1 Heathfield, A., 2009. Out of Now: The lifeworks of Tehching Hsieh. Massachusetts: The MIT Press p.55 

2 Symmons, S., 1977. Goya. London: Oresko Books, p.27

3 Goya, F., 1967. The Disasters of War. Intro by Hofer, P., Dover Publications, Inc, p.2

4 Leighton, J. & Thomson, R., 1997. Seurat and the Bathers. London: National Gallery Publications, p.77

5 Agus, A., 2005. Heifetz as I knew him. North Devon: Roundhouse Publishing Ltd, p.20

6 Shiff, R., 1984. Cezanne and the end of Impressionism. Chicago: University of Chicago Press, p.14

7 Mehring, C., 2010. Gerhard Richter: Early Work 1951-1972. Los Angeles: Getty Publications , p.3

8 Rosenthal, M., 1987. Anselm Kiefer. The Arts Institute of Chicago & Philadelphia Museum of Art, p.26

9 Boris, S. & Steiner. R., (Curators) 2003. John Currin. New York: Harry N Abrams Inc, p.12

10 Elderfield, J., 1986. Kurt Schwitters. London: Thames and Hudson Ltd, p.77

11 Longhi, R., 2002. Piero Della Francesca. New York: Stanley Moss-Sheep Meadow Press, p.8

12 Borja-Villel, M. J., 1992. Tàpies: Comunicació sobre el mur. Valencia: IVAM Centre Julio Gonzalez, p.296

13 Bishop, C., 2006. Participation (Documents of Contemporary Art). Massachussetts: MIT Press, p.49

14 Shaw, E., (Ed) 1974. Antoni Tàpies. London: The Arts Council of Great Britain, p.4

15 Orwell, G., New Ed. 2000. Homage to Catalonia. London: Penguin Modern Classics, p.123

16 His Holiness the Dalai Lama., 2000. The transformed mind. London: Coronet Books, p.10

17 Lee, H., 2010. To Kill a Mocking Bird. London: Arrow Books, p.64

18 Dunkerton, J., 1991. Giotto to Durer: Early Renaissance Painting in the National Gallery. London: National Gallery Publications, p.25

19 Bowness. A., 1985. John Walker. Prints 1976-84. London: Tate Gallery, p.61

20 Wells, L., 2002. The Photography Reader. London: Routledge, p.33

21 Treuherz, J., 1984. Goya Etchings. Manchester: Revell and George Ltd, p.21

22 Orwell, G., 1986. Down and Out in Paris and London. London: Penguin Books, p.7

23 Orwell, G., 2008. Animal Farm: A Fairy Story. London: Penguin Books, p.60

24 Sekida, K., 2005. Zen Training: Methods and Philosophy. Massachussetts: Shambhala Publications, Inc , p.11

25 Kafka, F., 2000. The Castle. Translated by Underwood, J, A., London: Pengun Books, p.114

26 Truffaut, F., 1985. Hitchcock: A Definitive Study of Alfred Hitchcock. New York: Simon & Schuster, p.16

27 Allende, I., 2003. City of the Beasts. London: Flamingo Books, p.5

28 Iversen, M., Chance (Documents of Contemporary Art). London: Whitechapel Art Gallery, p.40

29 Kierkegaard, S., 1985 Fear and Trembling. Translated by Hannay, A., London: Penguin Books, p.28

30 Pope-Hennessy, J., 1992. The Piero Della Francesca Trail. New York: Thames and Hudson, p.29

31 Clarke, G., 1997. The Photograph: A Visual and Cultural History. Oxford: Oxford University Press, p.8

32 Wilcox, C., 2004. Vivienne Westwood. London: V & A Publishing, p.12

33 Paulson, R., 1992. Hogarth: The Modern Moral Subject 1697-1732. Cambridge: Lutterworth Press, p.27

34 Foucault, M., 2001. Madness and Civilisation. London: Routledge Books, p.274

35 Beckett, S., 1990. The Complete Dramatic Works of Samuel Beckett. London: Faber & Faber Ltd, p.64

36 Evans, D., 2009. Appropriation (Documents of Contemporary Art). Massachussetts & London: MIT Press, p.35

37 Unamuno, M de., 1976. Tragic Sense of Life. New York: Dover Publications, p.12

38 Rae, A.I.M., 2008. Quantum Physics: A Beginner’s Guide. Oxford: Oneworld Publications, p.3

39 Beckett, S., 2009. Three Novels: Molloy, Mallone Dies, The Unnamable. New York: Grove Press, p.98

40 Dickens, C., 1996. Little Dorrit. Hertfordshire: Wordsworth Editions Ltd, p.282

41 Cela, C. J., 1989. The Family of Pascale Duarte. London: Little Brown & Company, p.6

42 Hardy, T., 2005. Tess of the d’Urbervilles. Oxford: Oxford University Press, p.46

43 Welch, E., 1997. Art in Renaissance Italy 1350-1500. Oxford: Oxford University Press, p.307

44 Betterton, R., 2004. Unframed: Practices and Politics of Women’s Contemporary Painting. London: I.B. Tauris & Co Ltd, p.12

