104 Sentences With "theory of art" | Random Sentence Generator

We can guess that in her case she's likely referring to her inability to solidify a singular psychological theory of art.

It's simply the nature of biopics, from Julian Schnabel's "Basquiat" to Florian Henckel von Donnersmarck's Gerhard Richter-inspired "Never Look Away," that they buy into the "great man" theory of art.

His review of a Sherrie Levine show at Mary Boone encapsulates an entire theory of art exhibitions: "Levine's work, in this show, functions as a side effect of its container" (461).

Cambridge: Cambridge University Press theory of art,Bulgakowa, O. (2014). From expressive movement to the "basic problem": The Vygotsky-Luria-Eisensteinian theory of art. In A. Yasnitsky, R. Van der Veer & M. Ferrari (Eds.), The Cambridge Handbook of Cultural-Historical Psychology (423-448). Cambridge: Cambridge University Press "dialogical science",Bertau, M.-C. (2014).

He also became a more conservative critic, espousing the theory of "art for art's sake" along with Alexander Druzhinin and Pavel Annenkov.

This was the Australian painter Max Meldrum, later known for his "tonal style" of painting. He studied under Meldrum and adopted his techniques and theory of art.

A theory of art presumes each of us humans employs different conceptions of this unattainable art concept and as a result we must resort to worldly human investigation.

A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions and a single counterexample overthrows such a definition. Theorizing about art, on the other hand, is analogous to a theory of a natural phenomenon like gravity. In fact, the intent behind a theory of art is to treat art as a natural phenomenon that should be investigated like any other.

From 1997 to 2003, he was a professor in art theory at the Bergen National Academy of the Arts. As an art theorist, Vilks is a proponent of the institutional theory of art.

Generalitat de Catalunya, 1994. Column in Andorra's National Auditorium square. Ordino (Andorra). Sculpture and stained glass work, 2000 1969-1976 teaches history and theory of art in the General Study of Girona, linked to the UAB.

Kosuth's thematization of semantic congruities and incongruities can be seen as a reflection of the problems which the relations between concept and presentation pose. Kosuth uses the related questions, "how meanings of signs are constituted" and "how signs refer to extra-lingual phenomena" as a fundament to discuss the relation between concept and presentation. Kosuth tries to identify or equate these philosophical problems with the theory of art. Kosuth changes the art practice from hand-made originals to notations with substitutable realizations, and tries to exemplify the relevance of this change for the theory of art.

Malraux argues that, while art has sometimes been oriented towards beauty and the sublime (principally in post- Renaissance European art) these qualities, as the wider history of art demonstrates, are by no means essential to it.Derek Allan. Art and the Human Adventure. André Malraux's Theory of Art.

Mengs wrote about art in Spanish, Italian, and German. He reveals an eclectic theory of art that sees perfection as attainable through a well-balanced fusion of diverse excellences: Greek design combined with the expression of Raphael, the chiaroscuro of Correggio, and the colour of Titian.

Della Vecchia also opened an academy in his house where live drawing classes were organised. Gregorio Lazzarini was one of his pupils probably shortly after 1667. Gregorio Lazzarini was later the teacher of Giovanni Battista Tiepolo. Della Vecchia also taught classes on the theory of art.

Boris Viktorovich Rauschenbach (; born Boris-Ivar Rauschenbach; , Petrograd – 27 March 2001, Moscow) was a preeminent Soviet physicist and rocket engineer, who developed the theory and instruments for interplanetary flight control and navigation in 1955-1960s. He is also notable for his studies in Christian theology and theory of Art.

Crucial to his thinking is the idea that non-verbal representation is not a quasi-linguistic form of communication. It relies on the de facto socially efficacious substitutability of one thing for another thing even in cases where relevant properties are not shared. He argues that this perceptually mediated substitutive felicity must have been available to pre-linguistic organisms or language itself could not possibly have evolved. Brook’s elucidation of the concept of art, as what he at first called ‘experimental modelling of actual and possible worlds,’ is first comprehensively spelled out in his paper ‘A new theory of art’.[4]‘A new theory of art.’ British Journal of Aesthetics 20 (1980): 305-321.

Charles Townsend Harrison (11 February 1942 – 6 August 2009), BA Hons (Cantab), MA (Cantab), PhD (London) was a prominent UK art historian who taught Art History for many years and was Emeritus Professor of History and Theory of Art at the Open University. He was tutor in Art History, Open University, 1977–2005, Reader in Art History 1985-1994, Professor of the History & Theory of Art, 1994–2008, Professor Emeritus, 2008–2009; Visiting Professor, University of Chicago 1991 and 1996, Visiting Professor, University of Texas, 1997. In addition to being an academic and art critic he was also a curator and a member of the Art & Language Group and edited their journal Art- Language.

Throughout his life Hess was an active Marxist and contributed articles to Marxism Today, the magazine of the Communist Party of Great Britain. At the University of Sussex he was Reader in the history and theory of art. In 2010 he was the subject of a Sheldon Memorial Trust Lecture by John Ingamells.

"Wpływologia" ("influenceology") is a Polish term that is sometimes used within the history and theory of literature, the history and theory of art, the history and theory of music, and even within general history. The term expresses skepticism about exaggerated attempts at tracking down alleged "influences" among artists, scholars and their respective works.

Sholom Gherman (born 1920) is a philosopher from Russia. Gherman graduated from Leningrad State University with an MA in Philosophy. From there, he taught philosophy in "higher schools of art", according to his biography in the 1967 book Socialism: Theory and Practice. He also published several other books of philosophy and theory of art.

Other biographical sources, including fellow combatants, praise Malraux's leadership and sense of camaraderie. At any rate, Malraux's participation in such an historical event as the Spanish Civil War inevitably brought him adversaries, as well as supporters, resulting in a polarization of opinion.Derek Allan, Art and the Human Adventure, André Malraux's Theory of Art (Amsterdam: Rodopi, 2009). pp. 25-27.

As a result of attacks on the traditional aesthetic notions of beauty and sublimity from post-modern thinkers, analytic philosophers were slow to consider art and aesthetic judgment. Susanne LangerSusanne Langer, Feeling and Form: A Theory of Art (1953) and Nelson GoodmanNelson Goodman, Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill, 1968. 2nd ed.

