Alan Bowness. 1978. ‘Courbet’s Proudhon’. The Burlington Magazine 120 (900): 123–30. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/879130?seq=1#page_scan_tab_contents.
André Dombrowski. 2011. ‘History, Memory, and Instantaneity in Edgar Degas’s “Place de La Concorde”’. The Art Bulletin 93 (2): 195–219. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/23046593?seq=1#page_scan_tab_contents.
Antliff, Robert Mark. 1988. ‘Bergson and Cubism: A Reassessment’. Art Journal 47 (4). https://doi.org/10.2307/776983.
Arbiter, Petronius. 1918. ‘A Degenerate Work of Art: “The Bathers” by Cézanne’. The Art World 3 (4). https://doi.org/10.2307/25588292.
Armstrong, Carol M. 1991. Odd Man out: Readings of the Work and Reputation of Edgar Degas. Chicago: University of Chicago Press.
———. 2002. Manet Manette. New Haven: Yale University Press.
Athanassoglou-Kallmyer, Nina M., and Paul Cézanne. 2003. Cézanne and Provence: The Painter in His Culture. Chicago: The University of Chicago Press.
Bengt Danielsson. 1967. ‘Gauguin’s Tahitian Titles’. The Burlington Magazine 109 (769): 228–33. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/875243?seq=1#page_scan_tab_contents.
Benjamin, Andrew E. 1989a. The Problems of Modernity: Adorno and Benjamin. Vol. Warwick studies in philosophy and literature. London: Routledge.
———. 1989b. The Problems of Modernity: Adorno and Benjamin. Vol. Warwick studies in philosophy and literature. London: Routledge.
Benjamin, Roger. 2003. Orientalist Aesthetics: Art, Colonialism, and French North Africa,  1880-1930. Berkeley, Calif: University of California Press.
Berson, Ruth and Fine Arts Museums of San Francisco. 1989. The New Painting: Impressionism, 1874-1886 : Documentation. San Francisco, CA: Fine Arts Museums of San Francisco.
Bock, Catherine C. 1990. ‘Henri Matisse’s “Bathers by a River”’. Art Institute of Chicago Museum Studies 16 (1). https://doi.org/10.2307/4101568.
Bock-Weiss, Catherine, and Henri Matisse. 2009a. Henri Matisse: Modernist against the Grain. University Park, Pa: Pennsylvania State University Press.
———. 2009b. Henri Matisse: Modernist against the Grain. University Park, Pa: Pennsylvania State University Press.
Boime, Albert. 1993. ‘Manet’s “Un Bar Aux Folies-Bergere” as an Allegory of Nostalgia’. Zeitschrift Für Kunstgeschichte 56 (2). https://doi.org/10.2307/1482637.
Bois, Yve-Alain, and Rosalind Krauss. 1998. ‘Cezanne: Words and Deeds’. October 84 (Spring). https://doi.org/10.2307/779207.
Bois, Yve-Alain, and Greg Sims. 1994. ‘On Matisse: The Blinding: For Leo Steinberg’. October 68 (Spring). https://doi.org/10.2307/778697.
Bois, Yve-Alain, and Katharine Streip. 1987. ‘Kahnweiler’s Lesson’. Representations, no. 18 (April): 33–68. https://doi.org/10.2307/3043750.
Bowness, Alan, and Gustave Courbet. 1972. Courbet’s L’Atelier Du Peintre. Vol. Charlton lectures on art. Newcastle upon Tyne: University of Newcastle upon Tyne.
Braque, Georges, John Golding, Sophie Bowness, South Bank Centre, Walker Art Gallery, and City of Bristol Museum and Art Gallery. 1990. Braque: Still Lifes and Interiors : A South Bank Centre Touring  Exhibition. London: South Bank Centre.
Brettell, Richard R. 1984. ‘Monet’s Haystacks Reconsidered’. Art Institute of Chicago Museum Studies 11 (1). https://doi.org/10.2307/4115885.
Brettell, Richard R., and Van Gogh. 1986. ‘Van Gogh’s “Bedrooms at Arles”: The Problem of Priority’. Art Institute of Chicago Museum Studies 12 (2). https://doi.org/10.2307/4115938.
Broude, Norma. 1977. ‘Degas’s “Misogyny”’. The Art Bulletin 59 (1). https://doi.org/10.2307/3049600.
———. 1978. Seurat in Perspective. Vol. The artists in perspective series. Englewood Cliffs: Prentice-Hall.
———. 1988. ‘Edgar Degas and French Feminism, ca. 1880: “The Young Spartans,” the Brothel Monotypes, and the Bathers Revisited’. The Art Bulletin 70 (4). https://doi.org/10.2307/3051106.
———. 1991. Impressionism: A Feminist Reading ; the Gendering of Art, Science, and Nature in the Nineteenth Century. New York: Rizzoli.
———. 2000. ‘Mary Cassatt: Modern Woman or the Cult of True Womanhood?’ Woman’s Art Journal 21 (2). https://doi.org/10.2307/1358749.
