The first volume in the series Cambridge Studies in Philosophy and the Arts offers a range of responses by distinguished philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Each of the chapters in this volume is a searching response to theoretical and practical questions in terms accessible to readers of all human science disciplines. The editors, one a philosopher and one an art historian, provide an introductory chapter which outlines the themes of the volume and explicates the terms in which they are discussed. The contributors open new avenues of enquiry involving concepts of 'presence', 'projective properties', visual conventions and syntax, and the appropriateness of figurative language in accounting for visual art. The issues they discuss will challenge the boundaries to thought that some contemporary theorising sustains.
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Editorial Reviews
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"...remarkably timely....Timeliness, exemplarity, and range, then, are the strengths of this collection devoted to issues raised by the operations of language in and about the visual arts." Journal of Aesthetics and Art Criticism
"Undoubtedly, this collection of essays offers many valuable points in the current dialogue on the atrabilious state of contemporary aesthetics, scores of estimable insights into criticism of art criticism, various brilliant syntatical formulations and poetic flashes, and yes, even occasional near-glimpses of 'art-historical light at the end of the tunnel.'" Art Journal
"Undoubtedly, this collection of essays offers many valuable points in the current dialogue on the atrabilious state of contemporary aesthetics, scores of estimable insights into criticism of art criticism, various brilliant syntatical formulations and poetic flashes, and yes, even occasional near-glimpses of 'art-historical light at the end of the tunnel.'" Art Journal
Book Description
Each of the chapters in this volume is a response to theoretical and practical questions regarding the relationship between the art object and language in art history. Accessible to readers of all social science disciplines, the issues discussed challenge the boundaries to thought that some contemporary theorizing sustains.
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The purpose of this volume - the first of a new series - is to offer a range of responses by philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
demonstrative precision, depicting surface, minimal syntax, projective properties, art historical interpretation, tactile mode, created outcomes, complex projection, conceptual image, radical creativity, framing figure, semiotic device, suburban scene, figurative discourse, metaphorical discourse, sensible presence, psychological predicates, comparison words, verbal metaphor Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Michael Baxandall, Nelson Goodman, Richard Wollheim, Novelty Proper, Maurice Merleau-Ponty, Languages of Art, Richard Shiff, Andrew Harrison, Meyer Schapiro, David Summers, Morning Star, New Haven, Patterns of Intention, Svetlana Alpers, Twin Earth, Carl Hausman, End of Impressionism, Harold Rosenberg, Max Black, New Literary History, Abstract Expressionism, Critical Inquiry, Evening Star, Theodore Reff New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
The purpose of this volume - the first of a new series - is to offer a range of responses by philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
demonstrative precision, depicting surface, minimal syntax, projective properties, art historical interpretation, tactile mode, created outcomes, complex projection, conceptual image, radical creativity, framing figure, semiotic device, suburban scene, figurative discourse, metaphorical discourse, sensible presence, psychological predicates, comparison words, verbal metaphor Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Michael Baxandall, Nelson Goodman, Richard Wollheim, Novelty Proper, Maurice Merleau-Ponty, Languages of Art, Richard Shiff, Andrew Harrison, Meyer Schapiro, David Summers, Morning Star, New Haven, Patterns of Intention, Svetlana Alpers, Twin Earth, Carl Hausman, End of Impressionism, Harold Rosenberg, Max Black, New Literary History, Abstract Expressionism, Critical Inquiry, Evening Star, Theodore Reff New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 81
books:
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23
books
cite this book:
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- Art and Illusion: A Study in the Psychology of Pictorial Representation (v. 6) by E.H. Gombrich on 10 pages
- Painting as an Art by Richard Wollheim on 8 pages
- Meditations On a Hobby Horse and Other Essays On the Theory of Art by E.H. Gombrich on 5 pages
- Languages of Art by Nelson Goodman on 5 pages
- Art and its Objects by Richard Wollheim on page 3, page 9, and page 66
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- Richard Wollheim on the Art of Painting: Art as Representation and Expression by Rob van Gerwen on 5 pages
- Advances in Visual Semiotics: The Semiotic Web 1992-93 (Approaches to Semiotics) by Thomas A. Sebeok on page 312, and page 315
- Greek Sculpture and the Problem of Description by A. A. Donohue on page 103, and Back Matter
- About Michael Baxandall (Art History Special Issues) by Adrian Rifkin on page 16, and page 65
- Presence: The Inherence of the Prototype Within Images And Other Objects (Histories of Vision) (Histories of Vision) by Robert Maniura on page 144, and Back Matter
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