BISTTRAM’S READING LIST, ca. 1946.
This is the Suggested Reading List for his students at the Bisttram School of Art that he operated in Los Angeles between 1945 and 1951.
Alfred H. Barr, Jr. (1902-1981). Cubism and Abstract Art. New York: Museum of Modern Art, 1936.
Faber Birren (1900-1988). Color Dimensions: Creating New Principles of Color Harmony and a Practical Equation in Color Definitions. Chicago, 1934.
Sheldon Cheney (1886-1980). A Primer of Modern Art. New York: Horace Liveright, 1924.
Sheldon Cheney (1886-1980). Expressionism in Art. New York: Liveright, 1934.
Louis Danz. The Psychologist Looks at Art. New York: Longmans, Green, 1937.
Leo Katz (1887-1982). Understanding Modern Art, an interpretation of the historical, psychological, philosophical, and scientific backgrounds of modern art, prepared under the direction of The Delphian Society for the use of its Chapter members in connection with the programs provided for the meetings of their chapters, 3 vols. (n.p.: The Delphian Society, 1936). This book was issued first as a serial, one chapter per week.
Gyorgy Kepes (1906-2001). Language of Vision. Chicago: Paul Theobald & Co., 1944.
Erle Loran (1905-1999). Cézanne’s Composition: Analysis of his Form with Diagrams and Photographs of his Motifs. Berkeley: University of California Press, 1946.
Leslie Martin (1908-1999), ed., Ben Nicholson (1894-1982) and Naum Gabo (1890-1977), joint eds. Circle: International Survey of Constructive Art, London: Faber and Faber, Ltd., 1937.
Laszlo Moholy-Nagy (1895-1946). The New Vision, (1928), 3rd rev. ed., trans. Daphne M. Hoffmann. New York: Wittenborn and Co., 1946.
Robert Morris Ogden (1877-1959). The Psychology of Art. New York: C. Scribner’s Sons, 1938. [Ogden was a translator of Hildebrandt’s Problem of Form]
Amde Ozenfant (1886-1966). Foundations of Modern Art, trans. by John Rodker. London: Rodker, 1931.
Ralph M. Pearson (1883-1958). How To See Modern Pictures: An Extension of the Design Principle into Three Dimensions and an Explanation of its Basic Application to the Work of the Moderns, the Primitives, and the Classics of both Europe and the Orient, Together with an Appendix Containing Practical Suggestions for Bridging the Gap between Artist and Public. New York: Lincoln MacVeagh, The Dial Press, 1st ed., 1925, rev. ed, 1930.
Ralph M. Pearson (1883-1958). The New Art Education, foreword by Eduard C. Lindeman. New York, Harper, 1941.
Otto Rank (1884-1939), Art and Artists: Creative Urge and Personality Development, with a preface by Ludwig Lewisohn; translated from the German by Charles Francis Atkinson. New York: A. A. Knopf, 1932.
Herbert Read (1893-1968). Art and Society. New York: Macmillan Co., 1937.
Herbert Read (1893-1968). Art Now: An Introduction to the Theory of Modern Painting and Sculpture. New York: Harcourt Brace & Co., 1933.
Denman Ross (1853-1935). On Drawing and Painting. Boston: Houghton, 1912.
Denman Ross (1853-1935). The Painter’s Palette; a Theory of Tone Relations; an Instrument of Expression. Boston: Houghton, 1919.
Edward Francis Rothschild. The Meaning of Unintelligibility in Modern Art. Chicago: The University of Chicago Press, 1934.
Dane Rudhyar (1895-1985). Art as a Release of Power. Carmel, CA: Hamsa Publications, 1930.
Walter Sargent (1868-1929). The Enjoyment and Use of Color. New York: Scribners, 1923.
Max Schoen (b. 1888). Art and Beauty. New York: The Macmillan Company, 1932.
Reginald Howard Wilenski (1887-1975) The Modern Movement in Art. New York: Stokes, 1926.
Reginald Howard Wilenski (1887-1975), The Meaning of Modern Sculpture: An Essay on Some Original Sculpture of the Present Day together with Some Account of the methods of Professional disseminators…, London: Faber and Faber, 1932.