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Notes to the Preface
1. Albert Boime, Art in an Age of Revolution, 1750-1800 (Chicago and London: University of Chicago Press, 1987) p. xix.
2. M. O'C. Drury, 'Some Notes on Conversations with Wittgenstein', in Rush Rhees (ed.), Recollections of Wittgenstein (Oxford and New York: Oxford University Press, 1984) p. 79.
Notes to Chapter 1: Modernism, Modem Aesthetics and Wittgenstein
1. Oive Bell, Art (London: Chatto & Windus, 1914) p. 25. 2. Ian Dunlop, The Shock of the New (New York, St Louis and San
Francisco: American Heritage Press, 1972) and Robert Hughes, The Shock of the New (New York: Random House, 1980).
3. P. Francastel, Medieval Painting, trans. Robert Erich Wolf (New York: Dell, 1967) p. 116.
4. 'Mama's Angel Child' (1916) and 'Gasoline Alley' (1930), reprinted in Bill Blackbeard with Martin Williams (eds), The Smithsonian Collection of Newspaper Comics (Washington and New York: Smithsonian Institution Press and Harry N. Abrams, 1977). There are undoubtedly other examples of the funny papers' reactions to modernism in art and I would think it would be worth someone's while to investigate the topic.
5. Michael Fried, 'Three American Painters', in Francis Frascina and Charles Harrison (eds), Modern Art and Modernism: A Critical Anthology (London: Harper & Row, 1982) p. 117. (Essay originally published in 1965.)
6. Oement Greenberg, 'Abstract, Representational, and So Forth', in Art and Culture (Boston, Mass.: Beacon Press, 1961) p. 137.
7. Greenberg's historical vision is expressed in his 'Modernist Painting', in Art and Literature, 5 (1965) pp. 193-201, and in several of the essays in Art and Culture.
8. Alan Shestack, The Christian Science Monitor, 11 January 1988, p. 20.
179
180 Wittgenstein, Ethics and Aesthetics
9. There are three general histories of aesthetics in English that I am aware of that include material from the twentieth century: Monroe C. Beardsley, Aesthetics from Classical Greece to the Present (New York: Macmillan, 1966), Katherine E. Gilbert and Helmut Kuhn, A History of Esthetics, 2nd edn (Bloomington: Indiana University Press, 1953) and Harold Osborne, Aesthetics and Art History (London and Harlow: Longmans, Green, 1968). All three conclude with chapters on twentieth-century developments. Gilbert and Kuhn, however, wrote too early for the influence of analytical philosophy to be recognised, Beardsley does not say much more than that analytical techniques are being applied to aesthetics, but Osborne devotes several pages to analytical philosophy and the influence of Wittgenstein, although he offers no general assessment of or interesting theses about the movement. Not to be overlooked, however, is Jorg Zimmermann, Sprachanaltishche Asthetik: Ein Uberblick (Stuttgart-Bad Cannstatt: Fromann-Holzboog, 1980).
10. Melvin Rader, A Modern Book of Esthetics (New York: Henry Holt, 1935) 'Introduction', p. xvi.
11. Rudolf Camap, 'Pseudoproblems in Philosophy', in The Logical Structure of the World (Berkeley and Los Angeles: University of California Press, 1969) p. 326.
12. A. J. Ayer, Language, Truth and Logic (New York: Dover, 1946) pp. 113-14.
13. Hans Reichenbach, The Rise of Scientific Philosophy (Berkeley and Los Angeles: University of California Press, 1951) pp. 312ff.
14. This judgement may be tempered a bit if one is willing to include figures such as I. A. Richards and C. W. Morris amongst the analytical philosophers as does Zimmermann in his Sprachanaltislche Asthetik.
15. This was Richard Rudner's article, 'On Semiotic Aesthetics', Journal of Aesthetics and Art Criticism, X (1951) pp. 67-77, a detailed and argued criticism of the application of C. W. Morris's theory of signs to aesthetics.
16. Journal of Aesthetics and Art Criticism, m (1944-5) pp. 3-4. 17. A portion of this report by Arnold Isenberg, 'Analytical Philosophy
and the Study of Art', was reprinted in William Callaghan et al. (eds), Aesthetics and the Theory of Criticism: Selected Essays of Arnold Isenberg (Chicago and London: University of Chicago Press, 1973). A longer excerpt is now published in Journel of Aesthetics and Art Criticism, XLVI (Special Issue, 1987) pp. 125-36.
18. Some interesting and relevant observations on this matter are offered by Richard Shusterman, 'Analytic Aesthetics: Retrospect and Prospect', Journal of Aesthetics and Art Criticism, XLVI (Special Issue, 1987) pp. 115-24.
19. William Elton (ed.), Aesthetics and Language (Oxford: Basil Blackwell, 1954) p. 12.
20. Shusterman, 'Analytic Aesthetics', p. 116. 21. Russell is doubtless the most notorious example of the former reaction
[see My Philosophical Development (New York: Simon & Schuster, 1958) pp. 214ff.] and Morris Weitz is an interesting example of the latter.
