[1]
Alexander, J. J. G. et al. 2006. Smith, ‘Accident, play, and invention: three infancy miracles in the Holkham Bible picture book’, Chapter. Tributes to Jonathan J.G. Alexander: the making and meaning of illuminated medieval & Renaissance manuscripts, art & architecture. Harvey Miller Publishers.
[2]
Andrews, Malcolm 1999. Landscape and western art. Oxford University Press.
[3]
Arnheim, R. Picasso’s Guernica; the genesis of a painting. Faber & Faber.
[4]
Arnold, Dana 2004. Art history: a very short introduction. Oxford University Press.
[5]
Arnold, Dana and Peters Corbett, David eds. 2013. A companion to British art: 1600 to the present. Wiley-Blackwell.
[6]
Avery, C. and Finn, D. 1997. Bernini: genius of the Baroque. Thames and Hudson.
[7]
Ayers, Tim 2008. The history of British art, 600-1600. Tate Publishing.
[8]
Barker, Emma et al. 1999. The changing status of the artist. Yale University Press in association with the Open University.
[9]
Barker, Emma and Open University Art & visual culture, 1600-1850: academy to avant-garde.
[10]
Barker, Emma and Open University Art & visual culture, 1600-1850: academy to avant-garde.
[11]
Beard, Mary and Henderson, John 2001. Chapter 2: Moving Statues. Classical art: from Greece to Rome. Oxford University Press.
[12]
Bell, Julian 2007. Mirror of the world: a new history of art. Thames & Hudson.
[13]
Benton, Janetta Rebold 2002. Art of the Middle Ages. Thames & Hudson.
[14]
Benton, Janetta Rebold 2002. Book. Thames & Hudson.
[15]
Berger, John 1992. Success and failure of Picasso. Granta, in association with Penguin.
[16]
Blunt, Anthony 1969. Picasso’s ‘Guernica’. Oxford U.P.
[17]
Borsook, Eve 1980. The mural painters of Tuscany: from Cimabue to Andrea del Sarto. Clarendon Press.
[18]
Boucher, B. 1998. Italian Baroque sculpture. Thames and Hudson.
[19]
Brown, David Blayney 2001. Romanticism. Phaidon.
[20]
Brown, Michelle and British Library 2007. The Holkham Bible picture book: a facsimile. British Library.
[21]
Brown, Michelle and British Library 2007. The Holkham Bible picture book: a facsimile. British Library.
[22]
Bull, Malcolm 2006. The mirror of the gods: classical mythology in Renaissance art. Penguin.
[23]
Campbell, Lorne 1990. Renaissance portraits: European portrait-painting in the 14th, 15th, and 16th centuries. Yale University Press.
[24]
Clark, Kenneth 1956. The nude: a study of ideal art. J. Murray.
[25]
Clark, Kenneth 1956. The nude: a study of ideal art. J. Murray.
[26]
Clark, T. J 1999. The painting of modern life: Paris in the art of Manet and his followers. Thames & Hudson.
[27]
Coldstream, Nicola 2002. Medieval architecture. Oxford University Press.
[28]
Collinson, Patrick et al. 1995. Wilson, ‘The Medieval Monuments,’ Chapter. A history of Canterbury Cathedral. Clarendon Press. 451–510.
[29]
Cowling, Elizabeth 2002. Picasso: style and meaning. Phaidon.
[30]
Craig Harbison 1990. Sexuality and Social Standing in Jan van Eyck’s Arnolfini Double Portrait. Renaissance Quarterly. 43, 2 (1990).
[31]
Crow, Thomas 1985. Painters and public life in eighteenth-century Paris. Yale U.P.
[32]
Crow, Thomas E. and Getty Research Institute 2006. Emulation: David, Drouais, and Girodet in the art of revolutionary France. Yale University Press.
[33]
Curtis, Penelope et al. 2007. Towards a new Laocoon. Henry Moore Institute.
[34]
Daix, Pierre 1993. Picasso:life and art. Thames and Hudson.
[35]
David, J.L. 2006. Jacques-Louis David: new perspectives. University of Delaware Press.
[36]
De Hamel, Christopher F. R. 1992. Scribes and illuminators. British Museum Press.
[37]
Druick, D.W. et al. 2001. Van Gogh and Gauguin: the studio of the south. Thames & Hudson.
[38]
Eisenman, Stephen F. and Crow, Thomas E. 2007. Nineteenth century art: a critical history. Thames & Hudson.
