About this topic
Summary This category contains books and articles related to the history of both aesthetics and the philosophy of art.  It includes works that deal directly with the history of the discipline, works that deal with aesthetic concepts as treated by different authors from a  historical perspective, and works that reflect upon the status of the disciple.
Key works While in other philosophical fields, as the general history of philosophy or the history of some other philosophical disciplines, there are a handful of works that could be cited as the key works in the discipline, in the history of aesthetics or of the philosophy of art, it is difficult to point them out. Nevertheless, it is usual to cite, Tatarkiewicz's History of Aesthetics as one of these, although his review of such history ends up in the 1700s. This means that his work ought to be completed with others that either focus in the later development of the discipline (missing, therefore, comprehensiveness) or that also try a full review of the historical development of the field. Among them, we find Beardsley's Aesthetics from Classical Greece to the Present: a short Introduction written from the perspective of analytical philosophy; Bosanquet's A History of Aesthetics originally published in 1892; Gilbert and Kuhn's A History of Esthetics published in 1939; and Aesthetics: The Key Thinkers edited by Alessandron Giovannelli, and very recent (2012).
Introductions Besides the works already mentioned above, any general encyclopedia on aesthetics serves as a good introduction to the problems addressed by the history of aesthetics and of the philosophy of art. In this sense, both Encyclopedia of Aesthetics and The Routledge Companion to Aesthetics can be considered as good starting points.
  Show all references
Related categories
Siblings:See also:
269 found
Search inside:
(import / add options)   Sort by:
1 — 50 / 269
  1. Aphrodite Alexandrakis & Nicholas J. Moutafakis (eds.) (2001). Neoplatonism and Western Aesthetics. State University of New York Press.
    Shows how the aesthetic views of Plotinus and later Neoplatonists have played a role in the history of Western art.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  2. Marcia Allentuck (1962). A Note on Eighteenth-Century "Disinterestedness". Journal of Aesthetics and Art Criticism 21 (1):89-90.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  3. Emmanuel Alloa (2013). Visual Studies in Byzantium. A Pictorial Turn Avant la Lettre. Journal of Visual Culture 12 (1):3-29.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide the life and death of thousands. As this article seeks to argue, Byzantine thinking was not only attentive to conceptual differences, but also to iconic ones. The iconoclastic controversy (726-842 AD) arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a :fundamental 'iconic identity', iconophile philosophy defends the idea of'iconic difference'. And while the (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  4. Van Meter Ames (1945). Note on "A History of Esthetics". Journal of Aesthetics and Art Criticism 4 (1):26 - 28.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  5. Meter Amevans (1945). Note on "a History of Esthetics". Journal of Aesthetics and Art Criticism 4 (1):26-28.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  6. Meter Amevans (1941). The Function and Value of Aesthetics. Journal of Aesthetics and Art Criticism 1 (1):95-105.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  7. Keith Ansell-Pearson (1994). Aesthetics and Subjectivity: From Kant to Nietzsche. History of European Ideas 18 (3):444-445.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  8. Mark Antliff (2007). Avant-Garde Fascism: The Mobilization of Myth, Art, and Culture in France, 1909-1939. Duke University Press.
    Fascism, modernism and modernity -- The Jew as anti-artist : Georges Sorel and the aesthetics of the anti- Enlightenment -- La Cité française : Georges Valois, Le Corbusier and fascist theories of urbanism -- Machine primitives : Philippe Lamour and the fascist cult of youth -- Classical violence : Thierry Maulnier and the legacy of the Cercle Proudhon.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  9. A. MacC Armstrong (1989). The Interlacing of Philosophy and History of Art. British Journal of Aesthetics 29 (3):239-247.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  10. Andrew Ashfield & Peter De Bolla (eds.) (1996). The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory. Cambridge University Press.
    This collection of texts on the Sublime provides the historical context for the foundation and discussion of one of the most important aesthetic debates of the Enlightenment. The significance of the Sublime in the eighteenth century ranged across a number of fields - literary criticism, empirical psychology, political economy, connoisseurship, landscape design and aesthetics, painting and the fine arts, and moral philosophy - and has continued to animate aesthetic and theoretical debates to this day. However, the unavailability of many of (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  11. Antony Aumann (2011). The ‘Death of the Author’ in Hegel and Kierkegaard: On Berthold’s 'The Ethics of Authorship'. Graduate Faculty Philosophy Journal 32 (2):435-447.
    In The Ethics of Authorship, Daniel Berthold depicts G. W. F. Hegel and Søren Kierkegaard as endorsing two postmodern principles. The first is an ethical ideal. Authors should abdicate their traditional privileged position as arbiters of their texts’ meaning. They should allow readers to determine this meaning for themselves. Only by doing so will they help readers attain genuine selfhood. The second principle is a claim about language. To wit, language cannot express an author’s thoughts. I argue that if the (...)