Burton, Richard. 1988. ‘“The Unseen Seer, or Proteus in the City: Aspects of a Nineteenth-Century Parisian Myth”’. French Studies XLll: 50–68.
Callen, Anthea. 1995. The Spectacular Body: Science, Method and Meaning in the Work of  Degas. New Haven: Yale University Press.
Carrier, David. 1990. ‘Art History in the Mirror Stage: Interpreting Un Bar Aux Folies Bergeres’. History and Theory 29 (3). https://doi.org/10.2307/2505053.
———. 2004. ‘The Beauty of Henri Matisse’. Journal of Aesthetic Education 38 (2). https://doi.org/10.2307/3527318.
Cézanne, Paul, and P. M. Doran. 2001. Conversations with Cézanne. Vol. Documents of twentieth-century art. Berkeley: University of California Press.
Cézanne, Paul, Theodore Reff, William Rubin, and Museum of Modern Art (New York, N.Y.). 1978. Cézanne: The Late Work. London: Thames and Hudson.
Cézanne, Philippe, Paul Cézanne, Paul Smith, Nina M. Athanassoglou-Kallmyer, and Art Gallery of Hamilton. 2014. The World Is an Apple: The Still Lifes of Paul Cézanne. Edited by Benedict Leca. [Hamilton, Ontario]: Art Gallery of Hamilton in association with D Giles Limited.
Chave, Anna C. 1994. ‘New Encounters with Les Demoiselles d’Avignon: Gender, Race, and the Origins of Cubism’. The Art Bulletin 76 (4). https://doi.org/10.2307/3046058.
Cheetham, Mark A. 1987. ‘Mystical Memories: Gauguin’s Neoplatonism and “Abstraction” in Late-Nineteenth-Century French Painting’. Art Journal 46 (1). https://doi.org/10.2307/776838.
Chu, Petra ten-Doesschate. 1977. Courbet in Perspective. Vol. The artists in perspective series. Englewood Cliffs: Prentice-Hall.
Clark, T. J. 1973a. Image of the People: Gustave Courbet and the 1848 Revolution. London: Thames and Hudson.
———. 1973b. The Absolute Bourgeois: Artists and Politics in France, 1848-1851. London: Thames and Hudson.
Clark, T. J. 1980. ‘Preliminaries to a Possible Treatment of “Olympia” in 1865’. Screen 21 (1): 18–42. https://doi.org/10.1093/screen/21.1.18.
Clark, T. J. 1985a. The Painting of Modern Life: Paris in the Art of Manet and His  Followers. London: Thames and Hudson.
———. 1985b. The Painting of Modern Life: Paris in the Art of Manet and His  Followers. London: Thames and Hudson.
———. 1995. ‘Freud’s Cézanne’. Representations, no. 52 (October): 94–122. https://doi.org/10.2307/2928701.
Clark, T. J., and Pablo Picasso. 2013. Picasso and Truth: From Cubism to Guernica. Vol. Bollingen series. Princeton, N.J.: Princeton University Press.
Clayson, S. Hollis. 1989. ‘The Family and the Father: The “Grande Jatte” and Its Absences’. Art Institute of Chicago Museum Studies 14 (2). https://doi.org/10.2307/4108748.
Clement Greenberg,. n.d. ‘“Avant-Garde and Kitsch”’. Partisan Review VI (5): 34–49.
Collins, Bradford R. 1978. ‘Manet’s Luncheon in the Studio: An Homage to Baudelaire’. Art Journal 38 (2). https://doi.org/10.2307/776419.
———. 1996. 12 Views of Manet’s Bar. Vol. The Princeton series in nineteenth-century art, culture, and society. Chichester: Princeton University Press.
Cox, Neil. 2000. Cubism. Vol. Art&ideas. London: Phaidon Press Limited.
Crapo, Paul B. 1995. ‘The Problematics of Artistic Patronage under the Second Empire: Gustave Courbet’s Involved Relations with the Regime of Napoleon III’. Zeitschrift Für Kunstgeschichte 58 (2). https://doi.org/10.2307/1482704.
Czestochowski, Joseph S., and Anne Pingeot. 2002. Degas Sculptures: Catalogue Raisonné of the Bronzes. New York: Torch Press.
Daphne S. Barbour. 1992. ‘Degas’s Wax Sculptures from the inside Out’. The Burlington Magazine 134 (1077): 798–805. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/885352?seq=1#page_scan_tab_contents.
Druick, Douglas W., Peter Zegers, Britt Salvesen, Art Institute of Chicago, and Rijksmuseum (Netherlands). 2001. Van Gogh and Gauguin: The Studio of the South. London: Thames & Hudson.
D’Souza, Aruna. 2008. Cézanne’s Bathers: Biography and the Erotics of Paint. Vol. Refiguring modernism. University Park, Pa: Pennsylvania State University Press.
Edward D. Powers. 2002. ‘From Eternity to Here: Paul Gauguin and the Word Made Flesh’. Oxford Art Journal 25 (2): 89–106. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3600479?seq=1#page_scan_tab_contents.
