4

regarded "them."

New Yorker October 2, 1978. Robert Coles p.93

The Social History of Art - Hauser 1951 p.27

"I know that this man has put many of our bisons into his book. I was there when he did it, and since then we have had no bisons"

Sioux Indian observations of a research worker whom he saw preparing sketches "...art as a direct continuation of ordinary reality."

This is an art which advances from a linear faithfulness to nature, in which individual forms are still shaped somewhat rigidly and laboriously, to a more nimble and sparkling, almost impressionistic technique. It is a process which shows a growing understanding of how to give the final optical impression an increasing pictorial, instantaneous and apparently

5

spontaneous form. The accuracy of the drawing rises to a level of virtuosity which takes it upon itself to master increasingly difficult attitudes and aspects, increasingly fleeting movements and gestures, increasingly bold fore-shortenings and intersections. This naturalism is by no means a fixed stationary formula, but a mobile and living form, which tackles the rendering of reality with the most varied means of expression and performs to its task sometimes with lesser, sometimes with greater skill. p.24

There are in fact... two different motives from which works of art are derived: some are produced simply in order to exist, others to be seen. p. 28

"The work of art is no longer purely the representation of a material object but that