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  1. Alfred Acres (2002). Painting and Patronage in Cologne 1300-1500. [REVIEW] The Medieval Review 7.
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  2. Luís Urbano Afonso (2010). Devoções Maiores E Devoções Menores Na Pintura Mural Portuguesa Dos Séculos XV E XVIGreater and Lesser Religious Practices in 15th and 16th Century Portuguese Mural Painting. [REVIEW] Cultura:11-23.
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  3. Prithvi Kumar Agrawala (1981). On the Sadanga Canons of Painting. Prithivi Prakashan.
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  4. 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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  5. E. Allington, From My Cold Dead Hand, or Metamatics, the Removed Gesture and Louise Montalesot's Painting Machine.
    These are just some of the questions brought up by this unique and unusual collection of essays, which presents subjects and categories often overlooked by the ..
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  6. Philip Alperson (ed.) (1992). The Philosophy of the Visual Arts. Oxford University Press.
    Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the (...)
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  7. D. Ambrose, Painting Time with Light.
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  8. Jerome Ashmore (1977). Sound in Kandinsky's Painting. Journal of Aesthetics and Art Criticism 35 (3):329-336.
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  9. 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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  10. 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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  11. Sophie Astier-Vezon (2010). Sartre and Painting. In Adrian Mirvish & Adrian Van den Hoven (eds.), New Perspectives on Sartre. Cambridge Scholars
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  12. Bernard Baars (2008). Velasquez and the Postmodern Circle of Mirrors. Journal of Consciousness Studies 15 (9):35-39.
    I agree with Uzi Awret that Diego Velasquez's seminal painting, Las Meninas, is an expression of self-consciousness in many different ways. But my first response was to the feeling tone Velasquez evokes in his work, which felt dark and rather grim to me. I think this painting may be a meditation on the mortification of the flesh, a theme that was surely familiar to Velasquez. It is a contemplation of human vanity. Self-consciousness is not just a cognitive act. The so-called (...)
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  13. Julian Baggini (1999). Painting the Bigger Picture. The Philosophers' Magazine 8:37-39.
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  14. Mieke Bal (1994). Light in Painting: Dis-Seminating Art History. In Peter Brunette & David Wills (eds.), Deconstruction and the Visual Arts: Art, Media, Architecture. Cambridge University Press 49--64.
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  15. Stephen Bann (1970). Experimental Painting: Construction, Abstraction, Destruction, Reduction. London,Studio Vista.
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  16. Katerina Bantinaki (2010). Pictorial Perception as Twofold Experience. In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. OUP Oxford
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  17. Virgil Barker (1959). From Realism to Reality in Recent American Painting. University of Nebraska Press.
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  18. Robert Bateman & Rick Archbold (1996). Natural Worlds. Monograph Collection (Matt - Pseudo).
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  19. James Beck (1979). Leonardo's Rules of Painting an Unconventional Approach to Modern Art.
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  20. R. B. Beckett (1964). Photogenic Drawings. Journal of the Warburg and Courtauld Institutes 27:342-343.
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  21. Adrienne Bell (2011). Grappling with “Big Painting”: Akela Reason's Thomas Eakins and the Uses of History. [REVIEW] Reason Papers 33:190-200.
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  22. Julian Bell (1999). What is Painting? Representation and Modern Art. Monograph Collection (Matt - Pseudo).
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  23. Åke Bengtsson (1952). Studies on the Rise of Realistic Landscape Painting in Holland, 1610-1625. Almquist & Wiksell.
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  24. Andrew Benjamin, Disclosing Spaces: On Painting.
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  25. Jiri Benovsky (2014). The Limits of Photography. International Journal of Philosophical Studies 22 (5):716-733.
    This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on a new striking (...)
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  26. Greta Berman, Jeffrey Wechsler & Montgomery Museum of Fine Arts (1981). Realism and Realities the Other Side of American Painting, 1940-1960. Rutgers University Art Gallery.
