1.
Smith P, Wilde C. A Companion to Art Theory. Vol Blackwell companions in cultural studies. Blackwell; 2002. http://0-onlinelibrary.Wiley.com.pugwash.lib.warwick.ac.uk/book/10.1002/9780470998434
2.
Francis Frascina. Institutions, Culture, and America’s ‘Cold War Years’: The Making of Greenberg’s ‘Modernist Painting’. Oxford Art Journal. 2003;26(1):71-97. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3600447?seq=1#page_scan_tab_contents
3.
Hiddleston JA. Baudelaire, Manet, and Modernity. The Modern Language Review. 1992;87(3). doi:10.2307/3732920
4.
Meyer Shapiro. ‘The nature of Abstract Art’. Marxist quarterly. 1(1):77-98. https://arlir.iii.com/nonret~S0&atitle=’The+nature+of+Abstract+Art’&title=Marxist+quarterly&aufirst=Meyer+Shapiro&auinit=&aulast=&issn=&eissn=&coden=&volume=1&issue=1&spage=77&epage=98&quarter=&ssn=&date=Jan+&sid=&reqtype3
5.
Frascina F, Harrison C, Paul D, Open University. Modern Art and Modernism: A Critical Anthology. Paul Chapman in association with the Open University; 1988.
6.
Harrison C, Wood P. Art in Theory, 1900-1990: An Anthology of Changing Ideas. Blackwell; 1992.
7.
Clement Greenberg,. ‘Avant-Garde and Kitsch’. Partisan review. VI(5):34-49.
8.
T. J. Clark. Clement Greenberg’s Theory of Art. Critical Inquiry. 1982;9(1):139-156. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343277?seq=1#page_scan_tab_contents
9.
T. J. Clark. A Bourgeois Dance of Death: Max Buchon on Courbet-I. The Burlington Magazine. 1969;111(793):208-213. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/875972?seq=1#page_scan_tab_contents
10.
Michael Fried. Painter into Painting: On Courbet’s ‘After Dinner at Ornans’ and ‘Stonebreakers’. Critical Inquiry. 1982;8(4):619-649. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343190?seq=1#page_scan_tab_contents
11.
Alan Bowness. Courbet’s Proudhon. The Burlington Magazine. 1978;120(900):123-130. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/879130?seq=1#page_scan_tab_contents
12.
Bowness A, Courbet G. Courbet’s L’Atelier Du Peintre. Vol Charlton lectures on art. University of Newcastle upon Tyne; 1972.
13.
Nochlin L. Gustave Courbet’s Meeting: A Portrait of the Artist as a Wandering Jew. The Art Bulletin. 1967;49(3). doi:10.2307/3048470
14.
Ting Chang. ‘The Meeting’: Gustave Courbet and Alfred Bruyas. The Burlington Magazine. 1996;138(1122):586-591. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/887242?seq=1#page_scan_tab_contents
15.
Chu P ten-Doesschate. Courbet in Perspective. Vol The artists in perspective series. Prentice-Hall; 1977.
16.
Clark TJ. The Absolute Bourgeois: Artists and Politics in France, 1848-1851. Thames and Hudson; 1973.
17.
Clark TJ. Image of the People: Gustave Courbet and the 1848 Revolution. Thames and Hudson; 1973.
18.
Crapo PB. The Problematics of Artistic Patronage under the Second Empire: Gustave Courbet’s Involved Relations with the Regime of Napoleon III. Zeitschrift für Kunstgeschichte. 1995;58(2). doi:10.2307/1482704
19.
Frédérique Desbuissons. Courbet’s Materialism. Oxford Art Journal. 2008;31(2):253-260. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/20108023?seq=1#page_scan_tab_contents
20.
Faunce S, Nochlin L, Courbet G, Brooklyn Museum of Art, Minneapolis Institute of Arts. Courbet Reconsidered. Brooklyn Museum; 1988.
21.
Michael Fried. The Structure of Beholding in Courbet’s ‘Burial at Ornans’. Critical Inquiry. 1983;9(4):635-683. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343377?seq=1#page_scan_tab_contents
22.
Michael Fried. Manet in His Generation: The Face of Painting in the 1860s. Critical Inquiry. 1992;19(1):22-69. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343753?seq=1#page_scan_tab_contents
23.
Fried M, Courbet G. Courbet’s Realism. University of Chicago Press; 1990.
24.
Fried M. Manet’s Modernism, or, The Face of Painting in the 1860s. University of Chicago Press; 1996.
25.
Herding K. Courbet: To Venture Independence. Yale University Press; 1991.
26.
Lesko D. From Genre to Allegory in Gustave Courbet’s Les Demoiselles de Village. Art Journal. 1979;38(3). doi:10.2307/776270
27.
Moffitt JF. Art and Politics: An Underlying Pictorial - Political Topos in Courbet’s ‘Real Allegory’. Artibus et Historiae. 1987;8(15). doi:10.2307/1483277
28.