Notes 181
Compare his 1956 article 'The Role of Theory in Aesthetics' with his Philosophy of the Arts published just six years before.
22. See, for example, Paul Ziff, 'The Task of Defining a Work of Art', Philosophical Review, LXII (1955) pp. 58-78, Morris Weitz, 'The Role of Theory in Aesthetics', Journal of Aesthetics and Art Criticism, XV (1956) pp. 27-35 and W. E. Kennick, 'Does Traditional Aesthetics Rest on a Mistake?', Mind, LXVTI (1958) pp. 317-34.
23. Frank Sibley's 'Aesthetic Concepts', Philosophical Review, LXVm (1959) pp. 421-50 was the pivot of this discussion.
24. Among this more recent work is to be noted George Dickie, Art and the Aesthetic (Ithaca, NY and London: Cornell University Press, 1974), Arthur Danto, The Transfiguration of the Commonplace (Cambridge, Mass.: Harvard University Press, 1981), Joseph Margolis, Art and Philosophy (Atlantic Highlands, NJ: Humanities Press, 1980), Nicholas Wolterstoff, Worlds and Works of Art (Oxford: Oxford University Press, 1980) and Mary Mothersill, Beauty Restored (Oxford: Qarendon Press, 1984).
25. Mothersill, Beauty Restored, p. 39. 26. Norman Malcolm, Nothing Is Hidden (Oxford: Basil Blackwell,
1986) p. ix. 27. Joseph Margolis (ed.), Philosophy Looks at the Arts (New York:
Charles Scribner's Sons, 1962) 'Introduction', pp. 2-3. 28. Francis J. Coleman, American Philosophical Quarterly, 5 (1986) pp.
257-66. 29. Richard Shusterman, 'Wittgenstein and Critical Reasoning', Philo
sophy and Phenomenological Research, XLvn (1986) pp. 91-110. 30. Shusterman, 'Analytic Aesthetics', p. 116. 31. Paul Engelmann, Letters from Wittgenstein with a Memoir (New York:
Horizon Books, 1967) p. 97. 32. Wittgenstein: Sources and Perspectives, ed. C. G. Luckhardt (Ithaca,
NY: Cornell University Press, 1979). 33. Such incidents are noted by Brian McGuinness in Wittgenstein
and the Vienna Circle (New York: Barnes & Noble, 1979) p. 15. 34. Rudolf Camap, 'Autobiography', in P. A. Schilpp (ed.), The Philo
sophy of Rudolf Carnap (La Salle, ill.: Open Court, 1964) p. 27. 35. G. P. Baker and P. M. S. Hacker, Wittgenstein: Understanding and
Meaning (Chicago: University of Chicago Press, 1980) p. 16. 36. M. O'C. Drury, 'Some Notes on Conversations with Wittgenstein',
in Rush Rhees (ed.), Recollections of Wittgenstein (Oxford and New York: Oxford University Press, 1984) p. 79.
37. Ibid., p. 84.
Notes to Chapter 2: Art and Ethics: An Historical Sketch
1. Paul Oskar Kristeller, 'The Modem System of the Arts', in Renaissance Thought II (New York, Evanston and London: Harper Torchbooks, 1965).
182 Wittgenstein, Ethics and Aesthetics
2. Umberto Eco, Art and Beauty in the Middle Ages, trans. Hugh Bredin (New Haven and London: Yale University Press, 1986) p. 15.
3. Alexander Baumgarten, Reflections on Poetry, trans. Karl Aschenbrenner and William B. Holther (Berkeley and Los Angeles: University of California Press, 1954) section 116.
4. Ibid., p. 4. 5. For a detailed account of some of the history of these developments
see Peter Kivy, The Seventh Sense: A Study of Francis Hutcheson's Aesthetics (New York: Burt Franklin, 1976).
6. David Hume, 'The Standard of Taste', Of the Standard of Taste and Other Essays, ed. John W. Lenz (New York: Bobbs-Merril, 1965).
7. Kant, Critique of Judgement, section 59. 8. Ted Cohen and Paul Geyer (eds), Essays in Kant's Aesthetics (Chicago
and London: University of Chicago Press, 1982) p. 235. 9. Oement Greenberg, 'The Plight of Culture', in Art and Culture:
Critical Essays (Boston, Mass.: Beacon Press, 1961) p. 32. 10. Bernard Bosanquet, A History of Aesthetic, 2nd edn (London: George
Allen Unwin, 1904) p. 283. 11. Harold Osborne, Aesthetics and Art Theory: An Historical Introduction
(London and Harlow: Longmans, Green, 1968) p. 101. 12. One trend in twentieth-century critical theory has sought to arrive
at an artistic essence by stripping away not only the utilitarian, but also such 'aesthetic' elements of painting as space and figuration.
13. The kind of history I have in mind is not the Hegelian one imagined by Arthur Danto in which art ends by becoming its own philosophy [cf. 'The End of Art', in The Philosophical Disenfranchisement of Art (New York: Columbia University Press, 1986)], but a detailed conceptual history that makes explicit how the relevant language gets its use and sense from its role in human life.
