My interest in Rudolf Arnheim and the psychology of art has resulted in a book and numerous papers. I am focalizing this work into a new discipline, cognitive iconology, which is a delimited area of study of the psychological contribution toward the image's meaning. All of this research is informed of critical realist, that is, a philosophical stance toward the world (realism) that situates its knowledge production in social, interested labor (critical). The main protagonist of this thought of Roy Bhaskar but I have made a special study of Maurice Mandelbaum.

Federico Barocci/Early Modern Painting

• (with John Marciari) "A Newly Reattributed Painting by Francesco Vanni in Malta," Melita Historica 16 (2012).
  
• "Due varieta' in se: Practices of Engagement in Bronzino's Portraits," Source 30 (2011): 26-32.
• (with John Marciari) "Grande quanto l'opera: Scale and Function in Barocci's Drawings," Master Drawings 46 (2008): 289-321. 
• "Federico Barocci invented Light and Color," Source 26 (2007): 18-23.
• "Barocci, Cartoons, and the Workshop: A Mechanical Means for Satisfying Demand," Notizie da Palazzo Albani 34/35 (2005/2006): 101-124 (published 2007).
• "Three Cartoon Fragments for Barocci's Madonna di San Simone," Master Drawings 41 (2003): 378-383. 
• "The Apostasy of Michelangelo in a Painting by Federico Barocci," Source 22 (2003): 27-34.
• "Federico Barocci, Federico Borromeo and the Oratorian Orbit," Renaissance Quarterly 56 (2003); 56-87.

Perspective/Mathematics

• “Francesco Paciotti, Military Architecture, and the European Geopolitics,” Renaissance Studies 24 (2010): 1-22.
• "A Classification of Perceptual Corrections of Perspective Distortions in Renaissance Painting," Perception 39 (2010): 677-694.
• "Between Presence and Perspective: The Portrait-in-a-Picture in Early Modern Painting," Zeitschrift für Kunstgeschichte 71 (2008): 513-526.
• “Tacit Skills in the Perspective Treatise of the Late Renaissance,” in Karl Enenkel and Wolfgang Neubehr, eds., Cognition and the Book (Intersections: Yearbook of Early Modern Studies) (Leiden: Brill, 2005.
• “The Embodied Perspective Viewer and its Implications for Semiotics,” in Winfried Nöth, ed., Körper, Verkörperung, Entkörperung (Kassel: Universität Kassel, 2004).

Historiography/Philosophy of History

• "Burckhardt, Narrative, and Objectivity,” in Sabine Frommel and Maurizio Ghelardi, eds., L’idea di stile nella storiografia artistica (Paris and Geneva: Droz, 2013).
• "Materializing Strukturforschung," in Dan Adler and Mitchell Frank (eds.) German Art History and Scientific Thought (Aldershot: Ashgate, 2012), pp. 141-160.
• "When Are We Speculating on History? A Mandelbaumian Theory," Journal of the Philosophy of History 6 (2012): 60-83.
• "Vasari's Progressive (but Non-Historicist) Renaissance," Journal of Art Historiography 5 (2011), 5-IV/1, 19 pages.
  
• "John White's and John Shearman's Viennese Art Historical Method," Journal of Art Historiography 1 (2010), 1-IV/1.
• "Death Dates, Birth Dates, and the Beginnings of Art History," Storiografia: Rivista annuale di storia 10 (2006): 1-19 (published 2007).
• “Arnheim and Gombrich in Social Scientific Perspective,” Journal of the Theory of Social Behaviour 34 (2004): 91-102.

Rudolf Arnheim/Psychology of Art/Aesthetics

• "Arnheim and Ingarden on the Ontology of Art," Gestalt Theory 32 (2011): 307-322.
  
• "A Classification of Perceptual Corrections of Perspective Distortions in Renaissance Painting," Perception 39 (2010): 677-694.
  
• "Tizian, Prägnanz, Zeichen: Singularität in den bildenden Künsten," in Martina Pluemacher and Wolfgang Wildgen (eds.), Prägnanter Inhalt - Prägnante Form (Zeitschrift für Semiotik) (2009).
  
• "Rudolf Arnheim's Contribution to Gestalt Psychology," Psychology of Aesthetics, Creativity, and the Arts 1 (2007): 8-15.
• "Arnheim's Lesson: Cubism, Collage, and Gestalt Psychology," Journal of Aesthetics and Art Criticism 65 (2007): 287-297 (with Roger Rothman).
  
• “A Plea for a Cognitive Iconology within Visual Studies,” Contemporary Aesthetics 4 (2006).
• “Arnheim and Gombrich in Social Scientific Perspective,” Journal of the Theory of Social Behaviour 34 (2004): 91-102.
  
• "The Thought, Life, and Influence of Rudolf Arnheim," Genetic, Social and General Psychological Monographs 122 (1996): 197-213; reprinted in Arnheim, Gestalt and Art.
  

Critical Realism/Theory/Philosophy

• "Dispositional Realism and the Specificity of Digital Media," Leonardo 47 (2014): 167-171.
• A Realist Theory of Art History (London: Routledge, 2013). 
• "Is William Epstein a Gestalt Psychologist?" Gestalt Theory 34 (2012): 179-190.
• “Teoria della gestalt, enattivismo, e la rettorica di ‘realismo,’” in Fiorenza Toccafondi, ed. Fenomenologia e scienza. Punti d'incontro passati e presenti (Firenze, Le Lettere, 2012), 244-278.
• Maurice Mandelbaum and American Critical Realism (London: Routledge, 2010). 
• “Mona Lisa's Smile: The Place of Experimental Phenomenology within Gestalt Theory.” Gestalt Theory 27:2 (2005): 91-106.
• "Campo, Forze, Singularità: Prospetti per la spiegazione arnheimiana del ordine percettuale," in Lucia Pizzo Russo, ed., Rudolf Arnheim: Arte e Percezione Visiva (Palermo: Aesthetica Preprint, 2005).
  
• "Gestalt Psychologists on the Gestalt-Switch," Il Cannocchiale: Rivista di studi filosofici 2 (2001): 3-9.
• "Maurice Mandelbaum as a Gestalt Philosopher," Gestalt Theory 20 (2000): 46-58.

Return to Home Page