15. Catherine Brisac, A Thousand Years of Stained Glass, trans. (New Jersey, 1984).
16. For illustrations of outstanding Tiffany glassware, see Paul Greenhalgh (ed.), Art Nouveau 1890–1914, exhibition catalog (Victoria and Albert Museum, London, 2000); Tod M. Volve and Beth Cathus, Treasures of the American Arts and Crafts Movement 1890–1920 (London, 1988); Couldrey, 1989; and R. Koch, Louis C. Tiffany: Glass, Bronzes, Lamps—A Complete Collector’s Guide (New York, 1971).
17. For the manufacture of favrile, see M. Amaya, Tiffany Glass (New York, 1967).
18. See H. McKean, The Lost Treasures of Louis Comfort Tiffany (New York, 1980).
19. For the house in Oyster Bay, see H. McKean, Laurelton Hall: Tiffany’s Art Nouveau Mansion (Winter Park, Florida, 1977).
20. For the Tiffany revival, see A. Duncan, Louis Comfort Tiffany (New York, 1992).
Chapter 12: T. S. Eliot: The Last Poet to Wear Spats
1. Lyndall Gordon, Eliot’s Early Years (Oxford, 1977).
2. Peter Ackroyd, T. S. Eliot (London, 1984), pp. 30–54.
3. See Gordon, 1977.
4. Bertrand Russell, Autobiography (London, 1968), vol. 2. Letter to Lady Ottoline Morrell, 27 March 1914.
5. Ackroyd, 1984, p. 54. Valerie Eliot (ed.), The Letters of T. S. Eliot, vol. 1, 1898–1922 (London, 1988), gives precious glimpses.
6. Richard Aldington, Ezra Pound and T. S. Eliot (Hurst, Berkshire, 1954).
7. For Pound, see Noel Stock, The Life of Ezra Pound (London, 1970); and D.D. Paige (ed.), Letters of Ezra Pound (London, 1951).
8. For The Waste Land, see Valerie Eliot (ed.), The Waste Land: A Facsimile and Transcript of the Original Drafts (London, 1971).
9. Cyril Connolly, The Modern Movement, 2 vols. (London, 2002), II, pp. 227ff.
10. Helen Gardner, The Composition of the Four Quartets (London, 1978).
11. Keith Alldritt, Eliot’s Four Quartets: Poetry as Chamber Music (London, 1978).
Chapter 13: Balenciaga and Dior: The Aesthetics of a Buttonhole
1. D. de Marly, The History of Haute Couture 1850–1950 (London, 1986).
2. D. de Marly, Worth: Father of Haute Couture (London, 1990).
3. R. Lynam (ed.), Paris Fashion: The Great Designers and Their Creations (London, 1972).
4. See the fine volume Balenciaga, by Marie-Andrée Jouve, text by Jacqueline Demorne (trans., London, 1989).
5. Edmonde Charles-Roux, Le Temps Chanel (Paris, 2004).
6. Colin McDowell, Forties Fashion and the New Look (London, 1997).
7. For Dior’s early life, see his autobiography, Dior on Dior (trans., London, 1957).
8. Marie-France Pochna, Christian Dior (Paris, 2004).
Chapter 14: Picasso and Walt Disney: Room for Nature in a Modern World?
1. J. Palau i Fabre, Picasso en Cataluna (Barcelona, 1966).
2. For Picasso’s works see C. Zervos, Pablo Picasso, 33 vols. (Paris, 1932–1978).
3. F. Fontbona, Casas (Barcelona, 1979).
4. For Casas’s portrait drawings, see Ramon Casas: Retrats al Carbo, exhibition catalog, ed. C. Mendoza (Palacio Virreira, Barcelona, 1982).
5. For Picasso’s portrait drawings, see John Richardson, A Life of Picasso, Vol. 1, 1881–1906 (London, 1991), pp. 146–147, where fourteen are illustrated; some drawings by Casas are shown on pp. 144–145.
6. For the Barcelona art world and its competitiveness, see Homage to Barcelona: The City and its Art, 1888–1936, exhibiton catalog (Arts Council, London, 1986), especially pp. 149ff.
7. R. A. Kibbey, Picasso: A Comprehensive Bibliography (London, 1977); there is a good bibliographical section at the end of Melissa McQuillan’s article on Picasso in Grove’s Dictionary of Art (London, 1996), 24, pp. 728–730.
