By Paul Smith, Carolyn Wilde

ISBN-10: 0631207627

ISBN-13: 9780631207627

The better half offers an obtainable serious survey of Western visible paintings concept from resources in Classical, Medieval and Renaissance notion via to modern writings.

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The continued functioning (of both painting and theatre) as major expressions of the human spirit, are held to depend on whether or not painter and dramatist are able to undo that state of affairs, to de-theatricalize beholding and so make it once again a mode of access to truth and conviction’ (Fried, 1980, p. 104). In these and other ways the principles of istoria, which Alberti laid before the artist as though they gave clear direction, become themselves a troubled topic of theoretical attention.

But a picture, sculpture or mimema cannot share all of the properties with the thing represented. If it did, it would not be a representation or mimema of that thing but a second example of it (Plato’s Cratylus 432A–B). Finally, the only function of pictures and mimemata is to be similar to a certain extent to the things represented (Plato’s Sophist 240B). Pictures and mimemata are made in order to be seen or heard and thereby produce mental images of individual things they themselves are not. Thus, pictures and mimemata are man-made things intended to raise mental images of individual things with their contingent shapes and qualities in the minds of their listeners and spectators.

302, 305 Philo of Alexandria (1970) De opificio mundi 4, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, p. 22, trans. by F. C. Conybeare, Loeb Classical Library, pp. 173–9 Plato (1956) The Republic 507B–C, 595B, 598A, trans. by Paul Shorey, Loeb Classical Library, pp. 96, 418, 430 27 Tradition and the Academy Plato (1968) The Sophist 240A–B, 265B–266D, 268B–C, trans. by Harold North Fowler, Loeb Classical Library, pp. 61, trans. by H. Rackham, Loeb Classical Library, vol.

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A Companion to Art Theory by Paul Smith, Carolyn Wilde


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