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

 

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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 Four

Fig. 54) The Spanish edition of the American anthology of contemporary art literature by Robert Goldwater and Marco Treves.

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Laura Arias Serrano’s reasoned bibliography has allowed us to take stock of the editorial fortune of art literature in the Spanish-speaking world during the last three centuries. In the previous parts, we have analysed Arias Serrano’s comments to art history sources from Anton Raphael Mengs (1728 - 1779) to Vincent van Gogh (1853-1890) and then from Maurice Denis (1870-1943) to Marcel Duchamp (1887-1968). In this last part we are continuing and finalising this scrutiny, whose goal is to study the role of the Spanish publishing world and its capacity to offer readers an image as complete as possible of contemporary art literature. For this purpose we are contrasting the information contained in Laura Arias Serrano's volume with that which we can draw from the bibliographic search engine www.worldcat.org, trying to answer some of our curiosities. Considering worldwide contemporary art literature, what role did the texts originally written in Spanish play? When were the writings by artists from other linguistic areas translated into Spanish? In which cases did the scholar had to resort to originals in other languages, due to the absence of texts in Spanish? And what is, comparatively, the situation of Italian publishing? In addition to the editorial success of the artists' writings, we are obviously also getting a picture of what has been the focus of interest by the scholarly community within a linguistically important area in Europe and in the world, discovering the role, for example, of publications in Latin America.

Fig. 55) The Spanish edition of the American anthology of contemporary art literature by Herschel B. Chipp.

Metaphysical painting originated - predominantly - in the Italian cultural sphere, and therefore in a language which is, comparatively, more easily accessible to cultivated Spanish readers. As for the Spanish translations, Giorgio de Chirico (1888-1978) is present with the examination of short texts included in the Iberian versions of the anthologies by Robert Goldwater and Marco Treves and by Herschel Chipp, released in 1953 [254] and 1995 [255] respectively. In addition, the authoress reviewed a 1990 Spanish anthology entitled On metaphysical art and other writings, entirely dedicated to de Chirico [256] and housed in the collection of texts published by the Comisión de Cultura del Colegio Oficial de Aparejadores y Arquitectos Técnicos (an important series of texts which, in the second half of the last century, hosted Spanish translations of sources of art history from Vitruvius to contemporary artists). Besides de Chirico's writings, the authoress added the Spanish translation of Carlo Carrà's Metaphysical painting (1919), published in 1999 [257]. As for Italian sources, the authoress cited (with reference to De Chirico) an important anthological collection published by Einaudi (The mechanism of thought. Criticism, autobiography controversy-1911-1943) of 1985 [258] and Carlo Carrà’s collection of All writings, released by Feltrinelli in 1978 [259].

Fig. 56) Writings by Giorgio De Chirico and Carla Carrà in Spanish and Italian.

The aesthetic of the return to order is testified by a famous Parisian writing by Gino Severini (1883-1966): Du cubisme au classicisme: esthétique du compas et du nombre [260], released in 1923 and immediately turned into a huge editorial success. The Spanish translation dates back to 1993. It was published in the aforementioned national series of artists and architects [261] (in Italy the text has been accessible since 1972 [262]). In Germany, the theoretical formulation of the so-called "magical realism" derives from the thought of the photographer and art critic Franz Roh (1890-1965), in his essay Magic Realism. Post expressionism. Problems of the most recent European painting (1925) [263]. The Spanish text appeared in 1927 in the "Revista de Occidente” [264] (the journal of the philosopher José Ortega y Gasset) and was republished in 1997. In Italy it is available only since 2007 [265].

Fig. 57) On the left: From cubism to classicism by Gino Severini in French, Spanish and Italian. On the right: Franz Roh’s Magical realism, in two Spanish editions and in an Italian translation.

The reasoned bibliography of Laura Arias Serrano testifies to the scarce presence in Spain of sources of the history of German art oriented to the 'return to order'. In fact, the volume of George Grosz [266] (1893-1959) she reviewed was not a text of sources of art history (but a collection of drawings). I would have included instead the autobiography A little yes and a big no, written by the same painter and appeared in the United States in 1946 and in Spanish in 1991 [267] (in Italian in 1984 [268]).

Fig. 58) Magnetic fields, the writing by André Breton and Philippe Soupault in the French original and in later versions in French, Spanish and Italian.

