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  1. Catharine Abell (2015). Printmaking as an Art. Journal of Aesthetics and Art Criticism 73 (1):23-30.
    Many forms of printmaking involve drawing or painting onto a plate to produce a matrix and then producing prints from that matrix by mechanical processes. One might be skeptical about the artistic significance of such prints, on the basis that only the process of drawing or painting the matrix enables printmakers to exercise intentional control over the features of the resultant prints. This might lead one to think that such forms of printmaking lack artistic significance independent of drawing and painting. (...)
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  2. Annarita Angelini & Pierre Caye (eds.) (2007). Il Pensiero Simbolico Nella Prima Età Moderna. Leo S. Olschki Editore.
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  3. Christopher Bartel (2014). Art and Pornography. British Journal of Aesthetics 54 (4):510-512.
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  4. Joseph Edwin Barton (1932). Purpose and Admiration a Lay Study of the Visual Arts. Christophers.
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  5. Burcu Baykan (2015). Into the Body of Another: Strange Couplings and Unnatural Alliances of "Harlequin Coat". In Matthew Causey Emma Meehan (ed.), Through the Virtual, Toward the Real: The Performing Subject in the Space of Technology. Palgrave.
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  6. Burcu Baykan (2014). Becoming-Other: Ontology and Aesthetics in the Critical Theory of Gilles Deleuze. In DAKAM LIT CRI '14/ III. Literary Criticism Conference: World Literature and LIterary Criticism Proceedings Book. DAKAM Publishing.
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  7. Errol Bedford & R. M. Meager (1966). Seeing Paintings. Aristotelian Society Supplementary Volume 40:47-84.
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  8. Peg Zeglin Brand (2015). The Role of Luck in Originality and Creativity. Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...)
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  9. G. K. Chesterton (1997). Famous Paintings. The Chesterton Review 23 (1/2):21-25.
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  10. Christianus (1962). El Greco. Augustinianum 2 (2):460-460.
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  11. Roy T. Cook & Aaron Meskin (2015). Comics, Prints, and Multiplicity. Journal of Aesthetics and Art Criticism 73 (1):57-67.
    Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...)
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  12. Jean Dabb (1998). Marginal Sculpture in Medieval France: Towards the Deciphering of an Enigmatic Pictorial Language. [REVIEW] Speculum 73 (1):209-211.
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  13. David Davies (2015). Varying Impressions. Journal of Aesthetics and Art Criticism 73 (1):81-92.
    My aim in this article is to locate various forms of printmaking in a broader framework for thinking about so-called ‘multiple’ artworks, artworks that, as this is normally put, admit of multiple instances. I first sketch a general framework for the philosophical exploration of multiple artworks and the philosophical issues to which they give rise. I then address certain forms of printmaking that might be thought to generate singular rather than multiple artworks. Next, I look at how those print works (...)
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  14. Elena Fell (2014). Phenomenologies of Art and Vision: A Post-Analytic Turn. British Journal of Aesthetics 54 (4):504-506.
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  15. Stanislas Fumet (1954). La Poésie À Travers les Arts. Alsatia.
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  16. Dickie George (1985). Evaluating Art. British Journal of Aesthetics 25 (1).
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  17. K. E. Gover (2015). Are All Multiples the Same? The Problematic Nature of the Limited Edition. Journal of Aesthetics and Art Criticism 73 (1):69-80.
    The aim of this inquiry is to determine whether printmaking is best understood ontologically as analogous to a work-performance relation. Are prints the visual analogue of symphonies? My motivation for pursuing the comparison of printmaking to music is twofold. First, because relatively little has been written on the ontology of fine art prints, our use of an already developed body of scholarship will help us to gain some traction on the question. Second, within the existing literature on the ontology of (...)
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  18. Robert Hopkins (2015). Reproductive Prints as Aesthetic Surrogates. Journal of Aesthetics and Art Criticism 73 (1):11-21.
    Reproductive prints allow us to engage with the aesthetic/artistic character of the pictures that are their sources. But prints clearly differ from their sources in various striking ways. How, then, are they able to make engagement possible? I consider various answers. Most treat prints as acting as surrogates for the source: in sharing its aesthetic properties, in resembling it in overall aesthetic character, in being aesthetically transparent to it, or in allowing us to imagine its aesthetic character in sufficiently rich (...)
