Painting and Drawing Edited by Christy Mag Uidhir (University of Houston)

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  1. Joseph C. Allard (1982). Mechanism, Music, and Painting in 17th Century France. Journal of Aesthetics and Art Criticism 40 (3):269-279.
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  2. Jerome Ashmore (1977). Sound in Kandinsky's Painting. Journal of Aesthetics and Art Criticism 35 (3):329-336.
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  3. Jerome Ashmore (1955). Some Differences Between Abstract and Non-Objective Painting. Journal of Aesthetics and Art Criticism 13 (4):486-495.
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  4. Jerome Ashmore (1951). The Old and the New in Non-Objective Painting. Journal of Aesthetics and Art Criticism 9 (4):294-300.
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  5. R. B. Beckett (1964). Photogenic Drawings. Journal of the Warburg and Courtauld Institutes 27:342-343.
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  6. Rona Blogg (1933). About the Art of Painting. Australasian Journal of Philosophy 11 (2):99 – 109.
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  7. Peg Brand (2007). Painting the Difference: Sex and Spectator in Modern Art by Harrison, Charles. Journal of Aesthetics and Art Criticism 65 (2):244–246.
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  8. Donald Brook (1983). Painting, Photography and Representation. Journal of Aesthetics and Art Criticism 42 (2):171-180.
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  9. Norman Bryson (1978). Hazlitt on Painting. Journal of Aesthetics and Art Criticism 37 (1):37-45.
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  10. Christopher Butler (2004). Pleasure and the Arts: Enjoying Literature, Painting, and Music. Oxford University Press.
    How do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting. The arts direct us to intimate and particularized relationships, with the people represented in the works, or with those we imagine produced them. When we listen to music, look at a purely abstract (...)
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  11. David Carrier (1987). Naturalism and Allegory in Flemish Painting. Journal of Aesthetics and Art Criticism 45 (3):237-249.
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  12. David Carrier (1973). Adrian Stokes and the Theory of Painting. British Journal of Aesthetics 13 (2):133-145.
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  13. Curtis L. Carter (1974). Langer and Hofstadter on Painting and Language: A Critique. Journal of Aesthetics and Art Criticism 32 (3):331-342.
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  14. Dan Cavedon-Taylor (2011). The Space of Seeing-In. British Journal of Aesthetics 51 (3):271-278.
    Recent work on seeing-in has taken a pluralist turn. There is variety among pictures, so we should expect variety among seeing-in. Dominic Lopes’s taxonomy of seeing-in is arguably the most thorough that is currently available. Lopes identifies five varieties of seeing-in. In this paper I identify a sixth: pseudo-actualism. This paper improves our current best taxonomy of seeing-in.
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  15. Clive Cazeaux (1999). Synaesthesia and Epistemology in Abstract Painting. British Journal of Aesthetics 39 (3):241-251.
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  16. Chung-yuan Chang (1969). On Stephen C. Pepper's "on the Uses of Symbolism in Sculpture and Painting". Philosophy East and West 19 (3):279-283.
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  17. Ron Chrisley (2008). Painting an Experience: Las Meninas, Consciousness and the Aesthetic Mode. Journal of Consciousness Studies 15 (9):40-45.
    Paintings are usually paintings of things: a room in a palace, a princess, a dog. But what would it be to paint not those things, but the experience of seeing those things? Las Meninas is sufficiently sophisticated and masterfully executed to help us explore this question. Of course, there are many kinds of paintings: some abstract, some conceptual, some with more traditional subjects. Let us start with a focus on naturalistically depictive paintings: paintings that aim to cause an experience in (...)
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  18. David Ridgley Clark (1963). Landscape Painting Effects in Pope's Homer. Journal of Aesthetics and Art Criticism 22 (1):25-28.
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  19. Earle Jerome Coleman (1978). Philosophy of Painting by Shih-Tʻao: A Translation and Exposition of His Hua-Pʻu (Treatise on the Philosophy of Painting). Mouton.
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  20. Elizabeth Burns Coleman (2004). Appreciating "Traditional" Aboriginal Painting Aesthetically. Journal of Aesthetics and Art Criticism 62 (3):235-247.
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  21. Elizabeth Burns Coleman (2001). Aboriginal Painting: Identity and Authenticity. Journal of Aesthetics and Art Criticism 59 (4):385–402.