Much richer is the presence of surrealist art literature in Spanish. Five reviews are dedicated to André Breton (1896-1996) and Salvator Dalí (1904-1989); we have also comments to writings of Max Ernst (1891-1976), René Magritte (1898-1967), André Masson (1896-1987) and Joan Miró (1893-1983). In the case of Masson, a text taken from Chipp's anthology is presented; for all the others we are dealing with reviews of essays, manifestos and collections of writings.

Breton wrote the first surrealist collection of prose and poetry texts - oriented to the concept of 'automatic structure' - in 1920: it was Magnetic fields (1920) [269], a work of his together with Philippe Soupault, which has been republished and reprinted in French numerous times since then. The Spanish edition came out in 1976 [270] (and is reviewed in a 1982 reprint), the Italian one in 1979 [271] (with reprint in 2007). After the publication of the first surrealist manifesto of 1924, Breton also dedicated himself to the theory of fine arts. Surrealism and painting came out in French in 1928 [272] and was then republished in a revised and greatly expanded edition in 1965 [273]. The Italian translation was produced in the following year [274] (with a reprint of the publisher Abscondita in 2010). There was also an English edition [275], but none in Spanish.

Fig. 59) The French version of the Manifesto of the International Federation of Independent Revolutionary Artists.

The politicization of surrealism is evidenced by the short Manifesto of the International Federation of Independent Revolutionary Artists of July 1938, signed by André Breton and Diego Rivera (1887-1957), and published in Spanish in Mexico (but also in Barcelona, in the midst of the civil war [276]). The French translation was from 1945 [277]. After the end of Francoism the text appeared again in Spain in the nineties, associating the names of Breton, Rivera and - in later versions - Leon Trotsky (Лев Троцкий; 1879 - 1940). Various Italian translations of this political manifesto are available in anthologies and studies on surrealism. It followed the Anthology of the black mood (1939) [278], an anthology of texts by 45 authors edited by Breton himself, translated into Spanish in 1972 [279] (and here reviewed in the 1999 reprint) and in Italian in 1970 (and subject to continuous reprints since then). André Breton's Manifesto of Surrealism has been published in French since 1955 [280], in Spanish since 1965 (in Buenos Aires, and then later in Madrid) [281] and in Italian since 1966 [282].

Fig. 60) Max Ernst's writings in French, Spanish and Italian.

Max Ernst is reviewed with Scriptures with one hundred and twenty drawings, a collection of (originally French) texts from 1970 [283], appeared in Spanish in 1982 [284] and in Italian as early as 1972 [285]. René Magritte's All the writings appeared in France in 1979 [286]; Laura Arias Serrano published their Spanish version (2003) [287]. Magritte's writings flew on the market immediately also in Italian [288] (1979) in the Feltrinelli’s series mentioned several times. Miró's writings and conversations were published in Spanish in 2002, within the well-known national series of artists and architects in 2002 [289], based on the original English edition of 1986 [290] (in French in 1995 [291]). Italian could read I work like a gardener and other writings since 2008 [292]. 

Fig. 61) Above: the collection of complete writings by René Magritte in French, Spanish and Italian. Below: collections of writings by Joan Miró in in Spanish, English and Italian.

Unsurprisingly for a reasoned biography of art literature published in Spain, the authoress assigned a large space to Salvator Dalí, with numerous reviews of the Spanish translations of texts originally in French: The putrefied donkey (1930), The great masturbator (1930), The tragic myth of Millet's Angelus (1932-1933), The conquest of the irrational (1935), Why they attack the Mona Lisa. The critical paranoid method (1971).

Fig. 62) Salvador Dalí's writings in Spanish and Italian.

In reality, this is only a part of the painter's very large literary production, which is also present on the Italian publishing market. Dalí's complete works have been published - partly in Spanish and partly in Catalan - in a still unfinished eight-volume critical edition (the sixth has not yet been published) as from 2003 [293]. The work, curated by the Gala-Salvador Dalí Foundation, has a total size of over five thousand pages.

Fig. 63) The complete edition of Salvador Dalí's writings, published by the Gala-Salvador Dalí Foundation.

The art literature of the new American movements in the first post-war period is documented with reviews of writings by Jackson Pollock (1912-1956), Willem de Kooning (1904-1997), Mark Rothko (1903-1970) and Robert Motherwell (1915-1991). With the exception of Pollock (for which reference is made to Chipp's anthology) it is an overview of essays (in English, Spanish and French).

