Bibliography

in The Place of the Viewer
Free access
Bibliography

AckermanJames S.On the origins of architectural photography.” In This is Not Architecture: Media Constructions edited by Kester Rattenbury2636. New York: Routledge2002.

  • Search Google Scholar
  • Export Citation

AckermanJames S. The Architecture of Michelangelo 2 vols. London: Zwemmer1961.

AckermanJames S. The Cortile del Belvedere. Vatican City: Biblioteca Apostolica Vaticana1954.

Ackerman James S. Papers. Smithsonian Archives of American Art.

AdcockCraig E. Marcel Duchamp’s Notes from the Large Glass; An N-Dimensional Analysis. Ann Arbor: UMI Research Press1983.

AdcockCraig E. and James Turrell. James Turrell: The Art of Light and Space. Berkeley: University of California Press1990.

AgostiGiacomoet al. eds. Giovanni Morelli e la cultura dei conoscitori. Bergamo: Pierluigi Lubrina1993.

AlbertiLeon Battista. On Painting. Translated by Cecil Grayson with introduction and notes by Martin Kemp. London: Penguin Books1991.

  • Search Google Scholar
  • Export Citation

AlpersSvetlana and Michael Baxandall. Tiepolo and the Pictorial Intelligence. New Haven: Yale University Press1994.

AmorMónica. Theories of the Nonobject: Argentina Brazil Venezuela 1944–1969. Oakland: University of California Press2016.

AndersonJaynie. “The Political Power of Connoisseurship in Nineteenth-Century Europe: Wilhelm von Bode versus Giovanni Morelli.” Jahrbuch der Berliner Museen 38 (1996): 107119.

  • Search Google Scholar
  • Export Citation

The Antiquities & Marbles in the British Museum. London: Henry G. Bohn1848.

AntliffMark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press1993.

AntliffMark and Patricia Leighten. Cubism and Culture. New York: Thames & Hudson2001.

ArnheimRudolf et al. Rudolf Arnheim: Revealing Vision. Ann Arbor: University of Michigan Press1997.

ArnheimRudolf. Art and Visual Perception: A Psychology of the Creative Eye. Berkeley: University of California1974 revision.

ArnheimRudolf. Review of Ernst Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation. The Art Bulletin 44/1 (March 1962): 7579.

  • Search Google Scholar
  • Export Citation

ArnheimRudolf. Art and Visual Perception: A Psychology of the Creative Eye third printing. Berkeley: University of California1960.

  • Search Google Scholar
  • Export Citation

ArtaudAntonin. The Theater and its Double. Translated by Mary Caroline Richards. New York: Grove Press1958.

AsburyMichael. “Neoconcretism and Minimalism: Cosmopolitanism at a Local Level and a Canonical Provincialism.” In Cosmopolitan Modernisms edited by Kobena Mercer174189. Cambridge, MA: The MIT Press2005.

  • Search Google Scholar
  • Export Citation

AubertGeneviève. “From Photography to Cinematography: Recording Movement and Gait in a Neurological Context.” Journal of the History of the Neurosciences 11/3 (2002): 255264.

  • Search Google Scholar
  • Export Citation

BacciFrancesca and David Melcher eds. Art and the Senses. Oxford: Oxford University Press2011.

BaedekerKarl. Italy: Handbook for Travelers Part 2: Central Italy and Rome4th edition. Leipzig: Karl Baedeker1875.

BaldwinGordon. Architecture in Photographs. Los Angeles: Getty Publications2013.

BalleriniJulia. “Recasting Ancestry: Statuettes as Imaged by Three Inventors of Photography.” In The Object as Subject: Studies in the Interpretation of Still Life edited by Anne Lowenthal4158. Princeton: Princeton University Press1996.

  • Search Google Scholar
  • Export Citation

BanesSally. Democracy’s Body: Judson Dance Theater 1962–1964. Ann Arbor: UMI Research Press1983.

BannStephen. Parallel Lines: Printmakers Painters and Photographers in Nineteenth-Century France. New Haven: Yale University Press2001.

  • Search Google Scholar
  • Export Citation

BannStephenet al. Four Essays on Kinetic Art. St. Albans: Motion Books1966.

BaraschMoshe. Theories of Art 2: From Winckelmann to Baudelaire. Hoboken: Taylor and Francis2013.

BarishJonas. The Antitheatrical Prejudice. Berkeley: University of California Press1981.

BarnesBernadine. Michelangelo in Print: Reproductions as Response in the Sixteenth Century. Burlington, VT: Ashgate2010.

BarthesRoland. Image music text. Translated by Stephen Heath. New York: Hill and Wang1977.

BatchenGeoffrey. “An Almost Unlimited Variety: Photography and Sculpture in the Nineteenth Century.” In The Original Copy: Photography of Sculpture 1839 to Today edited by Roxana Marcoci2026. New York: MoMA2010.

  • Search Google Scholar
  • Export Citation

BaudelaireCharles. The Flowers of Evil. Translated by James McGowan. New York: Oxford University Press1993.

BaudelaireCharles. Art in Paris 1845–1862. Translated and edited by Jonathan Mayne. London: Phaidon1965.

BeardMary and John Henderson. Classical Art from Greece to Rome. Oxford: Oxford University Press2001.

BeckmannAngelika and Bodo von Dewitz eds. Dom Tempel Skulptur: Architekturphotographien von Walter Hege exhibition catalogue. Köln: Agfa Foto-Historama1993.

  • Search Google Scholar
  • Export Citation

Beckmann Angelika. Walter Hege (1893–1955) und das fotografische Abbild der Naumburger Stifterfiguren im Wandel der Zeit: zum Stellenwert der Fotografie in der Kunstgeschichte. Unpublished dissertation Freie Universität Berlin 1990.

BehnkeElizabeth A.Edmund Husserl’s Contribution to Phenomenology of the Body in Ideas II.” In Issues in Husserl’s Ideas II edited by Thomas Nenon and Lester Embree135160. Dordrecht: Kluwer Academic Publishers1996.

  • Search Google Scholar
  • Export Citation

BenjaminAndrew. Art’s Philosophical Work. London: Rowman & Littlefield2015.

BenjaminAndrew. “To Touch: Herder and Sculpture.” In Sculpture and Touch edited by Peter Dent7990. Dorchester: Ashgate2014.

  • Search Google Scholar
  • Export Citation

BenjaminWalter. Illuminations. Translated by Harry Zahn; edited and introduction by Hannah Arendt. New York: Harcourt, Brace & World1968.

  • Search Google Scholar
  • Export Citation

BerensonBernard. Aesthetics and History in the Visual Arts. New York: Pantheon1948.

BerensonBernard. The Venetian Painters of the Renaissance3rd edition. New York: G.P. Putnam’s Sons1894.

BerensonBernard. “Isochromatic Photography and Venetian Pictures.” The Nation 57/1480 (November 1893): 346347.

BergerMaurice. Labyrinths: Robert Morris Minimalism and the 1960s. New York: Harper & Row1989.

BergsonHenri. Creative Evolution. Edited by Keith Ansell Pearsonet al.; translated by Arthur Mitchell. New York: Palgrave Macmillan2007.

  • Search Google Scholar
  • Export Citation

BergsonHenri. Matter and Memory. Translated by Nancy Margaret Paul and W. Scott Palmer. New York: Zone Books1988.

BergsonHenri. Creative Evolution. Translated by Arthur Mitchell. London: Macmillan and Co.1911.

BergsteinMary. Mirrors of Memory: Freud Photography and the History of Art. Ithaca: Cornell University Press2010.

BergsteinMary. “‘Moses of Michelangelo’: Vasari, Photography, and Art Historical Practice.” The Art Bulletin 88/1 (March 2006): 158176.

  • Search Google Scholar
  • Export Citation

BergsteinMary. “The ‘Dying Slave’ at Berggasse 19.” American Imago 60/1 (Spring 2003): 920.

BergsteinMary. “Lonely Aphrodites: On the Documentary Photography of Sculpture.” The Art Bulletin 74/3 (September 1992): 475498.

  • Search Google Scholar
  • Export Citation

BestSusan. Visualizing Feeling: Affect and the Feminine Avant-Garde. London: I.B. Tauris2011.

BishopClaire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and New York: Verso2012.

BishopClaire. Installation Art: A Critical History. New York: Routledge2005.

BishopClaire. “Antagonism and Relational Aesthetics.” October 110 (Fall 2004): 5179.

BlumHarold P.Freud and the Figure of Moses: The Moses of Freud.” Journal of the American Psychoanalytic Association 39/2 (April 1991): 513535.

