On Perception, Space and Mimicry:
Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity, Verso, London and New York 1995.
Norman Bryson, Vision and Painting: The Logic of the Gaze, Macmillan Press, Hampshire and London 1983.
Judith Butler, Bodies that Matter: On the Discursive Limits of “Sex”, Routledge, New York and London 1993.
Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, An October Books, MIT Press, Cambridge, Mass. and London 1999.
Henri Lefebvre, The Production of Space, Blackwell Publishing, Malden, Oxford, Melbourne and Berlin 1991.
Maurice Merleau-Ponty, “Cézanne’s Doubt”, (Sense and Non-sense, pp. 9-24 in the 1964 translation),
Maurice Merleau-Ponty: Basic Writings, ed. Thomas Baldwin, Routledge, London and New York 2004, pp. 272-290.
Maurice Merleau-Ponty, Phenomenology of Perception, Routledge, London and New York 1962.
Maurice Merleau-Ponty, “Eye and Mind”, (Primacy of Perception, pp. 159-190 in the 1964 translation), Maurice Merleau-Ponty: Basic Writings, ed. Thomas Baldwin, Routledge, London and New York 2004, pp. 291-324.
W.J.T. Mitchell, What Do Pictures Want?: The Lives and Loves of Images, University of Chicago Press, Chicago and London 2005.
Laura Mulvey, Visual Pleasure and Narrative Cinema (written in 1973 and published in 1975 in Screen), Laura Mulvey, Visual and Other Pleasures, Indiana University Press, Bloomington and Indianapolis 1989, pp. 14-26.
Michael Newman, “Horizonlessness”, Terra Incognita, Neues Museum Weserburg, Bremen and Edition Braus, Heidelberg 1998, pp. 41-51.
Tiina Rosenberg, Könet Brinner! Judith Butler, Bokförlaget Natur och Kultur, Stockholm 2005.
Paul Virilio, The Vision Machine, British Film Institute, London and Indiana University Press, Bloomington and Indianapolis 1994.
Paul Virilio, Virilio Live: Selected Interviews, ed. John Armitage, Sage Publications, London, Thousand Oaks and New Delhi 2001.
On the Copy and the Museum
Chantal Georgel, “Museum as a Metaphor in Nineteenth-Century France”, Museum Culture: Histories, Discourses, Spectacles, eds. Daniel J. Sherman and Irit Rogoff, Routledge, London 2001(first published by Regents of the University of Minnesota, 1994), pp. 113-122.
Joseph A. Harriss, “Master Class”, Smithsonian magazine, October 2002, pp. 76-81.
Lena Holger, “Karl XII:s likfärd: Gustaf Cederströms två målningar med samma motiv”, Kopior Förfalskningar Parafraser Plagiat Pastischer Repliker Original Reproduktioner, Göteborgs Konstmuseum, Gothenburg 1989, pp. 16-19.
Håkan Nilsson, ”Originella kopior: om bruket av andras bilder i den moderna konsten", Falskt & Äkta, Nationalmuseum, Stockholm 2004, pp. 205-221.
W.J.T. Mitchell, “Metapictures”, Picture Theory: Essays on Verbal and Visual Representation, University of Chicago Press, Chicago and London 1994, pp. 35-82. *
Larry Shiner, The Invention of Art: A Cultural History, University of Chicago Press, Chicago and London 2001.
Calum Storrie, The Delirious Museum: A Journey From the Louvre to Las Vegas, I.B. Tauris, London and New York 2006.
On Claudian Landscape
Malcolm Andrews, Landscape and Western Art, Oxford History of Art, Oxford University Press, Oxford and New York 1999.
Malcolm Andrews, The Search for the Picturesque: Landscape Aesthetics and Tourism in Britain, 1760-1800, Scolar Press, Aldershot 1989.
Melissa Calaresu, “Looking for Virgil’s Tomb”, Voyages & Visions, Towards a Cultural History of Travel, eds. Jas Elsner and Joan-Pau Rubiés, Reaktion Books, London 1999, pp. 138-161.