Nicolson B. Courbet, The Studio of the Painter. Vol Art in context. Viking Press
29.
Przyblyski JM. Courbet, the Commune, and the Meanings of Still Life in 1871. Art Journal. 1996;55(2). doi:10.2307/777743
30.
Rubin JH. Realism and Social Vision in Courbet & Proudhon. Vol Princeton essays on the arts. Princeton University Press; 1980.
31.
Nochlin L. Realism. Vol Style and civilization. Penguin; 1990.
32.
Seibert MA. A Political and a Pictorial Tradition Used in Gustave Courbet’s Real Allegory. The Art Bulletin. 1983;65(2). doi:10.2307/3050325
33.
Smith P. Manet Bits. Art History. 1997;20(3):477-482. doi:10.1111/1467-8365.00072
34.
Toussaint H, Courbet G, Réunion des musées nationaux (France), Arts Council of Great Britain, Galeries nationales du Grand Palais (France), Royal Academy of Arts (Great Britain). Gustave Courbet: 1819-1877 , (Exposition Organisée Par La Réunion Des Musées Nationaux et l’Arts Council of Great Britain), Grand Palais, 30 Septembre 1977-2 Janvier 1978 , (Catalogue. Ministère de la culture et de l’environnement, Éditions des musées nationaux; 1977.
35.
Weisberg GP, Cleveland Museum of Art. The Realist Tradition: French Painting and Drawing, 1830-1900. Cleveland Museum of Art
36.
Hiddleston JA. Baudelaire and the Art of Memory. Clarendon Press; 1999.
37.
Is Paris Still the Capital of the Nineteenth Century?: Essays on Art and Modernity, 1850-1900. Routledge; 26AD. http://www.amazon.co.uk/Paris-Still-Capital-Nineteenth-Century/dp/1472460146
38.
Hiddleston JA. Baudelaire and the Art of Memory. Clarendon Press; 1999.
39.
Hiddleston JA. Baudelaire and the Art of Memory. Clarendon; 1999. http://0-dx.doi.org.pugwash.lib.warwick.ac.uk/10.1093/acprof:oso/9780198159322.001.0001
40.
Richard Shiff. Handling Shocks: On the Representation of Experience in Walter Benjamin’s Analogies. Oxford Art Journal. 1992;15(2):88-103. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1360503?seq=1#page_scan_tab_contents
41.
Hobbs R. Impressions of French Modernity: Art and Literature in France, 1850-1900. Manchester University Press; 1998.
42.
Tom McDonough. The Crimes of the Flaneur. October. 2002;102:101-122. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/779133?seq=1#page_scan_tab_contents
43.
Herbert RL. Impressionism: Art, Leisure and Parisian Society. Yale University Press; 1988.
44.
André Dombrowski. History, Memory, and Instantaneity in Edgar Degas’s ‘Place de la Concorde’. The Art Bulletin. 2011;93(2):195-219. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/23046593?seq=1#page_scan_tab_contents
45.
Burton R. ‘The Unseen Seer, or Proteus in the City: Aspects of a Nineteenth-Century Parisian Myth’. French studies. 1988;XLll:50-68.
46.
Benjamin AE. The Problems of Modernity: Adorno and Benjamin. Vol Warwick studies in philosophy and literature. Routledge; 1989.
47.
Benjamin AE. The Problems of Modernity: Adorno and Benjamin. Vol Warwick studies in philosophy and literature. Routledge; 1989.
48.
Smith G. On Walter Benjamin: Critical Essays and Recollections. Vol Studies in contemporary German social thought. 1st MIT Press paperback ed. MIT Press; 1991.
49.
Prendergast C. Paris and the Nineteenth Century. Vol Writing the city. Blackwell; 1992.
50.
Harrison C, Wood P. Art in Theory, 1900-1990: An Anthology of Changing Ideas. Blackwell; 1992.
51.
Michael Fried. Painting Memories: On the Containment of the past in Baudelaire and Manet. Critical Inquiry. 1984;10(3):510-542. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343305?seq=1#page_scan_tab_contents
52.
Locke N. Unfinished Homage: Manet’s ‘Burial’ and Baudelaire. The Art Bulletin. 2000;82(1). doi:10.2307/3051365
53.
Collins BR. Manet’s Luncheon in the Studio: An Homage to Baudelaire. Art Journal. 1978;38(2). doi:10.2307/776419
54.
