But while the literature of art is, in publishers' terms, booming, it has in one respect suffered a loss. During the past two hundred years there has usually been some important figure who acted as a censor and an apologist of the contemporary scene, a Diderot, a Baudelaire, a Ruskin or a Roger Frye. Who amongst our living authors plays this important role? What name springs to mind? I would suggest that no name actually springs; the last of our grandly (...) influential critics was Sir Herbert Read and since his death, whatever else modern art may or may not possess, it has no prophet. This is not to say that aesthetic prophets are necessarily desirable nor that there are not some very conscientious and extremely perceptive critics at work today; in view of the fact that I am within a fortnight exhibiting my work in a London dealer's gallery , it would be folly to deny it. But it is I believe true that for better or for worse we have no grand pundit of living art and I believe that this lack may be concerned with what I see as a certain diminution in the role of the art critic, a certain decay in this department of literature. It is a tendency which I regret and the causes of which I want to try to discuss. It arises I believe from a misunderstanding concerning the proper functions of the critic and this confusion of purpose will be my theme. First, however, I think that I should glance at two important circumstances which make the work of an art critic particularly difficult today. Quentin Bell, professor of the history and theory of art at Sussex University, has written Virginia Woolf: A Biography, Of Human Finery, Ruskin, Victorian Artists, and, Bloomsbury. His article, "Art and the Elite," appeared in the first issue of Critical Inquiry. "The Art Critic and the Art Historian" was originally delivered as the Leslie Stephen lecture at the University of Cambridge on November 26, 1973. Other contributions are "CRITICAL RESPONSE: Notes and Exchanges" , and "Bloomsbury and 'the Vulgar Passions'". (shrink)

Cover -- Half Title -- Title Page -- Copyright Page -- Original Copyright Page -- Dedication -- Table of Contents -- INTRODUCTION -- VOLTAIRE -- HUME -- ROBERTSON -- GIBBON -- INDEX.

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact--especially the essay "The End of Art," which dramatically announced that art ended in the 1960s--this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, _The Philosophical Disenfranchisement of (...) Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often (...) crucial to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

Arthur C. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person. In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as (...) a philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics. Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Contributors include Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, testifying to the far-reaching effects of Danto's thought. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism. (shrink)

The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest (...) of achieving this aim. Hence, by the lights of recent epistemology, it is questionable whether art is of any epistemic value. In order to hold on to the epistemic value of art, one has three options: (a) reject the recent analyses of knowledge that make the epistemic value of art questionable, (b) accept the recent analyses of knowledge but argue that they are compatible with the epistemic value of art, or (c) find another epistemic aim (besides knowledge) and show that art is of significant help in achieving this aim. In this paper I will argue that, at least with respect to pictorial art, option (c) seems promising. By reconsidering some basic insights and ideas from Nelson Goodman we can identify (objective) understanding as an epistemic aim to which pictorial art makes a significant contribution. (shrink)

Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...) on the other, historical analysis is about the careful and scholarly reconstruction of a past social reality, the two must be at loggerheads. What the art historian writes about on a weekday whilst wearing her hard hat at the office must not be confused with what she personally feels, wandering around a gallery in her woolly hat at the weekend. (shrink)

How to engage the public in a reflection on the most pressing ethical issues of our time? What if part of the solution lies in adopting an interdisciplinary and collaborative strategy to shed light on critical issues in bioethics? An example is Art + Bioéthique, an innovative project that brought together bioethicists, art historians and artists with the aim of expressing bioethics through arts in order to convey the “sensitive” aspect of many health ethics issues. The aim of this (...) project was threefold: 1) to identify and characterize mechanisms for the meeting of arts and bioethics; 2) to experiment with and co-construct a dialogue between arts and bioethics; and 3) to initiate a public discussion on bioethical issues through the blending of arts and bioethics. In connection with an exhibition held in March 2016 at the Espace Projet, a non-profit art space in Montréal, the project developed a platform that combined artworks, essays and cultural & scientific mediation activities related to the work of six duos of young bioethics researchers and emerging artists. Each duo worked on a variety of issues, such as the social inclusion of disabled people, the challenges of practical applications of nanomedicine and regenerative medicine, and a holistic approach to contemporary diseases. This project, which succeeded in stimulating an interdisciplinary dialogue and collaboration between bioethics and arts, is an example of an innovative approach to knowledge transfer that can move bioethics reflection into the public space. (shrink)