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  27. Pmd Biasi (1995). The Picture+ Painting, Writing, and What We Do Not Know-Terra-Incognita. Diogenes 169:85-95.
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  28. Daniel Birnbaum (2009). Painting Time. In Eva Ebersberger, Daniela Zyman & Thordis Arrhenius (eds.), Jorge Otero-Pailos: The Ethics of Dust. Dist. By Art Publishers
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  29. Frances Bradshaw Blanshard (1951). Retreat From Likeness in the Theory of Painting. Philosophical Review 60 (1):127-129.
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  30. Frances Margaret Bradshaw Blanshard (1949). Retreat From Likeness in the Theory of Painting. Columbia University Press.
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  31. Rona Blogg (1933). About the Art of Painting. Australasian Journal of Philosophy 11 (2):99 – 109.
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  32. Carel Blotkamp & Museum Voor Moderne Kunst (1999). Magie En Zakelijkheid Realistische Schilderkunst in Nederland 1925-1945. Monograph Collection (Matt - Pseudo).
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  33. Andreas Blühm & Roland Krischel (eds.) (2011). Do or Die: The Human Condition in Painting and Photography - Teutloff Meets Wallraf. Hirmer Publishers.
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  34. Ewa Bogusz-Bołtuć (2013). The Architecture of One Painting. Dialogue and Universalism 20 (3/4):51-53.
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  35. Yve Alain Bois (1990). Painting as Model. Monograph Collection (Matt - Pseudo).
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  36. Marjolijn Bol (2013). Seeing Through the Paint. The Dissemination of Technical Terminology Between Three Métiers: Pictura Translucida, Enameling and Glass Painting. In Andreas Speer (ed.), Zwischen Kunsthandwerk Und Kunst: Die ,Schedula Diversarum Artium'. De Gruyter 145-162.
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  37. Real Jardâin Botâanico, Spain & Museo del Prado (1989). [Rizåomata Pantåon] = Las Ra'ices de Todas Las Cosas : Exposici'on Con Motivo Del D'ia Mundial Del Medio Ambiente 1989, Pabell'on Villanueva Del Real Jard'in Bot'anico. Monograph Collection (Matt - Pseudo).
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  38. John E. Bowlt, Nicoletta Misler & Sammlung Thyssen-Bornemisza (1993). Twentieth-Century Russian and East European Painting.
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  39. 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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  40. Robert Briscoe, Depiction, Pictorial Experience, and Vision Science.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience or ‘seeing-in’, to use Richard Wollheim’s familiar expression. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that seeing-in and seeing face-to-face are experiences of the same psychological, explanatory kind. (...)
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  41. Donald Brook (1983). Painting, Photography and Representation. Journal of Aesthetics and Art Criticism 42 (2):171-180.
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  42. John B. Brough (2007). The Phenomenology of Painting. Review of Metaphysics 60 (4):894-896.
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  43. Norman Bryson (1978). Hazlitt on Painting. Journal of Aesthetics and Art Criticism 37 (1):37-45.
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  44. 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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  45. Elisa Caldarola (2015). Rappresentazione pittorica. Aphex 11.
    Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti rappresentati attraverso l'immagine che li rappresenta. Potrebbe però anche darsi (...)
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  46. David Carrier (1996). High Art Charles Baudelaire and the Origins of Modernist Painting. Monograph Collection (Matt - Pseudo).
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  47. David Carrier (1987). Naturalism and Allegory in Flemish Painting. Journal of Aesthetics and Art Criticism 45 (3):237-249.
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  48. David Carrier (1973). Adrian Stokes and the Theory of Painting. British Journal of Aesthetics 13 (2):133-145.
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  49. 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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  50. Curtis Lloyd Carter (1971). Style, Painting, and Language: A Study of Language-Like Features of Painting. Dissertation, Boston University Graduate School
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1 — 50 / 354