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By Richard Wollheim

Richard Wollheim's vintage mirrored image on artwork considers important questions concerning expression, illustration, sort, the importance of the artist's goal and the basically historic nature of artwork. offered in a clean sequence livery for the twenty-first century, with a in particular commissioned preface written by way of Richard Eldridge, illuminating its carrying on with value and relevance to philosophical enquiry, artwork and its gadgets is still a perceptive and interesting advent to the questions and philosophical matters raised via artistic endeavors and the half they play in our tradition and society. Wollheim's insights into theories of paintings, feedback, notion and the character of aesthetic worth make this probably the most influential works on aesthetics of the 20th century.

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Extra resources for Art and its Objects

Sample text

A fairer (though certainly not a clear) way of putting the matter would be to say that it is the object of those experiences. And the object of an experience need not be anything inner or mental. Anyhow these cases should not preoccupy us. For (to return to the starting point of this whole discussion) it is not works of art of these kinds that provide crucial tests for the Ideal theory. What that theory has 28 art and its objects primarily to account for are those works of art which are particulars.

But that problem, it is important to see, is not our present problem. ) If I am right in asserting the difference between the ways in which representational and expressive properties prove problematic – and I have no desire to be insistent here – the explanation may well lie in the fact that, though there is nothing other than a physical object that has representational properties, there is something other than a physical, or at any rate a purely physical, object that has expressive properties: namely, a human body and its parts, in particular the face and certain limbs.

G. e. we ‘forsake the perception’, when we look for its allegorical or merely ‘nominal’ significance. So for him, presumably, representational properties were directly perceptible. In this section I shall confine myself to a part of the problem: namely, whether represented movement is directly perceptible, or whether movement can be depicted. This limited issue has, however, as well as its intrinsic, a great historical, interest. e. the Shaftesbury–Lessing theory of ‘the limits of poetry and painting’ (to quote art and its objects 33 the subtitle of the Laocoon).

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