Paul Wood is Senior Lecturer in Art History at the Open University. He is co-editor, with Charles Harrison and Jason Gaiger, of Art in Theory 1648-1815 (2001) and Art in Theory 1815-1900 (1998).

A Note on the Presentation and Editing of Texts.

General Introduction.

Part I: The Legacy of Symbolism.

Introduction.

1. Classicism and Originality.

Paul Signac: from Eugène Delacroix to Neo-Impressionism 1899.

Paul Gauguin: letter to Fontainas 1899.

Sigmund Freud: from 'On Dreams' 1901.

Otto Weininger: from Sex and Character 1903.

Max Liebermann: 'Imagination in Painting' 1904.

Paul Cézanne: letters to Emile Bernard 1904-06.

Rainer Maria Rilke: from Letters on Cézanne 1907.

Maurice Denis (intro. Roger Fry): 'Cézanne' 1907.

Maurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909.

Julius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904.

Giorgio de Chirico: 'Mystery and Creation' 1913.

2. Expression and the Primitive.

August Endell: 'The Beauty of Form and Decorative Art' 1897-98.

Albert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905.

André Derain: letters to Vlaminck c.1905-1909.

Ernst Ludwig Kirchner: programme of Die Brücke 1906.

Wilhelm Worringer: from Abstraction and Empathy 1908.

Henri Matisse: 'Notes of a Painter' 1908.

Roger Fry: 'An Essay in Aesthetics' 1909.

Wassily Kandinsky: from Concerning the Spiritual in Art 1911.

Wassily Kandinsky: The Cologne Lecture 1914.

Franz Marc: 'The "Savages" of Germany' and 'Two Pictures' 1912.

August Macke: 'Masks' 1912.

Emil Nolde: 'On Primitive Art' 1912.

Oscar Kokoschka: 'On the Nature of Visions' 1912.

Alexander Shevchenko: 'Neo-Primitivism' 1913.

Benedetto Croce: 'What is Art?' 1913.

Clive Bell: 'The Aesthetic Hypothesis' 1914.

Carl Einstein: 'Negro Sculpture' 1915.

Hermann Bahr: from Expressionism 1916.

Hans Prinzhorn: from Artistry of the Mentally Ill 1922.

Part II: The Idea of the Modern World.

Introduction.

3. Modernity.

Georg Simmel: 'Metropolis and Mental Life' 1902-3.

Max Weber: 'Asceticism and the Spirit of Capitalism' 1904-05.

Vladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905.

Henri Bergson: from Creative Evolution 1907.

Alexander Blok: 'Nature and Culture' 1908.

Filippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909.

Umberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910.

Robert Delaunay: 'On the Construction of Reality in Pure Painting' 1912.

Georgy Valentinovich Plekhanov: from Art and Social Life 1912.

Franz Marc: 'Foreword' 1914.

Fernand Léger: 'Contemporary Achievements in Painting' 1914.

Percy Wyndham Lewis: 'Our Vortex' 1914.

Henri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915.

Ludwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914.

Karl Kraus: from 'In These Great Times' 1914.

Kasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16.

4. Cubism.

Jean Metzinger: 'Note on Painting' 1910.

Guillaume Apollinaire: 'The Cubists' 1911.

Guillaume Apollinaire: 'On the Subject in Modern Painting' 1912.

Guillaume Apollinaire: 'The New Painting: Art Notes' 1912.

Guillaume Apollinaire: from The Cubist Painters 1912.

Jacques Rivière: 'Present Tendencies in Painting' 1912.

Albert Gleizes and Jean Metzinger: from Cubism 1912.

Fernand Léger: 'The Origins of Painting and its Representational Value' 1913.

Olga Rozanova: 'The Bases of the New Creation' 1913.

Daniel-Henry Kahnweiler: from The Rise of Cubism 1916-20.

Georges Braque: 'Thoughts on Painting' 1917.

Pablo Picasso: 'Picasso Speaks' 1923.

Part III: Rationalization and Transformation.

Introduction.

5. Neo-Classicism and the Call to Order.

Amédée Ozenfant: 'Notes on Cubism' 1916.

Guillaume Apollinaire: 'The New Spirit and the Poets' 1918.

Oswald Spengler: from The Decline of the West 1918.

Carlo Carrà: 'Our Antiquity' 1916-18.

Léonce Rosenberg: 'Tradition and Cubism' 1919.

Giorgio de Chirico: 'The Return to Craft' 1919.

Charles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant: 'Purism' 1920.

Albert Gleizes: 'The Dada Case' 1920.

André Derain: 'On Raphael' 1920.

