Primary Sources I Aesthetics
Theodor W. Adorno, Aesthetic Theory (1970, trans. Robert Hullot-Kentor, 1997).
A. G. Baumgarten, Reflections on Poetry (1735, trans. K. Aschenbrenner and W. B. Holther, 1954).
Pierre Bourdieu, Distinction: A Social Critique of the Judgment of Taste (1979, trans. Richard Nice, 1984).
Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757, eds. Adam Phillips, 1990).
Arthur C. Danto, The Philosophical Disenfranchisement of Art (1986).
Jacques Derrida, The Truth in Painting (1978, trans. Geoff Bennington and Ian McLeod, 1987).
Terry Eagleton, The Ideology of the Aesthetic (1990).
Berys Gaut and Dominic McIver Lopes, eds., The Routledge Companion to Aesthetics (2005).
Nelson Goodman, Languages of Art (1969).
Martin Heidegger, "The Origin of the Work of Art" (1956, Martin Heidegger: Basic Writings, ed. David Farrell Krell, 1977, rev. ed., 1993).
G. W. F. Hegel, Aesthetics: Lectures on Fine Art (1835, trans. T. M. Knox, 1975).
David Hume, "On the Standard of Taste" (1757, Essays Moral, Political, and Literary, ed. Eugene F. Miller, 1963).
Fredric Jameson, "Globalization as a Philosophical Issue," The Cultures of Globalization (ed. Jameson and Masao Miyoshi, 1998).
-------------- Late Marxism: Adorno, or, The Persistence of the Dialectic (1990).
Immanuel Kant, Critique of Judgment (1790, trans. Werner S. Pluhar, 1987).
Philippe Lacoue-Labarthe and Jean-Luc Nancy, The Literary Absolute (1978, trans. Philip Barnard and Cheryl Lester, 1988).
Georg Lukács, "Reification and the Consciousness of the Proletariat," History and Class Consciousness (1968, 2d ed., trans. Rodney Livingstone, 1971).
Jean-François Lyotard, Lessons on the Analytic of the Sublime (1991, trans. Elizabeth Rottenberg, 1994).
Jean-Paul Sartre, What Is Literature? (1948, trans. Bernard Frechtman, 1949).
Friedrich Schelling, System of Transcendental Idealism (1800, Peter Lauchlan Heath trans., 1978).
Friedrich Schiller, On the Aesthetic Education of Man (1795, trans. Elizabeth M. Wilkinson and L. A. Willoughby, 1967).
Friedrich Schlegel, Philosophical Fragments (1798–1800, trans. Peter Firchow, 1991).
Primary Sources I Art Theory
Svetlana Alpers, The Art of Describing (1983).
Svetlana Alpers and Paul Alpers, "‘Ut Pictura Poesis’? Criticism in Literary Studies and Art History," New Literary History 3 (1972).
Frederick Antal, Florentine Painting and Its Social Background (1948).
Mieke Bal,Quoting Caravaggio: Contemporary Art, Preposterous History (1999).
Mieke Bal, Reading Rembrandt: Beyond the Word-Image Opposition (1991).
Mieke Bal and Norman Bryson, "Semiotics and Art History," Art Bulletin 73 (1991).
Stephen Bann, The Inventions of History (1990).
Stephen Bann, The True Vine (1989).
Michael Baxandall, The Limewood Sculptors of Renaissance Germany (1980).
Michael Baxandall, Painting and Experience in Fifteenth-Century Italy (1972).
Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures (1985).
Hans Belting, The End of the History of Art? (1987).
Pierre Bourdieu, Sociology in Question (1993).
David Brown, Berenson and the Connoisseurship of Italian Painting (1979).
Benjamin H. D. Buchloch, Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975 (2004).
Jacob Burckhardt, The Civilization of the Renaissance in Italy (1860, trans. S. G. C. Middlemore, 1958).
Victor Burgin, The End of Art Theory (1986).
Norman Bryson, Tradition and Desire (1984).
Norman Bryson, Vision and Painting (1983).
Norman Bryson, Word and Image (1981).
Norman Bryson, Michael Ann Holly, and Keith Moxey, Visual Theory (1991).
Norman Bryson, Michael Ann Holly, and Keith Moxey, Visual Culture: Images and Interpretations (1994).
David Carrier, Artwriting (1987).
David Carrier, Principles of Art History Writing (1991).
Mark Cheetham, Michael Ann Holly, and Keith Moxey, eds., The Subjects of Art History: Historical Objects in Contemporary Perspectives (1998).
T. J. Clark, The Absolute Bourgeoisie (1973).
T. J. Clark, Painting of Modern Life (1985).
Douglas Crimp, On the Museum’s Ruins (1993).
Thomas Crow, Painters and Public Life in Eighteenth Century Paris (1985).
Arthur Danto, After the End of Art (1997).
Arthur Danto, The Philosophical Disenfranchisement of Art (1986).
Arthur Danto, The Transfiguration of the Commonplace (1981).
Jacques Derrida, The Truth in Painting (1978, trans. Geoff Bennington and Ian McLeod, 1987).
