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1

Rossi, Attilio. Attilio Rossi: La pittura, 1935-1994 : la condizione umana. Cinisello Balsamo (Milano): Silvana, 2006.

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2

Gallery, Albright-Knox Art, ed. The Impressionist revolution and the advent of abstract art. Buffalo, New York: Buffalo Fine Arts Academy, 2016.

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3

Cattani, Silvio. Silvio Cattani, Diether Kunerth, Otto Neudert. Ottobeuren: Museum für Zeitgenössische Kunst - Diether Kunerth, 2016.

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4

Ernst, Beyeler, and Fondation Beyeler, eds. Claude Monet: Up to digital impressionism ; exhibition: 28 March - 4 August, 2002, Fondation Beyeler. Munich: Prestel, 2002.

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5

Monet, Claude. Claude Monet: Les falaises. Rouen: Éditions des Falaises, 2013.

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6

Kiefer, Theresia. Punkt.Systeme: Vom Pointillismus zum Pixel. Heidelberg: Kehrer, 2012.

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7

Ann, Temkin, ed. Abstract expressionism at the Museum of Modern Art: Selections from the collection. New York: Museum of Modern Art, 2010.

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8

Aigret, Jaimée M., producer, film editor and Teaching Company, eds. The world's greatest paintings. Chantilly, Va: Teaching Company, 2010.

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9

Stanton, Bob. Collected word paintings: Wordstroke impressions & portraits, surreal brainscapes, abstract moods & mono-dramatic expressions. Lewiston, N.Y: Mellen Poetry Press, 2000.

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10

Ernst, Beyeler, Bazaine Jean 1904-2001, Monet Claude 1840-1926, and Fondation Beyeler, eds. Claude Monet: --bis zum digitalen Impressionismus : Ausstellung, 28. März bis 4. August 2002. München: Prestel, 2002.

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11

Ary Stillman: From Impressionism to Abstract Expressionism. Merrell, 2008.

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12

Monet, Claude, Markus Brüderlin, Ernst Beyeler, and Philippe Büttner. Claude Monet . . . up to digital Impressionism. Prestel, 2002.

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13

Charron, Ben. Abstract Impressionism with the Adobe Photoshop Filter Gallery. Blurb, 2015.

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14

Charron, Ben. Abstract Impressionism with the Adobe Photoshop Filter Gallery. Blurb, 2015.

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15

Nymphéas: L'abstraction américaine et le dernier Monet. Paris: Connaissance des arts, 2018.

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16

Fiebig, le peintre au couteau. Paris: Hermann, 2018.

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17

Modern Theories of Art 2: From Impressionism to Kandinsky. New York University Press, 1998.

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18

Art Styles for Kids: Renaissance, Baroque, Impressionism to Post-Impressionism, Pop and Abstract, Art History Lessons Junior Scholars Edition, Children's Arts, Music and Photography Books. Speedy Publishing LLC, 2019.

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19

1866-1944, Kandinsky Wassily, Milwaukee Art Museum, and Frist Center for the Visual Arts (Nashville, Tenn.), eds. Kandinsky: A retrospective. Yale University Press, 2014.

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20

What Is Art? Learn Art Styles the Easy Coloring Book Way Soft Line Drawings Abstract Impressionism Flowers Roses and Hydrangeas Pieces Petals Leafs. Independently Published, 2020.

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21

Hwang, I.-Uen Wang. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0020.

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In twenty-first-century atonal music, tonality is more than the organization of musical components: it also includes timbres, texture, instrumentation, articulation and additional elements which will be discussed in a moment. In modern art since the era of impressionism, painting has developed towards a synaesthetic scheme in which tonality is considered to be a succession of movements. Modern art also places a greater emphasis on the use of colours to depict emotions. Traditional subjects are often superseded by geometric patterns. Abstract art is thus akin to atonal music, which replaces tonal centres with alternative methods of structuring the twelve notes....
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22

Trinkaus, Lawrence, and William Trinkaus. Portraits and Abstract Impressions: Paintings by William F. Trinkaus MD. Independent Publisher, 2014.

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23

Claude Monet... bis zum digitalen Impressionismus. Prestel, 2002.

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24

Wallis, Jeremy, Rachel Barnes, and Linda Boltin. Artists in Profile: Surrealists / Post-Impressionists / Cubists / Abstract Expressionists (Artists in Profile). Heinemann Educational Books - Library Division, 2002.

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25

Chudnoff, Elijah. Forming Impressions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863021.001.0001.