How to engage the public in a reflection on the most pressing ethical issues of our time? What if part of the solution lies in adopting an interdisciplinary and collaborative strategy to shed light on critical issues in bioethics? An example is Art + Bioéthique, an innovative project that brought together bioethicists, art historians and artists with the aim of expressing bioethics through arts in order to convey the “sensitive” aspect of many health ethics issues. The aim of this (...) project was threefold: 1) to identify and characterize mechanisms for the meeting of arts and bioethics; 2) to experiment with and co-construct a dialogue between arts and bioethics; and 3) to initiate a public discussion on bioethical issues through the blending of arts and bioethics. In connection with an exhibition held in March 2016 at the Espace Projet, a non-profit art space in Montréal, the project developed a platform that combined artworks, essays and cultural & scientific mediation activities related to the work of six duos of young bioethics researchers and emerging artists. Each duo worked on a variety of issues, such as the social inclusion of disabled people, the challenges of practical applications of nanomedicine and regenerative medicine, and a holistic approach to contemporary diseases. This project, which succeeded in stimulating an interdisciplinary dialogue and collaboration between bioethics and arts, is an example of an innovative approach to knowledge transfer that can move bioethics reflection into the public space. (shrink)

*Introduction by Joseph R. Strayer\n(ix-x) Not that Bloch was the greatest French historian of his generation, though he would certainly rank high in any list. Not even that he was the most widely read—others excelled in that art of combining exact knowledge with readability which has distinguished French scholarship for many years. Others have talked about the narrowness of purely political history, the evils of excessive specialization, and the unreality of the conventional periodization of history—without ever leaving their own limited (...) fields. Bloch not only said that history was a whole, that no period and no topic could be understood except in relation to other periods and topics, but he constantly taught [p.x] and wrote in accordance with this belief. …He worked constantly for a “wider, more human history,” for a history which described how and why people live and work together. He saw life as a whole, as a complicated interplay of ideals and realities, of conscious innovation and unconscious conservation. … Throughout the two volumes he sought, above everything else, to understand and explain the state of mind and the habits of life which could produce and support feudal organization.\n(32-33) It is very like the illusion of certain old etymologiests who thought they had said all when they set down the oldest known meaning of a word opposite its present sense, having shown… As if the main problem were not to understand how and why the transition had taken place. As if, above all, the meaning of any word were influenced more by its own past than by the contemporary state of the vocabulary which, in its turn, is determined by the social conditions of the moment. [Y: think about this when I give the meanings of sirhak]\n(64-65) …every historical research supposes that the inquiry has a direction at the very first step. In the beginning, there must be the guiding spirit. Mere passive observation, even supposing such a thing were possible, has never contributed anything productive to any science. \n(71) Every historical book worthy of the name oought to include a chapter, or if one prefers, a series of paragraphs inserted at turning points in the development, which might almost entitled: “How can I know what I am about to say?” I am persuaded that even the lay reader would experience an actual intellectual pleasure in examining these “confessions.”. (shrink)

1. I want to discuss a new area of scientific research called neuro-aesthetics, which is the study of art by neuroscientists. The most prominent champions of neuroaesthetics are V.S. Ramachandran and Semir Zeki, both of whom have both made ambitious claims about their work. Ramachandran says boldly that he has discovered “the key to understanding what art really is”, and that his theory of art can be tested by brain imaging experiments, although he does not describe these experiments, or explain (...) what results the theory predicts (Ramachandran and Hirstein 1999, 17). Zeki, who originally coined the term “neuro-aesthetics”, claims to have laid the foundations for understanding “the biological basis of aesthetic experience”, and to have formulated a “neurobiological definition of art” (Zeki 1999, 2, 22). If these claims are true, we are at the dawn of a new age in the study of art. Up to now, most of the people studying art have been historians, some of whom can read Latin, but hardly any of whom have mastered even the rudiments of brain science. And aesthetics has been in the hands of philosophers, who still disagree among themselves about ideas that were stated in the fourth century BC. Neuroaesthetics is different. As Ramachandran (2000, 19) says: “These ideas have the advantage that, unlike the vague notions of philosophers and art historians, they can be tested experimentally”. So, is neuro-aesthetics the next big thing? I want to assess its prospects, starting with Ramachandran. (shrink)

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art (...) and science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

