Глава 10. Эротика, агрессия и страх в искусстве

Barney, E. Egon Schiele’s Adolescent Nudes within the Context of Fin-de-Siècle Vienna. 2008. См.: www.emilybarney.com/essays.html .

Blackshaw, G. The pathological body: Modernist strategising in Egon Schiele’s self-portraiture // Oxford Art Journal 30 (3) 2007: 377–401.

Brandow-Faller, M. Man, woman, artist? Rethinking the Muse in Vienna 1900 // Austrian History Yearbook 39 (2008): 92–120.

Cernuschi, C. Re/Casting Kokoschka: Ethics and Aesthetics, Epistemology and Politics in Fin-de-Siècle Vienna. Plainsboro, NJ: Associated University Press, 2002.

Comini, A. Egon Schiele’s Portraits. Berkeley, CA: University of California Press, 1974.

Cumming, L. A Face to the World: On Self-Portraits. London: Harper Press, 2009.

Danto, A. C. Live flesh // The Nation, January 23, 2006.

Davis, M. The Language of Sex: Egon Schiele’s Painterly Dialogue . 2004. См.: http://www.michellemckdavis.com/.

Elsen, A. Drawing and a New Sexual Intimacy: Rodin and Schiele / In: Egon Schiele: Art, Sexuality, and Viennese Modernism . P. Werkner, ed. Palo Alto, CA: The Society for the Promotion of Science and Scholarship, 1994.

Kallir, J. Egon Schiele: The Complete Works. New York: Harry N. Abrams, 1990, 1998.

Knafo, D. Egon Schiele: A Self in Creation. Plainsboro, NJ: Associated University Press, 1993.

Simpson, K. Viennese art, ugliness, and the Vienna School of Art History: The vicissitudes of theory and practice // Journal of Art Historiography 3 (2010): 1–14.

Westheimer, R. The Art of Arousal. New York: Artabras, 1993.

Whitford, F. Egon Schiele. London: Thames and Hudson, 1981.

Глава 11. Открытие “вклада зрителя”

Arnheim, R. Art history and the partial god // Art Bulletin 44 (1962): 75–79.

Arnheim, R. Art and Visual Perception: A Psychology of the Creative Eye. The New Version. Berkeley and Los Angeles: University of California Press, 1974.

Ash, M. G. Gestalt Psychology in German Culture 1890–1967: Holism and the Quest for Objectivity. New York: Oxford University Press, 1998.

Boring E. G. A History of Experimental Psychology. New York: Appleton-Century-Crofts, 1950.

Bostrom, A., Scherf, G., Lambotte, M. C., and M. Potzl-Malikova Franz Xavier Messerschmidt, 1736–1783: From Neoclassicism to Expressionism. Neue Galerie catalog accompanying exhibition of work by Messerschmidt, September 2010 to January 2011. Italy: Officina Libraria, 2010.

Burke, J. The Sphinx on the Table: Sigmund Freud’s Art Collection and the Development of Psychoanalysis. New York: Walker and Co., 2006.

Da Vinci, L. A Treatise on Painting. London: George Bell & Sons, 1897.

Empson, W. Seven Types of Ambiguity. New York: Harcourt Brace, 1930.

Freud, S. Leonardo da Vinci and a Memory of His Childhood. The Standard Edition of the Complete Psychological Works of Sigmund Freud. Vol. XII. Pp. 57–138.

Freud, S. The Moses of Michelangelo. The Standard Edition of the Complete Psychological Works of Sigmund Freud. Vol. XII. Pp. 209–238.

Frith, C. Making Up the Mind: How the Brain Creates Our Mental World. Oxford: Blackwell Publishing, 2007.

Gombrich, E. H. Art and Illusion. A Study in the Psychology of Pictorial Representation. Princeton and Oxford: Princeton University Press, 1960.

Gombrich, E. H. The Image and the Eye: Further Studies in the Psychology of Pictorial Representation. London, Phaidon Press, 1982.

Gombrich, E. H. Reminiscences of Collaboration with Ernst Kris (1900–1957) / In: Tributes: Interpreters of Our Cultural Tradition. Ithaca, NY: Cornell University Press, 1984.

Gombrich, E. H. The Essential Gombrich: Selected Writings on Art and Culture. R. Woodfield, ed. London, Phaidon Press, 1996.

Kris, E., and E. H. Gombrich The Principles of Caricature // British Journal of Medical Psychology 17 (1938): 319–342.