14. Plato, Republic, 602. 15. Ibid., 607, my emphasis. 16. Protagoras, 322ff. 17. S. H. Butcher, Aristotle's Theory of Poetry and Fine Art, 4th edn
(New York: Dover, 1951) pp. 224ff. 18. Oassical French painting theory is conveniently summarised by
Wladyslaw Tatarkiewicz, History of Aesthetics, vol. m (The Hague and Paris: Mouton, 1974) pp. 396ff.
19. Pierre Corneille, Discourse on Dramatic Poetry, trans. Oara W. Crane, in Allan H. Gilbert (ed.), Literary Criticism: Plato to Dryden (Detroit, Mich.: Wayne State University Press, 1962) pp. 576-7.
20. This view of the stuff of Greek tragedy is based on that of Gerald F. Else in Aristotle's Poetics: The Argument (Cambridge, Mass.: Harvard University Press, 1963).
21. It is an interesting matter to speculate about the extent to which the values of Homer's heroic world and the religious perspective of the plays of Aeschylus and Sophocles were alive and well in the fifth-century Athens of Socrates. Were they not perhaps already anachronisms inhabiting only a literary world? It is another interesting question to wonder whether Homer's world ever had an
Notes 183
historic instantiation. The answer to these questions is not relevant to my enquiry, for it is enough that we have Homer's picture of a way of life as a foil for Plato.
22. Plato, Republic, 390. 23. The multiple sex-murderer Bundy is reported to have confessed
shortly before he went to the electric chair that pornography contributed to his taking the path of crime. We should have expected Plato to cite examples of Athenian Bundys. What I am suggesting as an alternative is that we should imagine using 'improper' books and pictures as a regular part of education to teach children what human relations are, what love is and so on. The Platos among us could then complain that these works present the wrong picture of human relations.
24. Leo Tolstoy Whi:zt Is Art?, trans. Aylmer Maude (London, New York, Toronto: Oxford University Press, 1950) ch. VI.
25. Ibid., p. 133. 26. An enlightening account of art in the service of royal power is
found in Roy Strong, Art and Power: Renaissance Festivals 1450-1650 (Woodbridge, Suffolk: Boydell Press, 1984).
27. See Albert Cassagne, La thiorie de l'art pour l'art en France: chez les derniers romantiques et les premiers r~alists (Geneva: Slatkine Reprints, 1979; reimpression de }'edition de Paris, 1906) and the correction and emendation of Cassagne by John Wilcox, 'The Beginnings of L' Art pour 1' Art', Journal of Aesthetics and Art Criticism Ouly 1953) PP· 360-77.
28. Bosanquet, A History of Aesthetic, p. 5. 29. Eugene Veron, L'Esthetique, 4th edn (Paris: Librairie C. Reinwald,
1904). The work was originally published in 1878 (my translation). 30. Arnold Hauser, The Social History of Art, 4 vols (New York: Vintage
Books, 1985) vol. 3, p. 35. 31. In his recent book, Working Space: The Charles Eliot Norton Lectures,
1983-84 (Cambridge, Mass. and London: Harvard University Press, 1986), Frank Stella has asserted that twentieth-century painting is abstract painting and abstract painting is the future of painting. Stella's thesis is discussed in more detail inch. 7.
32. Clive Bell, Art (London: Chatto & Windus, 1914) p. 7. 33. Oement Greenberg, 'Modernist Painting', Art and Literature (Spring
1965) p. 194. 34. Oement Greenberg, "'American-Type" Painting', in Art and Culture:
Critical Essays (Boston, Mass.: Beacon Press, 1961) p. 208. 35. Peter Burger, Theory of the Avant-Garde, trans. Michael Shaw (Min
neapolis: University of Minnesota Press, 1984) p. 49.
Notes to Chapter 3: Ethics and Aesthetics in the Tractatus
1. I am indebted to Kjell S. Johannessen for calling my attention to this remark and to its importance.
184 Wittgenstein, Ethics and Aesthetics
2. Cyril Barrett, "'(Ethics and Aesthetics Axe One)"?', Aesthetics: Proceedings of the 8th International Wittgenstein Symposium, part I (Vienna: Holder-Pichler-Tempsky, 1984) p. 18.
3. This point was suggested to me in discussion by Rush Rhees. 4. The foregoing account owes something to Jaako Hintikka's construc
tion of Wittgenstein's thinking about solipsism in 'On Wittgenstein's "Solipsism"', in I. M. Copi and R. W. Beard (eds), Essays on Wittgenstein's Tractatus (New York: Macmillan, 1966).
5. The importance of Schopenhauer's influence upon the early work of Wittgenstein has been traced in detail by Allan Janik, 'Schopenhauer and the Early Wittgenstein', Philosophical Studies (Maynooth, Ireland) xv (1966). Reprinted in Allan Janik, Essays on Wittgenstein and Weininger (Amsterdam: Rodopi, 1985).
