Results for 'Functionalism in art'

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  1.  51
    Utility Reassessed: The Role of Ethics in the Practice of Design.Judy Attfield (ed.) - 1999 - Distributed Exclusively in the Usa by St. Martin's Press.
    This sparkling collection of essays both defines and reassesses the concept of Utility. Using it as a touchstone for the consideration of the place of ethics in the recent history of design, the collection offers a way into the issues which concern design decision-makers today. It offers previously unpublished research into diverse topics such as the investigation into the hitherto undiscovered designs for a utility vehicle, and it reveals a fresh perspective on the philosophy behind the concept of Utility as (...)
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  2.  23
    The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain: From Vienna 1900 to the Present.Eric R. Kandel - 2011 - Random House.
    A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...)
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  3. Trust and Sincerity in Art.C. Thi Nguyen - forthcoming - Ergo: An Open Access Journal of Philosophy.
    Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...)
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  4.  18
    Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy.Frederik le Roy (ed.) - 2011 - Academia Press.
    A collection of essays that takes stock of the current impact of the image and imagination of the catastrophe in art, science and philosophy.
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  5.  43
    Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin De Siècle in Europe.Charles Bernheimer - 2002 - Johns Hopkins University Press.
    Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...)
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  6. Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy, and Popular Culture.Mary Sanders Pollock & Catherine Rainwater (eds.) - 2005 - Palgrave-Macmillan.
    Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in a (...)
     
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  7. Na temat estetycznej teorii sztuki Nicka Zangwilla.Daniel Nathan - 2009 - Sztuka I Filozofia (Art and Philosophy) 35:7-16.
    This essay is a discussion and critical analysis of Nick Zangwill's theory of art. Zangwill's theory makes aesthetic intention (or "aesthetic insight") central to the status of art in various articles and in his book, Aesthetic Creation (OUP, 2007). The present essay focuses on the analysis found in his book and in particular whether Zangwill's theory adequately addresses the nature of avant-garde works of art. In the end, I argue that Zangwill's theory is both too narrow and too broad to (...)
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  8.  29
    The Aesthetic Engagement Theory of Art.Patrick Grafton-Cardwell - forthcoming - Ergo: An Open Access Journal of Philosophy.
    I introduce and explicate a new functionalist account of art, namely that something is an artwork iff the fulfillment of its function by a subject requires that the subject aesthetically engage it. This is the Aesthetic Engagement Theory of art. I show how the Aesthetic Engagement Theory outperforms salient rival theories in terms of extensional adequacy, non-arbitrariness, and ability to account for the distinctive value of art. I also give an account of what it is to aesthetically engage a work (...)
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  9. The Ancient Quarrel Between Art and Philosophy in Contemporary Exhibitions of Visual Art.Jennifer A. McMahon - 2019 - Curator: The Museum Journal 62 (1):7-17.
    At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...)
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  10.  14
    Beyond the Finite: The Sublime in Art and Science.Iain Boyd Whyte (ed.) - 2010 - Oxford University Press.
    Science is continually faced with describing that which is beyond. This book, through contributions from nine prominent scholars, tackles that challenge.
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  11. Art in History, History in Art Studies in Seventeenth- Century Dutch Culture.David Freedberg & Jan De Vries - 1991
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  12. Ideals & Idols Essays on Values in History and in Art.E. H. Gombrich - 1994
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  13. A Taxonomy of Disgust in Art.Noël Carroll & Filippo Contesi - 2019 - In Kevin Tavin, Mira Kallio-Tavin & Max Ryynänen (eds.), Art, Excess, and Education. Palgrave Macmillan. pp. 21–38.
    Disgust has been a perennial feature of art from medieval visions of hell to postmodern travesties. The purpose of this chapter is to chart various ways in which disgust functions in artworks both in terms of content and style, canvassing cases in which the content and/or style is literally disgusting in contrast to cases where the disgust serves to characterize the content, often for moral or political or broader cultural purposes.
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  14. Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.
    An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...)
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  15.  8
    A Modest Art: Securing Privacy in Technologically Mediated Homecare.Ike Kamphof - 2017 - Foundations of Science 22 (2):411-419.
    This article addresses the art of living in a technological culture as the active engagement with technomoral change. It argues that this engagement does not just take the form of overt deliberation. It shows in more modest ways as reflection-in-action, an experimental process in which new technology is fitted into existing practices. In this process challenged values are re-articulated in pragmatic solutions to the problem of working with new technology. This art of working with technology is also modest in the (...)
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  16. Monuments as Commitments: How Art Speaks to Groups and How Groups Think in Art.C. Thi Nguyen - 2019 - Pacific Philosophical Quarterly 100 (4):971-994.
    Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...)
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  17.  14
    Identity Change: Doctoral Students in Art and Design.John Hockey & Jacquelyn Allen-Collinson - 2005 - Arts and Humanities in Higher Education 4 (1):77-93.
    For over a decade, practice-based research degrees in art and design have formed part of the United Kingdom research degree education portfolio, with a relatively rapid expansion in recent years. This route to the PhD still constitutes an innovative, and on occasion a disputed, form of research study and students embarking upon the practice-based doctorate find themselves in many ways undertaking pioneering work. To date there has been a dearth of empirical studies of the actual experiences of such students. This (...)
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  18. Crowther and the Kantian Sublime in Art.C. E. Emmer - 2008 - In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants, Akten des X. Internationalen Kant-Kongresses. Walter de Gruyter.
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  19.  33
    What Happens in Art.Matthew Lipman - 1966 - New York: Appleton-Century-Crofts.
    Subsequently presented is a more detailed consideration of the notion of process , for we cannot understand what happens in art as a process unless we are ...
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  20.  47
    The Science of Art: Optical Themes in Western Art From Brunelleschi to SeuratPerspective as Symbolic Form.Patrick Maynard, Martin Kemp, Erwin Panofsky & Christopher S. Wood - 1994 - Journal of Aesthetics and Art Criticism 52 (2):243.
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  21.  65
    Imaginative Understanding, Affective Profiles, and the Expression of Emotion in Art.Robert Hopkins - 2017 - Journal of Aesthetics and Art Criticism 75 (4):363-374.
    R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits such (...)
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  22. Normative Functionalism in the Pittsburgh School.Patrick J. Reider - 2012 - Normative Functionalism and the Pittsburgh School.
    Sellars, Brandom, and McDowell (whom Maher aptly calls the “Pittsburgh School”) have tremendous influence on the current shape of the analytic tradition. Despite their differing views on philosophy of language, the philosophy of mind, philosophy of action, and epistemology, their shared application of ‘normative functionalism’ highlights important similarities in their approaches to the aforementioned disciplines. Normative functionalism interprets the ability to form judgments, possess concepts, rationally defend or be critical of judgments, and consequently act as an agent, as (...)
     
