Results for 'Art Gallery of Ontario'

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  1. Sympathetic Realism George A. Reid and the Academic Tradition.Christine Boyanoski, G. A. Reid & Art Gallery of Ontario - 1986
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  2. The Museum of the Americas. A Major New Permanent Addition to the Dallas Museum of Art, Which has Espe-Cially Strong Holdings in All of the Pre-Columbian Arts, with a Collection of Over.of Later Mesopotamia Gallery - 1994 - Minerva 5:17-20.
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  3. Negotiating Rapture the Power of Art to Transform Lives.Richard Francis, Homi K. Bhabha, Yve Alain Bois & Museum of Contemporary Art - 1996
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  4. Canada. Art Gallery of Hamilton.Ontario Hamilton - 2000 - In Mike Crang & N. J. Thrift (eds.), Thinking Space. Routledge.
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  5.  7
    Listening to Pictures A Review of Peter Steele’s The Whispering Gallery: Art Into Poetry ; Melbourne, Macmillan, 2006, 128 Pp., ISBN: 1876832851, Hb. [REVIEW]Patrick Hutchings - 2007 - Sophia 46 (2):193-198.
    A review of Peter Steele’s: The Whispering Gallery: Art into Poetry, in which Steele writes poems on and to paintings and the sculpture Black Sun in the National Gallery of Victoria, Melbourne, Australia. Each work on which there is a poem is reproduced. In this book Steele writes more to the ‘contour’ of the topic-work than he did in Plenty. His poems – as ever sidenoted – are tensed between the topicality of the work of art in question, (...)
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  6.  7
    Treasures From the National Gallery of Art.Remy G. Saisselin, Huntington Cairns & John Walker - 1964 - Journal of Aesthetics and Art Criticism 23 (2):286.
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  7. 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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  8. 'The Illustrious or Infamous Dead': The Portrait Gallery of the Manchester Art-Treasures Exhibition.Victoria Whitfield - 2005 - Bulletin of the John Rylands Library 87 (2):37-51.
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  9.  24
    Edson Ancient Macedonian Studies in Honor of Charles F. Edson. Ed. H. J. Dell. Thessaloniki: Institute for Balkan Studies. 1981. Pp. 407, [33] Plates, 3 Text Figs. Price Not Stated. - Adams and E. N. Borza Ed.Philip II, Alexander the Great and the Macedonian Heritage. Washington, D.C.: University Press of America. 1982. Pp. Xiii + 302, [9] Plates, [8] Text Figs. . $23.50 , $12.75 . [Symposium, Chicago, June 1981 in Mem. H. J. Dell.] - Barr-Sharrar and E. N. Borza Ed.Macedonia and Greece in Late Classical and Early Hellenistic Times. Washington, D.C.: National Gallery of Art. 1982. Pp. 268, [207] Illus. , Text Figs., Maps, Plans). Price Not Stated. - Jaschinski Alexander Und Griechenland Unter Dem Eindruck der Flucht des Harpalos. Bonn: Habelt. 1981. Pp. Viii + 208. DM 28. [REVIEW]A. R. Burn, C. F. Edson, H. J. Dell, W. L. Adams, E. N. Borza, B. Barr-Sharrar & S. Jaschinski - 1983 - Journal of Hellenic Studies 103:208-209.
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  10.  10
    Ancient Iranian Metalwork in the Arthur M. Sackler Gallery and the Freer Gallery of Art.Prudence O. Harper, Ann C. Gunter & Paul Jett - 1996 - Journal of the American Oriental Society 116 (3):567.
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  11.  10
    Catalogue of Classical Bronze Sculpture in the Walters Art Gallery. By D. K. Hill. Pp. Xxxviii + 158: Pl. 55 + 289 Figs. & Frontispiece. Baltimore: Trustees of the Walters Art Gallery, 1949. $6.25. [REVIEW]Gisela M. A. Richter & D. K. Hill - 1950 - Journal of Hellenic Studies 70:105-106.
  12.  6
    Cuneiform Brick Inscriptions in the British Museum, the Ashmolean Museum, Oxford, the City of Birmingham Museum and Art Gallery, the City of Bristol Museum and Art Gallery.Hans Neumann & C. B. F. Walker - 1983 - Journal of the American Oriental Society 103 (4):788.
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  13.  6
    Museum Supplement: Acquisitions by the City of Birmingham Museum and Art Gallery 1966–1986.David Symons - 1987 - Journal of Hellenic Studies 107:278-280.
  14.  1
    Catalogue of the Egyptian Sculpture in the Walters Art Gallery.Carleton T. Hodge & George Steindorff - 1948 - Journal of the American Oriental Society 68 (3):157.