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  19. Kaifeng Huang (2005). Shen Mei Jia Zhi Lun =. Yunnan Ren Min Chu Ban She.
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  20. Nobutaka Imamura (2005). The Position of the Narrator in Roger de Piles' Description of Paintings. Bigaku 56 (2):14-27.
    The theory of paintings argued by Roger de Piles laid more emphasis on visual pleasure of paintings than its function of instruction. Therefore, while many contemporaries considered judgement on paintings to be inseparable with such criteria as historical facts, theological validity, geometric correctness of perspective, and verisimilitude borrowed from poesy, de Piles insisted that such criteria were not the essential parts of painting. For de Piles, the fundamental principle of paintings consists in its visual effect and the ability to imitate (...)
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  21. Joachim Knape & Elisabeth Grüner (eds.) (2007). Bildrhetorik. Koerner.
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  22. Iro Laskari & Anna Laskari (2010). Live Puzzle: Kaleidoscopic Narratives Through Spatio-Temporal Montage. Technoetic Arts: A Journal of Speculative Research 8 (2):199-206.
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  23. Christy Mag Uidhir (2015). Introduction. Journal of Aesthetics and Art Criticism 73 (1):1-8.
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  24. Linnar Priimägi (2002). Pure Visual Metaphor. Sign Systems Studies 30 (2):725-739.
    Salvador Dalí’s oilpainting Hallucination partielle. Six apparitions de Lénine sur un piano (1931) has been considered to be one of the most difficult works to interpret. O. Zaslavskii has analyzed it, using the sound of the words in title and the items depicted on the masterpiece, “the phonetic subtext”. Obviously, Zaslavskii’s interpretation is based on Osip Mandelstam’s poem “Grand piano” (1931), that in the context of Russian language associates the piano ( ) with the French Revolution. Nevertheless, Zaslavskii’s final conclusion (...)
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  25. Zhenglun Qiu (2007). Shen Mei Jia Zhi Qu Xiang Yan Jiu. Wen Hua Yi Shu Chu Ban She.
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  26. Stefan Ristic (2010). Identity of the Work of Art. Filozofija I Društvo 21 (2):293-308.
    The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type (...)
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  27. Jon Robson (2013). The Art of Comics—A Philosophical Approach. British Journal of Aesthetics 53 (4):ayt001.
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  28. Martina Sauer (2013-4-15). John Michael Krois. Bildkörper und Körperschema. Schriften zur Verkörperungstheorie ikonischer Formen. [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 13 (4).
  29. Ken Wilder (2015). Vermeer: Interruptions, Exclusions, and ‘Imagining Seeing. Estetika: The Central European Journal of Aesthetics 52 (New Series: 8) (1):38-59.
    This article proposes an essential interrelatedness of Vermeer’s strategies of inclusion and exclusion of an implied beholder. I will argue that such strategies mutually reinforce each other, to the extent that the plausibility of one is arguably dependent upon the possibility of the other. This is evidenced by Vermeer’s subtle manipulations of pictorial space, and the article traces a decisive shift in his familiar use of barriers from those aimed at an external presence to those oriented towards an internal beholder. (...)
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Depiction
  1. Solveig Aasen (forthcoming). Pictures, Presence and Visibility. Philosophical Studies:1-17.
    This paper outlines a ‘perceptual account’ of depiction. It centrally contrasts with experiential accounts of depiction in that seeing something in a picture is understood as a visual experience of something present in the picture, rather than as a visual experience of something absent. The experience of a picture is in this respect akin to a veridical rather than hallucinatory perceptual experience on a perceptual account. Thus, the central selling-point of a perceptual account is that it allows taking at face (...)
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  2. C. Abell (2005). McIntosh's Unrealistic Picture of Peacocke and Hopkins on Realistic Pictures. British Journal of Aesthetics 45 (1):64-68.
    I defend Christopher Peacocke's and Robert Hopkins's experienced resemblance accounts of depiction against criticisms put forward by Gavin McIntosh in a recent article in this journal. I argue that, while there may be reasons for rejecting Peacocke's and Hopkins's accounts, McIntosh fails to provide any.
