This page lists all the original sources cited in the text, with up-to-date links to PDF copies and DOIs (Digital Object Identifiers). Additional sources for new material mentioned in the website are listed at the end of the list.
DOIs are permanent identifiers so they should always be correct. On the other hand, PDF links are not certain to remain correct because they often point to sites that are liable to change, such as the personal web pages of authors. If you come across a link that fails to reach its intended target, please do let me know via my contact details and I will try to update it.
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Bellingham, D. (2012). Attribution and the market: The case of Frans Hals. In M. Aldrich and J. Hackford-Jones (Eds.), Art and Authenticity (pp. 22–36). Farnham: Lund Humphries.
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Brieber, D., Nadal, M., and Leder, H. (2015). In the white cube: Museum context enhances the valuation and memory of art. Acta Psychologica, 154, 36–42.
Chipp, H. B. (1968). Theories of Modern Art: A Source Book for Artists and Critics. University of California Press.
Cohen, L., Gray, F., Meyrignac, C., Dehaene, S., and Degos, J. D. (1994). Selective deficit of visual size perception:Two cases of hemimicropsia. Journal of Neurology, Neurosurgery and Psychiatry, 57(1), 73–78. PDF
Cunningham, M. R., Roberts, A. R., Barbee, A. P., Druen, P. B., and Wu, C. H. (1995).“Their ideas of beauty are, on the whole, the same as ours”: Consistency and variability in the cross-cultural perception of female physical attractiveness. Journal of Personality and Social Psychology, 68(2), 261–279. PDF
Dutton, D. (2010). The Art Instinct. London: Bloomsbury Press.
Elgammal, A., Liu, B., Elhoseiny, M., and Mazzone, M. (2017). CAN: Creative adversarial networks, generating “Art” by learning about styles and deviating from style norms.arXiv:1706.07068 PDF
Elias, M., and Cotte, P. (2008). Multispectral camera and radiative transfer equation used to depict Leonardo’s sfumato in Mona Lisa. Applied Optics, 47(12), 2146–2154. PDF
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Graham, D. J., and Redies, C. (2010). Statistical regularities in art: Relations with visual coding and perception. Vision Research, 50(16), 1503–1509. PDF
Grüner, S., Specker, E., and Leder, H. (2019). Effects of context and genuineness in the experience of art. Empirical Studies of the Arts, 37(2), 138–152. PDF
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Harman, O., and Dietrich, M. R. (Eds.). (2013). Outsider Scientists: Routes to Innovation in Biology. Chicago: University of Chicago Press.
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Hockney, D. (2001). Secret Knowledge: Rediscovering the Lost Techniques of the OId Masters. London: Thames and Hudson.
Huang, M., Bridge, H., Kemp, M. J., and Parker, A. J. (2011). Human cortical activity evoked by the assignment of authenticity when viewing works of art. Frontiers in Human Neuroscience, 5(November), 1–9. PDF
Hughes, R. (1990). Nothing if Not Critical: Selected Essays on Art and Artists. London: The Harvill Press.
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Kaufman, S. C., Kozbelt, A., Silvia, P., Kaufman, J. C., Ramesh, S., and Feist, J. G. (2014).Who finds Bill Gates sexy? Creative mate preferences as a function of cognitive ability, personality, and creative achievement. Journal of Creative Behavior, 50(4), 294–307. PDF
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Locher, P. J., and Dolese, M. (2004). A comparison of the perceived pictorial and aesthetic qualities of original paintings and their postcard images. Empirical Studies of the Arts, 22(2), 129–142. PDF
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Marmor, M. F., and Ravin, J. G. (2009). The Artist’s Eyes: Vision and the History of Art. New York: Abrams.
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Mather, G. (2014a). Essentials of Sensation and Perception. London: Routledge.
Mather, G. (2014b). The Psychology of Visual Art: Eye, Brain and Art. Cambridge: Cambridge University Press.
Mather, G. (2016). Foundations of Sensation and Perception (3rd ed.). London: Routledge.
Mayer, A. (2010). The physiological circus: Knowing, representing, and training horses in motion in nineteenth-century France. Representations, 111(Summer), 88–120. PDF
McMillan, K. (2019). Representation of Female Artists in Britain during 2018. Freedlands Foundation.
Miller, G. F. (2001). Aesthetic fitness: How sexual selection shaped artistic virtuosity as a fitness indicator and aesthetic preferences as mate choice criteria. Bulletin of Psychology and the Arts, 2(2001), 20–25.
Murakami, I., Kitaoka, A., and Ashida, H. (2006). A positive correlation between fixation instability and the strength of illusory motion in a static display. Vision Research, 46(15), 2421–2431. PDF
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Pepperell, R. (2017). Imaging human vision: An artistic perspective. IS and T International Symposium on Electronic Imaging, Human Vision and Electronic Imaging, 261–267. PDF
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B. L. (2007). A case-controlled study of altered visual art production in Alzheimer’s and FTLD. Cognitive and Behavioral Neurology, 20(1), 48–61. PDF
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Seidel, A., and Prinz, J. (2018). Great works: A reciprocal relationship between spatial magnitudes and aesthetic judgment. Psychology of Aesthetics, Creativity, and the Arts, 12(1), 2–10.
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van der Feen, F. E., Zickert, N., Groothuis,T. G. G., and Geuze, R. H. (2019). Does hand skill asymmetry relate to creativity, developmental and health issues and aggression as markers of fitness? Laterality, 1–34. PDF
Vartanian, O., and Skov, M. (2014). Neural correlates of viewing paintings: Evidence from a quantitative meta-analysis of functional magnetic resonance imaging data. Brain and Cognition, 87(1), 52–56. PDF
Vessel, E. a, Starr, G. G., and Rubin, N. (2012). The brain on art: Intense aesthetic experience activates the default mode network. Frontiers in Human Neuroscience, 6(April), 1–17. PDF
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