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  15. Jeremy Smith [Catalog of the Exhibition Held at] Fischer Fine Art Ltd., London, 6 February-9 March 1979 [and] Mira Godard Gallery, Toronto, 28 April-19 May 1979. [REVIEW]Jeremy Smith & Ont Fischer Fine Art Limited - 1979 - [Fischer Fine Art Ltd.,].
     
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  16.  10
    Geoffrey B. Waywell: The Lever and Hope Sculptures. Ancient Sculptures in the Lady Lever Art Gallery, Port Sunlight and a Catalogue of the Ancient Sculptures Formerly in the Hope Collection, London and Deepdene. Pp. 130; 68 Plates, 36 Figures. Berlin: Mann, 1986. DM 80. [REVIEW]Martin Robertson - 1988 - The Classical Review 38 (1):183-183.
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  17.  21
    Lilian MC Randall, with the Assistance of Judith Oliver, Christopher Clarkson, Jeanne Krochalis, and Jennifer Morrish, Medieval and Renaissance Manuscripts in the Walters Art Gallery, 1: France, 875–1420. Baltimore and London: The Johns Hopkins University Press, in Association with the Walters Art Gallery, 1989. Pp. Xxvi, 386; 8 Color Plates, 190 Black-and-White Plates. $79.50. [REVIEW]Paul Binski - 1991 - Speculum 66 (3):678-679.
  18.  19
    Heather Ecker, Caliphs and Kings: The Art and Influence of Islamic Spain. Selections From the Hispanic Society of America, New York. Washington, D.C.: Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, 2004. Pp. Xiv, 178; 89 Color Figures and Many Black-and-White Figures. $35. Distributed by University of Washington Press, P.O. Box 50096, Seattle, WA 98145. [REVIEW]Karen Rose Mathews - 2006 - Speculum 81 (1):180-181.
  19.  25
    Geoffrey B. Waywell: The Lever and Hope Sculptures. Ancient Sculptures in the Lady Lever Art Gallery, Port Sunlight and a Catalogue of the Ancient Sculptures Formerly in the Hope Collection, London and Deepdene. (Monumenta Artis Romanae, 16.) Pp. 130; 68 Plates, 36 Figures. Berlin: Mann, 1986. DM 80. [REVIEW]Martin Robertson - 1988 - The Classical Review 38 (01):183-.
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  20.  9
    Armenian Manuscripts in the Freer Gallery of Art. Sirarpie der Nersessian.D. Talbot Rice - 1965 - Speculum 40 (3):505-506.
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  21. Stained Glass Before 1700 in American Collections: New England and New York (Corpus Vitrearum Checklist I). (Studies in the History of Art, 15: Monograph Series, 1.) Washington, D.C.: National Gallery of Art, 1985. Paper. Pp. 219; Black-and-White and Color Plates. $25. Distributed by University Press of New England, Hanover, NH 03755. [REVIEW]Michael W. Cothren - 1987 - Speculum 62 (4):993-994.
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  22.  7
    Proverbes En Rimes, Text and Illustrations of the Fifteenth Century From a French Manuscript in the Walters Art Gallery, Baltimore. Grace Frank, Dorothy Miner.Horst Janson - 1939 - Speculum 14 (3):379-381.
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  23.  3
    Islamic Metalwork in the Freer Gallery of Art. Esin Atil, W. T. Chase, Paul Jett.Cyril Stanley Smith - 1986 - Isis 77 (3):567-568.
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  24. James Beck, Ed., Raphael Before Rome.(Studies in the History of Art, 17.) Washington, DC: National Gallery of Art, 1986. Paper. Pp. 214; Black-and-White Facsimile Frontispiece, 201 Black-and-White Facsimile Plates. $27.50. Distributed by University Press of New England, Hanover, NH. [REVIEW]David G. Wilkins - 1988 - Speculum 63 (4):898-899.
  25. Donald Preziosi Center for Advanced Study in the Visual Arts National Gallery of Art Washington, DC 20565.J. Derrida & S. Freud - forthcoming - Semiotics.
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  26. Classic Art an Exponent of Religious Sentiment : A Lecture Delivered Before the Alumni Society of Albert University, Belleville, Ontario, Canada, June 21st, 1875.Henry Taylor - 1983
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  27.  23
    And? J. V. Field and Frank James , Science in Art: Works in the National Gallery That Illustrate the History of Science and Technology. BSHS Monographs, 11. Stanford in the Vale: British Society for the History of Science, 1997. Pp. 110. ISBN 0-906450-13-6. £15.00, $26.00 . James Hamilton , Fields of Influence: Conjunctions of Artists and Scientists 1815–1860. Birmingham: University of Birmingham Press, 2001. Pp. Xiii+174. ISBN 0-902459-10-5. £20.00, $35.00 . David Bindman, Frèdéric Ogée and Peter Wagner , Hogarth: Representing Nature's Machines. Barber Institute's Critical Perspectives in Art History. Manchester and New York: Manchester University Press, 2001. Pp. Xvi+287. ISBN 0-7190-5919-4. £18.99. [REVIEW]Ludmilla Jordanova - 2002 - British Journal for the History of Science 35 (3):341-345.
