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  1. Patterns of Intention: On the Historical Explanation of Pictures.Michael Baxandall - 1986 - Journal of Aesthetics and Art Criticism 45 (1):94-95.
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  • Meaning and understanding in the history of ideas.Quentin Skinner - 1969 - History and Theory 8 (1):3-53.
    Emphasis on autonomy of texts presupposes that there are perennial concepts. But researchers' expectations may turn history into mythology of ideas; researchers forget that an agent cannot be described as doing something he could not understand as a description, and that thinking may be inconsistent. They will never uncover voluntary oblique strategies and by treating ideas as units will confuse sentences with statements. On the other hand, a contextual approach to the meaning of texts dismisses ideas as unimportant effects. Neither (...)
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  • Ambrogio lorenzetti's buon governo frescoes: Two old questions, two new answers.Quentin Skinner - 1999 - Journal of the Warburg and Courtauld Institutes 62 (1):1-28.
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  • The Order of Things, an Archaeology of the Human Sciences.Michel Foucault - 1970 - Science and Society 35 (4):490-494.
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  • (1 other version)Review of Arthur O. Lovejoy: The Great Chain of Being: A Study of the History of an Idea[REVIEW]Scott Buchanan - 1937 - International Journal of Ethics 47 (4):486-490.
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  • Dionysus reborn: play and the aesthetic dimension in modern philosophical and scientific discourse.Mihai Spariosu - 1989 - Ithaca, N.Y.: Cornell University Press.
    Introduction: Play, Power, and the Western Mentality Whereas play has always had an important, if sometimes unthemat- ized, role in Western literary ...
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  • Ambrogio Lorenzetti: The artist as political philosopher.Quentin Skinner - 1987 - In Skinner Quentin (ed.), Proceedings of the British Academy, Volume 72: 1986. pp. 1-56.
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  • Shadows and EnlightenmentShadows: The Depiction of Cast Shadows in Western Art.David Carrier, Michael Baxandall & E. H. Gombrich - 1996 - Journal of Aesthetics and Art Criticism 54 (2):200.
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  • Panofsky and the Foundations of Art History.Carl Landauer - 1984 - Journal of Aesthetics and Art Criticism 44 (1):82-83.
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