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  22. Paul Crowther (1985). Greenberg's Kant and the Problem of Modernist Painting. British Journal of Aesthetics 25 (4):317-325.
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  23. W. Joseph Cummins (1982). Plato and Greek Painting. Journal of the History of Philosophy 20 (1).
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  24. Gregory Currie (1991). Photography, Painting and Perception. Journal of Aesthetics and Art Criticism 49 (1):23-29.
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  25. Carlette Engel de Janosi (1953). The Forest of Fontainebleau in Painting and Writing. Journal of Aesthetics and Art Criticism 11 (4):390-396.
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  26. John Dilworth (2008). The Propositional Challenge to Aesthetics. British Journal of Aesthetics 48 (2):115-144.
    It is generally accepted that Picasso might have used a different canvas as the vehicle for his painting Guernica, and also that the artwork Guernica itself necessarily represents a certain historical episode—rather than, say, a bowl of fruit. I argue that such a conjunctive acceptance entails a broadly propositional view of the nature of representational artworks. In addition, I argue—via a comprehensive examination of possible alternatives—that, perhaps surprisingly, there simply is no other available conjunctive view of the nature of representational (...)
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  27. William V. Dunning (1991). The Concept of Self and Postmodern Painting: Constructing a Post-Cartesian Viewer. Journal of Aesthetics and Art Criticism 49 (4):331-336.
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  28. Eugene Clinton Elliott (1958). On the Understanding of Color in Painting. Journal of Aesthetics and Art Criticism 16 (4):453-470.
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  29. Andreas Elpidorou (2010). Imagination in Non-Representational Painting. In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. Routledge.
  30. Cynthia Freeland (2007). Portraits in Painting and Photography. Philosophical Studies 135 (1):95 - 109.
    This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...)
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  31. Wayne J. Froman (1988). Action Painting and the World-as-Picture. Journal of Aesthetics and Art Criticism 46 (4):469-475.
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  32. Jeffrey L. Geller (1993). Painting, Parapraxes, and Unconscious Intentions. Journal of Aesthetics and Art Criticism 51 (3):377-387.
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  33. Jonathan Gilmore (2000). The Life of a Style: Beginnings and Endings in the Narrative History of Art. Cornell University Press.
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
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  34. Alan H. Goldman (1995). The Aesthetic Value of Representation in Painting. Philosophy and Phenomenological Research 55 (2):297-310.
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  35. R. A. Goodrich (1982). Plato on Poetry and Painting. British Journal of Aesthetics 22 (2):126-137.
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  36. Donald A. Gordon (1951). Experimental Psychology and Modern Painting. Journal of Aesthetics and Art Criticism 9 (3):227-243.
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  37. Carla Gottlieb (1958). Movement in Painting. Journal of Aesthetics and Art Criticism 17 (1):22-33.
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  38. Stephen Grossberg (2006). The Art of Seeing and Painting. Technical Report.
    The human urge to represent the three-dimensional world using two-dimensional pictorial representations dates back at least to Paleolithic times. Artists from ancient to modern times have struggled to understand how a few contours or color patches on a flat surface can induce mental representations of a three-dimensional scene. This article summarizes some of the recent breakthroughs in scientifically understanding how the brain sees that shed light on these struggles. These breakthroughs illustrate how various artists have intuitively understand paradoxical properties about (...)
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  39. Harrison Hall (1981). Painting and Perceiving. Journal of Aesthetics and Art Criticism 39 (3):291-295.
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  40. David Hills (2002). Review of Van Gerwen, Rob (Ed.), Richard Wollheim on the Art of Painting: Art As Representation and Expression. [REVIEW] Notre Dame Philosophical Reviews 2002 (8).
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  41. Robert Hopkins (2008). Reasons for Looking: Lopes on the Value of Pictures. Philosophy and Phenomenological Research 77 (2):556-569.
    In ‘Sight and Sensibility: Evaluating Pictures’ Dominic Lopes attempts two things. First, he attempts to solve the ‘Puzzle of Mimesis’: why do we value looking at pictures over looking at the things they depict? Second, he defends ‘interactionism’: the view that some aesthetic evaluations of pictures imply evaluations in moral and cognitive terms. I argue that the attempt to solve the Puzzle turns on the notion of ‘inflection’, and that that notion is more problematic than Lopes admits. I further argue (...)
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  42. Robert Hopkins (2006). Painting, History, and Experience. Philosophical Studies 127 (1):19 - 35.