Eisenman, Stephen. 1997. Gauguin’s Skirt. London: Thames and Hudson.
Elizabeth Easton and Jared Bark. 2008. ‘“Pictures Properly Framed”: Degas and Innovation in Impressionist Frames’. The Burlington Magazine 150 (1266): 603–11. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40479868?seq=1#page_scan_tab_contents.
Faunce, Sarah, Linda Nochlin, Gustave Courbet, Brooklyn Museum of Art, and Minneapolis Institute of Arts. 1988. Courbet Reconsidered. [New York]: Brooklyn Museum.
Flam, Jack D., and Henri Matisse. 1986. Matisse: The Man and His Art, 1869-1918. London: Thames and Hudson.
Francis Frascina. 2003. ‘Institutions, Culture, and America’s “Cold War Years”: The Making of Greenberg’s “Modernist Painting”’. Oxford Art Journal 26 (1): 71–97. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3600447?seq=1#page_scan_tab_contents.
Frascina, Francis. 1993. Modernity and Modernism: French Painting in the Nineteenth Century. Vol. Modern art--practices and debates. New Haven: Yale University Press, in association with the Open University.
Frascina, Francis, Charles Harrison, Deirdre Paul, and Open University. 1988. Modern Art and Modernism: A Critical Anthology. London: Paul Chapman in association with the Open University.
Frédérique Desbuissons. 2008. ‘Courbet’s Materialism’. Oxford Art Journal 31 (2): 253–60. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/20108023?seq=1#page_scan_tab_contents.
Fried, Michael. 1996. Manet’s Modernism, or, The Face of Painting in the 1860s. Chicago: University of Chicago Press.
Fried, Michael, and Gustave Courbet. 1990. Courbet’s Realism. Chicago: University of Chicago Press.
Friedrich, Otto. 1992. Olympia: Paris in the Age of Manet. London: Aurum Press.
Garb, Tamar. 1989. ‘“L’ART FÉMININ”: THE FORMATION OF A CRITICAL CATEGORY IN LATE NINETEENTH-CENTURY FRANCE’. Art History 12 (1): 39–65. https://doi.org/10.1111/j.1467-8365.1989.tb00336.x.
———. 1998. Bodies of Modernity: Figure and Flesh in Fin-de-Siècle France. Vol. Interplay. arts and history and theory. London: Thames & Hudson.
Gaskell, Ivan, and Salim Kemal. 1991. The Language of Art History. Vol. Cambridge studies in philosophy and the arts. Cambridge: Cambridge University Press.
Geist, Sidney. 1988. Interpreting Cézanne. Cambridge, Mass: Harvard University Press.
Gogh, Vincent van, Ronald Pickvance, and Metropolitan Museum of Art (New York, N.Y.). 1984. Van Gogh in Arles. New York: Metropolitan Museum of Art.
Golding, John. 1959. Cubism: A History and an Analysis, 1907-1914. London: Faber.
Halperin, Joan U. 1988. Félix Fénéon: Aesthete & Anarchist in Fin-de-Siècle Paris. New Haven, (Conn.): Yale University Press.
Hanson, Anne Coffin. 1977. Manet and the Modern Tradition. New Haven: Yale University Press.
Harrison, Charles. 2005. Painting the Difference: Sex and Spectator in Modern Art. Chicago: University of Chicago Press.
Harrison, Charles, and Paul Wood. 1992a. Art in Theory, 1900-1990: An Anthology of Changing Ideas. Oxford: Blackwell.
———. 1992b. Art in Theory, 1900-1990: An Anthology of Changing Ideas. Oxford: Blackwell.
Heelan, Patrick A. 1972. ‘Toward a New Analysis of the Pictorial Space of Vincent Van Gogh’. The Art Bulletin 54 (4). https://doi.org/10.2307/3049037.
Herbert, James D. 1992. Fauve Painting: The Making of Cultural Politics. New Haven: Yale University Press.
Herbert, Robert L. 1988. Impressionism: Art, Leisure and Parisian Society. New Haven, Conn: Yale University Press.
Herbert, Robert L., Neil Harris, Georges Seurat, and Art Institute of Chicago. 2004. Seurat: And the Making of La Grande Jatte. Chicago, Ill: The Art Institute of Chicago in association with University of California Press.
Herding, Klaus. 1991. Courbet: To Venture Independence. New Haven: Yale University Press.
Hiddleston, J. A. 1992. ‘Baudelaire, Manet, and Modernity’. The Modern Language Review 87 (3). https://doi.org/10.2307/3732920.
———. 1999a. Baudelaire and the Art of Memory. Oxford: Clarendon Press.
———. 1999b. Baudelaire and the Art of Memory. Oxford: Clarendon Press.
———. 1999c. Baudelaire and the Art of Memory. Electronic resource. Oxford: Clarendon. http://0-dx.doi.org.pugwash.lib.warwick.ac.uk/10.1093/acprof:oso/9780198159322.001.0001.