  • Search Google Scholar
  • Export Citation

BlunckLars. “‘Purely Optical Things?’ On Marcel Duchamp’s Precision Optics.” Artibus et Historiae 32/63 (2011): 259274.

  • Search Google Scholar
  • Export Citation

BoccioniUmberto. Pittura scultura futuriste (dinamismo plastico). Milan: Edizioni Futuriste di ‘Poesia,’ 1914.

BodeWilhelm. “The Berlin Renaissance Museum.” The Fortnightly Review 56 (October 11891): 506515.

BohrerFrederick N.Doors into the Past: Stillman (and Freud) on the Acropolis.” In Camera Graeca: Photographs Narratives Materialities edited by Eleni Papagyriou95112. Farnham: Ashgate2015.

  • Search Google Scholar
  • Export Citation

BohrerFrederick N.Photographic Perspectives: Photography and the institutional formation of art history.” In Art History and its Institutions edited by Elizabeth Mansfield246259. New York: Routledge2002.

  • Search Google Scholar
  • Export Citation

BoisYve-Alain and John Shepley. “A Picturesque Stroll around ‘Clara-Clara.’” October 29 (Summer 1984): 3262.

BonfilsFélix. Souvenirs d’Orient – Album pittoresque des Sites Villes et Ruines les plus remarquables de la Terre Sainte. Alais: Bonfils1877.

  • Search Google Scholar
  • Export Citation

BonfilsFélix. Architecture Antique: Égypte Grèce Asie Mineure. Paris: Ducher1872.

BorcomanJames. Charles Nègre 1820–1880. Ottawa: National Gallery of Canada1976.

BoschiniMarco. La carta del navegar pitoresco. Ed. critica con la ‘Breve istruzione’ premessa alle ‘Ricche minere della pittura veneziana.’ Edited by Anna Pallucchini. Venice: Istituto per a collaborazione culturale1966.

  • Search Google Scholar
  • Export Citation

BothmerBernard. “On Photographing Egyptian Art.” Studien zur Altägyptischen Kultur vi (1978): 5153.

BourdieuPierre. Photography: A Middle-brow Art. Translated by Shaun Whiteside. Cambridge: Polity1990.

BraunMarta. Picturing Time: The Work of Etienne-Jules Marey (1830–1904). Chicago: The University of Chicago Press1992.

BrendelOtto. “Photographs of Ancient Architecture.” College Art Journal 5/1 (November 1945): 38.

BritoRonaldoet al. Art in Brazil 1950–2011. Brussels: Europalia International2011.

BrooknerAnita. The Genius of the Future. Ithaca: Cornell University Press1971.

BrothersCammy. “‘A Way Must be Found to Broaden Our Perspective’: James Ackerman in Conversation with Cammy Brothers.” The Art Bulletin 94/3 (September 2012): 362367.

  • Search Google Scholar
  • Export Citation

BrownDavid Alan. “Bode and Berenson: Berlin and Boston.” Jahrbuch der Berliner Museen 38 (1996): 101106.

Bryan-WilsonJulia ed. Robert Morris. Cambridge, MA: The MIT Press2013.

BuchlohBenjamin H.D.From Faktura to Factography.” October 30 (Autumn 1984): 82119.

BurkeJanine. The Sphinx on the Table: Sigmund Freud’s Art Collection and the Development of Psychoanalysis. New York: Walker & Company2006.

  • Search Google Scholar
  • Export Citation

BurnettCraig. “50th Venice Biennale.” Frieze 77 (September 2003): 108.

BurtRamsay. Judson Dance Theater: Performative Traces. New York: Routledge2006.

BurtonRichard D.E. Baudelaire and the Second Republic: Writing and Revolution. Oxford: Clarendon Press1991.

BusbeaLarry. “Kineticism-Spectacle-Environment.” October 144 (Spring 2013): 92114.

ButlerJudith. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal 40/4 (December 1988): 519531.

  • Search Google Scholar
  • Export Citation

CaiccoGregory. Architecture Ethics and the Personhood of Place. Hanover, NH: University Press of New England2007.

CampbellStephen J. and Michael W. Cole. Italian Renaissance Art. New York: Thames & Hudson2012.

CaraffaCostanza ed. Photo Archives and the Photographic Memory of Art History. Berlin: Deutscher Kunstverlag2011.

CaraffaCostanza ed. Fotografie als Instrument und Medium der Kunstgeschichte. Berlin: Deutscher Kunstverlag2006.

CarpenterRhys. The Esthetic Basis of Greek Art of the Fifth and Fourth Centuries B.C. Bryn Mawr: Bryn Mawr College1921.

CarpenterScott. Aesthetics of Fraudulence in Nineteenth-Century France. Burlington: Ashgate2009.

CarrierDavid. “An Extraordinarily Suggestive Revisionist.” Art Critical online March 162011. Accessed January 14 2019. http://www.artcritical.com/2011/03/16/steinberg/.

  • Search Google Scholar
  • Export Citation

CarterApril. Direct Action and Liberal Democracy. New York: Harper & Row1973.

CaskeyL.D.On a Polyclitan Head in Boston.” American Journal of Archaeology 15/2 (Apr.–June 1911): 215216.

Cast Light: Sculpture in Photography 1845–1860. Munich: Galerie Daniel Platz2008.

Catalogo generale delle riproduzioni fotografiche appendix 2. Florence: Alinari1881.

CaumanSamuel. The Living Museum: Experiences of an Art Historian and Museum Director: Alexander Dorner. Introduction by Walter Gropius. New York: New York University Press1958.

  • Search Google Scholar
  • Export Citation

CelliniBenvenuto. Opere: Vita. Trattati. Rime. Lettere. Edited by Bruno Maier. Milan: Rizzoli1968.

ChaveAnna C.Eva Hesse: A ‘Girl Being a Sculpture.’” In Eva Hesse: A Retrospective exhibition catalog edited by Helen Cooper99117. New Haven: Yale University Press1992.

  • Search Google Scholar
  • Export Citation

ChaveAnna C.Minimalism and the Rhetoric of Power.” Arts Magazine 64/5 (January 1990): 4463.

ChippHerschel B.et al. eds. Theories of Modern Art: A Source Book by Artists and Critics. Berkeley: University of California Press1968.

  • Search Google Scholar
  • Export Citation

ChristiansenKeith ed. From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master. New York: The Metropolitan Museum of Art2005.

  • Search Google Scholar
  • Export Citation

CicognaraLeopoldo. Storia della scultura dal suo Risorgimento in Italia fino al secolo di Napoleone 3 vols. Venice: Picotti18131818.

  • Search Google Scholar
  • Export Citation

CoffinDavid. Review of James S. AckermanThe Architecture of Michelangelo. Journal of the Society of Architectural Historians 21/2 (1962): 103104.

  • Search Google Scholar
  • Export Citation

ColeHenryet al. First Proofs of the Universal Catalogue of Books on Art 2 vols. London: Chapman and Hall1870.

ColeMichael. “Cellini’s Blood.” The Art Bulletin 81/2 (June 1999): 215235.

CookB.E. The Townley Marbles. London: The British Museum1985.

CoolidgeJohn. “Rubens and the Decoration of French Royal Galleries.” Art Bulletin 48/1 (March 1966): 6769.

CondallJoseph and George Downes. Architectural Details of Wells Cathedral and Close. London: Cundall, Downes & Co.1862.

CopeMaurice. The Venetian Chapel of the Sacrament in the Sixteenth Century. New York: Garland1979.

CostelloeMary Whitall. “The New and the Old Art Criticism.” The Nineteenth Century 35/207 (May 1894): 833.

CoviDario. Andrea del Verrocchio. Florence: Leo S. Olschki2005.

CoxArchibald. “Direct Action, Civil Disobedience, and the Constitution.” Proceedings of the Massachusetts Historical Societythird series78 (1966): 105119.

  • Search Google Scholar
  • Export Citation

CranstonJodi. The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings. University Park, PA: Pennsylvania State University Press2010.

  • Search Google Scholar
  • Export Citation

CraryJonathan. Suspensions of Perception: Attention Spectacle and Modern Culture. Cambridge, MA: The MIT Press1999.

CraryJonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: The MIT Press1990.

CrutwellMaud. Verrocchio. New York: Charles Scribner’s Sons1904.

CutlerEllen. “Sculpture through the Lens.” Sculpture Review 54/4 (Winter 2005): 1217.

DentonMargaret. “Francis Wey and the Discourse of Photography as Art in France in the Early 1850s: ‘Rien n’est beau que le vrai; mais il faut le choisir.’Art History 25/5 (November 2002): 622648.