 

Fig. 64) Writings of Willem de Kooning in English, French, Spanish and Italian

Collections of writings by Willem De Kooning have existed in English since 1988 [294]. However, his texts are documented by Laura Arias Serrano in French, in a different collection of Writings and propositions published in 1992 [295] in the series Écrits d’artist of the École Nationale Supérieure des Beaux-Arts in Paris. A subsequent collection, entitled Works, writings and interviews, came out later thanks to the publishing house "Poligrafa", both in English and Spanish [296]. In Italian, a smaller collection of Notes on art exists since 2003 [297].

Fig. 65) On the left: writings of Robert Motherwell in English. Center and right: Mark Rothko's writings in English, French and Spanish.

Robert Motherwell is considered by referring to 1999 Stephanie Terenzio's collection of writings [298] (more precisely, on its 2007 reprint). There were no versions in other languages but English. However, I would like to point out that another volume of writings was edited by Dore Ashton in 2007 [299]. Two collections of Mark Rothko writings, edited by Miguel López-Remiro [300] and his son Christopher [301], exist in Spanish. They draw on two originally rival editions, published shortly before in France [302] and in the United States [303]. The American edition was supported by the Rothko Foundation, in the hands of the family; the Rothko French edition was sponsored by the Getty Foundation and soon after was made available also in the United States, by the same publisher as the previous American edition [304]. Both editions (the one supported by the Getty Foundation [305] and the one promoted by the Rothko family [306]) have also been translated into Italian. Finally, I would like to report in Italy the presence of a third collection, published by Abscondita by Antonio Salvini [307]. Numerous reprints of all these works already exist in the various languages indicated above.

Fig. 66) Writings of Jean Dubuffet in Spanish and Italian.

In Europe the concept of informal art was first defined by the French art critic Michel Tapié (1909-1987) in 1952 [308]. In addition to the texts of the CoBRA group (quoted from Chipp's anthology), Laura Arias Serrano cited a collection of writings by Jean Dubuffet (1901-1985), entitled The man in the street in front of the work of art, which appeared in Spanish in 1992 [309]. It is the translation of a French essay from 1973 [310]. The anthology also contains Asphyxiating-Culture, perhaps the most famous text of Dubuffet, also for its political implications (in Italy it was published by Feltrinelli [311] in 1969 and then, in a new edition, by Abscondita [312] in 2006).

Fig. 67) Writings of Antoni Tàpies in Spanish, Catalan and (last on the right) Italian.

The Informel was very important in Spain (where however the meaning of 'lyrical abstraction' prevailed, also present also in France). The most representative artist was the Catalan Antonio Tàpies (1923-2012), of which we have three collections of texts, all published both in Spanish and in the Catalan original. The practice of art came out in Catalan in 1970 [313] and in Spanish in 1971 [314]; Art against aesthetics appeared in Catalan in 1974 [315] and in Spanish in 1986 [316]; Reality as art. For a modern and progressive art, came out in Spanish in the national series of artists and architects (1989) [317], assembling two Catalan texts from 1982 [318] and 1985 [319]. In Italian two of the texts just mentioned have been published in a single volume [320].

Fig. 68) Writings by Spanish artists of Informel: Antonio Saura, Manolo Millares and Eduardo Chillida.

Antonio Saura from Madrid (1930-1998), the soul of the El Paso group, is the other great protagonist of the Iberian informal. Two of his manifestos appeared in 1957 and 1959. Laura Arias Serrano also reviewed two collections of his texts. The first is Fixity, Essays from 1999 [321]. The second, published in 2004, is entitled Writing like painting. On the pictorial experience 1950-1994 [322].

Fig. 69) The White Manifesto by Lucio Fontana in the Argentine original from 1946 and in later Spanish and Italian versions

The Spanish Informel had other protagonists. The painter Manolo Millares (1926-1972) produced in 1959 the polemical article The Homunculus in current painting, which, together with other writings, was included in a monographic anthology published in 1975 [323]. The sculptor Ángel Ferrant (1891-1961) is present with Everything seems something. Critical writings and testimonies, a posthumous volume published by Visor [324]. Finally, a collection of the writings of the sculptor Eduardo Chillida (1924-2002) came out in 2005 [325].

 

Fig. 70) Spanish writings by Gerardo Rueda and Pablo Palazuelo.