    Two themes run through Wollheim’s work: the importance of history to the practice and appreciation of the arts, and the centrality of experience in appreciation. Prima facie, these are in tension. Reconciling them requires two steps. First, adopt a notion of experience on which features can be experienced even if we must have experience-independent access to the fact that the work exhibits them. Second, state what makes a particular experience appropriate to the work. What does so? Although Wollheim toyed with (...)
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  43. Robert Hopkins (2004). Painting, Sculpture, Sight, and Touch. British Journal of Aesthetics 44 (2):149-166.
    I raise two questions that bear on the aesthetics of painting and sculpture. First, painting involves perspective, in the sense that everything represented in a painting is represented from a point, or points, within represented space; is sculpture also perspectival? Second, painting is specially linked to vision; is sculpture linked in this way either to vision or to touch? To clarify the link between painting and vision, I describe the perspectival structure of vision. Since this is the same structure we (...)
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  44. Robert Hopkins (2003). What Makes Representational Painting Truly Visual? Aristotelian Society Supplementary Volume 77 (1):149–167.
    I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to (...)
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  45. Robert Hopkins (1997). Pictures and Beauty. Proceedings of the Aristotelian Society 97 (2):177–194.
    What reasons are there to value pictures? I consider one: that pictures enable us to judge, and more than that to savour, the beauty (if any) of the objects they depict. I clarify and defend this claim, tentatively explore what might explain it, consider how far it might generalize beyond beauty to other features of aesthetic interest, and assess its importance for the aesthetics of pictures.
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  46. Dale Jacquette (2006). Intention, Meaning, and Substance in the Phenomenology of Abstract Painting. British Journal of Aesthetics 46 (1):38-58.
    Trying to make sense of abstract painting has resulted in interesting but often inexact and inadequately motivated efforts to characterize what is distinctive about modern art. The present account begins with Gertrude Stein's description of the fascination she experiences in viewing painted surfaces and proceeds through a number of efforts to justify or severely criticize abstract painting in relation to more traditional representational works. The basis for a phenomenology of abstract painting is suggested by James Elkins's first-person analysis of the (...)
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  47. David Johnson (2009). Merleau-Ponty and the Other World of Painting: A Response. Journal of the British Society for Phenomenology 40 (1):89-97.
    This paper is a response to a recent claim made by Norwegian philosopher Tarjei Larsen in the Journal of the British Society for Phenomenology that Merleau-Ponty’s own theory of painting undermines the important distinction made in his thought between primordial perception and cultural construction because it requires that perception take different cultural and historical forms in order to account for perspectival painting. I try to show that this distinction is not so easily collapsed by arguing that Larsen has misconstrued Merleau-Ponty’s (...)
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  48. Stewart R. Johnson & Eugene E. Gloye (1958). A Critical Analysis of Psychological Treatment of Children's Drawings and Paintings. Journal of Aesthetics and Art Criticism 17 (2):242-250.
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  49. Yoshimasa Kaneko (2003). Japanese Painting and Johannes Itten's Art Education. Journal of Aesthetic Education 37 (4).
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  50. Eva C. Keuls (1978). Plato and Greek Painting. Brill.
    INTRODUCTION Any scholar undertaking to add yet another book title to the already virtually uncontrollable bibliography on Plato needs justification. ...
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  51. Haig Khatchadourian (1974). On the Nature of Painting and Sculpture. British Journal of Aesthetics 14 (4):326-343.
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  52. Paul M. Laporte (1947). Attic Vase Painting and Pre-Socratic Philosophy. Journal of Aesthetics and Art Criticism 6 (2):139-152.
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  53. Keith Lehrer (2004). Representation in Painting and in Consciousness. Philosophical Studies 117 (1-2):1-14.
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  54. Albert William Levi (1962). Peirce and Painting. Philosophy and Phenomenological Research 23 (1):23-36.
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  55. Kenneth C. Lindsay & Bernard Huppé (1956). Meaning and Method in Brueghel's Painting. Journal of Aesthetics and Art Criticism 14 (3):376-386.
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  56. Max Loehr (1965). Some Fundamental Issues in the History of Chinese Painting. Journal of Aesthetics and Art Criticism 24 (1):37-43.
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  57. Lester D. Longman (1944). Contemporary Painting. Journal of Aesthetics and Art Criticism 3 (9/10):8-18.
