同MorrisLouis, 1912 1962: Memorial Exhibition Paintings from 1954 -1960 (New (3) 詳細は以下で論じた。加治屋健司「クレメント・グリーンパーグの美術批評における時間性」東京大学大学院総合文化研究科修士論文，1997年(4) Fried，“Art and Objecthood，”Art and Objecthood (Chicago: Univ巴rsityof Chi-( 5) Greenberg，“The New Sculpture，”Greenberg, Art and Culture: Critical Essays (7) Krauss, Optical Unconscious: 243-329. ( 8) Greenberg，“Jackson Pollock Market Soars，”Modernism with a Vengeance, 107-(9) Nation, 24 January 1948, reprinted in Gre巴nberg,Review of Exhibitions of Worden (10）前期グリーンパーグにおける物質性の概念は以下の論文で簡単に触れられている。Yve-AlainBois，“L巴sam巴ndementsde Greenberg，”Les Cahiers du musee na-(11) Fried, Manet's Modernism, or The Face of Painti時inthe 1860s (Chicago: Unト(12) Greenberg，“The Case for Abstract Art，”Modernism with a Vengeance, 81. (13) Bois and Krauss, Formless, 25. (14) Krauss, Opticαl Unconscious, 243-329 ; Bois，“Les amendements de Greenberg.” (15) Krauss, Optical Unconsious, 290-293. (18) Fried, Morris Louis, 29. 54 4カKrauss,Optical Unconsious, 291. cago, 1998) : 153-155. (Boston: Beacon Press, 1961) : 139 145；“Jackson Pollock Market Soars, ＇’New York Times Magazine, 16 April 1961, reprint巴din Modernism with a Vengeance, llO. (6) Fried，“Art and Objecthood，”165 168. ll4. Day, Carl Holty, and Jackson Pollock, in Arrogant Purpose, 1945 -1949, vol. 2 of The Collected Essays and Criticism，巴ditedby John O’Brian (Chicago : University of Chicago Pr巴SS,1986) : 201 203. tional d’art moderne, n。45/46(automn/hiver 1993) : 52-60. versity of Chicago Pr巴SS,1996) : 568n71. 同Krauss, Optical Unconsious, 290.図版は291頁に掲載0（瑚JohnElderfi巴ld,Morris Louis (New York: Museum of Modern Art, 1987) : lll.
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