Juliet Wilson Bareau. The Hidden Face of Manet. An Investigation of the Artist’s Working Processes [Exhibition Catalog]. The Burlington Magazine. 1986;128(997). http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/882487?Search=yes&resultItemClick=true&searchText=no:997&searchText=AND&searchText=sn:00076287&searchText=AND&searchText=sp:i&searchText=AND&searchText=vo:128&searchText=AND&searchText=year:1986&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dno%253A997%2BAND%2Bsn%253A00076287%2BAND%2Bsp%253Ai%2BAND%2Bvo%253A128%2BAND%2Byear%253A1986%26amp%3Bymod%3DYour%2Binbound%2Blink%2Bdid%2Bnot%2Bhave%2Ban%2Bexact%2Bmatch%2Bin%2Bour%2Bdatabase.%2BBut%2Bbased%2Bon%2Bthe%2Belements%2Bwe%2Bcould%2Bmatch%252C%2Bwe%2Bhave%2Breturned%2Bthe%2Bfollowing%2Bresults.&seq=1#page_scan_tab_contents
55.
Armstrong CM. Manet Manette. Yale University Press; 2002.
56.
Rubin JH. Manet’s Silence and the Poetics of Bouquets. Vol Essays in art and culture. Reaktion; 1994.
57.
Clark TJ. The Painting of Modern Life: Paris in the Art of Manet and His Followers. Thames and Hudson; 1985.
58.
Mauner GL. Manet, Peintre-Philosophe: A Study of the Painter’s Themes. Pennsylvania State University Press; 1975.
59.
Locke N. Manet and the Family Romance. Princeton University Press; 2001.
60.
Hanson AC. Manet and the Modern Tradition. Yale University Press; 1977.
61.
Clark TJ. Preliminaries to a Possible Treatment of ‘Olympia’ in 1865. Screen. 1980;21(1):18-42. doi:10.1093/screen/21.1.18
62.
More on a Name: Manet’s ‘Olympia’ and the Defiant Heroine in Mid-Nineteenth-Century France. http://encore.lib.warwick.ac.uk/iii/encore/eds/C__S%27More%20on%20a%20Name%3A%20Manet%27s%20%E2%80%98Olympia%E2%80%99%20and%20the%20Defiant%20Heroine%20in%20Mid-Nineteenth-Century%20France%27__Orightresult__U?lang=eng&suite=cobalt
63.
Reff T, Manet É. Manet - ‘Olympia’. Vol Art in context. Allen Lane; 1976.
64.
Clark TJ. The Painting of Modern Life: Paris in the Art of Manet and His Followers. Thames and Hudson; 1985.
65.
Lipton E. Alias Olympia: A Woman’s Search for Manet’s Notorious Model & Her Own Desire. Thames and Hudson; 1993.
66.
Friedrich O. Olympia: Paris in the Age of Manet. Aurum Press; 1992.
67.
Thierry de Duve and Brian Holmes. How Manet’s ‘A Bar at the Folies-Bergère’ Is Constructed. Critical Inquiry. 1998;25(1):136-168. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1344137?seq=1#page_scan_tab_contents
68.
Iskin RE. Selling, Seduction, and Soliciting the Eye: Manet’s Bar at the Folies-Bergere. The Art Bulletin. 1995;77(1). doi:10.2307/3046078
69.
Boime A. Manet’s ‘Un bar aux Folies-Bergere’ as an Allegory of Nostalgia. Zeitschrift für Kunstgeschichte. 1993;56(2). doi:10.2307/1482637
70.
Carrier D. Art History in the Mirror Stage: Interpreting un Bar aux Folies Bergeres. History and Theory. 1990;29(3). doi:10.2307/2505053
71.
Collins BR. 12 Views of Manet’s Bar. Vol The Princeton series in nineteenth-century art, culture, and society. Princeton University Press; 1996.
72.
Isaacson J. Constable, Duranty, Mallarme, Impressionism, Plein Air, and Forgetting. The Art Bulletin. 1994;76(3). doi:10.2307/3046037
73.
Smith P. ‘PARBLEU’: PISSARRO AND THE POLITICAL COLOUR OF AN ORIGINAL VISION. Art History. 1992;15(2):223-247. doi:10.1111/j.1467-8365.1992.tb00482.x
74.
Shiff R. Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art. University of Chicago Press; 1984.
75.
Rewald J, Weitzenhoffer F. Aspects of Monet: A Symposium on the Artist’s Life and Times. Abrams; 1984.
76.
Lewis MT. Critical Readings in Impressionism and Post-Impressionism: An Anthology. University of California Press; 2007.
77.
House J. Impressionism: Paint and Politics. Yale University Press; 2004.
78.
Berson R, Fine Arts Museums of San Francisco. The New Painting: Impressionism, 1874-1886 : Documentation. Fine Arts Museums of San Francisco; 1989.
79.
Rewald J. The History of Impressionism. Rev. and enl. ed. Museum of Modern Art; 1961.
80.
Ward M. Pissarro, Neo-Impressionism, and the Spaces of the Avant-Garde. University of Chicago Press; 1996.
81.
Special Issue: Pissarro. Apollo. 136(369).
82.
Pissarro C, Brettell RR, Pissarro J, et al. The Impressionist and the City: Pissarro’s Series Paintings. Yale University Press; 1992.
83.
Thomson R, Birmingham City Museum and Art Gallery, Burrell Collection. Camille Pissarro: Impressionism, Landscape and Rural Labour. Herbert Press; 1990.