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  28.  23
    Book Review: Spectacular Bodies: The Art and Science of the Human Body From Leonardo to Now, by Martin Kemp and Marina Wallace. Jointly Published by the Hayward Gallery and the University of California Press, 2000. 232 Pp. [REVIEW]Barbara Baumgartner - 2004 - Journal of Medical Humanities 25 (1):79-81.
  29. Reviews: Institutions; Education, Libraries, Museums-Science in Art: Works in the National Gallery That Illustrate the History of Science and Technology. [REVIEW]J. V. Field, Frank A. J. L. James & C. R. Hill - 1998 - Annals of Science 55 (4):425-426.
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  30.  2
    Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience With Representational and Abstract Paintings.Matthew Pelowski, Andrea Graser, Eva Specker, Michael Forster, Josefine von Hinüber & Helmut Leder - 2019 - Frontiers in Psychology 10.
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  31.  30
    Cypriot Antiquities V. Karageorghis: Ancient Cypriote Art in the National Archaeological Museum of Athens . Pp. 152, Colour Map, Colour Ills. Athens: A. G. Leventis Foundation, 2003. Paper, Cyp£15. ISBN: 960-7037-41-3. V. Karageorghis: Cypriote Antiquities in the Royal Ontario Museum . In Collaboration with P. Denis, N. Leipen, A. H. Easson, D. Papanikola-Bakirtzis, and E. A. Knox. Pp. Xii + 150, Colour Map, Colour Ills. Nicosia: A. G. Leventis Foundation/Royal Ontario Museum, 2003. Paper, €36. ISBN: 9963-560-56-3. V. Karageorghis: The Cyprus Collections in the Medelhavsmuseet . In Collaboration with S. Houby-Nielsen, K. Slej, M.-L. Winbladh, S. N. Fischer, and O. Kaneberg. With Contributions From P. Åström, D. Collon, H. Nilsson, K. Nys, D. Papanikola-Bakirtzis, E. Poyiadji, E. Rystedt, and L. Söderhjelm. Pp. Xiv + 367, Colour Map, B/W and Colour Ills. Nicosia: A. G. Leventis Foundation/Medelhavsmuseet, Stockholm, 2003. Paper, Cyp£30. ISBN: 9963-560-55-5. V. Karageorghis: Ancient Art. [REVIEW]Diane Bolger - 2005 - The Classical Review 55 (1):331.
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  32. Patricia Lee Rubin and Alison Wright, Renaissance Florence: The Art of the 1470s. With Contributions by Nicholas Penny. London: National Gallery Publications, 1999. Pp. 360; Color Frontispiece and Many Black-and-White and Color Figures. $50. Distributed in the US by Yale University Press. [REVIEW]Andrew C. Blume - 2001 - Speculum 76 (3):788-789.
     
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  33.  11
    Two NP‐Hard Art‐Gallery Problems for Ortho‐Polygons.Dietmar Schuchardt & Hans-Dietrich Hecker - 1995 - Mathematical Logic Quarterly 41 (2):261-267.
    D. T. Lee and A. K. Lin [2] proved that VERTEX-GUARDING and POINT-GUARDING are NP-hard for simple polygons. We prove that those problems are NP-hard for ortho-polygons, too.
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  34.  12
    Art Review: Suffering in Silence Frederick Cayley Robinson: Acts of Mercy, National Gallery, London.R. A. Crowley - 2010 - Medical Humanities 36 (2):122.
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  35. Body Phenomenology, Somaesthetics and Nietzschean Themes in Medieval Art.Matthew Crippen - 2014 - Pragmatism Today 5:40-45.
    Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores Life (...)
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  36.  24
    Art Historical Explanation Of Paintings And The Need For An Aesthetics Of Agency.Daniel Davies - 2004 - Postgraduate Journal of Aesthetics 1 (3):86-98.
    Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...)
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  37.  4
    The Christchurch Art Gallery.Denis Dutton - unknown
    We live in a time when museum curators and gallery directors in the English-speaking world have to a distressing degree lost faith in the power of their own collections. Cowed by accusations of elitism, intimidated by nonsense academic art theory, worndown by guilt-inducing postcolonial victimology, they succumb to pressures either on the one hand to dumb down their presentations, or on the other hand to politicise them.