That art historians have felt it necessary to emulate this effort to express personal input can be explained by our need to gain credibility in that aspect of our work that is indistinguishable in method from other historical research: the reconstruction, through documents and artifacts, of past events, conditions, and attitudes. Most of us simply ignore the ambivalence of our position; I cannot recall having heard or read discussions of it, but it is bound to creep out from under (...) the rug. If a student asks me why I think Rembrandt and Picasso are good artists—which most students are too well trained to do—and if I answer that judgments of value are not discussed by historians, I am within my rights, like a witness at a congressional hearing claiming the protection of the Fifth Amendment. But I ought to be found in contempt of the classroom. And if I try to answer seriously, I ought not begin by saying that I chose Rembrandt because he has been acknowledged by generations to have been a great artist but rather because I find more to think, feel, and speak about in his works than in those of, for example, Nicolaes Maes, and because I believe that the student stands to gain more by looking at them. I want the student to have the most rewarding experiences, and, as a result, perhaps to learn to make value discriminations of his own—even ones different from mine and from the so-called consensus of history—and ultimately to explain the grounds on which he makes them. This means having to know and to explain what I think is "rewarding." James S. Ackerman, professor of fine arts at Harvard University, is the author of, among other works, The Architecture of Michelangelo, Art and Archaeology, The Cortile del Belvedere, and Palladio. He is currently writing on Renaissance art, science, and naturalism and making a film on Andrea Palladio and his influence in America. "Transactions in Architectural Design," his previous contribution to Critical Inquiry, appeared in the Winter 1974 issue. (shrink)

University teachers, as is well known, commit acts of despotism. About three years ago I committed such an act. I told my students that I would not accept papers which included the words protagonist, basic , alienation, total , dichotomy, and a few others including elite and elitist. On consideration I decided to remove the ban on the last two for it seemed to me that there was no other term that could be used to discuss what is, after all, (...) an interesting idea.It is of course true that my students and I use the word incorrectly. An elite must surely be a chosen body. Congress, the police, the final heat of the Miss World contest, and the Bolshevik Party are elites, whereas an aristocracy or a plutocracy—unless one believes the rich and the nobility to be chosen by God—are not. Nevertheless, when we use the word elite in connection with the visual arts it is certainly related to, though not synonymous with, class. An elite is usually a group within a relatively prosperous class. The patrons of the Renaissance were, presumably, at the apex of the social system: on the other hand, the patrons of the Impressionists belonged to a comparatively humble section of the middle classes. But it will be found that an aesthetic elite does always enjoy certain advantages of wealth and leisure and education.Quentin Bell is professor of the history and theory of art, Sussex University. He has written Virginia Woolf: A Biography, Of Human Finery, Ruskin, Victorian Artists and Bloomsbury. Other contributions to Critical Inquiry are "The Art Critic and the Art Historian" , "CRITICAL RESPONSE: Notes and Exchanges" , and "Bloomsbury and 'the Vulgar Passions'". (shrink)

Art historians have long viewed southern Italy, especially the Salento region in Apulia, as a Byzantine artistic province even centuries after Byzantine rule ended there in c. 1070. The Orthodox monastery of Santa Maria di Cerrate, near Lecce, is widely considered to possess some of the region’s “most Byzantine” paintings (twelfth to fourteenth centuries). Yet a close examination of these frescoes reveals significant iconographic and stylistic differences from alleged Byzantine norms. A historiographic synopsis and review of problematic definitions of (...) “Byzantine” art are followed in this article by a critique of reductionist labels. Embracing the concept of vagueness offers an alternative way to think about Cerrate and similar borderline cases—not in terms of fixed categories (“Byzantine” or “Western”), but as points on an art-historical continuum that is enriched by acknowledging complexity. (shrink)

Historians of economic thought have long recognized the possibility that the "science" of economics owes more to cultural influences than we are usually prepare to admit. Econ Art offers the first detailed study of this contradiction, highlighting the cultural and aesthetic influences of surrealism, cubism and abstract art on both economic theory and method in the twentieth century.Arguing that economics has developed more as an art form than as a science, the author looks not only at what economists have (...) produced but how they have produced it, uncovering the cultural preconceptions which have shaped economic theory and method in the last one hundred years. At a time of increasing dissatisfaction with the discipline and the practice of economics, Szostak argues that the time is now ripe —- and right —- to embarrass the profession into a whole-sale reconsideration of what economics is for, how it should be done and what might make it better and more useful to the academy and to the world at large. (shrink)

Mary Devereaux has suggested, in an overview of feminist aesthetics[1], that feminist aesthetics constitutes a revolutionary approach to the field: "aesthetics cannot simply 'add on' feminist theories as it might add new works by [ Nelson ] Goodman, Arthur Danto or George Dickie. To take feminism seriously involves rethinking our basic concepts and recasting the history of the discipline." In particular, feminist theory involves a rejection of "deeply entrenched assumptions about the universal value of art and aesthetic experience." Overthrowing these (...) assumptions "constitutes what art historian, Linda Nochlin, describes as a Kuhnian paradigm shift."[2] Near the end of her essay, Devereaux returns to this theme: "If feminism constitutes a new paradigm, then we may wish to ponder how far the old model of aesthetics and the new are commensurable. Is traditional aesthetics contingently or necessarily associated with patriarchy? Can the 'gender-neutral' aesthetics of the traditional model be reformed or must it be rejected?". (shrink)