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  12. Babette Babich (2012). On Nietzsche's Judgment of Style and Hume's Quixotic Taste: On the Science of Aesthetics and "Playing" the Satyr. Journal of Nietzsche Studies 43 (2):240-259.
    "Homer and Classical Philology," Nietzsche's 1869 inaugural lecture at the University of Basel, addresses not only the history of the Homer question as a problem but also raises the question of the discipline of classical philology as science (which notion of science also includes the question of philology as philosophy). Thematically, Nietzsche's first lecture as a professor of classical philology focuses on the significance of style as such. In this meta-scholarly context, the issue of scholarly discernment is explored in terms (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  13. Leo Balet (1941). The History of Art of the Future. Journal of Aesthetics and Art Criticism 1 (2/3):42-62.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  14. Moshe Barasch (1990). Modern Theories of Art. New York University Press.
    In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  15. Moshe Barasch (1985/2000). Theories of Art. Routledge.
    In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between scientific (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  16. Cyril Barret (1965). Medieval Art Criticism. British Journal of Aesthetics 5 (1):25-36.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  17. C. Barrett (2005). Medieval Aesthetics. In Władysław Tatarkiewicz (ed.), History of Aesthetics. New York,Continuum.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  18. Kevin Barry (1987). Language, Music, and the Sign: A Study in Aesthetics, Poetics, and Poetic Practice From Collins to Coleridge. Cambridge University Press.
    Originally published in 1987, this book forms a conceptual account of the relationship between music and poetry in the late eighteenth and early nineteenth ...
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  19. Christopher Bartel (2004). Is Art Good for Us? Beliefs About High Culture in American Life. British Journal of Aesthetics 44 (1):93-96.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  20. Karen-Edis Barzman (1994). Beyond the Canon: Feminists, Postmodernism, and the History of Art. Journal of Aesthetics and Art Criticism 52 (3):327-339.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  21. Monroe C. Beardsley (1975). Aesthetics From Classical Greece to the Present: A Short History. University of Alabama Press.
    The author examines all major aspects of Western aesthetic thought, and a third of the book focuses specifically on 19th-and-20th century aesthetic theory.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  22. Monroe C. Beardsley (1967). Aesthetics, History Of. In Paul Edwards (ed.), The Encyclopedia of Philosophy. New York, Macmillan. 1--18.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  23. Frederick C. Beiser (2009). Diotima's Children: German Aesthetic Rationalism From Leibniz to Lessing. Oxford University Press.
    Diotima's Children is a re-examination of the rationalist tradition of aesthetics which prevailed in Germany in the late seventeenth and eighteenth century.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  24. Peter Bekes (1978). Aesthetics and History. Investigations of the Connection of the Foundations of Art, Society, and Science. Philosophy and History 11 (1):40-42.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  25. Arnold Berleant (1986). The Historicity of Aesthetics — I. British Journal of Aesthetics 26 (2):101-111.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  26. Arnold Berleant (1986). The Historicity of Aesthetics - II. British Journal of Aesthetics 26 (3):195-203.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  27. Charles Bernheimer (2002). Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin De Siècle in Europe. Johns Hopkins University Press.
    Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  28. David Bindman (2002). Ape to Apollo: Aesthetics and the Idea of Race in the 18th Century. Cornell University Press.
    Ape to Apollo is the first book to follow the development in the eighteenth century of the idea of race as it shaped and was shaped by the idea of aesthetics.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  29. Paul Bishop (2007). Analytical Psychology and German Classical Aesthetics: Goethe, Schiller & Jung. Routledge.
    Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung , volume 1, The Development of the Personality investigates the extent to which analytical psychology draws on concepts found in German classical aesthetics. It aims to place analytical psychology in the German-speaking tradition of Goethe and Schiller, with which Jung was well acquainted. This volume argues that analytical psychology appropriates many of its central notions from German classical aesthetics, and that, when seen in its intellectual historical context, the true originality (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  30. Tina Waldeier Bizzarro (1994). Architecture in the Culture of Early Humanism. Ethics, Aesthetics, and Eloquence 1400–1470. History of European Ideas 18 (4):629-630.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  31. Bijoy H. Boruah (1988). Fiction and Emotion: A Study in Aesthetics and the Philosophy of Mind. Oxford University Press.
    Why do people respond emotionally to works of fiction they know are make-believe? Boruah tackles this question, which is fundamental aesthetics and literary studies, from a totally new perspective. Bringing together the various answers that have been offered by philosophers from Aristotle to Roger Scruton, he shows that while some philosophers have denied any rational basis to our emotional responses to fiction, others have argued that the emotions evoked by fiction are not real emotions at all. In response to this, (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  32. Bernard Bosanquet (1966). A History of Aesthetic. New York, Humanities P..
