By Richard Wollheim
Richard Wollheim's vintage mirrored image on artwork considers valuable questions concerning expression, illustration, variety, the importance of the artist's goal and the basically old nature of artwork. awarded in a clean sequence livery for the twenty-first century, with a in particular commissioned preface written via Richard Eldridge, illuminating its carrying on with significance and relevance to philosophical enquiry, artwork and its items is still a perceptive and fascinating advent to the questions and philosophical concerns raised through artworks and the half they play in our tradition and society. Wollheim's insights into theories of artwork, feedback, belief and the character of aesthetic price make this the most influential works on aesthetics of the 20th century.
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Extra info for Art and its Objects
The difﬁculty with this objection might be put by saying that it treats a philosophical reconstruction of a part of our language as though it were a historical account. For it is not at all clear that, in the cases where we attribute emotions to objects in the ways that I have tried to describe, we have any other way of talking about the objects themselves. There is not necessarily a prior description in non-emotive terms, on which we art and its objects 23 superimpose the emotive description. Or, to put the same point in nonlinguistic terms, it is not always the case that things that we see as expressive, we can or could see in any other way.
And the difﬁculty here is not just that there is no simple answer to the question, but that it looks as though any answer given to it would be arbitrary. Does this, therefore, mean that the two criteria are quite independent, and that the whole concept of expression, if, that is, it is constituted as I have suggested, is a contingent conjunction of two elements, which could as easily fall apart as together? I shall argue that the concept of expression, at any rate as this applies to the arts, is indeed complex, in that it lies at the intersection of two constituent notions of expression.
The theory before us is that a work of art possesses those properties, and only those, which we can directly perceive or which are immediately given. As such the theory seems to invite criticism on two levels. In the ﬁrst place (it may be argued), the distinction upon which it rests – namely, that between properties that we immediately perceive and those which are mediately perceived or inferred – is not one that can be made in a clear – or, in some areas, even in an approximate – fashion. Secondly, where the distinction can be made, it is wrong to deny to the work of art everything except what is immediately perceptible: what ensues is a diminished or depleted version of art.
Art and its Objects by Richard Wollheim