  • Search Google Scholar
  • Export Citation

DeonnaWaldemar. L’expression des sentiments dans l’art grec: les facteurs esprssifs. Paris: H. Laurens1914.

DerenthalLudger and Christine Kühn eds. Ein neuer Blick: Architekturfotografien aus den Staatlichen Museen zu Berlin. Tübingen: Wasmuth Verlag 2010.

  • Search Google Scholar
  • Export Citation

DescombesVincent. “A Question of Chronology.” Translated by Stephen Adam Schwartz. Southern Humanities Review 32/2 (Spring 1998): 105133.

  • Search Google Scholar
  • Export Citation

DeweyJohn. Art as Experience. New York: Minton, Balch, & Co.1934.

Di BelloPatrizia and Gabriel Koureas eds. Art History and the Senses: 1830 to the Present. Burlington: Ashgate2010.

DickermanLeah. “El Lissitzky’s Camera Corpus.” In Situating El Lissitzky: Vitebsk Berlin Moscow edited by Nancy Perloff and Brian Reed153176. Los Angeles: Getty Publications2003.

  • Search Google Scholar
  • Export Citation

DiderotDenis. Diderot on Art 2 vols. Translated by John Goodman with introduction by Thomas Crow. New Haven: Yale University Press1995.

  • Search Google Scholar
  • Export Citation

Didi-HubermanGeorges. Invention of Hysteria: Charcot and the Iconography of the Salpêtrière. Translated by Alisa Hartz. Cambridge, MA: MIT Press2003.

  • Search Google Scholar
  • Export Citation

DillyHeinrich. Kunstgeschichte als Institution: Studien zur Geschichte einer Disziplin. Frankfurt: Suhrkamp1979.

DisdériAndré-Adolphe-Eugène. L’Art de la photographie. Introduction by Lafon de Camarsac. Paris: 1862.

DisdériAndré-Adolphe-Eugène. Application de la photographie à la reproduction des oeuvres d’art. Paris: 1861.

Doerner [sic]Alexander. “Considérations sur la signification de l’art abstrait.” Cahiers d’art 6 (1931): 354357.

DonovanJeremiah. Rome Ancient and Modern: And its Environs. Rome: Puccinelli1842.

DoxiadisC.A. Architectural Space in Ancient Greece. Translated and edited by Jaqueline Tyrwhitt. Cambridge, MA: The MIT Press1972.

  • Search Google Scholar
  • Export Citation

DoxiadisK.A. [sic]. Raumordnung im griechischen Städtebau. Berlin: Kurt Vowinckel Verlag1937.

DrummondJohn. “On Seeing a Material Thing in Space: The Role of Kinaesthesis in Visual Perception.” Philosophy and Phenomenological Research 40/1 (September 1979): 1932.

  • Search Google Scholar
  • Export Citation

Eadweard Muybridge: The Stanford Years exhibition catalog. Palo Alto: Stanford University1973.

EagletonTerry. Literary Theory: An Introduction. Minneapolis: University of Minnesota Press1983.

EcoUmberto. The Open Work. Translated by Anna Cancogni with introduction by David Robey. Cambridge, MA: Harvard University Press1989.

  • Search Google Scholar
  • Export Citation

EcoUmberto. The Role of the Reader: Explorations in the Semiotics of Texts. Bloomington: Indiana University Press1979.

EcoUmberto. “L’opera in movimento e la coscienza dell’epoca.” Incontri musicali 3 (August 1959): 3254.

EdwardsLaura Hyatt. “A Brief Conceptual History of Einfühlung: 18th-century Germany to Post-World War II U.S. Psychology.” History of Psychology 16/4 (2013): 269281.

  • Search Google Scholar
  • Export Citation

ElkinsJames. The Poetics of Perspective. Ithaca: Cornell University Press1994.

ElsnerJás. “Frontality in the Column of Marcus Aurelius.” In La Colonne Aurélienne edited by John Scheid and Velérie Huet251264. Turnhout: Brepols2000.

  • Search Google Scholar
  • Export Citation

FaragoClaire J. Leonardo da Vinci’s Paragone: A Critical Interpretation with a New Edition of the Text in the Codex Urbinas. New York: Brill1992.

  • Search Google Scholar
  • Export Citation

FavroDiane and Christopher Johanson. “Death in Motion: Funeral Processions in the Roman Forum.” JSAH 69/1 (March 2010): 1237.

  • Search Google Scholar
  • Export Citation

FawcettTrevor. “Plane Surfaces and Solid Bodies: Reproducing Three-Dimensional Art in the Nineteenth Century.” Visual Resources 4/1 (1987): 123.

  • Search Google Scholar
  • Export Citation

FawcettTrevor. “Graphic versus Photographic in the Nineteenth-Century Reproduction.” Art History 9/2 (June 1986): 185212.

FawcettTrevor. “Visual Facts and the Nineteenth-Century Art Lecture.” Art History 6/4 (December 1983): 442460.

FernieEric. Art History and its Methods: A Critical Anthology. Hong Kong: Phaidon1995.

FishStanley. Is There a Text in this Class? The Authority of Interpretive Communities. Cambridge, MA: Harvard University Press1980.

  • Search Google Scholar
  • Export Citation

FittschenKlaus. “Über das Photographieren römischer Porträts.” Archälogischer Anzeiger 89/3 (1974): 484494.

Flowers Regina. Material and Motion: Phenomenology and the Early Work of Carolee Schneemann 1957–1973. Unpublished thesis University of Nebraska 2012.

ForgeAndrew. “Some New British Sculptors.” Artforum 3/8 (May 1965): 3135.

FosterHal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge, MA: The MIT Press1996.

FosterHal ed. Discussions in Contemporary Cultureno. 1. Seattle: Bay Press1987.

FrangenbergThomas. Review of John Shearman, Only Connect: Art and the Spectator in the Italian Renaissance. Art History 17/4 (December 1994): 676677.

  • Search Google Scholar
  • Export Citation

FrangenbergThomas and Robert Williams eds. The Beholder: The Experience of Art in Early Modern Europe. Burlington, VT: Ashgate2006.

  • Search Google Scholar
  • Export Citation

FrankMitchell B. and Daniel Adler eds. German Art History and Scientific Thought: Beyond Formalism. Burlington, VT: Ashgate2012.

  • Search Google Scholar
  • Export Citation

Fratelli Alinari: Photographers in Florence. Florence: Fratelli Alinari2003.

FreitagWolfgang M.Early Uses of Photography in the History of Art.” Art Journal 39/2 (1979/80): 117123.

FreudSigmund. The Standard Edition of the Complete Psychological Works of Sigmund Freud 24 vols. Translated and edited by James Strachey. London: The Hogarth Press1958 reprint of 1955 edition.

  • Search Google Scholar
  • Export Citation

FreudSigmund and Carl Jung. The Freud/Jung Letters: The Correspondence between Sigmund Freud and C.G. Jung. Edited by William McGuire; translated by Ralph Manheim and R.F.C. Hull. Princeton: Princeton University Press1974.

  • Search Google Scholar
  • Export Citation

FreudSigmund and Ernest Jones. The Complete Correspondence of Sigmund Freud and Ernest Jones 1908–1939. Edited by R. Andrew Paskauskas with introduction by Riccardo Steiner. Cambridge, MA: The Belknap Press1993.

  • Search Google Scholar
  • Export Citation

FriedMichael. Art and Objecthood: Essays and Reviews. Chicago: University of Chicago Press1998.

FriedMichael. “Art and Objecthood.” Artforum 5/10 (June 1967): 1223.

FriedMichael. “The Achievement of Morris Louis.” Artforum 5/6 (February 1967): 3440.

FriedMichael. “Jules Olitski’s New Paintings.” Artforum 4/3 (November 1965): 3640.

FriedMichael. Three American Painters exhibition catalog. Cambridge, MA: Fogg Art Museum1965.

FriedMichael. “Anthony Caro.” Art International 7/7 (September 251963): 6872.

FrizzoniGustavo. Collezione di quaranta disegni scelti dalla raccolta del Senatore Giovanni Morelli. Milan: Ulrico Hoepli1886.

FuchsR.H.Tradities der Ouden.” Simiolus: Netherlands Quarterly for the History of Art 2/2 (1967–1968): 6970.

FullerPeter. Art and Psychanalysis. London: Writers and Readers1980.

FurtwänglerAdolf. Masterpieces of Greek Sculpture: A Series of Essays on the History of Art. Translated by James Muirhead. London: William Heineman1895.

  • Search Google Scholar
  • Export Citation

FurtwänglerAdolf. Meisterwerke der Griechischen Plastik 2 vols. Leipzig: Giesecke & Devrient1893.