In philosophical terminology, abstraction is the thought process wherein ideasBut an idea can be symbolized. "A symbol is any device whereby we are enabled to make an abstraction." -- p.xi and chapter 20 of Suzanne K. Langer (1953), Feeling and Form: a theory of art developed from Philosophy in a New Key: New York: Charles Scribner's Sons.

V.Exler, Elizabeth. “Paul Hartal: A Manifesto on Lyrical Conceptualism.” Manhattan Arts. November–December 1992, p. 14. introducing Lycoism as a new art idea on the “periodic table of art.” In this work, Hartal proposes a theory of art which runs contrary to what he claims is the traditional belief, that emotion and intellect are at odds with each other.

Symbols are the basis of all human understanding and serve as vehicles of conception for all human knowledge.Langer, Susanne K. A Theory of Art, Developed From: Philosophy in a New Key. New York: Charles Scribner’s Sons, 1953. Symbols facilitate understanding of the world in which we live, thus serving as the grounds upon which we make judgments.

Alva Noë (born 1964) is an American philosopher. He is Professor of Philosophy at the University of California, Berkeley. The focus of his work is the theory of perception and consciousness. In addition to these problems in cognitive science and the philosophy of mind, he is interested in analytic phenomenology, the theory of art, Ludwig Wittgenstein, enactivism, and the origins of analytic philosophy.

In the mid-1970s Laing was co-editor of one of the first reference books on rock music, The Encyclopedia of Rock.Justin D. Burton, "JPMS Online: POP/IASPM-US Sounds of the City Issue, David Laing", IASPM-US, 22 October 2012. Retrieved 2 July 2013. In 1978 he published The Marxist Theory of Art, written after moving to Hebden Bridge in Yorkshire.

The discipline of aesthetics, which originated in the eighteenth century, mistook this transient state of affairs for a revelation of the permanent nature of art.Derek Allan, Art and the Human Adventure, André Malraux's Theory of Art (Amsterdam: Rodopi, 2009) Brian Massumi suggests to reconsider beauty following the aesthetical thought in the philosophy of Deleuze and Guattari.Massumi, Brian, (ed.), A Shock to Thought. Expression after Deleuze and Guattari.

Jaroslav Volek (15 July 1923, Trenčín – 23 February 1989, Prague) was a Czech musicologist, semiotician who developed a theory of modal music. His theory included ideas of poly-modality and alteration of notes that he called "flex," which result in what he called the system of flexible diatonics. He applied this theory to the work of Béla Bartók and Leoš Janáček. He wrote General Theory of Art based on semiotic concepts in 1968.

1980 pp. 36–43 The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation.Martin Heidegger, "The Origin of the Work of Art", in Poetry, Language, Thought, (Harper Perennial, 2001).

Signac wrote several important works on the theory of art, among them, From Eugène Delacroix to Neo-Impressionism, published in 1899. It is a monograph devoted to Johan Barthold Jongkind (1819–1891), and was published in 1927. He also authored several introductions to the catalogues of art exhibitions and many other writings yet to be published. Politically, he was an anarchist, as were many of his friends, including Félix Fénéon and Camille Pissarro.

In 2004, he began writing his PhD thesis at the University of Freiburg, Germany under Prof. Dr. Angeli Janhsen. Džalto successfully defended his thesis in 2006, becoming the youngest doctor of philosophy in the humanities in Germany and Southeast Europe.(Ksenija Pavlovic, 10/30 Exhibition Catalogue, Belgrade: 2010, 5–6) Since 2007, he has been a university professor of history and theory of art and of Orthodox Christian theology and religious studies.

He is an influential philosopher of art working in the analytical tradition. His institutional theory of art inspired both supporters who produced variations on the theory as well as detractors. One of his more influential works is The Century of Taste (1996), an inquiry into several eighteenth-century philosophers' treatments of the subject. The bulk of the work is devoted to championing David Hume's treatment of the subject over that of Immanuel Kant.

Albany, Auckland, buried together with his mother, Teresa. Arthur Rex Dugard "Rex" Fairburn (2 February 1904 – 25 March 1957) was a New Zealand poet who was born and died in Auckland. He attended Auckland Grammar School, where he first met R. A. K. Mason, and worked at various jobs, including relief work on the roads. Later he tutored in English and lectured on the history and theory of Art at Elam School of Art, Auckland University College.

Retrieved January 5, 2014. After leaving Gillespie again, Kelly formed his own trio. Kelly was much in demand as a sideman for recordings and appeared on albums by most of the major jazz leaders in the late 1950s and early 1960s. In April 1957, for instance, he appeared as a guest in an enlarged version of Art Blakey's Jazz Messengers, for an album later released as Theory of Art;Gourse, Leslie (2002) Art Blakey: Jazz Messenger. pp. 64–65.

Yuan Gong with his artwork "Perhaps I understand nothing", 2013. Yuan Gong (, born 1961 in Shanghai), is a Chinese contemporary artist. He has obtained a PhD degree in theory of art at the Chinese National Academy of Arts in 2012, but has immersed himself in different aspects of Chinese contemporary art since the 1990s. Being both creator and researcher, designer and planner, Yuan is a multiple facets artist playing at the interface of conceptual art, performance and fine arts.

The impulse to incorporate historical material into literary texts has been an intermittent feature of literature in the west since its earliest days. Aristotle's theory of art is based on the use of putatively historical events and characters. Especially after the development of modern mass-produced literature, there have been genres that relied on history or then-current events for material. English Renaissance drama, for example, developed subgenres specifically devoted to dramatizing recent murders and notorious cases of witchcraft.

Robert C. Morgan received his M.F.A. in Sculpture from the University of Massachusetts, Amherst in 1975 and his Ph.D. in art education from New York University in 1978. Professor Morgan has had an extensive academic career. He has taught at New York University, Wichita State University, the University of Rochester, the School of Visual Arts, Barnard College, and Columbia University. From 1981- 2001, he was Professor of the History and Theory of Art at the Rochester Institute of Technology.

This has now been widely acknowledged as a fact by studies of the period,Anselm Jappe, 1999, p. 81.Richard Gombin(1971).Marie Luise Syring (1998) (editor) Um 1968: konkrete Utopien in Kunst und Gesellschaft, quotation: > By far the greatest influence that the theory of art and aesthetics > exercised upon the protest movement of students and left-wing intellectuals > was in all likelihood that of the Situationists, something which practically > nobody recalls today. Demonet, Michel et al.

