The art of not describing: Vermeer - the detail and the patch

Alpers, S. (1983) The Art of Describing: Dutch Art in the Seventeenth Century, London: Murray .

Arasse, D. (1981) 'Lorenzo Lotto dans ses bizarreries: le peintre et l'iconographie', Lorenzo Lotto, Atti del convegno internazionale di studi per il V centenario della nascita [ Proceedings of the International Convention for the study of the Vth centenary of the Renaissance]: Asolo.

Barthes, R. (1980) La Chambre claire: Note sur la photographie , Paris: Cahiers du cinéma, Gallimard, Seuil.

Bataille, G. (1970-9) 'Le Masque', Oeuvres complètes ['The Mask', in Complete Works], Paris: Gallimard .

Blanchot, M. (1959) L'Espace littéraire ['The Literary Space'], Paris: Gallimard.

Bonne, J.-C. (1984) L'art roman de face et de profil: Le tympan de Conques ['Romanesque Art from the Front and in Profile: The Tympanum and Conques'], Paris: Le Sycomore.

Charcot, J.M. and Richer, P. (1877 [1984]) Les démomiaques dans l'art ['Demoniacal Artists'], Paris: Macula.

Claudel, P. (1964) L'Oeil écoute ['The Hearing Eye'], Paris: Gallimard.

Didi-Huberman, G. (1984) Invention de l'hystérie: Charcot et l'iconographie photographique de la Salpêtrière ['The Invention of Hysteria: Charcot and the photographic iconography of La Salpêtrière'], Paris: Macula.

Didi-Huberman, G. (1985) La Peinture Incarnée ['Painting Incarnate'], Paris: Editions de Minuit.

Fink, D. (1971) 'Vermeer's use of the camera obscura: a comparative study', Art Bulletin LIII.

Freud, S. (1900 [1959]) The Interpretation of Dreams Standard Edition, Vol. IV, London: Hogarth Press and the Institute of Psychoanalysis.

Freud, S. (1905 [1901]) 'Fragment of an analysis of a case of hysteria' , Standard Edition, Vol. VII, 2-122.

Freud, S. (1908) 'Hysterical fantasies and their relation to bisexuality' , Standard Edition, Vol. IX, 159-66.

Gowing, L. (1952) Vermeer, London: Faber.

Heidegger, M. (1927 [1962]) Being and Time, trans. J. Macquarrie and E. Robinson, Oxford: Blackwell .

Mannoni, O. (1969) 'Je sais bien, mais quand même', in Clefs pour l'Imaginaire ou l'Autre Scène ['Keys to the Imaginary, or the Other Scene'], Paris: Seuil.

Panofsky, E. (1939 [1962]) Studies in Iconology: Humanistic Themes in the Art of the Renaissance, New York and Evanston, Ill.: Harper Torchbooks, Academy Library, Harper & Row.

Proust, M. (1923) 'La prisonnière', A la Recherche du Temps Perdu , Vol. III, Paris : Gallimard, 1954 ['The captive', Remembrance of Things Past, Vol. III, London: Folio Society, 1981 ].

Proust, M. (1927) 'Le temps retrouvé', A la 'Recherche du Temps Perdu , Vol. III, Paris : Gallimard, 1954 ['Time regained', Remembrance of Things Past, Vol. III, London: Folio Society, 1981].

Schapiro, M. (1980) 'Sur quelques problèmes de sémiotique de l'art visuel: champ et véhicule dans les signes iconiques' ['On some semiotic problems in visual art: field and vehicle in iconic signs'], trans. J. C. Lebensztejn, in Style, artiste et société, Paris: Gallimard.

Schor, N. (1980) 'Le detail chez Freud' ['Detail in Freud'], Littérature 37.

Wheelock, A.K., Jnr (1977) Perspective, Optics and Delft Artists around 1650, London and New York: Garland.