Writing About Art

Bibliography

• Adams, Laurie Schneider. The Methodologies of Art. An Introduction. New York: HarperCollins, 1996.
• Alpers, Svetlana.  The Art of Describing.  Dutch Art of the Seventeenth Century.  Chicago and London:  University of Chicago Press, 1983.
• Arnheim, Rudolf. The Power of the Center.  A Study of Composition in the Visual Arts. Berkeley and Los Angeles: University of California Press, 1982.
• Barrell, John.  The Dark Side of the English Landscape.  The Rural Poor in English Painting 1730-1840.Cambridge: Cambridge University Press, 1980.
• Baxandall, Michael.  Painting and Experience in Fifteenth-Century Italy.  A Primer in the Social History of Pictorial Style.  Oxford and New York: Oxford University Press, 1972.
• Berger, John.  Ways of Seeing.  New York: Penguin Books, 1972.
• Cahill, James.  Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty, 1368-1580.  New York and Tokyo: John Weatherhill, 1978.
• Camille, Michael.  Image on the Edge. The Margins of Medieval Art. Cambridge, MA: Harvard University Press, 1992.
• Clark, Kenneth.  The Nude.  A Study in Ideal Form.  New York: Pantheon Books, published for the Bollingen Foundation, 1956.
• Fry, Roger.  Cézanne. A Study of His Development. Orig. publ.1927. New York: Farrar, Straus & Giroux, 1968.
• _____.  Last Lectures, intro. Kenneth Clark.  Orig. publ.1939.  Boston: Beacon Books, 1962.
• _____.  Vision and Design.  Orig. publ.1920.  New York: New American Library, 1974.
• Ginzburg, Carlo. “Morelli, Freud and Sherlock Holmes: Clues and Scientific Method.”  History Workshop. A Journal of Socialist Historians 9 (Spring 1980): 5-36.
• Harris, Ann Sutherland.  “Artemisia Gentileschi.” Grove Art Online.  Oxford University Press, 2006. http://www.groveart.com (accessed 4 April 2006).
• Helsinger, Elizabeth K.  Ruskin and the Art of the Beholder.  Cambridge, MA: Harvard University Press, 1982.
• Herbert, Robert L. “Method and Meaning in Monet.” Art in America 67 (September 1979): 90-108.
• Holt, Elizabeth Gilmore, ed.  A Documentary History of Art.  2 vols. Garden City, NY: Doubleday, 1958.
• House, John.  Pierre-Auguste Renoir. La Promenade.  Los Angeles: J. Paul Getty Museum, 1997.
• Irwin, David, ed.  Winckelmann. Writings on Art.  New York: Phaidon Press, 1972.
• Johnson, Ellen H.  Modern Art and the Object. A Century of Changing Attitudes.  Rev.ed.  New York:  Icon Editions, 1995.
• Kemp, Martin.  Behind the Picture. Art and Evidence in the Italian Renaissance.  New Haven and London: Yale University Press, 1997.
• Langbaum, Robert.  The Poetry of Experience. The Dramatic Monologue in Modern Literary Tradition.  New York: W.W. Norton, 1957.
• Meiss, Millard.  Painting in Florence and Siena after the Black Death.  The Arts, Religion and Society in the Mid-Fourteenth Century.  Orig. publ.1951.  New York: Harper & Row, 1973.
• Panofsky, Erwin.  Early Netherlandish Painting. Its Origin and Character. 2 vols. Cambridge, MA:  Harvard University Press, 1953.
• Pollitt, J.J.  The Art of Greece, 1400-31 B.C.  Sources and Documents in the History of Art Series.  Englewood Cliffs, NJ:  Prentice-Hall, 1965.
• Pollock, Griselda.  Differencing the Canon.  Feminist Desire and the Writing of Art’s Histories. London and New York: Routledge, 1999.
• Potts, Alex.  “Winckelmann, Johann Joachim.” Grove Art Online. Oxford University Press, 2006.  http://www.groveart.com (accessed April 4, 2006).
• Rosand, David.  “Proclaiming Flesh.” Times Literary Supplement, 17 February 1984, 167.
• Rosenblum, Robert.  Jean-Auguste-Dominique Ingres.  New York: Harry N. Abrams, 1967.
• Ruskin, John.  The Complete Works of John Ruskin (Library Edition).  Eds. E.T. Cook and Alexander Wedderburn. 39 vols.  London: George Allen, 1903-1912.
• Schama, Simon. The Embarrassment of Riches.  An Interpretation of Dutch Culture in the Golden Age.  New York: Alfred A. Knopf, 1987.
• Schapiro, Meyer. Modern Art.  19th & 20th Centuries.  Selected Papers.  New York: George Braziller, 1978.
• Slatkes, Leonard J. “Review of Rembrandt Research Project.  A Corpus of Rembrandt Paintings, 1625-1631, by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, and E. Van der Wettering (The Hague: Martinus Nijhoff Publishers, 1982).”  Art Bulletin LXXI (1989): 139-44.
• Smith, Marilyn. “Giorgio Vasari.”  Grove Art Online.  Oxford University Press, 2006. http://www.groveart.com (accessed April 4, 2006).
• Steinberg, Leo.  “The Line of Fate in Michelangelo’s Painting.” In The Language of Images, ed. W.J.T. Mitchell.  Chicago and London: University of Chicago Press, 1980.
• Stokstad, Marilyn. Art. A Brief History. 3rd ed. Upper Saddle River, N.J.: Pearson/Prentice-Hall, 2007.
• Strunk, William, Jr. and E.B.White.  The Elements of Style.  New York: Macmillan, 1959.
• Sund, Judy. Van Gogh. Art & Ideas Series. New York: Phaidon Press, 2002.
• Taylor, Joshua C.  Learning to Look. A Handbook for the Visual Arts. 2nd ed. Chicago and London: University of Chicago Press, 1981.
• Twitchell, Beverly H.  Cézanne and Formalism in Bloomsbury. Studies in the Fine Arts: Criticism, No. 20.  Ann Arbor, MI: U.M.I. Research Press, 1987.
• Webb, Ruth.  “Ekphrasis.”  Grove Art Online.  Oxford University Press, 2006.  http://www.groveart.com (accessed April 4, 2006).
• Wheelock, Arthur K., Jr.  Jan Vermeer.  Rev. ed.  New York: Harry N. Abrams, 2004.
• Willett, Frank.  African Art. An Introduction. Orig. publ.1971.  New York: Thames and Hudson, 1985.
• Wölfflin, Heinrich.  Principles of Art History.  The Problem of the Development of Style in Later Art. Trans. M.D. Hottinger.  Orig. publ. 1915.  New York:  Dover Publications, 1960.
• Zirpolo, Lilian. “Botticelli’s Primavera.  A Lesson for the Bride.”  In The Expanding Discourse.  Feminism and Art History, eds. Norma Broude and Mary D. Garrard.  New York: HarperCollins, 1992.