    The present work is, therefore, primarily addressed to those who may find a philosophical interest in understanding the place and value of beauty in the system ...
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  33. Andrew Bowie (2009). Review of Lydia Goehr, Elective Affinities: Musical Essays on the History of Aesthetic Theory. [REVIEW] Notre Dame Philosophical Reviews 2009 (5).
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  34. Emily Brady (2007). Sublimity: The Non-Rational and the Irrational in the History of Aesthetics by Kirwan, James. Journal of Aesthetics and Art Criticism 65 (2):242–244.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  35. Merle Elliott Brown (1966). Neo-Idealistic Aesthetics. Detroit, Wayne State University Press.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  36. Robert Buch (2011). The Pathos of the Real: On the Aesthetics of Violence in the Twentieth Century. Johns Hopkins University Press.
    In praise of cruelty : Bataille, Kafka, and Ling-Chi -- Fragmentary description of a disaster : Claude Simon -- The resistance to pathos and the pathos of resistance : Peter Weiss -- Medeamachine : the "fallout" of violence in Heiner Müller -- Epilogue : Francis Bacon, or, The brutality of fact.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  37. M. Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part 1: Natural Beauty. British Journal of Aesthetics 38 (1):1-18.
  38. Manfred F. Bukofzer (1955). The Baroque in Music History. Journal of Aesthetics and Art Criticism 14 (2):152-156.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  39. Nicolas J. Bullot & Rolf Reber (2013). The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation. Behavioral and Brain Sciences 36 (2):123-180.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  40. Edmunds V. Bunkše (2001). The Case of the Missing Sublime in Latvian Landscape Aesthetics and Ethics. Ethics, Place and Environment 4 (3):235 – 246.
    In perceptions of their landscapes the Latvians have denied the existence of the sublime, elevating rural and natural aspects as beautiful and good. While Latvian landscape aesthetics and ethics are based on the profound transformation of nature-landscape attitudes that occurred in Europe during the second half of the 18th century, when ideas of the beautiful, sublime, and the picturesque were debated, the existence of sublime characteristics within the borders of Latvia has not been recognized. In part the attitude derives from (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  41. Zongqi Cai (ed.) (2004). Chinese Aesthetics: The Ordering of Literature, the Arts, and the Universe in the Six Dynasties. University of Hawai'i Press.
    This singular work presents the most comprehensive and nuanced studies available in any Western language of Chinese aesthetic thought and practice during the ...
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  42. Rebecca Bensen Cain (2012). Greek and Roman Aesthetics by Bychkov, Oleg V. And Anne Sheppard. Journal of Aesthetics and Art Criticism 70 (2):242-245.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  43. Ulrika Carlsson (2014). Kierkegaard's Phenomenology of Spirit. European Journal of Philosophy 22 (2).
    Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside (the inwardness of faith and the outwardness of ethics and language; the inwardness of emotion and the outwardness of behavior), he nonetheless understands the task of the philosopher as that of (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  44. David Carrier (1987). Ekphrasis and Interpretation: Two Modes of Art History Writing. British Journal of Aesthetics 27 (1):20-31.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  45. Noel Carroll (2012). History and the Philosophy of Art. Journal of the Philosophy of History 5 (3):370-382.
    Abstract In 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.
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  46. Steven Cassedy (forthcoming). Mathematics, Relationalism, and the Rise of Modern Literary Aesthetics. Journal of the History of Ideas.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  47. Frank P. Chambers (1963). The History of Art and the History of Taste. British Journal of Aesthetics 3 (3):234-236.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  48. Catherine Chevalley (1996). Physics as an Art: The German Tradition and the Symbolic Turn in Philosophy, History of Art and Natural Science in the 1920s. In. In Alfred I. Tauber (ed.), The Elusive Synthesis: Aesthetics and Science. Kluwer. 227--249.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  49. Andrew Chignell (2006). Beauty as a Symbol of Natural Systematicity. British Journal of Aesthetics 46 (4):406-415.
    I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .
    Remove from this list | Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  50. Suzannah Clark & Alexander Rehding (eds.) (2005). Music Theory and Natural Order From the Renaissance to the Early Twentieth Century. Cambridge University Press.
    Music theorists of almost all ages employ a concept of "Nature" to justify observations or statements about music. The understanding of what "Nature" is, however, is subject to cultural and historical differences. In tracing these explanatory strategies and their changes in music theories between c. 1600 and 1900, these essays explore (for the first time in a book-length study) how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on music theory and (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
1 — 50 / 269