[
Antonova, C. (2010). On the problem of “reverse perspective”: definitions east and west. Leonardo, 43(5), 464–469.10.1162/LEON_a_00039
]Search in Google Scholar
[
Antonova, C., & Kemp, M. (2005). “Reverse Perspective”: Historical Fallacies and an alternative view. In M. Emmer, The Visual Mind II (pp. 399–431). Cambridge, Massachusetts, United States: MIT Press.
]Search in Google Scholar
[
Arnheim, R. (1956). Art and Visual Perception, London, England: Faber.
]Search in Google Scholar
[
Arnheim, R. (1972). Inverted perspective in art: Display and expression. Leonardo, 5. 125–135.10.2307/1572546
]Search in Google Scholar
[
Baldwin, J., Burleigh, A., Pepperell, R., & Ruta, N. (2016). The perceived size and shape of objects in peripheral vision. i-Perception, 7(4). doi: 10.1177/204166951666190
]Open DOISearch in Google Scholar
[
Bunim, M. S. (1942). Space in medieval painting and the forerunners of perspective. New York: Columbia University Press.
]Search in Google Scholar
[
Carli, E. (1965). Italian Primitives: Panel Painting of the Twelfth and Thirteenth Centuries. New York, NY: H. N. Abrams.
]Search in Google Scholar
[
Crawford, C. (August-September 2018). Understanding metaphor in art: Distinguishing literal giants from metaphorical challenges. In: International Association of Empirical Aesthetics Congress. Toronto, Canada.
]Search in Google Scholar
[
Doehlemann, K. (1910). Zur Frage der sog. ‘umgekehrte Perspektive. Berlin, Germany: Repertorium fur Kunstwissenschaft.
]Search in Google Scholar
[
Hockney, D. (2001). Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters. London, England: Thames and Hudson.
]Search in Google Scholar
[
Lubbock, J. (2006). Storytelling in Christian art from Giotto to Donatello. New Haven & London: Yale University Press.
]Search in Google Scholar
[
Mather, G. (22–23 August 2015). The depiction of visual space in Canaletto’s Venetian vedute. In Proceedings of the Visual Science of Art Conference. Liverpool, UK.
]Search in Google Scholar
[
Meiss, M. (1946). Italian Primitives at Konopiště. The Art Bulletin, 28(1), 1–16.
]Search in Google Scholar
[
Millard, M. (1946). Italian primitives at Konopiště. The Art Bulletin, 28(1), 1–16.10.1080/00043079.1946.11407735
]Search in Google Scholar
[
Pepperell, R., & Haertel, M. (2014). Do artists use linear perspective to depict visual space? Perception, 43(5), 395–416.10.1068/p769225109007
]Search in Google Scholar
[
Pepperell, R., & Ruta, N. (August 2017). Image and imagination: How figure scale in medieval painting reflects visual perception. In The Visual of Science of Art Conference (VSAC), Berlin.
]Search in Google Scholar
[
Pinheiro, J., Bates, D., DebRoy, S., Sarkar, D., Heisterkamp, S., Van Willigen, B., & Maintainer, R. (2017). Package ‘nlme’. Linear and nonlinear mixed effects models, version, 3(1).
]Search in Google Scholar
[
RStudio Team. (2015). RStudio: Integrated Development Environment for R. Boston, MA. Retrieved from: http://www.rstudio.com/
]Search in Google Scholar
[
Ruta, N. (2019) Visual perception in far peripheral visual space and its artistic representations. [Unpublished doctoral dissertation]. Cardiff Metropolitan University. https://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.802055
]Search in Google Scholar
[
Ruta, N., Burleigh, A., & Pepperell, R. (August 2016). Why do artists depict hands smaller than their actual size? In: The Visual Science of Art Conference VSAC. Barcelona, Spain.
]Search in Google Scholar
[
Ruta, N., Burleigh, A., & Pepperell, R. (December 2017). Why did Medieval painters manipulate figure size? A perceptual psychology approach to art history. In: Applied Vison Association (AVA) Christmas Meeting. London.
]Search in Google Scholar
[
Strasburger, H., Rentschler, I., & Jüttner, M. (2011). Peripheral vision and pattern recognition: A review. Journal of Vision, 11(13), doi: 10.1167/11.5.13.22207654
]Open DOISearch in Google Scholar
[
Todorovic, D. (2008). Is pictorial perception robust? The effect of the observer vantage point on the perceived depth structure of linear-perspective images. Perception, 37, 106–125.10.1068/p565718399251
]Search in Google Scholar
[
Vasari, G. (1568). The Lives of the Most Excellent Painters, Sculptors, and Architects. Italy: Giunti.
]Search in Google Scholar
[
White, J. (1972). The Birth and Rebirth of Pictorial Space. London, England: Faber and Faber.
]Search in Google Scholar
[
Williams, J. R. (2008). The Declaration of Helsinki and public health. Bulletin of the World Health Organization, 86, 650–652.10.2471/BLT.08.050955264947118797627
]Search in Google Scholar
[
Wulff, O. (1907). Die umgekehrte Perspektive und die Niedersicht. Eine Raumanschauungsform der altbyzantischen Kunst und ihre Fortbildung in der Reinassance”. In H. Weizsäcker, Kunstwissenschaftliche Kunstwissenschaftliche Beiträge August Schmarsow gewidmet zum fünfzigsten Semester seiner akademischen Lehrtätigkeit (pp. 3–42). Leipzig, Germany: K.W. Hiersemann.
]Search in Google Scholar
, 