84.
Lloyd C. Studies on Camille Pissarro. Routledge & Kegan Paul; 1986.
85.
Pissarro C, Hayward Gallery, Galeries nationales du Grand Palais (France), Museum of Fine Arts, Boston. Pissarro: Camille Pissarro 1830-1903. Arts Council of Great Britain; 1980.
86.
House J, Monet C. Monet: Nature into Art. Yale University Press; 1986.
87.
Kear J. MAKING HAY WITH MONET: MONETS OF THE ′90s. Art History. 1991;14(4):593-599. doi:10.1111/j.1467-8365.1991.tb00459.x
88.
Brettell RR. Monet’s Haystacks Reconsidered. Art Institute of Chicago Museum Studies. 1984;11(1). doi:10.2307/4115885
89.
John Klein. The Dispersal of the Modernist Series. Oxford Art Journal. 1998;21(1):123-135. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1360700?seq=1#page_scan_tab_contents
90.
Levine SZ. Monet’s Series: Repetition, Obsession. October. 1986;37. doi:10.2307/778519
91.
Impressionism : beneath the surface / Paul Smith. http://encore.lib.warwick.ac.uk/iii/encore/search/C__SImpressionism%3A%20Beneath%20the%20Surface%20__Orightresult?lang=eng&suite=cobalt
92.
Spate V, Monet C. The Colour of Time: Claude Monet. Thames and Hudson; 1992.
93.
Tucker PH, Monet C, Museum of Fine Arts, Boston, Royal Academy of Arts (Great Britain). Monet in the ’90s: The Series Paintings. 4th printing with corrections. Museum of Fine Arts; 1990.
94.
Pollock, Griselda. Vision and Difference. Routledge
95.
Garb T. ‘L’ART FÉMININ’: THE FORMATION OF A CRITICAL CATEGORY IN LATE NINETEENTH-CENTURY FRANCE. Art History. 1989;12(1):39-65. doi:10.1111/j.1467-8365.1989.tb00336.x
96.
Broude N. Degas’s ‘Misogyny’. The Art Bulletin. 1977;59(1). doi:10.2307/3049600
97.
KATHRYN BROWN. The Aesthetics of Presence: Looking at Degas’s ‘Bathers’. The Journal of Aesthetics and Art Criticism. 2010;68(4):331-341. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40929541?seq=1#page_scan_tab_contents
98.
Harrison C. Painting the Difference: Sex and Spectator in Modern Art. University of Chicago Press; 2005.
99.
Broude N. Edgar Degas and French Feminism, ca. 1880: ‘The Young Spartans,’ the Brothel Monotypes, and the Bathers Revisited. The Art Bulletin. 1988;70(4). doi:10.2307/3051106
100.
Marilyn R. Brown. ‘Miss La La’s’ Teeth: Reflections on Degas and ‘Race’. The Art Bulletin. 2007;89(4):738-765. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25067359?seq=1#page_scan_tab_contents
101.
Frascina F. Modernity and Modernism: French Painting in the Nineteenth Century. Vol Modern art--practices and debates. Yale University Press, in association with the Open University; 1993.
102.
Sidlauskas S. Resisting Narrative: The Problem of Edgar Degas’s Interior. The Art Bulletin. 1993;75(4). doi:10.2307/3045989
103.
Elizabeth Easton and Jared Bark. ‘Pictures Properly Framed’: Degas and Innovation in Impressionist Frames. The Burlington Magazine. 2008;150(1266):603-611. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40479868?seq=1#page_scan_tab_contents
104.
Richard Kendall. Degas and the Contingency of Vision. The Burlington Magazine. 1988;130(1020):180-216. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/883345?seq=1#page_scan_tab_contents
105.
Reff T. The Technical Aspects of Degas’s Art. Metropolitan Museum Journal. 1971;4:141-166. doi:10.2307/1512619
106.
Armstrong CM. Odd Man out: Readings of the Work and Reputation of Edgar Degas. University of Chicago Press; 1991.
107.
Pollock G, Kendall R. Dealing with Degas: Representations of Women and the Politics of Vision. Pandora; 1992.
108.
Lipton E, Degas E. Looking into Degas: Uneasy Images of Women and Modern Life. University of California Press; 1986.
109.
Callen A. The Spectacular Body: Science, Method and Meaning in the Work of Degas. Yale University Press; 1995.
110.
Reff T. Degas, the Artist’s Mind. Thames and Hudson; 1976.
111.
Thomson R, Degas E. Degas: The Nudes. Thames and Hudson; 1988.
112.
Kessler MR. Unmasking Manet’s Morisot. The Art Bulletin. 1999;81(3). doi:10.2307/3051353
113.
Broude N. Mary Cassatt: Modern Woman or the Cult of True Womanhood? Woman’s Art Journal. 2000;21(2). doi:10.2307/1358749
114.
