Feyerabend, P. Science as art: A discussion of Riegl’s theory of art and an attempt to apply it to the sciences
// Art &Text 12/13 (Summer 1983 – Autumn 1984): 16–46.Freedberg, D. The Power of Images. Studies in the History and Theory of Response.
Chicago: University of Chicago Press, 1989.Freud, S. The Interpretation of Dreams. The Standard Edition of the Complete Psychological Works of Sigmund Freud.
Vols. IV, V. London: Hogarth Press, 1953.Freud, S. The Infantile Genital Organization (An Interpolation into the Theory of Sexuality). The Standard Edition of the Complete Psychological Works of Sigmund Freud.
Vol. XIX. London: Hogarth Press. Pp. 139–146.Freud, S. The Dissolution of the Oedipus Complex. The Standard Edition of the Complete Psychological Works of Sigmund Freud.
Vol. XIX. London: Hogarth Press. Pp. 171–180.Goffen, R. Titian’s Women.
New Haven and London: Yale University Press, 1997.Gombrich, E. H. Kokoschka in His Time.
Lecture Given at the Tate Gallery on July 2, 1986. London: Tate Gallery Press, 1986.Greenberg, C. Modernist Painting
. Washington, DC: Forum Lectures, 1960.Gubser, M. Time and history in Alois Riegl’s Theory of Perception
// Journal of the History of Ideas 66 (2005): 451–474.Kemp, W. Introduction
/ In: Riegl, A. The Group Portraiture of Holland. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999.Kokoschka, O. My Life
. New York: Macmillan, 1971.Lillie, S., and G. Gaugusch Portrait of Adele Bloch-Bauer.
New York: Neue Galerie, 1984.Natter, T. G. Gustav Klimt and the Dialogues of the Hetaerae: Erotic Boundaries in Vienna around 1900
/ In: Gustav Klimt: The Ronald S. Lauder and Serge Sabarsky Collection. R. Price, ed. New York: Neue Galerie, Prestel Publishing, 2007. Pp. 130–143.Natter, T. G., and M. Hollein The Naked Truth: Klimt, Schiele, Kokoschka and Other Scandals.
New York: Prestel Publishing, 2005.Price, R., ed. Gustav Klimt: The Ronald S. Lauder and Serge Sabarsky Collection
. New York: Neue Galerie, Prestel Publishing, 2007.Ratliff, F. The influence of contour on contrast: From cave painting to Cambridge psychology
// Transactions of the American Philosophical Society 75 (6) 1985: 1–19.Rice, T. D. Art of the Byzantine Era.
London: Thames and Hudson, 1985.Riegl, A. The Group Portraiture of Holland.
Intro. by W. Kemp. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999.Rodin, A. Art.
Boston: Small, Maynard, 1912.Schorske, C. E. Fin-de-Siècle Vienna: Politics and Culture
. New York: Vintage Books, 1981.Simpson, K. Viennese art, ugliness, and the Vienna School of Art History: the vicissitudes of theory and practice
// Journal of Art Historiography 3 (2010): 1–14.Utamaru, K. Picture Book: The Laughing Drinker.
2 vols. 1972. British Museum Publications, 1803.Waissenberger, R., ed. Vienna 1890–1920.
New York: Tabard Press, 1984.Westheimer, R. The Art of Arousal.
New York: Artabras, 1993.Whalen, R. W. Sacred Spring: God and the Birth of Modernism in Fin de Siècle Vienna.
Wm B. Eerdmans. Cambridge, 2007.Whitford, F. Gustav Klimt
(World of Art). London: Thames and Hudson, 1990.Глава 9. Изображение психики в искусстве
Berland, R. The early portraits of Oskar Kokoschka: A narrative of inner life
// Image [&] Narrative [e-journal], 2007. См.: http://www.imageandnarrative.be/inarchive/thinking_pictures/berlandhtm
.