This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories

761 found
Order:
1 — 50 / 761
  1. Realism and the Riddle of Style.Catharine Abell - 2006 - Contemporary Aesthetics 4.
    My concern in this paper is what, in Art and Illusion, Gombrich calls "the riddle of style". This is the problem of why people at different times and in different cultures have depicted objects in very different ways. An adequate solution to this problem will comprise an explanation of why depiction has a history. The problem seems intractable because of three common assumptions about the history of depiction that, while independently plausible, are inconsistent. First, we assume that this history is (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   1 citation  
  2. Pictorial Implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
    It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...)
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    My bibliography   3 citations  
  3. Painting and Patronage in Cologne 1300-1500. [REVIEW]Alfred Acres - 2002 - The Medieval Review 7.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  4. Philosophy of Painting by Shih Tao.Stephen Addiss & Earle J. Coleman - 1981 - Journal of the American Oriental Society 101 (2):236.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  5. 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]Luís Urbano Afonso - 2010 - Cultura:11-23.
    Remove from this list   Direct download (3 more)  
    Translate
     
     
    Export citation  
     
    My bibliography  
  6. On the Sadanga Canons of Painting.Prithvi Kumar Agrawala - 1981 - Prithivi Prakashan.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  7. Painting and Painters--How to Look at a Picture. From Giotto to Chagall. [REVIEW]Henry David Aiken - 1946 - Journal of Philosophy 43 (7):190-194.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  8. On Painting.Leon Battista Alberti, John R. Spencer, Leonardo da Vinci & A. Philip Mcmahon - 1956 - Journal of Aesthetics and Art Criticism 15 (4):488-489.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  9. On Painting.Leon Battista Alberti, John R. Spencer, Creighton Gilbert, E. W. Dickes & Brian Battershaw - 1956 - Journal of Aesthetics and Art Criticism 26 (1):148-148.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   18 citations  
  10. Écrits Et Témoignages de 24 Printres.Pierre Alechinsky - 1994
    Remove from this list  
    Translate
     
     
    Export citation  
     
    My bibliography  
  11. The Image of the City in Modern Arab Painting: Artists Recreate Their Own Cities.Khaled Alhamzah - 2005 - Journal for Cultural Research 9 (3):281-299.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  12. Mechanism, Music, and Painting in 17th Century France.Joseph C. Allard - 1982 - Journal of Aesthetics and Art Criticism 40 (3):269-279.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  13. From My Cold Dead Hand, or Metamatics, the Removed Gesture and Louise Montalesot's Painting Machine.E. Allington - unknown
    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 ..
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    My bibliography  
  14. The Madness of Sight.Emmanuel Alloa - 2007 - In Karin Leonhard & Silke Horstkotte (eds.), Seeing Perception. Cambridge Scholars Publishing: 40-59.
    Viewing Vermeer with Merleau-Ponty's eyes.
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    My bibliography  
  15. The Philosophy of the Visual Arts.Philip Alperson (ed.) - 1992 - 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  16. Painting and Personality; A Study of Young Children.Rose H. Alschuler - 1949 - Journal of Aesthetics and Art Criticism 8 (1):65-66.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  17. Painting Time with Light.D. Ambrose - unknown
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  18. Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto. By David Rosand.W. Andersen - 2000 - The European Legacy 5 (3):439-440.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  19. Landscape and Western Art.Malcolm Andrews - 1999
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  20. Aesthetics and Painting.J. Armstrong - 2010 - British Journal of Aesthetics 50 (2):218-221.
    (No abstract is available for this citation).
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  21. Picasso's Guernica. The Genesis of a Painting.Rudolf Arnheim - 1963 - Journal of Aesthetics and Art Criticism 22 (1):88-89.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  22. Sound in Kandinsky's Painting.Jerome Ashmore - 1977 - Journal of Aesthetics and Art Criticism 35 (3):329-336.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  23. Some Differences Between Abstract and Non-Objective Painting.Jerome Ashmore - 1954 - Journal of Aesthetics and Art Criticism 13 (4):486-495.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  24. The Old and the New in Non-Objective Painting.Jerome Ashmore - 1951 - Journal of Aesthetics and Art Criticism 9 (4):294-300.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  25. Sartre and Painting.Sophie Astier-Vezon - 2010 - In Adrian Mirvish & Adrian Van den Hoven (eds.), New Perspectives on Sartre. Cambridge Scholars Press.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  26. Quintilian on Painting and Statuary.R. G. Austin - 1944 - Classical Quarterly 38 (1-2):17-.
    The clear affinity between Quintilian's art-criticism and the comparable portions of Pliny's Natural History has often been remarked. Pliny's principal sources for his chapters on art have long been recognized as going back through Varro to the great third-century critics, Xenocrates of Sicyon and Antigonus of Carystus, the latter of whom worked over Xenocrates' treatise and incorporated new material of his own; an earlier Greek source was Duris of Samos, on whom Antigonus drew for the anecdotic element in his tradition. (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  27. Velasquez and the Postmodern Circle of Mirrors.Bernard Baars - 2008 - 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 (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  28. Painting the Bigger Picture.Julian Baggini - 1999 - The Philosophers' Magazine 8:37-39.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  29. Van Gogh and Sir Richard Wallace's Pictures.Martin Bailey & Wallace Collection - 1998
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  30. Light in Painting: Dis-Seminating Art History.Mieke Bal - 1994 - In Peter Brunette & David Wills (eds.), Deconstruction and the Visual Arts: Art, Media, Architecture. Cambridge University Press. pp. 49--64.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  31. Experimental Painting: Construction, Abstraction, Destruction, Reduction.Stephen Bann - 1970 - London: Studio Vista.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  32. Pictorial Perception as Twofold Experience.Katerina Bantinaki - 2010 - In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. Oxford University Press.
    Remove from this list  
     
