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1 — 50 / 767
  1. added 2020-03-04
    Van Eyck: An Optical Revolution.Bence Nanay - 2020 - British Journal of Aesthetics 60 (2):223-225.
    Van Eyck: An Optical RevolutionMuseum of Fine Arts, Ghent, Belgium, 1 February–30 April 2020.
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  2. added 2020-03-02
    On Being Moved by Portraits of Unknown People.Hans Maes - 2020 - In Portraits and Philosophy. Routledge.
    In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what makes (...)
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  3. added 2020-02-20
    Seeing Double: Assessing Kendall Walton’s Views on Painting and Photography.Campbell Rider - 2019 - Undergraduate Philosophy Journal of Australasia 1 (1):37-47.
    In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...)
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  4. added 2020-02-12
    The Look of Reading: Book, Painting, Text.Mary Bittner Wiseman - 2008 - Journal of Aesthetics and Art Criticism 66 (4):409-412.
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  5. added 2020-02-12
    Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  6. added 2020-01-18
    Portraits of People Not Present.Bence Nanay - 2019 - In Hans Maes (ed.), Portraits and Philosophy. London: Routledge.
    The aim of this paper is to explore what could be meant by modernist portraiture. On the face of it, there is a real tension about the very idea of modernist portraiture inasmuch as one key idea of modernism is negativity and self-negation, whereas portraiture is, in some very obvious sense, not negation. It is the depiction of the sitter. So there are reasons to think that modernist portraiture, in the strong sense of the term, is a contradiction in terms. (...)
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  7. added 2020-01-18
    Art Made for Pictures.John Kulvicki & Bence Nanay - 2018 - Phenomenology and Mind 14:120-134.
    Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the (...)
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  8. added 2020-01-13
    Picturing Words: The Semantics of Speech Balloons.Emar Maier - 2019 - In Proceedings of the 22nd Amsterdam Colloquium. Amsterdam: pp. 584-592.
    Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, like (...)
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  9. added 2019-11-27
    The History of Russian Empire’s Most Expensive Painting.Nadiia Pavlichenko - 2019 - «Наукові Записки НаУКМА. Історія І Теорія Культури» 2 (13):98-104.
    The article describes the story of painting Nana (1881) by Marcel Suchorowsky known as the most expensive painting sold by a painter in the Russian Empire. But the art piece differs a lot from the general line of the local art market situation, which was defined by special institutions, such as the Imperial Academy of Arts in Saint Petersburg. The main aspects are taken into consideration, such as: critical analysis of the painting, the story of the plot, which refers to (...)
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  10. added 2019-09-20
    Redrawing Kant's Philosophy of Mathematics.Joshua M. Hall - 2013 - South African Journal of Philosophy 32 (3):235-247.
    This essay offers a strategic reinterpretation of Kant’s philosophy of mathematics in Critique of Pure Reason via a broad, empirically based reconception of Kant’s conception of drawing. It begins with a general overview of Kant’s philosophy of mathematics, observing how he differentiates mathematics in the Critique from both the dynamical and the philosophical. Second, it examines how a recent wave of critical analyses of Kant’s constructivism takes up these issues, largely inspired by Hintikka’s unorthodox conception of Kantian intuition. Third, it (...)
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  11. added 2019-07-25
    Close Looking and Conviction.Sam Rose - 2017 - Art History 40:156-77.
    This article analyses the processes involved in description and ‘close looking’ in relation to works of art. Aspects discussed include the often-unspoken appeal to a limited form of artistic intention, the use of ‘context’, and the way that pictorial features are manipulated in the service of interpretation. Ultimately the article shows how great a role the writers’ overarching assumptions (such as about the history of modernism) are likely to play in apparently object-focused analysis, and as such why we should be (...)
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  12. added 2019-07-09
    An Empathic Eye.Dominic McIver Lopes - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and Psychological Perspectives. Oxford: Oxford Univerity Press. pp. 118-133.
    What you see can shape how you feel, and the route from seeing to feeling sometimes involves empathy – as you might empathize with a woman you see grieving the death of her child. But empathy also comes from what you see in pictures. Bellini's Pieta? is one among many paintings, drawings, prints, and photographs that evoke empathy – and are designed to do so. Going further, it seems that episodes of empathy triggered by pictures can help build up a (...)
