77
Views
0
CrossRef citations to date
0
Altmetric
Research Article

What Is the Object of Art?

Bibliography

  • Agamben, G. Ninfe. Turin: Bollati Boringhieri, 2007.
  • Ashcroft, J. “Art in German: Artistic Statements by Albrecht Dürer.” Forum for Modern Language Studies 48, no. 4 (2012): 3760388. doi:10.1093/fmls/cqs02510.1093/fmls/cqs025.
  • Baxandall, M. Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style. Oxford: Oxford University Press, 1988.
  • Benjamin, W. Gesammelte Schriften. Vol. 1. Edited by R. Tiedemann and H. Schweppenhäuser. Frankfurt am Main: Suhrkamp Verlag, 1980a.
  • Benjamin, W. Gesammelte Schriften IV1 Edited by IV1 Edited by R. Tiedemann and H. Schweppenhäuser Frankfurt am Main: Suhrkamp Verlag, 1980b.
  • Benjamin, W. Selected Writings. Vol. 1. Edited by M. W. Jennings. Cambridge: Harvard University Press, 1996.
  • Benjamin, W. The Arcades Project, Translated by H. Eiland and K. McLaughlin. Cambridge: Belknap Press of Harvard University Press, 1999.
  • Benjamin, A. Art’s Philosophical Work. London: Rowman and Littlefield, 2015.
  • Benjamin, A. “Reading, Seeing and the Logic of Abandonment: Rembrandt’s Self-Portrait as the Apostle Paul.” In Saint Paul and Philosophy: The Consonance of Ancient and Modern Thought, edited by G.-J. van der Heiden, G. van Kooten, and A. Cimino, 21–46. Berlin: De Gruyter, 2017a.
  • Benjamin, A. “Two Forms of Gesture: Notes on Aby Warburg and Walter Benjamin.” Aisthesis. Pratiche, linguaggi e saperi dell’estetico 10, no. 1 (2017b): 21–40. doi:10.13128/Aisthesis-20901.
  • Benjamin, A. “Doubt and Indifference: Threshold Conditions within the Work of Art.” Aisthesis. Pratiche, linguaggi e saperi dell’estetico 12, no. 1 (2019): 123–133. doi:10.13128/Aisthesis-25628.
  • Benjamin, A. “Countering Injury. On the Deaths of the Niobids.” In Niobes: Antiquity, Modernity, Critical Theory, edited by M. Telo and A. Benjamin. Columbus: Ohio State University Press, 2023.
  • Benjamin, A. “On Gesture. Classical and Renaissance Expressions.” (forthcoming).
  • Didi-Hubermann, G. Ninfa fluida. Essai sur le drapé-désire. Paris: Gallimard, 2015.
  • Dubow, J. “Case Interrupted: Benjamin, Sebald, and the Dialectical Image.” Critical Inquiry 33, no. 4 (June 2007): 820–836. doi:10.1086/521571.
  • Dürer, A. Schriften und Briefe. Leipzig: Reclam Verlag, 1998.
  • Figal, G. “Blank Spaces and Blank Spots: Kant’s Critique of the Power of Judgment in Heidegger’s Philosophy.” In Kant’s “Critique of Aesthetic Judgment” in the 20th Century: A Companion to Its Main Interpretations, edited by S. Marino and P. Terzi. Berlin: De Gruyter, 2020.
  • Goodman, N., and E. H. Gombrich. “Review of E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation.” The Journal of Philosophy 57, 18: 595–599. 10.2307/2023612.
  • Hegel, G. W. F. Vorlesungen über die Ästhetik. Werke 13. Frankfurt am Main: Suhrkamp, 1986.
  • Hegel, G. W. F. Aesthetics: Lectures on Fine Art. Vol. I. Translated by T. M. Knox. Oxford: Oxford UP, 1998.
  • Heidegger, M. “Der Ursprung des Kunstwerkes.” In Holzwege Gesamtausgabe. Vol. 5. Frankfurt: M. Klostermann, 1977.
  • Johnson, C. D. Memory, Metaphor, and Aby Warburg’s Atlas of Images. Ithaca: Cornell University Press, 2012.
  • Kant, I. Critique of the Power of Judgment, Translated by P. Guyer and E. Matthews. Cambridge: Cambridge UP, 2009.
  • Kant, I. Werke in sechs Bänden. (Band V). Darmstadt: WBG, 2011.
  • Neer, R. “Three Types of Invisibility. The Acropolis of Athens.” In Conditions of Visibility, edited by R. Neer, 7–42. Oxford: Oxford University Press, 2019.
  • Warburg, A. “The Art of Portraiture and the Florentine Bourgeoise.” In The Renewal of Pagan Antiquity, edited by D. Britt. Los Angeles: The Getty Research Institute Publications, 1999.
  • Weigel, S. “The Flash of Knowledge and the Temporality of Images: Benjamin’s Image-Based Epistemology and Its Preconditions in Visual Arts and Media History.” Critical Inquiry 41, no. 2 [(1 January 2015)]. 344–366. doi:10.1086/679079.
  • Wollheim, R. Painting as an Art. Princeton: Princeton University Press, 1987.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.