    Export citation  
     
    My bibliography   2 citations  
  33. American Painting of the Nineteenth Century.Novak Barbara - 1970 - Journal of Aesthetics and Art Criticism 29 (2):283-283.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  34. Aegean Painting Sara A. Immerwahr: Aegean Painting in the Bronze Age. Pp. Xxiv + 240; 41 Text Figs., 92 Black and White and 23 Colour Plates. University Park and London: Pennsylvania State University Press, 1990. £47.50. [REVIEW]R. L. N. Barber - 1991 - The Classical Review 41 (02):429-431.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  35. "The Light of Early Italian Painting": Paul Hills. [REVIEW]Emma Spina Barelli - 1988 - British Journal of Aesthetics 28 (1):92.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  36. From Realism to Reality in Recent American Painting.Virgil Barker - 1959 - University of Nebraska Press.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  37. Is There a Doctrine to This Landscape?Annette Barnes - 1989 - Journal of Aesthetic Education 23 (3):77-84.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  38. The Political Theory of Painting From Reynolds to Hazlut: The Body of the Public.John Barrell - 1987 - Journal of Aesthetics and Art Criticism 45 (4):420-421.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  39. Painting of India.Douglas Barrett & Basil Gray - 1964 - Journal of Aesthetics and Art Criticism 22 (3):349-351.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  40. The Concept of Intimacy in the 17th Century Painting: Poussin's Self-Portraits and Vermeer's Genre Scenes.Katalin Bartha-Kovacs - 2013 - Filozofia 68:144-156.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  41. Natural Worlds.Robert Bateman & Rick Archbold - 1996
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  42. The Painter of Modern Life and Other Essays, and Art in Paris 1845-1862.Charles Baudelaire & Jonathan Mayne - 1965 - Journal of Aesthetics and Art Criticism 24 (2):324-324.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  43. The Colors of Rhetoric: Problems in the Relation Between Modern Literature and Painting.George H. Bauer & Wendy Steiner - 1984 - Substance 13 (3/4):149.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  44. The Avant-Garde in the History of Painting.Germain Bazin - 1969
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  45. History of Classic Painting and History of Modern Painting.Germain Bazin & David M. Robb - 1952 - Journal of Aesthetics and Art Criticism 11 (1):83-84.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  46. Leonardo's Rules of Painting an Unconventional Approach to Modern Art.James Beck - 1979
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  47. Beholding the Beholder: The Reception of ?Dutch? Painting. [REVIEW]Jochen Becker - 1993 - Argumentation 7 (1):67-87.
    While a lucid and understandable interpretation can be given for most pictures, “typically Dutch” paintings (i.e. seventeenth-century genre and still-life pictures) seem to allow for or even demand some measure of freedom for the beholder. The cause of this ambiguity lies in the typically Protestant disregard for works of art and in a concomitant characteristic of these works: they address the viewer in an “ethical” manner.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  48. Photogenic Drawings.R. B. Beckett - 1964 - Journal of the Warburg and Courtauld Institutes 27:342-343.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  49. Grappling with “Big Painting”: Akela Reason's Thomas Eakins and the Uses of History. [REVIEW]Adrienne Bell - 2011 - Reason Papers 33:190-200.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  50. What is Painting? Representation and Modern Art.Julian Bell - 1999
    Remove from this list  
     
    Export citation  
     
    My bibliography  
1 — 50 / 761