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  23. Towards Defending a Semantic Theory of Expression in Art: Revisiting Goodman.Servaas de V. van der Berg - 2012 - South African Journal of Philosophy 31 (3):600-612.
    Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. Moreover (...)
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  24. Convergences in Music and Art: A Bibliographic Study.George C. Schuetze - 2005 - Harmonie Park Press.
    Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.
     
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  25. Looking Beyond?: Shifting Views of Transcendence in Philosophy, Theology, Art, and Politics.Wessel Stoker & W. van der Merwe (eds.) - 2012 - Rodopi.
    Philosophy : historical approaches -- Contemporary philosophy -- Philosophical theology -- Christian theology -- Politics -- Art.
     
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  26. Book Reviews: Claude P. Bruter (Editor), Mathematics in Art: Mathematical Visualization in Art and Education.Walter Carnielli - 2004 - Logic and Logical Philosophy 13:163-166.
    Claude P. Bruter (editor), Mathematics in Art: Mathematical Visualization in Art and Education, Springer-Verlag, New York, 2002, pp. X + 337, ISBN 3-540-43422-4.
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  27.  27
    Human Being Transcending Itself: Creative Process in Art as a Model of Our Relation to the Ultimate Reality.Erich Mistrík - 2011 - Human Affairs 21 (2):119-128.
    The paper reviews some of the links between the notion of “ultimate reality” and everyday life, mainly art, beauty, the creative processes in art, and citizenship. If, according to M. Heidegger, art reveals the truth of being , then we may find some historical descriptions of creative processes that are very close to descriptions of ultimate reality. Three examples of these kinds of descriptions are discussed . The final aim is to show how the interpretation of ultimate reality can contribute (...)
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  28. "Else-Where": Essays in Art, Architecture, and Cultural Production 2002-2011.Gavin Keeney - 2011 - Cambridge Scholars Press.
    “Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...)
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  29. The Event of Encounter in Art and Philosophy: Continental Perspectives.Kuisma Korhonen & Pajari Räsänen (eds.) - 2010 - Gaudeamus.
     
