Rickey traces the development of Constructivism through the thoughts of its founders, from its origins in Russia in 1913 to its dispersion throughout Europe and its later manifestations in the United States. Rickey's historical survey provides the background for a discussion of the heirs - those artists who have given the movement its international status. Photo essays illustrate the work of painters and sculptors who have transformed the inherited concepts into fresh interpretations. Attention is focused not only on established artists but also on outstanding members of each succeeding generation.
Of special interest are the historical insights based on previously unpublished material from Naum Gabo, a key figure in the formulation of Constructivist doctrines. Rickey has also included illustrations and photographs of works of art thought to have been lost. Highlights of significant events are outlined in a separate, detailed chronology.
In addition to the visual documentation - some 350 illustrations - a most valuable part of this book is the exhaustive bibliography, prepared by Bernard Karpel, of the continuity of Constructivism. Mr. Karpel was Librarian of the Museum of Modern Art in New York.

This classic study by the eminent scholar Wilhelm Worringer connects the Gothic style with the civilization that produced the art that defined that period in Western European cultural history.

A history of the relationship between art and geometry in the early modern period.

In The Polyhedrists, Noam Andrews unfolds a history of the relationship between art and geometry in early modern Europe, told largely through a collective of ground-breaking artisan-artists (among them, Luca Pacioli, Albrecht Dürer, Wenzel Jamnitzer, and Lorentz Stöer) and by detailed analysis of a rich visual panoply of their work, featuring paintings, prints, decorative arts, cabinetry, and lavishly illustrated treatises. But this is also an art history of the polyhedra themselves, emblems of an evolving artistic intelligence, which include a varied set of geometrical figures--both Platonic, or regular, like the simple tetrahedron, and Archimedean, or irregular, like the complex yet beguiling rhombicosidodecahedron.

Moreover, The Polyhedrists argues that the geometrical depictions of Dürer, Jamnitzer et al. were far more than mere follies from the dawn of perspective, at odds with a contemporary view of the Renaissance, and destined to be superseded by later developments in higher level mathematics. In fact, the evolution of the solids into innumerable "irregular bodies" constituted a sustained moment in the formulation of Renaissance mathematical knowledge and its engagement with materiality. This intense field of experimentation would birth a new language of geometrical abstraction that would ignite a century of novel form-making strategies, ultimately paving the way for developments in geometry and topology in the nineteenth and early twentieth centuries, and even prefiguring the more recent digital turn. The book, in this sense, is not just an applied history of geometry, nor a particular geometric reading of early modern art through some of its more celebrated practitioners, but a manifesto of sorts into the hitherto unexplored wilds of art and science.

In this work Professor Worringer approaches a familiar subject from a new and unfamiliar angle. Since the time of Napoleon’s campaign and the interest aroused by the explorations conducted by his command, a glamour as of something surpassing beyond measure, in grandeur and aloofness, any other of the visible works of man, has been cast upon the art of Ancient Egypt. The frame of mind in which this art has habitually been contemplated is tainted with the romantic wonder that belongs to all things very ancient or distant; this attitude is indeed not very different, as Professor Worringer points out, from the earlier traditional attitude towards Egypt, inherited from classical antiquity—one of superstitious veneration for something mysterious, magical, and almost superhuman. Nor have the events attending quite recent discoveries, with their appeal to the popular appetite for the sensational, by any means diminished the atmosphere of unreality by which, for the world at large, the early ages of Egyptian history are surrounded.

《日常生活颂歌:论十七世纪荷兰绘画》里评述了荷兰风俗画所产生的独特的历史背景，探讨了有关17世纪荷兰绘画的几种主要阐释模式，并分析了其文化与伦理的内涵。17世纪的荷兰绘画作为西方重要的历史文化遗产，历来受到包括黑格尔在内的西方学者的关注。