Cookies Policy
X

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

History and the Philosophy of Art

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
MyBook is a cheap paperback edition of the original book and will be sold at uniform, low price.

Buy this article

Price:
$30.00+ Tax (if applicable)
Add to Favorites

AbstractIn this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.

1. FN11) Clive Bell, Art (London: Chatto and Windus, 1914).
2. FN22) In the Anglo-American tradition, answering the question “what is art?” can be understood in terms of identifying artworks, since the aforesaid question is typically taken to be asking “What is an artwork?”
3. FN33) R.G. Collingwood, Principles of Art (Oxford: The Clarendon Press, 1938).
4. FN44) Morris Weitz, “The Role of Theory in Aesthetics,” in The Journal of Aesthetics and Art Criticism, volume 15 (1956), pp. 27–35.
5. FN55) Maurice Mandelbaum, “Family Resemblances and Generalizations Concerning the Arts,” in The Philosophy of Art: Readings Ancient and Modern, edited by Alex Neill and Aaron Ridley (New York: McGraw Hill Publishers, 1995), pp. 193–201.
6. FN66) Arthur Danto, “The Artworld,” in The Philosophy of Art: Readings Ancient and Modern, edited by Alex Neill and Aaron Ridley (New York: McGraw Hill, 1995), p. 209.
7. FN77) In a subsequent attempt to define art, Danto includes historical context as a necessary condition for art status. However, I will not review that attempt in this article because history supplies only one of four other conditions for being an artwork.
8. FN88) Jerrold Levinson, “Defining Art Historically,” British Journal of Aestherics, volume 19 (1979), pp. 232–250.
9. FN99) Robert Stecker, Artworks (Uninversity Park, Pa.: Pennsylvania University Press, 1997).
10. FN1010) Richard Wollheim, Art and Its Objects, Second Edition (Cambridge: Cambridge University Press, 1980), sections 45–65. And Noël Carroll, “Historical Narratives and the Philosophy of Art,” The Journal of Aesthetics and Art Criticism, volume 52 (1993), pp. 313–326.
11. FN1111) Wollheim, pp. 104–105.
12. FN1212) Wollheim, p. 143.
13. FN1313) Michael Baxandall as quoted in Arthur Danto, “The Shape of Artist Pasts: East and West,” in Subversive Strategies in Contemporary Chinese Art, edited by Mary Bittner Wiseman and Liu Yuedi (Boston and Leiden: Brill, 2011), p. 359.
14. FN1414) Wollheim, pp. 145–146.
15. FN1515) I would not want to argue that this list is exhaustive nor that the items on it are necessarily exclusive. More work needs to be done here.
Loading

Article metrics loading...

/content/journals/10.1163/187226311x599862
2011-01-01
2015-07-30

Affiliations: 1: CUNYknollcarroll@gmail.com

Sign-in

Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to email alerts
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Name:*
    Email:*
    Your details
    Name:*
    Email:*
    Department:*
    Why are you recommending this title?
    Select reason:
     
     
     
     
    Other:
     
    Journal of the Philosophy of History — Recommend this title to your library

    Thank you

    Your recommendation has been sent to your librarian.

  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation