By Richard Eldridge
Richard Eldridge's compact survey of philosophical theories of the character and value of paintings attracts on fabrics from classical and modern philosophy in addition to literary idea and artwork feedback. Eldridge explores the representational, expressive, and formal dimensions of paintings, and argues that artworks current their material as creations of tolerating cognitive, ethical, and social curiosity. His available learn should be of curiosity to scholars and someone attracted to the connection among idea and art.
"...a lucid, nuanced, and lively account of artwork theory..." Philosophy in evaluate
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Reeve (Indianapolis, IN: Hackett, 1992), Book X, 598b, p. 268. 16 Alan Goldman, ‘‘Representation: Conceptual and Historical Overview,” in Encyclo- pedia of Aesthetics, ed. Kelly, vol. iv, pp. 137A--139B at p. 137A. 17 Nelson Goodman, The Languages of Art, 2nd edn (Indianapolis, IN: Hackett, 1976), p. 4. , p. 5. , p. 6. , p. 9. , p. 9, n. 8. Representation, imitation, and resemblance small difference in marking can make a difference to what is represented (which aspect is presented); and every aspect of the mark itself matters.
London: Longmans, 1879), vol. i, pp. 343--44, cited in Monroe Beardsley, Aesthetics from Classical Greece to the Present: A Short History (University, AL: University of Alabama Press, 1975), p. 170. 4 ibid. 5 Joseph Addison, The Spectator, ed. Alexander Chalmers (New York: D. Appleton, 1879), paper no. 409, vol. v, p. 20, cited in Peter Kivy, ‘‘Recent Scholarship and the British Tradition: A Logic of Taste -- The First Fifty Years,” in Aesthetics: A Critical Anthology, ed. George Dickie and Richard J.
Greek uses the phrase to kalon -- the ﬁne, the good, or the beautiful -- to describe many sorts of things that are attractive to mind and eye or ear, without sharply distinguishing natural beauty from artistic merit (or moral goodness). ”2 It is natural to think of the affording of such experiences as a central aim of art. Many artists seem to seek to engage and entrance eye or ear and mind. They monitor and revise their products -- rearranging colors, shapes, notes, words, or postures -- with a view to deepening the product’s affordance of absorbing experience, where this affordance seems to be a function of the arrangement, form, or pattern of elements composing the work.