Richard Wollheim's (1923-2003) was the leading voice in the philosophy of art in the Anglo-American tradition during the second half of the twentieth century. This volume serves two purposes. First, at the time of his death, Wollheim was composing a short book, comprising two lectures first delivered, respectively, at Barcelona and at Lawrence, Kansas--versions of which appeared in 1994 ('On Formalism and Its Kinds') and 2001 ('On Formalism and Pictorial Organisation')--plus substantial new material. The whole text is reproduced here for the first time. The material offers new considerations in favour of his psychological conception of pictorial art as against the semiotic conception, arguments for the inadequacy of formalism, and close and compelling analyses of pictures by Ruisdael, Monet, and others, using in novel ways his well-known ideas in pictorial aesthetics to arrive at a theory of pictorial organisation. Second, although Wollheim was well-served by various collections of his work to 1994, at that point some important articles and reviews had yet to be selected for republication--in some cases available only in locations difficult to access--as well as his having published further work after 1994. The present volume fills both gaps: it thus provides the final pieces for a complete collection of Wollheim's works in the philosophy of art.
This is one of three planned volumes of Wollheim's previously uncollected work for Oxford University Press. The others are Writing on Political Philosophy, edited by Jonathan Wolff; and Writing on Philosophy and the Mind, edited by Garry Hagberg.
By:
Richard Wollheim
Volume editor:
Gary Kemp (University of Glasgow),
Elisabetta Toreno (Open University)
Imprint: Oxford University Press
Country of Publication: United Kingdom
Dimensions:
Height: 240mm,
Width: 160mm,
Spine: 25mm
Weight: 750g
ISBN: 9780198890126
ISBN 10: 0198890125
Pages: 368
Publication Date: 15 May 2025
Audience:
Professional and scholarly
,
Undergraduate
Format: Hardback
Publisher's Status: Active
Introduction Part I. Lectures 1: Pictorial Form and Pictorial Organization Part II. 2: Style Now (1975) 3: Aesthetics, Anthropology and Style: Some Programmatic Remarks (1978) 4: Style in Painting (1995) Part III. The Theory of Pictorial Representation 5: On Pictorial Representation (1998) 6: What Makes Representational Painting Truly Visual? (2003) 7: In Defense of Seeing-In (2003) Part IV. 8: Forms, Elements and Modernity: Reply to Michael Podro (1966) 9: A Critic of Our Time (1959) 10: The Image in Form: Introduction (1972) 11: Imagination and Pictorial Understanding (1986) 12: A Note on Mimesis as Make-Believe (1991) 13: Danto's Gallery of Indiscernibles (1993) 14: Walter Pater: From Philosophy to Art (1995) 15: Review of Problems of Art, by Susanne K. Langer (1957) 16: Professor Gombrich [Review of Meditations on a Hobby Horse] (1964) 17: Wittgenstein on Art (1966) Part V. 18: Sociological Explanations of the Arts (1956) 19: On Expression and Expressionism (1964) 20: Neurosis and the Artist (1975) 21: On the Question 'Why Is Painting an Art?' (1984) 22: Art, Interpretation, and the Creative Process (1984) 23: The Core of Aesthetics (1991) 24: Why Is Drawing Interesting? (2005)
Richard Wollheim (1923-2003) Gary Kemp is Senior Lecturer at the University of Glasgow. He is the author of What Is This Thing called Philosophy of Language? (3rd edition, Routledge, 2024) and Quine versus Davidson: Truth, Reference, and Meaning (OUP, 2012). Elisabetta Toreno is Lecturer at Open University. She is the author of Netherlandish and Italian Female Portraiture in the Fifteenth Century: Gender, Identity, and the Tradition of Power (Amsterdam University Press, 2022).
