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  1. Adversity and Practices of Painting in Advance.Véronique M. Fóti - forthcoming - Philosophy Today.
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  2. Painting's Figural Territory: An Impossible Refrain.Elizabeth Grosz & Simon O'Sullivan - forthcoming - Substance.
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  3. The Wizard Artist.Enrique Morata - forthcoming - Bubok.
    Philosophy of drawing. Theories on drawing from the best comic-book artists.
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  4. Sociological Observations On Modern Painting.H. Plessner - forthcoming - Social Research.
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  5. Symposium: Wollheim's" Painting as an Art"[Introduction].Ralph A. Smith - forthcoming - Journal of Aesthetic Education.
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  6. A: Bertha Fanning Taylor: Form and Feeling in Painting-In.Gianni-ree Vattimo - forthcoming - Rivista di Estetica.
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  7. Painting with Impossible Colours: Some Thoughts and Observations on Yellowish Blue.Michael Newall - 2021 - Perception 50 (2):129–39.
    This paper considers evidence, primarily drawn from art, that one kind of impossible colour, yellowish blue, can be experienced.
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  8. 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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  9. 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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  10. Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...)
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  11. The World and the Will: On the Problem of Photographic Agency.John Schwenkler - 2020 - Nonsite 32.
    This essay is my contribution to a symposium responding to several papers by Walter Benn Michaels that bring the work of Elizabeth Anscombe to bear on philosophical problems of artistic representation. In it, I take Benn Michaels's side in a dispute with Dominic McIver Lopes over the difference between Anscombe's view of intentional agency and that of Donald Davidson. I also critique Benn Michaels's reading of a difficult passage in section 29 of Anscombe's INTENTION, where she presents the famous case (...)
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  12. Mondrian and Neo-Calvinism. [REVIEW]Guy Bennett-Hunter - 2019 - Expository Times 131:20–23.
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  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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  14. 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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  15. 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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  16. 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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  17. 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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  18. Merleau-Ponty’s Aesthetic Interworld.Anya Daly - 2018 - Philosophy Today 62 (3):847-867.
    The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through Merleau-Ponty’s phenomenological interrogations of the creative process the broader issue of (...)
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  19. 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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  20. 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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  21. Art as Alchemy: The Bildobjekt Interpretation of Pictorial Illusion.Jens Dam Ziska - 2018 - Journal of Aesthetics and Art Criticism 76 (2):225-234.
    I argue that if we read E. H. Gombrich's Art and Illusion with the charity that it deserves, we will find a much subtler theory of depiction than the illusion theory that is usually attributed to Gombrich. Instead of suggesting that pictures are illusory because they cause us to have experiences as of seeing the depicted objects face to face, I argue that Art and Illusion is better read as making the point that naturalistic pictures are illusory because they cause (...)
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  22. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  23. SEEKING PHILOSOPHY BY WORDS 1 ART and META-ART.Ulrich De Balbian - 2017 - Oxford: Academic Publishers.
    ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also by internal (...)
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  24. Disclosing Worldhood or Expressing Life? Heidegger and Henry on the Origin of the Work of Art.Steven DeLay - 2017 - Journal of Aesthetics and Phenomenology 4 (2):155-171.
    What and how is the work of art? This paper considers Heidegger’s venerable question by way of a related one: what exactly is the essence of the painting? En route to critiquing the Heideggerian conception of the work of art as that which discloses a world, I present Michel Henry’s competing aesthetic theory. According to Henry, the artwork’s task is not to disclose the exteriority of the world, but rather to express the interiority of life’s pathos—what he calls transcendental self-affectivity. (...)
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  25. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    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. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
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  26. Seeing-In as Aspect Perception.Fabian Dorsch - 2016 - In Gary Kemp & Gabriele Mras (eds.), Wollheim, Wittgenstein, and Pictorial Representation: Seeing-as and Seeing-in. Routledge.
  27. Seeing the Impossible.Andreas Elpidorou - 2016 - Journal of Aesthetics and Art Criticism 74 (1):11-21.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections. Theories of depiction should make room for impossible depictions.
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  28. Adversity and Practices of Painting.Véronique M. Fóti - 2016 - Philosophy Today 60 (2):397-405.
    Merleau-Ponty’s abiding interest in the art and the enigmatic person of Paul Cézanne focuses importantly on both the pictorial expression of space, and on the freedom of artistic creation in the face of adversity. Examining these issues in relation to the art of Claude Monet, together with Monet’s status as a precursor of painterly abstraction, one can follow the Merleau-Pontyan “indirect logic of institution” to confront the work of Joan Mitchell, within the parameters of gestural abstraction, so as to consider (...)
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  29. 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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  30. The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  31. Art and Bewilderment.Jakub Stejskal - 2016 - British Journal of Aesthetics 56 (2):131-147.
    In this paper, I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to establish that (...)
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  32. Yosman Botero y Postcolombino.Carlos Vanegas - 2016 - Co-herencia:301-303.
    La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementarios de su obra, como los títulos de sus series Full of Emptiness (2013), Immaterial matter (2014) y Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia de las imágenes” del arte como de su capacidad comunicativa de la realidad: ya sea esta la experiencia del arte o la realidad social colombiana, o lo que sea que entendemos por “lo real”, tan cara a las propuestas (...)
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  33. Ugo Nespolo: a proposito di rappresentazioni.Elisa Caldarola - 2015 - Rivista di Estetica 58.
