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A Bibliography of Literary Theory, Criticism and Philology



http://www.unizar.es/departamentos/filologia_inglesa/garciala/bibliography.html

by José Ángel García Landa

(University of Zaragoza, Spain)


Painting


General: History

Semiotics and theory of painting

Early works

Miscellaneous

General: History of painting

Pereda, Vicente. Pintura y escultura: Sus orígenes, época y escuela hasta el siglo XX. Madrid: Aguilar, 193-.



Semiotics and theory of painting

Anker, V., and Lucien Dällenbach. "La réflexion spéculaire dans la peinture et la littérature récentes." Art International 19.2 (1975).

Barry, Jackson. Art, Culture and the Semiotics of Meaning: Culture's Changing Signs of Life in Poetry, Drama, Painting and Sculpture. Houndmills: Macmillan, 1999.

Barthes, Roland. "La peinture est-elle un langage?" La Quinzaine Littéraire (1969). Rpt. in Barthes, L'obvie et l'obtus. Paris: Seuil, 1992. 139-41.*

Berger, John, et al. Ways of Seeing. London: BBC; Harmondsworth: Penguin, 1972. 1975.

Bryson, N. Vision and Painting: The Logic of the Gaze. New Haven: Yale UP, 1983.

Coe, Kathryn. The Ancestress Hypothesis: Visual Art as Adaptation.

Crowther, Paul. "Postmodernism in the Visual Arts." In Postmodernism and Society. Ed. R. Boyne and A. Rattansi. Basingstoke: Macmillan, 1990. 2137-59.

Derrida, Jacques. La Vérité en Peinture. Paris: Flammarion, 1978.

_____. The Truth in Painting.  Trans. Geoff Bennington and Ian McLeod. Chicago: U of Chicago P, 1987.

Diderot, Denis. Les Salons. (Les Classiques du Peuple: Diderot – Œuvres Choisies, 4). Paris: Editions Sociales, c. 1962.*

_____. Essais sur la peinture. (Les Classiques du Peuple: Diderot – Œuvres Choisies, 5). Paris: Editions Sociales, c. 1962.*

Didi-Huberman, Georges. La Peinture incarnée. Paris: Minuit, 1985.

Fontanille, J. Les espaces subjectifs: Introduction à la sémiotique de l'observateur (discours-peinture-cinéma). Paris: Hachette, 1989.*

Fry, Roger. Vision and Design.  London: Chatto, 1921.

Gállego, Julián. El cuadro dentro del cuadro. Madrid: Cátedra, 1984.

Gombrich, E. H. Art and Illusion: A Study in the Psychology of Pictorial Representation. London, 1960.

_____. Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton (NJ): Princeton UP, 1961. 1969.

_____. Art and Illusion. New York: Pantheon, 1961.

_____. The Image and the Eye. London: Phaidon, 1981.

_____. "Map and Mirror: Theories of Pictorial Representation." 1974. In A Landscape of Semiotics. Ed. S. Chatman, U. Eco and J. M. Klinkenberg. The Hague: Mouton, 1979.

_____. "Standards of Truth: The Arrested Image and the Moving Eye." In The Language of Images. Ed. W. J. T. Mitchell. Chicago: U of Chicago P, 1980. 181-217.

Labarta, Francisco. Para comprender la pintura. Barcelona: Dolmen, 1944.

Lotman, Iuri M. "La naturaleza muerta en la perspectiva de la semiótica." In Lotman, La Semiosfera, III: Semiótica de las artes y de la cultura. Madrid: Cátedra / Universitat de València, 2000. 15-22.*

_____. "El retrato." In Lotman, La Semiosfera, III: Semiótica de las artes y de la cultura. Madrid: Cátedra / Universitat de València, 2000. 23-47.*

_____. "El lenguaje teatral y la pintura (Contribución al problema de la retórica icónica)." In Lotman, La Semiosfera, III: Semiótica de las artes y de la cultura. Madrid: Cátedra / Universitat de València, 2000. 85-96.*

Marin, Louis. Des Pouvoirs de l'Image: Gloses. (L'Ordre Philosophique). Paris: Seuil, 1993.* (Posth.) (Introd.; I. Les pouvoirs de l'image et la position du moi; II. Les pouvoirs généalogiques et politiques de l'image; III: Les puissances imaginales de la lumière et de l'ombre).

