Литмир - Электронная Библиотека

Keats, John. The Insolent Chariots. New York: Crest Books, n.d.

Klingender, Francis D. Art and the Industrial Revolution.

London: Paladin, 1972.

Kracauer, Siegfried. From Caligari to Hitler. Princeton, New Jersey:

Princeton University Press, 1947.

Kranz, Kurt. Variationen tiber ein geometrisches Thema.

Munich, Germany: Prestel, 1956.

Langer, Susanne K. Feeling and Form. London:

Routledge & Kegan Paul, 1953.

___. Philosophy in a New Key. New York: Scribner, 1942.

___. Problems of Art. New York: Scribner, 1957.

Le Corbusier. The Modular. London: Faber, 1954.

___. Modular 2. London: Faber, 1958.

Lethaby, W.R. Architecture, Nature and Magic.

New York: George Braziller, 1956.

Malraux, Andre. The Metamorphosis of the Gods.

New York: Dou-bleday, 1960.

___. The Voices of Silence. New York: Doubleday, 1952.

Maritain, Jacques. Creative Intuition in Art and Poetry.

Princeton, New Jersey: Bollingen Series,

Princeton University Press, 1953.

Middleton, Michael. Group Practice in Design.

London: Architectural Press, 1968.

Moholy-Nagy, Sibyl. Native Genius in Anonymous Architecture.

New York: Horizon, 1957.

Neumann, Erich. The Great Mother: An Analysis of the Archetype.

London: Routledge & Kegan Paul, 1955.

Neutra, Richard. Survival through Design.

New York: Oxford University Press, 1954.

Nielsen, Vladimir. The Cinema as Graphic Art.

New York: Hill & Wang, 1959.

Okaley, Kenneth P. Man the Tool-maker. London: British Museum, 1963.

Ozenfant, Amedee. Foundations of Modern Art. New York: Dover, 1952.

Panofsky, Erwin. Gothic Architecture and Scholasticism.

Latrobe, Pennsylvania: Archabbey Press, 1951.

___. Meaning in the Visual Arts. Middlesex: Penguin, 1970.

Rapoport, Amos. House, Form and Culture.

Englewood Cliffs, New Jersey: Prentice-Hall, 1969.

Read, Sir Herbert. The Grass Roots of Art.

New York: Wittenborn, 1955.

___. Icon and Idea? London: Faber, 1955.

___. The Philosophy of Modem Art. London: Faber, 1965.

Rosenberg, Harold. The Tradition of the New. London: Paladin, 1970.

Sahlins, Marshall. Stone Age Economics.

London: Tavistock Publications, 1974.

Scheidig, Walther. Crafts of the Weimar Bauhaus.

London: Studio Vista, 1967.

Sempter, Gottfried. Wissenschaft, Industrie und Kunst.

Mainz, Germany: Pierian Kupferberg, 1966

Singer, Charles (ed.). A History of Technology. 5 vols.

Oxford University Press, 1954-1958.

Snaith, William. The Irresponsible Arts. New York: Atheneum, 1964 .

Thomson, E.P. William Morris: Romantic to Revolutionar y.

New York: Pantheon, 1977.

Von Neumann. Game Theory. Cambridge, Massachusetts:

M.I.T. Press, 1953.

Willet, John. Art & Politics in the Weimar Period.

New York: Pantheon, 1978.

Wingler, Yans M. The Bauhaus.

Cambridge, Massachusetts: M.I.T. Press, 1969.

Youngblood, Gene. The Expanded Cinema . London: Studio Vista, 1971.

Практика дизайна и его философия

Albers, Anni. On Designing. New Haven, Connecticut: Pellango Press, 1959.

Anderson, Donald M. Elements of Design.

New York: Holt, Rinehart & Winston, 1961.

Art Directors' Club of New York. Symbology.

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___. Visual Communication: International. New York: Hastings House, 1961.

Baker, Stephen . Visual Persuasion. New York: McGraw-Hill, 1961.

Bayer, Herbert . Visual Communication, Architecture, Painting.

New York: Reinhold, 1967.

Bill, Max. Form. Basel, Switzerland: Karl Werner, 1952. Text in German,

English, French. Doxiadis, Constantinos. Architecture in Transition.

London: Hutchinson, 1965.

___. Between Dystopia and Utopia. London: Faber, 1966.

___. Elastics. London: Hutchinson, 1968.

Gropius, Walter. Scope of Total Architecture. New York: Harper, 1955.

Itten, Johannes. The Art of Color. New York: Reinhold, 1961.

___. Design and Form. New York: Reinhold, 1963.

Kandinsky, Wassily. On the Spiritual in Art. New York: Wittenborn, 1948.

___. Point to Line to Plane. New York: Guggenheim Museum, 1947.

Kepes, Gyorgy. Language of Vision. Chicago: Paul Theobald, 1949.

___. The New Landscape in Art and Science. Chicago: Paul Theobald,

___. Vision-Value Series. Vol. I, Education of Vision. Vol. 2, Structure in Art

and Science. Vol. 3, The Nature and Art of Motion. Vol. 4, Module

Proportion Symmetry Rhythm. Vol. 5, The Man-made Object. Vol. 6, Sign

Image, Symbol. New York: George Braziller, 1966.

___. (ed.). The Visual Arts Today. Middletown, Connecticut: Wesleyan

University Press, 1960.

Klee, Paul. Pedagogical Sketch Book. London: Faber, 1968.

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