Gombrich, E. H., and E. Kris Caricature . London: King Penguin Books, 1940.

Gregory, R. L., and E. H. Gombrich, eds. Illusion in Nature and Art . New York: Scribner, 1980.

Helmholtz, H. von Treatise on Physiological Optics (1910). Southall, J. P. C., editor & translator. New York: Dover, 1925.

Henle, M. 1879 and All That: Essays in the Theory and History of Psychology. New York: Columbia University Press, 1986.

Hoffman, D. D. Visual Intelligence: How We Create What We See. New York: W. W. Norton, 1998.

Kemp, W. Introduction / In: Riegl, A. The Group Portraiture of Holland. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999. P. 1.

King, D. B., and M. Wertheimer Max Wertheimer and Gestalt Theory. New Brunswick, NJ, and London: Transaction Publishers, 2004.

Kopecky, V. Letters to and from Ernst Gombrich regarding Art and Illusion, including some comments on his notion of “schema and correction” // Journal of Art Historiography 3 (2010).

Kris, E. Die Charakterköpfe des Franz Xaver Messerschmidt: Versuch einer historischen und psychologischen Deutung // Jahrbuch der Kunst-historischen Sammlungen. Wien 4 (1932): 169–228.

Kris, E. Ein geisteskranker Bildhauer (Die Charakterköpfe des Franz Xaver Messerschmidt ) // Imago 19 (1933): 381–411.

Kris, E. The psychology of caricature // International Journal of Psycho-Analysis 17 (1936): 285–303.

Kris, E. Psychoanalytic Explorations in Art. New York: International Universities Press, 1952.

Kuspit, D. A little madness goes a long creative way // Artnet Magazine Online, 2010. См.: http://www.artnet.com/magazineus/features/kuspit/franzxaver-messerschmidt10-7-10.asp.

Mamassian, P. Ambiguities and conventions in the perception of visual art // Vision Research 48 (2008): 2143–2153.

Meulders, M. Helmholtz: From Enlightenment to Neuroscience. Cambridge, MA: MIT Press, 2010.

Mitrović, B. A defense of light: Ernst Gombrich, the Innocent Eye and seeing in perspective // Journal of Art Historiography 3 (2010): 1–30.

Neisser, U. Cognitive Psychology. New York: Appleton-Century-Crofts, 1967.

Persinger, C. Reconsidering Meyer Schapiro in the New Vienna School // Journal of Art Historiography 3 (2010): 1–17.

Popper, K. The Logic of Scientific Discovery. London and New York: Routledge, 1992.

Riegl, A. The Group Portraiture of Holland. Intro. by W. Kemp. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999.

Rock, I. Perception. San Francisco: W. H. Freeman, 1984.

Roeske, T. Traces of psychology: The art historical writings of Ernst Kris // American Imago 58 (2001): 463–474.

Rose, L. Daumier in Vienna: Ernst Kris, E. H. Gombrich, and the politics of caricature // Visual Resources 23 (1–2) 2007: 39–64.

Rose, L. Psychology, Art, and Antifascism: Ernst Kris, E. H. Gombrich, and the Caricature Project. Fordham University Press. In press. 2011.

Sauerländer, W. It’s all in the head: Franz Xaver Messerschmidt, 1736–1783: From Neoclassicism to Expressionism // New York Review of Books 57 (16) 2010.

Schapiro, M. The New Viennese School / In: The Vienna School Reader: Politics and Art Historical Method in the 1930s . C. S. Wood, ed. New York: Zone Books, 2000.

Schapiro, M. Theory and Philosophy of Art: Style, Artist, and Society . New York: George Braziller, 1998.

Schorske, C. E. Fin-de-Siècle Vienna: Politics and Culture . New York: Vintage Books, 1981.

Simpson, K. Viennese art, ugliness, and the Vienna School of Art History: The vicissitudes of theory and practice // Journal of Art Historiography 3 (2010): 1–14.

Wickhoff, F. Roman Art: Some of Its Principles and Their Application to Early Christian Painting. A. Strong, translator & editor. New York: Macmillan, 1900.

Worringer, W. Abstraction and Empathy: A Contribution to the Psychology of Style. New York: International University Press, 1908.

Wurtz, R. H., and E. R. Kandel Construction of the Visual Image / In: Principles of Neural Science . 4th ed. E. R. Kandel, J. H. Schwartz, T. Jessell, eds. New York: McGraw-Hill, 2000. Pp. 492–506.