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Perception and intuition are our basic sources of knowledge about the concrete world around us, and more abstract matters such as mathematics, metaphysics, and morality. Perception and intuition, however, are also capacities we deliberately improve in ways that draw on our knowledge about these domains. How can the sensory and intellectual impressions that lie at the foundation of our knowledge themselves be informed by our knowledge? In Forming Impressions: Expertise in Perception and Intuition, Chudnoff addresses this and other questions that derive from trying to understand the improvability of our basic sources of knowledge. At the extreme of improvement lies expertise, and there is a wealth of research on the structures and mechanisms underlying expert perception and expert intuition that promises to illuminate the nature and significance of improvements to these sources of knowledge in general. Taking this cue, the first part of the book lays the groundwork for the rest by elaborating an interpretation of the psychology of expertise. The second part develops a setting for thinking about the epistemology of expert perception and expert intuition. The third part of the book explores the significance of the resulting view of intuition and its improvability for recent debates about philosophical methodology. Chudnoff defends a rationalist view of the role of intuition in philosophy that can be traced back to classic works on methodology such as Descartes’ Rules and Spinoza’s Emendation of the Intellect.
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26

Rowett, Catherine. Knowledge and Correct Impressions in Plato’s Meno. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199693658.003.0005.

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This chapter examines three passages of Plato’s Meno, showing how they relate to a theme concerning Gorgias’ professed ability to answer questions without knowledge. Addressing some notorious puzzles about whether Plato thinks that true doxa is sufficient for life, and whether one can progress from true doxa to knowledge, the chapter argues that here, as in other dialogues, ‘knowledge’ means knowledge of types, not tokens, and that for practical action what is required is always doxa—to identify the right token—not a theoretical understanding of the type. Plato shows that Socrates’ demand for an abstract philosophical grasp of ‘what it is’ about some concept like virtue has no practical relevance, and that Gorgias is right, that one can indeed answer questions correctly without it.
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27

Aguirre, Mercedes, and Richard Buxton. Cyclops. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198713777.001.0001.

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This book provides an innovative, authoritative, and richly illustrated study of the myths relating to the Cyclopes from classical antiquity until the present day. It is the first such book-length study of the topic in any language. The first part, dealing with classical antiquity, is organized thematically: after discussing various competing scholarly approaches to the myths, Aguirre and Buxton analyse ancient accounts and images of the Cyclopes in relation to landscape, physique (especially eyes, monstrosity, and hairiness), lifestyle, gods, names, love, and song. While the man-eating Cyclops Polyphemus, famous already in the Odyssey, plays a major part, so also do the Cyclopes who did monumental building work, as well as those who toiled as blacksmiths. The second part of the book concentrates on the post-classical reception of the myths. Topics discussed include medieval allegory, Renaissance grottoes, Italian and Spanish poetry, Spanish drama, and the novels of Hugo, Joyce, and Ellison; in the visual arts, dozens of images are examined, beginning with the medieval and early modern periods, moving on to Surrealism and Abstract Impressionism, and ending with contemporary painting and sculpture. Movie Cyclopes also appear, as does a wonderful circus performance. The overall aim of the authors is to explore, not just the perennial appeal of the Cyclopes as fearsome monsters, but the depth and subtlety of their mythology, which raises complex issues of thought and emotion. All too often, a Cyclops is assumed to be nothing more than a gruesome one-eyed monster. This book seeks to demonstrate that there is far more to it than that—quite apart from the fact that Cyclopes are by no means always one-eyed!
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28

Williams, Tami. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0008.

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This introductory chapter discusses how Germaine Dulac played a groundbreaking role in the evolution of the cinema both as art and social practice. Over the course of her film career (1915–42), Dulac directed more than thirty fiction films, many marking new cinematic tendencies, from Impressionist to abstract. A careful study of Dulac's life and work establishes the importance of her voice in the diffusion and legitimization of French film and film culture, as evidenced through her prolific writings and lectures. She also played a prominent role in several cultural organizations such as the Society of Film Authors (SAF), the French Federation of Cine-Clubs (FFCC), the International Council of Women (ICW), the International Educational Cinematographic Institute(IECI), and the League of Nations' International Committee for Intellectual Cooperation (ICIC), among others.
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29

You, It´s For. Sketch Book: NOTEBOOK for PAINTING,SCRATCHING, SKETCHING, DRAWING, WRITING or DOODLING, 8. 5X11 , 120 PAGES + INDEX CONTENT PAGES PREMIUM ABSTRACT and IMPRESSIONIST COVER. Independently Published, 2021.

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30

Cute but crazy Journals Publishing. Dot Grid Notebook with Colorful Abstract Painting in French Impressionists Style: Large Dotted Journal with Painted Red, Yellow and Purple Striped Cover. Independently Published, 2021.

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31

Moore, Daniel. Insane Acquaintances. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.001.0001.

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Insane Acquaintances charts the varied encounters between artistic modernism and the British public in the years between ‘Manet and the Post-Impressionists’ (1910) and the Festival of Britain (1951). Through a range of case studies which explore the work of the ‘mediators’ of modernism in Britain – those individuals, groups and organisations which facilitated the introduction of modernist art and design to public audiences during the first part of the twentieth century – Insane Acquaintances explores the social, political and cultural impact of visual modernism over the course of four decades. Focusing on the efforts to legitimise, explain and make authentic the abstract (and often continental) modernist aesthetics that shaped British artistic culture during the years 1910-1951, this study charts the changing taste of the nation, through chapters on Postimpressionist art and crafts, modernist art in schools, the home design and decoration, Surrealism and revolution and the post-War institutionalisation and funding of the arts.
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