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  13. added 2019-06-06
    Galilean Argumentation and the Inauthenticity of the Cigoli Letter on Painting Vs. Sculpture.Maurice A. Finocchiaro - 2011 - Studies in History and Philosophy of Science Part A 42 (4):492-508.
  14. added 2019-06-06
    Reasons for Looking: Lopes on the Value of Pictures. [REVIEW]Robert Hopkins - 2008 - 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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  15. added 2019-06-06
    Figures of Alterity: French Realism and Its Others (Review). [REVIEW]D. M. Provencher & D. F. Bell - 2004 - Substance 33 (3):183-188.
  16. added 2019-06-06
    Toward a Phenomenology of Painting and Literature.Joseph Margolis - 2004 - Symposium 8 (3):477-490.
  17. added 2019-06-06
    Art, Theory and Experience The Figural in Painting: An Organic Inquiry Into Visual Meaning.G. Cipriani - 2000 - Philosophical Inquiry 22 (4):53-70.
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  18. added 2019-06-06
    Drawing Distinctions I: The First Projects.Patrick Maynard - 1997 - Philosophical Topics 25 (1):231-253.
    Introduces philosophers to John Willats' effective new drawing systems vocabulary for describing drawings and related images, also stresses topological-space values in pictures, vs psychology's projective tendencies (illus).
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  19. added 2019-06-06
    Attic Red-Figure Vase Painting. [REVIEW]Elizabeth Moignard - 1993 - The Classical Review 43 (2):378-379.
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  20. added 2019-06-06
    The Golden Age of Dutch Manuscript Painting.James H. Marrow Henri L. M. Defoer Anne S. Kortweg Wilhelmina C. M. Wüstefeld. [REVIEW]Robert Calkins - 1992 - Speculum 67 (2):443-445.
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  21. added 2019-06-06
    Roman Painting–The Early Second Style. [REVIEW]Roger Ling - 1991 - The Classical Review 41 (1):183-184.
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  22. added 2019-06-06
    Singers in Late Byzantine and Slavonic Painting.Neil K. Moran.George Galavaris - 1990 - Speculum 65 (2):462-464.
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  23. added 2019-06-06
    The Semiotics of Signatures in Painting: A Peircian Analysis.Claude Gandelman - 1985 - American Journal of Semiotics 3 (3):73-108.
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  24. added 2019-06-06
    Eva C. Keuls, "Plato and Greek Painting". [REVIEW]W. Joseph Cummins - 1982 - Journal of the History of Philosophy 20 (1):91.
  25. added 2019-06-06
    Mythological Landscape Painting. [REVIEW]A. W. Lawrence - 1946 - The Classical Review 60 (2):90-91.
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  26. added 2019-06-06
    XII.—The Victory of Pure Music Over Painting in the Seventeenth Century.J. M. Thorburn - 1931 - Proceedings of the Aristotelian Society 32 (1):251-276.
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  27. added 2019-06-06
    Modern Painters.John Ruskin & Lionel Cust - 1846 - J.M. Dent E.P. Dutton.
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  28. added 2019-06-05
    Putting the "Pain" In Painting: A Conceptualization and Consideration of Serious Art. Napier - 2014 - Journal of Aesthetic Education 48 (1):45.
    In the year of our Lord 1862, Polish painter Jan Matejko finished his first famous work, Stańczyk, fully translated into English as “Stańczyk during a ball at the court of Queen Bona in the face of the loss of Smolensk.”1 The piece was painted in oils and depicts a famous political figure of Renaissance Poland, Stańczyk the court jester. Stańczyk, an influential figure of Polish history who was as much a political philosopher as a funny man, is depicted in this (...)
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  29. added 2019-06-05
    Non-Stimulating Tradition: The Effect of Temperament on Painting Art Preferences.Joanna Rządkowska, Alicja Paracka & Natalia Frankowska - 2010 - Avant: Trends in Interdisciplinary Studies 1 (1).