Yeh SF. Mary Cassatt’s Images of Women. Art Journal. 1976;35(4). doi:10.2307/776228
115.
Impressionism: A Feminist Reading: The Gendering Of Art, Science, And Nature In The Nineteenth Century by Broude, Norma (1997) Paperback. http://www.amazon.co.uk/Impressionism-Feminist-Gendering-Nineteenth-Paperback/dp/B01071FG2I/ref=sr_1_1?s=books&ie=UTF8&qid=1459857940&sr=1-1&keywords=%2C+Impressionism%3A+a+Feminist+Reading
116.
Broude N. Impressionism: A Feminist Reading ; the Gendering of Art, Science, and Nature in the Nineteenth Century. Rizzoli; 1991.
117.
Garb T. Bodies of Modernity: Figure and Flesh in Fin-de-Siècle France. Vol Interplay. arts and history and theory. Thames & Hudson; 1998.
118.
Pollock G, Cassatt M. Mary Cassatt: Painter of Modern Women. Vol World of art. Thames & Hudson; 1998.
119.
Jill DeVonyar and Richard Kendall. The Class of 1881: Degas, Drawing, and the ‘Little Dancer Aged Fourteen’. Master Drawings. 2003;41(2):151-162. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1554585?seq=1#page_scan_tab_contents
120.
Daphne S. Barbour. Degas’s Wax Sculptures from the inside out. The Burlington Magazine. 1992;134(1077):798-805. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/885352?seq=1#page_scan_tab_contents
121.
Kendall R, Joslyn Art Museum. Degas and the Little Dancer. Yale University Press in association with Joslyn Art Museum, Omaha; 1998.
122.
June Hargrove. ‘Degas’s Little dancer in the world of pantomime’. Apollo. 147(432):15-21.
123.
Czestochowski JS, Pingeot A. Degas Sculptures: Catalogue Raisonné of the Bronzes. Torch Press; 2002.
124.
Shiff R. Constructing Physicality. Art Journal. 1991;50(1). doi:10.2307/777084
125.
Smith P. Cézanne’s "Primitive” Perspective, or the "View from Everywhere”. The Art Bulletin. 2013;95(1):102-119. doi:10.1080/00043079.2013.10786108
126.
Richard Shiff. Seeing Cézanne. Critical Inquiry. 1978;4(4):769-808. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1342954?seq=1#page_scan_tab_contents
127.
Bois YA, Krauss R. Cezanne: Words and Deeds. October. 1998;84. doi:10.2307/779207
128.
Value, Art, Politics. Liverpool University Press; 2007.
129.
Cézanne P, Doran PM. Conversations with Cézanne. Vol Documents of twentieth-century art. University of California Press; 2001.
130.
Gaskell I, Kemal S. The Language of Art History. Vol Cambridge studies in philosophy and the arts. Cambridge University Press; 1991.
131.
Shiff R. Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art. University of Chicago Press; 1984.
132.
Cézanne P, Reff T, Rubin W, Museum of Modern Art (New York, N.Y.). Cézanne: The Late Work. Thames and Hudson; 1978.
133.
Loran E, Cézanne P. Cézanne’s Composition: Analysis of His Form with Diagrams and Photographs of His Motifs. 3rd ed. University of California Press; 2006.
134.
Cézanne P, Cézanne P, Smith P, Athanassoglou-Kallmyer NM, Art Gallery of Hamilton. The World Is an Apple: The Still Lifes of Paul Cézanne. (Leca B, ed.). Art Gallery of Hamilton in association with D Giles Limited; 2014.
135.
Paul Smith,. ’Joachim Gasquet, Virgil and Cézanne’s Landscape: ‘My Beloved Golden Age’. Apollo. 147(147,):11-23.
136.
Athanassoglou-Kallmyer NM, Cézanne P. Cézanne and Provence: The Painter in His Culture. The University of Chicago Press; 2003.
137.
Clark TJ. Freud’s Cézanne. Representations. 1995;(52):94-122. doi:10.2307/2928701
138.
Tamar Garb. Visuality and Sexuality in Cézanne’s Late Bathers. Oxford Art Journal. 1996;19(2):46-60. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1360728?seq=1#page_scan_tab_contents
139.
Mary Louise Krumrine. Cézanne’s ‘Restricted Power’: Further Reflections on the ‘Bathers’. The Burlington Magazine. 1992;134(1074):586-595. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/885313?seq=1#page_scan_tab_contents
140.
Reff T. Cezanne, Flaubert, St. Anthony, and the Queen of Sheba. The Art Bulletin. 1962;44(2). doi:10.2307/3047999
141.
Arbiter P. A Degenerate Work of Art: ‘The Bathers’ by Cézanne. The Art World. 1918;3(4). doi:10.2307/25588292
142.
Mary Louise Krumrine. Paul Cézanne. Thames and Hudson in association with Kunstmuseum Basel; 1990.
143.