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  38.  3
    Art in the Frame: Spiritual America and the Ethics of Images.Mihail Evans - 2015 - Journal of Aesthetics and Phenomenology 2 (2):143-170.
    The recent removal of the Richard Prince’s artwork Spiritual America from the Tate Modern’s “Pop Life: Art in a Material World” exhibition is the most recent and high-profile case of a work of art being withdrawn from a gallery in the UK on the grounds that it has allegedly breached legislation concerning indecent images of children. Surprisingly, the issue has been hardly considered by academics from law departments and is almost entirely ignored by philosophers specializing in aesthetics and ethics. (...)
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  39.  34
    The Measure of All Things: Rethinking Humanism Through Art.Richard Allen - unknown
    University of Buffalo New York Department of Art Gallery. The ancient philosopher Protagoras is most famous for his claim: “Of all things the measure is Man” and today, Western societies continue to promote anthropocentrism, an approach to the world that assumes humans are the principal species of the planet. We naturalize a scale of worth, in which beings that most resemble our own forms or benefit us are valued over those that do not. The philosophy of humanism has been (...)
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  40.  15
    A Forgotten Legacy: The Romanov Patronage of Finland’s Early Art Collections.Elina Sopo - 2016 - The European Legacy 21 (3):310-323.
    The earliest art collections of Finland’s National Gallery came into being when, as the Grand Duchy of Finland, it was an autonomous part of imperial Russia. The prevailing view of Finnish museum studies, however, sees the Finnish Art Society, the precursor of the Finnish National Gallery, as being modelled on exclusively European cultural institutions. The history of the Society and its collections have thus been seen as resistant to any alien eastern influences, and as an attempt to differentiate (...)
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  41. Philosophical Aesthetics and the Sciences of Art: Volume 75.Gregory Currie, Matthew Kieran, Aaron Meskin & Margaret Moore (eds.) - 2014 - Cambridge University Press.
    Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at the Leeds (...)
     
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  42.  23
    Heidegger Among the Sculptors: Body, Space, and the Art of Dwelling.Andrew Mitchell - 2010 - Stanford University Press.
    In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container (...)
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  43.  14
    Turner's Classicism and the Problem of Periodization in the History of Art.Philipp Fehl - 1976 - Critical Inquiry 3 (1):93-129.
    It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a position (...)
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  44.  4
    A Performativist Definition of Art (in Hebrew).Gideon Ofrat - 1974 - Iyyun 25:199-216.
    Traditionally, definitions of art have been concerned with the characteristics of the art object, the process of its creation or the reactions to it. in this paper i suggest to concentrate on the circumstances of the object's existence and the process by which it comes to exist. these circumstances, which differ in different periods and in different societies, are: (a) it's being declared, either by the artist, or by an exhibition catalogue, or by a collector, or by an art expert, (...)
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  45.  20
    Listening to Pictures.Patrick Hutchings - 2007 - Sophia 46 (2):193-198.
    A review of Peter Steele’s: The Whispering Gallery: Art into Poetry, in which Steele writes poems on and to paintings and the sculpture Black Sun (By Inge King) in the National Gallery of Victoria, Melbourne, Australia. Each work on which there is a poem is reproduced. In this book Steele writes more to the ‘contour’ of the topic-work than he did in Plenty. His poems – as ever sidenoted – are tensed between the topicality of the work of (...)
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  46.  6
    CARRIER, DAVID, with Darren Jones. The Contemporary Art Gallery: Display, Power, and Privilege. Cambridge Scholars Publishing, 2016, Xvi + 103 Pp., 32 B&W Illus., £45.99 Cloth. [REVIEW]Hilde Hein - 2019 - Journal of Aesthetics and Art Criticism 77 (1):106-109.
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  47.  5
    National Gallery of Ireland.Alfred Neumeyer & James White - 1970 - Journal of Aesthetics and Art Criticism 28 (4):561.
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  48. Street Art: The Transfiguration of the Commonplaces.Nick Riggle - 2010 - Journal of Aesthetics and Art Criticism 68 (3):243-257.
    According to Arthur Danto, post-modern or post-historical art began when artists like Andy Warhol collapsed the Modern distinction between art and everyday life by bringing “the everyday” into the artworld. I begin by pointing out that there is another way to collapse this distinction: bring art out of the artworld and into everyday life. An especially effective way of doing this is to make street art, which, I argue, is art whose meaning depends on its use of the street. I (...)
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  49. Playing with Fire: Art and the Seductive Power of Pain.Iskra Fileva - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave Macmillan.
    I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.
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  50.  52
    Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
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