944). His very famous The spiritual in art [205] of 1912 and Point and Line to Plane of 1926 were reviewed in the edition of the Barcelona publishing house Labor in the nineties [206] (the first translation dates back to the seventies [207], with immediate reprints  [208] and the last to the first decades of our century [209] also with several reprints [210]). A new Spanish translation of The Spiritual in Art was finally published in 2014 [211]. An anthology of Writings on art and artists by Kandinsky was also published in Spanish in 2002 [212].The fortune of Kandinsky's writings in Italy was substantially equivalent. I would like to point out the publication in 1974 of all his writings in two volumes [213], by the publisher Feltrinelli, in a prestigious collection of writings by artists [214]. The work has undergone regular re-editions, most recently in 2015 by the publisher Mimesis.

Fig. 46) Writings by Wassily Kandinsky in Spanish

The Almanac of the Blue Knight (1912) by Kandinsky and Franz Marc (1880-1916) was released in Spanish only in 1989 [215] (in Italy it has been present since 1967 [216]), but, since then, it has been subject to frequent reprints. Paul Klee's Pedagogical Sketchbook (Pädagogisches Skizzenbuch - 1925) appeared in Spanish in Buenos Aires and Mexico City since the early 1980s [217], with prolonged subsequent editorial success (the authoress reviewed it in a 2003 edition [218]; the last one was from 2018 [219]). In Italy, the Vallecchi edition of 1979 [220] was republished by Abscondita in 2002 and, most recently, in 2016 [221]. Finally, the authoress reviewed the Spanish edition of the Hundred Aphorisms - The second view (100 Aphorismen. Das Zweite Gesicht - 1915) by Franz Marc [222]. In Italian we have only one Feltrinelli edition from 1982 [223].

Fig. 47) Writings by Piet Mondrian in Spanish

The success of Piet Mondrian's (1872-1944) writings in Spanish is evidenced by three reviews in the bibliography. In 1957 the first Spanish translation of Plastic art and pure plastic art came out in Buenos Aires [224]. Originally, it appeared in English in New York in 1945 [225]. Laura Arias Serrano reviewed the Spanish text in the 1961 reprint (the most recent was released in Mexico in 2007 [226]). The second review concerned the fictitious dialogue Natural reality and abstract reality, published by Mondrian in the De Stijl magazine between 1919 and 1920 and printed in Spanish in Barcelona in 1973 [227] (with reprints in 1989 and 2005). Finally the anthological collection The new image in painting (1917-1918) [228] presented articles by Mondrian from De Stijl magazine. It appeared in 1983 in the series of texts by artists and architects which from the seventies onwards published sources of art stories (from Vitruvius to contemporary artists) [229]. Also in this third case, reprints were frequent (the authoress reviewed the one from 1993, followed by a more recent one from 2007). In Italian none of the three works was subject to specific translation. However, the important 1975 edition of All writings by Feltrinelli should be noted [230]; it was edited by Harry Holtzman (1912 - 1987), an American artist who was Mondrian’s disciple (it was reprinted in 2013 thanks to the publisher Mimesis [231]). The work came out in Italy ten years before the American publication [232], because a project conceived by Harry Holtzman for the Viking publisher of New York had not gone through [233].

Fig. 48) The collection of all the writings of Piet Mondrian by Harry Holtzmann, in the Italian (1975) and American (1986) editions

Finally, a Spanish collection of writings by Theo van Doesburg (1883-1931), the other Dutch theorist of neoplasticism, should be noted. Principles of the new plastic art and other writings [234] was printed in Valencia in 1985, in the national series of texts by artists and architects, already mentioned with reference to Mondrian's writings. It collected the Grundbegriffe der neuen gestaltenden Kunst, written in German by the Dutch artist for the Bauhaus in 1925, and other texts.