    An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.
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  34. Rappresentazione pittorica.Elisa Caldarola - 2015 - 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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  35. Uma topografia poética e estética em António Dacosta.Tomás N. Castro - 2015 - Revista de História da Arte 12:266-277.
    This work departs from Beardsley’s critique to the intentional fallacy, in order to introduce the concept of artist’s concerns, extrinsic to works but manifest in them. Then, we will describe António Dacosta’s (1914-1990) unique career, considering topography the main poetical and aesthetic value for some works of the period 1984-1990. And, although they seem to depict islands, we will argue that Dacosta depicted insularity in an unparalleled way. -/- Este trabalho parte da crítica de Beardsley à falácia intencional para propor (...)
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  36. Collision: The Puzzle of Chardin.Jane Forsey - 2015 - Evental Aesthetics 4 (1):88-95.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This paper addresses problems in the interpretation of Chardin’s still life paintings, which are disconcerting because they are so out of step with those of his contemporaries. It is suggested that, with the application of Kantian aesthetics, Chardin can be best understood as representing things in themselves as well as the limits of language and understanding.
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  37. Český Greenberg? Mukařovský a estetický formalismus.Tomas Hribek - 2015 - Sešit Pro Umění, Teorii a Příbuzné Zóny 19:6-26.
    [A Czech Greenberg? Mukařovský and Aesthetic Formalism] This article revisits Tomáš Pospiszyl’s discussion of the split between the North American and the Czechoslovak postwar modernism as a difference between the views of two critics who dominated the American and the Czechoslovak art scene, respectively--Clement Greenberg and Jindřich Chalupecký. Pospiszyl convincingly traces the evolution of American art to what has been called Greenberg’s “formalism,” and the developments on the Czechoslovak scene to Chalupecký’s ideas about art as part of social social interactions. (...)
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  38. The Brain-Eye: New Histories of Modern Painting.Robin Mackay (ed.) - 2015 - Rowman & Littlefield International.
    English-language translation of a major work by French philosopher Eric Alliez, in which he offers a new perspective on critical problems in modern aesthetics.
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  39. Emmanuel Alloa (Ed.): Erscheinung und Ereignis. Zur Zeitlichkeit des Bildes, München 2013. [REVIEW]Martina Sauer - 2015 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 15 (1).
  40. Why is the Amphibian Status of the Human Unavoidable? Some Remarks on Robert Pippin's "After the Beautiful".Italo Testa - 2015 - Lebenswelt: Aesthetics and Philosophy of Experience 7:21-27.
  41. Silence in the Coffee Plantation: The Painting-Poetics of Candido Portinari.Rafael Duarte Oliveira Venancio & Marina Colli de Oliveira - 2015 - Asian Journal of Humanities and Social Studies 3 (5).
    This article wants to analyze how Candido Portinari in his paintings with rural theme, engages a poetry of silence. To understand the functioning of this poetic language, we will adopt the Groupe μ analysis method (both the General Rhetoric andthe Treatise on theVisual Sign). Whereas the language is manifold as the forms of representation, and it present in all media, whatever the lack of speech -silence -would find its richest form in both directions through the metaphors and metonymy engaged in (...)
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  42. The Limits of Photography.Jiri Benovsky - 2014 - 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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  43. My Father's House: On Will Barnet's Painting.Thomas Dumm - 2014 - Duke University Press.
    In _My Father's House_, the political philosopher Thomas Dumm explores a series of stark and melancholy paintings by the American artist Will Barnet. Responding to the physical and mental decline of his sister Eva, who lived alone in the family home in Beverly, Massachusetts, Barnet began work in 1990 on what became a series of nine paintings depicting Eva and other family members, as they once were and as they figured in the artist's memory. Rendered in Barnet's signature quiet, abstract (...)
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  44. 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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  45. 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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  46. Painting and Philosophy.Michael Newall - 2014 - Philosophy Compass 9 (4):225-237.
    This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art has increasingly turned its attention (...)
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  47. Carina Fryklund, Flemish Wall Painting: Late Gothic Wall Painting in the Southern Netherlands. Turnhout: Brepols, 2011. Pp. Iv, 435; 80 Color and 454 Black-and-White Figures. €110. ISBN: 978-2-503-51237-2. [REVIEW]Roger Rosewell - 2014 - Speculum 89 (3):770-772.
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  48. De la historia del arte como posibilidad actual del humanismo en Julius von Schlosser y Giulio Carlo Argan.Carlos Vanegas - 2014 - Co-herencia (20):79-98.
    The complex world of thought and sensitivity in the sphere of contemporary art has entailed the revision and exclusion of disciplines aimed at providing a model to explain and conceptualize reality. Art history, as one such discipline, has had many of its contributions questioned from Gombrich’s epistemological reformulation to the postmodern discourses, which extol the death of the author, the post-structuralist idea of tradition as a textual phenomenon, and the declaration of the death of history as a consequence of the (...)
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  49. 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.
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  50. Seeing Through the Paint. The Dissemination of Technical Terminology Between Three Métiers: Pictura Translucida, Enameling and Glass Painting.Marjolijn Bol - 2013 - In Andreas Speer (ed.), Zwischen Kunsthandwerk Und Kunst: Die ,Schedula Diversarum Artium'. De Gruyter. pp. 145-162.
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