The Epistemology o f Analytic Cubism
I, Introduction
A nalytic C ubism was c e n tra l to th e d e v e lo p m e n t o f tw e n tie th c e n tu ry art. It consists o f the p aintings Picasso an d B raque c reated betw een 1908 an d 1912. A p rin c ip a l in flu e n c e o f these w orks was th e ev o lu tio n in th e ir style.
B ra q u e ’s »V iaduct a t L ’Estaque« o f early 1908 com m ences th e d ev elo p m en t.
P icasso’s » M ajo lie« o f early 1912 exem p lifies its m o st a d v a n ced stage.
C o n trasts b etw een these two p a in tin g s illu strate five a ttrib u te s tow ard w hich P icasso’s a n d B ra q u e ’s im ag ery evolved. T h ey are:
(1) A m in im u m d e g re e o f re a lism 1 (2) Shallow d e p th
(3) F ra g m e n te d a n d fla tte n e d form s (4) Extensive passage
(5) A re d u c e d p a le tte
My p u rp o s e is to e x p la in why th e d e v e lo p m e n t o f A n aly tic C u b ism c u lm in a te d in th ese p a rtic u la r featu res. T his a c c o u n t will in c re a se o u r u n d e rs ta n d in g o f w hat th ese in flu e n tia l p a in tin g s achieved.
I will show th a t th re e c o m p o n e n ts o f S tru c tu ra l L inguistics c a n c o n trib u te to this e x p la n a tio n a n d th e re b y to o u r u n d e rs ta n d in g . Two a re th e co n c ep ts o f »acceptability« a n d o f a n » en v iro n m en t« fo r a sign. S tru c tu ra l L inguistics investigates th e en v iro n m e n ts fo r th e signs o f n a tu ra l lan g u ag e.
T h e th ird c o m p o n e n t is the ce rtain m a n n e r in w hich this stud y develops.
Several critics have p ro p o s e d th a t A nalytic C ubism is a n in vestig atio n o f th e signs fo r re p re s e n ta tio n .2 T h e above c o n stitu en ts o f S tru c tu ra l Lin-
1 By »realism« I am speaking o f th e illusionistic depiction o f th e (supposed) visual ap p e aran c e o f o n e o r m ore objects.
2 Leo S teinberg in te rp re ts th e paintings to be a »reflective analysis o f all known form al devices. T h e w hole inventory o f space an d body-building devices is u p fo r trial.«
[S teinberg(78), p. 126, his em phasis.] Rosalind Krauss takes Picasso an d B raque to be investigating th e »structure o f the sign«. [Krauss, p. 273.] Edw ard Fry in te rp re ts th e works to be an analysis o f th e »gram m ar o f representation«. [Fry, p. 96.] C hristine Poggi describes Picasso’s ap p ro ach as »self-consciously structural«. [Poggi, p. 27.]
W illiam R ubin finds him to be »exploring sequentially th e m ore rem o te im plications o f one evolving language«. [Rubin (89), p. 26.] In contrast to R ubin I am m aintaining th a t it is th e ex p lo ratio n o f th e language th a t evolves, n o t th e language itself.
guistics p rovide a m o re precise d esc rip tio n o f th e type o f analysis these co m m e n ta to rs suggest.
I will show th a t specifically it is th e e n v iro n m e n ts o f th e signs th a t are b e in g investigated. I will arg u e th a t th e investigation b e in g o f this p a rtic u lar type a c co u n ts fo r th e five fe atu res w hich c h a rac te rize th e c u lm in a tio n o f A nalytic C u b ism ’s d ev elo p m en t.
F u rth e rm o re , I will use S tru c tu ra l L ingu istics’ c o n c e p t o f » accep tab il
ity« to establish th a t th e p ro g ressio n o f A nalytic C u b ism ’s in v estig atio n o f th e e n v iro n m e n ts fo r th e signs o f re p re s e n ta tio n is p arallel to th e p ro g re s sion o f S tru ctu ral L inguistics’ investigation o f the en v iro n m en ts fo r th e signs o f n a tu ra l lan g u ag e . T his sym m etry is p a r t o f th e e x p la n a tio n o f th e five featu res.
