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  1.  23
    Martin Kemp, Erwin Panofsky & Christopher S. Wood (1994). The Science of Art: Optical Themes in Western Art From Brunelleschi to Seurat. Journal of Aesthetics and Art Criticism 52 (2):243-245.
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  2.  4
    Martin Kemp (2012). “The Testimony of My Own Eyes”: The Strange Case of the Mammal with a Beak. Spontaneous Generations 6 (1):43-49.
    There has always been a significant element of trust when we look at an image of something we have not seen, above all when it looks naturalistic and convincing. Illustrators often employ naturalistic tricks in the service of the “rhetoric of reality.” The case study is the Australian Duck-Billed Platypus, which stretched credibility when it was first discovered, resembling an artificially confected monster. The first scientific account, by George Shaw in T he Naturalist’s Miscellany in 1799, is a masterpiece of (...)
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  3. Martin Kemp (2006). Seen | Unseen: Art, Science, and Intuition From Leonardo to the Hubble Telescope. OUP Oxford.
    Seen | Unseen is a deep analysis of the interconnections between science and the visual arts, in which Martin Kemp takes the reader on richly illustrated journey from the Renaissance masters to the imagery of cutting-edge science. From Leonardo, Durer, and Galileo to the early photographers, and from Darwin to Stephen J. Gould, this book considers the way in which artists and scientists have deceived the world and responded to its patterns.
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  4.  12
    Martin Kemp (1971). 'Il Concetto Dell'anima' in Leonardo's Early Skull Studies. Journal of the Warburg and Courtauld Institutes 34:115-134.
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  5.  16
    Martin Kemp (1977). Leonardo and the Visual Pyramid. Journal of the Warburg and Courtauld Institutes 40:128-149.
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  6.  12
    Martin Kemp (1972). Dissection and Divinity in Leonardo's Late Anatomies. Journal of the Warburg and Courtauld Institutes 35:200-225.
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  7.  2
    Martin Kemp (2003). Transmutations: Alchemy in Art: Selected Works From the Eddleman and Fisher Collections at the Chemical Heritage Foundation. [REVIEW] Isis: A Journal of the History of Science 94:527-528.
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  8.  1
    Martin Kemp (1981). Navis Ecclesiae: An Ambrosian Metaphor in Leonardo's Allegory of the Nautical Wolf and Imperious Eagle. Bibliothèque d'Humanisme Et Renaissance 43 (2):257-268.
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  9.  2
    Martin Kemp (1997). Book Reviews. [REVIEW] British Journal of Aesthetics 37 (2):175-177.
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  10. Assimina Kaniari, Marina Wallace & Martin Kemp (eds.) (2009). Acts of Seeing: Artists, Scientists and the History of the Visual: A Volume Dedicated to Martin Kemp. Artakt & Zidane Press.
     
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  11. Martin Kemp (2005). First Page Preview. International Studies in the Philosophy of Science 19 (3).
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  12. Martin Kemp (2009). Jean A. Givens, Karen M. Reeds and Alain Touwaide , Visualizing Medieval Medicine and Natural History, 1200–1550. AVISTA Studies in the History of Medieval Technology, Science and Art. Aldershot: Ashgate, 2006. Pp. Xx+278. ISBN 0-7546-5296-3. £55.00. [REVIEW] British Journal for the History of Science 42 (4):602.
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  13. Martin Kemp (1997). La Fabbrica Del Corpo: Libri E Dissectione Nel Rinascimento by Andrea Carlino. [REVIEW] Isis: A Journal of the History of Science 88:138-139.
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  14. Martin Kemp (1997). La fabbrica del corpo: Libri e dissectione nel RinascimentoAndrea Carlino. Isis 88 (1):138-139.
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  15. Martin Kemp (2003). Lawrence M. Principe; Lloyd DeWitt.Transmutations: Alchemy in Art: Selected Works From the Eddleman and Fisher Collections at the Chemical Heritage Foundation. Vii + 40 Pp., Illus. Philadelphia: Chemical Heritage Foundation, 2002. $25. [REVIEW] Isis 94 (3):527-528.
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  16. Martin Kemp (1982). Review. [REVIEW] Bibliothèque d'Humanisme Et Renaissance 44 (1):157-159.
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  17. Martin Kemp (2006). Seen Unseen: Art, Science, and Intuition From Leonardo to the Hubble Telescope. Oxford University Press Uk.
    Seen | Unseen is a richly illustrated, analysis of the interconnections between science and the visual arts as Martin Kemp explores the responses of artists, scientists and their instruments, to the world. From Leonardo, Durer and the inventors of photography to contemporary sculptors, and from Galileo and Darwin to Stephen J. Gould, Kemp considers the way in which scientists and artists have perceived the world and responded to its patterns.
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  18. Martin Kemp (2009). Visualizing Medieval Medicine and Natural History, 1200–1550. [REVIEW] British Journal for the History of Science 42 (4):602-603.
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