GaboNaumet al. Gabo on Gabo: Texts and Interviews. East Sussex: Artists Bookworks 2000.

GalassiPeter. Before Photography: Painting and the Invention of Photography. New York: Museum of Modern Art1981.

GamwellLynn. “The Origins of Freud’s Antiquities Collection.” In Sigmund Freud and Art: His Personal Collection of Antiquities edited by Lynn Gamwell and Richard Wells with introduction by Peter Gay 2032. New York: Harry Abrams1989.

  • Search Google Scholar
  • Export Citation

GannKyle. No Such Thing as Silence: John Cage’s 4’33.” New Haven: Yale University Press2010.

GanzDavid and Stefan Neuner eds. Mobile Eyes: Peripatetisches Sehen in den Bildkulturen der Vormoderne. Munich: Wilhelm Fink2013.

  • Search Google Scholar
  • Export Citation

GayPeter. Freud: A Life for Our Time. New York: Norton1988.

GeigerMoritz. “On the essence and meaning of empathy” translated by Florian Gödel and Massimiliano Aragona. Dialogues in Philosophy Mental and Neuro Sciences 8/1 (June 2015): 1931 and 8/2 (December 2015): 75–85.

  • Search Google Scholar
  • Export Citation

GeldzahlerHenry. “An Interview with George Segal.” Artforum 3/2 (November 1964): 2629.

GeorgiadisSokratis. Sigfried Giedion: An Intellectual Biography translated by Colin Hall. Edinburgh: Edinburgh University Press1993.

  • Search Google Scholar
  • Export Citation

GiedionSigfried. Space Time and Architecture: The Growth of a New Tradition. Cambridge, MA: Harvard University Press1949.

GinzburgCarlo. “Morelli, Freud and Sherlock Holmes: Clues and Scientific Method.” History Workshop 9 (1980): 536.

Giovanni Morelli: Da collezionista a conoscitore: catalogo della mostra. Bergamo: Accademia Carrara1987.

GleizesAlbert and Jean Metzinger. Du ‘Cubisme’/On ‘Cubism’/Über den ‘Kubismus’ translated by Fritz Metzinger. FrankfurtR.G. Fischer1993.

  • Search Google Scholar
  • Export Citation

Gli Alinari: Fotografi a Firenze 1852–1920. Florence: Alinari1985.

GombrichErnst. Art and Illusion: A Study in the Psychology of Pictorial Representation. New York: Pantheon Books1960.

GoodyearWilliam Henry. A History of Art. New York: A.S. Barnes1888.

GoughMaria. “Constructivism Disoriented: El Lissitzky’s Dresden and Hannover Demonstrationsräume.” In Situating El Lissitzky: Vitebsk Berlin Moscow edited by Nancy Perloff and Brian Reed76125. Los Angeles: Getty Publications2003.

  • Search Google Scholar
  • Export Citation

GreenbergClement. The Collected Essays and Criticism 4 vols. Edited by John O’Brian. Chicago: University of Chicago Press1986.

GrimmHerman. Das Leben Raphael’s3rd edition. Berlin: Wilhelm Hertz1896.

GullarFerreira. “Theory of the Non-Object” translated by Michael Asbury. In Cosmopolitan Modernisms edited by Kobena Mercer170173. Cambridge, MA: The MIT Press2005.

  • Search Google Scholar
  • Export Citation

GulygaArsenij. Immanuel Kant: His Life and Thought. Translated by Marijan Despalatović. Boston: Birkhäuser1987.

GuytonWade. “Robert Morris.” Interview online January 62014. Accessed January 14 2019. http://www.interviewmagazine.com/art/robert-morris/#_.

  • Search Google Scholar
  • Export Citation

HackerAndrew. Political Theory: Philosophy Ideology Science. New York: Macmillan1961.

HamberAnthony. “Photography in nineteenth-century art publications.” In The Rise of the Image: Essays on the History of the Illustrated Art Book edited by Rodney Palmer and Thomas Frangenberg215244. Burlington: Ashgate2003.

  • Search Google Scholar
  • Export Citation

HamberAnthony. “Photography and the Ecclesiological Society.” Ecclesiology Today 28 (May 2002): 3344.

HamberAnthony. “A Higher Branch of the Art”: Photographing the Fine Arts in England 1839–1880. Amsterdam: Gordon and Breach1996.

  • Search Google Scholar
  • Export Citation

HamberAnthony. “The Use of Photography by Nineteenth-Century Historians.” In Art History through the Camera’s Lens edited by Helene E. Roberts89121. Amsterdam: Gordon and Breach1995.

  • Search Google Scholar
  • Export Citation

HannavyJohn ed. Encyclopedia of Nineteenth-Century Photography. London: Routledge2013.

HarrisJonathan. Writing Back to Modern Art: after Greenberg Fried and Clark. New York: Routledge2005.

HarrisonCharles and Paul Wood eds. Art in Theory 1900–2000: An Anthology of Changing Ideas. Malden, MA: Blackwell2003.

HarttFrederick. History of Italian Renaissance Art: Painting Sculpture Architecture. New York: H.N. Abrams1969.

HarveyMichael. “Ruskin and Photography.” Oxford Art Journal 7/2 (1984): 2533.

HauserArnold. Review of Siegfried Giedion, Mechanization Takes Command. The Art Bulletin 34/3 (September 1952): 251253.

HegelGeorg Friedrich Wilhelm. Ästhetik 2 vols. Edited by Friedrich Bassenge. West Berlin: Aufbau-Verlag1965.

HeilbrunFrançoise. Charles Nègre Photographe 1820–1880. Paris: Éditions des musées nationaux1980.

HelsingerElizabeth K. Ruskin and the Art of the Beholder. Cambridge, MA: Harvard University Press1982.

HendersonLynda Dalrymple. The Fourth Dimension and Non-Euclidian Geometry in Modern Art. Cambridge, MA: The MIT Press2013.

HendersonLynda Dalrymple. “Einstein and 20th-Century Art: A Romance of Many Dimensions.” In Einstein for the 21st Century edited by Peter L. Galisonet al.101129. Princeton: Princeton University Press2008.

  • Search Google Scholar
  • Export Citation

HendersonLynda Dalrymple. Duchamp in Context: Science and Technology in the Large Glass and Related Works. Princeton: Princeton University Press1998.

  • Search Google Scholar
  • Export Citation

HerderJohann Gottfried. Sculpture: Some Observations on Shape and Form from Pygmalion’s Creative Dream. Translated and edited by Jason Gaiger. Chicago: University of Chicago2002.

  • Search Google Scholar
  • Export Citation

HerderJohann Gottfried. Werke 2 vols. Edited by Wolfgang Pross. Darmstadt: Wissenschaftliche Buchgesellschaft1987.

HessThomas B.You can hang it in the hall,Art News 64/2 (April 1965): 4143.

HibbardHoward. Carlo Maderno and Roman Architecture 1580–1630. London: Zwemmer1971.

HildebrandAdolf. The Problem of Form in Painting and Sculpture. Translated by Max Meyer and Robert Morris Ogden. New York: G.E. Steichert1945.

  • Search Google Scholar
  • Export Citation

HildebrandAdolf. Das Problem der Form in der Bildenden Kunst. Strassburg: Heitz & Mündel1893.

HillMichael. “Steinberg’s Complexity.” In The Baroque in Architectural Culture 1880–1980 edited by Andrew Leachet al.211221. Burlington, VT: Ashgate2015.

  • Search Google Scholar
  • Export Citation

HillerDiana. Gendered Perceptions of Florentine Last Supper Frescoes c. 1350–1490. Burlington, VT: Ashgate2014.

HobbsRobert. Alice Aycock: Sculpture and Projects. Cambridge, MA: The MIT Press2005.

HobsonR. Peter. Autism and the Development of Mind. Hillsdale: L. Erlbaum1993.

HodgesDonald Clark. Review of Maurice Merleau-Ponty, Signs and The Primacy of Perception. Philosophy and Phenomenological Research 26/2 (December 1965): 271274.

  • Search Google Scholar
  • Export Citation

HolmesMegan. Fra Filippo Lippi: The Carmelite Painter. New Haven: Yale University Press1999.

HoustonKerr. “Embodied Poses: Leo Steinberg, Kinesthetic Empathy, and Dance Theory in the 1960s.” Dance Chronicle 40/3 (2017): 335352.

  • Search Google Scholar
  • Export Citation

HoustonKerr. “Towards a Kinetic Architectural History: James Ackerman and the Moving Viewer, 1942–1961.” SECAC Review 16/5 (2015): 622632.

  • Search Google Scholar
  • Export Citation

HoustonKerr. An Introduction to Art Criticism: Histories Strategies Voices. Boston: Pearson2013.