Hobbs, Richard. 1998. Impressions of French Modernity: Art and Literature in France,  1850-1900. Manchester: Manchester University Press.
Homer, William Innes. 1964. Seurat and the Science of Painting. [S.l.]: M.I.T. Press.
House, John. 1980. ‘MEANING IN SEURAT’S FIGURE PAINTINGS’. Art History 3 (3): 345–56. https://doi.org/10.1111/j.1467-8365.1980.tb00082.x.
———. 2004. Impressionism: Paint and Politics. New Haven: Yale University Press.
House, John, and Claude Monet. 1986. Monet: Nature into Art. New Haven: Yale University Press.
Hulsker, Jan, Jan Hulsker, and James M. Miller. 1990. Vincent and Theo van Gogh: A Dual Biography. Ann Arbor: Fuller Publications.
III, Mathew Herban. 1977. ‘The Origin of Paul Gauguin’s Vision after the Sermon: Jacob Wrestling with the Angel (1888)’. The Art Bulletin 59 (3). https://doi.org/10.2307/3049673.
Impressionism: A Feminist Reading: The Gendering Of Art, Science, And Nature In The Nineteenth Century by Broude, Norma (1997) Paperback. n.d. 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.
‘Impressionism : Beneath the Surface / Paul Smith’. n.d. http://encore.lib.warwick.ac.uk/iii/encore/search/C__SImpressionism%3A%20Beneath%20the%20Surface%20__Orightresult?lang=eng&suite=cobalt.
Is Paris Still the Capital of the Nineteenth Century?: Essays on Art and Modernity, 1850-1900. 26AD. Routledge. http://www.amazon.co.uk/Paris-Still-Capital-Nineteenth-Century/dp/1472460146.
Isaacson, Joel. 1994. ‘Constable, Duranty, Mallarme, Impressionism, Plein Air, and Forgetting’. The Art Bulletin 76 (3). https://doi.org/10.2307/3046037.
Iskin, Ruth E. 1995. ‘Selling, Seduction, and Soliciting the Eye: Manet’s Bar at the Folies-Bergere’. The Art Bulletin 77 (1). https://doi.org/10.2307/3046078.
Jill DeVonyar and Richard Kendall. 2003. ‘The Class of 1881: Degas, Drawing, and the “Little Dancer Aged Fourteen”’. Master Drawings 41 (2): 151–62. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1554585?seq=1#page_scan_tab_contents.
Jirat-Wasiutynski, Vojtech. 1987. ‘Paul Gauguin’s “Self-Portrait with Halo and Snake”: The Artist as Initiate and Magus’. Art Journal 46 (1). https://doi.org/10.2307/776839.
Jirat-Wasiutyński, Vojtěch, Paul Gauguin, and H. Travers Newton. 2000. Technique and Meaning in the Paintings of Paul Gauguin. Cambridge: Cambridge University Press.
John Golding. 1958. ‘The “Demoiselles d’Avignon”’. The Burlington Magazine 100 (662): 154–63. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/872425?seq=1#page_scan_tab_contents.
John Klein. 1998. ‘The Dispersal of the Modernist Series’. Oxford Art Journal 21 (1): 123–35. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1360700?seq=1#page_scan_tab_contents.
John Tchalenko. 2009. ‘Henri Matisse Drawing: An Eye-Hand Interaction Study Based on Archival Film’. Leonardo 42 (5): 433–38. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40540062?seq=1#page_scan_tab_contents.
Juliet Wilson Bareau. 1986. ‘The Hidden Face of Manet. An Investigation of the Artist’s Working Processes [Exhibition Catalog]’. The Burlington Magazine 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.
June Hargrove. n.d. ‘“Degas’s Little Dancer in the World of Pantomime”’. Apollo 147 (432): 15–21.
Kahng, Eik, Kimbell Art Museum, and Santa Barbara Museum of Art. 2011. Picasso and Braque: The Cubist Experiment, 1910-1912. Santa Barbara, Calif: Santa Barbara Museum of Art.
Karmel, Pepe. 2003. Picasso and the Invention of Cubism. New Haven, [Conn.]: Yale University Press.
KATHRYN BROWN. 2010. ‘The Aesthetics of Presence: Looking at Degas’s “Bathers”’. The Journal of Aesthetics and Art Criticism 68 (4): 331–41. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40929541?seq=1#page_scan_tab_contents.
Kay Redfield Jamison and Richard Jed Wyatt. 6826. ‘Vincent Van Gogh’s Illness’. BMJ: British Medical Journal 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.
Kear, Jon. 1991. ‘MAKING HAY WITH MONET: MONETS OF THE ′90s’. Art History 14 (4): 593–99. https://doi.org/10.1111/j.1467-8365.1991.tb00459.x.
Kendall, Richard and Joslyn Art Museum. 1998. Degas and the Little Dancer. New Haven: Yale University Press in association with Joslyn  Art Museum, Omaha.
