In "Painting as an Art", which began as the 1984 Andrew Mellon Lectures at the National Gallery of Art in Washington, D.C., philosopher Richard Wollheim transcended the boundaries and habits of both philosophy and art history to produce a large, encompassing vision of viewing art. Wollheim had three great passions - philosophy, psychology, art - and his work attempted to unify them into a theory of the experience of art. He believed that unlocking the meaning of a painting involved retrieving, almost reenacting, the ...
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In "Painting as an Art", which began as the 1984 Andrew Mellon Lectures at the National Gallery of Art in Washington, D.C., philosopher Richard Wollheim transcended the boundaries and habits of both philosophy and art history to produce a large, encompassing vision of viewing art. Wollheim had three great passions - philosophy, psychology, art - and his work attempted to unify them into a theory of the experience of art. He believed that unlocking the meaning of a painting involved retrieving, almost reenacting, the creative activity that produced it. In order to fully appreciate a work of art, Wollheim argued, critics must bring to the understanding of a work of art a much richer conception of human psychology than they have in the past: "Many [critics] ...make do with a psychology that, if they tried to live their lives by it, would leave them at the end of an ordinary day without lovers, friends, or any insight into how this came about." Many reviewers have remarked on the insightfulness of the book's final chapter, in which Wollheim contended that certain paintings by Titian, Bellini, de Kooning, and others represent the painters' attempts to project fantasies about the human body onto the canvas. Reviewing the book in the "Los Angeles Times", Daniel A. Herwitz asserted that Wollheim had "done no less than recover for psychology its obvious and irresistible place in the explanation of what is most profound and subtle about paintings."
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Seller's Description:
Very good+ Printed paper wraps, large octavo [7.5" X 10.25"], illustrated in color and b&w. Book has mild rubbing and wear to corners, spine sunned, binding tight, text clean bright and unmarked.
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Seller's Description:
Very good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!
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Seller's Description:
Very good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
VG, clean and tight. Faint and infrequent pencil marks throughout the text, would be erasable if so desired. Color pictorial wraps with white lettering. 384 pp., with 30 color and 358 bw plates. Bolingen Series XXXV, 33. Wollheim's lectures delivered at the National Gallery of Art, Washington, DC. The 6 main sections include: What the artist does; What the spectator does; The spectator in the picture: Friedrich, Manet, Hals; Painting, textuality, and borrowing: Poussin, Manet, Picasso; Painting, omnipotence, and the gaze: Ingres, The Wolf Man, Picasso; and Pinting, metaphor, and the body: Titian, Bellini, De Koning, Etc. with Conclusion, Notes, List of Illustrations, Index. This is the 33rd volume in the A.W. Mellon Series of lectures and the 35th volume in the entire Bollingen series.
![Painting as an Art [the a.W. Mellon Lectures in the Fine Arts, 1984/Bollingen Series XXXV, 33]](https://www1.alibris-static.com/imageid/2077373442_t.jpg)