6. G. E. M. Anscombe, An Introduction to Wittgenstein's Tractatus (London: Hutchinson University Library, 1959) p. 172.
7. Spinoza, Ethics, part n, prop. xuv, esp. corollary 2, and part v, prop. XXIX.
8. Max Black aptly likens the state of affairs described by a logically compound proposition to a volume in logical space [A Companion to Wittgenstein's Tractatus (Ithaca, NY: Cornell University Press, 1964) p. 155].
9. Arthur Schopenhauer, The World as Will and Representation, 2 vols, trans. E. F. J. Payne (New York: Dover Publications, 1966) BK n, section 36.
10. G. E. Moore, 'Wittgenstein's Lectures in 1930-33', in Philosophical Papers (London: George Allen & Unwin, 1959) pp. 313-14.
11. Paul Engelmann, Letters from Wittgenstein with a Memoir (New York: Horizon Books, 1967) p. 93.
12. Barrett, "'(Ethics and Aesthetics Are One)"?', p. 20. 13. Allan Janik and Stephen Toulmin, Wittgenstein's Vienna (New York:
Simon & Schuster, 1973) pp. 193ff. 14. Ibid., p. 197. 15. The evidence for this is not only that of Wittgenstein's own life,
but also the textual evidence of his letters to Ficker and Engelmann and the memoirs of the latter. Allan Janik has made this clear to me in private correspondence.
16. Engelmann, Letters from Wittgenstein, p. 83. 17. Frank Ramsey, 'Last Papers', in The Foundations of Mathematics
(London: Routledge & Kegan Paul, 1931) p. 238.
Notes to Chapter 4: The Tractatus Re-examined
1. I have discussed in some detail the confusions in these ontological issues about art in 'The Literary Work of Arf, in B. R. Tilghman (ed.), lAnguage and Aesthetics (Lawrence, Manhattan, Wichita: University Press of Kansas, 1973). We should not forget that an expression such
Notes 185
as 'The melody was destroyed' can sometimes serve as a comment upon an execrable performance.
2. These reflections about tumours are interwined with a discussion of European nationalism vis-tl-vis the Jews. The one as an analogy for the other is intriguing, but has to be a matter for another day.
3. An account of this story for English readers can be found in Roberta Johnson, Carmen Laforet (Boston, Mass.: Twayne, 1981) pp. 109-10. I am indebted to Douglas Benson for calling my attention to this example.
4. Engelmann, Letters to Wittgenstein with a Memoir (New York: Horizon Books, 1967) p. 110.
5. Peter Winch, 'Wittgenstein's Treatment of the Will', in Ethics and Action (London: Routledge & Kegan Paul, 1972) p. 111. To the best of my knowledge Winch's is the only detailed examination of this concept that is of the greatest importance for understanding the thought of the Tractatus period and its relation to the later Investigations.
6. G. E. Moore, 'Wittgenstein's Lectures in 1930--33', in Philosophical Papers (London: George Allen & Unwin, 1959) p. 312.
7. Ibid., p. 314. 8. Ibid., p. 315. 9. See Michael Baxandall, Patterns of Intention (New Haven and London:
Yale University Press, 1985) for a detailed study of how meaning and intention are thus context dependent.
10. Baxandall's Patterns of Intention is a model of an art historical investigation based on this assumption.
11. M. O'C. Drury, Recollections of Wittgenstein, ed. Rush Rhees (Oxford and New York: Oxford University Press, 1984) p. 113.
12. Rush Rhees, 'Some Developments in Wittgenstein's View of Ethics', Philosophical Review Ganuary 1965) p. 20.
13. Ibid., p. 22. 14. Engelmann, Letters to Wittgenstein, p. 78. 15. The difficulties in Wittgenstein's behaviour are amply documented
by Norman Malcolm in Ludwig Wittgenstein: A Memoir (London: Oxford University Press, 1958), but so is the great impression that he made upon Malcolm. One should also look at O.K. Bouwsma's reaction to Wittgenstein as told in Wittgenstein: Conversations 1949-1951 (Indianapolis: Hackett, 1986).
16. I have examined some of the complexities of the various concepts of seeing discussed in that section together with their importance for aesthetics and the philosophy of art in my But Is It Art? (Oxford: Basil Blackwell, 1984) ch. 6.
Notes to Chapter 5: Discerning Humanity
1. The entry is quoted and its setting is explained in Brian McGuinness, Wittgenstein- A Life: Young Ludwig, 1889-1921 (Berkeley, Los Angeles, London: University of California Press, 1988) p. 215.
186 Wittgenstein, Ethics and Aesthetics
2. Peter Winch has spoken to me of his dissatisfaction with 'humanity' as a translation of Menschen. His own example of the particularity suggested by the German word is the failure of Dorothea in George Eliot's Middlemarch to understand Casaubon when, through the colouring of her own romanticised puritanism she could not discern his self-doubts and the resentment he harboured toward genuine scholars.