Sirén was born in Helsinki. He held the J.A. Berg Professorship of the History and Theory of Art at the University of Stockholm 1908-1923On the J. A. Berg professorship and its holders, see "Professorer i konsthistoria", [appendix] in Britt-Inger Johansson & Hans Pettersson (eds.), 8 kapitel om konsthistoriens historia i Sverige, Stockholm: Rasters förlag, 2000, p. 248-251. and was Keeper of painting and sculpture at Nationalmuseum 1928-1945. He died in Stockholm, aged 87.

In his work Gottfried Boehm is particularly influenced by hermeneutics and phenomenology and by the hermeneutic thought of Hans-Georg Gadamer. He has worked on the theory of art and perception in the Renaissance, the 19th and 20th centuries, on contemporary art and on general questions of modernity. Recently he has been particularly prominent for his contributions to the history and theory of images, initiating an iconic turn. Beyond this he has advanced the concept of iconic difference.

The institutional theory of art is a theory about the nature of art that holds that an object can only become art in the context of the institution known as "the artworld". Addressing the issue of what makes, for example, Marcel Duchamp's "readymades" art, or why a pile of Brillo cartons in a supermarket is not art, whereas Andy Warhol's famous Brillo Boxes (a pile of Brillo carton replicas) is, the art critic and philosopher Arthur Danto wrote in his 1964 essay "The Artworld": According to Robert J. Yanal, Danto's essay, in which he coined the term artworld, outlined the first institutional theory of art. Versions of the institutional theory were formulated more explicitly by George Dickie in his article "Defining Art" (American Philosophical Quarterly, 1969) and his books Aesthetics: An Introduction (1971) and Art and the Aesthetic: An Institutional Analysis (1974). An early version of Dickie's institutional theory can be summed up in the following definition of work of art from Aesthetics: An Introduction: Dickie has reformulated his theory in several books and articles.

Neither of these criteria is necessary for art status, but both are parts of subsets of these ten criteria that are sufficient for art status. Gaut’s definition also allows for many subsets with less than nine criteria to be sufficient for art status, which leads to a highly pluralistic theory of art. The theory of art is also impacted by a philosophical turn in thinking, not only exemplified by the aesthetics of Kant but is tied more closely to ontology and metaphysics in terms of the reflections of Heidegger on the essence of modern technology and the implications it has on all beings that are reduced to what he calls 'standing reserve', and it is from this perspective on the question of being that he explored art beyond the history, theory, and criticism of artistic production as embodied for instance in his influential opus: The Origin of the Work of Art Christian Norberg-Schulz, Genius Loci, Towards a Phenomenology of Architecture (New York: Rizzoli, 1980). This has had also an impact on architectural thinking in its philosophical roots.

In “The Work of Art in the Age of Mechanical Reproduction” (1935) Walter Benjamin presents the thematic bases for a theory of art by quoting the essay "The Conquest of Ubiquity" (1928), by Paul Valéry, to establish how works of art created and developed in past eras are different from contemporary works of art; that the understanding and treatment of art and of artistic technique must progressively develop in order to understand a work of art in the context of the modern time.

In this regard he reflected often on the writing and reading of literature. He wrote and lectured on the “truth” of poetry, emphasizing its aesthetic value as opposed to its moral value. He also wrote on the puzzling relationship of words to music in “The Expression Theory of Art.” Extensive marginal notes filling his copies of Ulysses and Finnegans Wake indicate how consumed he was by Joyce's word play and how he appropriated a sensitivity to word play in his own writing style.

Research have later extended the concept to topics other than synesthesia and as it turned out applicable to everyday perception the concept have developed into a theory of how we perceive. For example ideasthesia has been applied to the theory of art and could bear important implications in explaining human conscious experience, which, according to ideasthesia, is grounded in how we activate concepts.Mroczko-Wąsowicz, A., Nikolić D. (2014) Semantic mechanisms may be responsible for developing synesthesia. Frontiers in Human Neuroscience 8:509.

Hume's ideas about aesthetics and the theory of art are spread throughout his works, but are particularly connected with his ethical writings, and also the essays "Of the Standard of Taste" and "Of Tragedy" (1757). His views are rooted in the work of Joseph Addison and Francis Hutcheson. In the Treatise (1740), he touches on the connection between beauty & deformity and vice & virtue. His later writings on the subject continue to draw parallels of beauty and deformity in art with conduct and character.

She later studied textile design and etching at the Central School of Arts and Crafts (now Central Saint Martins College). This was part of a combined course (1945–49) that also involved studying the history and theory of art at the University of Edinburgh, where she gained a master's degree, followed by postgraduate courses in textile design and etching, the latter at the Central School of Arts and Crafts in London (now Central Saint Martins College of Arts and Design).

In SOAS's Department of Art & Archaeology, Screech is a Professor of the history of art. Professor Screech's particular areas of interest are the history of Japanese art; Edo painting; contacts between Japan and Europe in the Edo Period; history of science ; and the theory of art history. He was elected to a Chair in the history of art in 2006. Screech has also served as Head of the Department of the History of Art & Archaeology at SOAS and of the School of Arts.

The range of interests of Sergei Isaev entered the history of philosophy and aesthetics, French literature, avant-garde theater. In 1991, he got a doctorate in Søren Kierkegaard. In the same year, together with his wife Natalia published book of translations of several treatises Kierkegaard's Fear and Trembling. He is author of more than 40 papers on the history and theory of art, theatrical aesthetics and semiotics of theater in Russia, published in magazines as Moscow observer, Theatres, Modern Drama, in Italy, France and Japan.

Psychiatrist Carl Gustav Jung's theory of inspiration suggests that an artist is one who was attuned to racial memory, which encoded the archetypes of the human mind. The Marxist theory of art sees it as the expression of the friction between economic base and economic superstructural positions, or as an unaware dialog of competing ideologies, or as an exploitation of a "fissure" in the ruling class's ideology. In modern psychology inspiration is not frequently studied, but it is generally seen as an entirely internal process.

The formalist theory of art asserts that we should focus only on the formal properties of art—the "form", not the "content".Noël Carroll, Philosophy of Art: A Contemporary Introduction, Routledge, 2012, p. 148. Those formal properties might include, for the visual arts, color, shape, and line, and, for the musical arts, rhythm and harmony. Formalists do not deny that works of art might have content, representation, or narrative-rather, they deny that those things are relevant in our appreciation or understanding of art.