    This study examined the effect of temperament on preferences for painted artwork. Our preferences are determined by different personality traits. The study presented here was a replication of the current study of Terror Management Theory with the structures of temperament as individual differences. The results showed significant differences in preferences for traditional and modern art, depending on the degree of harmonization of the temperamental structures. Sanguines and melancholics in the no fear condition evaluated modern art most highly, however in the (...)
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  30. added 2019-06-05
    Painting Outside the Lines: Patterns of Creativity in Modern Art.Matthew Ziff & David W. Galenson - 2004 - Journal of Aesthetic Education 38 (3):123.
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  31. added 2019-06-05
    Japanese Painting and Johannes Itten's Art Education.Yoshimasa Kaneko - 2003 - Journal of Aesthetic Education 37 (4):93.
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  32. added 2019-06-05
    Aretin: A Dialogue on PaintingAn Essay on the Theory of PaintingSeven Discourses Delivered in the Royal Academy by the President.Morris R. Brownell, Lodovico Dolce, W. Brown, Jonathan Richardson & Joshua Reynolds - 1972 - Journal of Aesthetics and Art Criticism 31 (2):269.
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  33. added 2019-06-05
    The View Painters of EuropeThe Architects of the ParthenonA History of the Gothic RevivalEarly Christian Art, From the Rise of Christianity to the Death of Theodosius.J. Gutmann, Giuliano Briganti, Rhys Carpenter, Charles L. Eastlake, J. Mordaunt Crook & Andre Grabar - 1971 - Journal of Aesthetics and Art Criticism 29 (4):564.
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  34. added 2019-06-05
    The Academy and French Painting in the Nineteenth CenturyAesthetics, an Introduction.Allan Shields, Albert Boime & William Charlton - 1971 - Journal of Aesthetics and Art Criticism 30 (1):140.
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  35. added 2019-06-05
    Principles of Chinese PaintingChinese Art in the Twentieth Century.Gertrude Kennedy Piatkowski, George Rowley & Michael Sullivan - 1960 - Journal of Aesthetics and Art Criticism 19 (2):243.
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  36. added 2019-06-05
    Early Venetian Painters 1415-1495The Christ Child in Devotional Images in Italy During the 14th CenturyTudor Artists: A Study of Painters in the Royal Service and of Portraiture on Illuminated Documents From the Accession of Henry VIII to the Death of Elizabeth IGiottoDelacroixMonet, Seurat, BonnardVermeer, MatisseRubensMusic in My TimeLiving Crafts. [REVIEW]F. M. Godfrey, Dorothy C. Shorr, Erna Auerbach, Yvon Taillander, Lucy Norton, Rosamund Frost, Anthony Page, Jean Pellotier, Raymond Cogniat, Gaston Diehl, A. Philippe-Lucet, Alfredo Casella, Spencer Norton & G. Bernard Hughes - 1955 - Journal of Aesthetics and Art Criticism 14 (2):279.
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  37. added 2019-06-05
    History of Classic Painting and History of Modern PaintingHistory of Painting: The Occidental Tradition.William Sener Rusk, Germain Bazin & David M. Robb - 1952 - Journal of Aesthetics and Art Criticism 11 (1):83.
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  38. added 2019-06-05
    Venetian Drawings XIV-XVII CenturiesJohn Singleton CopleyRufino TamayoJuan Gris: His Life and WorkFlemish Drawings XV-XVI CenturiesGuernicaThe Prints of Joan MiroHorace Pippin: A Negro Painter in AmericaGiovanni SegantiniSpanish Drawings XV-XIX Centuries.Graziano D'Albanella, James Thomas Flexner, Robert Goldwater, Daniel-Henry Kahnweiler, Juan Gris, Andre Leclerc, Pablo Picasso, Selden Rodman, Gottardo Segantini, Jose Gomez Sicre, Walter Ueberwasser, Robert Spreng, Bruno Adriani, C. Ludwig Brumme, Alec Miller, Jacques Schnier, Louis Slobodkin, Richard F. French, Simon L. Millner, Edward A. Armstrong, Alfred H. Barr Jr, E. K. Brown, R. O. Dunlop, Walter Pach, Robert Ethridge Moore, Alexander Romm, H. Ruhemann, Hans Tietze, R. H. Wilenski, D. Bartling, W. K. Wimsatt Jr, Samuel Johnson & Leo Stein - 1950 - Journal of Aesthetics and Art Criticism 8 (3):205.