Carol Duncan, The Aesthetics of Power (1993).
Carol Duncan, Civilizing Rituals (1995).
Paul Duro, ed., The Rhetoric of the Frame (1996).
James Elkins, Domain of Images (1999).
Henri Focillon, The Life of Forms in Art (1934, trans. Charles B. Hogan and George Kubler 1948).
Hal Foster, The Return of the Real (1996).
Hal Foster, ed., The Anti-Aesthetic (1983).
Hal Foster, Rosalind Krauss, Yve-Alian Bois, and Benjamin H. D. Buchloch, Art since 1900: Modernism, Antimodernism, Postmodernism (2005).
Kurt Foster, ed., Aby Warburg: The Renewal of Pagan Antiquity (1999).
David Freedberg, The Power of Images (1989).
Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980).
Carlo Ginzburg, "Morelli, Freud, and Sherlock Holmes," History Workshop 9 (1980).
Ernst Gombrich, Art and Illusion (1961).
Ernst Gombrich, Meditations on a Hobby Horse (1963).
Ernst Gombrich, Norm and Form (1966).
Ernst Gombrich, Symbolic Images (1972).
Nelson Goodman, Languages of Art (1976).
Clement Greenberg, Collected Essays (ed. John O’Brian, 2 vols. 1986).
Arnold Hauser, The Sociology of Art (1974, trans. Kenneth J. Northcott, 1982).
Michael Ann Holly, Panofsky and the Foundations of Art History (1984).
Michael Ann Holly, Past Looking: Historical Imagination and the Rhetoric of the Image (1996).
Wolfgang Iser, Prospecting: From Reader Response to Literary Anthropology (1989).
Hans-Robert Jauss, Toward an Aesthetic of Reception (1982).
Martin Jay, Downcast Eyes (1993).
Chris Jenks, ed., Visual Culture (1995).
Amelia Jones, Body Art/Performing the Subject (1998).
Salim Kemal and Avian Gaskell, eds., The Language of Art History (1991).
Wolfgang Kemp, ed., Der Betrachter ist im Bild: Kunstwissenschaft und Rezeptionsästhetik (1985, 2d ed., 1992).
Rosalind Krauss, The Optical Unconscious (1994).
Julia Kristeva, Desire in Language A Semiotic Approach to Literature and Art (1980, ed. Leon S. Roudiez).
George Kubler, The Shape of Time (1962).
Eunice Lipton, Alias Olympia (1992).
Stephen Melville, Seams: Art as a Philosophical Context (1996).
Stephen Melville and Bill Readings, eds., Vision and Textuality (1995).
Nicholas Mirzoeff, An Introduction to Visual Culture (1999).
Nicholas Mirzoeff, ed., The Visual Culture Reader (1998).
W. J. T. Mitchell, Iconology (1986).
W. J. T. Mitchell, Picture Theory: Essays on Verbal and Visual Representation (1994).
Keith Moxey, The Practice of Persuasion: Paradox and Power in Art History (2001).
Keith Moxey, The Practice of Theory: Poststructuralism, Cultural Politics, and Art History (1994).
Laura Mulvey, Fetishism and Curiosity (1996).
Robert Nelson and Richard Shiff, eds., Critical Terms for Art History (1996).
Linda Nochlin, Representing Women (1999).
Linda Nochlin, "Why Have There Been No Great Women Artists?" Art News 69 (1971).
Linda Nochlin, October 77 (ed. Rosalind Krauss and Hal Foster, 1996).
Erwin Panofsky, Early Netherlandish Painting (1953).
Erwin Panofsky, Gothic Architecture and Scholasticism (1951).
Erwin Panofsky, Meaning in the Visual Arts (1955).
Erwin Panofsky, Renaissance and Renascenses in Western Art (1960).
Erwin Panofsky, Studies in Iconology (1939).
Rozsika Parker and Griselda Pollock, Old Mistresses: Women, Art, and Ideology (1981).
Michael Podro, The Critical Historians of Art (1982).
Griselda Pollock, Differencing the Canon (1999).
Griselda Pollock, Vision and Difference (1988).
Donald Preziosi, Rethinking Art History (1989).
Jean-Michel Rabaté, ed., Writing the Image after Roland Barthes (1997).
A. L. Rees and F. Borzello, The New Art History (1988).
Alois Riegl, Problems of Style (1983, trans. E. Kain, 1992).
Jacqueline Rose, Sexuality in the Field of Vision (1986).
Meyer Schapiro, Theory and Philosophy of Art (1994).
Kaja Silverman, Male Subjectivity at the Margins (1992).
Lisa Tickner, Modern Life and Modern Subjects (2000).
Aby Warburg, The Renewal of Pagan Antiquity (ed. Kurt Forster, 1999).
Janet Wolff, Resident Alien (1995).
Janet Wolff, The Social Production of Art (1981).
Heinrich Wölfflin, Classic Art (1899, trans. Peter and Linda Murray, 1952).
Heinrich Wölfflin, The Principles of Art History (1915).
Richard Wollheim, Art and Its Objects (1980).