[39]
Ferber, Michael 2010. Romanticism: a very short introduction. Oxford University Press.
[40]
Ferino Pagden, S. et al. 2008. Late Titian and the sensuality of painting. Marsilio.
[41]
Fernie, E. C. 1995. Art history and its methods: a critical anthology. Phaidon.
[42]
Fisch, Eberhard and Picasso, Pablo 1988. Guernica by Picasso: a study of the picture and its contexts. Bucknell University Press.
[43]
Fleming-Williams, I. 1984. The discovery of Constable. H. Hamilton.
[44]
Foster, Hal 2004. Art since 1900: modernism, antimodernism, postmodernism. Thames & Hudson.
[45]
Gage, John 2006. Colour in art. Thames & Hudson.
[46]
Germer, Stefan FROM THE THEATRICAL TO THE AESTHETIC HERO: ON THE PRIVATIZATION OF THE IDEA OF VIRTUE IN DAVID’S BRUTUS AND SABINES. FROM THE THEATRICAL TO THE AESTHETIC HERO: ON THE PRIVATIZATION OF THE IDEA OF VIRTUE IN DAVID’S BRUTUS AND SABINES. 9, 2.
[47]
Gombrich, E. H. 2002. Art and illusion: a study in the psychology of pictorial representation. Phaidon.
[48]
Gombrich, E H. 1966. The story of art. Phaidon Press.
[49]
Gombrich, E H. 1966. The story of art. Phaidon Press.
[50]
Gombrich, Ernst Hans Josef 1978. Norm and form. Phaidon.
[51]
Hall, Edwin 1994. The Arnolfini betrothal: medieval marriage and the enigma of Van Eyck’s double portrait. University of California Press.
[52]
Hall, Edwin 1994. The Arnolfini betrothal: medieval marriage and the enigma of Van Eyck’s double portrait. University of California Press.
[53]
Harbison, Craig 1991. Jan van Eyck: the play of realism. Reaktion Books.
[54]
Harrison, Charles 2009. An introduction to art. Yale University Press.
[55]
Harrison, Charles et al. 2000. Art in theory, 1648-1815: an anthology of changing ideas. Blackwell Publishers.
[56]
Harrison, Charles et al. 1998. Art in theory, 1815-1900: an anthology of changing ideas. Blackwell.
[57]
Harrison, Charles et al. 1998. Constable letters to Fisher 1821-4, Chapter. Art in theory, 1815-1900: an anthology of changing ideas. Blackwell. 117–117.
[58]
Harrison, Charles et al. 1998. Introduction to English Landscape, Chapter. Art in theory, 1815-1900: an anthology of changing ideas. Blackwell. 127–127.
[59]
Harrison, Charles et al. 1998. Picasso, statement to Simone Téry, Harrison and Wood, Art in Theory 1900-2000: an anthology of changing ideas. Art in theory, 1815-1900: an anthology of changing ideas. Blackwell. 648–649.
[60]
Harrison, Charles and Wood, Paul 2003. Art in theory, 1900-2000: an anthology of changing ideas. Blackwell Publishers.
[61]
Harrison, Charles and Wood, Paul 2003. Picasso, ‘Why I Joined the Communist Party,’ Harrison and Wood, Art in Theory, 1900-2000: an anthology of changing ideas. Art in theory, 1900-2000: an anthology of changing ideas. Blackwell Publishers. 648–649.
[62]
Haskell, Francis and Penny, Nicholas 1981. Taste and the antique: the lure of classical sculpture, 1500-1900. Yale University Press.
[63]
Hassall, William Owen 1954. The Holkham Bible picture book. Dropmore Press.
[64]
Herbert, Robert L. 1973. David, Voltaire, Brutus and the French Revolution, an essay in art and politics. The Viking Press.
[65]
Herbert, Robert L. 1988. Impressionism: art, leisure, and Parisian society. Yale U.P.
[66]
Hicks, Carola and Hicks, Carola 2012. Girl in a green gown: the history and mystery of the Arnolfini portrait. Vintage.
[67]
Hills, Paul 1999. Venetian colour: marble, mosaic, and glass, 1250-1550. Yale University Press.
[68]
Hilton, Timothy 1975. Picasso. Thames and Hudson.
[69]
Honour, Hugh 1968. Neo-classicism. Penguin.
[70]
Honour, Hugh 1979. Romanticism. Harper & Row.