Martín Casalderrey, Francisco. La burla de los sentidos: El arte visto con ojos matemáticos. (El Mundo es Matemático). Barcelona: RBA Coleccionables, 2010.* (Perspective, Alberti, Dürer, Piero della Francesca, El Greco, Zurbarán, Velázquez, Leonardo).

McLuhan, Marshall, and Harley Parker. Through the Vanishing Point: Space in Poetry and Painting. New York: Harper & Row, 1968.

Mitchell, W. J. T., ed. The Language of Images. Ed. W. J. T. Mitchell. Chicago: U of Chicago P, 1980.

Panofsky, Erwin. "Die Perspektive als 'Symbolische Form.'" Vorträge der Bibliothek Wasburg (1924-1925). Leipzig: Teubner, 1927.

_____. La perspectiva como "forma simbólica". Trans. Virginia Careaga. 4th ed. Barcelona: Tusquets, 1983.*

_____. Studies in Iconology. Oxford: Oxford UP, 1939.

Pleynet, Marcelin. Système de la peinture. Paris: Seuil (Points).

Richards, I. A. "On Looking at a Picture." In Richards, Principles of Literary Criticism.  1924. London: Routledge, 1967. 113-23.*

Santayana, George. "VIII. La representación plástica." In Santayana, La razón en el arte y otros escritos de estética. Ed. Ricardo Miguel. Epilogue by Fernando Savater. (Verbum Mayor). Madrid: Verbum, 2008. 92-105.*

Snyder, Joel. "Picturing Vision." In The Language of Images. Ed. W. J. T. Mitchell. Chicago: U of Chicago P, 1980.

Veltruskÿ, Ji®ì. "Some Aspects of the Pictorial Sign." 1973. In Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin R. Titunik. Cambridge (MA): MIT Press, 1976. 245-64.



Early works
Baudelaire, Charles. Salon de 1845. In Baudelaire, Curiosités esthétiques, L'Art romantique 1-86.*

_____. "The Salon of 1845." (Extract). 1845. In Baudelaire, Selected Writings on Art and Literature. London: Penguin, 1992. 33-46.

_____. Salon de 1846. In Baudelaire, Curiosités esthétiques, L'Art romantique 97-200.

_____. "The Salon of 1846." (Extract). 1846. In Baudelaire, Selected Writings on Art and Literature. London: Penguin, 1992. 47-107.

_____. "Exposition universelle --1855-- Beaux-Arts." In Baudelaire, Curiosités esthétiques. L'Art romantique 208-40.

_____. "The Universal Exhibition of 1855: The Fine Arts." (Extract). 1855. In Baudelaire, Selected Writings on Art and Literature. London: Penguin, 1992. 115-39.

_____. "De l'essence du rire et généralement du comique dans les arts plastiques." 1855. In Baudelaire, Curiosités esthétiques. L'Art romantique 240-64.

_____. "Of the Essence of Laughter, and generally of the Comic in the Plastic Arts." In Baudelaire, Selected Writings on Art and Literature. London: Penguin, 1992. 140-61.

_____. "Some French Caricaturists." 1857. In Baudelaire, Selected Writings on Art and Literature. London: Penguin, 1992. 209-31.

_____. "Some Foreign Caricaturists." 1857. In Baudelaire, Selected Writings on Art and Literature. London: Penguin, 1992. 232-43.

_____. "Salon de 1859: Le Gouvernement de l'imagination." In Baudelaire, Curiosités esthétiques. Paris, 1890.

_____. Salon de 1859 --Lettres à M. le Directeur de la Revue Française. 1859. In Baudelaire, Curiosités esthétiques. L'Art romantique 304-96.

_____. "The Salon of 1859." In Adams 628-630. Select. and trans. of Le salon de 1859. 1859.

_____. "The Salon of 1859." (Extract). In Baudelaire, Selected Writings on Art and Literature. London: Penguin, 1992. 285-324.