8. London, 1988.
9. See M. Richet, Musée Picasso: Catalogue Sommaire des Collections (Paris, 1987); Museu Picasso, Catalog de Pintura i Dibiux (Barcelona, 1984); J. L. Sicart, Museu Picasso, Catalogo (Barcelona, 1971).
10. For the blue period, see Richardson, I, 1991, pp. 211–307.
11. Ibid., pp. 334–349.
12. Les Demoiselles d’Avignon, 2 vols. (Musée Picasso, Paris, 1988).
13. See the excellent article on cubism by Christopher Green, Grove’s Dictionary of Art, vol. 8, pp. 239–247; Picasso and Braque: Pioneering Cubism (Museum of Modern Art, New York, 1989).
14. C. Poggi, In Defiance of Painting: Cubism, Futurism, and the Invention of Collage (New Haven, Connecticut, 1992).
15. E. Opler (ed.), Picasso Guernica (New York, 1988); H. Chipp, Picasso’s Guernica: History, Transformation, Meanings (London, 1989).
16. For this period, see, in general, Richardson, A Life of Picasso, Vol. 2, 1907–1917 (London, 1996).
17. For Picasso’s early patrons, see A. S. Huffington, Picasso: Creator and Destroyer (London, 1988), pp. 74–131.
18. Huffington, 1988, pp. 83 (Stein), 98 (Braque).
19. For Picasso and Matisse, see Matisse Picasso, exhibition catalog (Tate Gallery, London, 2002).
20. Huffington, 1988, pp. 127, 134, 172, 190.
21. See F. Gilot and C. Lake, Life with Picasso (London, 1965).
22. Huffington, 1988, pp. 64, 194, 203.
23. Ibid., pp. 233–234.
24. Ibid., pp. 251, 424.
25. F. Thomas and O. Johnston, Disney Animation: The Illusion of Life (New York, 1981).
26. Michael Barrier, Hollywood Cartoons: American Animation in Its Golden Age (Oxford, 2003), pp. 35–48.
27. Diane Disney Miller, Walt Disney: An Intimate Biography by His Daughter (London, 1958), pp. 53–74.
28. Ibid., pp. 75ff.
29. Barrier, 2003, pp. 38ff.
30. Christopher Finch, The Art of Walt Disney (New York, 1999), pp. 20ff.
31. Barrier, 2003, pp. 63ff.
32. For Disney and sound, see Miller, 1958, pp. 93ff.
33. For Steamboat Willie, see Barrier, 2003, pp. 51–57.
34. Finch, 1999, pp. 28–31.
35. For still from Flowers and Trees, see ibid., p. 29.
36. Barrier, 2003, pp. 124–129, 193–233.
37. B. Thomas, The Art of Animation: The Story of the Disney Studio Contribution to a New Art (New York, 1966).
38. D. Atwell, Cathedrals of the Movies (London, 1980); D. Sharp, The Picture Palace (London, 1969).
39. Finch, 1999, p. 108.
40. R. B. Beard, Walt Disney’s EPCOT: Creating the New World of Tomorrow (New York, 1982).
41. For an account of Disney’s involvement with the unions, the FBI, and politics, see Marc Eliot, Walt Disney: Hollywood’s Dark Prince (London, 1994).
42. P. Andreu, Vie et Mort de Max Jacob (Paris, 1982).
43. For an illuminating but uncritical account of Picasso’s communism, see Gertje R. Utley, Picasso: The Communist Years (Yale, 2001); see also a review of it by James Lord, Times Literary Supplement, 30 March 2001; see also J. S. Boggs, “Picasso and Communism,” Artscanada (1980).
Chapter 15: Metaphors in a Laboratory
1. For Coleridge and Davy, see Richard Holmes, Coleridge: Early Visions (London, 1989), pp. 245, 259, 303.
2. Wordsworth to Sir John Stoddart, 1831, quoted in Anne Treneer, The Mercurial Chemist: A Life of Sir Humphry Davy (London, 1963), p. 214.
3. For Telford, see Alastair Penfold (ed.), Thomas Telford, Engineer (London, 1980).
4. For Edison, see Robert Silverberg, Light for the World: Edison and the Power Industry (New York, 1967).
5. See Jeffrey V. Osowki, “Ensembles of Metaphor in the Psychology of William James,” in D. B. Wallace and H. E. Gruber (eds.), Creative People at Work (New York, 1989).
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Creators Page 36