Kessler, Marni R. 1999. ‘Unmasking Manet’s Morisot’. The Art Bulletin 81 (3). https://doi.org/10.2307/3051353.
Kodera, Tsukasa. 1984. ‘Japan as Primitivistic Utopia: Van Gogh’s Japonisme Portraits’. Simiolus: Netherlands Quarterly for the History of Art 14 (3/4). https://doi.org/10.2307/3780577.
Kōdera, Tsukasa, and Yvette Rosenberg. 1993. The Mythology of Vincent Van Gogh. Tokyo: TV Asahi.
Leighten, Patricia. 1988. ‘Revising Cubism’. Art Journal 47 (4). https://doi.org/10.2307/776977.
Leighten, Patricia Dee. 1989. Re-Ordering the Universe: Picasso and Anarchism, 1897-1914. Princeton, N.J.: Princeton University Press.
Lesko, Diane. 1979. ‘From Genre to Allegory in Gustave Courbet’s Les Demoiselles de Village’. Art Journal 38 (3). https://doi.org/10.2307/776270.
Levine, Steven Z. 1986. ‘Monet’s Series: Repetition, Obsession’. October 37 (Summer). https://doi.org/10.2307/778519.
Lewis, Mary Tompkins. 2007. Critical Readings in Impressionism and Post-Impressionism: An Anthology. Berkeley: University of California Press.
Linda Goddard. 2008. ‘“The Writings of a Savage?” Literary Strategies in Paul Gauguin’s “Noa Noa”’. Journal of the Warburg and Courtauld Institutes 71: 277–93. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/20462786?seq=1#page_scan_tab_contents.
Lipton, Eunice. 1993. Alias Olympia: A Woman’s Search for Manet’s Notorious Model & Her  Own Desire. London: Thames and Hudson.
Lipton, Eunice, and Edgar Degas. 1986. Looking into Degas: Uneasy Images of Women and Modern Life. Berkeley: University of California Press.
Lloyd, Christopher. 1986. Studies on Camille Pissarro. London: Routledge & Kegan Paul.
Locke, Nancy. 2000. ‘Unfinished Homage: Manet’s “Burial” and Baudelaire’. The Art Bulletin 82 (1). https://doi.org/10.2307/3051365.
———. 2001. Manet and the Family Romance. Princeton, N.J.: Princeton University Press.
Loran, Erle, and Paul Cézanne. 2006. Cézanne’s Composition: Analysis of His Form with Diagrams and Photographs of His Motifs. 3rd ed. Berkeley: University of California Press.
Loretta S. Loftus and Wilfred Niels Arnold. 1991. ‘Vincent Van Gogh’s Illness: Acute Intermittent Porphyria?’ BMJ: British Medical Journal 303 (6817): 1589–91. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/29714050?seq=1#page_scan_tab_contents.
Marilyn R. Brown. 2007. ‘“Miss La La’s” Teeth: Reflections on Degas and “Race”’. The Art Bulletin 89 (4): 738–65. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25067359?seq=1#page_scan_tab_contents.
Martensen-Larsen, Britta. 1985. ‘When Did Picasso Complete “Les Demoiselles d’Avignon”?’ Zeitschrift Für Kunstgeschichte 48 (2). https://doi.org/10.2307/1482281.
Mary Louise Krumrine. 1990. Paul Cézanne. London: Thames and Hudson in association with Kunstmuseum Basel.
———. 1992. ‘Cézanne’s “Restricted Power”: Further Reflections on the “Bathers”’. The Burlington Magazine 134 (1074): 586–95. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/885313?seq=1#page_scan_tab_contents.
Matisse, Henri, and Jack D. Flam. 1973. Matisse on Art. New York: Phaidon.
Mauner, George L. 1975. Manet, Peintre-Philosophe: A Study of the Painter’s Themes. University Park: Pennsylvania State University Press.
McQuillan, Melissa A., and Vincent van Gogh. 2005. Van Gogh. Vol. World of art. New York, N.Y.: Thames and Hudson.
Meyer Shapiro. n.d. ‘“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.
Michael Fried. 1982. ‘Painter into Painting: On Courbet’s “After Dinner at Ornans” and “Stonebreakers”’. Critical Inquiry 8 (4): 619–49. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343190?seq=1#page_scan_tab_contents.
———. 1983. ‘The Structure of Beholding in Courbet’s “Burial at Ornans”’. Critical Inquiry 9 (4): 635–83. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343377?seq=1#page_scan_tab_contents.
———. 1984. ‘Painting Memories: On the Containment of the Past in Baudelaire and Manet’. Critical Inquiry 10 (3): 510–42. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343305?seq=1#page_scan_tab_contents.
———. 1992. ‘Manet in His Generation: The Face of Painting in the 1860s’. Critical Inquiry 19 (1): 22–69. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343753?seq=1#page_scan_tab_contents.
Moffitt, John F. 1987. ‘Art and Politics: An Underlying Pictorial - Political Topos in Courbet’s “Real Allegory”’. Artibus et Historiae 8 (15). https://doi.org/10.2307/1483277.