HoustonKerr. “Leo Steinberg and Robert Morris’s ‘Notes on Sculpture.” Source: Notes in the History of Art 33/1 (Fall 2013): 3842.

  • Search Google Scholar
  • Export Citation

HoustonKerr. “The Sistine Chapel Chancel Screen as Metaphor.” Source: Notes in the History of Art 32/3 (Spring 2013): 2127.

HuntJohn Dixon. The Figure in the Landscape: Poetry Painting and Gardening during the Eighteenth Century. Baltimore: The Johns Hopkins University Press1976.

  • Search Google Scholar
  • Export Citation

The Iliad of Homer. Translated by John Herschel. London: MacMillan and Co.1866.

The Iliad of Homer. Translated by Alexander Pope. London: Suttaby, Evance & Fox1818.

JacksonNorman and Jack Dodson. “Negro Youth and Direct Action.” Phylon 28/1 (Spring 1967): 515.

JanisEugenia Parry. “Fabled Bodies: Some Observations on the Photography of Sculpture.” In The Kiss of Apollo: Photography & Sculpture 1845 to the Present923. San Francisco: Fraenkel Gallery1991.

  • Search Google Scholar
  • Export Citation

JansonH.W.Ground Plan and Elevation in Masaccio’s Trinity Fresco.” In Essays in the History of Art Presented to Rudolf Wittkower8388. London: Phaidon1967.

  • Search Google Scholar
  • Export Citation

JansonH.W. The Sculpture of Donatello 2 vols. Princeton: Princeton University Press1957.

JaussHans Robert. Toward an Aesthetic of Reception. Translated by Timothy Bahti with introduction by Paul de Man. Minneapolis: University of Minnesota Press1982.

  • Search Google Scholar
  • Export Citation

JayMartin. “Somaesthetics and Democracy; Dewey and Contemporary Body Art.” The Journal of Aesthetic Education 36/4 (Winter 2002): 5569.

  • Search Google Scholar
  • Export Citation

JayMartin. Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought. Berkeley: University of California Press1993.

  • Search Google Scholar
  • Export Citation

JohnsonGeraldine. “(Un)richtige Aufnahme: Renaissance Sculpture and the Visual Historiography of Art History.” Art History 36/1 (February 2013): 1251.

  • Search Google Scholar
  • Export Citation

JohnsonGeraldine. “Using the Photographic Archive: On the Life (and Death) of Images.” In Photo Archives and the Photographic Memory of Art History edited by Costanza Caraffa145156. Berlin: Deutscher Kunstverlag2011.

  • Search Google Scholar
  • Export Citation

JohnsonGeraldine ed. Sculpture and Photography: Envisioning the Third Dimension. New York: Cambridge University Press1998.

JohnsonGeraldine. “Activating the Effigy: Donatello’s Pecci Tomb in Siena Cathedral.” The Art Bulletin 77/3 (September 1995): 445459.

  • Search Google Scholar
  • Export Citation

JonesAmelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press1998.

JonesCaroline. Machine in the Studio: Constructing the Postwar American Artist. Chicago: University of Chicago Press1996.

JonesCaroline et al. eds. Sensorium: Embodied Experience Technology and Contemporary Art. Cambridge, MA: The MIT Press2006.

JonesErnest. The Life and Work of Sigmund Freud 3 vols. London: The Hogarth Press19531957.

JosephBrandon W.The Tower and the Line: Toward a Genealogy of Minimalism.” Grey Room 27 (Spring 2007): 5881.

JuddDonald. Complete Writings 1959–1975: gallery reviews book reviews articles letters to the editor reports statements complaints. Halifax: Press of the Nova Scotia College of Art and Design1975.

  • Search Google Scholar
  • Export Citation

JudkinsWinthrop. “Toward a Reinterpretation of Cubism.” The Art Bulletin 30/4 (December 1948): 270278.

JungJacqueline E.The Kinetics of Gothic Sculpture. Movement and Apprehension in the South Transept of Strasbourg Cathedral and the Chartreuse de Champmol in Dijon.” In Mobile Eyes: Peripatetisches Sehen in den Bildkulturen der Vormoderne edited by David Ganz and Stefan Neuner133173. Munich: Wilhelm Fink2013.

  • Search Google Scholar
  • Export Citation

Home of Kames Henry. Elements of Criticism9th edition 2 vols. Edinburgh: Bell & Bradfute, A. Constable & Col.1817.

KaprowAllan. Essays on the Blurring of Art and Life. Edited by Jeff Kelley. Berkeley: University of California Press2003 expanded edition.

  • Search Google Scholar
  • Export Citation

KaprowAllan. “The Shape of the Art Environment.” Artforum 6/10 (Summer 1968): 3233.

KaufmannThomas DaCosta. “Reception Theory.” In The Dictionary of Art edited by Jane Turnervol. 266164. New York: Grove1996.

  • Search Google Scholar
  • Export Citation

KavalerEthan Matt. “Gossart’s Bodies and Empathy.” Journal of Historians of Netherlandish Art 5/2 (Summer 2013): 120.

KelleyJeff. Childsplay: The Art of Allan Kaprow. Berkeley: University of California Press2004.

KempWolfgang. “The Work of Art and Its Beholder: The Methodology of the Aesthetic of Reception.” In The Subject of Art History: Historical Objects in Contemporary Perspectives edited by Mark A. Cheethamet al.180196. New York: Cambridge University Press1998.

  • Search Google Scholar
  • Export Citation

KempWolfgang. Der Betrachter ist im Bild: Kunstwissenschaft und Rezeptionsästhetik2nd edition. Berlin: Reimer1992.

KempWolfgang. Der Anteil des Betrachters: rezeptionsästhetische Studien zur Malerei des 19. Jahrhunderts. Munich: Mäander1983.

Kennedy Clarence. Light and Shade and the Point of View in the Study of Greek Sculpture. Unpublished dissertation Harvard University 1924.

KensethJoy. “Bernini’s Borghese Sculptures: Another View.” The Art Bulletin 63/2 (June 1981): 191210.

Kestel Fritz. Walter Heges ‘Bamberger Reiter’: die Skulptur des hl. Königs Stephan I. von Ungarn im Bamberger Dom als Katalysator fotogeschichtlicher und kunsthistorischer Forschung. Unpublished dissertation Technische Universität Berlin 1994.

KitaoTimothy K.Prejudice in Perspective: A Study of Vignola’s Perspective Treatise.” The Art Bulletin 44/3 (September1962): 173194.

  • Search Google Scholar
  • Export Citation

KnightR.P. The Landscape: A Poem in Three Books2nd edition. London: W. Bulmer1795.

KoffkaKurt. Principles of Gestalt Psychology. New York: Harcourt, Brace and Co.1935.

KonvitzMilton R. and Stephen E. Whicher. Emerson: A Collection of Critical Essays. Englewood Cliffs: Prentice Hall1963.

KossJuliet. “On the Limits of Empathy.” The Art Bulletin 88/1 (March 2006): 139157.

KöstlinJulius Theodor. Martin Luther: sein Leben und seine Schriften 2 vols. Berlin: Wiegandt & Schotte1883.

KozloffMax. “Larry Poons.” Artforum 3/7 (April 1965): 2629.

KrahnVolker. “Wilhelm von Bode and his engagement with two bronze groups of Hercules and Antaeus.” In Carvings Casts & Collectors: The Art of Renaissance Sculpture edited by Peta Motture148159. London: Victoria & Albert2013.

  • Search Google Scholar
  • Export Citation

KrausJr.Hans P.When Sculpture First Posed for a Photograph.” Sculpture Review 54/4 (Winter 2005): 1011.

KraussRosalind. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, MA: The MIT Press1997.

KraussRosalind. Passages in Modern Sculpture. New York: Viking Press1977.

KraussRosalind. Review of David Sylvester Henry Moore. The Art Bulletin 52/3 (September 1970): 337340.

KraussRosalind. “Allusion and Illusion in Donald Judd.” Artforum 4/9 (May 1966): 2426.

KristellerPaul Oskar. “The Modern System of the Arts: A Study in the History of Aesthetics, Part I.” Journal of the History of Ideas 12/4 (October 1951): 496527.

  • Search Google Scholar
  • Export Citation

KubovyMichael. The Psychology of Perspective and Renaissance Art. New York: Cambridge University Press1986.

KuhnBernhard. “The Operatics of Cabiria (1914): Intermediality in Early Italian Cinema.” Nineteenth Century Theatre and Film 39/2 (Winter 2012): 118.

  • Search Google Scholar
  • Export Citation

KultermannUdo. The History of Art History. New York: Abaris1993.

