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The Philosophy of the visual arts / edited by Philip Alperson.

Contributor(s): Material type: TextTextPublisher: New York : Oxford University Press, 1992Description: x, 630 pages : illustrations ; 24 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 0195059751
  • 9780195059755
Subject(s): DDC classification:
  • 701 20
LOC classification:
  • N71 .P39 1992
Contents:
I. The Idea of the Visual Arts -- 1. The Aesthetic Attitude -- 2. On the Nature of the Visual Arts -- 3. The Myth of the Aesthetic Attitude -- 4. Intuition, Technique and the Classification of the Arts -- 5. On the Limits of Painting and Poetry -- II. Painting and the Pictorial Arts: Form and the Representation of the Visible World -- 6. A Copy Theory of Representation -- 7. Truth and the Stereotype: An Illusion Theory of Representation -- 8. Reality Remade: A Denotation Theory of Representation -- 9. Looking at Pictures and Looking at Things -- 10. Caricature -- 11. The Aesthetic Hypothesis: Significant Form and Aesthetic Emotion -- III. Painting and the Pictorial Arts: Wider Contexts -- 12. Concerning the Spiritual in Art -- 13. Symbolism -- a. Psychology -- 14. Art and Thought -- 15. Leonardo da Vinci and a Memory of His Childhood -- 16. The Forms of Things Unknown -- 17. Psychology and Art Today: A Summary and Critique -- b. Religion -- 18. The Religious Significance of Painting -- 19. The Sexuality of Christ in Renaissance Art and in Modern Oblivion -- c. Politics and Society -- 20. The Naked and the Nude -- 21. Ways of Seeing Women -- 22. Why Have There Been No Great Women Artists? -- IV. Arts of the Camera -- 23. The Ontology of the Photographic Image -- 24. In Plato's Cave -- 25. Photography, Vision, and Representation -- 26. A Realist Theory of Film -- 27. Film as Art -- 28. Basic Film Aesthetics -- V. Sculpture, Architecture, and Hand-Crafted Objects -- 29. The Discovery of Space -- 30. The Worship of Art: Notes on the New God -- 31. Form and Function -- 32. How Buildings Mean -- 33. A Case for Figurative Architecture -- 34. Art and Craft -- 35. The Aesthetic of the Antique -- 36. Use and Contemplation -- VI. Modern Developments -- 37. Aesthetics and the Contemporary Arts -- 38. The Artworld -- 39. What Is Art?: An Institutional Analysis -- 40. The Ontological Peculiarity of Works of Art -- 41. Piece: Contra Aesthetics -- VII. Art History and Museums -- 42. The History of Art as a Humanistic Discipline -- 43. Style and Significance in Art History and Art Criticism -- 44. Categories of Art -- 45. Art and Authenticity -- The New Art History: A Symposium -- 46. What Is "New" About the "New Art History"? -- 47. Cultural Institutions and the Topography of Art History -- 48. Old, New and Not So New Art History -- 49. Showing and Saying, Looking and Learning: An Outsiders View of Art Museums -- 50. Exhibits and Artworks -- VIII. On the Borders of the Visual Arts -- 51. Why Philosophy Neglects the Dance -- 52. Sweet Kitsch -- 53. Circus, Clowns and Culture -- 54. Appreciation and the Natural Environment -- 55. Nature and Art: Some Dialectical Relationships -- 56. Rain -- 57. The Art of Personal Beauty -- 58. Life as the Imitation of Art.
Summary: "Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts."--Publisher description.
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Includes bibliographical references.

I. The Idea of the Visual Arts -- 1. The Aesthetic Attitude -- 2. On the Nature of the Visual Arts -- 3. The Myth of the Aesthetic Attitude -- 4. Intuition, Technique and the Classification of the Arts -- 5. On the Limits of Painting and Poetry -- II. Painting and the Pictorial Arts: Form and the Representation of the Visible World -- 6. A Copy Theory of Representation -- 7. Truth and the Stereotype: An Illusion Theory of Representation -- 8. Reality Remade: A Denotation Theory of Representation -- 9. Looking at Pictures and Looking at Things -- 10. Caricature -- 11. The Aesthetic Hypothesis: Significant Form and Aesthetic Emotion -- III. Painting and the Pictorial Arts: Wider Contexts -- 12. Concerning the Spiritual in Art -- 13. Symbolism -- a. Psychology -- 14. Art and Thought -- 15. Leonardo da Vinci and a Memory of His Childhood -- 16. The Forms of Things Unknown -- 17. Psychology and Art Today: A Summary and Critique -- b. Religion -- 18. The Religious Significance of Painting -- 19. The Sexuality of Christ in Renaissance Art and in Modern Oblivion -- c. Politics and Society -- 20. The Naked and the Nude -- 21. Ways of Seeing Women -- 22. Why Have There Been No Great Women Artists? -- IV. Arts of the Camera -- 23. The Ontology of the Photographic Image -- 24. In Plato's Cave -- 25. Photography, Vision, and Representation -- 26. A Realist Theory of Film -- 27. Film as Art -- 28. Basic Film Aesthetics -- V. Sculpture, Architecture, and Hand-Crafted Objects -- 29. The Discovery of Space -- 30. The Worship of Art: Notes on the New God -- 31. Form and Function -- 32. How Buildings Mean -- 33. A Case for Figurative Architecture -- 34. Art and Craft -- 35. The Aesthetic of the Antique -- 36. Use and Contemplation -- VI. Modern Developments -- 37. Aesthetics and the Contemporary Arts -- 38. The Artworld -- 39. What Is Art?: An Institutional Analysis -- 40. The Ontological Peculiarity of Works of Art -- 41. Piece: Contra Aesthetics -- VII. Art History and Museums -- 42. The History of Art as a Humanistic Discipline -- 43. Style and Significance in Art History and Art Criticism -- 44. Categories of Art -- 45. Art and Authenticity -- The New Art History: A Symposium -- 46. What Is "New" About the "New Art History"? -- 47. Cultural Institutions and the Topography of Art History -- 48. Old, New and Not So New Art History -- 49. Showing and Saying, Looking and Learning: An Outsiders View of Art Museums -- 50. Exhibits and Artworks -- VIII. On the Borders of the Visual Arts -- 51. Why Philosophy Neglects the Dance -- 52. Sweet Kitsch -- 53. Circus, Clowns and Culture -- 54. Appreciation and the Natural Environment -- 55. Nature and Art: Some Dialectical Relationships -- 56. Rain -- 57. The Art of Personal Beauty -- 58. Life as the Imitation of Art.

"Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts."--Publisher description.

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