3. My translation of the French edition of 1647. 4. Descartes, Passions of the Soul, article L. 5. David Hume, A Treatise of Human Nature, I.iv 7. 6. C. D. Broad, The Mind and its Place in Nature (Patterson, NJ:
littlefield, Adams, 1960) ch. vn. 7. Norman Kemp Smith, New Studies in the Philosophy of Descartes
(London: Macmillan, 1952) p. 136. n.2 8. That it is Wittgenstein' s position that the very idea of a pri
vate language is unintelligible is made abundantly clear by John Cook, 'Wittgenstein on Privacy', Philosophical Review, LXXIV (1965) pp. 281-314, and also by Stewart Candlish, 'The Real Private Language Argument', Philosophy, 55 (1980) pp. 85-94.
9. James C. Edwards, Ethics Without Philosophy: Wittgenstein and the Moral Life (Tampa: University Press of Florida, 1982) p. 194.
10. Robert B. Edgerton, Like Lions They Fought (New York: Free Press, 1988) p. 110.
11. Cf. Peter Winch, The Idea of a Social Science (London: Routledge & Kegan Paul, 1958).
12. Wittgenstein does not use this term in PI, but he does introduce it in Zettel, section 183.
13. For a helpful discussion of this passage see Peter Winch, '"EINE STELLUNG ZUR SEELE"', Proceedings of the Aristotelian Society, n.s. LXXXI (1980-1) pp. 1-15.
14. I am indebted to Oswald Hanfling for calling my attention to how the Tractatus notion of a space of possibilities could be adapted to the expressive capacities of the human face.
15. G. P. Baker and P. M. S. Hacker, Wittgenstein: Understanding and Meaning (Chicago: University of Chicago Press, 1980) p. 17.
Notes to Chapter 6: Discerning Art
1. Jens Christian Jensen, Casper David Friederich, trans. Joachim Neugroschel (Woodbury, NY and London: 1981) p. 180.
2. Ian Dunlop, The Shock of the New (New York, St Louis, San Francisco: American Heritage Press, 1972) pp. 21-2.
3. Ibid., p. 21. 4. I have discussed the logic of Fry's defence of Post-Impressionism
in some detail in my But Is It Art? (Oxford: Basil Blackwell, 1984) pp. 72££.
5. 'Introduction', Art-Language, 1 (1967) p. 5.
Notes 187
6. I have examined and criticised a number of these theories in The Expression of Emotion in the Visual Arts (The Hague: Martinus Nijoff, 1970) ch. II. Another kind of argument to the conclusion that the real work of art is not a physical object is based on the fact that a piece of music, a work of literature, a work of graphic art, can be instantiated in any number of different performances, printed scores and copies, prints and so on. As a consequence it is thought that the work itself cannot be identified with any particular physical object or event nor with any set of them. I have tried to explain the confusion in this kind of argument in 'The Literary Work of Art', B. R. Tilghman (ed.), Language and Aesthetics (Lawrence, Manhattan, Wichita: University Press of Kansas, 1973).
7. P. F. Strawson, Individuals (Garden City, NY: Doubleday, Anchor Books, 1963) p. 84.
8. Ibid., pp. 97--8. 9. Joseph Margolis, Art and Philosophy (Atlantic Highlands, NJ: Human-
ities Press, 1980) p. 2. 10. Ibid., p. 3. 11. Ibid., p. 3. 12. Ibid., p. 24. 13. Ibid., ch. 3, passim. 14. Ibid., p. 146. 15. Ibid. 16. Erwin Panofsky, Studies in Iconography (New York and Evanston,
ill.: Harper Torchbooks, Harper & Row, 1962) ch II. (The book was first published in 1939.)
17. 'Resonate' (schwingen) is Wittgenstein's expression (CV, p. 58). I am indebted to Cyril Barrett for calling attention to the aptness of it.
18. Margolis, Art and Philosophy, p. 23. 19. Ibid., p. 51. 20. Ibid., chs. 3 and 4, passim. 21. I have argued in detail that a number of these problems are
bogus and require, rather than a theory to solve them, untangling the confusions that beget them. See 'The Literary Work of Art' in B. R. Tilghman (ed.), Language and Aesthetics.
22. Translated by Daisy Alden in Angel Flores (ed.), An Anthology of French Poetry from Nerval to Valery in English Translation with French Originals (Garden City, NY: Doubleday, 1958); quoted by permission of the editor.
Notes to Chapter 7: Discerning the Humanity in Art
1. Oement Greenberg, 'Abstract, Representational, and So Forth', in Art and Culture (Boston, Mass.: Beacon Press, 1961) p. 137.
2. Roger Fry, 'Art and Life', in Vision and Design (New York: Meridian Books, 1956) p. 12. (The collection was originally published in 1920.)
