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TitleOjo e Idea Pierantoni
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Total Pages170
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1930 Rembrandt Harmeszoon van Rijn. The Life and Times of Rembrandt, La Haya.



VANTAGERLOO.G.

1968 "Symmetrie and Proportions". Leonardo. 1. 313-17.



WALKER, D.P.

1967 “Kepler's Celestial Music”, J. Warb. Count. Inst.. 30. 229-50.



WARD. J. L.

1975 «Hidden Symbolism in Jan Van Eyck Annunciations», Art Bull.. 57. 2, 196-220.



WEISSMANN, L. D.

1972 The Visual Arts as Human Experience, Englewood Cliffs, Prentice Hall.



WHITE, C.

1977 English Landscape: 1630-1850. New Haven. Yate Center for British Art.



WHITE, J.

1967 The Birth and Rebirth of Pictorial Space. Boston, Boston Book and Art Shop.



WHITEFIELD, T. W. A. y SLOTTER, P. E.

1978 «Colour Harmony: an Evaluation». Br. J. Aesth., 18, 2,199-208.



WIRTH, A.

1979 «Kandinskv and ihe Science of Art», Br. J. Aesth., 19, 4, 361-65.



WITTKOWER. R.

1960 «The Changing Concept of Proportion», Daedalus, 89, 199-215.



WITTKOWER, R. y CÁRTER. B. A. R.

1953 «The Perspective of Piero della Francesca's Flagellation»», J. Warb. Court. Inst.. 16. 292-323.



WÖLFFIN, H.

1922 Principles of Art History, Nueva York, Dover. (Traducción castellana en Espasa Calpe,

Conceptos fundamentales en la historia del arte, Madrid. 1969.)

1958 The Sense of Form in Art, Nueva York, Chelsea.



YARBUS, A. L.

1967 Eye Movements and Vision. Nueva York. Plenum Press; Moscú, NAUKA, 1965.



YOLTON. J. W.

1979 «As a Looking-glass: Perceptual Acquaintance in Eighteen Century». Br. J. Hist. Ideas, 40, 2.

207-34.

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