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  1. Painting and Patronage in Cologne 1300-1500. [REVIEW]Alfred Acres - 2002 - The Medieval Review 7.
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  2. Philosophy of Painting by Shih Tao.Stephen Addiss & Earle J. Coleman - 1981 - Journal of the American Oriental Society 101 (2):236.
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  3. 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.
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  4. On the Sadanga Canons of Painting.Prithvi Kumar Agrawala - 1981 - Prithivi Prakashan.
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  5. 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.
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  6. 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.
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  7. 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.
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  8. Écrits Et Témoignages de 24 Printres.Pierre Alechinsky - 1994
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  9. 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.
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  10. Mechanism, Music, and Painting in 17th Century France.Joseph C. Allard - 1982 - Journal of Aesthetics and Art Criticism 40 (3):269-279.
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  11. 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 ..
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  12. 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.
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  13. 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 (...)
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  14. Painting and Personality; A Study of Young Children.Rose H. Alschuler - 1949 - Journal of Aesthetics and Art Criticism 8 (1):65-66.
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  15. Painting Time with Light.D. Ambrose - unknown
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  16. Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto. By David Rosand.W. Andersen - 2000 - The European Legacy 5 (3):439-440.
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  17. Landscape and Western Art.Malcolm Andrews - 1999
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  18. Aesthetics and Painting.J. Armstrong - 2010 - British Journal of Aesthetics 50 (2):218-221.
    (No abstract is available for this citation).
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  19. Picasso's Guernica. The Genesis of a Painting.Rudolf Arnheim - 1963 - Journal of Aesthetics and Art Criticism 22 (1):88-89.
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  20. Sound in Kandinsky's Painting.Jerome Ashmore - 1977 - Journal of Aesthetics and Art Criticism 35 (3):329-336.
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  21. Some Differences Between Abstract and Non-Objective Painting.Jerome Ashmore - 1954 - Journal of Aesthetics and Art Criticism 13 (4):486-495.
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  22. The Old and the New in Non-Objective Painting.Jerome Ashmore - 1951 - Journal of Aesthetics and Art Criticism 9 (4):294-300.
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  23. Sartre and Painting.Sophie Astier-Vezon - 2010 - In Adrian Mirvish & Adrian Van den Hoven (eds.), New Perspectives on Sartre. Cambridge Scholars Press.
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  24. 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. (...)
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  25. 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 (...)
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  26. Painting the Bigger Picture.Julian Baggini - 1999 - The Philosophers' Magazine 8:37-39.
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  27. Van Gogh and Sir Richard Wallace's Pictures.Martin Bailey & Wallace Collection - 1998
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  28. 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.
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  29. Experimental Painting: Construction, Abstraction, Destruction, Reduction.Stephen Bann - 1970 - London: Studio Vista.
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  30. Pictorial Perception as Twofold Experience.Katerina Bantinaki - 2010 - In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. Oxford University Press.
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  31. American Painting of the Nineteenth Century.Novak Barbara - 1970 - Journal of Aesthetics and Art Criticism 29 (2):283-283.
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  32. 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.
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  33. "The Light of Early Italian Painting": Paul Hills. [REVIEW]Emma Spina Barelli - 1988 - British Journal of Aesthetics 28 (1):92.
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  34. From Realism to Reality in Recent American Painting.Virgil Barker - 1959 - University of Nebraska Press.
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  35. Is There a Doctrine to This Landscape?Annette Barnes - 1989 - Journal of Aesthetic Education 23 (3):77-84.
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  36. 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.
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  37. Painting of India.Douglas Barrett & Basil Gray - 1964 - Journal of Aesthetics and Art Criticism 22 (3):349-351.
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  38. 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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  39. Natural Worlds.Robert Bateman & Rick Archbold - 1996
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  40. 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.
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  41. The Colors of Rhetoric: Problems in the Relation Between Modern Literature and Painting.George H. Bauer & Wendy Steiner - 1984 - Substance 13 (3/4):149.
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  42. The Avant-Garde in the History of Painting.Germain Bazin - 1969
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  43. 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.
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  44. Leonardo's Rules of Painting an Unconventional Approach to Modern Art.James Beck - 1979
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  45. 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.
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  46. Photogenic Drawings.R. B. Beckett - 1964 - Journal of the Warburg and Courtauld Institutes 27:342-343.
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  47. Grappling with “Big Painting”: Akela Reason's Thomas Eakins and the Uses of History. [REVIEW]Adrienne Bell - 2011 - Reason Papers 33:190-200.
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  48. What is Painting? Representation and Modern Art.Julian Bell - 1999
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  49. An Eighteenth-Century Indian Painting.Ernest Bender - 1959 - Journal of the American Oriental Society 79 (1):26-29.
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  50. Studies on the Rise of Realistic Landscape Painting in Holland, 1610-1625.Åke Bengtsson - 1952 - Almquist & Wiksell.
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1 — 50 / 755