Gerald L. Carr, In Search of the Promised Land: Paintings by Fredric Edwin Church, Berry-Hill, New York 2000.
Edward S. Casey, Representing Place: Landscape Painting and Maps, University of Minnesota Press, Minneapolis and London 2002.
Frances F. Dunwell, The Hudson River Highlands, Columbia University Press, New York 1991.
Helen Langdon, Claude Lorrain, Phaidon Press, Oxford 1989.
Michael Kitson, Claude Lorrain: Liber Veritatis, British Museum Publications Limited, London 1978.
Bo Lindwall, “Det tidiga 1800-talet”, Konsten i Sverige 2: från 1800 till1970, ed. Sven Sandström, Norstedts, Stockholm 1974, 1988, pp. 41-45.
Arnaud Maillet, The Claude Glass: Use and Meaning of the Black Mirror in Western Art, Zone books, New York 2004.
W.J.T. Mitchell, “Imperial Landscapes”, Landscape and Power, ed. W.J.T. Mitchell, University of Chicago Press, Chicago and London 2002, pp. 5-34.
Margaretha Rossholm Lagerlöf, Ideal Landscape: Annibale Carracci, Nicolas Poussin, and Claude Lorrain, Yale University Press, New Haven and London 1990.
Marcel Röthlisberger, Claude Lorrain: The Paintings, Volumes I and II, Hacker Art Books, New York 1961.
Simon Schama, Landscape and Memory, Alfred A. Knopf, New York 1995.
Deborah Jean Warner, “The landscape mirror and glass” Antiques, vol. 105, 1974, pp. 158-159.
Raymond Williams, The Country and the City, Oxford University Press, New York 1973.
On Claude Lorrain’s painting,
Landscape with Rebekah Taking Leave of Her Father
Painting: Claude Lorrain (1600-1682), Landscape with Rebekah Taking Leave of Her Father, 1640-41, Nationalmuseum, Stockholm.
X-ray of Landscape with Rebekah Taking Leave of Her Father, Nationalmuseum, Stockholm.
Pontus Grate, French Paintings I: Seventeenth Century, Swedish National Art Museum [Nationalmuseum], Stockholm 1988, pp. 33-35.
Michael Kitson, “LV no. 52”, Claude Lorrain: Liber Veritatis, British Museum Publications Limited, London 1978, p. 84.
Marcel Röthlisberger, Claude Lorrain: The Paintings, Volumes I and II, Hacker Art Books, New York 1961, pp. 187-188.
Marcel Röthlisberger, “A Painting by Claude”, Burlington Magazine, # 115, 1973, pp. 652-657.
Document from Nationalmuseum’s Archive: “Examination made in May 1972 made by the restorers Åke Petterson and Mathias Pehrson.”
Document from Nationalmuseum’s Archive: “Inspection made of Claude Lorrain’s Landscape of Rebekah after restoration and before purchase, September 29thz, 1974. Karl-Gustaf Hedén (director of Göteborgs Konstmuseum).”
Documents from Nationalmuseum’s Friends Archive, protocols from Nationalmuseum’s Friends board meetings: April 26th 1972; May 24th 1972; June 2 1972; April 22nd 1974; June 4th 1974; September 30 1974; Statement from the Skandinaviska Enskilda Banken from October 1974.
Other sources:
Paintings:
Anonymous, Passage, c. 18th Century, copy made after Claude Lorrain (1600-1682), Landscape with Rebekah Taking Leave of Her Father, 1640–41, oil on canvas, 71 x 96 cm, Musée Fesch, Ajaccio.
Circle of Giovanni Bellini (1430-1516), Christ Carrying the Cross, c. 1505-1510, oil on wood, 49.5 x 38.5 cm, Isabella Stewart Gardner Museum, Boston.
Claude Lorrain (1600-1682), Ideal View of Tivoli, 1644, oil on canvas, 117 x 147 cm, New Orleans Museum of Art, New Orleans.
Film:
Alfred Hitchcock (1899-1980), Vertigo, 1958, Paramount Pictures Corporation, Los Angeles