_____. Le peintre de la vie moderne. Written 1859-60. Pub. 1863. In Baudelaire, Curiosités esthétiques. L'Art romantique. Ed. H. Lemaitre. Paris: Garnier, 1986. 453-502.*

_____. The Painter of Modern Life and Other Essays. Ed. and trans. Jonathan Mayne. London: Phaidon, 1964.

_____. "The Painter of Modern Life." In Baudelaire, Selected Writings on Art and Literature. London: Penguin, 1992. 390-436.*

_____. From "The Painter of Modern Life." In From Modernism to Postmodernism: An Anthology. Ed. Lawrence E. Cahoone. Oxford: Blackwell, 1996. 136-44.*

_____. From The Painter of Modern Life. In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

Berenson, Bernard. The Florentine Painters of the Renaissance. 1896. Online at Project Gutenberg



http://www.gutenberg.org/ebooks/17408

2011


Bodmer and Breitinger. Die Discourse der Mahlern. Zürich, 1721.

Diderot, Denis. Salon. 1759.

_____. 2nd Salon. Written 1761.

_____. 3rd Salon. Written 1763.

_____. 4th Salon. Written 1765.

_____. 5th Salon, Written 1767-68.

_____. 6th Salon. Written c. 1769.

_____. 7th Salon. 1771.

_____. 8th Salon. 1775.

_____. 9th Salon. 1781.

Dürer, Albrecht. The Painter's Manual. Trans. Walter L. Strauss. New York: Abaris Books, 1977.

Gesner, Conrad. Pandectae.

Hazlitt, William. "On the Pleasure of Painting." 1820. In Hazlitt, Selected Writings. Harmondsworth: Penguin, 1970. 66-77.*

Hegel, G. W. F. Vorlesungen über die Aesthetik. 1835.

_____. Ästhetik. Berlin, 1965.

_____. Vorlesungen über die Aesthetik. 1835. In Hegel, Werke in zwanzig Bänden. Ed. E. Moldenhauer and K. M. Michel. Frankfurt a/M, 1970. Vol. 13.

_____. The Introduction to Hegel’s Philosophy of Fine Art. Trans. Bernard Bosanquet. London, 1886.

_____. The Philosophy of Fine Art. Trans. F. P. B. Osmaston. London: G. Bell and Sons, 1920.

_____. Esthetics. Trans. T. M. Knox. Oxford: Clarendon, 1975.

_____. Aesthetics: Lectures on Fine Art. Trans. T. M. Knox.  New York, 1975.

_____. Esthétique. Trans. S. Jankélévitch. Paris: Aubier, 1954.

_____. Estética. 1835. Buenos Aires: El Ateneo, 1954.

_____. Introducción a la estética. Trans. Ricardo Mazo. Barcelona: Península, 1985.

_____. Introducción a la estética. Ediciones de Bolsillo.

_____. De lo bello y sus formas. Buenos Aires: Espasa-Calpe, 1958.

_____. Filosofía del arte o Estética [verano de 1826]. Apuntes de Friedrich Carl Hermann Victor von Kehler. Ed. Annemarie Gethmann-Siefert and Bernadette Collenberg-Plotnikov. With Francesca Ianelli and Karsten Berr. Trans. Domingo Hernández Sánchez. (Lecturas de Filosofía). Madrid: Abada / UAM, 2006.* (Aesthetics, Beauty, Function of art, Symbols, Classicism, Romanticism, Ideal, Unity, Subjectivity, Art and spirituality, Architecture, Sculpture, Painting, Music, Poetry).

Junius, Francis. De Pictura Veterum. 17th cent.

Leonardo da Vinci. Trattato della Pittura, preceduta della Vita di Leonardo di Vasari. Introd. S. Bordini. 1890. Rome: Newton, 1997.

_____. Tratado de la pintura. Ed. and trans. Manuel Abril. Madrid: Aguilar, 1943.

Lessing, Gotthold Ephraim. Laokoon. 1766. In Lessing, Schriften über antike Kunst. Vol. 4 of Lessings Werke. 6 vols. Ed. R. Riemann. Leipzig: Philipp Reklam [n.d.]. 7-161.

_____. Laokoon. Ed. W. G. Howard. New York, 1910.

_____. Laocoon. Trans. Sir Robert Phillimore. Selection. In The Great Critics. Ed. J. H. Smith and E. W. Parks. New York: Norton, 1932. 420-26.*

_____. Laocoön: An Essay on the Limits of Poetry and Painting. Trans. Edward Allen McCormick. Baltimore: Johns Hopkins UP, 1984.

_____. From Laocoön (From Preface; Chs. 1-3, 9, 10, 12, 15, 16-18, 21). In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

_____. Laocoonte, o sobre los límites de la poesía y la pintura. Trans. Enrique Palau. Barcelona: Orbis, 1985.*

_____. Laocoonte. Trans. E. Barjau. Madrid: Editora Nacional, 1984.

Ruskin, John. Modern Painters. 1843-60. 5 vols. London, 1873.