A Night in Tunisia is a 1957 jazz album by Art Blakey & the Jazz Messengers, released by the RCA Victor subsidiary label Vik.RCA Vik Record Label Discography, accessed November 30, 2015 It features the only recorded instances of saxophonists Jackie McLean and Johnny Griffin playing together. The album's original five tracks were augmented by up to three alternative takes on CD reissues. The album was also reissued under the title Theory of Art, with two nonet tracks – "A Night at Tony's" and "Social Call" – added.

The State Hermitage Youth Education Center (Russian: Молодёжный образовательный центр Государственного Эрмитажа), is a contemporary art education program in Saint Petersburg, Russia that is part of The Hermitage Museum. The program is offered for all students, whether from St. Petersburg, other Russian cities or from abroad. Activities include lectures on the history and theory of art, exhibitions of contemporary art, masterclasses, and access to Museum curators and collections.Official website of The Youth Center There are also special semester programs for students studying from abroad.

Croce's work Breviario di estetica (The Essence of Aesthetics) appears in the form of four lessons (quattro lezioni) in aesthetics that he was asked to write and deliver at the inauguration of Rice University in 1912. He declined an invitation to attend the event, but he wrote the lessons and submitted them for translation so that they could be read in his absence. In this brief, but dense, work, Croce sets forth his theory of art. He believed that art is more important than science or metaphysics since only art edifies us.

The last years of his life were devoted chiefly as a literary critic. He aimed sharp criticism at the utilitarian theory of art espoused by the late Svetozar Marković, who accentuated the social role of literature in Realism. Quite the opposite, Nedić emphasized the aesthetic side of the lyric poem, using Vojislav Ilić's work as examples. In 1893 he founded and edited Srpski pregled, a literary review, for which he also acted as a literary and dramatic critic, and the influence of his individuality soon made itself noticed.

During the last months of the war, he finally managed to convince his superiors to transfer him to front-line service and fought in the 5th Legions' Infantry Regiment. Demobilized in 1921, Niewiadomski returned to the Ministry of Culture and continued his work there as a clerk. However, on November 8, 1921, after Antoni Ponikowski's government refused to grant Niewiadomski's department a higher budget, he resigned his post. He then devoted himself to writing and prepared several monographs on 19th- and 20th-century Polish painting, and on the theory of art.

Malraux's participation in major historical events such as the Spanish Civil War inevitably brought him determined adversaries as well as strong supporters, and the resulting polarization of opinion has colored, and rendered questionable, much that has been written about his life. Fellow combatants praised Malraux's leadership and sense of camaraderieDerek Allan, Art and the Human Adventure: André Malraux's Theory of Art (Amsterdam: Rodopi, 2009). pp. 25–27. While André Marty of the Comintern called him as an "adventurer" for his high profile and demands on the Spanish Republican government.Beevor, p.

In summary, Delville believed that art is the expression of the Ideal (or spiritual) in material form and is founded on the principle of Ideal Beauty, in other words Beauty that is the manifestation of the Ideal, or spiritual realm, in physical objects. Contemplating objects that manifest Ideal Beauty allows us to perceive, if only fleetingly, the spiritual dimension and we are transfigured as a result.For a detailed discussion of Delville's theory of art and Beauty, see: Brendan Cole, Jean Delville, Art between Nature and the Absolute., especially the detailed chapter four, pp. 150ff.

Gorski sees poets in American society as a disenfranchised minority group with a history of prosecution by the American government for obscenity when exercising the freedom of speech. "Experimental and avant-garde artists and poets were demonized during the early 1990s by the efforts of a conservative agenda to eliminate funding for the National Endowment for the Arts (NEA) during the late 1980s and to remove art studies from primary education."Richard Meyer, The Jesse Helms Theory of Art, Spring 2003, No. 104. Massachusetts Institute of Technology Press; pp.

In the 20th century Ezra Pound's poem "Homage to Sextus Propertius" cast Propertius as something of a satirist and political dissident,Slavitt, p. 8 and his translation/interpretation of the elegies presented them as ancient examples of Pound's own Imagist theory of art. Pound identified in Propertius an example of what he called (in "How to Read") 'logopoeia', "the dance of the intellect among words." Gilbert Highet, in Poets in a Landscape, attributed this to Propertius' use of mythic allusions and circumlocution, which Pound mimics to more comic effect in his Homage.

The Bachelor of Science degree is offered in the areas of Biology, Industrial Microbiology, Industrial Biotechnology, Chemistry, Geology, Pure Mathematics, Nursing, Physical Sciences, Pre-Medical Studies, Theoretical Physics, Computer Science, and Mathematics Education. A Minor in Atmospheric Sciences and Meteorology is also offered by the Department of Physics. The Bachelor of Arts degree is offered in English, Hispanic Studies, French Language and Literature, Philosophy, Comparative Literature, Plastic Arts, Theory of Art, History, General Social Sciences, Sociology, Political Science, Psychology, Economics, and Physical Education. It also offers a Film Certificate through the English Department.

The Humanities, Social Sciences, Business and Management Faculty is the biggest faculty of the University regarding some educational programs as well as the number of students. The priority here is to study History and Theory of Art, including theater, film, visual arts and architecture. At the same time, the faculty pays particular attention to the development of the specialties that do not belong to the humanitarian sphere but directly link to Arts and Culture. These include journalism – with the focus on culture as well as cultural tourism and arts management.

Umberto Baldini Umberto Baldini (November 9, 1921 – August 16, 2006) was an art historian and specialist in the theory of art restoration. He earned a degree in art history with professor Mario Salmi, entered into service as inspector of the Soprintendenza of Florence, and in 1949 became director of the Gabinetto di Restauro. In this capacity he was tasked with managing the emergency of the 1966 flood of Florence that damaged many masterpieces. The result of these interventions consecrated to the world the techniques and methodology of the so-called "Florentine school" of restoration.

The nature of art is a motif in the novel and is often explored at great length. Proust sets forth a theory of art in which we are all capable of producing art, if by this we mean taking the experiences of life and transforming them in a way that shows understanding and maturity. Writing, painting, and music are also discussed at great length. Morel the violinist is examined to give an example of a certain type of "artistic" character, along with other fictional artists like the novelist Bergotte, the composer Vinteuil, and the painter Elstir.

