Estetika 52 (2):152-163 (2015)

Abstract
Collingwood’s ‘art-proper’ definition has been controversial. Wollheim argues that his Theory of Imagination assumes that the nature of the artwork exists solely in the mind, committing him to the Ideal Theory. Consequently, when Collingwood states that the audience is essential for the artist and the artwork, he is being inconsistent. In contrast, Ridley claims that Collingwood’s Expression Theory saves him from Wollheim’s accusations; hence he is consistent and does not support the Ideal Theory. I demonstrate that Collingwood both adheres to the Ideal Theory and is consistent in his art theory. I show that imagination is the sufficient condition of art and expression is the process of art’s coming into existence. I argue that Collingwood is consistent in his theory because the audience and the externalization of the work are needed for an appreciation and understanding of the artwork as either good or bad, as either a work of a corrupt consciousness or not. Hence, an account of the role of externalization is a contribution to the epistemology, not the ontology, of art
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References found in this work BETA

The Idea of History.Robin George Collingwood - 1946 - Oxford University Press.
Robin George Collingwood.Giuseppina D'Oro & James Connelly - 2010 - Stanford Encyclopedia of Philosophy.
The Croce‐Collingwood Theory as Theory.Gary Kemp - 2003 - Journal of Aesthetics and Art Criticism 61 (2):171-193.
Is Ridley Charitable to Collingwood?John Dilworth - 1998 - Journal of Aesthetics and Art Criticism 56 (4):393-396.
The Croce-Collingwood Theory of Art.A. Donagan - 1958 - Philosophy 33 (125):162-167.

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