_____. Lectures on Architecture and Painting. 1854.

_____. Notes on the Royal Academy. 1855-59; 1875.

Sanderson, William (Sir). Graphice. 1658. (On painting).

Stendhal. Histoire de la peinture en Italie.

Taine, H. Filosofía del Arte. 2 vols. Valencia: Sempere, n. d.

Wackenroder, Wilhelm Heinrich, and Ludwig Tieck. Phantasien über die Kunst. 1799. Ed. Wolfgang Nehring. Stuttgart: Reclam, 1973.

Walpole, Horace. Anecdotes of Painting in England. 5 vols. Twickenham: Strawberry Hill Press, 1762-1780. Based on notes by George Vertue (1684-1756).

_____. Anecdotes of Painting in England, with some account of the Principal Artists. With additions by J. Dallaway; Vertue's Catalogue of Engravers. New ed., rev. R. Wornum. 3 vols. Sonnenschein, 1888.

Winckelmann, Johann Joachim. Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst. 1754. Ed. Ludwig Uhlig. Stuttgart: Reklam, 1969.

______. Reflexiones sobre la imitación del arte griego en la pintura y la escultura. Ed. Ludwig Uhlig. Trans. Vicente Jarque. Barcelona: Península, 1987.

______. Reflections on the Paintings and Sculpture of the Greeks. Trans. Henry Fuseli. London: Joseph Johnson, 1765.

______. Geschichte der Kunst des Alterthums. Dresden, 1764.

Wright, James. Country Conversations. London: Henry Bonwicke, 1694.



Miscellaneous
Alpers, Svetlana. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago, 1983.

Altarriba, Antonio. "La pintura surrealista." In De Baudelaire a Lorca. Ed. Manuel Losada et al. Kassel: Reichenberger, 1996. 667-80.*

Apollinaire, Guillaume. Les Peintres cubistes. 1913.

Argullol, Rafael. Una educación sensorial: Historia personal del desnudo femenino en la pintura. Madrid: FCE, 2002.

Baker, C. H. Collins, and Montague R. James. British Painting. 1933.

Baldellou, V., A. Painaud, and Mª J. Calvo. "Dos nuevos covachos con pinturas naturalistas en el Vero (Huesca)." In Estudios en Homenaje al Dr. Antonio Beltrán Martínez. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1986. 115-33.* 

Beltrán Martínez, Antonio. "Las figuras naturalistas del prado del Azobue, en Aldeaquemada." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 97-99.*

Binyon, Lawrence. Painting in the Far East. 1908.

Brilliant, Richard. Portraiture. (Essays in Art and Culture). London: Reaktion Books.

Bryson, Norman. Looking at the Overlooked: Four Essays on Still Life Painting. (Essays in Art and Culture). London: Reaktion Books.

Buchloh, Benjamin H.D. "Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting." October 16 (Spring 1981). Rpt. in Art After Modernism: Rethinking Representation. Ed.. Brian Wallis. New York: New Museum of Contemporary Art; Boston: Godine, 1984.

Burckhardt, Jacob. Historia de la cultura griega II. Trans. Antonio Tovar and Germán J. Fons. (Grandes obras de la cultura). Barcelona: RBA Coleccionables, 2005.* (Greek art: sculpture, painting, architecture, philosophy of art; poetry and music, Homer, presocratic philosophers, epigrams, elegies, lyric, tragedy, comedy, Aristophanes, oratory, sophists, Greek philosophy, science, history, Greek character and culture, agonism, politics).

Cárdenas, Marta. "La dificultad de pintar el mar." Revista de Occidente  165 (1995): 15-28.*

Carpi, Daniela, ed. "Special Focus: Literature and Painting." Symbolism 8 (2008).

Casado López, María Pilar. "Dispersión de la pintura y grabado rupestre en América." In Estudios en Homenaje al Dr. Antonio Beltrán Martínez. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1986. 135-48.* 

Cassou, Jean. "XXVII. La peinture métaphysique." In Cassou, Panorama des Arts Plastiques Contemporains. Paris: Gallimard, 1960. 464-80.*

Casteras, Susan P. English Pre-Raphaelitism and Its Reception in America in the Nineteenth Century.