[71]
Honour, Hugh and Fleming, John 2005. A world history of art. Laurence King.
[72]
Hope, Charles et al. 2003. Titian. National Gallery.
[73]
Humfrey, Peter and Titian 2007. Titian. Phaidon.
[74]
Irwin, David 1997. Neoclassicism. Phaidon.
[75]
Joseph Polzer 2002. Ambrogio Lorenzetti’s ‘War and Peace’ Murals Revisited: Contributions to the Meaning of the ‘Good Government Allegory’. Artibus et Historiae. 23, 45 (2002).
[76]
Kempers, Bram 1994. Painting, power, and patronage: the rise of the professional artist in the Italian Renaissance. Penguin.
[77]
Kitson, M. 1966. The age of baroque. Hamlyn.
[78]
Lamia, Stephen and Valdez del Alamo, Elizabeth 2002. Lamia, ‘The Cross and the Crown, the Tomb and the Shrine: Decoration and accommodation for England’s Premier Saints,’ Chapter of Decorations for the Holy Dead. Decorations for the holy dead: visual embellishments on tombs and shrines of saints. Brepols. 39–56.
[79]
Lasko, Peter et al. 1994. Kauffmann, C.M. ‘Art and Popular Culture: New Themes in the Holkham Bible Picture Book.’ Chapter. Studies in medieval art and architecture: presented to Peter Lasko. Alan Sutton. 46–69.
[80]
Lee, Simon and Lee, Simon 1999. David. Phaidon Press.
[81]
Leslie, C R 2006. Memoirs of the Life of John Constable. Kessinger Publishing.
[82]
Lyles, Anne et al. 2006. Constable: the great landscapes. Tate Publishing.
[83]
Meilman, Patricia 2004. The Cambridge companion to Titian. Cambridge University Press.
[84]
Melchior-Bonnet, Sabine 2001. The mirror: a history. Routledge.
[85]
Michael, M. A. and Strobl, Sebastian 2004. Stained glass of Canterbury Cathedral. Scala.
[86]
Murray, Chris 2003. Key writers on art: from antiquity to the nineteenth century. Routledge.
[87]
Nash, Susie 2008. Northern Renaissance art. Oxford University Press.
[88]
Nelson, Robert S. and Shiff, Richard eds. 2003. Critical terms for art history. University of Chicago Press.
[89]
Nicolai Rubinstein 1958. Political Ideas in Sienese Art: The Frescoes by Ambrogio Lorenzetti and Taddeo di Bartolo in the Palazzo Pubblico. Journal of the Warburg and Courtauld Institutes. 21, 3 (1958).
[90]
Nochlin, Linda 1971. Realism. Penguin.
[91]
Norman, Diana 1995. Chapter. Siena, Florence and Padua: art, society, and religion 1280-1400. Yale University Press in association with the Open University. 145–168.
[92]
Open University 2012. Art & visual culture, 1600-1850: academy to avant-garde. Tate Publishing in association with The Open University.
[93]
Open University 2012. Art & visual culture, 1850-2010: modernity to globalisation. Tate Publishing in association with The Open University.
[94]
Open University 2012. Art & visual culture, 1850-2010: modernity to globalisation. Tate Publishing in association with The Open University.
[95]
Ovid and Tarrant, R. J. 2004. Metamorphoses. e typographeo Clarendoniano.
[96]
Parkinson, R. et al. 1998. John Constable: the man and his art. Victoria & Albert Museum.
[97]
Perry, Gillian et al. 1999. The Parthenon Marbles, Chapter. Academies, museums, and canons of art. Yale University Press in association with the Open University. 43–83.
[98]
Petersson, R.T. 1970. The art of ecstasy: Teresa, Bernini, and Crashaw. Routledge & Kegan Paul.
[99]
Pooke, Grant and Newall, Diana 2008. Art history: the basics. Routledge.
[100]
Pooke, Grant and Newall, Diana 2012. Chapter of Fifty key texts in art history: Jon Kear’s commentary.on Wolfflin,. Fifty key texts in art history. Routledge. 73–77.
[101]
Pooke, Grant and Newall, Diana 2012. Fifty key texts in art history. Routledge.
[102]
Potts, Alex 1994. Flesh and the Ideal: Winckelmann and the origins of art history. Yale University Press.
[103]
Prendeville, Brendan 2000. Realism in 20th century painting. Thames & Hudson.
[104]
Puttfarken, Thomas 2005. Titian & tragic painting: Aristotle’s poetics and the rise of the modern artist. Yale University Press.
