By Paul Smith, Carolyn Wilde
The significant other offers an available serious survey of Western visible artwork concept from assets in Classical, Medieval and Renaissance idea via to modern writings.
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Additional info for A Companion to Art Theory (Blackwell Companions in Cultural Studies)
By Ernest Baker, Oxford University Press 1962, p. 343 Baumgarten, Alexander Gottlieb (1954) Reﬂections on Poetry (Meditationes philosophicae de nonnullis ad poema pertinentibus), trans. and with an introduction and notes by Karl Aschenbrenner and William B. 1–3, trans. by H. M. Hubbell, Loeb Classical Library, pp. 8–10, trans. by G. L. Hendrickson and H. M. Hubbell, Loeb Classical Library, p. 311 Horace (1966) Ars poetica 1–37, trans. by H. Rushton Fairclough, Loeb Classical Library, pp. 7, trans.
Secondly, art had a degree of what we would now call autonomy. That is, a representation could be good or bad as a representation, even if what it represented was immoral or false. Thirdly, art should all the same portray what is true. For a work of art might be good art in its form, but bad art in its content: good because of its representational excellence, bad because of the object represented. It would quite miss the point to say that the authors were here confusing aesthetic and moral values.
Western) scholars of the time. One of the written works of the period, of uncertain authorship but known as the Libri Carolini, undertook a detailed discussion of the nature and function of visual art. The immediate impetus for this was the Iconoclastic movement in the East. Iconoclasm, a movement dedicated to the destruction of religious images, arose from a complex mixture of social, cultural, political and religious tensions peculiar to the Byzantine Empire, and was to have a lasting effect on the sub30 Medieval Art Theory sequent history of the visual arts in Judaism and Islam.
A Companion to Art Theory (Blackwell Companions in Cultural Studies) by Paul Smith, Carolyn Wilde