_____. Pocket Cathedrals: Pre-Raphaelite Book Illustrations.

_____. "Excluding Women: The Cult of the Male Genius in Victorian Painting." In Rewriting the Victorians. Ed. Linda M. Shires. London: Routledge, 1992. 116-46.*

Chauvet, Jean-Marie, Eliette Brunel Deschamps and Christian Hillaire. La grotte Chauvet à Vallon Pont-D'Arc. Afterword by Jean Clottes. Paris: Seuil, 1995.

_____. Dawn of Art: The Chauvet Cave, the Oldest Known Paintings in the World. New York: H. N. Abrams, 1996.

Clark, G. N. "Painting and Architecture." In Clark, The Seventeenth Century. Oxford: Clarendon, 1929. 344-60.*

Claudel, Paul. Introduction à la peinture hollandaise. 1935.

Cruz Sánchez, Pedro Alberto. "El nuevo realismo español (1970-2000)." Ph.D. diss. U de Murcia, 2001. (Painting).

Díaz, Elías. Los viejos maestros.  Madrid: Alianza, 1994.

Díaz Padrón, Matías. El siglo de Rubens en el Museo del Prado: Catálogo razonado de pintura flamenca del siglo XVII. 3 vols. Madrid: Prensa Ibérica, 1996.

Didi-Huberman, Georges. La Peinture incarnée, suivi de Le Chef-d'œuvre inconnu, par Honoré de Balzac. Paris: Minuit.

Dorival, B. Les Peintres du XXe siècle.

Duthuit, Georges. Les Fauves. Geneva: Les Trois Collines, 1949.

_____. The Fauvist Painters. Trans Ralph Mannheim [assisted by Samuel Beckett, unsigned]. (The Documents of Modern Art). New York: Witterborn, Schultz, Inc. 1950.

"La evolución de ocho pintores realistas." ABC Cultural 1 May 1999.

Flint, Kate. The Victorians and the Visual Imagination. Cambridge: Cambridge UP, c. 2000. (Millais, Burne-Jones, William Powell Frith, Whistler).



Fontanel, Béatrice, and Daniel Wolfrom. Quand les artistes peignaient l’histoire de France. Paris Seuil, 2011.

Francastel, P. Pintura y sociedad. Madrid: Cátedra, 1984.

Fried, Michael. Absorption and Theatricality: Painting and Beholder in the Age of Diderot. Berkeley: U of California P, 1980.

Fuller, Peter. Modern Painters: Reflections on British Art. Ed. John McDonald. c. 1993.

Fumerton, Patricia. "'Secret' Arts: Elizabethan Miniatures and Sonnets." Representations  15 (Summer 1986).

Furno, Martine. "De quelques paradoxes: La peinture et les Artes Illiteratae dans les Pandectae de Conrad Gesner." In Mvnvs qvaesitvm meritis: Homenaje a Carmen Codoñer. Ed. Gregorio Hinojo Andrés and José Carlos Fernández Corte. Salamanca: Ediciones Universidad de Salamanca, 2007. 459-68.*

Gachev, Georgy. Zhizn' khudozhestvennogo soznaniia: Ocherki po istoriii obraza. (The Life of the Artistic Consciousness: Observations on the History of the Image). Moskva: Iskusstvo, 1981.

Gállego, Julián. Visión y símbolos en la pintura española del Siglo de Oro. Madrid: Aguilar, 1972.

_____. El cuadro dentro del cuadro. Madrid: Cátedra, 1984.*

García Guatas, Manuel. "El Pantócrator de Vió (Huesca). " In Francisco Abbad Ríos: A su memoria. Zaragoza: Departamento de Historia del Arte, Facultad de Filosofía y Letras, Universidad de Zaragoza, 1973. 101-4.*

García Landa, José Ángel. "Pasan corriendo unos perros." In García Landa, Vanity Fea 17 Jan. 2011.* (Abstract painting).

http://vanityfea.blogspot.com/2011/01/pasan-corriendo-unos-perros.html

2011


García-Viñó, M. Pintura española neofigurativa. Barcelona: Guadarrama.

Gaunt, William. English Painting, London: Thames and Hudson, 1988.

Grant, Maurice S. (Colonel). Old Landscape Painters, Sixteenth to Nineteenth Centuries. 2 vols. 1925.