My ac co u n t o f Analytic C ubism ’s evolution is philosophically relevant n o t only for aesthetics b u t also for epistemology. T h e reason is th a t we em ploy signs o f re p re se n ta tio n in o u r acquisition o f know ledge th ro u g h visual p ercep tio n . P h ilo so p h y ’s analysis o f this process re q u ires a d escrip tio n o f the signs’ struc
tu re. Analytic C u b ism ’s investigation o f th e signs’ en v iro n m en ts a n d th ereb y o f th e ir s tru c tu re is a significant c o n trib u tio n to this description .
II. Structural Linguistics ’ Procedure
S tru c tu ra l L inguistics em ploys a p ro c e d u re to arrive a t an analysis o f th e stru c tu re o f a n a tu ra l la n g u a g e ’s signs. T h e p ro c e d u re p ro c e e d s fro m th e fact th a t a sign o ccu rs as a m e m b e r o f an a rra n g e m e n t o f elem e n ts. T h e e n v iro n m e n ts fo r a sign are th o se a rra n g e m e n ts c o n ta in in g it w h ich th e la n g u a g e ’s flu e n t speakers co n sid er to b e accep tab le.3 T h e stru c tu re o f a sign is a d e sc rip tio n o f th e types o f e n v iro n m e n ts fo r th e sign.
Two dim ensions o f die p ro c ed u re reveal the m a n n e r in which the analysis o f a sig n ’s e n v iro n m e n ts develops. T h e first is th a t th e p ro c e d u re is d esig n ed so th a t it is ap plicable to un k n o w n languages. C o nseq uen tly it begins its in
vestigation with a certain type o f environm ent. It is one which occurs frequently a n d th ere b y is easier to d iscern .4 T hus it has a h ig h e r d eg ree o f acceptability.5
3 Chom sky (57), p. 49. H arris, p. 31.
4 Nida(62), p. 177, #25.
5 Chomsky notes »Obviously, acceptability will be a m atter o f d egree, along various dim ensions.« H e adds »The m ore acceptable sentences are those th a t are m ore likely to be produced, m ore easily understood, less clumsy, and in some sense m ore natural.«
[Chom sky (65) pp. 10 an d 11]
See Q u in e ’s »Progress on Two Fronts« a n d works referre d to for a discussion o f the investigation o f unfam iliar languages from a philosophical p o in t o f view.
T h e p r o c e d u r e ’s se c o n d d im e n s io n is th a t e a c h sign c a n o c c u r in an in d e fin ite ly larg e n u m b e r o f types o f e n v iro n m e n ts. T h e s e t o f a s ig n ’s p os
sible e n v iro n m e n ts in c lu d e s n o t only o n e s w ith a h ig h e r d e g r e e o f a c c e p t
ability, b u t also th o se w ith th e low est d e g re e . In o r d e r fo r S tru c tu ra l L in guistics’ analysis to be a d e q u a te , it m u st provide fo r all o f th ese types.‘‘T h u s to in su re th e ac cu ra cy o f th e in v estig atio n , it is necessary th a t th e p ro c e d u r e be a p p lie d to a b ro a d sp e c tru m o f k in d s o f e n v iro n m e n ts .7 T h is re q u ire s th a t it stu d y th o se a p p ro x im a tin g th e low est d e g re e o f a c c e p ta b il
ity.
T h e p ro g re ssio n o f th e in v estig atio n , th e re fo re , takes a c e rta in d ire c tion. As we have n o te d , it b egins w ith m o re a c cep tab le e n v iro n m e n ts. T h e n in o r d e r to assu re th e accuracy o f th e s tru c tu ra l analysis, it in c lu d e s a w ide diversity o f types. T h is re q u ire s th a t it d ev e lo p to w ard th o se e n v iro n m e n ts w hich a p p ro a c h th e lim its o f a c cep tab ility .8 C o n seq u en tly , m o st e n v iro n m e n ts c o n s id e re d d u rin g th e a d v a n c e d stage o f th e in v estig atio n a p p ro x i
m a te th e low est d e g re e o f acceptability. O n e o f th e p rin c ip a l q u e stio n s, th e n , a t this level o f th e analysis is w h a t a re th e p a ra m e te rs o f a c c e p ta b il
ity.