 

Immediately after the writings of the informal artists, the authoress considered the texts of representatives of Spatialism and other forms of geometric abstraction. The White Manifesto (1946) by Lucio Fontana (1899-1968) came out in Buenos Aires simultaneously in multiple languages [326]. It is here taken into consideration from the catalogue of an exhibition in Madrid dedicated to the artist in 1982. In Italy the White Manifesto was first republished in Milan by the Apollinaire Gallery in 1966 [327] and then in a fine edition always in Milan by Henry Beyle in 2014 [328]. A collection of writings and conversations by the Spanish Spatialist Gerardo Rueda (1906-1996) appeared in Madrid in 1999 thanks to the Reina Sofía Museum [329]. The texts by Pablo Palazuelo (1915-2007) were instead published in the context of the national series of texts by artists and architects in 1998 [330]. Finally, optical and kinetic art was represented by a comment to the article From cubism to abstract art by the Spanish painter Eusebio Sempere (1923-1985), published in the Revista de la Universidad de Valencia in 1954 and cited here in the catalogue of an exhibition in Madrid dedicated to El grupo de Cuenca from 1997 [331].

 

Fig. 71) On the left: collections of writings by Joseph Beuys in Italian and Spanish. On the right: the conceptual art anthology of the American art critic Gregory Battcock, in Spanish and English.

Action art is present on the Spanish market with the essays and interviews by Joseph Beuys (1921 - 1986) [332]. I would like also to mention Beuys voice, a collection of writings curated in Italy by Lucrezia De Domizio Durini [333]. As for conceptual art, Laura Arias Serrano reviewed the Spanish translation (1977) [334] of an anthology by the American art critic Gregory Battcock from 1973 [335], which is not present on the Italian market.

 

Fig. 72) Andy Warhol's Philosophy: from A to B and Back Again in Spanish, English and Italian editions

The last texts cited are those that document the writings of the artists who marked the return to figurative art with Pop Art. In most cases these are quotes from magazines or anthologies, with the exception of the Spanish edition (2001) of a famous essay by Andy Warhol (1928-1987), entitled The philosophy of Andy Warhol: from A to B and vice versa. Released in English in 1975 [336], the Spanish text was published in Barcelona in 1981 [337] and then reprinted four times (most recently in 2002). The first Italian version dates back to 1975 and was the subject of numerous reprints [338]. A new edition was published by Abscondita in 2009 [339].

NOTES

[254] Goldwater, Robert e Treves, Marco - El arte visto por los artistas: Selección de textos de los siglos XIV a XX. Spanish version by Rafael y Jorge Benet, Barcelona, Seix y Barral, 1953, 502 pages.

[255] Chipp, Herschel Browning - Teorías del arte contemporáneo: fuentes artísticas y opiniones críticas. In cooperation with Peter Selz and Joshua C. Taylor; translation by Julio Rodríguez Puértolas, Madrid, Akal, 1995, 711 pages.

[256] De Chirico, Giorgio - Sobre el arte metafísico y otros escritos. Edited by Juan José Lahuerta, Jordi Pinós and Cristina Gonzalbo, Murcia, Comisión de Cultura del Colegio Oficial de Aparejadores y Arquitectos Técnicos, 1990, 135 pages.

[257] Carrà,Carlo - Pintura metafísica. Edited by Xavier Riu, Barcelona, El Acantilado, 1999, 267 pages.

[258] De Chirico, Giorgio - Il meccanismo del pensiero. Critica, polemica autobiografia (1911-1943). Edited by Maurizio Fagiolo dell'Arco, Turin, Einaudi, 1985, 505 pages.

[259] Carrà, Carlo - Tutti gli scritti. Edited by Vittorio Fagone e Massimo Carrà, Milan, Feltrinelli, 1978, 801 pages.

[260] Severini, Giorgio - Du cubisme au classicisme; esthétique du compas et du nombre. Forward by René Allendy, Paris, J. Povolozky edition, 1921, 123 pages.

[261] Severini, Giorgio - Del Cubismo al Clasicismo: estética del compás y del número. Edited by Francisco Javier San Martín, Alfonso Carmona González, and Caja de Ahorros de Murcia, Murcia, Colegio Oficial de Aparejadores y Arquitectos Técnicos de Murcia, 1993, 157 pages.

[262] Severini, Giorgio - Dal cubismo al classicismo e altri saggi sulla divina proporzione e sul numero d'oro. Edited by Piero Pacini, Florence, Marchi & Bertolli, 1972, 258 pages.