Fig. 49) Collections of Malevich’s writings in Spanish and Italian

The next step in the direction of abstraction was Constructivism. With the exception of a collection of writings by Kazimir Severinovich Malevich (Казими́р Севери́нович Мале́вич, 1879-1935) from 1975 [235], in this case too the role of Chipp's and Calvo’s anthologies was crucial. Malevich's writings were also brought out in Italian (in 1975) thanks to Feltrinelli (in the Writings of artists series); however, there were several other subsequent editions. As to Spanish (and Catalan) publishing, Joaquín Torres Garcia (1874-1949), an Uruguayan painter and theoretician of art who is not present in the Italian publishing market, played obviously a central role. The complete collection of his writings in Spanish was released in 1976 [236] in Uruguay (never reprinted). In Catalan, it happened in 1980 [237] (with reprint in 1986). Laura Arias Serrano also reviewed the First constructivism manifesto (1930), published in 1975 and 1976 and also no longer reprinted since [238].

Fig. 50) Collections of writings of Joaquín Torres Garcia

A decisive change of direction was imposed during the First World War by the Dadaist manifestos. Laura Arias Serrano pointed out the importance - as documentary sources - of the specialized anthologies of the French artist and critic Georges Hugnet (1906 - 1974) and the American painter and critic Robert Motherwell (1915-1991). The anthology first came out in France in 1957 [239] and it was translated into Spanish in 1973 [240] (while the Italian edition was dated 1972 [241]). The second was released in the United States in 1951 [242] and reprinted in 1981 (with no versions in other languages).

  

Fig. 51) The Dada anthology by Georges Hugnet in the French, Spanish and Italian editions.

The seven dada manifestos (i.e. those between 1915 and 1922) were collected by Tristan Tzara (1896-1963) and Francis Picabia (1879-1953) and published in French in 1924 [243]. In Spanish they were issued in 1963 [244] and since then they have been periodically reprinted until 2015. The Italian edition came to light substantially in parallel, in 1964 [245], with the last reprint in 2014. Picabia's Prose writings 1907-1953 were instead reviewed by Laura Arias Serrano in a 2003 edition, published by the Valencia Institute of Modern Art. The complete edition of the writings has actually been available in French since the 1970s [246], while a more recent Spanish edition of the "critical writings" has existed since the early years of the new century [247]. There has been no similar editorial initiative in the Italian field.

Fig. 52) The collection of Dada manifestos edited by Tristan Tzara in Spanish and Italian editions

The presence of programmatic writings of Marcel Duchamp (1887-1968) in Spanish is noteworthy. The complete collection of writings - edited by art historian Michel Sanouillet (1924-2015) - was released in English in 1973 [248], in French in 1975 [249], in Spanish in 1978 [250], while in Italy only in 2005 thanks to Abscondita [251] (with reprint in 2016). A further, much expanded edition of the collection of writings, edited by José Jimenez, was produced in 2012 [252]. One should also refer to the Notes, published in 1998 in Madrid with bilingual text [253].

Fig. 53) Writings by Marchel Duchamp in Spanish

End of Part Three
Go to Part Four (Forthcoming) 

NOTES

[135] De Gourmont, Remy - Le symbolisme, in Revue blanche, Tome 30, N. 9, giugno 1892, pp 321-325.

[136] Denis, Maurice - Théories, 1890-1910; du symbolisme et de Gauguin vers un nouvel ordre classique, Paris, Bibliothèque de l'Occident, 1912. Available at the address

https://archive.org/details/thories189019100deniuoft/page/n10/mode/2up. The English translation of the article on Neotraditionalism is available at the address 

http://www.peterbrooke.org/art-and-religion/denis/neo-tradm/.

[137] Denis, Maurice -Neotradizionalismo. Edited by Alvise Florian, Rome, Castelvecchi, 2014, 120 pages.

[138] García, Ángel González, Calvo Serraller, Francisco and Simón Marchán Fiz - Escritos de arte de vanguardia, 1900/1945, ‎Madrid, Ediciones Istmo, 1999, 543 pages.

[139] Bernard, Émile - Propos sur l'art. Edited by Anne Rivière, Paris, Séguier, 1994, in two volumes (327 and 347 pages).