188 Wittgenstein, Ethics and Aesthetics
3. Oement Greenberg, 'Modernist Painting', Art and Literature, 4 (1965) pp. 193-201.
4. Suzi Gablik, Progress in Art (New York: Rizzoli, 1977) p. 45. 5. Ibid., p. 46. 6. Ibid., p. 83. 7. Frank Stella, Working Space: The Charles Eliot Norton Lecturers, 1983-84
(Cambridge, Mass. and London: Harvard University Press, 1986). 8. Ibid., p. 5. 9. William M. Ivins, Jr., Art and Geometry: A Study in Space Intuitions
(New York: Dover, 1964). The book was originally published in 1946. Ivins cites S. H. Butcher to the effect that in the Poetics Aristotle eliminates what is transient and particular and reveals the permanent and essential features of the original and then identifies that distinction with the distinction between primary and secondary qualities (pp. 65--6). Again he intimates a connection between the rise of relativity physics and the comparative study of religions (p. 109), a fancy which depends upon a serious misunderstanding of the physics.
10. Ibid., p. 15. 11. Quoted by Michael Podro, The Critical Historians of Art (New Haven
and London: Yale University Press, 1982) p. 42. 12. Ivins, Art and Geometry, p. 19. 13. Ibid., p. 62. 14. Leon Battista Alberti, On Painting, revised edn, trans. John R. Spencer
(New Haven and London: Yale University Press, 1966). 15. Ibid., p. 55. 16. Ibid., p. 57. 17. Ibid., p. 70. 18. Ibid., p. 79. 19. The Sarajevo Haggadah (Beograd and Sarajevo: Prosveta-Svjetlost,
1983). This is an interesting facsimile edition of a fourteenth-century manuscript. The illustrations are assumed to have been added later.
20. Translated by Elizabeth Gilmore Holt in her A Documentary History of Art, 3 vols (Garden City, NY: Doubleday, 1958) vol. II, pp. 161-2.
21. Descartes, Passions of the Soul, xcvmff. 22. Ibid., CXII. 23. Ibid., cxmff. 24. For detailed discussion of the importance of context in under
standing emotion see A. I. Melden, 'The Conceptual Dimension of Emotion', in Theodore Mischel (ed.), Human Action (New York and London: Academic Press, 1969), and B. R. Tilghman, 'Emotion and Some Psychologists', Southern Journal of Philosophy (Summer, 1965) pp. 63-9.
25. Stella, Working Space, p. 70. 26. Michael Fried, 'Art and Objecthood', Art Forum, 5 (1967) pp. 12-23. 27. Stella, Working Space, p. 4. 28. Ibid., p. 74. 29. Ibid., p. 27. 30. Ibid., p. 30.
Notes 189
31. For an account of the influences on these and other painters see The Spiritual in Art: Abstract Painting 1890-1985, ed. Maurice Tuchman, Los Angeles County Museum of Art (New York: Abbeville Press, 1986).
32. Eduard Hanslick, The Beautiful in Music, trans. Gustav Cohen (Indianapolis and New York: Bobbs-Merril, 1957) p. 50.
33. See also Brian McGuinness, Wittgenstein: A Life: Young Ludwig, 1889-1921 (Berkeley, Los Angeles, London: University of California Press, 1988) pp. 123-5.
34. Wittgenstein introduces the notion of words having a secondary sense in PI, p. 216. I have explained and discussed this notion in detail in my But Is It Art? (Oxford: Basil Blackwell, 1984) ch. 7.
35. From 'Die farbigen Reliefs von Sophie Taeuber', quoted by Harriet Watts, 'Arp, Kandinsky, and the Legacy of Jakob Bohme', in The Spiritual in Art, p. 254.
Notes to the Afterword
1. Oement Greenberg, 'Modernist Painting', Art and Literature, 5 (1965) p. 194.
2. See pp. 26-7 above. 3. Dewitt Parker, The Principles of Aesthetics, 2nd edn (New York:
Appleton-Century-Crofts, 1946) p. 82. (The book was originally published in 1920.)
Index
absolute good, 55 Achilles, 33-4 Aeschylus, 182 aesthetic qualities, 38 aesthetic disinterestedness, 24, 39,
67 aesthetic experience, 174 aestheticism, 42 aesthetics
and analytical philosophy, 6ft. distinguished from art, 87, 173,
176 eighteenth-century theory of,
21-7, 56, 67 and ethics, Chapter 2 passim history of twentieth-century, 6
Alberti, Leon Battista, 152ft. Alma-Tadema, Sir Lawrence, 122,
136 Anderson, Leroy, Typewriter Con-
certo, 119 Anscombe, G.E.M., 52 Aristotle, 22, 31 Armory show, 3 art
abstraction in, 145, 147, 162, 165-8
church patronage of, 36-8 compared to formal logic, 146 definition and essence of, 40-1,
67, 118, 169
problem of evil in, 175--6 royal patronage of, 37-8 social history of, viii-ix, 6 space in, 150ft.