His critical works include An Essay Towards a Theory of Art (1922), and Poetry, Its Music and Meaning (1932). Collected Poems (1930) was followed by The Sale of St. Thomas (1930), a dramatic poem. During World War I, he served as a munitions examiner, after which, he was appointed to the first lectureship in poetry at the University of Liverpool. In 1922 he was appointed Professor of English at the University of Leeds in preference to J. R. R. Tolkien, with whom he shared, as author of The Epic (1914), a professional interest in heroic poetry.

This association focused mostly on local construction entrepreneurs, architects, industrialists, engineering staff and craftsmen from various industries. Among his several writings (more than ten from 1903 to 1911), he wrote about Style, stylish, no style - from classic style to Secession, Böcklin and his art or Modern trends in painting and sculpture, their tasks and aims. Weidner was an active member of the union's trade board, where he regularly gave lectures and readings about technical problems related to building design (e.g. lighting, water and sewage networks) or issues related to the theory of art and the concept of new artistic trends.

A diagram of the camera obscura from 1772. According to the Hockney–Falco thesis, such devices were central to much of the great art from the Renaissance period to the dawn of modern art. The Hockney–Falco thesis is a theory of art history, advanced by artist David Hockney and physicist Charles M. Falco. Both claimed that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical instruments such as the camera obscura, camera lucida, and curved mirrors, rather than solely due to the development of artistic technique and skill.

Emotions play a central role in interpreting works of art and in understanding the world. About emotions in interpreting art Goodman states; “The work of art is apprehended through the feelings as well as through the senses. Emotional numbness disables here as definitely if not as completely as blindness and deafness… emotion in aesthetic experience is a means of discerning what properties a work has and experiences.” Israel Scheffler, a philosopher who writes about education and art is a proponent of Goodman’s theory of art, offers elaboration on how the emotions are intimately tied to our perception of the world.

In his 1998 book Art and Agency, Gell formulated an influential theory of art based on abductive reasoning. Gell argues that 'art in general (although his attention focuses on visual artifacts, like the prows of the boats of the Trobriand islands) acts on its users, i.e. achieves agency, through a sort of technical virtuosity. Art can enchant the viewer, who is always a blind viewer, because "the technology of enchantment is founded on the enchantment of technology" (the title of a previous essay on aesthetics by Gell is The Technology of Enchantment and the Enchantment of Technology, 1992).

See also Maurice Merleau-Ponty, "Cézanne's Doubt" in The Merleau-Ponty Aesthetics Reader, Galen Johnson and Michael Smith (eds), (Northwestern University Press, 1994) and John Russon, Bearing Witness to Epiphany, (State University of New York Press, 2009). George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as "the art world" has conferred "the status of candidate for appreciation".W. E. Kennick, Art and Philosophy: Readings in Aesthetics. New York: St. Martin's Press, 1979, p. 89. .

In action learning, there is no need to forget what has worked in the past. However, reflecting on what has not worked helps team/set members unlearn what doesn't work and invent/learn better ways of acting and moving forward. This way, team/set members are able to keep what has worked in the past, while also finding new and improved ways to increase productivity, in areas that may need improvement. Unlike other writers in the field of action learning, Kramer applies the theory of art, creativity and "unlearning" of the psychologist Otto Rank to his practice of action learning.

The Objectivist theory of art derives from its epistemology, by way of "psycho-epistemology" (Rand's term for an individual's characteristic mode of functioning in acquiring knowledge). Art, according to Objectivism, serves a human cognitive need: it allows human beings to understand concepts as though they were percepts. Objectivism defines "art" as a "selective re-creation of reality according to an artist's metaphysical value-judgments"—that is, according to what the artist believes to be ultimately true and important about the nature of reality and humanity. In this respect Objectivism regards art as a way of presenting abstractions concretely, in perceptual form.

In 1976, he became a founding member of the Caucus for Marxism and Art of the College Art Association. Clark returned to Britain in 1976 when he was appointed professor and head of the Department of Fine Art at the University of Leeds. In 1980 Clark joined the Department of Fine Arts at Harvard University, which angered some of the more conservative, connoisseurship-oriented faculty members, especially the Renaissance art historian Sydney Freedberg, with whom he had a public feud. In 1982 he published an essay, "Clement Greenberg's Theory of Art", critical of prevailing Modernist theory, which prompted a notable and pointed exchange with Michael Fried.

American humanities scholar Camille Paglia writes about the Apollonian and Dionysian in her 1990 bestseller Sexual Personae. The broad outline of her concept has roots in Nietzschean discourse, an admitted influence, although Paglia's ideas diverge significantly. The Apollonian and Dionysian concepts comprise a dichotomy that serves as the basis of Paglia's theory of art and culture. For Paglia, the Apollonian is light and structured while the Dionysian is dark and chthonic (she prefers Chthonic to Dionysian throughout the book, arguing that the latter concept has become all but synonymous with hedonism and is inadequate for her purposes, declaring that "the Dionysian is no picnic").

Alloway started writing reviews for the British periodical Art News and Review (later renamed ArtReview) in 1949 and for the American periodical Art News in 1953. In Nine Abstract Artists (1954) he promoted the Constructivist artists that emerged in Britain after the Second World War: Robert Adams, Terry Frost, Adrian Heath, Anthony Hill, Roger Hilton, Kenneth Martin, Mary Martin, Victor Pasmore, and William Scott. Alloway's theory of art reflecting the concrete materials of modern life gave way to an interest in mass-media and consumerism. Alloway joined the Independent Group in 1952 and lectured on his theory of a circular link between popular cultural "low art" and "high art".

223, T. Pinkard, Hegel: A Biography, (2000), p. 228.) Hegel believed that art reflected, by its very nature, the culture of the time in which it is created. Culture and art are inextricable because an individual artist is a product of his or her time and therefore brings that culture to any given work of art. Furthermore, he believed that in the modern world it was impossible to produce classical art, which he believed represented a "free and ethical culture", which depended more on the philosophy of art and theory of art, rather than a reflection of the social construct, or Zeitgeist in which a given artist lives.

John Dewey offers a new theory of art and the aesthetic experience. Dewey proposes that there is a continuity between the refined experience of works of art and everyday activities and events, and in order to understand the aesthetic one must begin with the events and scenes of daily life. This idea stands in opposition to the aesthetic theories presented by Immanuel Kant and also the proponents of German Idealism, which have historically been shown to favor certain heavily classicized forms of art, known commonly as 'High Art' or Fine Art. Dewey argues for the validity of 'popular art' stating: The continuity of aesthetic experience must be recovered with the normal processes of living.

