Painting, history, and experience

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
Robert Hopkins (2005). Aesthetics, Experience, and Discrimination. Journal of Aesthetics and Art Criticism 63 (2):119–133.
Alfred Lessing (1965). What is Wrong with a Forgery? Journal of Aesthetics and Art Criticism 23 (4):461-471.
Kendall L. Walton (1970). Categories of Art. Philosophical Review 79 (3):334-367.

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