Avigdor W.G. Posèq Bibliography

Books:

1974 – The Lunette: A Study in the Role of the Arch-Outlined Format in the Design and Content of Italian Murals of the Renaissance, Jerusalem: Hebrew University PhD

1978 – Format in Painting, Tel-Aviv: Tcherikover

Tel-Aviv: Tcherikover ,פרספקטיבה – 1982

2001 – Soutine: His Jewish Modality, London: Book Guild

2006 – Jacques Lipchitz: Maker of Jewish Sculpture, Jerusalem: Academon

2007 – Left and Right in Painting and in the Related Arts, Jerusalem: Academon

2008 – Bernini Revisited: New Insights into his Work, Jerusalem: Academon

2010 – Igael Tumarkin: A Study in his Imagery, Jerusalem: Magnes

Articles:

1983 – “The ‘Terribilissimà art’ of Foreshortening in the Mannerist Theory of Art,” in Norms and Variations: Es says in Honor of Moshe Barasch, Jerusalem: Magnes: 80-103

“העקדה של בית אלפא ובעיית הפרספקטיבה באמנות היהודית העתיקה”, רימונים 2: 22-31 – 1985

“The Hieroglyphic Mode of Arcimboldo’s Imagery,” Hebrew University Studies in Literature and Arts 13/2: 202-213

1986 – “Jacques Lipchitz: Biblical and Midrashic Themes,” Proceedings of the 9th World Congress of Jewish Studies, Jerusalem, D 2: 9-16

1986-87 – “Five Allegorical Self-Portraits of Igael Tumarkin,” Jewish Art 12-13: 320-334

1987 – “A Note on Caravaggio’s Sleeping Amor,” Source 6 (4): 27-31

1988 – “An Affinity between the Comic and the Sublime in Pictorial Imagery,” Psychoanalytic Perspectives on Art 3: 3-17

“Tumarkin and the Feminine Archetype,” Psychoanalytic Perspectives on Art3: 285-299

“Caravaggio’s Pastor Friso,” Source 8:1 (Fall): 13-17

1989 – “The Butcher’s Dialogue: The Motif of the Hanging Carcass in Modern Jewish Art,” Proceedings of the Tenth World Congress of Jewish Studies, div. D, II: 77-84 (publ. 1991)

“Mythic Perspective in Early Jewish Art,” Journal of Jewish Studies 40: 213-234

“Tumarkin’s Astronaut Allegories,” Israel Museum Journal 8: 53-58

“Jacques Lipchitz: David and Goliath,” Source 8: 22-31

“Zadkine’s Human Forest and Tumarkin’s Man-Tree as Symbols of the Self in Relation to the Environ ment,” Jewish Art 15: 81-95

“The Jerusalem Obelisks,” Ariel 76: 55-67

“Caravaggio’s Medusa shield,” Gazette des Beaux-Arts, ser. 6 (113): 170-174 “Left and right in Rembrandt’s “Defeat of Goliath,” Studia Rosenthaliana 23:8-27

“Alberti’s Theory of Primitive Sculpture,” Mitteilungen des Kunsthistorischen Institutes in Florenz 33: 380- 382

1990 – “Caravaggio and the Antique,” Artibus et Historiae 11 (21): 147-167

“Caravaggio’s Self-Portraits as the Beheaded Goliath,” Konsthistorisk Tidskrift 59 (3):169-182

“Bernini’s Self-Portrait as David,” Source 9 (Summer): 13-22

“Bacchic themes in Caravaggio’s juvenile works,” Gazette des Beaux-Arts, ser. 6 (115): 113-121

1990-91 – “The Hanging Carcass Motif and Jewish Artists,” Jewish Art 16-17: 139-156

1991 – “Childhood Fantasy into Archetype Icons in Jacques Lipchitz,” Konsthistorisk Tidskrift 60 (1): 42-55

“Soutine’s Paraphrases of Rembrandt’s Slaughtered Ox,” Konsthistorisk Tidskrift 60 (3-4): 210-222

