David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Philosophical Studies 127 (1):19 - 35 (2006)
Two themes run through Wollheim’s work: the importance of history to the practice and appreciation of the arts, and the centrality of experience in appreciation. Prima facie, these are in tension. Reconciling them requires two steps. First, adopt a notion of experience on which features can be experienced even if we must have experience-independent access to the fact that the work exhibits them. Second, state what makes a particular experience appropriate to the work. What does so? Although Wollheim toyed with a more ambitious line, I suggest that he should have given the obvious answer, that the appropriate experience reflects the work’s nature.
|Keywords||Painting History Forgery Value|
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References found in this work BETA
Nelson Goodman (1968). Languages of Art. Bobbs-Merrill.
Kendall L. Walton (1970). Categories of Art. Philosophical Review 79 (3):334-367.
Arthur Coleman Danto (1981). The Transfiguration of the Commonplace: A Philosophy of Art. Harvard University Press.
Richard Wollheim (1989). Painting as an Art. Journal of Aesthetics and Art Criticism 47 (3):281-284.
Citations of this work BETA
Alessandro Pignocchi (2010). How the Intentions of the Draftsman Shape Perception of a Drawing. Consciousness and Cognition 19 (4):887-898.
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