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  30. Experience and Experiment in Art.Alva Noë - 2000 - Journal of Consciousness Studies 7 (8-9):8-9.
    A significant impediment to the study of perceptual consciousness is our dependence on simplistic ideas about what experience is like. This is a point that has been made by Wittgenstein, and by philosophers working in the Phenomenological Tradition, such as Husserl and Merleau-Ponty. Importantly, it is an observation that has been brought to the fore in recent discussions of consciousness among philosophers and cognitive scientists who have come to feel the need for a more rigorous phenomenology of experience. The central (...)
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  31.  6
    Black Mountain College Case: Transformation Trends in Art Education in the First Half of the 20th century.Jana Migašová - 2019 - Espes 9 (1):51-58.
    In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, and (...)
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  32. Pure Visuality: Notes on Intellection & Form in Art & Architecture.Gavin Keeney - manuscript
    Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...)
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  33. The Immortal Comedy: The Comic Phenomenon in Art, Literature, and Life.Agnes Heller - 2005 - Lexington Books.
    This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.
     
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  34. Four Theories of Inversion in Art and Music.John Dilworth - 2002 - Southern Journal of Philosophy 40 (1):1-19.
    Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...)
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  35.  49
    Problematising the Problem of Participation in Art and Politics.İbrahim Akkın - 2016 - In Research on Cultural Studies.
    After the collapse of the totalitarian regimes, participation into public matters has been an objective of democratic theory. Judging by a variety of instances from the sixties to today, it can be said that finding new means for encouraging audiences to participate in their works has become the major concern for contemporary art as well. Therefore, we can say that the problem of participation is the focal point of art and politics.
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  36. Menzel's Realism Art and Embodiment in Nineteenth-Century Berlin.Michael Fried & Adolph Menzel - 2002
  37. The Preference for the Primitive Episodes in the History of Western Taste and Art.E. H. Gombrich - 2002
     
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  38.  9
    Black Mountain College Case: Transformation Trends in Art Education in the First Half of the 20th Century.Jana Migašová - 2019 - Espes 8 (2):51-58.
    In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, and (...)
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  39. Rock the Boat: Localized Ethics, the Situated Self, and Particularism in Contemporary Art.Tere Vadén - 2003 - Salon.
     
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  40.  2
    Black Mountain College Case: Transformation Trends in Art Education in the First Half of the 20th century.Jana Migašová - 2020 - Espes 9 (1):51-58.
    In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, and (...)
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  41.  10
    Microbiopolitics in Art: Joyful Acts of Insurrection.Mariana Pérez Bobadilla - 2018 - Technoetic Arts 16 (3):303-313.
    This article explores projects of art and biology as joyful acts of insurrection. It presents critical and creative perspectives to generate alternative structures of subjec-tivity. These alternative structures gain relevance when intersectional variables of privilege and discrimination as political tools are set in crisis by a postanthropocen-tric awareness. The thesis of this article is that in order to understand and develop postanthropocentric intersectional positions, the microbial posthuman joins thecartographies of the posthuman as a material possibility from microscopic biologicalmatter and philosophical (...)
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  42. The Transformation of Nature in Art.Ananda Kentish Coomaraswamy - 1934 - Sterling Publishers Pvt..
    The theory of art in Asia.--Meister Eckhart's view of art.--Reactions to art in India.--Aesthetic of the Śukranītsāra.--Paroksa.--Ábhása.--Origin and use of images in India.--Notes.--Sanskrit glossary.--List of Chinese characters.--Bibliography (p. [235]-245).
     
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  43.  9
    Mimesis and Art: Studies in the Origin and Early Development of an Aesthetic Vocabulary.H. E. Matthews - 1967 - Philosophical Quarterly 17 (69):377.
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  44. Language of Art Studies in Interpretation.Moshe Barasch - 1996
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  45. The Grotesque in Western Art and Culture: The Image at Play.Frances S. Connelly - 2012 - Cambridge University Press.
    Machine generated contents note: 1. Introduction: entering the Spielraum; 2. Improvisation I: grottesche; 3. Improvisation II: arabesques; 4. Subversion: the carnivalesque body; 5. Trauma: the failure of representation; 6. Revelation: profound play.
     
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  46. Art Forms in Nature the Prints of Ernst Haeckel : One Hundred Color Plates.Ernst Heinrich Philipp August Haeckel, Olaf Breidbach & Irenäus Eibl-Eibesfeldt - 1998
     
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  47. Art Meets Science and Spirituality in a Changing Economy.Maxine Harris, Louwrien Wijers, Sheldon Rochlin, Robert Rauschenberg & David Bohm - 1993
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  48. Unreal City Urban Experience in Modern European Literature and Art.David Kelley & Edward Timms - 1985
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  49. Health and Happiness in 20th-Century Avant-Garde Art.Donald B. Kuspit & Lynn Gamwell - 1996
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  50.  43
    Symbols in Life and Art: The Royal Society of Canada Symposium in Memory of George Whalley.James A. Leith & George Whalley (eds.) - 1987 - Published for the Royal Society of Canada by Mcgill-Queen's University Press.
    Printbegrænsninger: Der kan printes 10 sider ad gangen og max. 40 sider pr. session.
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