Hall, James. The Self-Portrait: A Cultural History. London: Thames & Hudson, 2014.*



http://www.amazon.co.uk/gp/product/050023910X/ref=pd_luc_sim_03_04_t_lh

2014


Halverson, John. "The First Pictures: Perceptual Foundations of Paleolithic Art." Perception 21 (1992): 389-404.

Hart, Clive, and Kay Gilliland Stevenson. Heaven and the Flesh: Imagery of Desire from the Renaissance to the Rococo. Cambridge: Cambridge UP, 1996.

Hauser, Arnold. "IX. Naturalismo e impresionismo." In Hauser, Historia social de la literatura y el arte. II: Desde el rococó hasta la época del cine. Barcelona: DeBols!llo, 2004. 247-482.* (1. La generación de 1830. 2. El Segundo Imperio. 3. La novela social en Inglaterra y Rusia. 4. El impresionismo).

Hermann, Thomas. "Quite a Little About Painters": Art and Artists in Hemingway´s Life and Works. Bern: Francke, 1997.*

Hildebrand, Adolf von. Das Problem der Form in der bildenden Kunst. Strassburg, 1901.

_____. The Problem of Form in the Figurative Arts. New York: G. E. Stechert, 1907. Rpt. 1945.

Gállego, Julián. "Las artes plásticas, aquí y ahora." Revista de Occidente 1 (1980): 175-84.

Gómez Reus, Teresa. "7. La ciudad y las mujeres en la pintura victoriana y moderna." In El sustrato cultural de la violencia de género: Literatura, arte, cine y videojuegos. Ed. Ángeles de la Concha. (Perspectiva feminista). Madrid: Síntesis, 2010.

Greenberg, Clement. "Modernist Painting." 1965. In Modern Art and Modernism. Ed. F. Frascina and C. Harrison. London: Open UP/Paul Chapman, 1982. 5-10.

Guiral Pelegrín, Carmen. "Pintura mural romana procedente de las termas de Bílbilis (Calatayud, Zaragoza)." In Resúmenes de Tesinas: Curso 83-84. Zaragoza: Universidad de Zaragoza, Secretariado de Publicaciones, 1986. 355-64.*

Hauser, Arnold. Origen de la literatura y el arte modernos. 3 vols: I. Literatura y manierismo. II. El manierismo, crisis del Renacimiento. III. Pintura y manierismo. Barcelona: Guadarrama.

Kandinsky, W. De lo espiritual en el arte. Ediciones de Bolsillo.

_____. Punto y línea sobre el plano. Ediciones de Bolsillo.

Kaufmann, Carol. "Maya Masterwork." Photog. Kenneth Garrett. National Geographic 204.6 (Dec. 2003): 72-77. (Mural).

Lacarra Ducay, Mª Carmen. "Cuatro fragmentos del retablo de Blesa no conocidos." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 165-76.*

Lapicque. Essais sur l'Espace, l'Art et la Destinée. Paris: Grasset, 1958.

Lawson, T. "Last Exit: Painting." In Art after Modernism: Rethinking Representation. New York: Museum of Contemporary Art; Boston: Godine, 1984.

Lee, R. W. 'Ut pictura poesis': La teoria umanistica della pittura. Florence: Sansoni, 1974.

Leeman, Fred. Hidden Images. New York: Harry N. Abrams, 1976. (Painting).

Leeman, Fred, Joost Elffers, and Michael Schuyt. Anamorphoses: Games of Perception and Illusion in Art. New York: Abrams, 1976.

Leroi-Gourhan, André. "Sur une méthode d'étude de l'art pariétal paléolithique." In Leroi-Gourhan, Le Fil du Temps: Ethnologie et préhistoire. (Points; Sciences, S48). Paris: Fayard / Seuil, 1986. 217-21.*

Levey, Michael. The German School (National Gallery Catalogues). London: National Gallery, 1959.

_____. Painting at Court. 1971.

Lorblanchet, Michel. Art pariétal – Grottes ornées du Quercy. Rodez: Éditions du Rouergue, 2010.

Lucie-Smith, Edward. "Painting Refound." In La Pittura Ritrovata (1978-1998): Venti anni di Riallineamento alla Pittura de immagine. Rome: Museo del Risorgimento, 1999.

_____. Between Earth and Heaven. Ostende: Ostend Museum of Modern Art, 2001.

Luna, J. J. Pintura Británica (1500-1820). Madrid: Espasa-Calpe, 1989.