art for art's sake (l'art pour l'art), 39, 167
Asimov, Isaac, 101, 128 aspects, see seeing and seeing-as Atkinson, Terry, 123 automata, 100-1, 104 Ayer, A.J., 8
Baker, Gordon, 19, 116 Barr, Alfred H., 2, 41 Barrett, Cyril, xiii, 45, 58, 64, 187 Baumgarten,Alexander,23, 38 Baxandall, Michael, 185 Beardsley, Monroe C., 180 beauty, and the beautiful, 22-5,
32, 36-8, 81, 174, 176 Beerbohm, Max, 122 Beethoven, Ludwig van, vii Behaviourism, 99, 155, 160 Bell, Clive, 2, 40-1, 145, 173 Bellini Giovanni, 14,157 Benson, Douglas, 185 Bergman, lngmar, 14 Black, Max, 184 Boime, Albert, viii-ix
expression theory of, 38-9, 46-7,
Bosanquet, Bernard, 7, 26-7, 174 Botticelli, Sandro, Calumny Bouwsma, O.K., 185
67 expressionism in, 162 formalism in, 2, 38, 40-2, 168-9 human figure in, 150ft. imitation in, 144 modernism in, 3-4, 41 prehistoric, 149--50
Brahms, Johannes, 81-2, 172 Broad, C.D., 99, 113 Burger, Peter, 42 Butcher, S.H., 31, 188
Candlish, Stewart, 186 Caravaggio, 148, 163-5, 167
190
Index 191
Carnap, Rudolf, 8, 18 Carroll, Lewis, 121-2 Castelvetro, Ludovico, 31 Cezanne, Paul,40, 120-2,135-6 Chaplin, Charlie, 100 Cohen, Ted, 24 Coleman, Francis J., 16-17 Collingwood, R.G., 7 comic strips, 3-5, 179 Conceptual art, 14, 122--3 conceptual jokes, 127 Cook, John, 186 Corneille, Pierre, 32 Cosimo, Piero di, 133--4 Crane, Stephen, 73 Croce Benedetto, 7, 47 Cubism, 148, 165--6
Dada, 14, 122 Danto, Arthur, 181-2 David, the king, 83, 89 David, Jacques Louis, 147 Delvaux, Paul, 118 Descartes, Rene, and Cartesian
philosophy, 48, 93--9, 101, 116, 123--6, 131, 138, 142, 154, 157-60
Dewey, John, 7, 14 Dickie, George, 181 Don Quixote, 32 Dostoyevsky, Fyodor, Crime and
Punishment, 109-12 Drury, M. O'Connor, ix, 19-20,
83-5 Du Fresnoy, Charles Alphonse, 31 DuBos, Abbe Jean-Baptiste, 32 Due, Viollet le, 86 Duchamp, Marcel, 14
Eco, Umberto, 23 Edwards, James C., 102 Else, Gerald F., 182 Elton, William, 10 emotions, and bodily expressions,
48-50, 115-16, 152-5, 157-9, 161 Engelmann, Paul, 17-18, 56-7,
61-2, 64, 77, 88 Evans-Pritchard, E.E., 108 experiencing meaning, 108-10,
122, 130, 177
Ficker, Ludwig von, 18 Fra Angelico, Sts Peter and Paul
Appearing to St Dominic, 157 Frege, Gottlob, 7, 10 Fried, Michael, 4-5, 164 Friederich, Caspar David, 119-20 Fry, Roger, 2, 120, 135, 145
Gablick, Suzi, 146-8, 170 general theory of value, 7, 14 geometrical perspective, 15lff. Gilbert, Katherine E., 180 Giotto, 3, 82, 87, 121, 135-6 Goethe, Johann Wolfgang von,
Allerdings, 116 Greek painting, 151-2 Greek tragedy, 175, 182 Greenberg, Clement, 2, 5, 25-6,
40-1, 145-6, 148, 168, 173, 178 Gulliver, Lemuel, 100, 105
Hacker, P.M.S., 19, 116 Hamilton, James, xili Hanfling, Oswald, 186 Hanslick, Eduard, 170 Hauser, Arnold, 40 Hegel, G.W.F., 39 Hesiod, 28 Hintikka,Jaako, 184 Holderlin, Friederich, 56, 61 Homer, 28, 34, 182-3 Horace, 22, 31 Hospers, John, 9 Hume, David, 23, 26, 99-100, 113
indirect communication, 63, 177 interpretation
of culturally emergent entities, 126, 128, 132, 136
distinguished from seeing, 133 as forming hypotheses, 129--30,
133, 137 Isenberg, Arnold, 180 Ivins, William M., 150-2, 154, 165
Janik, Allan, xili, 63--4, 184 Joachim, Joseph, 81 Johannessen, Kjell S., xili, 183
192 Index
Johnson, Roberta, 185 Joyce, James, Araby, 112
Kandinsky, Wassily, 148, 168, 172 Kant, Immanuel, and Kantian
philosophy,xi-xii,24-5,32,39, 142 Kennick, William, 9 Kierkegaard, Soren, 63 Kirchner, Ernst Ludwig, 162 Kivy, Peter, 182 Kristeller, Paul Otto, 22 Kuhn, Helmut, 180
LaForet, Carmen, El Aquinaldo, 74 Language
