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.

Adams, R. B., Kraussl, R., Navone, M. A., and Verwijmeren, P. (2017). Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices. SSRN Electronic Journal, (December 6). PDF

Appleton, J. (1996). The Experience of Landscape. New York:Wiley.

Barrett, L. F., Mesquita, B., Ochsner, K. N., and Gross, J. J. (2006). The experience of emotion. Annual Review of Psychology, 58, 373–403. PDF

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.

Biederman, I. (1987). Recognition-by-components: A theory of human image understanding. Psychological Review, 94(2), 115–147. PDF

Boden, M. A. (2010). Creativity and Art:Three Roads to Surprise. Oxford: Oxford University Press.

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.

Bullot, N. J. (2019). A psychohistorical philosophy for the science of the arts. On Art and Science (pp. 223–245). PDF

Burghardt, G. M. (2014). Play in fishes, frogs and reptiles. Current Biology, 25(1), R9–R10. PDF

Carbon, C.-C. (2017). Art perception in the museum: How we spend time and space in art exhibitions. i-Perception, 8(1). PDF

Cavanagh, P. (2005). The artist as neuroscientist. Nature, 434(7031), 301–307. PDF

Chipp, H. B. (1968). Theories of Modern Art: A Source Book for Artists and Critics. University of California Press.

Clegg, H., Nettle, D., and Miell, D. (2011). Status and mating success amongst visual artists. Frontiers in Psychology, 2(October). PDF

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

Corballis, M. C. (2014). Left brain, right brain: Facts and fantasies. PLoS Biology, 12(1). 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

Cutting, J. E. (2003). Gustave Caillebotte, French impressionism, and mere exposure. Psychonomic Bulletin & Review, 10(2), 319–343. 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

Ellamil, M., Dobson, C., Beeman, M., and Christoff, K. (2012). Evaluative and generative modes of thought during the creative process. NeuroImage, 59(2), 1783–1794. PDF

Faris, J. C. (1988). “ART/artifact”: On the museum and anthropology. Current Anthropology, 29(5), 775–779. PDF

Feist, G. J. (1998). A meta-analysis of personality in scientific and artistic creativity. Personality and Social Psychology Review, 2(4), 290–309. PDF

Forder, L., Bosten, J., He, X., and Franklin, A. (2017). A neural signature of the unique hues. Scientific Reports, 7(1), 1–8. PDF articles/srep42364

Galton, F. (1882). Conventional representation of the horse in motion. Nature, 26(662), 228–229.

Gibson, J. J. (1950).The Perception of the Visual World. Boston, Houghton Mifflin.

Goldin, C., and Rouse, C. (2000). Orchestrating impartiality: The impact of “blind” auditions on female musicians. American Economic Review, 90(4), 715–741. PDF

Gould, S. J. (1991). Exaptation: A crucial tool for an evolutionary psychology. Journal of Social Issues, 47(3), 43–65.

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

Hampton, J. A. (2012). Thinking intuitively: The rich (and at times illogical) world of concepts. Current Directions in Psychological Science, 21(6), 398–402. PDF

Harman, O., and Dietrich, M. R. (Eds.). (2013). Outsider Scientists: Routes to Innovation in Biology. Chicago: University of Chicago Press.

Hering, E. (1964). Outlines of a theory of the light sense. Harvard University Press.

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.

Hummel, J. E. (2013). Object recognition. In D. Reisburg (Ed.), Oxford Handbook of Cognitive Psychology (pp. 32–46). Oxford University Press. PDF

Hutton, N., and Kelly, L. (2013).Where lines are drawn. Science, 341(September), 1453–1454. PDF

Ishizu, T., and Zeki, S. (2013). The brain’s specialized systems for aesthetic and perceptual judgment. European Journal of Neuroscience, 37(9), 1413–1420. PDF

Ittelson, W. H. (1951). Size as a cue to distance: Static localization. The American Journal of Psychology, 64(1), 54–67.

Jauk, E., Benedek, M., Dunst, B., and Neubauer, A. C. (2013). The relationship between intelligence and creativity: New support for the threshold hypothesis by means of empirical breakpoint detection. Intelligence, 41(4), 212–221. PDF

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

Keltner, D., and Haidt, J. (2003). Approaching awe, a moral, spiritual, and aesthetic emotion. Cognition and Emotion, 17(2), 297–314. PDF

Kemp, M. (1990). The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. New Haven: Yale University Press.

Kemp, M. (2014). Art in History. London: Profile Books.

Kidd, C., and Hayden, B. Y. (2015). The psychology and neuroscience of curiosity. Neuron, 88(3), 449–460. PDF

Lanthony, P. (1995). Les peintres gauchers. Revue Neurologique, 151(3), 165–170.

Lilienfeld, S. O., Lynn, S. J., Ruscio, J., and Beyerstein, B. L. (2010). The top ten myths of popular psychology. Skeptic Magazine, 15(3), 36–43. PDF

Little, S. (2004). -isms: Understanding Art. London: Bloomsbury.

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

Locher, P. J., Smith, J. K., and Smith, L. F. (2001). The influence of presentation format and viewer training in the visual arts on the perception of pictorial and aesthetic qualities of paintings. Perception, 30(4), 449–465. PDF

MacDonald, L., and Moroviç, J. (1995). Assessing the effects of gamut compression in the reproduction of fine art paintings. Final Program and Proceedings – IS and T/SID Color Imaging Conference, 194–200. PDF

Mackay, D. M. (1957). Moving visual images produced by regular stationary patterns. Nature, 180, 849–850. PDF

MacNell, L., Driscoll, A., and Hunt, A. N. (2015). What’s in a name: Exposing gender bias in student ratings of teaching. Innovative Higher Education, 40(4), 291–303. PDF

Mandelbrot, B. B. (1967). How long is the coast of Britain? Statistical self-similarity and fractional dimension. Science, 156(3775), 636–638. PDF

Marmor, M. F., and Ravin, J. G. (2009). The Artist’s Eyes: Vision and the History of Art. New York: Abrams.