[140] Bernard, Émile - Souvenirs sur Paul Cézanne, Paris, Société des Trente, 1912, 98 pages.

[141] Bernard, Émile - Souvenirs sur Paul Cézanne, et lettres, Henry Laurens Editeur, Paris, 1924.

[142] Bernard, Emile‎ - ‎Erinnerungen an Paul Cézanne. Edited by Hans Graber‎, Schwabe, Basel, 1917, 68 pages.‎

[143] Bernard, Émile - Cézanne: ricordi e lettere, Milan, Longanesi, 1953, 80 pages.

[144] Bernard, Émile - Mi ricordo Cézanne. Edited by Flaminio Gualdoni, Milan, Skira, 2011, 97 pages.

[145] Doran;Michael - Conversations with Cézanne, Paris, Macula, 1978, 225 pages.

[146] Doran, Michael - Sobre Cézanne. Conversaciones y testimonios, Barcelona, Gustavo Gili, 1980, 297 pages.

[147] Doran, Michael - Conversaciones con Cézanne. Buenos Aires, Cactus, 2016, 318 pages.

[148] Doran, Michael - Cézanne. Documenti e interpretazioni, Rome, Donzelli, 1995, 248 pages.

[149] Moreau, Gustav - Ecrits sur l'art. Edited by Peter Cooke e Geneviève Lacambre. Volume I, Sur ses oeuvres et sur lui-même. Volume II, Théorie et critique d'art. Fontfroide, Bibliothèque Artistique & Littéraire, 2002. 401 pages altogether.

[150] Redon, Odilon - À soi-même: journal, 1867-1915. Notes sur la vie, l'art et les artistes, Paris, H. Floury, 1922, 178 pages.

[151] Redon, Odilon - A si mismo, 1867-1915: diario. Edited by Elena Vilallonga Serra, Barcelona, Editorial Elba, S.L.; 2013, 218 pages.

[152] Redon, Odilon - A se stesso. Edited by Stefano Chiodi, Rome, Abscondita, 2006, 229 pages.

[153] Crane, Walter - Ideals in art: papers-theoretical-practical-critical, London, George Bell & Sons, 1905, 287 pages.

[154] Rusiñol, Santiago – Obres completes. Volume 1 – Novels and theatre; Volume 2: Prose, impressions, notes, letters. Edited by Carles Soldevila and Donald Samuel Abrams, Barcelona, Ed. Selecta, 1973-1976, 2 volumes.

[155] Santiago Rusiñol. Catalogue of the exhibition, Fundacion Cultural Mapfre Vida, Madrid, January-March 1998, 317 pages.

[156] Péladan, Joséphin – Salon de la Rose+Croix. Règle et monitoire, Paris, 1892.

[157] Péladan, Joséphin - Dell'androgino: teoria plastica. Translation, introduction and notes by Adriano Marchetti. Bologna, Pàtron, 1996, 134 pages.

[158] Matisse, Henri - Escritos y opinions sobre el arte. Edited by Dominique Fourcade. Translation by Mercedes Casanovas, Madrid, Editorial Debate, 1993, 290 pages.

[159] Matisse, Henri - Escritos y consideraciones sobre el arte. Edited by Dominique Fourcade, Barcellona : Paidós, 2010, 398 pages.

[160] Henri Matisse – Scritti e pensieri sull’arte. Turin, Einaudi, 1972, 363 pages.

[161] Henri Matisse – Scritti e pensieri sull'arte. Edited by Dominique Fourcade. Translation by Maria Mimita Lamberti, Milan, Abscondita, 2003, 318 pages.

[162] De Vlaminck, Maurice - Dangereux Tournant - souvenirs de ma vie, Paris, Stock, 1929, 275 pages.

[163] De Vlaminck, Maurice- Dangereux Tournant, Versailles, SVo Art, 2008, 278 pages.

[164] De Vlaminck, Maurice- Dangerous corner. Introduction by Denys Sutton, London, Elek Books, 1961 (1966 and 1967), 171 pages.

[165] Kirchner, Ernst Ludwig - Chronik KG Brücke, Berlin, 1913.