Percy Wyndham Lewis: 'The Children of the New Epoch' 1921.

Juan Gris: Reply to a Questionnaire 1921.

Gustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922.

6. Dissent and Disorder.

Hugo Ball: 'Dada Fragments' 1916-17.

Marcel Duchamp: 'The Richard Mutt Case' 1917.

Tristan Tzara: 'Dada Manifesto 1918' 1918.

Richard Huelsenbeck: 'First German Dada Manifesto' 1918.

Richard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany?' 1919.

Richard Huelsenbeck: from En Avant Dada 1920.

Alexander Blok: 'The Decline of Humanism' 1918.

Novembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919.

Novembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921.

Walter Gropius: Reply to Arbeitsrat für Kunst Questionnaire 1919.

Max Beckmann: 'Creative Credo' 1918-20.

Max Pechstein: 'Creative Credo' 1920.

George Grosz: 'My New Pictures' 1921.

Francis Picabia: 'Thank you, Francis!' 1923.

7. Abstraction and Form.

Hans Arp: Introduction to a catalogue 1915.

Man Ray: Statement 1916.

Viktor Shklovsky: from 'Art as Technique' 1917.

De Stijl: 'Manifesto 1' 1918.

Theo van Doesburg: from Principles of Neo-Plastic Art 1915-25.

Piet Mondrian: 'Dialogue on the New Plastic' 1919.

Piet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21.

Kasimir Malevich: 'Non-Objective Art and Suprematism' 1919.

Kasimir Malevich: The Question of Imitative Art 1920.

Naum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920.

UNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920.

Wassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921.

Johannes Itten: 'Analyses of Old Master Art' 1921.

Oskar Schlemmer: Notes 1922-23.

Walter Gropius: 'The Theory and Organization of the Bauhaus' 1923.

Theo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23.

17 Wladyslaw Strzeminski: 'What is legitimately called the New Art...' 1924.

El Lissitsky: 'A and Pangeometry' 1925.

Hannah Höch: 'The painter' c. 1920.

José Ortega y Gasset: from The Dehumanisation of Art 1925.

8. Utility and Construction.

KOMFUT: 'Programme Declaration' 1919.

Vladimir Tatlin: 'The Initiative Individual in the Collective' 1919.

Lyubov Popova: Catalogue statement 1919.

Nikolai Punin: 'The Monument to the Third International' 1920.

Alexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21.

Alexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922.

Alexei Gan: from Constructivism 1922.

El Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922.

LEF editorial: 'Whom is LEF alerting?' 1923.

Osip Brik: 'The So-Called "Formal Method" 1923.

Osip Brik: 'From Picture to Calico-Print' 1924.

Vladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924.

Part IV: Freedom, Responsibility and Power.

Introduction.

9. The Modern as Ideal.

Paul Klee: from On Modern Art 1924.

Amédée Ozenfant: from Foundations of Modern Art 1928.

Hans Hofmann: 'On the Aims of Art' 1931.

Abstraction-Création: Editorial Statements 1932 and 1933.

Wladyslaw Strzeminski: Statements 1932 and 1933.

Carl Gustav Jung: On the concept of the 'archetype' 1934 and 1938.

Alfred H. Barr Jr: from Cubism and Abstract Art 1936.

Henri Matisse: Statements to Tériade 1936.

Naum Gabo: 'The Constructive Idea in Art' 1937.

Piet Mondrian: 'Plastic Art and Pure Plastic Art' 1937.

Barbara Hepworth: 'Sculpture' 1937.

American Abstract Artists: Editorial Statement 1938.

Ibram Lassaw: 'On Inventing Our Own Art' 1938.

Ben Nicholson: 'Notes on Abstract Art' 1941.

10. Realism as Figuration.

Vladimir Ilyich Lenin: 'On Proletarian Culture' 1920.

AKhRR: 'Declaration' 1922.

AKhRR: 'The Immediate Tasks of AKhRR' 1924.

David A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922.

Red Group: 'Manifesto' 1924.

Otto Dix: 'The Object is Primary' 1927.

ARBKD (Asso): 'Manifesto' and 'Statutes' 1928.

George Grosz: from 'My Life' 1928.

Alfred Rosenberg: from The Myth of the Twentieth Century 1930.

Georg Lukács: '"Tendency" or Partisanship?' 1932.

Central Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932.

John Reed Club of New York: 'Draft Manifesto' 1932.

Diego Rivera: The Revolutionary Spirit in Modern Art' 1932.

Mario Sironi: 'Manifesto of Mural Painting' 1933.

Andrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934.

David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934.

Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of...