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  1.  32
    Light and Color in the Italian Renaissance Theory of Art.Moshe Barasch - 1979 - Journal of Aesthetics and Art Criticism 38 (1):105-106.
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  2. Modern Theories of Art, 2 From Impressionism to Kandinsky.Moshe Barasch - 1998
     
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  3.  23
    Gantner's Theory of Prefiguration.Moshe Barasch - 1963 - British Journal of Aesthetics 3 (2):148-156.
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  4.  5
    Works of the Imagination A Comment.Moshe Barasch - 1992 - In Edna Ullmann-Margalit (ed.), The Scientific Enterprise. Kluwer Academic Publishers. pp. 117--121.
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  5.  4
    Character and Physiognomy: Bocchi on Donatello's St. George: A Renaissance Text on Expression in Art.Moshe Barasch - 1975 - Journal of the History of Ideas 36 (3):413.
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  6.  3
    Despair in the Medieval Imagination.Moshe Barasch - 1999 - Social Research 66 (2).
  7.  2
    Mode and Expression in Meyer Schapiro's Writings on Art.Moshe Barasch - 1978 - Social Research 45.
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  8. Gantners Theorie der Präfiguration.Moshe Barasch - 1963 - Studia Philosophica 23:18.
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  9. Language of Art Studies in Interpretation.Moshe Barasch - 1996
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  10.  25
    Modern Theories of Art.Moshe Barasch - 1990 - New York University Press.
    In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...)
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  11. Modern Theories of Art, I: From Winkelmann to Baudelaire.Moshe Barasch - 1992 - Journal of Aesthetics and Art Criticism 50 (4):340-341.
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  12. Theories of Art: From Plato to Winckelmann.Moshe Barasch - 1986 - Journal of Aesthetics and Art Criticism 44 (3):296-297.
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  13.  92
    Theories of Art.Moshe Barasch - 1985 - Routledge.
    In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between scientific (...)
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