By Richard Wollheim
Richard Wollheim's vintage mirrored image on artwork considers critical questions concerning expression, illustration, variety, the importance of the artist's goal and the basically old nature of artwork. provided in a clean sequence livery for the twenty-first century, with a particularly commissioned preface written by way of Richard Eldridge, illuminating its carrying on with value and relevance to philosophical enquiry, artwork and its items is still a perceptive and interesting advent to the questions and philosophical concerns raised through artistic endeavors and the half they play in our tradition and society. Wollheim's insights into theories of paintings, feedback, conception and the character of aesthetic price make this some of the most influential works on aesthetics of the 20 th century.
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Additional info for Art and its Objects
For our conﬁdence that a certain kind of object was what we would produce if we experienced grief would be shaken by the fact that not one (or very few) had actually been produced in grief: equally, our conﬁdence that in other circumstances we should feel grief in looking at them could hardly survive the fact that no one (or scarcely art and its objects 19 anyone) ever had. The special reasons no longer operating, the necessary conditions reassert themselves. 17 However, the foregoing argument must not be taken as simply reinstating the two views about the nature of expression which were introduced and criticized in section 15.
But if he had, this would not have sufﬁced to make his picture a representation of a posed group. For we might have been quite unable to see the picture in this way: just as, for instance, we do not see Gainsborough’s late landscapes as representations of the broken stones, pieces of looking glass and dried herbs from which he painted them – and for that matter just as Delacroix himself could not have seen the scale model from which (on the present supposition) he painted, as itself of two horsemen in posed attitudes.
In literature and music we can surely suppose a work of art to be complete before it is externalized without this having any negative implications for the medium. A poem or an aria could exist in the artist’s head before it is written down: and although difﬁculties may exist in the case of a novel or an opera, we can conceive adjustments of mere detail in the theory that would accommodate them. But does this preserve the theory, even in this area? For, if the occurrence of certain experiences (say, the saying of words to oneself) justiﬁes us in postulating the existence of a certain poem, this is not to say that the poem is those experiences.
Art and its Objects by Richard Wollheim