The question of whether one can speak of a theory of art without employing a concept of art is also discussed below. The motivation behind seeking a theory, rather than a definition, is that our best minds have not been able to find definitions without counterexamples. The term 'definition' assumes there are concepts, in something along Platonic lines, and a definition is an attempt to reach in and pluck out the essence of the concept and also assumes that at least some of us humans have intellectual access to these concepts. In contrast, a 'conception' is an individual attempt to grasp at the putative essence behind this common term while nobody has "access" to the concept.

A similar variation of these collections of artistic wealth are the series of the five senses created by Jan Brueghel the Elder and Rubens (Prado Museum, Madrid). Willem van Haecht (1593–1637) developed another variation in which illustrations of actual artworks are displayed in a fantasy art gallery, while connoisseurs and art lovers admire them. Later in the century, David Teniers the Younger, working in the capacity of court painter to Archduke Leopold Wilhelm of Austria, documented the archduke's collection of Italian paintings in Brussels as gallery painters as well as in a printed catalogue–the Theatrum Pictorium. Flemish Gallery and art collection paintings have been interpreted as a kind of visual theory of art.

He was also inspired by the art of the Vienna Secession, and by the Austrian painters Egon Schiele (1890–1918) and Gustav Klimt (1862–1918). He was fascinated by spirals, and called straight lines "godless and immoral" and "something cowardly drawn with a rule, without thought or feeling" He called his theory of art "transautomatism", focusing on the experience of the viewer rather than the artist. This was encapsulated by his design of a new flag for New Zealand, which incorporated the image of the Koru a spiral shape based on the image of a new unfurling silver fern frond and symbolizing new life, growth, strength and peace according to the Māori people.

The cultural history throughout Brazil is relevant to the changing theories of art's purpose and the consequential role that Modernist artists played. There were not many art institutions in Brazil and the country lacked a long theory of art technique that was institutional in other countries such as France with the Academie Royale de Peinture et Sculpture. By the end of the nineteenth century there was dissent in Rio's National School of Fine Arts and it was threatened to be closed by the Republicans who wanted all people who desired to become artists would have the ability to do so. This stemmed somewhat of a revolution where society became more receptive to new ideas by 1890.

His time in Italy ended with the onset of the Napoleonic Wars in 1796, when he was called to the Prussian Academy of Sciences and the Academy of Arts in Berlin. Raised to a Royal Prussian Councillor, he taught the "theory of art", and became an arts advisor to King Frederick William II, presumably with the patronage of Countess Lichtenau. In 1797, he made a public lecture outlining plans for a public museum in Berlin to contain the finest Prussian art treasures arranged by artistic 'school' for the edification of the art lover and public. The proposal were green-lighted by King Frederick William II and given royal patronage, which continued with his successor Frederick William III.

In his youth Kemp attended Windsor Grammar School. From 1960 to 1963 Kemp studied natural sciences and art history at Downing College, Cambridge and the history of Western Art at the Courtauld Institute of Art, University of London from 1963 to 1965. For more than 25 years he was based in Scotland where from 1966 to 1981 he was a lecturer at University of Glasgow and Professor of Fine Arts from 1981 to 1990 and Professor of the History and Theory of Art from 1990 to 1995 at University of St Andrews. He was Professor of Art History at the University of Oxford from 1995 to 2008, during which he helped create the Centre for Visual Studies, which opened in 1999.

Due to the radicalism (for the times) of some of their poems and music, the artists were vigorously booed and pelted by the audience, and the press and art critics in general were strong in their condemnation. However, those artists are now seen as the founders of Modern art in Brazil. Modernist literature and theory of art were represented by Oswald de Andrade, Sérgio Milliet, Menotti del Picchia, and Mário de Andrade, whose revolutionary novel Macunaíma (1928) is one of the founding texts of Brazilian Modernism. Painting was represented by Anita Malfatti, Tarsila do Amaral, Emiliano Di Cavalcanti, Lasar Segall, Vicente do Rego Monteiro; sculpture by Victor Brecheret; and music by Heitor Villa-Lobos, the leader of a new musical nationalism, among many others.

Novotny studied art history at the University of Vienna under Josef Strzygowski, and wrote his dissertation on the Romanesque architectural sculpture in the apse of the Pfarrkirche in Schöngrabern, in Lower Austria. Beginning in 1927 he worked as an assistant at Strzygowski's institute. In 1937 he received his habilitation with a study of Cézanne und das Ende der wissenschaftlichen Perspektive (Cézanne and the end of scientific perspective), which became a standard study of the French painter and established Novotny as an internationally recognized expert on his work. As a result of this book, Novotny made the acquaintance of the painter Gerhart Frankl, whose own work was stylistically influenced by Cézanne, but had also struggled with his French forebearer through his statements on the theory of art.

Her work was shown widely in Europe between 1969 and 1973 as part of various Systems Group exhibitions. In Britain, her work was included in the 1972 Arts Council touring exhibition of Systems Group artworks. During 1977 and 1978, Spencer produced a series of publications, Working Information, featuring drawings and designs by Systems Group and other Systematic-Constructive artists. She then spent a year at the University of Sussex studying the History and Theory of Art for her M.A. Spencer was an active member of the group behind the Exhibiting Space series of multi-disciplinary collaborations held in Whitechapel in 1983 and was included in the 1986 exhibition Colour Presentations at the Gardner Centre Gallery at the University of Sussex, which then toured Britain.

Not only will the world now come to be seen as something that can be known both by theory as well as by sense perception, but the knower can also be known by both methods. Humans are not only what the latest science has postulated them to be, but also what they sense themselves to be. One early claim by Northrop in Ch. 2 of "The Meeting of East and West" was that Eastern Thought in general (really most applicable to Chinese thought) deals with the world as an “undifferentiated aesthetic continuum.” That is, reality is all connected and unified, not separated into distinct objects (undifferentiated continuum) and is in reality qualitative as perceived (aesthetic = perception, but later related to theory of art).

The philosopher Seyla Benhabib argued that Eros and Civilization continues the interest in historicity present in Hegel's Ontology and the Theory of Historicity and that Marcuse views the sources of disobedience and revolt as being rooted in collective memory. Stephen Frosh found Eros and Civilization and Life Against Death to be among the most important advances towards a psychoanalytic theory of art and culture. However, he considered the way these works turn the internal psychological process of repression into a model for social existence as a whole to be disputable. The philosopher Richard J. Bernstein described Eros and Civilization as "perverse, wild, phantasmal and surrealistic" and "strangely Hegelian and anti-Hegelian, Marxist and anti-Marxist, Nietzschean and anti-Nietzschean", and praised Marcuse's discussion of the theme of "negativity".

The Library of EMST includes a significant number of specialized editions and journals on the fields of History and Theory of Art, Museology and Conservation of art works as well as on the field of the History of Philosophy, Anthropology, Architecture and Industrial Design, New Technologies and Multimedia and is constantly enriched in order to serve scientific research and writing as well as the induction of the staff, of the visitors/researchers and artists. Also, a project for the exchange of editions with institutions in Greece and abroad has already been initiated. Greek artists and galleries have granted to the museum archives related to contemporary Greek art, after an invitation by EMST. The archives are constituted by catalogues, books, exhibition invitations, audiovisual material, texts by artists, correspondence, critiques, reviews, reproductions of works and biographical data.

McLaren's early work from 1984 to 1994 spanned diverse intellectual and empirical terrains. He remained steadfast in his interest in the contemporary themes of the Frankfurt School: social psychology in the context of a lack of revolutionary social protest in Europe and the United States; a critique of positivism and science; developing a critical theory of art and representation; an interrogation of the mass media and mass culture; investigating the production of desire and identity; and the globalization of capitalism and forms of integration in neoliberal societies. In other words, when viewed against the major themes of the Frankfurt School, there was a fundamental coherence to his work as a whole. Further, each of McLaren's scholarly projects attempted to explore the construction of identity in school contexts within a neo-liberal society.

In November 1941 Adorno followed Horkheimer to what Thomas Mann called "German California", setting up house in a Pacific Palisades neighborhood of German émigrés that included Bertolt Brecht and Schoenberg. Adorno arrived with a draft of his Philosophy of New Music, a dialectical critique of twelve-tone music that Adorno felt, while writing it, was a departure from the theory of art he had spent the previous decades elaborating. Horkheimer's reaction to the manuscript was wholly positive: "If I have ever in the whole of my life felt enthusiasm about anything, then I did on this occasion," he wrote after reading the manuscript. The two set about completing their joint work, which transformed from a book on dialectical logic to a rewriting of the history of rationality and the Enlightenment.

Henk Peeters was the most active member of the Dutch Nul group, notably with regard to the organization; he made the international contacts, organized the international ZERO (Nul) exhibitions at the Stedelijk Museum Amsterdam, and wrote on the theory of art. It was also he who first actively participated in international exhibitions with artist groups such as the German ZERO, the Italian Azimuth, and with artists Yves Klein, Yayoi Kusama and Lucio Fontana. He initiated the (utopian) project "Zero on Sea", with more than fifty participating artists from over ten countries, and remained true to the fundamental concept of the Nul movement right up to his death in 2013. He sought to use his works of art to make the viewer conscious of his environment; he wanted to bring about a sensitive consciousness-raising, as it were.

It has been argued by the art historian Michael Paraskos that the Leeds Arts Club was the closest England came to a genuine expressionist art movement. This is evidenced partly by the Arts Club's, artistic, philosophical and political interests, which mirror those seen in German expressionist art groups of the time, and through its direct links to Kandinsky in Germany. It also produced its own expressionist artists, including Jacob Kramer and Bruce Turner.Michael Paraskos, English Expressionism (Leeds: University of Leeds, unpublished Phd, 1997) passim It also was the seed ground from which the anarchist poet, art critic and art theorist Herbert Read emerged, and Read's basic dialectical theory of art, which became one of the main methods to understand modernism between the 1930s and 1960s, has its roots in the understanding of art expounded at the Leeds Arts Club.

Austin Harrington outlines in his book Art and Social Theory six ways in which art can be approached from a sociological standpoint: 1) humanistic historic approach, 2) Marxist social theory, 3) cultural studies, 4) theory of art in analytical philosophy, 5) anthropological studies of art, and 6) empirical studies of contemporary art institutions (Harrington, 15). The variety of sociological approaches introduced by Harrington confronts traditional, metaphysical approaches to art. According to Harrington, "sociological approaches generally possess a stronger sense of the material preconditions, historical flux and cultural diversity of discourse, practices and institutions of art," (Harrington, 31). Harrington argues that pieces of art can serve as "normative sources of social understanding in their own right" (Harrington, 207); the ways in which these sources make manifest this social understanding is precisely what is of interest to Kenneth Burke.

Because Freud situated inspiration in the unconscious mind, Surrealist artists sought out this form of inspiration by turning to dream diaries and automatic writing, the use of Ouija boards and found poetry to try to tap into what they saw as the true source of art. Carl Gustav Jung's theory of inspiration reiterated the other side of the Romantic notion of inspiration indirectly by suggesting that an artist is one who was attuned to something impersonal, something outside of the individual experience: racial memory. Materialist theories of inspiration again diverge between purely internal and purely external sources. Karl Marx did not treat the subject directly, but the Marxist theory of art sees it as the expression of the friction between economic base and economic superstructural positions, or as an unaware dialog of competing ideologies, or as an exploitation of a "fissure" in the ruling class's ideology.

The Museum of Sketches for Public Art (Swedish Skissernas museum - Arkiv för dekorativ konst, also known in English as the Archive of Decorative Art) is an art museum at Lund University in Sweden, dedicated to the collection and display of sketches and drawings for contemporary monumental and public art, such as frescos, sculpture and reliefs. The museum contains about 25,000 items, including sketches and contest entries by leading 20th-century Swedish artists such as Isaac Grünewald, other Nordic artists and foreign artists such as Henry Moore, Diego Rivera and Henri Matisse. The museum was founded in 1934 by Ragnar Josephson (1891–1966), professor of the History and Theory of Art at Lund University. Josephson, who wanted to collect material illuminating the creative process of the artist, wrote a book on the topic, Konstverkets födelse ("The Birth of the Work of Art", 1940), as well as many shorter studies.

140 The British historian Antony Beevor also claims that "Malraux stands out, not just because he was a mythomaniac in his claims of martial heroism – in Spain and later in the French Resistance – but because he cynically exploited the opportunity for intellectual heroism in the legend of the Spanish Republic." In any case, Malraux's participation in events such as the Spanish Civil War has tended to distract attention from his important literary achievement. Malraux saw himself first and foremost as a writer and thinker (and not a "man of action" as biographers so often portray him) but his extremely eventful life – a far cry from the stereotype of the French intellectual confined to his study or a Left Bank café – has tended to obscure this fact. As a result, his literary works, including his important works on the theory of art, have received less attention than one might expect, especially in Anglophone countries.