KüpersWendelin. “Between the Visible and the Invisible in Organizations.” In The Routledge Companion to Visual Organization edited by Emma Bellet al.1932. New York: Routledge2014.

  • Search Google Scholar
  • Export Citation

LaddGeorge Trumbull. Elements of Physiological Psychology: A Treatise of the Activities and Nature of the Mind. New York: Charles Scribner’s Sons1897.

  • Search Google Scholar
  • Export Citation

LakeyChristopher. “From Place to Space: Raumkästen and the Moving Spectator in Medieval Italian Art.” In The Public in the Picture: Involving the Beholder in Antique Islamic Byzantine and Western Medieval and Renaissance Art edited by Beate Fricke and Urte Krauss113136. Zurich: Diaphenes2015.

  • Search Google Scholar
  • Export Citation

LambertCarrie. “On Being Moved: Rainer and the Aesthetics of Empathy.” In Yvonne Rainer: Radical Juxtapositions 1961–2002 edited by Sid Sachs4164. Philadelphia: The University of Arts2003.

  • Search Google Scholar
  • Export Citation

Lambert-BeattyCarrie. Being Watched: Yvonne Rainer and the 1960s. Cambridge, MA: The MIT Press2008.

LaneRobert. Political Life: Why People Get Involved in Politics. Glencoe: Free Press1959.

LanglotzErnst. “Über das Photographieren Griechischer Skulpturen.” Jahrbuch des Deutschen Archäologischen Institutes 94 (1979): 117.

  • Search Google Scholar
  • Export Citation

LauwrensJenni. “Welcome to the revolution: The sensory turn and art history.” Journal of Art Historiography 7 (December 2012): 117.

  • Search Google Scholar
  • Export Citation

LeePamela M. Chronophobia: On Time in the Art of the 1960s. Cambridge, MA: The MIT Press2004.

LernerDaniel. The Passing of Traditional Society: Modernizing the Middle East. Glencoe: Free Press1958.

LessingGottfried Ephraim. Laocoön: As Essay on the Limits of Painting and Poetry. Translation introduction and notes by Edward Allen McCormick. Baltimore: Johns Hopkins University Press1984.

  • Search Google Scholar
  • Export Citation

LevineSaul. “The Location of Michelangelo’s David: The Meeting of January 25, 1504.” The Art Bulletin 56/1 (March 1974): 3149.

  • Search Google Scholar
  • Export Citation

LippardLucy ed. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press1973.

  • Search Google Scholar
  • Export Citation

LippsTheodor. “Einfühlung, Innere Nachahmung und Organen Empfindungen.” Archiv für gesamte Psychologie 1 (1903): 465519.

Lissitzky-KüppersSophie. El Lissitzky: Life Letters Texts. Introduction by Herbert Read. London: Thames and Hudson1968.

Lissitzky-KüppersSophie. El Lissitzky: Maler Architekt Typograf Fotograf: Erinnerungen Briefe Schriften. Dresden: VEB Verlag der Kunst1967.

  • Search Google Scholar
  • Export Citation

LocatelliValentina. “Italian Painters, Critical Studies of their Works: the Gemäldegalerie Alte Meister in Dresden: An overview of Giovanni Morelli’s attributions.” Journal of Art Historiography 13 (December 2015): 122.

  • Search Google Scholar
  • Export Citation

LotzWolfgang. Studies in Italian Renaissance Architecture. Cambridge, MA: The MIT Press1977.

LotzWolfgang. “Das Raumbild in der italeinischen Architekturzeichnung der Renaissance.” Mitteilungen des Kunsthistorischen Instituts in Florenz 7/3–4 (July 1956): 193226.

  • Search Google Scholar
  • Export Citation

LotzeHermann. Microcosmus: An Essay Concerning Man and his Relation to the World 2 vols. Translated by Elizabeth Hamilton and E.E. Constance Jones. Edinburgh: T. & T. Clark1885.

  • Search Google Scholar
  • Export Citation

LyonsClaire ed. Antiquity & Photography: Early Views of Ancient Mediterranean Sites. Los Angeles: The J. Paul Getty Museum2005.

MacartneyHilary. “William Stirling and the Talbotype Volume of the Annals of the Artists of Spain.” History of Photography 30/4 (2006): 291308.

  • Search Google Scholar
  • Export Citation

MackowskyHans. Verrocchio. Bielefeld and Leipzig: Velhagen & Klasing1901.

MacMillanMalcolm and Peter J. Swales. “Observations from the Refuse-Heap: Freud, Michelangelo’s Moses, and Psychoanalysis.” American Imago 60/1 (Spring 2003): 41104.

  • Search Google Scholar
  • Export Citation

MaffioliMonica. Fratelli Alinari: Photographers in Florence. Florence: Fratelli Alinari2003.

MaginnisHayden. “The Role of Perceptual Learning in Connoisseurship: Morelli, Berenson, and Beyond.” Art History 13/1 (March 1990): 104117.

  • Search Google Scholar
  • Export Citation

Making Pictures: A Century of European Cinematography. New York: Harry Abrams2003.

MallgraveHarry Francis. Architecture and Embodiment: The Implications of the New Sciences and Humanities for Design. Hoboken: Taylor and Francis2013.

  • Search Google Scholar
  • Export Citation

MallgraveHarry Francis and Eleftherios Ikonomou. Empathy Form and Space: Problems in German Aesthetics 1873–1893. Santa Monica: The Getty Center for the History of Art and the Humanities1994.

  • Search Google Scholar
  • Export Citation

MalrauxAndré. Le Musée Imaginaire (Essais de psychologie de l’art vol. 1). Geneva: Skira1949.

Marcel Duchamp: Work and Life. Edited and with introduction by Pontus Hultén. Cambridge, MA: The MIT Press1993.

MarcociRoxanaet al. The Original Copy: Photography of Sculpture 1839 to Today. New York: MoMA2010.

MarienMary Warner. Photography and its Critics: A Cultural History 1839–1900. New York: Cambridge University Press1997.

MarterJoan ed. Off Limits: Rutgers University and the Avant-Garde 1957–1963. New Brunswick: Rutgers University Press1999.

MartínIsabel Tejeda. “El Lissitzky and his German Exhibition Projects.” In El Lissitzky exhibition catalog 141151. Madrid: La Fábrica2014.

  • Search Google Scholar
  • Export Citation

MartinJohn. Introduction to the Dance. New York: W.W. Norton & Co.1939.

MartinR.F.Some Notes on the Relationship existing between Statue and Pedestal in Classical and Renaissance Times.” The Museums Journal 4/10 (April 1905): 333344.

  • Search Google Scholar
  • Export Citation

Masterpieces of Italian Art. London: Bell and Daldy1870.

MaurerKathrin. “Visualizing the Past: The Power of the Image in Franz Kugler and Adolph Menzel’s Illustrated History Book Geschichte Freidrichs des Großen (1842).” The Germanic Review 87 (2012): 103122.

  • Search Google Scholar
  • Export Citation

MaurerKathrin. “Close-Ups of History: Photographic Description in the Works of Jacob Burckhardt and Adalbert Stifter.” Monatshefte 971 (Spring 2005): 6377.

  • Search Google Scholar
  • Export Citation

McCauleyAnne. “Invading Industry: The South Kensington Museum and the Entry of Photographs into Public Museums and Libraries in the Nineteenth Century.” In The Museum and the Photograph: Collecting Photography at the Victoria and Albert Museum 1853–1900 edited by Mark Haworth-Booth and Elizabeth McCauley2371. Williamstown, MA: Sterling and Francine Clark Art Institute1998.

  • Search Google Scholar
  • Export Citation

McCauleyElizabeth Anne. Industrial Madness: Commercial Photography in Paris 1848–1871. New Haven: Yale University Press1994.

McMahonCliff G.The Janus Aesthetic of Duchamp.” The Journal of Aesthetic Education 26/2 (Summer 1992): 4151.

McShineKynastonet al. Richard Serra: Sculpture: Forty Years exhibition catalogue. New York: Museum of Modern Art2007.

MeierNikolaus. “Der Mann mit der Mappe: Jacob Burckhardt und die Reproduktionsphotographie.” In Jacob Burckhardt: Storia della cultura storia dell’arte edited by Maurizio Ghelardi and Max Seidel259297. Venice: Marsilio2002.

  • Search Google Scholar
  • Export Citation

MeissMillard. “The Original Position of Uccello’s John Hawkwood.” The Art Bulletin 52/3 (September 1970): 231.

MendelsohnLeatrice. Paragoni: Benedetto Varchi’s Due Lezzioni and Cinquecento Art Theory. Ann Arbor: UMI Research Press1982.

