1. Giedion, Sigfried. Space, Time and Architecture. Cambridge: Harvard University Press, 1956. p.33.
2. Huemer, Frances. Conversation, April 14, 1961.
3. Giedion, op.cit., p.36.
4. Encyclopedia of World Art. Vol. II, London: McGraw-Hill Publishing Company Limited, 1960. p. 595.
5. Ibid., p. 597.
6. The same circular design is used at the bottom left, in the background of the fireplace wall and in the circular balistrade.
7. Tietze, E.-Conrat. Mantegna. (New York: Phaidon Publishing, Inc., 1955,) p. 17.
8. Hartt, Frederick. "Raphael and Giulio Romano." Art Bulletin, June, 1944, p.73.
9. Friedlaender, Walter. Mannerism and Anti-Mannerism in Italian Painting. (New York: Columbia University Press, 1957,) p.17.
10. Goldsheider, Ludwig. Michelangelo (London: Phaidon Press), p.5.
11. Quadri riportate: framed easel pictures transferred to the ceiling and incorporated in a quadrature framework.
12. Friedlaender, op. cit., p.15.
13. Quadratura: Illusionist architectural painting aimed at extending real architecture into an imaginary space.
14. Wittkower, Rudolf. Art and Architecture in Italy (Maryland: Penguin Books, 1958), p. 37.
15. "Illusionist architectural painting (quadratura), aimed at extending real architecture into an imaginary space, had existed ever since Peruzzi had 'opened up' the Sala delle Colonne in the Villa Farnesiana about 1516, but it was not until the second half of the sixteenth century that quadratura on ceilings really came into its own." Ibid., p. 165.
16. Ibid., p. 220.
17. "Exuberant Rococo Art in Germany - a Celestial Celebration," Life Magazine.
18. Wittkower, op. cit., p.243.
19. Summerson, John. Architecture in Britain - 1530 to 1830. (Maryland: Penguin Books, 1954.



01. Delacroix's commissions in 1835 and 1855: the Palais Bourbon, The Chamber of Deputies, the Library of Luxemburg, Galleries in the Louvre, Hotelde Ville. Puvis de Chavanne: Hotel de Ville (1874), Panteon (1874). Ingres: Hotel de Ville (1853).
02. Sloane, Joseph C. French Painting Between the Past and the Present, (New Jersey: Princeton University Press, 1951), p. 134.
03. Ibid., p. 137.
04. Giedion, Sigreied, Space, Time and Architecture - The Growth of a New Tradition. (Cambridge: Harvard University Press, 1956), p. 224.
05. "Revue Generale d'Architecture," 1867, p.6.
06. Art Nouveau, Museum of Modern Art, (New York: doubleday and Co., Inc.), p.55.
07. Ibid., p.8.
08. de Stijl, Cat. 81, Stedlijk Museum, Amsterdam, 1951, p.93.
09. Examples: Georges Vantongerloo; "Volume-construction," plaster, (1918); Mondrian; paintings of 1916, 1918, etc; Theo Van Doesburg and C. van Easteren; scheme for a villa in 1923; Walter Gropius's Bauhaus, (1926).
10. For further study of abstract painting related to architecture see: J.J. Oud's "Café de Unie" in Rotterdam, 1925; Weissenjog Sledlung, Stuttgart, 1927, Directio Gehouwtje, 1923 and Woonwijk Kiefhoff, 1925. Richard Neutra's numerous residences in California. Walter Gropius's professor's homes and the main Bauhaus building, 1926; his own home in Lincoln, Mass., 1938.
11. Swenny, James Johnson. Theo van Doesbrug (New York: High Grade Press, 1947), p.1.
12. Barr, Alfred H., Jr. "de Stijl," The Museum of Modern Art Bulletin, 1952-53, p.11.
13. Damaz, Paul, Art in European Architecture (New Youk: Reinhold Publising Corporation, 1956), p.31.
14. This will be taken up later.
15 Barr, Alfred H., Jr., Matisse - His Art and His Public (New York: The Museum of Modern Art, 1951), pp. 220-221.
16. Ibid., pp. 241, 242.
17. Interesting to note that he based his studies for the crucifix on Matthias Grunewald's figure of Christ in the Isenheim altarpiece.
18. Le Corbusier, The Chapel at Ronchamp (New York: Frederick A. Praeger, Inc,1957), p. 25.
19. "Each man in Corbu's drafting room has a list of two columns of ten numbers, each, pinned up on the wall next to his table. According to Corbu, these ten pairs of numbers are all that is required for the use of the modular scale in practice. The two systems of fenestration shown here demonstrate the great flexibility of the scale: the slot windows at Ronchamp make a tense, abstract pattern of light and shade, oddly in balance despite the great variety of openings. (other reference is to the Convent de la Tourette.) Architectural Forum (New York: Time, Inc., April, 1961), p. 101.
20. The Unesco Courier (Paris: The United Nations Educational, Scientific, and Cultural Organization, Nov., 1958), p. 3.
21. Ibid.
22. Possibly the most successful result in this field of joint or collaborative expression is the Church of the Sacred Heart at Audincourt, France - finished in 1951. The architect, Novarina, collaborated most closely with the artist, Leger. However, it is possible to have the greatest artists of a century come together and yet produce nothing more than an appendage to the architecture. It is sadly true of the Church of Our Lady of Grace, in Assy, France (1950). Some of the artists assembled included: Roualt, Bonnard, Leger, Lurcat, Braque, Lipchita and Matisse. Because the individual artists involved worked separate at their assignments, it is almost impossible to concentrate jupon the church as a whole: it stands as an assemblage of isolated parts.
23. New York Times, "An Artist Sees Mexico" by Edward Alden Jewell, "In the Realm of Art: Rivera - Museum of Modern Art." Dec. 17, 1931, p.124.     
24. Editorials, Ibid.
25. Giedion, Sigfried. Space, Time and Architecture, the Growth of a New Tradition, (Cambridge: Harvard University Press, 1956), p. 544.
26. Damaz, Paul, Art in European Architecture (New York: Reinhold Publishing Corporation, 1956), p.37.
27. Ibid., p.52.
28. Ibid.
29. Giedion, Sigfried, Walter Gropius (New York: Reinhold Publishing Corporation, 1954), p.39.
30. Giedion, Space, Time and Architecture, p. 505.
31. Ibid., p. 762.





1. Within the next two years I plan to use plastics, but in the formative stages, I think it is important to use familiar materials. 
2. The existing architecture, except as a shelter, played no part in articulating the "free-standing painting." My work took on new meaning as an architectonic entity in its own right.
3. Future projects are entered on page v. They will be constructed in plastics and conceived as both an interior and exterior composition. They will become architectural, exist in the elements and derive part of their source of life and illumination from the world about. Characteristic movements of both constructed and painted composition are to be found, moreover, in the music of Schonberg, Bartok,  Nikolais and Varese. Ideally, a musician should be employed to work with the  painter in order to develop a musical composition for the environment.
4. Papadake, Stamo, Le Corbusier - Architect, Painter, Writer (New York: Macmillan Co., 1948), p. 140.


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