[263] Roh, Franz - Nach-Expressionismus: magischer Realismus. Probleme der neuesten europäischen Malerei, Leipzig, Klinkhardt und Biermann, 1925, 134 pages.

[264] Roh, Franz - Realismo mágico: post expresionismo. Problemas de la pintura europea más reciente. Edited by Fernando Vela, Madrid, Revista de Occidente, 1927, 141 pages.

[265] Roh, Franz - Post-espressionismo: realismo magico. Problemi della nuova pittura europea. Edited by Sara Cecchini, Naples, Liguori, 2007, 178 pages.

[266] Grosz, George - El rostro de la clase dominante: !Ajustaremos cuentas¡, Barcelona, Gustavo Gili, 1977, 156 pages.

[267] Grosz, George - Un sí menor y un no mayor. Foreword by Antoni Domènech. Translation by Helga Pawlowsky, Madrid, ANAYA & Mario Muchnik, 1991, 346 pages.

[268] Grosz, George - Una autobiografia. Translation by Giovanni Nebuloni, Milan, SugarCo, 1984, 336 pages.

[269] Breton, André and Soupault, Philippe - Les champs magnétiques, Paris, Au sans pareil, 1920, 111 pages.

[270] Breton, André and Soupault, Philippe - Los campos magnéticos. Translation by Francesc Parcerisas, Barcelona, Tusquets, 1976, 91 pages.

[271] Breton, André - I Campi magnetici, Rome, Newton Compton, 1979, 143 pages.

[272] Breton, André - Le surréalisme et la peinture, Paris, Gallimard, 1928, 72 pages.

[273] Breton, André - Le surrealisme et la peinture, Paris, Gallimard, 1965, 427 pages.

[274] Breton, André - Il surrealismo e la pittura. Edited by Ettore Capriolo, Florence, Marchi, 1966, 427 pages.

[275] Breton, André - Surrealism and painting, London, Macdonald and Co., 1972, 416 pages.

[276] Manifiesto por un arte revolucionario independiente, edited by André Breton and L Trotsky, Barcelona, without indication of the publisher, 1938.

[277] Pour un art révolutionnaire indépendant. Manifeste de la Fédération internationale des Artistes révolutionnaires indépendants, edited by André Breton and Diego Rivera, Parigi, Service d'édition et de librairie du Parti communiste internationaliste (IVe Internationale), 1945-47.

[278] Breton, André – Anthologie de l’humour noir, Paris, Éditions du Sagitaire, 1940, 262 pages.

[279] Breton, André – Antologia del humor negro. Translation by Joaquín Jordá, Barcelona, Anagrama, 1972, 402 pages.

[280] Breton, André - Les manifestes du Surréalisme, suivis de Prolégomènes a un troisième manifeste du Surréalisme ou non du Serréalisme en ses œuvres vives et d'éphémérides surréalistes, Paris, Le Sagittaire, 1955, 123 pages.

[281] Breton, André – Los manifiestos del surrealism. Translation, foreword and notes by Aldo Pellegrini, Buenos Aires, Ediciones Nueva Visión, 1965, 157 pages.

[282] Breton, André - Manifesti del surrealismo. Edited by Liliana Magrini and Guido Neri, Turin, Einaudi, 1966, 235 pages.

[283] Ernst, Max - Ecritures, avec cent vingt illustrations extraites de l'oeuvre de l'auteur, Paris, Gallimard, 1970, 449 pages.

[284] Ernst, Max - Escrituras: con ciento cinco ilustraciones extraídas de la obra del autor. Edited by Pere Gimferrer and Alfred Sargatal, Barcelona, Polígrafa, 1982, 382 pages.

[285] Ernst, Max - Scritture: con centoventi illustrazioni ricavate dall'opera dell'autore. Edited by Ippolito Simonis and Gian Renzo Morteo, Milan, Rizzoli, 1972.

[286] Magritte René – Écrits complets. Edited by André Blavier, Paris, Flammarion, 1979, 761 pages.

[287] Magritte René – Escritos. Edited by Mercedes Barroso Ares, Madrid, Síntesis, 2003, 432 pages.

[288] Magritte René - Tutti gli scritti. Edited by André Blavier and Enrico Crispolti, 1979, Milan, Feltrinelli, 1979, 711 pages.

[289] Miró, Joan - Escritos y conversaciones. Edited by Margit Rowell, Murcia, Colegio Oficial de Aparejadores y Arquitectos Técnicos de la Región de Murcia, 2002, 409 pages.