Merleau-PontyMaurice. Phenomenology of Perception. Translated by Donald A. Landes. London: Routledge2013.

Merleau-PontyMaurice. Phenomenology of Perception. Translated by Colin Smith. New York: Humanities Press1962.

Merleau-PontyMaurice. Phénoménologie de la Perception18th edition. Paris: Librairie Gallimard1945.

MeyerJames. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press2001.

MeyerJames ed. Minimalism. London: Phaidon2000.

MeyerJamesDer Gebrauch von Merleau-Ponty.” In Minimalisms: Rezeptionsformen der 90er Jahr edited by Christoph Metzger and Nina Möntmann178189. Ostfildern: Cantz Verlag1998.

  • Search Google Scholar
  • Export Citation

Meyer-HermannEvaet al. eds. Allan Kaprow – Art as Life. Los Angeles: Getty Research Institute2008.

MichaudPhilippe-Alain. Aby Warburg and the Image in Motion. Translated by Sophie Hawkes. New York: Zone Books2004.

MichelsonAnnette. “Robert Morris – An Aesthetics of Transgression.” In Robert Morris edited by Julia Bryan-Wilson749. Cambridge, MA: The MIT Press2013.

  • Search Google Scholar
  • Export Citation

MichotteAlbert. Michotte’s Experimental Phenomenology of Perception. Edited by Georges ThinèsAlan Costall and George Butterworth. Hillsdale, NJ: Lawrence Erlbaum Associates1991.

  • Search Google Scholar
  • Export Citation

MitchellW.J.T.The Politics of Genre: Space and Time in Lessing’s Laocoon.” Representations 6 (Spring 1984): 98155.

Moholy-NagyLászló. The New Vision 1928 and Abstract of an Artist4th revised edition. Translated by Daphne M. Hoffman. New York: Wittenborn, Schultz1949.

  • Search Google Scholar
  • Export Citation

Moholy-NagyLászló. Vision in Motion. Chicago: P. Theobald1947.

MoltedoAlida ed. La Sistina riprodotta: Gli affreschi di Michelangelo dalle stampe del Cinquecento alle campagne fotografiche Anderson. Rome: Fratelli Palombi1991.

  • Search Google Scholar
  • Export Citation

MondlochKate. Screens: Viewing Media Installation Art. Minneapolis: University of Minnesota Press2010.

MorelliGiovanni. Italian Painters: Critical Studies of their Works. Translated by Constance Jocelyn Ffoulkes with introduction by Sir A.H. Layard. London: John Murray1892.

  • Search Google Scholar
  • Export Citation

MorelliGiovanni. Italian Masters in German Galleries: A Critical Essay on the Italian Painters in the Galleries of Munich – Dresden – Berlin. Translated by Louise Richter. London: George Bell and Sons1883.

  • Search Google Scholar
  • Export Citation

MorrisRobert. Continuous Project Altered Daily: The Writings of Robert Morris. Cambridge, MA: The MIT Press1993.

MorrisRobert. “Notes on Dance.” In The Tulane Drama Review 10/2 (Winter 1965): 179186.

MoxeyKeith. “Perspective, Panofsky, and the Philosophy of History.” New Literary History 26/4 (Autumn 1995) 775786.

MunmanRobert. Optical Corrections in the Sculpture of Donatello. Philadelphia: American Philosophical Society1985.

MurrayJohn with George Ferguson Brown. Handbook for Travellers in Greece. London: John Murray1854.

NagelAlexander. Medieval Modern: Art out of Time. New York: Thames & Hudson2012.

NéaguPhilippe. La Mission héliographique: photographies de 1851. Paris: Inspection générale des musées classes et contrôlés1980.

  • Search Google Scholar
  • Export Citation

NewmanAmy. Challenging Art: Artforum, 1962–1974. New York: Soho2000.

NieslonyMagdalena and James Gussen. “Richard Serra in Germany: Perspectivity in Perspective.” RES: Anthropology and Aesthetics 53/54 (Spring-Autumn 2008): 4758.

  • Search Google Scholar
  • Export Citation

Notes.” The Nation 303 (April 201871): 275277.

O’BrienMaureen and Mary Bergstein eds. Image and Enterprise: The Photographs of Adolphe Braun. New York: Thames & Hudson2000.

OckmanJoan. “The Road Not Taken: Alexander Dorner’s Way Beyond Art.” In Autonomy and Ideology: Positioning an Avant-Garde in America edited by R.E. Somol80120. New York: The Monacelli Press1997.

  • Search Google Scholar
  • Export Citation

OlinMargaret. “‘Look at your fish’: Science, Modernism and Alois Riegl’s Formal Practice.” In German Art History and Scientific Thought: Beyond Formalism edited by Mitchell B. Frank and Daniel Adler3355. Burlington, VT: Ashgate2012.

  • Search Google Scholar
  • Export Citation

OniansJohn. Art and Thought in the Hellenistic Age: The Greek World View 350–50 BC. London: Thames and Hudson1979.

Options exhibition catalog. Milwaukee: Milwaukee Art Center1968.

OsborneRobin. “The Viewing and Obscuring of the Parthenon Frieze.” The Journal of Hellenic Studies 107 (November 1987): 98105.

  • Search Google Scholar
  • Export Citation

PalmerRodney and Thomas Frangenberg eds. The Rise of the Image: Essays on the History of the Illustrated Art Book. Burlington, VT: Ashgate2003.

  • Search Google Scholar
  • Export Citation

PanofskyErwin. Perspective as Symbolic Form. Translated by Christopher Wood. New York: Zone Books1991.

PanofskyErwin. “Style and Medium in the Motion Pictures.” Reprinted in Film: An Anthology edited by Daniel Talbot1532. Berkeley: University of California Press1966.

  • Search Google Scholar
  • Export Citation

PanofskyErwin. “Die Perspektive als symbolische Form.” Vorträge der Bibliothek Warburg 4 (1924–1925): 258330.

PapapetrosSpyros. On the Animation of the Inorganic. Chicago: University of Chicago Press2012.

PapapetrosSpyros. “Aby Warburg as Reader of Gottfried Semper: Reflections on the Cosmic Character of Ornament.” In Elective Affinities: Testing Word and Image Relationships edited by Catriona MacLeodet al.317336. Amsterdam: Rodopi2009.

  • Search Google Scholar
  • Export Citation

PareRichard ed. Photography and Architecture 1839–1939. Montreal: Callaway Editions1982.

PassavantGünter. Verrocchio: Sculptures Paintings Drawings. Edinburgh: Phaidon1969.

PayneAlina A.Rudolf Wittkower and Architectural Principles in the Age of Modernism.” Journal of the Society of Architectural Historians 53/3 (September 1994): 322342.

  • Search Google Scholar
  • Export Citation

PerkinsCharles Callahan. Tuscan Sculptors: Their Lives Works and Times 2 vols. London: Longman, Green, Longman, Roberts & Green1864.

  • Search Google Scholar
  • Export Citation

Peters Dorothea. Zur Metamorphose des Blicks auf die Kunst. Fotografische Kunstreproduktion im 19. Jahrhundert. Unpublished dissertation University of Kassel 2005.

PetrieBrian. “Boccioni and Bergson.” The Burlington Magazine 116/852 (March 1974): 140147.

PiebingaSophieke. “William Sawrey Gilpin (1762–1843): Picturesque Improver.” Garden History 22/2 (Winter 1994): 175196.

PigmanG.W.Freud and the History of Empathy.” International History of Psycho-Analysis 76 (1995): 237256.

PinottiAndrea. “Body-Building: August Schmarsow’s Kunstwissenschaft between Psychophysiology and Phenomenology.” In German Art History and Scientific Thought: Beyond Formalism edited by Mitchell B. Frank and Daniel Adler. Burlington, VT: Ashgate2012.

  • Search Google Scholar
  • Export Citation

Plato. The Dialogues of Plato 4 vols. Translation and introduction by B. Jowett. Oxford: Clarendon Press1953.

PodroMichael. “Herder’s Plastik.” In Sight and Insight edited by John Onians341351. London: Phaidon1994.

PodroMichael. The Manifold in Perception: Theories of Art from Kant to Hildebrand. Oxford: The Clarendon Press1972.

PoincaréHenri. Science and Hypothesis. Translated by William John Greenstreet. New York: Dover 1952 reprint of 1905 edition.

PoincaréHenri. La Science et l’Hypothèse. Paris: Ernest Flammarion1908.

PoincaréHenri. Science and Hypothesis. Translation by George Bruce Halsted with introduction by Josiah Royce. New York: The Science Press1905.

