A D R I A N  S T O K E S

Adrian Stokes and the Psychoanalytic


REFERENCES

page 15

back to contents

1.   Adrian Stokes, The Thread of Ariadne (London: Kegan Paul, Trench, Trubert, 1925). p.xii.
2.    Stokes, Thread, p.xiv.
3.    Ibid, p. 34.
4.    Ibid, p. 252.
5.    Ibid, p.viii.
6.    Adrian Stokes, Sunrise in the West: A modern interpretation of The Past and Present (London: Kegan Paul, Trench, Trubner 1920), p. xii.
7.    Ibid, p. 159.
8.    Ibid, p.vii.
9.    T.S. Eliot had worked on this concept of historical change while at Oxford in 1916-17. Although his thesis—was not published, it was accessible in the Oxford library where Stokes spent his undergraduate years. Since he himself was profoundly influenced by Bradley, Stokes likely would have read Eliot's paper.

10.  Stokes, Sunrise, p. 84.
11.  Stokes, Thread, p. 121.
12.  The Critical Writings of Adrian Stokes, ed. Lawrence Gowing. New York: Thames and Hudson, 1978, II, Colour and Form, p. 20.
       [Subsequent references are to CWS).
13.  CWS, I, Quattro Cento, p. 115.
14.  CWS, I, Pisannelo.
15.  Ibid.
16.  Ibid, p. 17.
17.  Ibid, p. 26.
18.  Ibid, p. 20.
19.  CWS, I, Quattro Cento, p. 115.
20.  Stokes, Thread, p. 236.
21.  CWS, Pisanello, p. 19.
22.  CWS, I, Art today, p. 305. In the 1910s, with no way to establish a "truth to life" criterion for abstract art, many theorists and artists resorted to "truth to material" as the new criterion of value.
23.  CWS,III, Invitation in Art, p. 269.
24.  CWS, I, Pisanello, p. 26.
25.  Ibid.
26.  Ibid,p. 27.
27.  CWS, I, Art Today, p. 305.
28.  CWS, I, Pisanello, p. 27.
29.  Ibid.
30.  The next generation of artists and theorists associated with Unit 1 had already attacked this position by the time Stokes was writing. See Charles Harrison, English Art and Modernism 1900-1939 (London: Allen Lane, 1981).
31.  CWS, I, Art Today, p. 305.
32.   Ibid, p. 307.
33.   Ibid, p. 308.
34.  Harrison, English Art, p. 216.
35.  CWS, I, Art today, p. 308.
36.  CWS, I, Stones of Rimini, p. 230.
37.  CWS, I, Henry Moore, p. 311.
38.  Ibid, p. 312.
39.  Ibid.
40.  CWS, I, Matisse and Picasso, pp. 313-314.
41.  CWS I, Stones, p. 186.
42.  Herbert Read, "Psychoanalysis and the Problem of Aesthetic Value". The International Journal of Psycho-Analysis, 32, (1951): 76.
43.  CWS, I, Pisanello, p. 77.
44.  Read, "Problem," p. 77.
45  CWS, I, Pisanello, p. 26.
46.  CWS, I, Quattro Cento, p. 40.
47.  Ibid, p.89.
48.  Read, "Problem," p. 80.
49.  CWS, I, Quattro Cento, p. 33.
50.  CWS, III, Greek Culture, pp. 86-88.
51.  See Hanna Segal. Melanie Klein, (London: Harvester Press, 1982).
52.  CWS, II, Venice, p. 134.
53.  Ibid.
54.  Ibid, p. 137.
55.  Ibid.
56.  Ibid.
57.  Ibid.
58.  Adrian Stokes, Concerning art and Metapsychology, "International Journal of Psycho-Analysis", 26 (1945): 177.
59.  Ibid.
60.  CWS, II, Venice, p. 134.
61.  CWS, II, Smooth and Rough, p. 216.
62.  Ibid, p. 247.
63.  Ibid, p. 240.
64.  Stokes, "Metapsychology," p. 179.
65.  CWS, II, Inside Out, p. 162.
66.  CWS, II, Smooth and Rough, p. 229.
67.  Ibid, p. 256.
68.  Ibid, p. 253.
69.  Ibid, p. 255.
70.  Ibid.
71.  Adrian Stokes, " Form in Art, A Psychoanalytic Interpretation", Journal of Aesthetic Art Criticsm, 18 (1959): 202.
72.  Ibid, p. 196.
73.  Ibid.
74.  Ibid.
75.  Ibid, p. 200.
76.  Ibid, p. 201.
77.  CWS, III, Invitation In Art, p. 297.
78.  CWS, III, Painting in our Time, p. 152.
79.  Ibid, p. 149.
80.  Ibid, p. 145.
81.  Ibid, p. 174.
82.  Ibid, p. 156.
83   CWS, II, Inside Out, p. 171.
84.  Ibid, p. 176.
85.  Ibid, p. 179.
86.  CWS. III, Painting in our Time, p. 181.

page 15

back to contents