D’Souza A. Cézanne’s Bathers: Biography and the Erotics of Paint. Vol Refiguring modernism. Pennsylvania State University Press; 2008.
144.
Geist S. Interpreting Cézanne. Harvard University Press; 1988.
145.
Seurat Re-Viewed (Refiguring Modernism) (2010-04-30). Penn State University Press (2010-04-30); 2010. http://www.amazon.co.uk/Seurat-Re-viewed-Refiguring-Modernism-2010-04-30/dp/B01A64HFDE/ref=sr_1_1?s=books&ie=UTF8&qid=1459870139&sr=1-1&keywords=Seurat+Re-Viewed
146.
Linda Goddard. ‘The Writings of a Savage?’ Literary Strategies in Paul Gauguin’s “Noa Noa”. Journal of the Warburg and Courtauld Institutes. 2008;71:277-293. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/20462786?seq=1#page_scan_tab_contents
147.
Steiner W. Divide and narrate: the icon-symbol tension in Seurat. Word & Image. 1986;2(4):342-348. doi:10.1080/02666286.1986.10435358
148.
Smith P, Seurat G. Seurat and the Avant-Garde. Yale University Press; 1997.
149.
Seurat G, Kahn G. The Drawings of Georges Seurat. Dover Publications; 1971.
150.
Halperin JU. Félix Fénéon: Aesthete & Anarchist in Fin-de-Siècle Paris. Yale University Press; 1988.
151.
Homer WI. Seurat and the Science of Painting. M.I.T. Press; 1964.
152.
Seurat G, Herbert RL, Cachin F, Tinterow G, Galeries nationales du Grand Palais (France), Metropolitan Museum of Art (New York, N.Y.). Seurat: Galeries Nationales Du Grand Palais, Paris, 9 Avril-12 Août1991. Éditions de la Reunion des musées nationaux; 1991.
153.
Broude N. Seurat in Perspective. Vol The artists in perspective series. Prentice-Hall; 1978.
154.
House J. MEANING IN SEURAT’S FIGURE PAINTINGS. Art History. 1980;3(3):345-356. doi:10.1111/j.1467-8365.1980.tb00082.x
155.
Clayson SH. The Family and the Father: The ‘Grande Jatte’ and Its Absences. Art Institute of Chicago Museum Studies. 1989;14(2). doi:10.2307/4108748
156.
Nochlin L. Seurat’s Grande Jatte: An Anti-Utopian Allegory. Art Institute of Chicago Museum Studies. 1989;14(2). doi:10.2307/4108747
157.
Stumpel J. The ‘Grande Jatte,’ That Patient Tapestry. Simiolus: Netherlands Quarterly for the History of Art. 1984;14(3/4). doi:10.2307/3780578
158.
Herbert RL, Harris N, Seurat G, Art Institute of Chicago. Seurat: And the Making of La Grande Jatte. The Art Institute of Chicago in association with University of California Press; 2004.
159.
Museum of Fine Arts. Where Do We Come From? What Are We? Where Are We Going? | Museum of Fine Arts, Boston. http://www.mfa.org/collections/object/where-do-we-come-from-what-are-we-where-are-we-going-32558
160.
Cheetham MA. Mystical Memories: Gauguin’s Neoplatonism and ‘Abstraction’ in Late-Nineteenth-Century French Painting. Art Journal. 1987;46(1). doi:10.2307/776838
161.
Edward D. Powers. From Eternity to Here: Paul Gauguin and the Word Made Flesh. Oxford Art Journal. 2002;25(2):89-106. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3600479?seq=1#page_scan_tab_contents
162.
Bengt Danielsson. Gauguin’s Tahitian Titles. The Burlington Magazine. 1967;109(769):228-233. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/875243?seq=1#page_scan_tab_contents
163.
III MH. The Origin of Paul Gauguin’s Vision after the Sermon: Jacob Wrestling with the Angel (1888). The Art Bulletin. 1977;59(3). doi:10.2307/3049673
164.
Jirat-Wasiutynski V. Paul Gauguin’s ‘Self-Portrait with Halo and Snake’: The Artist as Initiate and Magus. Art Journal. 1987;46(1). doi:10.2307/776839
165.
Ziva Amishai-Maisels. Gauguin’s ‘Philosophical Eve’. The Burlington Magazine. 1973;115(843):373-382. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/877381?seq=1#page_scan_tab_contents
166.
Eisenman S. Gauguin’s Skirt. Thames and Hudson; 1997.
167.
Thomson B. Gauguin. Vol World of art. Thames and Hudson; 2001.
168.
Jirat-Wasiutyński V, Gauguin P, Newton HT. Technique and Meaning in the Paintings of Paul Gauguin. Cambridge University Press; 2000.
169.
Wayne V. Andersen. Gauguin and a Peruvian Mummy. The Burlington Magazine. 1967;109(769):238-243. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/875245?seq=1#page_scan_tab_contents
170.