[290] Miró Joan - Selected writings and interviews. Edited by Paul Auster and Margit Rowell, London, Thames and Hudson, 1986, 326 pages.

[291] Miró Joan - Écrits et entretiens. Edited by Margit Rowell, Paris, Daniel Lelong, 1995, 337 pages.

[292] Miró Joan – Lavoro come un giardiniere e altri scritti. Edited by Marco Alessandrini, Milan, Abscondita, 2008, 152 pages.

[293] Dalí, Salvador - Obra Completa, Barcellona, Ed. Destino; Figueres, Fundació Gala-Salvador Dalí; Madrid, Sociedad estatal de conmemoraciones culturales, Volumes 1-5 and 7-8 (volume 6 not yet published).
Volume 1. Autobiographical texts 1
Volume 2. Autobiographical texts 2
Volume 3. Poetry, prose, theater and cinema
Volume 4. Essays. 1, Articles, 1919-1986
Volume 5. Essays 2
Volume 6 Correspondence
Volume 7. Interviews
Volume 8. Album

[294] De Kooning, Willem - The collected writings of Willem de Kooning. Edited by George Scrivani, Madras, Hanuman Books, New York, 1988, 188 pages.

[295] De Kooning, Willem - Écrits et propos. Edited by Marie Anne Sichère and Yves Michaud, Paris, École nationale supérieure des beaux-arts, 1992, 303 pages.

[296] De Kooning, Willem - Obras, escritos y entrevistas. Edited by Sally Yard, Barcelona, Ediciones Polígrafa, 2007, 158 pages.

[297] De Kooning, Willem - Appunti sull’arte. Edited by Alessandra Salvini, Milan, Abscondita, 2003, 97 pages.

[298] Motherwell, Robert - The collected writings of Robert Motherwell. Edited by Stephanie Terenzio, Berkeley, California, University of California Press, 1999, 337 pages.

[299] Motherwell, Robert - The writings of Robert Motherwell. Edited by Dore Ashton and Joan Banach, Berkeley, Los Angeles and Londra, University of California Press, 2007, 387 pages.

[300] Rothko, Mark - Escritos sobre arte 1934-1969. Edited by Eduardo García Agustín, Jesús Carrillo Castillo and Miguel López-Remiro, Barcelona, Paidós, 2007, 240 pages.

[301] Rothko, Mark - La realidad del artista: filosofías del arte. Edited by Christian Rothko and Marisa Abdala, Madrid, Editorial Síntesis, 2004, 237 pages.

[302] Rothko, Mark - Écrits sur l'art, 1934-1969. Edited by Miguel López-Remiro, Paris, Flammarion, 2005, 253 pages.

[303] Rothko, Mark - The artist's reality: philosophies of art. Edited by Christopher Rothko, New Haven, Conn, Yale University Press, 2004, 136 pages.

[304] Rothko, Mark - Writings on Art. Edited by Miguel Lopez-Remiro, New Haven, Conn, Yale University Press, 172 pages.

[305] Rothko, Mark - Scritti sull'arte. 1934-1969. Edited by Miguel Lopez-Remiro. Italian edition edited by Riccardo Venturi, Rome, Donzelli Editore, 2007, 254 pages.

[306] Rothko, Mark - L'artista e la sua realtà, Milan, Skira, 216 pages.

[307] Rothko, Mark – Scritti. Edited by Antonio Salvini, Milano, Abscondita, 2017, 112 pages.

[308] Tapié, Michel – Un art autre: où il s’agit de nouveaux dévidages du reel, Paris, Gabriel Giraud et fils, 1952, 60 pages.

[309] Dubuffet, Jean - El hombre de la calle ante la obra de arte. Edited by Cari Baena, Madrid, Editorial Debate, 1992, 326 pages.

[310] Dubuffet, Jean - L'homme du commun à l'ouvrage, Paris, Gallimard, 1973, 446 pages.

[311] Dubuffet, Jean – Asfissiante cultura. Edited by Adriano Spatola, Milan, Feltrinelli, 1969, 90 pages.

[312] Dubuffet, Jean – Asfissiante cultura. Edited by Giulia Alfieri and Federico Ferrari, Milan, Abscondita, 2006, 106 pages.

[313] Tàpies, Antonio - La pràctica de l'art, Barcelona, Ediciones Ariel, 1970, 173 pages.

