Painting as Model

La influencia de la teosofía sobre la obra neoplástica de Mondrian

“…After his symbolist period, starting in 1911, some authors -like Bois (1993Bois ( , 1994, Champa (1985), Cheetham (1991), Golding (2000) and many others -tend to minimize the influence Theosophy had on Mondrian's painting, mainly in his neoplastic period.…”

The Life Cycles of Modern Artists

“…They begin as an unknown adventure in an unknown space... Ideas and plans that existed in the mind at the start were simply the doorway through which one left the world in which they occur. Barnett Newman expressed the same idea less dramatically: "I am an intuitive painter...I have never worked from sketches, never planned a painting, never 'thought out' a painting before," (Bois, 1990). Arshile Gorky's widow explained that the artist's aesthetic intention for a work was hard to define, since he himself "did not always know what he intended and was as surprised 9 as a stranger at what the drawing became ...…”

Review article

“…Later on, other radical researchers, such as French language deconstructionist art historians and critics Rene Payant (1987), Yve-Alain Bois (1990), and Thierry de Duve (1984), as well as Columbia's Rosalind Krauss (1985), Keith Moxey, Jonathan Crary, or Art Forum's Douglas Crimp, heard in the new art histories of the 1980s an urgent call for a poststructuralist integration of art historical preoccupations with formal and environmental issues within the larger text-driven field of power relations, ideologies, notions of authorship and/or spectatorship, and transcultural practices. For instance, Barthes denied the relevance of authorship in art production; Foucault examined the basic tenets of Western philosophical and aesthetic knowledge pointing out their ideological biases and hierarchies; and Derrida used the concept of deconstruction to deny the possibility of communicable meaning, claiming that each text (the visual text included) recreated it.…”

“…The groundbreaking work done by strong-minded art historians like Svetlana Alpers (1982), Rosalind Krauss (1985Krauss ( , 1993, Yve-Alain Bois (1990), Keith Moxey, Jonathan Crary (1990), Fernande Saint-Martin (1990a, 1990b, George Didi-Huberman (1990a, 1990b, Marie Carani (1989Carani ( , 1992c, Daniel Arasse (1992), and again by Damisch (1987Damisch ( , 1992Damisch ( , 1995, also comes to mind, and gives evidence of its powerful vitality, as well of its willingness to challenge art history on a revitalized conceptual basis in order to overcome this discipline's conventionally given narratives which, since Giorgio Vasari's biographies of famous painters and sculptors of his time, have been its mainstay through the Renaissance, the Enlightenment, the Baroque, Impressionism, Cezanne, and the Modernist transformations of vision.…”