45 Betterton, R., 1996. An Intimate Distance: Women Artists and the Body. London: Routledge, p.18

46 Murdoch, I., 2002. Under The Net. London: Vintage Books, p.10

47 Golding, W., 2005. Lord of the Flies. London: Faber & Faber Ltd, p.187

48 Foucault, M., 1998. The History of Sexuality: The Will to Knowledge V. 1. London: Penguin Books, p.8

49 Wells, H.G., 2005. The Island of Dr Moreau. London: Penguin Books p.8 

50 Cohen, J. M., (ed) 1988. The Penguin Book of Spanish Verse. London: Penguin Books, p.6

51 Coldwell, P., 2006. Morandi’s Legacy: Influences on British Art. London: Philip Wilson Publishers, p.20

52 Suzuki, D.T., 1964. An Introduction to Zen Buddhism. Forward by Carl Jung. New York: Grove Press, p.3

53 Márquez, G.G., 2008. Chronicle of a Death Foretold. London: Penguin Books, p.2

54 Orwell, G., 2008. Nineteen Eighty-four. London: Penguin Books, p.224

55 Baxandall, M, 1988. Painting and Experience in Fifteenth-Century Italy. Oxford: Oxford University Press, p.41

56 Dickens, C., 1993. Bleak House. Hertfordshire: Wordsworth Editions Ltd, p.744

57 Allende, I., 1986. The House of the Spirits. London: Black Swan Books, p.11

58 Llorca, F.G., Plays: The Shoemakers wonderful wife. Translated by Edwards, G., 1990. Methuen Drama, p.8

59 Amis, M., 2005. Money: A Suicide Note. London: Vintage, p.5

60 Rosenberg, L., 2004. Breath by Breath: The Liberating Practice of Insight Meditation. Boston: Shambhala Publications Inc, p.202

61 Allende, I., 2004. Daughter of Fortune. London: Harper Perennial, p.4

62 Márquez, G.G., Ed 2007. Memories of My Melancholy Whores. London: Penguin Books, p.5

63 Schor, M., 1997. Wet: On Painting, Feminism and Art Culture. Durham, NC & London: Duke University Press, p.131

64 Salinger, J. D., 2010. The Catcher in the Rye. London: Penguin Books, p.20

65 Knox, K., 2010. Alexander McQueen: Genius of a Generation. London: A & C Black Publishers Ltd, p.18

66 Sontag, S., 2004. Regarding the Pain of Others. London: Penguin Books, p.89

67 Heller, J., 1994. Catch-22. London: Vintage Books, p.518

68 Suskind, P., 2010. Perfume: The Story of a Murderer. London: Penguin Books, p.5

69 Blackman, C., 2007. 100 Years of Fashion Illustration. London: Laurence King Publishing Ltd, p.258

70 Unamuno, M de., 1994. Three Exemplary Novels. New York: Grove Press, p.16

71 Lawrence, D.H., 2001. Lady Chatterley’s Lover. New York: Modern Library Inc, p.134

72 Lawrence, D.H., 1995. The Rainbow. Hertfordshire: Wordsworth Editions Limited, p.4

73 Harlan, V., (Ed) 2004. What is Art?: Conversation with Joseph Beuys. East Sussex: Clairview Books, p.28

74 Márquez, G.G., 2008. Leaf Storm. London: Penguin Books, p.5

75 Llorca, F.G., Selected Poems. Translated by Maurer, C., 2001. London: Penguin Classics, p.293

76 Nash, S., 2008. Northern Renaissance Art. Oxford: Oxford University Press, p.109

77 Pollock, G., 2003. Vision and Difference: Feminism, Femininity and Histories of Art. London: Routledge Classics, p.9

78 Cennini, D. C., 1960. Craftsman’s Handbook. New York: Dover Publication, p.29

79 Vasari, G., The Lives of the Artists. Translated by Bondanella, J., & Bondanella, P., 1991. Oxford: Oxford University Press, p.1


“Although1 the2 process3 of4 making5 each6 painting7 comes8 to9 an10 end11,12 they13 are14 works15 in16 progress17.18  When19 one20 is21 finished22 another23 is24 started25,26 but27 not28 always29 immediately30.31 The32 times33 in34 between35 works36 is37 as38 important39.40 I41 can42 learn43 about44 painting45 by46 doing47 it48 or49 not50 doing51 it52.53 Either54 way55,56 it57 should58 be59 liberating60.61 I62 shouldn’t63 want64 to65 feel66 tied67 to68 what69 I70 do71 or72 what73 I74 might75 say76 about77 painting78.79

 

04 02 2012