[166] De Micheli, Mario - Las vanguardias artísticas del siglo XX. Translation by Ángel Sánchez-Gijón Martínez, Alianza Editorial Sa, Madrid, 1998, 364 pages.

[167] De Micheli, Mario - Le avanguardie artistiche del Novecento, Milan, Schwarz Editore, 1959, 415 pages.

[168] Edschmid, Kasimir – Über den Expressionismus in der Literatur und die neue Dichtung, Berlin, Erich Reiss, 1921, 78 pages.

[169] Laura Arias Serrano puts the conference chronologically in 1937.

[170] Beckmann, Max - On my painting. New Burlington Galleries; Buchholz Gallery; Curt Valentin Gallery. New York, Buchholz Gallery and Curt Valentin, 1941, 13 pages.

[171] Beckmann, Max - Escritos, diarios y discursos (1903-1950). Introduction by Kosme de Barañano, Madrid, Síntesis, 2003, 287 pages.

[172] Ensor, James - Mes écrits ou Les suffisances matamoresques. Edited by Hugo Martin, Brussels, Editions Labor, 2000, 343 pages.

[173] Ensor, James - Les Écrits de James Ensor, Brussels, Éditions Sélection, 1921, 161 pages.

[174] Ensor, James - Mes écrits: les suffisances matamoresques appellent la finale crevaison grenouillère. Edited by Franz Hellens. Lieges, Editions Nationales, 1974, 236 pages.

[175] Ensor, James – Lettres. Edited by di Xavier Tricot, Bruxelles, Comex, 1999, 847 pages.

[176] Gleizes, Albert e Metzinger, Jean - Du Cubisme, Paris, E. Figuière, 44 pages.

[177] Gleizes, Albert e Metzinger, Jean - Sobre el Cubismo. Edited by Isabel Ramos Serna and Francisco Torres Monreal. Murcia, Colegio Oficial de Aparejadores y Arquitectos Técnicos de Murcia, 1986, 58 pages.

[178] Gleizes, Albert e Metzinger, Jean - Du Cubisme. With etchings by Marcel Duchamp, Albert Gleizes, M. Laurencin, J. Metzinger, F. Picabia, Picasso, Jacques Villon, G. Braque, André Derain, Juan Gris, Fernand Léger. Paris, Compagnie française des arts graphiques, 1947, 79 pages.

[179] Apollinaire, Guillaume - Meditaciones estéticas, los pintores cubistas, Madrid, Antonio Machado Libros, 2001, 21 pages.

[180] Apollinaire, Guillaume - Los pintores Cubistas: meditaciones esteticas, Buenos Aires, Nueva Vision, 1913, 94 pages.

[181] Braque, Georges - Pensees et Réflexions sur la peinture, in Nord-Sud, No. 10, December 1917.

[182] Braque, Georges - El día y la noche. Cuadernos 1917 - 1952. Seguidos de Pensamientos y reflexiones sobre la pintura (1917), Barcelona, Acantilado, 2014, 65 pages.

[183] Gris, Juan - Diarios y cartas. Critical edition by María Dolores Jiménez-Blanco. Translation of the writings by Juan Eduardo Cirlot. Introduction by Quentin Laurens. Barcellona, Acantilado, 2008, 520 pages.

[184] Gris, Juan – Écrits, Toulon, La Nerthe, 2014, 35 pages.

[185] Gris, Juan – De las posibilidades de la pintura y otros escritos. With ten pictures of the author, Barcelona, Gustavo Gili, 1971, 64 pages.

[186] Kahnweiler, Daniel Henry - Der Weg zum Kubismus, Monaco, Delphin-Verlag, 1920, 55 pages.

[187] Kahnweiler, Daniel Henry - El camino hacia el cubismo, Barcelona, Quaderns Crema, 1997, 102 pages.

[188] Kahnweiler, Daniel Henry - La via al cubismo: la testimonianza del gallerista di Picasso. Edited by Licia Fabiani, Milan, Mimesis, 2001, 122 pages.

