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The article discusses the historical evolution of graphic analysis in paintings, exploring various methods artists have employed to diagrammatically represent the underlying structure and forms of artworks. It delves into 19th-century approaches to schematic drawings, contrasting two types of analytical schemas utilized by artists like David Sutter and Walter Crane in dissecting the compositions of artworks.

The article examines the complexities of representing objects through drawing. It challenges the conventional categorization of art styles based on conceptual or perceptual approaches, questioning how artists engage with their subjects. It explores how drawing from observation versus memory impacts an artist's representation, highlighting the nuances in capturing forms and the interplay between perception, memory, and conceptualization.

The article offers several letters exchanged between the French philosopher and art historian Hubert Damisch and the art historian Meyer Schapiro from January 1972 through December 1942. Topics of the letters include the psychological theories of Austrian psychologist Sigmund Freud, art history, the philosophy of painting, the disappearance of a car, visiting the National Museum of the American Indian in New York City, New York and Sigmund Freud's forgetting the name of the painter Luca Signorelli.

This unpublished essay is conserved in the Schapiro Collection, Columbia University, Rare Books and Manuscripts. Schapiro worked on it from 1960 (exact date unknown) until January 30, 1990. In a supplementary note dated December 24, 1991, and placed at the end of the document, Schapiro wrote: "On re-reading text of the S. Freud--Signorelli article. It is a complete essay--text and notes--I have still to find the dates and full titles of several authors to whom I refer." Despite this statement, the essay seems unfinished. This text should be read along with the letters 1, 3, and 29 to Damisch. Italicized notes are marginal notes written in Schapiro's hand; all other notes are by the editors. [ABSTRACT FROM AUTHOR]

This article presents a reprint of the article "A Note on 'The Open City': Some Comments on Farrell's Review" by Meyer Schapiro that appeared in "The New International Magazine" in December 1946. In the article Schapiro takes issue with the reviewer's analysis of the political message contained in "Open City."

In September 1959, throughout Brasilia's construction, the art historian and critic Meyer Schapiro (1904-96) came to Brazil to take part in an international congress that put together distinguished names in the field of art, architecture and urbanism in order to discuss the "art synthesis in the new city". Here it is reproduced Schapiro's interventions in the debates concerning subjects as value judgment in the critique of architecture, the concept of integration of the arts in the past and in modernity, the relationship between the arts and science, and the mission of art in future society. [ABSTRACT FROM AUTHOR]

Features several works related to architecture from the 1930s. Exhibition of architecture at the Museum of Modern Art in New York in 1932; Description of architectural style from the Socialist Republic; Architecture under capitalism; Social changes implied by modern architecture.