“Jacques Lipchitz’s Transformations of an Erotic Theme,” Source 10 (2): 32-40

“The Allegorical Content of Caravaggio’s Narcissus,” Source 10 (3): 21-31

in Tumarkin Sculptures 1957-1992, Tel ,”“שפת הדימויים של תומרקין: א. 5 דיוקנאות עצמיים ב. מוטיב השור השחוט – 1992 Aviv: Tel Aviv Museum of Art, unpaged

1993 – “Four Kinds of Shrieks in Igael Tumarkin,” Motar 1: 101-105

“A Note on Bernini’s Medusa Head,” Konsthistorisk Tidskrift 62 (1): 16-21

“Caravaggio’s “Burial of St. Lucy” and the late evolution of his art of gesture,” Konsthistorisk Tidskrift 62 (3-4): 143-152

“Caravaggio’s “Amor vincitore” and the Supremacy of Painting,”Source 12 (4): 13-18

1993-94 – “The David-Orpheus motif in Jacques Lipchitz,” Jewish Art 19: 213-223

1994 – “On ruins and ‘Torsi’ and the fourth dimension in architecture “, Motar 2: 7-14

“Zadkine’s wit: Homage to Paul Eduard,” Source 13 (1): 31-36

“Zadkine’s poet: Ut Poesis Sculptura,” Word and Image 10 (1): 55-65

“On ugliness, Jewishness and Soutine’s self-portraits,”Konsthistorisk Tidskrift 63 (1): 31-52

“Michelangelo’s Self-Portrait in the Flayed Skin of St. Bartholemeo,” Gazette des Beaux-Arts, ser. 6 (124): 1-14

“The Case of the Two-headed Figure and the Elusive Lamb,” Achademia Leonardi Vinci 7: 81-95

1995 – “Ornament and Fantasy: From the Antique “Groteschi’ to Grotesque,” Motar 3: 53-58

“Soutine’s Two Paintings of Pigs,” Source 14 (2): 38-46

“A Mithraic Formula in the Renaissance Imagery of the Christ Child,” Konsthistorisk Tidskrift 64 (4): 204- 214

“Right and Left in Soutine’s Last Landscapes,” Word and Image 11 (2): 31-36

1996 – “Tumarkin’s homage to the Pietà Rondanini,” Assaph 2 (2): 193-204

“The Tempest again: Giorgione’s Ingegno,” Konsthistorisk Tidskrift 65 (1): 19-26

“Left and right orientation of a ‘Pathosformel’ in Dürer,” Source 16 (1): 7-17 “The Mother and Daughter Archetype in Leonardo,” Motar 4: 27-34

1997 – “Left and Right in Leonardo,”Konsthistorisk Tidskrift 66 (1): 37-50

“Soutine’s Flowers of Malaise,”Source 16 (3): 24-29

“Soutine’s Dead Fowl as Metaphors of Sexuality,”Konsthistorisk Tidskrift 66 (4): 251-260

“Trees and cathedrals in Soutine,” Source 17 (1): 25-33

“Rotatory Effects in the ‘Beheading of Goliath’ before and after Michelangelo,” Wiener Jahrbuch für Kunst geschichte 50: 173-183

1997-98 – “The New Jerusalem, the Star of Zion and the Mandala,” Jewish Art 23-24: 325-339

1998 – “Soutine’s Paintings of Sad Children,” Konsthistorisk Tidskrift 67 (1): 7-18

“On the Difficulty of Understanding Visual Modes in Zadkine’s Memorial to the Destruction of Rotterdam,” Assaph 3: 65-76

Caravaggio and the Antique, London: Avon

“Soutine and El Greco,” in Jewish Studies at the Turn of the 20th Century: Proceedings of the EJAS Con gress 2, Toledo, Spain: 58-62

“Soutine’s ‘Haptic Perspective’,” Artibus et Historiae 19 (37): 153-161

1999 – “Aspects of Laterality in Michelangelo,” Artibus et Historiae 20 (40): 89-112

“Rembrandt’s Obscene Woman Bathing,” Source 19 (1): 30-38

“Addenda to Left and Right in Raphael,” Konsthistorisk Tidskrift 68 (1): 5-17

“Tumarkin’s works,” in Ninety Years of Israeli Art, Tel Aviv: Tel Aviv Museum: 456-465