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  3. C. Abell & K. Bantinaki (eds.) (2010). Philosophical Perspectives on Depiction. Oxford University Press.
    This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction.
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  4. Catharine Abell (2013). Expression in the Representational Arts. American Philosophical Quarterly 50 (1):23-36.
    Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...)
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  5. Catharine Abell (2010). Cinema as a Representational Art. British Journal of Aesthetics 50 (3):273-286.
    In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?
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  6. Catharine Abell (2010). Of Photographs. In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. 81.
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  7. Catharine Abell (2010). The Epistemic Value of Photographs. In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
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  8. Catharine Abell (2009). Canny Resemblance. Philosophical Review 118 (2):183-223.
    Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...)
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  9. Catharine Abell (2007). Pictorial Realism. Australasian Journal of Philosophy 85 (1):1 – 17.
    I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to (...)
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  10. Catharine Abell (2005). On Outlining the Shape of Depiction. Ratio 18 (1):27–38.
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  11. Catharine Abell (2005). Pictorial Implicature. Journal of Aesthetics and Art Criticism 63 (1):55–66.
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  12. Catharine Abell & Katerina Bantinaki (eds.) (2010). Philosophical Perspectives on Picturing. Oxford University Press.
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  13. Thomas Richards Vartan Adajian (1993). Imagination, Games, Pictures: A Critical Examination of Kendall Walton's "Mimesis as Make-Believe". Dissertation, The University of North Carolina at Chapel Hill
    I critically examine Kendall Walton's Mimesis as Make-Believe, a systematic attempt to model the activities of appreciators of works of art on children's games of make-believe. I argue that crucial features of the games Walton takes as paradigms infect and distort his application of the model to aesthetic questions. Walton's account of pictorial depiction and his extension of the basic game model to dreams and daydreams are argued to be unsuccessful.
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  14. Zed Adams (2009). On Images: Their Structure and Content by Kulvicki, John. [REVIEW] Journal of Aesthetics and Art Criticism 67 (3):336-339.
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  15. Zed Adams (2007). The Objective Eye: Color, Form, and Reality in the Theory of Art by Hyman, John. Journal of Aesthetics and Art Criticism 65 (4):417–419.
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  16. Douglas Albion (1994). Pictures for Poems. Literature & Aesthetics 4:66-67.
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  17. Virgil C. Aldrich (1980). Mirrors, Pictures, Words, Perceptions. Philosophy 55 (211):39 - 56.
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  18. Virgil C. Aldrich (1958). Picture Space. Philosophical Review 67 (3):342-352.
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  19. Virgil C. Aldrich (1948). Language, Experience, and Pictorial Meaning. Journal of Philosophy 45 (4):85-95.
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  20. Emmanuel Alloa (2015). Could Perspective Ever Be a Symbolic Form? Revisiting Panofsky with Cassirer. Journal of Aesthetics and Phenomenology 2 (1):51-72.
    Erwin Panofsky’s essay “Perspective as Symbolic Form” from 1924 is among the most widely commented essays in twentieth-century aesthetics and was discussed with regard to art theory, Renaissance painting, Western codes of depiction, history of optical devices, psychology of perception, or even ophthalmology. Strangely enough, however, almost nothing has been written about the philosophical claim implicit in the title, i.e. that perspective is a symbolic form among others. The article situates the essay within the intellectual constellation at Aby Warburg’s Kulturwissenschaftliche (...)
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  21. Emmanuel Alloa (2011). Seeing-in, Seeing-as, Seeing-With: Looking Through Pictures. In Elisabeth Nemeth, Richard Heinrich, Wolfram Pichler & Wagner David (eds.), Image and Imaging in Philosophy, Science, and the Arts. Volume I. Proceedings of the 33rd International Wittgenstein Symposium. Ontos: 179-190.
    In the constitution of contemporary image theory, Ludwig Wittgenstein’s philosophy has undoubtedly become a major conceptual reference. Rather than trying to establish what Wittgenstein’s own image theory could possibly look like, this paper would like to critically assess some of the advantages as well as some of the quandaries that arise when using Wittgenstein’s concept of ‘seeing-as’ for addressing the plural realities of images. While putting into evidence the tensions that come into play when applying what was initially a theory (...)
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