‘More on a Name: Manet’s “Olympia” and the Defiant Heroine in Mid-Nineteenth-Century France’. n.d. 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.
Mullins, Edwin B., and Georges Braque. 1968. Braque. Vol. World of art library. London: Thames and Hudson.
Murray, Ann. 1980. ‘“STRANGE AND SUBTLE PERSPECTIVE …”: Van Gogh, The Hague School and the Dutch Landscape Tradition’. Art History 3 (4): 410–24. https://doi.org/10.1111/j.1467-8365.1980.tb00086.x.
Museum of Fine Arts. n.d. ‘Where Do We Come From? What Are We? Where Are We Going? | Museum of Fine Arts, Boston’. Boston,. http://www.mfa.org/collections/object/where-do-we-come-from-what-are-we-where-are-we-going-32558.
Nicolson, Benedict. n.d. Courbet, The Studio of the Painter. Vol. Art in context. New York: Viking Press.
Nochlin, Linda. 1967. ‘Gustave Courbet’s Meeting: A Portrait of the Artist as a Wandering Jew’. The Art Bulletin 49 (3). https://doi.org/10.2307/3048470.
———. 1989. ‘Seurat’s Grande Jatte: An Anti-Utopian Allegory’. Art Institute of Chicago Museum Studies 14 (2). https://doi.org/10.2307/4108747.
———. 1990. Realism. Vol. Style and civilization. Harmondsworth: Penguin.
———. n.d. Impressionism and Post-Impressionism, 1874-1904: Sources and  Documents. Vol. Sources and documents in the history of art series. Englewood Cliffs, N.J: Prentice-Hall.
Patricia Leighten. 1994. ‘Cubist Anachronisms: Ahistoricity, Cryptoformalism, and Business-as-Usual in New York’. Oxford Art Journal 17 (2): 91–102. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1360577?seq=1#page_scan_tab_contents.
Paul Smith,. n.d. ‘’Joachim Gasquet, Virgil and Cézanne’s Landscape: “My Beloved Golden Age”’. Apollo 147 (147,): 11–23.
Penrose, Roland, John Golding, and Daniel Henry Kahnweiler. 1981. Picasso in Retrospect. London: Granada.
Pissarro, Camille, Richard R. Brettell, Joachim Pissarro, Mary Anne Stevens, Dallas Museum of Art, Philadelphia Museum of Art, and Royal Academy of Arts (Great Britain). 1992. The Impressionist and the City: Pissarro’s Series Paintings. New Haven: Yale University Press.
Pissarro, Camille, Hayward Gallery, Galeries nationales du Grand Palais (France), and Museum of Fine Arts, Boston. 1980. Pissarro: Camille Pissarro 1830-1903. (London): Arts Council of Great Britain.
Poggi, Christine. 1992. In Defiance of Painting: Cubism, Futurism, and the Invention of  Collage. Vol. Yale publications in the history of art. New Haven [Conn.]: Yale University Press.
Pollock, Griselda. n.d. Vision and Difference. London: Routledge.
Pollock, Griselda, and Mary Cassatt. 1998. Mary Cassatt: Painter of Modern Women. Vol. World of art. London: Thames & Hudson.
Pollock, Griselda, and Richard Kendall. 1992. Dealing with Degas: Representations of Women and the Politics of  Vision. London: Pandora.
Prendergast, Christopher. 1992. Paris and the Nineteenth Century. Vol. Writing the city. Oxford: Blackwell.
Przyblyski, Jeannene M. 1996. ‘Courbet, the Commune, and the Meanings of Still Life in 1871’. Art Journal 55 (2). https://doi.org/10.2307/777743.
Reff, Theodore. 1962. ‘Cezanne, Flaubert, St. Anthony, and the Queen of Sheba’. The Art Bulletin 44 (2). https://doi.org/10.2307/3047999.
———. 1971. ‘The Technical Aspects of Degas’s Art’. Metropolitan Museum Journal 4 (January): 141–66. https://doi.org/10.2307/1512619.
———. 1976. Degas, the Artist’s Mind. London: Thames and Hudson.
Reff, Theodore, and Édouard Manet. 1976. Manet - ‘Olympia’. Vol. Art in context. London: Allen Lane.
Rewald, John. 1961. The History of Impressionism. Rev. and enl. Ed. New York: Museum of Modern Art.
Rewald, John, and Frances Weitzenhoffer. 1984. Aspects of Monet: A Symposium on the Artist’s Life and Times. New York: Abrams.
Richard Kendall. 1988. ‘Degas and the Contingency of Vision’. The Burlington Magazine 130 (1020): 180–216. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/883345?seq=1#page_scan_tab_contents.
Richard Shiff. 1978. ‘Seeing Cézanne’. Critical Inquiry 4 (4): 769–808. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1342954?seq=1#page_scan_tab_contents.
