References

Adamson, J.S.A. (1999) The Princely Courts of Europe: Ritual, Politics and Culture under the Ancien Régime 1500–1750, London, Weidenfeld & Nicolson.

Alberti, L.B. (1966 [1435]) On Painting (trans. J.R. Spencer), New Haven, CT and London, Yale University Press.

Arciszweska, B. and McKellar, E. (2004) Articulating British Classicism: New Approaches to Eighteenth-Century Architecture, Aldershot and Burlington, VT, Ashgate.

Bailey, C. (1987) ‘Conventions of the eighteenth-century cabinet de tableaux: Blondel d’Azincourt’s La première idée de la curiosité’, Art Bulletin, vol. 69, no. 3, pp. 431–47.

Bailey, C. (2002) Patriotic Taste: Collecting Modern Art in Pre-Revolutionary Paris, New Haven, CT and London, Yale University Press.

Bailey, G.A. (1999) Art on the Jesuit Missions in Asia and Latin America, 1542–1773, Toronto and London, University of Toronto Press.

Barr, A.H. (1974 [1936]) Cubism and Abstract Art, New York, Museum of Modern Art (exhibition catalogue).

Baudelaire, C. (1981 [1859]) ‘On photography’ in Newhall, B. (ed.) Photography: Essays and Images, New York, Secker & Warburg, pp. 112–13.

Baxandall, M. (1971) Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350–1450, Oxford, Clarendon Press.

Baxandall, M. (1972) Painting and Experience in Fifteenth-Century Italy, Oxford, Clarendon Press.

Baxandall, M. (1980) The Limewood Sculptors of Renaissance Germany, New Haven, CT, Yale University Press.

Belting, H. (1994) Likeness and Presence: A History of the Image before the Era of Art, Chicago, IL and London, University of Chicago Press.

Benjamin, W. (1983) Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, London, Verso.

Bergdoll, B. (2000) European Architecture 1750–1890, Oxford, Oxford University Press.

Bermingham, A. (2000) Learning to Draw: Studies in the Cultural History of a Polite and Useful Art, New Haven, CT and London, Yale University Press.

Blanning, T.C.W. (2002) The Culture of Power and the Power of Culture: Old Regime Europe 1660–1789, Oxford, Oxford University Press.

Bürger, P. (1984) Theory of the Avant-Garde, Manchester, Manchester University Press; Minneapolis, MN, University of Minnesota Press.

Clark, T.J. (1982) Image of the People. Gustave Courbet and the 1848 Revolution, London, Thames & Hudson.

Clark, T.J. (1984) The Painting of Modern Life: Paris in the Art of Manet and his Followers, London, Thames & Hudson.

Clayton, T. (1997) The English Print, 1688–1802, London and New Haven, CT, Yale University Press.

Connell, S.M. (1976) The Employment of Sculptors and Stonemasons in Venice in the Fifteenth Century (doctoral thesis), Warburg Institute, University of London.

Craske, M. (1997) Art in Europe 1700–1830: A History of the Visual Arts in an Era of Unprecedented Urban Economic Growth, Oxford, Oxford University Press.

Crown, P. (1990) ‘British Rococo as social and political style’, Eighteenth-Century Studies, vol. 23, no. 3, pp. 269–82.

Duchamp, M. (1975) The Essential Writings of Marcel Duchamp (ed. M. Sanouillet and E. Peterson), London, Thames & Hudson.

Edwards, S. (ed.) (1999) Art and its Histories: A Reader, New Haven, CT and London, Yale University Press.

Elias, N. (1983) The Court Society (trans. E. Jephcott), Oxford, Blackwell.

Gilbert, C. (1985) ‘A statement of the aesthetic attitude around 1230’, Hebrew University Studies in Literature and the Arts, vol. 13, no. 2, pp. 125–52.

Gordon, D. (2003) The Fifteenth-Century Italian Paintings, National Gallery Catalogues, London, Yale University Press.

Greenberg, C. (1961) Art and Culture: Critical Essays, Boston, MA, Beacon Press.

Greenberg, C. (1986 [1939]) ‘Avant-garde and kitsch’ in O’Brian, J. (ed.) Clement Greenberg: The Collected Essays and Criticism, vol. 1: Perceptions and Judgements, 1939–1944, Chicago, IL, Chicago University Press, pp. 5–22.

Greenberg, C. (1993 [1960]) ‘Modernist painting’ in O’Brian, J. (ed.) Clement Greenberg: The Collected Essays and Criticism, vol. 4: Modernism with a Vengeance, 1957–1969, Chicago, IL, Chicago University Press, pp. 85–100.