  • Search Google Scholar
  • Export Citation

PopperFrank. Agam. New York: Harry Abrams1976.

PopperFrank. Origins and Development of Kinetic Art. Translated by Stephen Bann. Greenwich, CT: New York Graphic Society1968.

PorterArthur Kingsley. Spanish Romanesque Sculpture 2 vols. Florence: Casa editrice1928.

PottsAlex. The Sculptural Imagination: Figurative Modernist Minimalist. New Haven: Yale University Press2000.

PottsAlex. Flesh and the Ideal: Winckelmann and the Origins of Art History. New Haven: Yale University Press1994.

PowellHelen and David Leatherbarrow eds. Masterpieces of Architectural Drawing. New York: Abbeville Press1982.

PrettejohnElizabeth. “The Case of the Venus de Milo.” In Classics and the Uses of Reception edited by Charles Martindale and Richard F. Thomas227249. Malden, MA: Blackwell2006.

  • Search Google Scholar
  • Export Citation

PreziosiDonald. Rethinking Art History: Meditations on a Coy Science. New Haven: Yale University Press1989.

PriceUvedale. An Essay on the Picturesque as compared with the Sublime and the Beautiful; and on the use of studying pictures for the purpose of improving real landscape. London: J. Robson1794.

  • Search Google Scholar
  • Export Citation

PriceWilliam Lake. A Manual of Photographic Manipulation. London: John Churchill1858.

Provo Alexandra Alisa. Notions of Method: Text and Photograph in Methods of Connoisseurship. Unpublished thesis Wesleyan University 2010.

RaderMelvin ed. A Modern Book of Esthetics: An Anthology5th edition. New York: Holt, Rinehart, and Winston1979.

RaderMelvin ed. A Modern Book of Esthetics: An Anthology3rd edition. New York: Holt, Rinehart, and Winston1966.

ReadHerbert. The Art of Sculpture. New York: Pantheon1956.

RebentischJuliane. Aesthetics of Installation Art. Translated by Daniel Hendrickson with Gerrit Jackson. Berlin: Sternberg2012.

ReissJulie. From Margin to Center: The Spaces of Installation Art. Cambridge, MA: The MIT Press1999.

ReptonHumphry. The Art of Landscape Gardening. Edited by John Nolen. New York: Houghton Mifflin1907.

Review of William Henry Fox Talbot The Pencil of Nature. The Art-Journal/The Art-Union 6/7 (August 1844): 223.

ReymondMarcel. La sculpture Florentine 4 vols. Florence: Alinari1897.

ReynoldsDee and Matthew Reason eds. Kinesthetic Empathy in Creative and Cultural Practices. Bristol: Intellect2012.

RickeyGeorge. “The Kinetic International.” Arts 35/10 (Sept. 1961): 1621.

RieglAlois. The Group Portraiture of Holland. Translated by Evelyn M. Kain and David Britt with introduction by Wolfgang Kemp. Los Angeles: Getty Research Institute for the History of Art and the Humanities1999.

  • Search Google Scholar
  • Export Citation

RobertsHelene E. ed. Art History through the Camera’s Lens. Amsterdam: Gordon and Breach1995.

RobinsonCervin and Joel Herschman. Architecture Transformed. Cambridge, MA: The MIT Press1987.

RobinsonJ.C. Italian Sculpture of the Middle Ages and Period of the Revival of Art. London: Chapman and Hall1862.

RodenbeckJudith F. Radical Prototypes: Allan Kaprow and the Invention of Happenings. Cambridge, MA: The MIT Press2011.

RosandDavid. Titian. New York: Abrams1978.

RoseBarbara. “Problems of Criticism, IV.” Artforum 6/6 (February 1968): 3132.

RoseBarbara. “ABC Art.” Art in America 53/5 (October/November 1965): 5769.

RoseBarbara. “Donald Judd.” Artforum 3/9 (June 1965): 3032.

RoseBarbara. “Looking at American Sculpture.” Artforum 3/5 (February 1965): 2936.

RosenbergHarold. “The American Action Painters.” Art News 51/8 (December 1952): 2223 and 4850.

RosenthalEarl. “Michel angelo’s Moses, dal di sotto in sù.” The Art Bulletin 46/4 (December 1964): 544550.

RoskillMark. The Interpretation of Cubism. Philadelphia: The Art Alliance Press1985.

Roskin Miriam. The Use of Dance as a Therapy for Personality Disturbances. Unpublished senior thesis Bard College 1956.

RubioOliva María. “El Lissitzky. The Experience of Totality.” In El Lissitzky exhibition catalog 919. Madrid: La Fábrica2014.

  • Search Google Scholar
  • Export Citation

RuskinJohn. The Seven Lamps of Architecture. New York: Charles E. Merrill & Co.1892.

RuskinJohn. The Stones of Venice 3 vols. New York: John Wiley & Sons1881.

RuskinJohn. The Stones of Venice 3 vols. London: Smith, Elder, and Co.1851.

SalleyKeith. “On Duration and Developing Variation: The Intersecting Ideologies of Henri Bergson and Arnold Schoenberg.” Music Theory Online 21/4 (December 2015): 119.

  • Search Google Scholar
  • Export Citation

SaltBarry. Film Style and Technology; History and Analysis2nd edition. London: Starward1992.

SalzmannAuguste. Jerusalem 174 Photographies. Paris: Picard Audap Solanet Velliet Teissedre 2004 reprint of 1854 volume.

SamuelsErnest. Bernard Berenson: The Making of a Connoisseur. Cambridge, MA: Belknap Press1979.

SarchiAlessandra. “Sulle tracce di Lányi e Malenotti. Il fondo Brogi su Donatello nella Fototeca Zeri.” In Photo Archives and the Photographic Memory of Art History edited by Costanza Caraffa227239. Berlin: Deutscher Kunstverlag2011.

  • Search Google Scholar
  • Export Citation

SawyerR. Keith. “Improvisation and the Creative Process: Dewey, Collingwood, and the Aesthetics of Spontaneity.” The Journal of Aesthetics and Art Criticism 58/2 (Spring 2000): 149161.

  • Search Google Scholar
  • Export Citation

SchaafLarry. The Photographic Art of William Talbot. Princeton: Princeton University Press2000.

SchapiroMeyer. Words and Pictures: On the Literal and the Symbolic in the Illustration of a Text. The Hague: Mouton1973.

SchimmelPaul. “‘Only memory can carry it into the future’: Kaprow’s Development from the Action-Collages to the Happenings.” In Allan Kaprow: Art as Life edited by Eva Meyer-Hermannet al.819. Los Angeles: Getty Research Institute2008.

  • Search Google Scholar
  • Export Citation

SchjeldahlPeter. The Hydrogen Jukebox: Selected Writings of Peter Schjeldahl 1978–1990. Berkeley: University of California Press1991.

  • Search Google Scholar
  • Export Citation

SchlegelUrsula. “Observations on Masaccio’s Trinity Fresco in Santa Maria Novella.” The Art Bulletin 45/1 (March 1963): 1933.

  • Search Google Scholar
  • Export Citation

SchmarsowAugust. Grundbegriffe der Kunstwissenschaft. Leipzig: B.G. Teubner1905.

SchopenhauerArthur. The World as Will and Idea 2 vols. Translated by R.B. Haldane and J. Kemp. London: Kegan Paul, Trench, Trübner & Co.1896.

  • Search Google Scholar
  • Export Citation

SchwartzJoan M. and James R. Ryan. Picturing Place: Photography and the Geographical Imagination. London: I.B. Tauris & Co.2003.

SchwarzerMitchell W.The Emergence of Architectural Space: August Schmarsow’s Theory of ‘Raumgestaltung.’” Assemblage 15 (August 1991): 4861.

  • Search Google Scholar
  • Export Citation

ScottWilliam Bell. Autobiographical Notesvol. II. Edited by W. Minto. New York: AMS Press 1970 reprint of 1892 edition.

ScottWilliam Bell. “Michelangelo in the Sistine Chapel.” The Portfolio: An Artistic Periodical 2 (January 1871): 912.

ScullyVincent. The Earth The Temple and the Gods: Greek Sacred Architecture. New Haven: Yale University Press1962.

ScullyVincent. The Shingle Style. New Haven: Yale University Press1955.

SeitzWilliam C. The Responsive Eye exhibition catalog. New York: The Museum of Modern Art1965.

SeymourCharles. Sculpture in Italy 1400 to 1500. Harmondsworth: Penguin1966.

ShaneRobert R.Looking and Moving: Kinesthetic Empathy, Dance, and the Visual Arts.” Art Criticism 25/1–2 (Spring-Fall 2010): 153168.

  • Search Google Scholar