[314] Tàpies, Antonio - La práctica del arte. Translation by Joaquim Sempere, Barcelona, Ediciones Ariel, 1971, 193 pages.

[315] Tàpies, Antonio – L’Art contra l’estética, Barcelona, Esplugues de Llobregat, Ediciones Ariel, 1974, 210 pages.

[316] Tàpies, Antonio – El arte contra la estética. Edited by Joaquín Sempere, Barcelona, Planeta Agostini, 1986, 256 pages.

[317] Tàpies, Antonio - La realidad como arte: por un arte moderno progresista. Translation by Javoer Rubio Navarro, Valencia, Colegio Oficial de Aparejadores y Arquitectós Técnicos, 1989, 278 pages.

[318] Tàpies, Antonio - La realitat com a art, Barcelona Laertes, 1982, 219 pages.

[319] Tàpies, Antonio - Per un art modern i progressista, Barcelona, Ed. Empúries, 1985, 134 pages.

[320] Tàpies, Antonio – L’arte contro l’estetica/La pratica dell’arte. Edited by Carmine Benincasa, Bari, Dedalo, 1980, 228 pages.

[321] Saura, Antonio - Fijeza, Ensayos, Barcellona, Galaxia Gutenberg / Círculo de Lectores, 1999, 382 pages.

[322] Saura, Antonio - Escritura como pintura: sobre la experiencia pictórica 1950-1994, Barcelona, Galaxia Gutenberg, 2004, 206 pages.

[323] Millares, Manuel – Escritos de Millares y otros textos. Edited by Juan Manuel Bonet, Madrid, Rayuela, 1975, 91 pages.

[324] Ferrant, Ángel – Todo se parece a algo. Escritos críticos y testimonies. Edited by Javier Arnaldo and Olga Fernández, Visor, Madrid, 1997, 352 pages.

[325] Chillida, Eduardo – Escritos. Edited by Museo Chillida Leku, with foreward by Nacho Fernández, Madrid, La Fábrica Editorial, 2005, 124 pages.

[326] Fontana, Lucio - White Manifest = Le Manifeste Blanc = Manifiesto Blanco = Il Manifesto Bianco, Buenos Aires, Color, Sonido, Movimiento, 1946. Four folders in English, Italian, French and Spanish, each consisting of two loose sheets.

[327] Manifiesto blanco, 1946: spazialismo. Texts by Lucio Fontana; Ugo Mulas; Guido Le Noci; Alain Jouffroy; Michel Fougères, Milan, Galleria Apollinaire edizioni, 1966, 80 pages

[328] Fontana, Lucio - Manifesto bianco, Milan, Henry Beyle, 2014, 40 pages.

[329] Rueda Gerardo, Escritos y conversaciones. Edited by José Luis Rueda and Alfonso de la Torre, Museo Nacional Centro de Arte Reina Sofía, Madrid, 1999, 272 pages.

[330] Palazuelo, Pablo - Escritos, conversaciones, Murcia, Colegio Oficial de Aparejadores y Arquitectos Técnicos de Murcia, 1998, 312 pages.

[331] El grupo de Cuenca, Catalogue of the exhibition held at the Sala de las Alhajas, Madrid, February-April 1997, Madrid, Edizione Caja de Madrid, 1997, 402 pages.

[332] Beuys, Joseph - Ensayos y entrevistas. Edited by Bernd Klüser and Miguel Salmerón, Madrid, Editorial Síntesis, 2006, 223 pages.

[333] De Domizio Durini, Lucrezia - Beuys voice, Milan, Electa, 2011, 965 pages.

[334] Battcock, Gregory - La idea como arte: documentos sobre el arte conceptual, Barcelona, G. Gili, 1977, 156 pages.

[335] Battcock, Gregory - Idea art: a critical anthology, New York, Dutton, 1973, 203 pages.

[336] Warhol, Andy - From A to B and back again: the Philosophy of Andy Warhol, London, Pan Books, 1975, 241 pages.

[337] Warhol, Andy - Mi filosofía de A a B y de B a A. Edited by Marcelo Covián, Barcelona, Tusquets, 1981, 238 pages.

[338] Warhol, Andy - La filosofia di Andy Warhol. Translation by Rino Ponte and Fernando Ferretti, Genoa, Costa & Nolan, 1975, 199 pages.

[339] Warhol, Andy - La filosofia di Andy Warhol: da A a B e viceversa. Translation by Caterina Medici, Milan, Abscondita, 2009.