Habermas, J. (1989 [1962]) The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, Cambridge, MA, MIT Press.

Hardie, P. (1993) ‘Ut Pictura Poesis? Horace and the visual arts’ in Horace 2000: A Celebration for the Bi-millennium, London, Duckworth, pp. 120–39.

Harris, A.S. (2008) Seventeenth-Century Art and Architecture (2nd edn), London, Laurence King.

Harrison, C., Wood, P. and Gaiger, J. (eds) (1998) Art in Theory 1815–1900: An Anthology of Changing Ideas, Oxford, Blackwell.

Harvey, D. (2003) Paris: Capital of Modernity, London and New York, Routledge.

Haskell, F. (1980) Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque, New Haven and London, Yale University Press.

Haskell, F. and Penny, N. (1981) Taste and the Antique: The Lure of Classical Sculpture 1500–1900, New Haven, CT and London, Yale University Press.

Hauser, A. (1962 [1951]) The Social History of Art. Vol. 2: Renaissance, Mannerism, Baroque; Vol. 3. Rococo, Classicism and Romanticism (2nd edn), London, Routledge.

Haynes, C. (2006) Pictures and Popery: Art and Religion in England, 1660–1760, Aldershot, Ashgate.

Hemingway, A. and Vaughan, W. (eds) (1998) Art in Bourgeois Society 1790–1850, Cambridge, Cambridge University Press.

Hills, H. (ed.) (2011) Rethinking the Baroque, Farnham, Ashgate.

Honour, H. (1968) Neo-classicism, Harmondsworth, Penguin.

Honour, H. (1979) Romanticism, Harmondsworth, Penguin.

Hyde, M. (2006) Making up the Rococo: François Boucher and his Critics, Los Angeles, CA and London, Getty Research Institute.

Irwin, D. (1997) Neoclassicism, London, Phaidon.

Langdon, H. (1998) Caravaggio: A Life, London, Chatto & Windus.

Lee, R. (1967) Ut Pictura Poesis: The Humanistic Theory of Painting, New York, W.W. Norton.

Levy, E. (2004) Propaganda and the Jesuit Baroque, Berkeley, CA and London, University of California Press.

Lichtenstein, J. (2008) The Blind Spot: An Essay on the Relations between Painting and Sculpture in the Modern Age, Los Angeles, CA, Getty Research Institute.

Lymberopoulou, A., Bracewell-Homer, P. and Robinson, J. (eds) (2012) Art & Visual Culture: A Reader, London, Tate Publishing in association with The Open University.

McClellan, A. (1994) Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-Century Paris, Cambridge, Cambridge University Press.

McClellan, A. (1996) ‘Watteau’s dealer: Gersaint and the marketing of art in eighteenth-century Paris’, Art Bulletin, vol. 78, no. 3, pp. 439–53.

Montias, J.M. (1982) Artists and Artisans in Delft: A Socio-economic Study of the Seventeenth Century, Princeton, NJ, Princeton University Press.

Montias, J.M. (2002) Art at Auction in 17th Century Amsterdam, Amsterdam, Amsterdam University Press.

Nash, S. (2007) ‘No Equal in Any Land’: André Beauneveu – Artist to the Courts of France and Flanders, London, Paul Holberton Publishing.

Nesbit, M. (1992) Atget’s Seven Albums, New Haven, CT and London, Yale University Press.

Nesbit, M. (2000) Their Common Sense, London, Black Dog.

North, M. (1997) Art and Commerce in the Dutch Golden Age, New Haven, CT and London, Yale University Press.

North, M. and Ormrod, D. (1998) Art Markets in Europe, 1400–1800, Aldershot, Ashgate.

Nuttall, G. (2012) Lucchese Patronage and Purveying during the Regime of Paolo Guinigi, 1400–1430: Dino Rapondi, Lorenzo Trenta and Paolo Guinigi, unpublished PhD Thesis, Courtauld Institute of Art, University of London.

O’Brian, J. (ed.) (1986–95) Clement Greenberg: The Collected Essays and Criticism, 4 vols, Chicago, IL, Chicago University Press.

Paviot, J. (1990) ‘La vie de Jan van Eyck selon les documents écrits’, Revue des archéologues et historiens d’art de Louvain, vol. 23, pp. 83–93.

Pears, I. (1988) The Discovery of Painting: The Growth of Interest in the Arts in England 1680–1768, New Haven, CT and London, Yale University Press.

Plon, E. (1887) Les Maîtres italiens au service de la maison d’Autriche: Leone Leoni sculpteur de Charles-Quint et Pompeo Leoni, sculpteur de Philippe II, , Paris, Librairie Plon.