———. 1992. ‘Handling Shocks: On the Representation of Experience in Walter Benjamin’s Analogies’. Oxford Art Journal 15 (2): 88–103. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1360503?seq=1#page_scan_tab_contents.
Roger Benjamin. 1987. Matisse’s ‘Notes of a Painter’. Ann Arbor, Mich: UMI Research Press.
Roskill, Mark W. n.d. Van Gogh, Gauguin and the Impressionist Circle. Vol. New aspects of art. London: Thames and Hudson.
Rubin, James Henry. 1980. Realism and Social Vision in Courbet & Proudhon. Vol. Princeton essays on the arts. Princeton: Princeton University Press.
———. 1994. Manet’s Silence and the Poetics of Bouquets. Vol. Essays in art and culture. London: Reaktion.
Rubin, William. 1983. ‘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 65 (4). https://doi.org/10.2307/3050371.
Rubin, William and Museum of Modern Art (New York, N.Y.). 1989. Picasso and Braque: Pioneering Cubism. New York: Museum of Modern Art.
Seibert, Margaret Armbrust. 1983. ‘A Political and a Pictorial Tradition Used in Gustave Courbet’s Real Allegory’. The Art Bulletin 65 (2). https://doi.org/10.2307/3050325.
Seurat, Georges, Robert L. Herbert, Françoise Cachin, Gary Tinterow, Galeries nationales du Grand Palais (France), and Metropolitan Museum of Art (New York, N.Y.). 1991. Seurat: Galeries Nationales Du Grand Palais, Paris, 9 Avril-12  Août1991. Paris: Éditions de la Reunion des musées nationaux.
Seurat, Georges, and Gustave Kahn. 1971. The Drawings of Georges Seurat. New York: Dover Publications.
Seurat Re-Viewed (Refiguring Modernism) (2010-04-30). 2010. Penn State University Press (2010-04-30). 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.
Shackelford, George T. M., Paul Gauguin, and Museum of Fine Arts, Boston. 2013. Paul Gauguin: Where Do We Come from? What Are We? Where Are We Going? Boston: MFA publications, Museum of Fine Arts.
Shiff, Richard. 1984a. Cézanne and the End of Impressionism: A Study of the Theory,  Technique, and Critical Evaluation of Modern Art. Chicago: University of Chicago Press.
———. 1984b. Cézanne and the End of Impressionism: A Study of the Theory,  Technique, and Critical Evaluation of Modern Art. Chicago: University of Chicago Press.
———. 1991. ‘Constructing Physicality’. Art Journal 50 (1). https://doi.org/10.2307/777084.
Sidlauskas, Susan. 1993. ‘Resisting Narrative: The Problem of Edgar Degas’s Interior’. The Art Bulletin 75 (4). https://doi.org/10.2307/3045989.
Silverman, Debora. 2001. Van Gogh and Gauguin: The Search for Sacred Art. New York: Farrar Straus Giroux.
Smith, Gary. 1991. On Walter Benjamin: Critical Essays and Recollections. 1st MIT Press paperback ed. Vol. Studies in contemporary German social thought. Cambridge, Mass: MIT Press.
Smith, Paul. 1992. ‘“PARBLEU”: PISSARRO AND THE POLITICAL COLOUR OF AN ORIGINAL VISION’. Art History 15 (2): 223–47. https://doi.org/10.1111/j.1467-8365.1992.tb00482.x.
———. 1997. ‘Manet Bits’. Art History 20 (3): 477–82. https://doi.org/10.1111/1467-8365.00072.
———. 2013. ‘Cézanne’s "Primitive” Perspective, or the "View from Everywhere”’. The Art Bulletin 95 (1): 102–19. https://doi.org/10.1080/00043079.2013.10786108.
Smith, Paul, and Georges Seurat. 1997. Seurat and the Avant-Garde. New Haven: Yale University Press.
Smith, Paul, and Carolyn Wilde. 2002. A Companion to Art Theory. Vol. Blackwell companions in cultural studies. Oxford: Blackwell. http://0-onlinelibrary.Wiley.com.pugwash.lib.warwick.ac.uk/book/10.1002/9780470998434.
Spate, Virginia, and Claude Monet. 1992. The Colour of Time: Claude Monet. London: Thames and Hudson.
‘Special Issue: Pissarro’. n.d. Apollo 136 (369).
Steefel, Lawrence D. 1992. ‘The Neglected Fruit Cluster in Picasso’s “Les Demoiselles d’Avignon”’. Artibus et Historiae 13 (26). https://doi.org/10.2307/1483434.
Steinberg, Leo. 1988. ‘The Philosophical Brothel’. October 44 (Spring). https://doi.org/10.2307/778974.
Steiner, Wendy. 1986. ‘Divide and Narrate: The Icon-Symbol Tension in Seurat’. Word & Image 2 (4): 342–48. https://doi.org/10.1080/02666286.1986.10435358.
Stumpel, Jeroen. 1984. ‘The “Grande Jatte,” That Patient Tapestry’. Simiolus: Netherlands Quarterly for the History of Art 14 (3/4). https://doi.org/10.2307/3780578.
