Philosophy of the Visual Arts

• I. The Idea of the Visual Arts1: Jerome Stolnitz: The Aesthetic Attitude2: Thomas Munro: On the Nature of the Visual Arts3: George Dickie: The Myth of the Aesthetic Attitude4: Benedetto Croce: Intuition, Technique and the Classification of the Arts5: Gotthold Ephraim Lessing: On the Limits of Painting and PoetryII. Painting and the Pictorial Arts: Form and the Representation of the Visible World6: Plato: A Copy Theory of Representation7: E.H. Gombrich: Truth and the Stereotype: An Illusion Theory of Representation8: Nelson Goodman: Reality Remade: A Denotation Theory of Representation9: Kendall L. Walton: Looking at Pictures and Looking at Things10: Stephanie Ross: Caricature11: Clive Bell: The Aesthetic Hypothesis: Significant Form and Aesthetic: EmotionIII. Painting and the Pictorial Arts: Wider Contexts12: Wassily Kandinsky: Concerning the Spiritual in Art13: Monroe C. Beardsley: SymbolismA. Psychology14: Rudolf Arnheim: Art and Thought15: Sigmund Freud: Leonardo da Vinci and a Memory of His Childhood16: Herbert Read: The Forms of Things Unknown17: Douglas N. Morgan: Psychology and Art Today: A Summary and CritiqueB. Religion18: Etienne Gilson: The Religious Significance of Painting19: Leo Steinberg: The Sexuality of Christ in Renaissance Art and in Modern OblivionC. Politics and Society20: Kenneth Clark: The Naked and the Nude21: John Berger: Ways of Seeing Women22: Why Have There Been No Great Women Artists? Linda NochlinIV. Arts of the Camera23: Andre Bazin: The Ontology of the Photographic Image24: Susan Sontag: In Plato's Cave25: Joel Snyder and Neil Walsh Allen: Photography, Vision, and Representation26: Siegfried Kracauer: A Realist Theory of Film27: Rudolf Arnheim: Film as Art28: Francis Sparshott: Basic Film AestheticsV. Sculpture, Architecture, and Hand-Crafted Objects29: Herbert Read: The Discovery of Space30: Tom Wolfe: The Worship of Art: Notes on the New God31: Horatio Greenough: Form and Function32: Nelson Goodman: How Buildings Mean33: Michael Graves: A Case for Figurative Architecture34: R.G. Collingwood: Art and Craft35: Leon Rosenstein: The Aesthetic of the Antique36: Octavio Paz: Use and ContemplationVI. Modern Developments37: Arnold Berleant: Aesthetics and the Contemporary Arts38: Arthur Danto: The Artworld39: George Dickie: What is Art?: An Institutional Analysis40: Joseph Margolis: The Ontological Peculiarity of Works of Art41: Timothy Binkley: Piece: Contra AestheticsVII. Art History and Museums42: Erwin Panofsky: The History of Art as a Humanistic Discipline43: Jenefer M. Robinson: Style and Significance in Art History and Art Criticism44: Kendall L. Walton: Categories of Art45: Nelson Goodman: Art and AuthenticityThe New Art History: A Symposium46: What is "New" About the "New Art History"? Thomas Dacosta Kaufmann47: Michael Marrinan: Cultural Institutions and the Topography of Art History48: Arthur Danto: Old, New and Not So New Art History49: Francis Sparshott: Showing and Saving, Looking and Learning: An Outsider's View of Art Museums50: Hilde Hein: Exhibits and ArtworksVIII. On the Borders of the Visual Arts51: Francis Sparshott: Why Philosophy Neglects the Dance52: Kathleen Higgins: Sweet Kitsch53: Paul Bouissac: Circus, Clowns and Culture54: Allen Carlson: Appreciation and the Natural Envoirnment55: Donald Crawford: Nature and Art: Some Dialectical Relationships56: Barbara Sandrisser: Rain57: Curt Ducasse: The Art of Personal Beauty58: Oscar Wilde: Life as the Imitation of Art

scholarly and well-organized Lydia Goehr, Boston University an interesting and different anthology ... provid[es] a broad range of perspectives Timothy Binkley, Institute for Computers in the Arts