[189] Delaunay, Robert - Du cubisme à l'art abstrait: documents inédits publiés par Pierre Francastel et suivis d'un catalogue de l'oeuvre de R. Delaunay, Paris, S.E.V.P.E.N., 1957, 414 pages.

[190] Delaunay, Robert - Del cubismo al arte inobjetivo, Edited by Jean-Clet Martin e Pablo Ires, Buenos Aires, Cactus , 2018, 296 pages.

[191] Léger, Fernand - Fonctions de la peinture, Paris, Gonthier, 1965, 208 pages.

[192] Léger, Fernand - Funciones de la pintura. Translation by Antonio Alvarez, Madrid, Cuadernos para el Diálogo, 1969, 210 pages.

[193] Léger, Fernand - Funzioni della pittura, Edited by Gianni Contessi, Milan, Abscondita, 2005, 216 pages.

[194] Ozenfant, Amédée e Jeanneret, Charles-Edouard - Après le cubisme, Paris, Éditions des Commentaires, 1918, 60 pages.

[195] Ozenfant, Amédée e Jeanneret, Charles-Edouard, Après le cubisme, Paris, Altamira, 1999, 94 pages.

[196] Ozenfant, Amédée e Le Corbusier - Acerca Del Purismo Escritos, 1918-1926. Edited by Antonio Pizza, Madrid, El Croquis, 1994, 266 pages.

[197] Ozenfant, Amédée e Le Corbusier - Oltre il cubismo. Edited by Irene Alessi, Milan, Marinotti, 2011, 71 pages.

[198] Ozenfant, Amédée e Le Corbusier - Depois do cubismo. Edited by Carlos Ferreira Martins and Célia Euvaldo, Sao Paulo, Cosac Naify, 2005, 86 pages.

[199] Marinetti, Filippo Tommaso - Proclama futurista a los españoles in Prometeo, No. 20, Madrid 1910, pp. 518-531.

[200] Marinetti, Filippo Tommaso – El futurismo, El futurism, edited by Germán Gómez de la Mata and Nicasio Hernández Luquero, Valencia, Sempere, 1910, 194 pages.

[201] Marinetti, Filippo Tommaso - Manifiestos y textos futuristas, edited by Germán Gómez de la Mata and Nicasio Hernández Luquero, Barcelona, Ediciones del Cotal, 1978, 241 pages.

[202] Archivi del futurismo. Edited by Maria Drudi Gambillo e Teresa Fiori, Roma, De Luca, 1958-1962. Two volumes. Vol. 1: Theoretical writings and documents (618 pages). Vol. 2: Appendix to theoretical and critical writings and documents collected in the first volume (528 pages). The anthology was republished by Mondadori in 1986.

[203] Boccioni, Umberto - Estetica y arte futuristas: dinamismo plástico. Edited by Ricardo Pochtar, Barcelona, Acantilado, 2004, 176 pages.

[204] Boccioni, Umberto - Estetica e arte futurista, Milan, Il Balcone, 1946, 195 pages.

[205] Kandinskij, Vasilij - Punto y línea sobre el plano. Contribución al análisis de los elementos pictórico. Translation by Roberto Echavarren, Barcelona, Labor, 1994, 211 pages.

[206] Kandinskij, Vasilij - De lo espiritual en el arte. Translation by Genoveva Dieterich, Barcelona, Labor, 1995, 122 pages.

[207] Kandinskij, Vasilij - Punto y línea sobre el plano. Contribución al análisis de los elementos pictórico. Translation by Roberto Echavarren, Barcelona, Barral Editores, 1971, 211 pages.

[208] Kandinskij, Vasilij - De lo espiritual en el arte. Translation by Genoveva Dieterich, Barcelona, Labor, 1973, 122 pages.

[209] Kandinskij, Vasilij - Punto y línea sobre el plano : contribución al análisis de los elementos pictóricos. Translation by Roberto Echavarren, Barcelona, Paidós, 2004, 159 pages.

[210] Kandinskij, Vasilij - De lo espiritual en el arte. Translation by Genoveva Dieterich, Barcelona, Paidós, 2004, 116 pages.