Makkuni, Ranjit. From "The Electronic Capture and Dissemination of the Cultural Practice of Tibetan Thangka Painting." In Internet Dreams. By Mark Stefik [et al.]. Cambridge (MA): MIT Press, 1996. 2001. 95-108.*

Manwaring, Elizabeth W. Italian Landscape in Eighteenth Century England. 1925.

Marin, Louis. Études sémiologiques: Écritures, peintures. Paris: Klincksieck, 1971.

_____. Estudios semiológicos: La lectura de la imagen. Madrid: Comunicación, 1978.

_____. Détruire la peinture. Paris: Galilée, 1977.

_____. Opacité de la peinture: Essais sur la représentation au Quattrocento. Usher, 1989.

Mateos, José. Pintura y escultura del siglo XX.  Barcelona: Sopena, 1979.

Meixner, Laura l. French Realist Painting and the Critique of American Society, 1865-1900. Cambridge: Cambridge UP, 1996.

Millar, Oliver. The Age of Charles I. Tate exhibition catalogue. 1972.

Miralles, Francesc. Camins de la Realitat-2. Barcelona: Galería Lluci`á Homs, dec. 1996.

Mondrian, P. "La nouvelle plastique dans la peinture." De Stijl (October 1917). Rpt. in M. Seuphor, Dictionnaire de la peinture abstraite. Paris: Hazan, 1957.

Moore, Pat. "A Good Impression." In Britain (February 1999): 20-25. (On the relationship between Britain and some Impressionist painters.)

Morales y Marín, José Luis. La pintura en el Barroco. Madrid: Espasa Calpe, 1998.*

Nead, Lynda. The Female Nude: Art, Obscenity and Sexuality. London: Routledge, 1992.

Nelken, Margarita. "La pintura española en la primera mitad del siglo XIX." Museum (Barcelona).

_____. "En torno a la Exposición de pintura de jóvenes mexicanos." Arte español.

_____. "Contribución de la pintura española a la pintura universal." Las Españas 15-18 (1951).

Ordóñez, Rafael. 6 pintores al Museo de Bellas Artes. Zaragoza: Museo Provincial de Bellas Artes de Zaragoza, 1983.

Passeron, René. Histoire de la peinture surréaliste. Paris: Le Livre de Poche.

Paulson, Ronald. Emblem and Expression. (English painting XVIII). Cambridge (MA): Harvard UP, 1975.

Pears, Iain. The Discovery of Painting: The Growth of Interest in the Arts in England, 1680-1768. New Haven: Yale UP, 1988.

Perera Velamazán, Pablo and Catalina Ruiz Mollá. "Meteorología del Ser." In Hans-Georg Gadamer: Ontología estética y hermenéutica. Ed. Teresa Oñate y Zubía et al. Madrid: Dykinson, 2005. 703-7.* (Painting, reflexivity).

Pointon, Marcia. "Interior Portaits." In Pointon, Naked Authority: The Body in Western Painting 1830-1908. Cambridge: Cambridge UP, 1990.*

_____. Naked Authority: The Body in Western Painting, 1830-1908. Cambridge: Cambridge UP, 1990.*

Pope-Hennessy, John. The Portrait in the Renaissance. London: Phaidon; Princeton (NJ): Princeton UP, 1966.

Rábanos Faci, Carmen. "San Lucas de Bardallur: Un retablo aragonés de la época del Renacimiento." In Francisco Abbad Ríos: A su memoria. Zaragoza: Departamento de Historia del Arte, Facultad de Filosofía y Letras, Universidad de Zaragoza, 1973. 183-94.*

Requejo Díaz de Espada, Elena. "Un retablo de la Seo de Zaragoza." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 893-902.*

Reverdy, Pierre. "Sur le cubisme." Essay. Nord-Sud (avant-garde review, 1917).

Rubio, Oliva María. La mirada interior: El surrealismo y la pintura. Madrid: Tecnos, 1994.

Sandler, Irving. Historia del expresionismo abstracto.  Trans. Javier Sánchez García-Gutiérrez. Madrid: Alianza, 1996.

Schefer, J.-L. Scénographie d'un tableau. Paris: Seuil, 1969.

Schmied, Wieland. 200 Jahre phantastischer Malerei. Berlin: Rembrandt, 1973.