Sund, Judy. 1988. ‘FAVOURED FICTIONS: WOMEN AND BOOKS IN THE ART OF VAN GOGH’. Art History 11 (2): 255–67. https://doi.org/10.1111/j.1467-8365.1988.tb00298.x.
T. J. Clark. 1969. ‘A Bourgeois Dance of Death: Max Buchon on Courbet-I’. The Burlington Magazine 111 (793): 208–13. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/875972?seq=1#page_scan_tab_contents.
———. 1982. ‘Clement Greenberg’s Theory of Art’. Critical Inquiry 9 (1): 139–56. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343277?seq=1#page_scan_tab_contents.
Tamar Garb. 1996. ‘Visuality and Sexuality in Cézanne’s Late Bathers’. Oxford Art Journal 19 (2): 46–60. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1360728?seq=1#page_scan_tab_contents.
‘The Letters - Vincent van Gogh Letters’. n.d. http://vangoghletters.org/vg/letters.html.
Thierry de Duve and Brian Holmes. 1998. ‘How Manet’s “A Bar at the Folies-Bergère” Is Constructed’. Critical Inquiry 25 (1): 136–68. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1344137?seq=1#page_scan_tab_contents.
Thomson, Belinda. 2001. Gauguin. Vol. World of art. New York, N.Y.: Thames and Hudson.
Thomson, Richard, Birmingham City Museum and Art Gallery, and Burrell Collection. 1990. Camille Pissarro: Impressionism, Landscape and Rural Labour. London: Herbert Press.
Thomson, Richard, and Edgar Degas. 1988. Degas: The Nudes. London: Thames and Hudson.
Thomson, Richard, Richard Thomson, and National Gallery of Scotland. 1998. Framing France: The Representation of Landscape in France, 1870-1914. Manchester: Manchester University Press.
Ting Chang. 1996. ‘“The Meeting”: Gustave Courbet and Alfred Bruyas’. The Burlington Magazine 138 (1122): 586–91. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/887242?seq=1#page_scan_tab_contents.
Tom McDonough. 2002. ‘The Crimes of the Flaneur’. October 102: 101–22. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/779133?seq=1#page_scan_tab_contents.
Toussaint, Hélène, Gustave Courbet, Réunion des musées nationaux (France), Arts Council of Great Britain, Galeries nationales du Grand Palais (France), and Royal Academy of Arts (Great Britain). 1977. 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. Paris: Ministère de la culture et de l’environnement, Éditions des  musées nationaux.
Tucker, Paul Hayes, Claude Monet, Museum of Fine Arts, Boston, and Royal Academy of Arts (Great Britain). 1990. Monet in the ’90s: The Series Paintings. 4th printing with corrections. Boston: Museum of Fine Arts.
Value, Art, Politics. 2007. Liverpool: Liverpool University Press.
Ward, John L. 1976. ‘A Reexamination of Van Gogh’s Pictorial Space’. The Art Bulletin 58 (4). https://doi.org/10.2307/3049573.
Ward, Martha. 1996. Pissarro, Neo-Impressionism, and the Spaces of the Avant-Garde. Chicago: University of Chicago Press.
Wayne V. Andersen. 1967. ‘Gauguin and a Peruvian Mummy’. The Burlington Magazine 109 (769): 238–43. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/875245?seq=1#page_scan_tab_contents.
Weisberg, Gabriel P. and Cleveland Museum of Art. n.d. The Realist Tradition: French Painting and Drawing, 1830-1900. Cleveland, Ohio: Cleveland Museum of Art.
Werth, Margaret. 2002. The Joy of Life: The Idyllic in French Art, circa 1900. Berkeley: University of California Press.
William Cloonan. 1990. ‘Braque’s Le Portugais and a Portuguese Nun’. The French Review 63 (4): 607–16. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/396012?seq=1#page_scan_tab_contents.
Wright, Alastair. 1998. ‘Arche-Tectures: Matisse and the End of (Art) History’. October 84 (Spring). https://doi.org/10.2307/779208.
———. 2004. Matisse and the Subject of Modernism. Princeton, N.J.: Princeton University Press.
Yeh, Susan Fillin. 1976. ‘Mary Cassatt’s Images of Women’. Art Journal 35 (4). https://doi.org/10.2307/776228.
Zelevansky, Lynn. 1992a. Picasso and Braque: A Symposium. New York: Museum of Modern Art.
———. 1992b. Picasso and Braque: A Symposium. New York: Museum of Modern Art.
Zemel, Carol. 1987. ‘SORROWING WOMEN, RESCUING MEN: VAN GOGH’S IMAGES OF WOMEN AND FAMILY’. Art History 10 (3): 351–68. https://doi.org/10.1111/j.1467-8365.1987.tb00261.x.
Ziva Amishai-Maisels. 1973. ‘Gauguin’s “Philosophical Eve”’. The Burlington Magazine 115 (843): 373–82. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/877381?seq=1#page_scan_tab_contents.