compared with music, 169-72 private language, 94, 101-3 relation to practice, 15-16, 83,
97, 102, 112-14 secondary sense of, 170-1
language-games, 102-3 Le Brun, Charles, 157-8 logical positivism, 10, 17-18, 44 logical space, 53
Malcolm, Norman, xiii, 12, 185 Malevich, Kazimir, 148 Manet, Eduard, 120-1 Margolis, Joseph, 14, 125-6, 129,
133, 138-40 materialism, 126, 137 Mazzoni, Jacapo, 31 McGuinness, Brian, 181, 185, 189 meaning of life, 56-8, 60, 69, 73,
76, 176, 178 Melden, A.l., 188 Michael Baldwin, 123 Milton, John, 14 mind/body dualism, 93-4, 97-9,
101-2, 109, 154, 172 Mondrian, Piet, 168 Moore, G.E., 7, 10, 17, 56, 80-2, 135 moral space, 152, 154 Morris, Charles W., 180 Munch, Edvard, 162
Nathan, the prophet, 83, 89 Nestroy, Johann Nepomuk, 19
Nietzsche, Friedrich, 33 Nolde, Emil, 162 Nordenstam, Tore, xiii
Ogilby, John, 14 ontology, 12, 71, 93, 123, 131,
141-2, 184-5 Osborne, Harold, 26--7, 36, 174, 180 other minds problem, 93££., 124
Panofsky, Erwin, 133-4 Parker, Dewitt, 174-5 parody, in art and human behav-
iour, 106, 121-2 Pepper, Stephen C., 7 persons and bodies, 124-8, 137-8 Picasso, Pablo, 148, 165-6 picture theory of language, 43-4, 68 Piles, Roger de, 31 Plague of Locusts miniature, 155-6 Plato, 21-2, 27-30, 32-6, 75 Plotinus, 22 Podro, Michael, 188 Pollock,Jackson,41, 146,148 Post-Impressionism, 40, 120-2, 135 Poussin, Micolas, 31; Death of
Germanicus, 161 Prall, David, 7 Protagoras, 30, 153 Pushkin, Aleksander Sergeevich,
14
racial bias, 105-8, 143 Rader, Melvin, 7 Rais, Gilles de, 101 Ramsey, Frank, 64 Raphael, 121 Raskolnikov, and Dounia, 109-12,
159 Rauschenbeg,Robert, 138 Reichenbach, Hans, 8 Rhees, Rush, 84-5, 184 Richards, I.A., 180 Rimbaud, Aurthur, Ophelie, 140-1 Rockwell, Norman, 119 Roquentin, Antoine, 71-2 Rubens, Peter Paul, 163-5, 167 Rudner, Richard, 180 Russell, Bertrand, 7, 10, 17, 180
Index 193
Salon des Refuses, 2 Santayana, George, 7 saying/showing distinction, 44,
63-4,68,89,172,178 SChee~ RJChard,xiU Sclllller,FriedriCh,46 Schlick, Moritz, 18 Schnaase, Karl, 150-1 SChopenhauer, Arthur, 18, 51,
54--5, 74, 76, 78, 176 seeing and seeing-as, 108, 110-12,
121-2, 131-2, 135-6 self, see will semantic problems of reference,
139-41 Shakespeare, William, 176 Shestack, Alan, 5 Shusterman, RJChard, 10, 17, 180 Sibley, Frank, 9, 181 Sidney, Sir Phillip, 24, 27, 31, 33,
35-6 Skinner, B.F., 99 Socrates, 29, 33-4 solipsism, 49-51, 78 Sophocles, 182; Oedipus Rex, 61,
118, 176 Spinoza, BaruCh, 53 spirit (Geist), 47-50, 52, 60, 65, 67,
79, 89 St Augustine, 114 Stella, Frank, 148, 163££. Strawson, P.F., 124-5 Strong, Roy, 183 sub specie aeternitatis, 46, 52-3,
69-70, 88, 176
Taeuber-Arp, Sophie, 172 Tatarkiewicz, Wladyslaw, 182 Tilghman, B.R., 184-9
Titian, 121 Tolstoy, Leo, 36-7, 40, 47, 63, 77,
88-9 Toulmin, Stephen, 62, 64 tremendous/correct distinction in
art, 86--8 analogous ethical distinction,
88-9 TuChman, Maurice, 188
lnlland, Ludwig, 64
Van Gogh, vincent, 54, 76 V~ron, Eugene, 39-40 view from eternity, see sub-specie
aeternitatus
Wagner, RJChard, vii Watts, Harriet, 189 Weitz, Morris, 9, 180-1 will, 47-52, 58-60, 63, 79--80 WinCh, Peter, xill, 79, 108, 186 Wittgenstein, Ludwig, Preface
passim, 25, 34, 42, 91-3, 97, 100-4, 109, 113-16, 128, 132-3, 135-6, 154, 159-60, 169-72, 174-8 early aesthetic thought, chapters
3-4 passim early ethical thought, 18,
chapters 3-4 passim moral dimension of later work,
18-20, 92, 115 reasons in aesthetics, 81-2, 172 and recent aesthetic theory, 9££.
Wordsworth, William, 8, 47
Ziff, Paul, 9 ~ermann,Jorg, 180