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  58. Dominic McIver Lopes (2009). Drawing in a Social Science: Lithic Illustration. Perspectives on Science 17 (1):pp. 5-25.
    Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.
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  59. Joseph Margolis (2009). The Arts and the Definition of the Human: Toward a Philosophical Anthropology. Stanford University Press.
    The definition of the human -- Perceiving paintings as paintings I -- Perceiving paintings as paintings II -- "One and only one correct interpretation" -- Toward a phenomenology of painting and literature -- "Seeing-in," "make-believe," transfiguration" : the perception of pictorial representation -- Beauty and truth and the passing of transcendental philosophy.
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  60. F. David Martin (1978). Sculpture, Painting, and Damage. Journal of Aesthetics and Art Criticism 37 (1):47-52.
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  61. J. H. Matthews (1962). The Case for Surrealist Painting. Journal of Aesthetics and Art Criticism 21 (2):139-147.
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  62. Erna Meinel (1973). Peripheral Vision and Painting: A Note on the Work of Evan Walters (1894–1951). British Journal of Aesthetics 13 (3):287-297.
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  63. Maurice Merleau-Ponty (1993). The Merleau-Ponty Aesthetics Reader: Philosophy and Painting. Northwestern University Press.
    PART INTRODUCTIONS TO MERLEAU- PONTY'S PHI LOSOPH Y OF PAI NTI NG Galen A. Johnson ...
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  64. Kevin Z. Moore (2007). Painting in Tongues: Faith-Based Languages of Formalist Art. Journal of Aesthetic Education 41 (4).
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  65. Prithwish Neogy (1969). On Stephen C. Pepper's "on the Uses of Symbolism in Sculpture and Painting". Philosophy East and West 19 (3):284-285.
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  66. Leslie B. Nerio (1969). On Stephen C. Pepper's "on the Uses of Symbolism in Sculpture and Painting". Philosophy East and West 19 (3):286-289.
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  67. Stephen C. Pepper (1969). On the Uses of Symbolism in Sculpture and Painting. Philosophy East and West 19 (3):265-278.
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  68. R. W. Pickford (1965). The Influence of Colour Vision Defects on Painting. British Journal of Aesthetics 5 (3):211-226.
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  69. James Gordon Place (1976). The Painting and the Natural Thing in the Philosophy of Merleau-Ponty. Philosophy and Social Criticism 4 (1):75-91.
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  70. Michael Polanyi (1970). What is a Painting? British Journal of Aesthetics 10 (3):225-236.
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  71. H. H. Price (1981). Painting and the Theory of Knowledge. British Journal of Aesthetics 21 (2):99-117.
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  72. William Proweller (1972). American Painting of the 1960s: The Failure of Criticism and the Need for an Alternate Aesthetics. Journal of Aesthetics and Art Criticism 30 (3):319-326.
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  73. Philip Rawson (1967). The Methods of Zen Painting. British Journal of Aesthetics 7 (4):315-338.
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  74. John Adkins Richardson (1982). Estrangement as a Motif in Modern Painting. British Journal of Aesthetics 22 (3):195-210.
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  75. Sixten Ringbom (1989). Action and Report: The Problem of Indirect Narration in the Academic Theory of Painting. Journal of the Warburg and Courtauld Institutes 52:34-51.
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  76. Lucien Rudrauf (1949). The Annunciation: Study of a Plastic Theme and its Variations in Painting and Sculpture. Journal of Aesthetics and Art Criticism 7 (4):325-348.
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  77. Rémy G. Saisselin (1965). Painting, Truth and Miss Wells's Sheepish Look. British Journal of Aesthetics 5 (2):179-187.
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  78. Robert Schroer (2008). The Woman in the Painting and the Image in the Penny: An Investigation of Phenomenological Doubleness, Seeing-in, and “Reversed Seeing-In”. Philosophical Studies 139 (3):329 - 341.
    The experience of looking at a tilted penny involves a “phenomenological doubleness” in that it simultaneously seems to be of something circular and of something elliptical. In this paper, I investigate the phenomenological doubleness of this experience by comparing it to another case of phenomenological doubleness––the phenomenological doubleness of seeing an object in a painting. I begin by pointing out some striking similarities between the phenomenological characters of these two experiences. I then argue that these phenomenological characters have a common (...)