“On Hebrew Literature and Israeli Sculpture: Tumarkin’s He Walked in the Fields,” Jewish Studies 39: 91- 110

“The Goat in Goya’s Witches’ Sabbath,” Source 18 (4): 30-39

2000 – “El Greco’s ‘Annunciation’ from the Right and the Left,” Source 19 (4): 18-28

“On Creative Interpretation: Igael Tumarkin’s Homage to Velasquez’sLas Meninas,” Konsthistorisk Tidskrift 69 (1): 33-40

“The Alternating Orientation of Jewish Biblical Narratives,” Konsthistorisk Tidskrift 69 (3-4): 150-168

“Tumarkin’s homage to Filippo Brunelleschi,” in Works of Tumarkin, Tel Aviv: Avni Institute Gallery: 1-12

“On Influence: Tumarkin and Goya’s Witches’ Sabbath,” in Interpretation in the Arts: Studies in Honour of Moshe Lazar, Tel Aviv: Tel Aviv University Faculty of Arts: 283-306

2001 – “Bacchic Themes in Caravaggio,” in Ilana Zinguer, ed., Dionysos: Origines et Résurgences, Paris: J. Vrin: 161-172

“Ingres’s Oedipal Oedipus and the Sphinx,” Source 21 (1): 24-32

“Soutine’s Jewish Bride Fantasy,” in Matthew Baigell and Milly Heyd, eds.,Complex Identities: Jewish Con sciousness and Modern Art, New Brunswick: Rutgers University: 100-114

“Lateral inversions and introversion in Ingres,” Laterality 6: 1-20

“To be of one’s time: Technology and Inhumanity in Tumarkin,” Assaph 5: 179-197

2002 – “On Left-to-Right Reversals of Giotto’s Imagery,” Source 22 (1): 1-13 “Six Studies of the Works of Tumarkin,”

“Reproduction: Tumarkin’s Response to Walter Benjamin,” Assaph 7: 191-212

“On Mirror Copying of the Sistine Vault and Mannerist Invenzioni,” Artibus et Historiae 23 (45): 117-138

2003 – “The Physiognomy of Bernini’s Elephant,” Source 22 (3): 35-46

2004 – “The Secular Meaning of the Ark of the Covenant at Ripoll,” Source 24 (1): 1-10

“On Laterality in the works of Gian Lorenzo Bernini,”Acta Historiae Artium 45 (1-4): 25-45

2005 – “Toward a Semiotic Approach to Jewish Art,” Ars Judaica 1: 27-50

“The orientation of heads on Renaissance medals,” Source 24 (3): 20-27

“Jacques Lipchitz’s Bird Headed Prometheus and the related works,” 26 (52): 189-199

2006 – “Chronography of Space in Piero della Francesca,” Source 25 (2): 5-13

“מנשה קדישמן: אלגוריות של הקרבת בנים: עקדת יצחק כקרבן למולך וכפייטה,” בתוך אבריאל בר-לבב, עורך, שלום ומלחמה בתרבות היהודית, ירושלים: מרכז זלמן שזר לתולדות ישראל: 349-362

“The Meaning of Asymmetry in Jewish Art,” Jewish Culture and History 8 (1): 13-28

“On Physiognomic Communcation in Bernini,” Artibus et Historiae 27 (54): 161-190

2007 – “A Note on Bernini’s Two and Three-dimensional Caricatures,” Source 26 (2): 16-22

“Bernini’s Art of Gestures,” Acta Historiae Artium 48: 3-19

“Jacques Lipchitz: The return of the prodigal son,” in Timorah: Collected Papers on Jewish Art, Ramat Gan: Bar-Ilan University: 163-168

2008 – “Igael Tumarkin’s 16 Tributes to Goya,” Ars Judaica 4: 113-136

2009 – “A Proposal for Rembrandt’s Two Versions of Slaughtered Ox,” Artibus et Historiae 30 (60): 271-276

2010 – “Aspects of Italian Baroque Art: I. Bernini’s Non-Figural Draperies as ‘Symbolic Forms’; II. Directional Reading in Caravaggio,” Acta Historiae Artium 51 (1): 111-138

“סימטריה והעדר סימטריה באמנות היהודית,” כעת 1: 97-109 – 2013