Page 67 - AC-2-2

Arts & Communication Dialogue of painting and cinema in The Age of Innocence

27. Peirce CS. The Origins of Pragmatism: Logical Foundation of the Waanders Publishers; 1984.
Theory of Signs. Vol. 1 and 2. Davao City: Aletheia Press; 2000.
41. Slive S, Rosenberg J. Dutch Painting 1600-1800. Pelican
28. Jakobson R. The Framework of Language. Michigan: History of Art. New Haven: Yale University Press; 1995.
Michigan Slavic Publications; 1980.
42. Barnes DR, Rose PG. Matters of Taste: Food and Drink in
29. Tarasova M, Zhukovsky V. Art Communication. Krasnoyarsk: Seventeenth-Century Dutch Art and Life. Exhibition Catalog.
SibFU Press; 2010. Syracuse: Albany Institute of History and Art; 2002.
30. Zhukovsky V. Theory of Art. Davao City: Aletheia Press; 43. Bergström I. In: Hedström C, Taylor G, Translators. Dutch
2010. Still-Life Painting in the Seventeenth Century. London: Faber
& Faber; 1956.
31. Giralt GF. Andrei Tarkovsky’s adaptation of motifs
embedded in leonardo da Vinci’s the adoration of the magi. 44. Bernt W. In: Falla PS, Translator. The Netherlandish Painters
Can J Film Stud. 2005;14(2):71-83. of the Seventeenth Century. Vol. 3. London: Phaidon Press;
1970.
doi: 10.3138/cjfs.14.2.71
45. Aillaud G, Blankert A, Montias JM. Vermeer. Paris: Hazan;
32. MacGillivray J. Andrei Tarkovsky’s Madonna del Parto. Can 1986.
J Film Stud. 2002;11(2):82-100.
46. Tarasova M. The communication of the viewer with the
doi: 10.3138/cjfs.11.2.82
work of art “the wine glass”. In: Vermeer J, editor. Advances
33. Scorsese M. The Age of Innocence. United States: Columbia in Contemporary Natural Science. Vol. 6. Bristol: IOPscience;
Pictures; 1993. 2004. p. 88-89.
34. Farca PA. Lacan Frames Scorsese’s paintings in the age of 47. Moffett CS. The New Painting: Impressionism, 1874-1886.
innocence. Am Br Can Stud J. 2014;23(1):40-59. San Francisco: Fine Arts Museums of San Francisco; 1986.
doi: 10.1515/abcsj-2014-0026 48. Rewald J. The History of Impressionism. New York: Museum
of Modern Art; 1973.
35. Hockenhull S. Picturing the frame: An aesthetic approach
to film studies; Case study of «The age of innocence» 49. House J. Impressionism: Paint and Politics. New Haven: Yale
(Scorsese 1993). In: Taban C, editor. Meta-and Inter-images University Press; 2004.
in Contemporary Visual art and Culture. Leuven: Leuven 50. Christie I, Thompson D, editors. Scorsese on Scorsese.
University Press; 2013. p. 61-77.
New York: Farrar, Straus and Giroux; 2003.
36. Peucker B. Rival arts? Filming the age of innocence. Edith 51. Duncan A. Art Nouveau, World of Art. New York: Thames
Wharton Rev. 1996;13(1):19-22.
and Hudson; 1994.
37. Sammarcelli F. Of art, codes and transcoding: Revisiting 52. Sembach KJ. Art Nouveau, Cologne: Taschen; 2007.
intersemiotic conversations in the age of innocence by Edith
Wharton (1920) and Martin Scorsese (1993). Edith Wharton 53. Tarasova M. History of art in Western Europe in the late
Rev. 2020;36(2):125-147. XIX - the beginning of the XX century. In: Zhukovsky V,
Panteleeva I, Smolina M, Bakhova N, Mirkes M, Klykova A,
doi: 10.5325/editwharrevi.36.2.0141
et al., editor. History of Art. Krasnoyarsk: SibFU Press; 2008.
38. Grimm C. In: Riehle J, Translator. Frans Hals: The Complete p. 888-969.
Work. New York: H.N. Abrams; 1990.
54. Tarasova, M. Ideals of art nouveau culture. In: Tarasova M,
39. Adams AJ. Public Faces and Private Identities in Seventeenth- editor. Cinema and Painting: Dialogue in Art. Krasnoyarsk:
Century Holland: Portraiture and the Production of SibFU Press; 2023. p. 138-145.
Community. New York: Cambridge University Press; 2009.
55. Strachey J, editor. The Ego and the Id. The Standard Edition
doi: 10.1086/655276 of the Complete Psychological Works by Sigmund Freud.
New York: W.W. Norton; 1990.
40. Haak B. In: Willems-Treeman E, Translator. The Golden
Age: Dutch Painters of the Seventeenth Century. New York: 56. Khnopff F. Le Maître de L’enigme. Paris: Beaus Arts; 2018.

Volume 2 Issue 2 (2024) 11 doi: 10.36922/ac.2090