In sum m ary, S tru c tu ra l L in g u istics’ in v estig atio n o f e n v iro n m e n ts is a c e rta in type: I t evolves fro m th e m o re to th e least a c c e p ta b le . I will a r
g u e th a t A nalytic C u b ism ’s ev o lu tio n is a n a lo g o u s.
Two sim ilarities a re n o ta b le . O n e is th a t A nalytic C u b ism ’s in v estig a
tio n also in c lu d e s e n v iro n m e n ts w hich have a m in im u m d e g re e o f a c c e p t
ability. T h e s e c o n d is th a t it is this type o f e n v iro n m e n t w h ich o c c u rs d u r
in g th e in v e stig a tio n ’s m o st a d v a n c e d stag e, h ig h A nalytic C u b ism .9
III. Realism
O n e re a so n th e p ro g re ssio n s o f th e two in v estig atio n s a r e a n a lo g o u s is th a t, like S tru c tu ra l L inguistics, Picasso a n d B ra q u e em p lo y e d a crite-
6 Chomsky (65), p. 4 7 Ibid. N ida (61), p. 145.
8 H arris briefly describes how this m ight be accom plished, which w ould be d u rin g th e la tte r stages o f th e investigation. See H arris, p. 1.
8 A principal difference betw een th e two investigations is th a t S tructural L inguistics’
includes a larger variety o f highly acceptable environm ents. In co n tra st Analytic C ubism ’s focus, as I will discuss, is on environm ents with a m inim um d eg re e o f acceptability.
rio n o f a c c e p ta b ility .10 It was th a t a p a in tin g m u st to so m e e x te n t b e re a lis
tic .11
A p a in tin g co m p rises an a rra n g e m e n t o f signs. T h u s it ca n b e view ed as an en viro n m en t. Em ploying this c o n c e p t from S tructural Linguistics, th en , we ca n in te r p r e t P icasso’s a n d B ra q u e ’s re q u ir e m e n t to have b e e n th a t in o r d e r fo r a p a in tin g to be accep tab le a n d th u s c o n stitu te a n e n v iro n m e n t, it is necessary th a t to som e d e g re e it be realistic.
TV. M inim al Realism
T h is is my thesis: The paintings o f Analytic Cubism constitute an investiga
tion o f the environments o f the signs fo r representation.
We have seen th a t an investigation o f en v iro n m e n ts progresses fro m th e m o re ac cep tab le to th e least acceptable. Picasso a n d B raq ue e q u a te d a c cep t
ability w ith realism . T h e re fo re , th ro u g h th e use o f co n c ep ts fro m S tru c tu ra l L in g u istic s m y th esis p re d ic ts th a t A nalytic C u b ism ’s d e v e lo p m e n t will p ro g ress fro m th e m o re realistic to th e least re alistic.12 T h e p a in tin g s fro m 1908 to 1912 d e m o n s tra te th a t this p re d ic tio n is c o rre c t.13 T h u s m y thesis acco u n ts fo r th e first fe a tu re w hich c u lm in a te d A nalytic C u b ism ’s evolution:
A m in im u m d e g re e o f realism .
I w ould like now to discuss th e m a n n e r in w hich Picasso a n d B raq u e d e c re a se d d e p th in o rd e r to d im in ish realism . T his co m p re ssio n o f space
10 In Semiotics of Visual Language, F ernande Saint-Martin provides an excellent discussion o f th e im p o rta n ce o f this criterion for establishing th e stru ctu re o f th e signs for rep resen tatio n .
