Prehistoric Pictures and American Modernism

Part One: Introduction
1 Preface
2 Prehistory as a Modern Idea in Europe and "Primitivism" as intertwined concepts (1900-1940)

Part Two: Prehistoric Artifacts, Prints, Painted Copies and the Genesis of Modern Art in New York (1937)
3 Alfred Barr's View of Prehistory and Modernism as Shown at MoMA
4 Barr`s exhibition concept: "Prehistoric" Avant-Garde and Lala Eve Rivol's Federal Art Project
5 Leo Frobenius's Objectives, His Collection in Western debates-and Henry Moore
6 The Making of the MoMA Exhibition Prehistoric Rock Pictures in Europe and Africa
(28 April-30 May, 1937)

Part Three: The Art of Copying the Past-in Transatlantic Dialogue
7 Copies and Copyists: Pictorial Heritage at the Museum of Modern Art
8 Copying for the Index of American Design (1935-42)

Part Four: Modern American Abstract Art and their Re-appropriation of Prehistoric Rock Paintings
9 The Founding of the American Abstract Artists (1936) and their Appropriation of Prehistoric Rock Paintings (1937-40)
10 Bridging Time and Space:Transcontinental AAA Networks in the Interwar Period
11 The Influence of (prehistoric) Artistic Concepts from Mexico on the American Abstract Artists
12 Prehistorical Modernists: Gottlieb, Lassaw, Schanker, Smith

Part Five: Conclusion
13 The "Modernity" of Prehistory in the Thirties in Paris and New York

Appendix I and II
Bibliography
Index

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• Historia de arte: pré-história
• Arte e Design: c 1900 a c 1960
• Antropologia social e cultural

Prehistoric rock art; the New York School; Willem de Kooning; Elaine de Kooning; Arshile Gorky; Stuart Davis; John Graham; Josef Albers; The American Abstracts Artists group; Paris; MoMA; Primitivism