Schopenhauer, Arthur. "Isolated Remarks on the Aesthetics of the Plastic and Pictorial Arts." In Schopenhauer, The World as Will and Representation.  New York: Dover, 1969. 419-23.

Scobie, Stephen. Earthquakes and Explorations: Language and Painting from Cubism to Concrete Poetry. Toronto: U of Toronto P, 1997.

Serrano de Haro, Amparo. "6. Representaciones de la mujer en la historia de la pintura." In El sustrato cultural de la violencia de género: Literatura, arte, cine y videojuegos. Ed. Ángeles de la Concha. (Perspectiva feminista). Madrid: Síntesis, 2010.

Seuphor, M. Dictionnaire de la peinture abstraite. Paris: Hazan, 1957.

Steiner, Wendy. Pictures of Romance: Form against Context in Painting and Literature. Chicago: Chicago UP, 1988.

_____. "Pictorial Narrativity." In Narrative across Media: The Languages of Storytelling. Ed. Marie-Laure Ryan. Lincoln: U of Nebraska P, 2004. 145-78.*

Stoichita, Victor I. El ojo místico. Pintura y visión religiosa en el Siglo de Oro Español. Trans. Anna María Coderch. Madrid: Alianza, 1996.

Sutton, Peter C., ed. Masters of Seventeenth-Century Dutch Landscape Painting. Exhibition catalogue. London: Herbert Press, 1987.

Тарабукин, Николай. "Смысловое значение диагональных композиций в живописи." Труды по знаковым системам (Sign Systems Studies) 6 (1973): 472–481.

Todorov, Tzvetan. Eloge du quotidien: Essai sur la peinture hollandaise. 2004.

White, John. The Birth and Rebirth of Pictorial Space. London: Faber and Faber, 1957.

Uspensky, Boris. "General Premisses for a Semiotic Consideration of the Ancient Icon." In Semiotics. Ed. Karin Boklund-Lagopoulou, Alexandros Lagopoulos and Mark Gottdiener. London: SAGE, 2002. Vol. 3.

Waterhouse, Ellis. Painting in Britain 1530-1790.  (Pelican History of Art). Harmondsworth: Penguin, 1953.

Zambrano, María. Algunos lugares de la pintura. Madrid: Espasa Calpe, 1991.

Blogs

Art Blog

http://my-museum-of-art.blogspot.com.es/

2012
Vivencias plásticas. (Goyo Vigil).



http://goyo-vigil.blogspot.com.es/

2012


Dictionaries
Bryant. Dictionary of Painters and Engravers.

Guidebooks


Smith, Stan. The Complete Watercolour Course. London: Collins & Brown, 1995.

_____. Aquarelle: Toutes les techniques. Paris: Dessain et Tolra, 2000.*


Internet resources
National Gallery

http://www.nationalgallery.org.uk/

2011
Pre-raphaelites website, U of Zaragoza.



http://persephone.cps.unizar.es/General/Gente/SPD/Pre-Raphaelites.html (December 1996).
Reproarte.com

http://www.reproarte.com/

2011
Your Paintings



http://www.bbc.co.uk/arts/yourpaintings/

2012


Journals
Studio International (London) 183.937 (October 1971).

Literature


Auden, W. H. "Musée des Beaux Arts." Poem. In Perrine's Literature: Structure, Sound, and Sense. By Thomas R. Arp and Greg Johnson. 8th ed. Boston (MA): Thomson Learning-Heinle & Heinle, 2002. 1028.* (Painting).

Chatterton, Thomas. ("Thomas Rowley"). "The Ryse of Peyncteyne yn Englande wroten by T. Rowleie, 1469, for Mastre Canynge." Forgery.

Keats, John. "Ode on a Grecian Urn."

Moore, T. Sturge. "Suggested by the Representation on a Grecian Amphora." Poem.

Video

"The Dawn of Art." (Paintings from Chauvet). YouTube (terreemc) 25 April 2011.*



http://youtu.be/wZrZxyRBAlM

2013
"The Day Pictures Were Born." (How Art made the World 2). BBC. Online at YouTube



http://youtu.be/Sc4HV0Lgkjg

2013-12-29


Tagliaferro, Rino Stefano. Beauty. Online video. (Animated paintings).

http://www.rinostefanotagliafierro.com/beauty_manifesto.html

2014


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