11 As Yve-Alain Bois p o ints out, they never go as far as »total pictorial abstraction«.
[Bois (92), p. 174] Similarly, R ubin m aintains th a t »R epresentation is m o re th a n a co m m itm en t for Picasso, it is an obsession.« [R u b in (89), p. 24] K ahnw eiler states
»Les peintres cubistes étaien t pro fo n d em en t conscients de la mission de l’art plastique qui est d e c r é e r - en fait, d e re c ré e r, c o n s ta m e n t - le m o n d e e x t e ’r ie u r des h o m m e s.« [Kahnweiler, p. 4]
12 I take Bois to have this p o in t in m ind w hen he m aintains th a t B raque an d Picasso are
»reflecting on the m inim al conditions for the readability o f pictorial signs«. [Bois(90), p. 82]
13 F or exam ples o f paintings which exem plify this type o f evolution co n sid er B raque,
»Viaduct at L’Estaque«, early 1908; Picasso, »Cottage an d Trees«, 1908; Picasso,
»Reservoir at H orta«, sum m er 1909; Braque, »Violin and Pitcher«, early 1910; Picasso,
»P ortrait o f A m broise Vollard«, 1910; Picasso, »Ma Jolie«, 1911/12; an d B raque, »Le P ortugais«, a u tu m n 1911-early 1912. All are re p ro d u c e d in Picasso and Braque:
Pioneering Cubism.
See H em pel, pp. 365-376, for a discussion o f the relationship betw een p red ic tio n an d ex planation.
fra g m e n te d a n d flatten e d the form s. As a result, com p ositio nal u nity b ecam e c e n tra l fo r m a in ta in in g som e d e g re e o f realism . T h e p rin c ip a l m e a n s by w hich this was ach iev ed was th ro u g h th e use o f b o th types o f passage in co n ju n c tio n w ith a re d u c e d p alette.
V. Decreasing Depth: Flatness and Fragmentation
T h e p e rc e p tio n o f a th ree-dim ensio nal space is th e p rim ary illusionistic c o m p o n e n t o f a realistic im age. T h u s the re d u c tio n o f d e p th was th e p rin ci
pal m e th o d by w hich Picasso a n d B raque d im in ish ed realism .
It o c c u rre d in two respects. O n e was a d ecrease in th o se p o rtio n s o f a figure w hich occupy d ep th . T h e o th e r was a co n tra ctio n o f th e space betw een th e g ro u n d a n d th e p ictu re plane. T h u s n e ith e r o f these types o f spatial re
d u c tio n o c c u rre d laterally, i.e. e ith e r vertically o r h orizontally across th e can
vas. In fact, w ith th e decrease in d e p th th e re was a co rre sp o n d in g in crease in th e significance o f lateral space. We will see th a t this o c c u rre d with Picasso’s a n d B raq u e’s use o f o n e o f the types o f passage.
In o rd e r to ap p reciate th e co n se q u en ce s o f th e ir re d u c in g d e p th , le t’s c o n sid er th e ir a p p ro a c h to realism a t th e b eg in n in g o f Analytic C ubism .
B ra q u e ’s »V iaduct a t L ’E staque« fro m early 1908 is an illustrative ex
am ple. H e re surfaces are o blique to o n e a n o th e r a n d to th e viewer. Figures with a sense o f am p litu d e are th e result. T his a p p ro a c h to th e d e p ic tio n o f ob jects o cc u rs w ith in an inw ardly e x te n d e d space. T h e c o n s e q u e n c e is a m o d e ra te a m o u n t o f illusionism .
T h e investigation th e n moves tow ard a m in im al d eg ree o f realism . T h e progression occurs by b ringing the g ro u n d forward. This com presses th e space betw een it a n d th e p icture plane. N evertheless, the n u m b e r o f aspects is m ain tained. T h u s th e co n tra ctio n in d e p th causes m any o f the form s to fra g m e n t a n d flatten e d to a positio n ap p roxim ately parallel with the canvas’ surface.
D u rin g the re d u ctio n , m ost curved shapes b ecam e linear. T his acco u n ts fo r the considerable angularity in high Analytic Cubism , the cu lm in atin g stage.
Picasso’s »Ma Jolie« from this p e rio d exem plifies the resu ltin g type o f im ag
ery with its extensive planarity.
VI. Composition Unity
I have b e e n co n sid erin g Picasso’s a n d B ra q u e ’s m a n n e r o f significantly re d u c in g d e p th w ith its re su ltin g flatness a n d fra g m e n ta tio n . T h is in te rp re -
ta tio n a c c o u n ts fo r th ese salien t fe atu res o f th e type o f m in im u m d e g re e o f realism fo u n d in w orks d u rin g th e ad v a n ced stage o f th e inv estigatio n, e.g.