[211] Kandinskij, Vasilij - De lo espiritual en el arte, Translation by Elisabeth Palma, Barcelona, Coyoacan, 2014, 134 pages.

[212] Kandinskij, Vasilij - Escritos sobre arte y artistas. Edited by Thomas Schilling, Madrid, Sintesis, 2002, 240 pages.

[213] Kandinskij, Vasilij - Tutti gli scritti. Edited by Philippe Sers, Milano, Feltrinelli, 1973 and 1974, two volumes. Volume 1: Point and line in the plane. Theoretical articles. The unpublished courses at the Bauhaus (320 pages). Volume 2: Of the spiritual in art, Critical and autobiographical writings, Theater, Poems (424 pages).

[214] In addition to all the texts by Vasilij Kandinskij, Feltrinelli's Scritti d’artisti collection included the complete texts by René Magritte, Kasimir Malevich, Man Ray, Oskar Schlemmer and Mario Sironi.

[215] Kandinskij, Vasilij and Marc, Franz - El jinete azul. Edited by Klaus Lankheit and Josep Casals, Barcelona, Paidós, 1989, 326 pages.

[216] Kandinskij, Vasilij and Marc, Franz – Il cavaliere azzurro. Edited by Rosa Calzecchi Onesti, Bari, De Donato 1967, 353 pages.

[217] Klee, Paul - Bases para la estructuración del arte. Edited by Ivan Balberg, Mexico City, Coyoacán, 2018, 80 pages.

[218] Klee, Paul - Bases para la estructuración del arte. Edited by Ivan Balberg, Buenos Aires, Andrómeda, 2003, 78 pages.

[219] Klee, Paul - Bases para la estructuración del arte. Edited by Ivan Balberg, Mexico City, Premià, 1980, 80 pages.

[220] Klee, Paul - Quaderno di schizzi pedagogici. Edited by Mario Lupano, Florence, Vallecchi, 1979, 87 pages.

[221] Klee, Paul - Quaderno di schizzi pedagogici. Edited by Mario Lupano, Milan, Abscondita, 2016, 86 pages.

[222] Marc, Franz - Los 100 aforismos: la segunda vision. Edited by Javier Arnaldo, Madrid, Árdora, 2001, 62 pages.

[223] Marc, Franz - I cento aforismi: la seconda vista. Edited by Giorgio Franck and Renato Troncon, Milan, Feltrinelli, 1982, 95 pages.

[224] Mondrian, Pietr - Arte plastico y arte plastico puro. Edited by Raúl R. Rivarola and Aníbal C. Goñi, Buenos Aires, V. Leru, 1957, 95 pages.

[225] Mondrian, Pietr - Plastic Art and Pure Plastic Art 1937 and Other Essays 1941-1943, New York, Wittenborn And Company, 64 pages.

[226] Mondrian, Pietr - Arte plástico y arte plástico puro. Edited by Raúl R. Rivarola e Anibal C. Goñi, Mexico City, Coyoacán, 2007, 120 pages.

[227] Mondrian, Pietr - Realidad natural y realidad abstracta. Edited by Rafael Santos Torrocella, Barcelona, Barral, 1973, 110 pages.

[228] Mondrian, Pietr – La nueva imagen en la pintura: la realización del neoplasticismo en la arquitectura del futuro lejano y de hoy. Edited by Alice Peels and José Quetglas, Murcia, Comisión de Cultura del Colegio Oficial de Aparejadores y Arquitectos Técnicos, 1983, 138 pages.

[229] These are the texts of the Comisión de Cultura del Colegio Oficial de Aparejadores y Arquitectos Técnicos, published in Valencia and Murcia.

[230] Mondrian, Pietr – Tutti gli scritti. Edited by Filiberto Menna and Harry Holtzman, Milan, Feltrinelli, 1975, 414 pages.

[231] Mondrian, Pietr – Mondrian: tutti gli scritti, Milan, Mimesis, 2013, 412 pages.

