104 found
Order:
Disambiguations
David Carrier [106]David Stewart Carrier [1]
  1.  25
    The Mind and Its Depths by Richard Wollheim. [REVIEW]David Carrier - 1993 - Journal of Philosophy 90 (7):378-384.
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   43 citations  
  2.  4
    The Truth in Painting.David Carrier - 1988 - Journal of Philosophy 85 (4):219-223.
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   23 citations  
  3.  14
    Beyond the Brillo Box: The Visual Arts in a Post-Historical PerspectiveMark Tansey: Visions and Revisions.David Carrier & Arthur C. Danto - 1993 - Journal of Aesthetics and Art Criticism 51 (3):513.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   9 citations  
  4.  26
    Art and the Aesthetic.David Carrier - 1975 - Journal of Philosophy 72 (22):823-825.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   13 citations  
  5.  76
    Gavin Hamilton’s Oath of Brutus and David’s Oath of the Horatii: The Revisionist Interpretation of Neo-Classical Art.David Carrier - 1988 - The Monist 71 (2):197-213.
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  6.  9
    Museum Memories. History, Technology, Art.David Carrier & Didier Maleuvre - 2001 - Journal of Aesthetic Education 35 (2):122.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  7. Erwin Panofsky, Leo Steinberg, David Carrier: The Problem of Objectivity in Art Historical Interpretation.David Carrier - 1989 - Journal of Aesthetics and Art Criticism 47 (4):333-347.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  8.  8
    The Aesthetics of Comics.David Carrier & Michael A. Oliker - 2001 - Journal of Aesthetic Education 35 (4):119.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  9.  35
    Shadows and EnlightenmentShadows: The Depiction of Cast Shadows in Western Art.David Carrier, Michael Baxandall & E. H. Gombrich - 1996 - Journal of Aesthetics and Art Criticism 54 (2):200.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  10.  69
    Introduction: Danto and His Critics: After the End of Art and Art History.David Carrier - 1998 - History and Theory 37 (4):1–16.
    In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History . This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace . He then added in the Mellon lectures a sociological perspective on the (...)
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  11.  30
    MARSHALL, CHRISTOPHER R. Baroque Naples and the Industry of Painting: The World in the Workbench. Yale University Press, 2016, 352 Pp., 88 Color + 115 B&W Illus., $75.00 Cloth NAPOLI, NICHOLAS J. The Ethics of Ornament in Early Modern Naples: Fashioning the Certosa di San Martino. Burlington, VT: Ashgate, 2015, 430 Pp., 36 Color + 64 B&W Illus., $120.00 Cloth. [REVIEW]David Carrier - 2017 - Journal of Aesthetics and Art Criticism 75 (2):208-210.
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  12.  29
    Piero Della Francesca and His Interpreters: Is There Progress in Art History?David Carrier - 1987 - History and Theory 26 (2):150-165.
    The existence of conflicting interpretations in literature, history, and art history casts doubt on the ability of any interpretation to be true to the facts. The role of the art historian is complicated by this reconsideration of what is valuable in interpretation. Progress in the history of art is difficult to ascertain. The scope and diversity of twentieth-century criticism of Piero della Francesca's Renaissance frescoes is difficult to compare to his less extensive Renaissance criticism by Vasari. While the antirelativist would (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  13.  60
    Cogitamus Ergo Sumus.David Carrier - 1986 - The Monist 69 (4):521-533.
  14.  64
    Book Reviews. [REVIEW]David Carrier - 1986 - British Journal of Aesthetics 26 (3):84-85.
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  15.  32
    In Praise of Connoisseurship.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (2):159-169.
    Direct download (7 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  16. Three Kinds of Imagination.David Carrier - 1973 - Journal of Philosophy 70 (22):819-831.
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  17.  23
    The Object of Art: The Theory of Illusion in Eighteenth-Century France.David Carrier - 1983 - Journal of Aesthetics and Art Criticism 41 (4):455-456.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  18.  34
    The Test of Time: An Essay in Philosophical Aesthetics.David Carrier - 1984 - Journal of Philosophy 81 (4):226-230.
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  19.  9
    Introduction: Danto and His Critics: Art History, Historiography and After the End of Art.David Carrier - 1998 - History and Theory 37 (4):1-16.
    In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History. This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace. He then added in the Mellon lectures a sociological perspective on the current situation (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  20.  79
    Ekphrasis and Interpretation: Two Modes of Art History Writing.David Carrier - 1987 - British Journal of Aesthetics 27 (1):20-31.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  21.  52
    Remembering the Past: Art Museums as Memory Theatres.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (1):61–65.
  22.  38
    Art and its Spectators.David Carrier - 1986 - Journal of Aesthetics and Art Criticism 45 (1):5-17.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  23.  35
    The Presentness of Painting: Adrian Stokes as Aesthetician.David Carrier - 1986 - Critical Inquiry 12 (4):753-768.
    Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” in (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  24.  56
    Naturalism and Allegory in Flemish Painting.David Carrier - 1987 - Journal of Aesthetics and Art Criticism 45 (3):237-249.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  25.  43
    Gombrich and Danto on Defining Art.David Carrier - 1996 - Journal of Aesthetics and Art Criticism 54 (3):279-281.
  26.  13
    Walter Pater's "Winckelmann".David Carrier - 2001 - Journal of Aesthetic Education 35 (1):99-109.
    No categories
    Direct download (3 more)  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  27.  39
    A Reading of Goodman on Representation.David Carrier - 1974 - The Monist 58 (2):269-284.
    Nelson Goodman’s account of representation is complicated, often obscurely presented, and deeply original. Hence an exposition of that account is the necessary prolegomena to a critique. Formalizing his notation is a useful beginning.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  28.  53
    Interpreting Musical Performances.David Carrier - 1983 - The Monist 66 (2):202-212.