Milan Uzelac (; 1950, Vršac, Vojvodina, Serbia, Yugoslavia) is a Serbian poet, essayist, PhD, full Professor of Ontology and Aesthetics of the University of Novi Sad (Serbia) Milan Uzelac — Serbian poet, essayist, PhD, full Professor of Ontology and Aesthetics Milan Uzelac was born on 8 April 1950 in Vršac (Serbia), where he received his elementary and secondary education. He studied Philosophy at the University of Belgrade, where he got his B.A. (1974) and M.A. (1980) degrees and was awarded a doctorate in philosophy from the University of Zagreb in 1985. He worked as a lecturer at the Teacher Training College in Kikinda (1981-1986), and his affiliation with the University of Novi Sad started in 1986, when he became an assistant professor in Theory of Art and Sociology of Art (1986-1990), then an associate professor in Esthetics (1990-1995). In 1995 he became a professor of philosophy at the University of Novi Sad, where he teaches courses in Esthetics and Ontology.

Weitz is perhaps best known for his "influential and frequently anthologized" 1956 paper The Role of Theory in Aesthetics which was to win him a 1955 Matchette Prize (an award now replaced by the American Philosophical Association book and article prizes). This essay explicitly modified the theory of art initially provided in his 1950 book Philosophy of the Arts which had been "[s]ubject to devastating criticisms from Margaret McDonald among others". In The Role of Theory in Aesthetics Weitz "overturned his original claim.. that his empirical and organic theory could produce a closed or real definition of art" according to Aili Bresnahan and it is "this revised version that many philosophers have considered the sine qua non in support of the position that theories of art should be 'open'". Supporters of Weitz's later view "for similar but non-identical reasons" include W.B. Gallie, W. E. Kennick and Benjamin R. Tilghman and detractors include M.H. Abrams, M.W. Beal, Lee Brown, George Dickie, and Maurice Mandelbaum.

Ehrenzweig A (1967) The Hidden Order of Art Paladin Ehrenzweig also published numerous journal articles.Ehrenzweig A (1949)'The Origin of the Scientific and Heroic Urge' Intern J Psychoanal 30/2, 1949Ehrenzweig A (1960) 'Alienation versus Self-Expression' The Listener LXIII 1613 1960Ehrenzweig A (1964) 'The Undifferentiated Matrix of Artistic Imagination' The Psychoanalytic Study of Society III 1964Ehrenzweig A (1965) 'Towards a Theory of Art Education' (A Report) Goldsmiths College University of LondonEhrenzweig A (1965) 'Bridget Riley's pictorial Space' Art International IX/I 1965 His ideas can be summarized as the discovery of the organizing role of the unconscious mind in any act of creativity and an analysis of the layered structure of the unconscious mind and of the dynamic mental processes which an artist undergoes in the creative act. The Hidden Order of Art, published posthumously, has been in continuous publication since 1967, and is considered one of the three classics of art psychology, along with Rudolf Arnheim's Art and Visual Perception and Herschel Chipp's Theories of Modern Art.

He grouped Brown's work with Marcuse's Eros and Civilization, Rieff's Freud: The Mind of the Moralist, the philosopher Paul Ricœur's Freud and Philosophy (1965), and the philosopher Jürgen Habermas's Knowledge and Human Interests (1968), arguing that they jointly placed Freud at the center of moral and philosophical inquiry. The philosopher Roger Scruton criticized Brown, describing his proposals for sexual liberation, like those of Marcuse in Eros and Civilization, as "another expression of the alienation" he condemned and an attempt to "dress up the outlook of the alienated individual in the attributes of virtue." Stephen Frosh found Life Against Death and Eros and Civilization to be among the most important advances towards a psychoanalytic theory of art and culture, although he finds the way these works turn the internal psychological process of repression into a model for social existence as a whole to be disputable. The poet and cultural critic Wayne Koestenbaum criticized Brown for affirming the anus as "a bodily and symbolic zone" while ignoring its connection to sodomy and homosexual desire.

His apprehension of unregulated capitalism at the dawn of the industrial age is most fully expressed in his acclaimed poem Den nya Grottesången (The New Grotti Song) in which he delivered a fierce attack on the miserable working conditions in factories of the era, using the mill of Grottasöngr as his literary backdrop. For his lifetime of literary achievement, Rydberg received an honorary doctorate from the University of Uppsala in 1877 and was elected a member of the Swedish Academy the same year. He served from 1883 as teacher, from 1884 as professor, of the History of Culture at Stockholms högskola, now Stockholm University, and from 1889 as the first holder of the J. A. Berg Chair of the History and Theory of Art there.Svante Nordin, "Rydberg, Abraham Viktor", Svenskt biografiskt lexikon, 31 (2000–2002), p. 45. On the J. A. Berg professorship and its holders, see "Professorer i konsthistoria", [appendix] in Britt-Inger Johansson & Hans Pettersson (eds.), 8 kapitel om konsthistoriens historia i Sverige, Stockholm: Rasters förlag, 2000, p. 248-251.

Author of a systematic theory of art published by G.P. Putnam, published in seven volumes during the period 1886 to 1900, and republished as a set of uniform volumes in 1909. Additionally an eighth volume was published, as a summary of the seven volumes, titled, Essentials of Esthetics. A volume of excerpts of his seven books, edited by the classical scholar Marion Mills Miller, was also published by Putnam in 1920. (see publication list below) Raymond was an art theorist who created the first comprehensive and systematic theory of the arts.An Art-Philosopher’s Cabinet, Marion Mills Miller, G.P. Putnam’s Sons, 1915, page ix of introduction The New York Times said "In a spirit at once scientific and that of the true artist, he pierces through the manifestations of art to their sources, and shows the relations, intimate and essential, between painting, sculpture, poetry, music, and architecture." quoted in, An Art-Philosopher’s Cabinet, Marion Mills Miller, G.P. Putnam’s Sons, 1915, page x of introduction He was rare among art theorists of the time (and since), to use psychology and physiology and biological factors to ground his art theory, and to use detailed discussions of specific art works to validate his views.