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  39. added 2019-06-05
    The French Academies of the Sixteenth CenturyStudies in Seicento Art and Theory.Wolfgang Stechow, Frances Yates, F. Saxl & Denis Mahon - 1949 - Journal of Aesthetics and Art Criticism 8 (1):61.
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  40. added 2019-05-16
    Roman Painting - Roger Ling: Roman Painting. Pp. Xvi+245; 236 Illustrations, 16 Colour Plates, 2 Maps. Cambridge: Cambridge University Press, 1991. £45. [REVIEW]Malcolm A. R. Colledge - 1994 - The Classical Review 44 (1):165-167.
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  41. added 2019-04-22
    Art and Form.Sam Rose - 2019 - University Park, PA: Pennsylvania State University Press.
    From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the (...)
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  42. added 2019-04-15
    Mondrian and Neo-Calvinism. [REVIEW]Guy Bennett-Hunter - 2019 - Expository Times 131:20–23.
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  43. added 2019-03-25
    Comprendre les images: Une théorie de la représentation iconique.Dominic McIver Lopes - 2014 - Rennes, France: Presses Universitaires de Rennes.
    French translation of Understanding Pictures (1996).
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  44. added 2019-02-22
    Replicating Paintings.Matteo Ravasio - 2018 - Contemporary Aesthetics 16.
    In this paper, I discuss cases of replication in the visual arts, with particular focus on paintings. In the first part, I focus on painted copies, that is, manual reproductions of paintings created by artists. Painted copies are sometimes used for the purpose of aesthetic education on the original. I explore the relation between the creation of painted copies and their use as aesthetic surrogates of the original artwork and draw a positive conclusion on the aesthetic benefits of replica production (...)
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  45. added 2019-01-15
    Painting, Nostalgia And Metaphysics: Merleau-Ponty’s Line.Galen A. Johnson - 1993 - Bulletin de la Société Américaine de Philosophie de Langue Française 5 (1):55-70.
  46. added 2018-12-25
    The Complexities of ‘Abstracting’ From Nature.Andrew Inkpin - 2012 - In Paul Crowther & Isabel Wünsche (eds.), Meanings of Abstract Art: From Nature to Theory. London: Routledge. pp. 255-269.
    This paper considers what it is to abstract from nature. Using examples from painting its first part examines the traditional contrast between abstraction and naturalistic representation, arguing that this relies on a specifically visual notion of representation, but not on what is natural or what is abstract. Its second part discusses examples from land art in which natural elements are incorporated in an artwork’s structure. An alternative view of modern art’s representational possibilities is outlined which highlights limitations of the specifically (...)
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  47. added 2018-10-28
    La rappresentazione pittorica.Elisa Caldarola - 2010 - Aesthetica Preprint 2010:11-19.
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  48. added 2018-10-28
    Pictorial Representation and Abstract Pictures.Elisa Caldarola - 2010 - Proceedings of the European Society for Aesthetics 2:46-61.
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  49. added 2018-10-19
    The Checker-Shadow “Illusion”?Hanoch Ben-Yami - manuscript
    I introduce some distinctions concerning depiction and show that the checker-shadow phenomenon is not an illusion of the kind it is claimed to be. This might also help to think more clearly about other ‘illusory’ phenomena.
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  50. added 2018-07-24
    Realismus, materialismus a umění.Tomas Hribek - 2016 - Sešit Pro Umění, Teorii a Příbuzné Zóny 21:38-66.
    [Realism, Materialism, and Art] Recent years have seen the ascendance of a new trend in continental philosophy called “the speculative turn”, “speculative realism”, “continental materialism”, or “object-oriented ontology” (OOO). I focus on the work of one of the proponents of this new trend, Graham Harman, in particular his recent attempt to extend his “object-oriented” approach to art and aesthetics. In part 1, I start with a brief characterization of the new trend in terms of the shared opposition of all its (...)
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1 — 50 / 767