Marr, D., and Nishihara, H. K. (1978). Representation and recognition of the spatial organization of three-dimensional shapes. Proceedings of the Royal Society of London B, 200(1140), 269–294. PDF

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.

Mather,G. (2018).Visual image statistics in the history of western art. Art and Perception, 6(2–3), 97–115. PDF

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

Mendez, M. F. (2004). Dementia as a window to the neurology of art. Medical Hypotheses, 63(1), 1–7. PDF

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.

Mollon, J. (2006). Monge:The Verriest lecture, Lyon, July 2005. Visual Neuroscience, 23, 297–309. PDF

Montague, P. R., and Berns, G. S. (2002). Neural economics and the biological substrates of valuation. Neuron, 36(2), 265–284. PDF

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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Nettle, D., and Clegg, H. (2006). Schizotypy, creativity and mating success in humans. Proceedings of the Royal Society B, 273(1586), 611–615. PDF

Nilsson, D. E., and Pelger, S. (1994). A pessimistic estimate of the time required for an eye to evolve. Proceedings of the Royal Society B, 256(1345), 53–58. PDF

Nochlin, L. (1971).Why have there been no great women artists? In The Feminism and Visual Culture Reader (pp. 229–233). PDF

Noe, A.. (2011). Art and the limits of neuroscience. New York Times.

Paris, J. (2017). Is psychoanalysis still relevant to psychiatry? Canadian Journal of Psychiatry, 62(5), 308–312. PDF

Párraga, C. A., Troscianko, T., and Tolhurst, D. J. (2000). The human visual system is optimised for processing the spatial information in natural visual images. Current Biology, 10(1), 35–38. PDF

Pearce, M.T., Zaidel, D.W.,Vartanian, O., Skov, M., Leder, H., Chatterjee,A., and Nadal, M. (2016). Neuroaesthetics: The cognitive neuroscience of aesthetic experience. Perspectives on Psychological Science, 11(2), 265–279.PDF

Pelowski, M., Forster, M.,Tinio, P. P. L., Scholl, M., and Leder, H. (2017). Beyond the lab: An examination of key factors influencing interaction with “Real” and museum-based art. Psychology of Aesthetics, Creativity, and the Arts, 11(3), 245–264. PDF

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

Pepperell, R., and Haertel, M. (2014). Do artists use linear perspective to depict visual space? Perception, 43(5), 395–416. PDF

Perry, G. (2014). Playing to the Gallery. London: Penguin.

Pidgeon, L. M., Grealy, M., Duffy, A. H. B., Hay, L., McTeague, C., Vuletic, T., Gilbert, S. J. (2016). Functional neuroimaging of visual creativity: A systematic review and meta-analysis. Brain and Behavior, 6, e00540. PDF

Pinker, S. (1997). How the Mind Works. New York: W.W. Norton.

Pirenne, M. H. (1952). The scientific basis of Leonardo da Vinci’s theory of perspective. The British Journal for the Philosophy of Science, 3(10), 169–185. PDF

Pridmore, R. W. (2006). 14th century example of the four unique hues. Color Research and Application, 31(4), 364–365. PDF

Rankin, K. P., Liu,A.A, Howard, S., Slama, H., Hou, C. E., Shuster, K., and Miller, 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

Rogers, B. J., and Naumenko, O. (2016). Perception of straightness and parallelism with minimal distance information. Attention, Perception, and Psychophysics, 1381–1391. PDF

Sayim, B., and Cavanagh, P. (2011). What line drawings reveal about the visual brain. Frontiers in Human Neuroscience, 5(October), 118. PDF

Schaedelin, F. C., and Taborsky, M. (2009). Extended phenotypes as signals. Biological Reviews, 84, 293–313. PDF

Scott-Phillips, T. C., Dickins, T. E., and West, S. A. (2011). Evolutionary theory and the ultimate-proximate distinction in the human behavioral sciences. Perspectives on Psychological Science, 6(1), 38–47. PDF

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.

Solomon, S. G., and Lennie, P. (2007). The machinery of colour vision. Nature Reviews Neuroscience, 8(4), 276–286. PDF

Taylor, R. P., Micolich, A., and Jonas, D. (1999). Fractal analysis of Pollock’s drip paintings. Nature, 399(June), 422. PDF

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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

Vishwanath, D., Girshick,A. R., and Banks, M. S. (2005).Why pictures look right when viewed from the wrong place. Nature Neuroscience, 8(10), 1401–1410. PDF

Wapner, W., Judd, T., and Gardner, H. (1978). Visual agnosia in an artist. Cortex, 14(3), 343–364

Westheimer, G. (2001). The Fourier theory of vision. Perception, 30(5), 531–541. PDF

Wynne, F. (2006). I Was Vermeer: The Forger Who Swindled the Nazis. London: Bloomsbury Press.

Zanker, J. M., and Walker, R. (2004). A new look at op art: Towards a simple explanation of illusory motion. Naturwissenschaften, 91(April), 149–156. PDF

Zeki, S. (1999). Art and the brain. Journal of Consciousness Studies, 6(6–7), 76–96.

Zeki, S. (2013). Clive Bell’s “Significant Form” and the neurobiology of aesthetics. Frontiers in Human Neuroscience, 7(November), 1–14. PDF

Additional sources not cited in the text but mentioned on the website

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