[105]
Quentin Skinner 1999. Ambrogio Lorenzetti’s Buon Governo Frescoes: Two Old Questions, Two New Answers. Journal of the Warburg and Courtauld Institutes. 62, (1999).
[106]
Rhyne, C. 2006. John Constable: The Man and His Art, Chapter of Constable. Constable: the great landscapes. Tate Publishing.
[107]
Richardson, Carol M. 2007. Locating Renaissance art. Yale University Press.
[108]
Richardson, John and McCully, Marilyn 1992. A life of Picasso. Pimlico.
[109]
Roberts, Warren 1989. Jacques-Louis David, revolutionary artist: art, politics and the French Revolution. University of North Carolina Press.
[110]
Rosenthal, M. 1983. Constable: the painter and his landscape. Yale U.P.
[111]
Rosenthal, Michael 1987. Constable. Thames and Hudson.
[112]
Rowley, George 1958. Ambrogio Lorenzetti. With plates (Princeton Monograph in Art and Archaeology. no. 32. Princetown University Press.
[113]
Samuel, Raphael 1989. Patriotism:the making and unmaking of British national identity. Routledge.
[114]
Saul, Nigel 1992. Nigel Saul, `Forget-Me-Nots’: Patronage in Gothic England,’. Age of chivalry: art and society in late medieval England. Collins & Brown. 36–47.
[115]
Sekules, Veronica 2001. Medieval art. Oxford University Press.
[116]
Skinner, Quentin 2003. Pages 1-56. L’artiste en philosophe politique: Ambrogio Lorenzetti et le Bon gouvernement. Raisons d’agir.
[117]
Slive, Seymour et al. 2005. Jacob van Ruisdael: master of landscape. Royal Academy of Arts.
[118]
Snodin, M. et al. 2009. Baroque, 1620-1800: style in the age of magnificence. V&A Publishing.
[119]
Starn, R. and Partridge, L. 1992. Chapter. Arts of Power: Three Halls of State in Italy, 1300-1600. 11–80.
[120]
Tate Britain | Tate: http://www.tate.org.uk/visit/tate-britain.
[121]
The Metropolitan Museum of Art - Collections: http://www.metmuseum.org/collections.
[122]
The National Gallery, London: Western European painting 1250–1900: http://www.nationalgallery.org.uk/.
[123]
Thomson, B. 1987. Gauguin. Thames and Hudson.
[124]
Thomson, B. et al. 2010. Gauguin: maker of myth. Tate.
[125]
Thomson, B. et al. 2005. Gauguin’s vision. Trustees of the National Galleries of Scotland.
[126]
Thomson, Belinda 2000. Impressionism: origins, practice, reception. Thames & Hudson.
[127]
Turner, Jane 1996. The dictionary of art. Grove.
[128]
Van Hensbergen, Gijs 2005. Guernica: the biography of a twentieth-century icon. Bloomsbury.
[129]
VAUGHAN, W. 1996. Constable’s Englishness. Oxford Art Journal. 19, 2 (Jan. 1996), 17–27. DOI:https://doi.org/10.1093/oxartj/19.2.17.
[130]
Vaughan, William 1994. Romanticism and art. Thames and Hudson.
[131]
Vaughan, William and Constable, John 2002. John Constable. Tate Publishing.
[132]
Warwick, G. 2012. Bernini: art as theatre. Yale University Press.
[133]
Welch, Evelyn S. 2000. Art in Renaissance Italy, 1350-1500. Oxford University Press.
[134]
West, Shearer 2004. Portraiture. Oxford University Press.
[135]
White, John 1993. Art and architecture in Italy 1250-1400. Yale University Press.
[136]
Wilcox, Timothy 2011. Constable and Salisbury: the soul of landscape. Scala.
[137]
Wilde, Johannes 1974. Venetian art from Bellini to Titian. Clarendon Press.
[138]
Wood, P. 1993. ‘Realism & Realities’. Realism, rationalism, surrealism: art between the wars. Yale University Press, in association with the Open University. 251–332.
[139]
Woods, Kim 2006. Making Renaissance art. Yale University Press, in association with Open University.
[140]
Woods, Kim et al. 2007. Viewing Renaissance art. Yale University Press, in association with the Open University.
[141]
Woods, Kim W. 2012. Art & Visual Culture 1000 - 1600: Medieval to Renaissance. Tate Publishing.