Shackelford GTM, Gauguin P, Museum of Fine Arts, Boston. Paul Gauguin: Where Do We Come from? What Are We? Where Are We Going? MFA publications, Museum of Fine Arts; 2013.
171.
Murray A. ‘STRANGE AND SUBTLE PERSPECTIVE …’: Van Gogh, The Hague School and the Dutch Landscape Tradition. Art History. 1980;3(4):410-424. doi:10.1111/j.1467-8365.1980.tb00086.x
172.
Wright A. Arche-tectures: Matisse and the End of (Art) History. October. 1998;84. doi:10.2307/779208
173.
The letters - Vincent van Gogh Letters. http://vangoghletters.org/vg/letters.html
174.
Sund J. FAVOURED FICTIONS: WOMEN AND BOOKS IN THE ART OF VAN GOGH. Art History. 1988;11(2):255-267. doi:10.1111/j.1467-8365.1988.tb00298.x
175.
Zemel C. SORROWING WOMEN, RESCUING MEN: VAN GOGH’S IMAGES OF WOMEN AND FAMILY. Art History. 1987;10(3):351-368. doi:10.1111/j.1467-8365.1987.tb00261.x
176.
Kodera T. Japan as Primitivistic Utopia: Van Gogh’s Japonisme Portraits. Simiolus: Netherlands Quarterly for the History of Art. 1984;14(3/4). doi:10.2307/3780577
177.
Loretta S. Loftus and Wilfred Niels Arnold. Vincent Van Gogh’s Illness: Acute Intermittent Porphyria? BMJ: British Medical Journal. 1991;303(6817):1589-1591. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/29714050?seq=1#page_scan_tab_contents
178.
Kay Redfield Jamison and Richard Jed Wyatt. Vincent Van Gogh’s Illness. BMJ: British Medical Journal. 6826;304(6826). http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/29714734?Search=yes&resultItemClick=true&searchText=no:6826&searchText=AND&searchText=sn:09598138&searchText=AND&searchText=sp:577&searchText=AND&searchText=vo:304&searchText=AND&searchText=year:1992&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dno%253A6826%2BAND%2Bsn%253A09598138%2BAND%2Bsp%253A577%2BAND%2Bvo%253A304%2BAND%2Byear%253A1992%26amp%3Bymod%3DYour%2Binbound%2Blink%2Bdid%2Bnot%2Bhave%2Ban%2Bexact%2Bmatch%2Bin%2Bour%2Bdatabase.%2BBut%2Bbased%2Bon%2Bthe%2Belements%2Bwe%2Bcould%2Bmatch%252C%2Bwe%2Bhave%2Breturned%2Bthe%2Bfollowing%2Bresults.&seq=1#page_scan_tab_contents
179.
McQuillan MA, Gogh V van. Van Gogh. Vol World of art. Thames and Hudson; 2005.
180.
Nochlin L. Impressionism and Post-Impressionism, 1874-1904: Sources and Documents. Vol Sources and documents in the history of art series. Prentice-Hall
181.
Hulsker J, Hulsker J, Miller JM. Vincent and Theo van Gogh: A Dual Biography. Fuller Publications; 1990.
182.
Gogh V van, Pickvance R, Metropolitan Museum of Art (New York, N.Y.). Van Gogh in Arles. Metropolitan Museum of Art; 1984.
183.
Thomson R, Thomson R, National Gallery of Scotland. Framing France: The Representation of Landscape in France, 1870-1914. Manchester University Press; 1998.
184.
Kōdera T, Rosenberg Y. The Mythology of Vincent Van Gogh. TV Asahi; 1993.
185.
Druick DW, Zegers P, Salvesen B, Art Institute of Chicago, Rijksmuseum (Netherlands). Van Gogh and Gauguin: The Studio of the South. Thames & Hudson; 2001.
186.
Roskill MW. Van Gogh, Gauguin and the Impressionist Circle. Vol New aspects of art. Thames and Hudson
187.
Silverman D. Van Gogh and Gauguin: The Search for Sacred Art. Farrar Straus Giroux; 2001.
188.
Benjamin R. Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880-1930. University of California Press; 2003.
189.
Bois YA, Sims G. On Matisse: The Blinding: For Leo Steinberg. October. 1994;68. doi:10.2307/778697
190.
Carrier D. The Beauty of Henri Matisse. Journal of Aesthetic Education. 2004;38(2). doi:10.2307/3527318
191.
John Tchalenko. Henri Matisse Drawing: An Eye-Hand Interaction Study Based on Archival Film. Leonardo. 2009;42(5):433-438. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40540062?seq=1#page_scan_tab_contents
192.
Matisse H, Flam JD. Matisse on Art. Phaidon; 1973.
193.
Roger Benjamin. Matisse’s ‘Notes of a Painter’. UMI Research Press; 1987.
194.
Bock-Weiss C, Matisse H. Henri Matisse: Modernist against the Grain. Pennsylvania State University Press; 2009.
195.