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact -- especially the essay "The End of Art," which dramatically announced that art ended in the 1960s -- this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, (...) _The Philosophical Disenfranchisement of Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (shrink)

Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for (...) object recognition and recent research in cognitive neuroscience on selective visual attention. This research demonstrates that endogenous shifts of visual attention enhance the encoding of expected features in the visual field and inhibit the perception of potential distracters. Moreover, it demonstrates complementary roles for spatial schemata and motor plans in visual attention. We argue that artists develop novel spatial schemata, which enable them to recognize and reproduce stimulus features sufficient for adequate artistic production in a medium, and that these schemata become encoded as motor plans as artists develop technical proficiency in a medium. We hypothesize that artists' perceptual advantages can therefore, be explained by the role spatial schemata and motor plans play in selective attention. (shrink)

James Elkins argues that art historians should largely abandon the concept of the sublime as a way to understand art. In making this argument, he ignores the conception of the sublime in Hegel’s Aesthetics. This essay challenges Elkins’ argument and indicates how Hegel’s conception might be relevant. After summarizing Hegel’s conception of the sublime, the essay examines its potential significance today, both for interpreting contemporary artworks and for understanding the relations among art, religion, and philosophy. Contemporary art of the (...) sublime provides an important reason why we need to reconceive these relations and reappropriate Hegel’s conception of the sublime. (shrink)

_The Arts and the Definition of the Human_ introduces a novel theory that our selves—our thoughts, perceptions, creativity, and other qualities that make us human—are determined by our place in history, and more particularly by our culture and language. Margolis rejects the idea that any concepts or truths remain fixed and objective through the flow of history and reveals that this theory of the human being as culturally determined and changing is necessary to make sense of art. He shows that (...) a painting, sculpture, or poem cannot have a single correct interpretation because our creation and perception of art will always be mitigated by our historical and cultural contexts. Calling upon philosophers ranging from Parmenides and Plato to Kant, Hegel, and Wittgenstein, art historians from Damisch to Elkins, artists from Van Eyck to Michelangelo to Wordsworth to Duchamp, Margolis creates a philosophy of art interwoven with his philosophical anthropology which pointedly challenges prevailing views of the fine arts and the nature of personhood. (shrink)

Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. In Art in Mind , Ernst van Alphen probes this idea of art as a commanding force with the capacity to shape our intellect and intervene in our lives. Rather than interpreting art as merely a reflection of our social experience or a product of history, van Alphen here argues that art is a historical (...) agent, or a cultural creator, that propels thought and experience forward. Examining a broad range of works, van Alphen—a renowned art historian and cultural theorist—demonstrates how art serves a socially constructive function by actually experimenting with the parameters of thought. Employing work from artists as diverse as Picasso, Watteau, Francis Bacon, Marlene Dumas, and Matthew Barney, he shows how art confronts its viewers with the "pain points" of cultural experience-genocide, sexuality, diaspora, and transcultural identity-and thereby transforms the ways in which human existence is conceived. Van Alphen analyzes how art visually "thinks" about these difficult cultural issues, tapping into an understudied interpretation of art as the realm where ideas and values are actively created, given form, and mobilized. In this way, van Alphen's book is a work of art in itself as it educates us in a new mode of thought that will forge equally new approaches and responses to the world. (shrink)

In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how traditional (...) aesthetics might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305). (from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172). (shrink)

The paper examines Danto's ideas about the “birth of art” from three perspectives: his concept of a natural aesthetic instinct; his concept of the birth of art “in a narrow sense,” in the transfiguration of substitutes (an event or possibility that he dates and places in various ways); and his concept of the constant birth of art, “in a larger sense,” among “artists‐outside‐the artworld.” The paper comments on these notions, some of their sources, and some of their interest and implications, (...) from an art historian's perspective. (shrink)

