page 172, ‘The most radical novels …’ ibid., p.426.
as David Daiches once pointed out …: personal communication. as when Dickens …: The Pickwick Papers, ed. Mark Wormald, Penguin, London, 1999, pp.130–1; A La Recherche du temps perdu, Pléiade, Paris, 1987, vol. I, p.318.
what Clement Greenberg once said …: ‘Towards a Newer Laocöon’, in Clement Greenberg: The Collected Essays and Criticism, ed. John O'Brian, 4 vols, Chicago, 1986, vol. I, p.27.
page 173, ‘The problem of living in Brazil …’ Thirlwell, op.cit., p.378.
page 174, ‘I was an idealistic adolescent’ Julian Barnes, Nothing to be Frightened of, Jonathan Cape, London, 2008, p.32.
‘“I hope, Barnes …”’ ibid., p.170.
page 175, ‘Like most Victorian novelists …’ Bayley, op.cit., p.451.
As Linda Colley …: Britons: Forging the Nation 1707–1837, Yale University Press, New Haven, CT and London, 1992.
page 176, ‘In his delightful novel …’ Malcolm Bradbury, Rates of Exchange, Secker & Warburg, London, 1983, p.152.
page 178, the American artist Joseph Kossuth …: ‘Art after Philosophy’, quoted in de Duve, op.cit., p.300.
page 179, ‘I identify Modernism …’ ‘Modernist painting’, in The New Art, ed. Gregory Battcock, Dutton, New York, 1973, p.66.
rather as Mary Douglas …: Natural Symbols, Penguin, Harmondsworth, 1973, pp.40–1.
‘His pictures … are no longer …’ obituary of Mondrian, reprinted in Greenberg, Collected Essays vol. I, pp.188–9.
page 180, ‘The text presents …’ de Duve, op cit., pp.158–9.
‘For Kandinsky's abstract expressionism …’ ibid., p.159.
page 181 ‘When push comes to shove …’ ibid., p.432.
page 182, He quotes Hegel …: Clark, op.cit., p.371.
‘That is to say …’ ibid.
‘a kind of shame’ ibid., p.48.
page 183, ‘Even at the time …’ ibid., p.175.
‘we could worry …’ ibid., p.87.
page 186, ‘Picasso was the last person to want …’ ibid., p.192.
‘As soon as we saw …’ ibid., p.222.
page 186, Randall Jarrell, in a famous essay …: ‘The Collected Poems of Wallace Stevens’, in Randall Jarrell, The Third Book of Criticism, Farrar, New York, 1965.
page 187, The late R.B. Kitaj …: First Diasporist Manifesto, Thames and Hudson, London, 1989.
INDEX
Page numbers in italics refer to figures.
abstract expressionism (i), (ii), (iii)
abstraction (i), (ii)
Bacon on abstract art (i), (ii), (iii)
Duchamp's scepticism (i)
as final destination for art (i)
Friedrich as precursor (i), (ii)
in music (i)
in novel (i)
Picasso's aversion to (i), (ii), (iii), (iv)
action: Greek tragedy as imitation of (i), (ii), (iii), (iv), (v)
actuality and possibility (i), (ii)
Adorno, Theodor (i), (ii), (iii), (iv)
Aeschylus (i)
Oresteia (i), (ii), (iii), (iv)
Prometheus Unbound (i)
Agamemnon (i), (ii), (iii)
American Society of Independent Artists (i)
Amis, Kingsley (i), (ii), (iii)
Amis, Martin (i)
ancient world (i), (ii), (iii)
see also Greek tragedy
anecdotal
in art (i), (ii)
in novel (i), (ii), (iii), (iv)
antipathy to Modernism (i)
anxiety
and individual freedom (i), (ii)
of writers (i), (ii)
Apollinaire, Guillaume (i), (ii)
Appelfeld, Aharon (i)
arbitrariness (i)
in classic novel (i), (ii), (iii), (iv), (v), (vi)
Aristotle (i)
Poetics (i)
art
artistic drive (i), (ii)
Bacon on life and illustration (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
and chance (i)
choice in making of (i), (ii), (iii)
creativity and justification for art (i)
critics and views of Modernism (i), (ii), (iii), (iv)
and denial of genre (i), (ii)
Duchamp and readymade (i), (ii)
Duchamp's Large Glass (i)
Dürer's Melencolia I and loss (i)
landscape and break with tradition (i), (ii), (iii), (iv), (v)
Modernism as artistic response (i)
Picasso (i), (ii), (iii)
Renaissance values (i)
see also abstraction
art historians on Modernism (i)
artificiality
art (i)
fiction (i), (ii), (iii), (iv)
Auden, W.H. (i)
Augustine, St (i)
‘aura’ of work of art (i)
authority (i)
and art criticism (i)
and genius (i)
and novel (i), (ii), (iii), (iv)
authors
anxiety and despair (i), (ii), (iii), (iv)
as figures in fiction (i), (ii)
Kierkegaard on conclusions (i)
‘naïve’ authors (i)
as solitary individuals (i), (ii), (iii)
see also novel
Bacon, Francis (artist) (i), (ii), (iii)
on abstract art (i), (ii), (iii)
on life and illustration (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
on Rembrandt's Self-Portrait (i), (ii)
Bacon, Sir Francis (statesman and philosopher) (i), (ii)
Bakhtin, Mikhail (i), (ii)
‘Ballad of Sir Patrick Spens, The’ (i)
Balzac, Honoré de (i), (ii)
Barnes, Julian (i)
Nothing to be Frightened of (i)
Barthes, Roland (i), (ii)
on the Citroën DS 19 (i)
Le Degré zéro de l'écriture (i), (ii), (iii), (iv), (v), (vi)
Bataille, Georges (i)
Bandelaire, Charles (i)
Bayley, John (i), (ii)
Beckett, Samuel (i), (ii), (iii), (iv), (v), (vi)
‘Dante and the Lobster’ (i)
Endgame (i)
weariness with tradition (i), (ii), (iii), (iv), (v)
Beethoven, Ludwig van (i), (ii), (iii), (iv)
Bellow, Saul (i)
The Adventures of Augie March (i)
Benini, Roberto (i)
Benjamin, Walter (i), (ii), (iii), (iv), (v)
Berger, John (i), (ii)
Berio, Luciano (i), (ii)
Berlin, Isaiah (i)
Bernhard, Thomas (i), (ii), (iii), (iv), (v), (vi)
Beuys, Joseph (i)
Birtwistle, Harrison (i)
Semper Dowland, Semper Dolens (i)
Blanchot, Maurice (i), (ii), (iii), (iv)
Blumenberg, Hans (i), (ii)
Bois, Yve-Alain (i)
Bonnard, Pierre (i)
Border Ballads (i)
boredom threshold and artistic drive (i)
Borges, Jorge Luis (i), (ii), (iii), (iv), (v)
‘Death and Compass’ (i)
‘The Garden of Forking Paths’ (i)
‘Pierre Menard, Author of Quixote’ (i)
‘Tlön, Uqbar, Orbis Tertius’ (i)