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  1. Jean Adhémar (1949). Antoine Caron's Massacre Paintings. Journal of the Warburg and Courtauld Institutes 12:199-200.
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  2. Jean Adhémar (1945). French Sixteenth Century Genre Paintings. Journal of the Warburg and Courtauld Institutes 8:191-195.
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  3. Giorgio Agamben (2010). Privation is Like a Face. In Christopher Want (ed.), Philosophers on Art From Kant to the Postmodernists: A Critical Reader. Columbia University Press.
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  4. Teodor Ajder (2013). On Foreclosure and Fresh Cherries. Art Inquiry. Recherches Sur les Arts 15:89-106.
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  5. Annarita Angelini & Pierre Caye (eds.) (2007). Il Pensiero Simbolico Nella Prima Età Moderna. Leo S. Olschki Editore.
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  6. Rachel Barney & Michael J. Green (2006). Intrinsically Scarce Goods. The Proceedings of the Twenty-First World Congress of Philosophy 2:189-192.
    The Paleolithic paintings and drawings found on cave walls at sites in France and Spain, such as Lascaux, Altamira and Vallon-Pont-D'Arc, have profound effects on those who see them. In addition to their historical interest, they are prized for their aesthetic and spiritual qualities, which have had an important influence on modern art. But the caves are small and the paintings are fragile. Access to them has been sharply limited: some caves have been closed to protect the paintings from the (...)
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  7. Terry Michael Barrett (2003). Unifying the Curriculum with an Art Exhibition:. Journal of Aesthetic Education 37 (3):21-40.
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  8. Christopher Bartel (2014). Art and Pornography. British Journal of Aesthetics 54 (4):510-512.
  9. Joseph Edwin Barton (1932). Purpose and Admiration a Lay Study of the Visual Arts. Christophers.
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  10. George H. Bauer & Thierry de Duve (1993). Pictorial Nominalism: On Marcel Duchamp's Passage From Painting to the Readymade. Substance 22 (2/3):350.
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  11. Burcu Baykan (2015). Into the Body of Another: Strange Couplings and Unnatural Alliances of "Harlequin Coat". In Matthew Causey Emma Meehan (ed.), Through the Virtual, Toward the Real: The Performing Subject in the Space of Technology. Palgrave-Macmillan. pp. 17-33.
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  12. Burcu Baykan (2014). Becoming-Other: Ontology and Aesthetics in the Critical Theory of Gilles Deleuze. In DAKAM LIT CRI '14/ III. Literary Criticism Conference: World Literature and LIterary Criticism Proceedings Book. DAKAM Publishing. pp. 55-60.
  13. Errol Bedford & R. M. Meager (1966). Seeing Paintings. Aristotelian Society Supplementary Volume 40 (1):47-84.
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  14. Maria Bettetini (2014). The Ancient Faults of the Other: Religion and Images at the Heart of an Unfinished Dispute. Rivista di Estetica 56:141-162.
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  15. Charlie Blake & Frida Beckman (2010). Shadows of Cruelty. Angelaki 15 (1):1-12.
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  16. Yve-Alain Bois, Kimball Lockhart & Douglas Crimp (1981). The Sculptural Opaque. Substance 10 (2):23.
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  17. Peg Zeglin Brand (2015). The Role of Luck in Originality and Creativity. Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...)
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  18. A. P. Brogan (1927). Studies in the Problem of NormsGeorge P. Adams J. Loewenberg Stephen C. Pepper. International Journal of Ethics 37 (3):314-317.
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  19. Peter Brunette & David Wills (eds.) (1993). Deconstruction and the Visual Arts: Art, Media, Architecture. Cambridge University Press.
    Deconstruction and the Visual Arts brings together a series of new essays by scholars of aesthetics, art history and criticism, film, television and architecture. Working with the ideas of French philosopher Jacques Derrida, the essays explore the full range of his analyses. They are modelled on the variety of critical approaches that he has encouraged, from critiques of the foundations of our thinking and disciplinary demarcation, to creative and experimental readings of visual 'texts'. Representing some of the most innovative thinking (...)
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  20. Curtis L. Carter, Contemporary Ink Paintings.
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  21. T. S. Champlin (1994). Hyman on Naturalism and the Ram Jug. British Journal of Aesthetics 34 (2):146-150.
  22. G. K. Chesterton (1997). Famous Paintings. The Chesterton Review 23 (1/2):21-25.
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  23. Christianus (1962). El Greco. Augustinianum 2 (2):460-460.
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  24. Feride Çiçekoglu (2003). A Pedagogy of Two Ways of Seeing: A Confrontation of "Word and Image" In. Journal of Aesthetic Education 37 (3).
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  25. Robert G. Cohn (1974). Symbolism. Journal of Aesthetics and Art Criticism 33 (2):181-192.
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  26. Pietro Conte (2015). The Panofsky-Newman Controversy. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):87-97.