B ra q u e ’s »Le P ortugais«, P icasso’s »M an w ith a V iolin«, a n d »Ma Jolie« . D u rin g th e p ro g ressio n towards this c u lm in a tin g p hase, fra g m e n ta tio n th re a te n e d to co m p ro m ise co m p o sitio n u n ity a n d th u s realism . T h e re fo re m e th o d s fo r p re serv in g stru c tu ra l c o h e re n c e b ecam e o f p rim e im p o rta n c e . T h e follow ing analysis o f som e o f Picasso’s a n d B ra q u e ’s te c h n iq u e s reveals fu r th e r aspects o f th e in v estig atio n ’s evolution.
T h e ir m e th o d s em p lo y ed versions o f th e signs fo r re p re s e n ta tio n . As discussed in th e p re c e d in g sectio n , in th e shallow space o f h ig h A nalytic C ubism these signs typically o c c u rre d as a rra n g e m e n ts o f a n g u la r seg m en ts o f shad in g.
Two o f P icasso ’s a n d B ra q u e ’s te c h n iq u e s fo r m a in ta in in g co m p o si
tio n al u nity involving th ese signs em p loyed b o th types o f passage. O n e type in te g ra te s th e over-all im age internally. T h e o th e r unifies it laterally.14 F u r
th e rm o re , achieving b o th o f these kin ds o f in te g ra tio n m otiv ated th e p a r
tic u la r h u e s Picasso a n d B raq u e se le c te d a n d th e m a n n e r in w h ich they e m p lo y ed th em . T h u s th e use o f passage is a re aso n fo r th e re d u c tio n in p alette.
O n e o f Picasso a n d B ra q u e ’s te c h n iq u e s is a p p lie d to in te rio r space. It em ploys a lim ited ra n g e o f m o d e ra te h u e s in re p re s e n tin g th e p rin c ip a l fig u re (s ). This c o n siste n t su b d u e d tonality is p re s e n te d ag a in st a g r o u n d o f a sim ilar value. Picasso a n d B raque th e n em p lo y th ese d im in ish e d sh ad es to in te g ra te th e ir im agery inwardly. T h e re su lt is o n e o f th e types o f passage.
As »Le P ortugais« illustrates, th e ir m e th o d o f ach iev ing this k in d is to allow in te rm itte n tly th e sh ad e o f the g ro u n d to show th ro u g h th e fig u re ’s im age. Similarly, p e rio d ic a lly th e h u e o f o n e p la n e in th e shallow d e p th occurs o n an o th er. T h e ir em ploying m o d e ra te tones in co n ju n c tio n with this te c h n iq u e en ab les th e m to c reate a sub tle m o d u la tio n th a t c o n trib u te s to two types o f p artial u n ifica tio n : 1) o f form s o n d iffe re n t p lan es, a n d 2) o f form s with th e g ro u n d .
P icasso’s a n d B ra q u e ’s se c o n d type o f passage em ploys m o d e llin g . It in c o r p o r a t e s t h e i r r e d u c e d p a le tte as w ell. Its p u r p o s e is to c o n jo in c o n tin g u o u s form s.
T hey acco m plish this lateral linkage by subtly g ra d a tin g th e s h a d e in side th e forms. T his d ecreases th e ir d e lin e a tio n . In a d d itio n , th e ir c o n to u rs a re draw n as in c o m p le te allow ing th em to o p e n o n to o n e a n o th e r. P icasso’s
» P o rtrait o f A m broise V ollard« d e m o n stra te s how th e re su ltin g elision en- 14 F or an insightful analysis o f passage an d its significance, see th e discussions in
S tein b erg (7 9 )an d R ubin (79).
ables th e elose-value g ra d a tio n to p ro g ress fro m o n e form to th e n e x t. T his creates a c o n tin u o u s flow o f lig h t a n d space th a t links th e form s to g e th e r.15 N o te th a t this k in d o f passage is n e ith e r a h o rizo n tal n o r a vertical co m p re ssio n o f the form s. H e n c e it does n o t re d u c e lateral space. O n th e o th e r h a n d , th e passage th a t in te g ra te s form s a n d th e g ro u n d inw ardly creates a m o re shallow d e p th .