[232] Mondrian, Pietr – The new art--the new life: the collected writings of Piet Mondrian. Edited by Harry Holtzman and Martin S James, Boston, G.K. Hall, 1986, 414 pages.

[233] See: 

http://mondrianwritings.nl/wp-content/uploads/2017/03/Publication-History-in-Dutch.pdf.

[234] Van Doesburg, Theo – Principios del nuevo arte plástico y otros escritos, Valencia, Colegio Oficial de Aparejadores y Arquitéctos Técnicos, 1985, 210 pages.

[235] Malévich, Kazimir – El nuevo realismo plástico, Madrid, A. Corazón, 1975, 181 pages.

[236] Torres-García, Joaquín - Escritos. Edited by Juan Fló, Montevideo (Uruguay), Arca, 1974, 133 pages.

[237] Torres-García, Joaquín - Escrits sobre art. Edited by Francesc Fontbona, Barcelona, Edicions 62, 1980, 234 pages.

[238] Torres-García, Joaquín - Primer manifiesto del constructivismo. Edited by the Instituto de Cooperacion Iberoamericana and with an essay by Guido Castillo, Madrid, Cultura Hispánica, 1976, 28 pages.

[239] Hugnet, Georges – L'aventure Dada (1916-1922), Paris, Galerie de l'Institut, 1957, 103 pages.

[240] Hugnet, Georges – La Aventura dada: ensayo, diccionario y textos escogidos. With an introduction by Tristan Tzara, Madrid, Júcar, 1973, 300 pages.

[241] Hugnet, Georges – L’avventura dada 1916-1922. Edited by Giampiero Posani, Milan, Mondadori, 1972, 381 pages.

[242] Motherwell, Robert - The Dada painters and poets: an anthology, New York, George Wittenborn, 1951, 403 pages.

[243] Tzara, Tristan e Picabia, Francis. Sept manifestes dada: quelques dessins de Francis Picabia, Paris, Éditions du Diorama, Jean Budry, 1924, 97 pages.

[244] Tzara, Tristan e Picabia, Francis. Siete manifiestos Dada: algunos dibujos de Picabia, Barcellona, Tusquets, 1963.

[245] Tzara, Tristan - Manifesti del dadaismo e lampisterie. Introduction by Sandro Volta, translation by Ornella Volta and picture apparatus by Pablo Volta, Turin, Einaudi, 1964, 134 pages.

[246] Picabia, Francis – Écrits. Edited by Olivier Revault d'Allonnes and Dominique Bouissou, Parigi, Belfond, two volumes (1975 and 1978). Volume 1: 1913-1920, 284 pages. Volume 2: 1921-1953 and posthumous writings, 381 pages.

[247] Picabia, Francis - Écrits critiques. Edited by Carole Boulbès and with introduction by Bernard Noël, Paris, Mémoire du livre, 2005, 693 pages.

[248] Duchamp, Marcel – Salt seller. Writings by Marcel Duchamp, New York, Oxford University Press, 1973, 196 pages.

[249] Duchamp, Marcel - Duchamp du signe: écrits. Edited by Michel Sanouillet and Elmer Peterson, Paris, Flammarion, 1975, 314 pages.

[250] Duchamp, Marcel – Escritos: Duchamp du signe. Edited by Michel Sanouillet and Elmer Peterson, Barcelona, G. Gili, 1978, 254 pages.

[251] Duchamp, Marcel – Scritti. Edited by Michel Sanouillet, with an essay by Achille Bonito Oliva. Translation by Maria Rosaria D'Angelo, Milan, Abscondita, 2005, 276 pages.

[252] Duchamp, Marcel – Escritos. Duchamp del signo, seguido de Notas. Edited by José Jiménez, Paul Matisse and Michel Sanouillet, Barcelona, Galaxia Gutenberg, Círculo de Lectores, 2012, 556 pages.

[253] Duchamp, Marcel – Notas. Introduction by Gloria Moure, translation by Maria Dolores Díaz Vaillagou, Madrid, Tecnos, 1998, 207 pages.