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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

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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

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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

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

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

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

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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

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

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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

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

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

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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

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

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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