Philosophy of the Visual Arts

• I. The Idea of the Visual Arts 1: Jerome Stolnitz: The Aesthetic Attitude 2: Thomas Munro: On the Nature of the Visual Arts 3: George Dickie: The Myth of the Aesthetic Attitude 4: Benedetto Croce: Intuition, Technique and the Classification of the Arts 5: Gotthold Ephraim Lessing: On the Limits of Painting and Poetry II. Painting and the Pictorial Arts: Form and the Representation of the Visible World 6: Plato: A Copy Theory of Representation 7: E.H. Gombrich: Truth and the Stereotype: An Illusion Theory of Representation 8: Nelson Goodman: Reality Remade: A Denotation Theory of Representation 9: Kendall L. Walton: Looking at Pictures and Looking at Things 10: Stephanie Ross: Caricature 11: Clive Bell: The Aesthetic Hypothesis: Significant Form and Aesthetic: Emotion III. Painting and the Pictorial Arts: Wider Contexts 12: Wassily Kandinsky: Concerning the Spiritual in Art 13: Monroe C. Beardsley: Symbolism A. Psychology 14: Rudolf Arnheim: Art and Thought 15: Sigmund Freud: Leonardo da Vinci and a Memory of His Childhood 16: Herbert Read: The Forms of Things Unknown 17: Douglas N. Morgan: Psychology and Art Today: A Summary and Critique B. Religion 18: Etienne Gilson: The Religious Significance of Painting 19: Leo Steinberg: The Sexuality of Christ in Renaissance Art and in Modern Oblivion C. Politics and Society 20: Kenneth Clark: The Naked and the Nude 21: John Berger: Ways of Seeing Women 22: Why Have There Been No Great Women Artists? Linda Nochlin IV. Arts of the Camera 23: Andre Bazin: The Ontology of the Photographic Image 24: Susan Sontag: In Plato's Cave 25: Joel Snyder and Neil Walsh Allen: Photography, Vision, and Representation 26: Siegfried Kracauer: A Realist Theory of Film 27: Rudolf Arnheim: Film as Art 28: Francis Sparshott: Basic Film Aesthetics V. Sculpture, Architecture, and Hand-Crafted Objects 29: Herbert Read: The Discovery of Space 30: Tom Wolfe: The Worship of Art: Notes on the New God 31: Horatio Greenough: Form and Function 32: Nelson Goodman: How Buildings Mean 33: Michael Graves: A Case for Figurative Architecture 34: R.G. Collingwood: Art and Craft 35: Leon Rosenstein: The Aesthetic of the Antique 36: Octavio Paz: Use and Contemplation VI. Modern Developments 37: Arnold Berleant: Aesthetics and the Contemporary Arts 38: Arthur Danto: The Artworld 39: George Dickie: What is Art?: An Institutional Analysis 40: Joseph Margolis: The Ontological Peculiarity of Works of Art 41: Timothy Binkley: Piece: Contra Aesthetics VII. Art History and Museums 42: Erwin Panofsky: The History of Art as a Humanistic Discipline 43: Jenefer M. Robinson: Style and Significance in Art History and Art Criticism 44: Kendall L. Walton: Categories of Art 45: Nelson Goodman: Art and Authenticity The New Art History: A Symposium 46: What is "New" About the "New Art History"? Thomas Dacosta Kaufmann 47: Michael Marrinan: Cultural Institutions and the Topography of Art History 48: Arthur Danto: Old, New and Not So New Art History 49: Francis Sparshott: Showing and Saving, Looking and Learning: An Outsider's View of Art Museums 50: Hilde Hein: Exhibits and Artworks VIII. On the Borders of the Visual Arts 51: Francis Sparshott: Why Philosophy Neglects the Dance 52: Kathleen Higgins: Sweet Kitsch 53: Paul Bouissac: Circus, Clowns and Culture 54: Allen Carlson: Appreciation and the Natural Envoirnment 55: Donald Crawford: Nature and Art: Some Dialectical Relationships 56: Barbara Sandrisser: Rain 57: Curt Ducasse: The Art of Personal Beauty 58: 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