I GROUP

1) OSTADE^a Rustic Couple Dancing (vital ecstasy)

[The Jubilee]

Jan Steen^b. The painter's family

2) WATTEAU^c French Comedy

(Les comédiens Francais)

(The comedian, later the harlekin, the

play asPierrot expression of vitality, refined [later tragic)]

W: Love in Italian comedy

3) RENOIR^d Breakfeast [sic.] by the River (Chicago)

Les Canotiers à Chatouse

(The union of nature and society: The discovery

of nature as life-power)

4) RUYSDAEL^e Ruins of Egmont (Chicago)

Jacob. Edge of a Wood

(The power of nature itself. The tree and

the power of treehood)

5) MONET^f Argenteuil (Chicago)

Claude, Waterloo Bridge, London

(The positivistic stream of natureconsciousness in

the vision of the subject)

6) A. BRONZINO^g Portrait of a Lady

Eleonora de Medici

(The meaning of the portrait. Expression

of the unique individuality)

7) J. SARGENT^h Mrs. Dyer (Chicago)

Portrait of Henry James

(The approximation to the photographic truth)

8) MONETⁱ St. Lazare (Chicago)

Unloading The cargo

(Technique not only tool but also creation.

Romanticism of technique)

II GROUP

Rembrandt^j: Selfportrait. The end of a period. Tragic personality

9) CEZANNE^k Stillife

(Cézanne^l and Uhde^m or Hoffmannⁿ)

The cosmic character of the still life in

Cézanne^o. "The metaphysics of the thing")

10) BRAQUE^p Stillife

(Reduction to elements, but 2 dimensional

and in this sense symbolic)

11) Jean LURCAT^q Cloud

Le Cidre

(Cosmic by destruction of the surface.

The demonic element, horror and fascination)

12) Chicrico^r Soothsayer's Recompense

Melancholy and mystery

of a street.

(The productions of the unconscious

(surrealistic combination of disrupted pieces of rea- lity

13) TANGUY^s Parallels

No definition, but more connotation

(Phantastic potentialities)

Heredity of

acquired charac- teristics

14) ROUAULT^t Clowns

The metaphysics of the harlequin.

[melancholic and even tragic vitality

Circus trio

(continued)

II GROUP (continued) Feininger^u

15) BECKMANN^v Old Actress

(The problem of the expressionistic por-

trait: Similarity and expression)

16) PICASSO^x Three Musicians

Chirico^y: The consoler

The question of the divinity of the

human face and its analysis.

17) PICASSO^z Guernica

The Protestant religious picture.

18) PICASSO^aa Geurnica (detail) "

19) FEININGER^ab Bridge

Elements of the technical tool as

cosmic forms

III GROUP

(Substance and form. But subjective piety

20) GIOTTO^ac Pieta

The synthesis in Giotto^ad.

St. Francis and

the birds

21) MASACCIO^ae Birth of St. John

Over stressThe majesty of the human form.

Tribute money.

22) BELLINI^af Baptism of Christ Madonna with and child

The principle of immanence of the

infinite in the finite and the divinity of man

as the microcosm.

23) RAPHAEL^ag Madonna of the Chair

Colonna

Loss of religious significance in the

human relations.

24) RENI^ah Baptism of Christ

Magdalen

The "kitsch" and the modern churches

[25) REMBRANDT^ai Mannoha, Sacrifice

Intensive subjective piety]

v. Uhde^aj: The Christ with the peasants.

III GROUP (continued)

26) REMBRANDT^ak Selfportrait

The history of the individual personality

in his relation to the meaning of life

27) MANET^al The Mocking of Christ

The great gap between Rembrandt^am

and the year 1900.

IV GROUP

28) BOSCH^an Temptation of Saint Anthony

The demonic surrealism used

for the holy legend.

29) GRECO^aq Saint Martin (Chicago)

The winding up from humanity to

the transcendent: Produced ecstasy.

30) GRECO^ar Feast in the House of Simon (Chicago)

Christ, driving the traders from the temple

The same in a group. But the huma-

nistic basis remains (barock, counter-Reformation)

Rembrand^as: Daniel's dream, Subjective piety

31) NOLDE^at Prophet

The last supper

The attempt to use ecstatic expressionist forms

for the religious content.

32) DERAIN^aw Last Supper (Chicago) "

33) CHIRICO^ay Evangelival Stillife

Symbols in disruption.

34) PICASSO^ba, Cruzifixion " "

Rouault^bb: On the way to the Church

" Head of Christ.

[Is it as genuine as his harle- quins?]