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  79. Richard Seddon (1947). Two Modes of Perception and Expression Performed by Artists When Painting. Journal of Aesthetics and Art Criticism 6 (1):27-31.
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  80. Gary Shapiro (2002). Shades and Shining: Thoughts on John Sallis's Shades – of Painting at the Limit. Continental Philosophy Review 35 (1):87-96.
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  81. Ole Martin Skilleås (2001). Studies in the Spectator Role: Literature, Painting and Pedagogy. British Journal of Aesthetics 41 (2).
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  82. Joseph C. Sloane (1948). The Tradition of Figure Painting and Concepts of Modern Art in France From 1845 to 1870. Journal of Aesthetics and Art Criticism 7 (1):1-29.
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  83. James Johnson Sweeney (1960). New Directions in Painting. Journal of Aesthetics and Art Criticism 18 (3):368-377.
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  84. Arthur Szathmary (1954). Symbolic and Aesthetic Expression in Painting. Journal of Aesthetics and Art Criticism 13 (1):86-96.
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  85. Pedro Alexis Tabensky (2003). Parallels Between Living and Painting. Journal of Value Inquiry 37 (1).
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  86. Vincent Tomas (1969). Kandinsky's Theory of Painting. British Journal of Aesthetics 9 (1):19-38.
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  87. Alejandro Vallega (2002). The Naming of Painting. Research in Phenomenology 32 (1):177-195.
    This article shows that the duality of work (entity/image) and title that for the most part constitutes our experiences of paintings today is sustained and occurs out of a performative event, a certain physicality and rhythm that mark the finitude of visible-intelligible presence. These enactments of finitude figure a certain concealment, and therefore a loss, operative in the presence of work and title. The discussion ultimately indicates physicality, finitude, and loss in painting and provides insight concerning the question of language (...)
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  88. Richard Vinograd (1988). Situation and Response in Traditional Chinese Scholar Painting. Journal of Aesthetics and Art Criticism 46 (3):365-374.
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  89. Mieczyslaw Wallis (1960). The Origin and Foundations of Non-Objective Painting. Journal of Aesthetics and Art Criticism 19 (1):61-71.
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  90. David Wieck (1969). On Stephen C. Pepper's "on the Uses of Symbolism in Sculpture and Painting". Philosophy East and West 19 (3):290-291.
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  91. Carolyn Wilde (1994). Painting, Alberti and the Wisdom of Minerva. British Journal of Aesthetics 34 (1):48-59.
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  92. Ken Wilder (2008). The Case for an External Spectator. British Journal of Aesthetics 48 (3):261-277.
    I question the assumption that painting always presents a self-contained world. I use Masaccio’s Trinity to claim that in certain works, integrated into their architectural settings, the internal onlooker is fused with the external spectator. Here the imaginative engagement is situated. I highlight differences afforded internal and external spectators: with the former, the viewer identifies with a spectator who already occupies an unrepresented extension of the ‘virtual’ space; with the latter, the beholder enters that part of the fictive world depicted (...)
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  93. Richard Wollheim (2003). What Makes Representational Painting Truly Visual? Aristotelian Society Supplementary Volume 77 (1):131–147.
    [Richard Wollheim] Any experiential view of pictorial meaning will assign to each painting an appropriate experience through which its mean can be recovered. When the meaning is representational, what is the nature of the appropriate experience? If there is agreement that the experience is to be described as seeing-in, disagreement breaks out about how seeing-in is to be understood. This paper challenges two recent interpretations: one in terms of perceived resemblance, the other in terms of imagining seeing. Neither view gives (...)
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  94. Richard Wollheim (2001). Richard Wollheim on the Art of Painting: Art as Representation and Expression. Cambridge University Press.
    Richard Wollheim is one of the dominant figures in the philosophy of art, whose work has shown not only how paintings create their effects but why they remain important to us. His influential writings have focused on two core, interrelated questions: How do paintings depict? and how do they express feelings? In this collection of new essays a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of art. Among (...)
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  95. R. N. Wynyard (1986). Painting and Technological Society. British Journal of Aesthetics 26 (1):57-61.
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  96. Wypijewski, JoAnn & ed (1998). Bookmarks: Painting by Numbers: Komar and Melamid's Scientific Guide to Art. Philosophy and Literature 22 (2).
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  97. Paul Ziff (1960). On What a Painting Represents. Journal of Philosophy 57 (20/21):647-654.
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