Pollock, G. (1988) Vision and Difference: Femininity, Feminism and the Histories of Art, London and New York, Routledge.

Pomian, K. (1990) Collectors and Curiosities: Paris and Venice, 1500–1800, Cambridge, Polity Press.

Posner, D. (1993) ‘Concerning the “mechanical” parts of painting and the artistic culture of seventeenth-century France’, Art Bulletin, vol. 75, no. 4, pp. 583–98.

Porter, D. (2010) The Chinese Taste in Eighteenth-Century England, Cambridge, Cambridge University Press.

Potts, A. (2000) The Sculptural Imagination: Figurative, Modernist, Minimalist, New Haven, CT and London, Yale University Press.

Prendergast, C. (1992) Paris and the Nineteenth Century, Oxford, Blackwell.

Prior, N. (2002) Museums and Modernity : Art Galleries and the Making of Modern Culture, Oxford, Berg.

Richardson C.M., Woods, K.W. and Franklin, M.W. (eds) (2007) Renaissance Art Reconsidered: An Anthology of Primary Sources, Oxford, Blackwell.

Rosenberg, H. (1970 [1940]) ‘The fall of Paris’ in The Tradition of the New, London, Paladin, pp. 185–94.

Roy, A. and Gordon, D. (2001) ‘The Battle of San Romano’, National Gallery Technical Bulletin, vol. 22, pp. 4–17.

Sandler, I. (1970) The Triumph of American Painting, Westport, CT, Praeger.

Schapiro, M. (1977) ‘On the aesthetic attitude in Romanesque art’ in Romanesque Art: Selected Papers, London, Chatto & Windus, pp. 1–27.

Schapiro, M. (1978 [1937]) ‘Nature of abstract art’ in Modern Art: 19th and 20th Centuries. Selected Papers, New York, George Braziller, pp. 185–211.

Scott, K. (1995) The Rococo Interior: Decoration and Social Spaces in Early Eighteenth-Century Paris, New Haven, CT and London, Yale University Press.

Sheehan, J.J. (2000) Museums in the German Art World from the End of the Old Regime to the Rise of Modernism, Oxford, Oxford University Press.

Sheriff, M. (1990) Fragonard: Art and Eroticism, Chicago, IL, University of Chicago Press.

Shiner, L. (2001) The Invention of Art: A Cultural History, Chicago, IL, University of Chicago Press.

Simmel, G. (1997 [1903]) ‘The metropolis and mental life’ in Frisby, D.P. and Featherstone, M. (eds) Simmel on Culture: Selected Writings, New York, Sage, pp. 174–85. Extract reprinted in Lymberopoulou, A., Bracewell-Homer, P. and Robinson, J. (eds) Art and Visual Culture: A Reader, London, Tate Publishing in association with The Open University, pp. 267–9.

Snodin, M. (ed.) (1984) Rococo: Art and Design in Hogarth’s England, London, V&A (exhibition catalogue).

Snodin, M. and Llewellyn, N. (eds) (2009) Baroque, 1620–1800: Style in the Age of Magnificence, London, V&A (exhibition catalogue).

Stechow, W. (1989 [1966]) Northern Renaissance Art 1400–1600: Sources and Documents, Evanston, IL, Northwestern University Press.

Suger, Abbot (1979) On the Abbey Church of Saint-Denis and its Art Treasures (eds E. Panofsky and G. Panofsky-Soergel), Princeton, NJ, Princeton University Press.

Tomlinson, J.A. (1994) Francisco Goya y Lucientes, 1746–1828, London, Phaidon.

Trotsky, L. (1962 [1928/1906]) The Permanent Revolution; Results and Prospects, London, New Park.

Vasari, G. (1996) [1568] Lives of the Painters, Sculptors and Architects, 2 vols (trans. G. du C. de Vere; ed. D. Ekserdijian), London, Everyman.

Warnke, M. (1993) The Court Artist: On the Ancestry of the Modern Artist (trans. D. McLintock), Cambridge, Cambridge University Press (first published in German in 1985).

Wolff, J. (1985) ‘The invisible flaneuse: women and the literature of modernity’, Theory, Culture and Society, vol. 2, no. 3, pp. 37–46.

Wölfflin, H. (1950) Principles of Art History: The Problem of the Development of Style in Later Art, New York, Dover.

Wolters, W. (1967) ‘Ein Hauptwerk der neiderländischen Skulptur in Venedig’, Mitteillung des Kunsthistorischen Institutes in Florenz, vol. 13, nos 1–2, pp. 185–9.

Wolters, W. (1976) La scultura Veneziana gotica 1300–1460, 2 vols, Venice, Alfieri.