    Starting from Erwin Panofsky’s well-known polemical exchange of letters with Barnett Newman, and taking into account some few hints to contemporary artists which can be found into the Princeton Professor’s private correspondence, this essay deals with the theoretical reasons why one of the most original and influent art historians of the whole 20th Century has never really come to terms with even the notion of “abstract” art. It then focuses on the seemingly paradoxical concept of “abstract sublime” as proposed by (...)
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  27. Roy T. Cook & Aaron Meskin (2015). Comics, Prints, and Multiplicity. Journal of Aesthetics and Art Criticism 73 (1):57-67.
    Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...)
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  28. B. L. Curtis (1972). Teaching Children to Paint. British Journal of Aesthetics 12 (1):64-78.
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  29. Jean Dabb (1998). Marginal Sculpture in Medieval France: Towards the Deciphering of an Enigmatic Pictorial Language. [REVIEW] Speculum 73 (1):209-211.
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  30. Jean Ann Dabb (1998). Marginal Sculpture in Medieval France: Towards the Deciphering of an Enigmatic Pictorial Language.Nurith Kenaan-Kedar. Speculum 73 (1):209-211.
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  31. Anna L. Dallapiccola & M. S. Randhawa (1970). Kangra Paintings of the Bihari Sat Sai. Journal of the American Oriental Society 90 (4):591.
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  32. George Dickie (1999). Evaluating Art: Reprise. British Journal of Aesthetics 39 (3):288-296.
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  33. Carol A. Donnell (1975). The Problem of Representation and Expressionism in Post-Impressionist Art. British Journal of Aesthetics 15 (3):226-238.
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  34. Elmer H. Duncan (1970). Stephen C. Pepper: A Bibliography. Journal of Aesthetics and Art Criticism 28 (3):287-293.
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  35. Grzegorz Dziamski (2014). Polish Files in the Lomholt Archive of Mail Art. Art Inquiry. Recherches Sur les Arts 16:137-146.
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  36. Susan L. Feagin (1995). Paintings and Their Places. Australasian Journal of Philosophy 73 (2):260 – 268.
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  37. Elena Fell (2014). Phenomenologies of Art and Vision: A Post-Analytic Turn. British Journal of Aesthetics 54 (4):504-506.
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  38. Jane Forsey (2015). Collision: The Puzzle of Chardin. 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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  39. Michel Foucault (2010). Las Meninas. In Christopher Want (ed.), Philosophers on Art From Kant to the Postmodernists: A Critical Reader. Columbia University Press.
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  40. Stanislas Fumet (1954). La Poésie À Travers les Arts. Alsatia.
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  41. E. G. & Mildred Archer (1994). Company Paintings: Indian Paintings of the British Period. Journal of the American Oriental Society 114 (1):143.
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  42. Markus Gabriel (2009). The Art of Skepticism and the Skepticism of Art. Philosophy Today 53 (1):58-69.
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  43. George Dickie (1985). Evaluating Art. British Journal of Aesthetics 25 (1):3-16.
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  44. Alan Goldman (2004). Evaluating Art. In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell. pp. 93--108.
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  45. E. H. Gombrich (1962). Blurred Images and the Unvarnished Truth. British Journal of Aesthetics 2 (2):170-179.
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  46. K. E. Gover (2015). Are All Multiples the Same? The Problematic Nature of the Limited Edition. Journal of Aesthetics and Art Criticism 73 (1):69-80.
    The aim of this inquiry is to determine whether printmaking is best understood ontologically as analogous to a work-performance relation. Are prints the visual analogue of symphonies? My motivation for pursuing the comparison of printmaking to music is twofold. First, because relatively little has been written on the ontology of fine art prints, our use of an already developed body of scholarship will help us to gain some traction on the question. Second, within the existing literature on the ontology of (...)
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  47. Robert Grigg (1987). Flemish Realism and Allegorical Interpretation. Journal of Aesthetics and Art Criticism 46 (2):299-300.
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  48. Francis Halsall (2008). Chaos, Fractals, and the Pedagogical Challenge of Jackson Pollock's "All-Over" Paintings. Journal of Aesthetic Education 42 (4):pp. 1-16.
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  49. Louise Hanson (2015). Conceptual Art and the Acquaintance Principle. Journal of Aesthetics and Art Criticism 73 (3):247-258.
    The Acquaintance Principle has been the subject of extensive debate in philosophical aesthetics. In one of the most recent developments, it has become popular to claim that some works of conceptual art are counterexamples to it. It is further claimed that this is a genuinely new problem in the sense that it is a problem even for versions of the Acquaintance Principle modified to deal with previous objections. I argue that this is essentially correct; however, the claim as it stands (...)
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  50. James A. W. Heffernan (1985). Resemblance, Signification, and Metaphor in the Visual Arts. Journal of Aesthetics and Art Criticism 44 (2):171-180.
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1 — 50 / 2263