From the modern period until the present day, artworks have exhibited a well-known paradox: they promise a rich aesthetic experience and revolutionary qualities of innovation while simultaneously serving as a luxury commodity whose sale is directed toward a global class of oligarchs. Art's Properties proposes a new way of understanding this paradox, relating art's qualities-its properties-to its status as commercial property. In Art's Properties, esteemed art historian and theorist David Joselit argues that art's fundamental ontological property is its capacity to (...) give access to experiences of alterity--the state of being other, or different. These experiences may appear as the image of a god, or the utopian dimensions of a black square on a white ground. Joselit goes on to explore artwork's relation to infinitude. As he explains, every work of art, in its material and visual qualities, can be host to an unlimited number of events and encounters with spectators, which persist through and over time. This infinitude is curtailed as art becomes property and is made to serve as a representation. In the modern period, white artists have been presumed to manifest an unmarked, supposedly neutral national character in Europe and the United States, while artists of color are often made to stand in for the identity attributed to them. In place of this dynamic of representation, Art's Properties will advocate for privileging narration over representation. While representation is finite-one thing is put in the place of another-narration has no end; it can be multiplied to encompass the many stories an artwork might enable. In focusing on the forms of narration that an artwork can contain, this book explores art's infinite aesthetic and material alterity. (shrink)

In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, (...) as well as for Wasson’s reluctance to pursue his hypothesis regarding the entheogenic origins of religion into Christian art and artifacts. While Wasson’s view – that the presence of psychoactive mushrooms in the Near and Middle East ended around 1000 BCE – prevailed and stymied research on entheogens in Christianity for decades, a new generation of 21st century researchers has documented growing evidence of A. muscaria and psilocybin-containing mushrooms in Christian art, consistent with ethnobotanist Giorgio Samorini’s typology of mushroom trees. This article presents original photographs, taken during fieldwork at churches and cathedrals throughout Europe and the Middle East, that confirm the presence of entheogenic mushrooms in Christian art: in frescoes, illuminated manuscripts, mosaics, sculptures, and stained glass windows. Based on this iconic evidence, the article proposes a psychedelic gospels theory and addresses critiques of this theory by art historians, ardent advocates, medieval historians, and conservative Catholics. It calls for the establishment of an Interdisciplinary Committee on the Psychedelic Gospels to independently evaluate the growing body of evidence of entheogenic mushrooms in Christian art in order to resolve a controversial question regarding the possible role of entheogens in the history and origins of Christianity. (shrink)

Eighteenth-century art historian Johann Joachim Winckelmann (1717-1768) shared with Hegel a profound admiration for the art and culture of ancient Greece. Both viewed ancient Greece as, in some sense, an ideal to which the modern world might aspire—a pinnacle of spiritual perfection and originality that contemporary civilization might, through an understanding of ancient Greek culture, one day equal or surpass. This rather competitive form of nostalgia suggests a paradoxical demand to produce an original and higher state of culture through the (...) imitation of another. In Hegel’s writings, this paradox goes beyond the relation of the modern world to the ancient world—he exposes the same paradox in ancient Greece’s relation to its own predecessors. The solution to the latter paradox—the possibility of the realization of ancient Greece as an original and self-contained civilization despite its cultural debts—would also, then, be the key to repeating the success of the ancient world in the modern, the overcoming of modern Europe’s cultural debt to the ancient world. The present essay examines how this paradox is revealed and resolved in the writings of Winckelmann and Hegel, and shows how this strategy of culture production—as imputed to the ancient world and aspired to in the modern—simultaneously attempts to justify and conceal a self-deceptive practice of cultural and political conquest. My focus will be on the two writers’ interpretations of ancient Greek art since, as I will suggest, their solution to the paradox of culture production turns out to be modeled upon the role of ancient Greek art in the invention and actualization of a cultural ideal of beauty, unity, and self-containment. (shrink)

Introduction Introduction / Jan de Vries 1 Art in History / Gary Schwartz 7 History in Art / J. W. Smit 17 Pt. I Art and Reality Market Scenes As Viewed by an Art Historian / Linda Stone-Ferrier 29 Market Scenes As Viewed by a Plant Biologist / Willem A. Brandenburg 59 Marine Paintings and the History of Shipbuilding / Richard W. Unger 75 Skies and Reality in Dutch Landscape / John Walsh 95 Some Notes on Interpretation / E. de (...) Jongh 119 Are These Girls Really So Neat? On Kitchen Scenes and Method / Jochen Becker 139 Didactic and Disguised Meanings? Several Seventeenth-Century Texts on Painting and the Iconological Approach to Northern Dutch Paintings of This Period / Eric J. Sluijter 175 The Changing Face of Realism / Lyckle de Vries 209 Pt. II Art, Economy, and Society Art History / Jan de Vries 249 The Volume and Value of Paintings in Holland at the Time of the Dutch Republic / Ad van der Woude 285 Works of Art in Seventeenth-Century Amsterdam: An Analysis of Subjects and Attributions / John Michael Montias 331 Conclusion Science, Commerce, and Art: Neglected Topics at the Junction of History and Art History / David Freedberg 377 Biographical Notes on the Authors 429 Index. (shrink)