T his c o n se q u e n c e o f in te rio r in te g ra tio n b rin g s o u t a p a ra d o x o f h ig h Analytic C ubism . It is th a t this type o f passage sim ultaneously b o th increases a n d decreases th e d e g re e o f realism . Its c o n trib u tio n to c o m p o sitio n a l u nity increases realism . W hereas its re d u c tio n o f d e p th decreases it. T h is p a ra d o x is a so u rce o f th e ten sio n fo u n d in th e p ain tin g s.10
R eco n sid er th e two kinds o f passage, w hich achieve b o th types o f in te g ra tio n : la te ra l lin k ag e a n d m o d u la tio n b etw e en p lan es. T h e p re c e d in g discussion d e m o n stra te s th a t they re q u ire a m in im u m v aria tio n in su b d u e d shades. T h us th e p rin cip al form al p ro c e d u re s Picasso an d B raq u e em p lo y ed to achieve stru c tu ra l u nity are o n e p a r t o f th e ex p la n a tio n o f th e ir use o f a re d u c e d p alette. T h e o th e r is th a t th e e m p lo y m e n t th ro u g h o u t th e canvas o f a re stric te d sp e c tru m o f n e u tra l h u e s c o n trib u te d f u r th e r to this co h er- ency.17
VIl. Conclusion
I have given an analysis o f th e m e th o d s by w hich Picasso a n d B raq u e em ployed b o th types o f passage in c o n ju n c tio n with d im in ish ed h ues. T h e ir p u rp o se , I p ro p o se d , was to m a in ta in stru c tu ra l u n ity a n d th e re b y p re serv e a d e g re e o f realism . I a rg u e d fo r an a c c o u n t o f why A nalytic C u b ism ’s evo
lu tio n re su lte d in extensive passage a n d a re d u c e d p alette as well as a c o n s id e ra b le r e d u c tio n in d e p th w ith th e re s u ltin g fla tte n e d a n d fr a c tu re d form s. E m ploying co n c ep ts fro m S tru c tu ra l Linguistics, th e e x p la n a tio n o f th ese p a rtic u la r fe atu res is th a t th e p a in tin g s co n stitu te a n in v estig atio n o f th e e n v iro n m e n ts o f th e signs fo r re p re s e n ta tio n . T h e fe a tu re s a re th e c o n
15 »The h an d lin g o f space, o f light, and the linkage o f planes are...central to a definition o f Cubism.« R ubin (77), p. 180. T he effectiveness o f Picasso’s and B raq u e’s techniques in achieving th e second type o f passage is b ro u g h t out be contrastin g th e m with th e process by w hich contours are form ed in visual percep tio n . Cf. O sgood, c h a p te r 6.
10 »the dram atic tension of...high Analytic Cubism«. R ubin(89), p. 24.
17 A dditional c o n trib u tio n s include th e rhythm ic d istribution o f light an d d ark across th e canvas an d th e use o f only one subject w hich is p rese n ted iconically, i.e. it is frontal, vertically centralized, and an c h o re d to the base o f th e canvas. Sim plified them es co n trib u te d to th e unity o f th e con ten t.
s e q u e n c e o f this in v estig atio n ’s ev o lu tio n tow ard a m in im u m d e g re e o f re alism.
Two results o f m y ex p la n a tio n are ph ilo so p h ically relevant. O n e is th a t it in cre ases o u r ae sth e tic u n d e rs ta n d in g o f w hat th e p a in tin g s acco m plish . T h e o th e r is th a t it shows th a t P icasso’s a n d B ra q u e ’s inv estigation o f th e e n v i r o n m e n ts o f th e sig n s f o r r e p r e s e n t a t i o n c a n c o n t r i b u t e to th e esp iste m o lo g ic a l analysis o f th e pro cess by w hich we a c q u ire k n o w le d g e th ro u g h visual p e rc e p tio n .
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