Wright A. Matisse and the Subject of Modernism. Princeton University Press; 2004.
196.
Flam JD, Matisse H. Matisse: The Man and His Art, 1869-1918. Thames and Hudson; 1986.
197.
Herbert JD. Fauve Painting: The Making of Cultural Politics. Yale University Press; 1992.
198.
Werth M. The Joy of Life: The Idyllic in French Art, circa 1900. University of California Press; 2002.
199.
Bock-Weiss C, Matisse H. Henri Matisse: Modernist against the Grain. Pennsylvania State University Press; 2009.
200.
Bock CC. Henri Matisse’s ‘Bathers by a River’. Art Institute of Chicago Museum Studies. 1990;16(1). doi:10.2307/4101568
201.
Brettell RR, Gogh V. Van Gogh’s ‘Bedrooms at Arles’: The Problem of Priority. Art Institute of Chicago Museum Studies. 1986;12(2). doi:10.2307/4115938
202.
Heelan PA. Toward a New Analysis of the Pictorial Space of Vincent Van Gogh. The Art Bulletin. 1972;54(4). doi:10.2307/3049037
203.
Ward JL. A Reexamination of Van Gogh’s Pictorial Space. The Art Bulletin. 1976;58(4). doi:10.2307/3049573
204.
Bois YA, Streip K. Kahnweiler’s Lesson. Representations. 1987;(18):33-68. doi:10.2307/3043750
205.
Leighten P. Revising Cubism. Art Journal. 1988;47(4). doi:10.2307/776977
206.
Patricia Leighten. Cubist Anachronisms: Ahistoricity, Cryptoformalism, and Business-as-Usual in New York. Oxford Art Journal. 1994;17(2):91-102. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1360577?seq=1#page_scan_tab_contents
207.
Antliff RM. Bergson and Cubism: A Reassessment. Art Journal. 1988;47(4). doi:10.2307/776983
208.
Zelevansky L. Picasso and Braque: A Symposium. Museum of Modern Art; 1992.
209.
Clark TJ, Picasso P. Picasso and Truth: From Cubism to Guernica. Vol Bollingen series. Princeton University Press; 2013.
210.
Zelevansky L. Picasso and Braque: A Symposium. Museum of Modern Art; 1992.
211.
Karmel P. Picasso and the Invention of Cubism. Yale University Press; 2003.
212.
Cox N. Cubism. Vol Art&ideas. Phaidon Press Limited; 2000.
213.
Poggi C. In Defiance of Painting: Cubism, Futurism, and the Invention of Collage. Vol Yale publications in the history of art. Yale University Press; 1992.
214.
Leighten PD. Re-Ordering the Universe: Picasso and Anarchism, 1897-1914. Princeton University Press; 1989.
215.
Golding J. Cubism: A History and an Analysis, 1907-1914. Faber; 1959.
216.
Braque G, Golding J, Bowness S, South Bank Centre, Walker Art Gallery, City of Bristol Museum and Art Gallery. Braque: Still Lifes and Interiors : A South Bank Centre Touring Exhibition. South Bank Centre; 1990.
217.
William Cloonan. Braque’s Le Portugais and a Portuguese Nun. The French Review. 1990;63(4):607-616. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/396012?seq=1#page_scan_tab_contents
218.
Kahng E, Kimbell Art Museum, Santa Barbara Museum of Art. Picasso and Braque: The Cubist Experiment, 1910-1912. Santa Barbara Museum of Art; 2011.
219.
Rubin W, Museum of Modern Art (New York, N.Y.). Picasso and Braque: Pioneering Cubism. Museum of Modern Art; 1989.
220.
Mullins EB, Braque G. Braque. Vol World of art library. Thames and Hudson; 1968.
221.
Steinberg L. The Philosophical Brothel. October. 1988;44. doi:10.2307/778974
222.
John Golding. The ‘Demoiselles d’Avignon’. The Burlington Magazine. 1958;100(662):154-163. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/872425?seq=1#page_scan_tab_contents
223.
Rubin W. From Narrative to ‘Iconic’ in Picasso: The Buried Allegory in Bread and Fruitdish on a Table and the Role of Les Demoiselles d’Avignon. The Art Bulletin. 1983;65(4). doi:10.2307/3050371
224.
Steefel LD. The Neglected Fruit Cluster in Picasso’s ‘Les Demoiselles d’Avignon’. Artibus et Historiae. 1992;13(26). doi:10.2307/1483434
225.
Chave AC. New Encounters with Les Demoiselles d’Avignon: Gender, Race, and the Origins of Cubism. The Art Bulletin. 1994;76(4). doi:10.2307/3046058
226.
Martensen-Larsen B. When Did Picasso Complete ‘Les Demoiselles d’Avignon’? Zeitschrift für Kunstgeschichte. 1985;48(2). doi:10.2307/1482281
227.
Penrose R, Golding J, Kahnweiler DH. Picasso in Retrospect. Granada; 1981.