    Interpreting artworks involves “the overtone or implication of an obligation of a moral kind.” Here “moral” might be understood in two different ways. First, such obligation, like moral obligation, involves recognition of and submission to some law outside oneself. The law says “Do not kill” and so I intend my actions to conform with that standard; analogously, a performance presents that work created by the composer. Second, the act of interpretation may itself have moral value. Interpretation brings to life artworks (...)
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  29.  49
    Art Without its Artists?David Carrier - 1982 - British Journal of Aesthetics 22 (3):233-244.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  30.  38
    Chinese Art: How Different Could It Be From Western Painting?David Carrier - 2012 - History and Theory 51 (1):116-122.
    ABSTRACTWhen encountering something unfamiliar, it is natural to describe and understand it by reference to what is familiar. Commentary on Chinese landscape painting usually relies heavily upon analogies with Western art. James Elkins, concerned to understand the implications of this procedure, asks whether in seeing and writing about this art we ever can escape our Western perspectives. His problem is not just that he himself does not know Chinese. Even bilingual specialists or native Chinese speakers employ this vocabulary, for the (...)
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  31.  66
    Adrian Stokes and the Theory of Painting.David Carrier - 1973 - British Journal of Aesthetics 13 (2):133-145.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  32.  13
    Rosalind Krauss, David Carrier, and Philosophical Art CriticismRosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism.Daniel A. Siedell & David Carrier - 2004 - Journal of Aesthetic Education 38 (2):95.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  33.  22
    The Star as Icon: Celebrity in the Age of Mass Consumption by Daniel Herwitz.David Carrier - 2011 - Journal of Aesthetic Education 45 (2):117.
    Aestheticians have tended to focus their attention almost exclusively on high art, on museum painting and sculpture, classical music and literature, and architecture, leaving the popular arts to their colleagues in cultural studies. That seems a big mistake, for like it or not, popular movies and television attract enormous audiences everywhere, including very many people who take little interest in high art. This mass art creates stars, actors, and musicians who are so famous that everyone recognizes them. And celebrities such (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  34.  11
    Poussin's Paintings: A Study in Art-Historical Methodology.David Carrier - 1995 - Journal of Aesthetics and Art Criticism 53 (3):326-328.
  35.  32
    Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn From the Recent History of American Art Writing.David Carrier - 2005 - Journal of Aesthetic Education 39 (1):1-12.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  36.  7
    In Praise of Connoisseurship.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (2):159–169.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  37.  11
    Michelangelo's Nose: A Myth and Its MakerWhy Mona Lisa Smiles and Other Tales by Vasari.David Carrier & Paul Barolsky - 1992 - Journal of Aesthetics and Art Criticism 50 (3):249.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  38.  9
    Art Museums, Old Paintings, and Our Knowledge of the Past.David Carrier - 2001 - History and Theory 40 (2):170–189.
    Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context (...)
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  39.  24
    Winckelmann and Pater, Morelli and Freud: The Tropics of Art Historical Discourse.David Carrier - 1989 - History of the Human Sciences 2 (1):19-38.
  40.  25
    Sublime Poussin.David Carrier - 2003 - Common Knowledge 9 (1):167-167.
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  41.  16
    On Narratology.David Carrier - 1984 - Philosophy and Literature 8 (1):32-42.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  42.  10
    Marcel DuchampThe Position of Duchamp's "Glass" in the Development of His Art.David Carrier, Octavio Paz, Rachel Phillips, Donald Gardner & Lawrence D. Steefel - 1979 - Journal of Aesthetics and Art Criticism 38 (1):104.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  43.  33
    Art and its Canons.David Carrier - 1993 - The Monist 76 (4):524-534.
    My recent book, Principles of Art History Writing, presents and defends a relativistic theory of art history. That book describes the changing styles of acceptable interpretations of such artists as Piero, Caravaggio and David. The validity of an interpretation, I argue, must be judged relative to the standards of its time. At each time, there is a certain consensus about what kinds of interpretations are worth taking seriously. Because those standards change with the times, the interpretations admired by earlier generations (...)
    No categories
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  44.  21
    The Sense of Order by E. M. Gombrich. [REVIEW]David Carrier - 1980 - Journal of Philosophy 77 (3):179-181.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  45.  17
    Imagination. [REVIEW]David Carrier - 1978 - Journal of Philosophy 75 (1):40-44.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  46.  18
    The Test of Time by Anthony Savile. [REVIEW]David Carrier - 1984 - Journal of Philosophy 81 (4):226-230.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  47.  3
    Courbet's Realism.Realism, Writing, Disfiguration. On Thomas Eakins and Stephen Crane.David Carrier & Michael Fried - 1991 - History and Theory 30 (3):368.
  48.  20
    Reply to My Commentators.David Carrier - 2007 - Journal of Aesthetic Education 41 (2):22-24.
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  49.  11
    Review: How Can Art History Use its History? [REVIEW]David Carrier - 2007 - History and Theory 46 (3):468-476.
  50.  20
    Art History in the Mirror Stage: Interpreting Un Bar aux Folies Bergères.David Carrier - 1990 - History and Theory 29 (3):297-320.
    There are a variety of interpretations of Manet's Un Bar auxFolies Bergères, but there is no genuinely neutral standpoint from which to judge their seemingly opposed accounts. T. J. Clark's analysis involves placing the work in the context of critical commentary by the artist's contemporaries, and examining the exact place and role of the mirror. Just as Manet painted two versions of the picture, so Clark has published two analyses of it; and just as we can ask whether the artist (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
1 — 50 / 104