James presents an important alternative to the Pauline view of Christian faith and life. James' message reveals deep insight into Jesus' teaching concerning God as Father and the trustful confidence of life lived in relation to God. At the same time, James uncovers the ethical cutting edge of the message of God's fatherly generosity.

This latest philosophical text by John Sallis is inspired by the work of contemporary Chinese painter Cao Jun. It carries out a series of philosophical reflections on nature, art, and music by taking up Cao Jun's art and thought, with a focus on questions of the elemental. Sallis's reflections are not a matter of simply relating art works to philosophical thought, as theoretical insights and developments run throughout Cao Jun's writings and inform many of his artistic works. Sallis (...) maintains abundant points of contact with Chinese philosophical traditions but also with Western philosophy. In these reflections on art, Sallis poses a critique of mimesis and considers the relation of painting to music. He affirms his conviction that the artist must always turn to nature, especially as reflections on the earth and sky delimit the scale and place of what is human. Full-color illustrations enhance this provocative and penetrating text. (shrink)

Beginning with the assertion that earth is the elemental place that grants an abode to humans and to other living things, in Senses of Landscape the philosopher John Sallis turns to landscapes, and in particular to their representation in painting, to present a powerful synthetic work. Senses of Landscape proffers three kinds of analyses, which, though distinct, continually intersect in the course of the book. The first consists of extended analyses of distinctive landscapes from four exemplary painters, Paul Cezanne, (...) Caspar David Friedrich, Paul Klee, and Guo Xi. Sallis then turns to these artists’ own writings—treatises, essays, and letters—about art in general and landscape painting in particular, and he sets them into a philosophical context. The third kind of analysis draws both on Sallis’s theoretical writings and on the canonical texts in the philosophy of art (Kant, Schelling, Hegel, and Heidegger). These analyses present for a wide audience a profound sense of landscape and of the earthly abode of the human. (shrink)

Commentators have tended to regard Hume's two early works (the ITreatiseD and the IEssays, Moral and PoliticalD) as unrelated projects. In this article, I argue that the IEssaysD are the logical continuation of a chain of thought that is begun in the ITreatiseD but not completed there. The logic of Hume's thought suggests that he can only continue his argument by shifting from the role of technical philosopher (anatomist) to that of a popular essayist (painter). The analysis centers primarily (...) on a detailed reading of Hume's IAdvertisementsD and on the first Essay, "Of the Delicacy of Taste and Passion.". (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical (...) roots. John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

Now, back to the picture. On the illusionist reading the spectators have become identical with Philip IV and Maria Ana. Given its position across the room and our position at the front of the scene, we would have to see ourselves in the mirror, but we only see the royal couple. Now what exactly is the painter on the left painting? Well it is obvious that he is painting us, that is, Philip IV and his wife. He looks straight (...) at us, scrutinizing our features, before applying the brush to the canvas. We have plainly caught him in the very act of painting us. But in what sort of picture is he painting us? The standard interpretation is that he is painting a full length portrait of what we see in the mirror. But there is an objection to that interpretation which seems to me fairly convincing. The canvas he is painting on is much too large for any such portrait. The canvas on which he is painting is indeed about as big as the one we are looking at, about 10 feet high and 8 feet wide . I think that the painter is painting the picture we are seeing; that is, he is painting Las Meninas by Velazquez. Although this interpretation seems to me defensible on internal grounds alone, there are certain bits of external evidence: as far as we know, the only portrait Velazquez ever painted of the royal couple is the one we are looking at, Las Meninas. Velazquez is plainly painting us, the royal couple, but there is no other picture in which he did that; and indeed he seldom used such large canvases for interiors. The Spinners is a large-scale interior but most of his big canvases are equestrian portraits of Spanish royalty. John R. Searle, professor of philosophy at the University of California at Berkeley, is the author of Speech Acts, The Campus War, and Expression and Meaning. (shrink)

"Ruskin was the most important aesthetic authority of the 19th century. In his dozens of books and lectures he wrote about the qualities of art. the key figure, the history that connected one to another. In The Stones of Venice, Modern Painters, Seven Lamps of Architecture he developed rules and standards that are amazingly contemporary in their range of sympathies. However, Ruskin wrote thousands of pages of criticism; for the modern reader his thought needs always to be rediscovered. This anthology (...) by Robert Herbert contains the essential thought of Ruskin on theory and practice (creativity, color, compositio, exhibiting workd of art), ("the nature of gothic," Venetian Renaissance, iron and glass as new materials for building), and sculpture and ornament (Greek, Byzantine, Medieval, and Renaissance). Herbert devotes his section on painting to Ruskin's remarks on Giotto, Fra Angelico, Botticelli, Michelangelo, the Venetians, Turner, the Pre-Raphaelites, and many others. Ruskin was full of contradictions and quirks, but he is the one 19th-century critic who gave the 20th century many of its most progressive thoughts on architecture, painting, and relationship of art to a social and moral context."--BOOK COVER. (shrink)

Highly recommended." —Choice "This fascinating book by one of the more original voices writing philosophy in English poses questions about the nature of the visible and invisible, sensible and intelligible." —Dennis Schmidt What is it ...

'To be taught to write or to speak - but what is the use of speaking, if you have nothing to say? To be taught to think - nay, what is the use of being able to think, if you have nothing to think of? But to be taught to see is to gain word and thought at once, and both true.' Ruskin was the most powerful and influential critic of the nineteenth century. He wrote about nature, art, architecture, politics, (...) history, myth, and much besides; all his work is characterized by a clarity of vision as unsettling and intense now as it was for his first readers. This new selection draws on the whole range of his astonishingly varied output, from the passionate celebration of J. M. W. Turner's painting in the first volume of Modern Painters to Praeterita, the elegiac autobiography of his later years. The introduction outlines Ruskin's life and thought, and shows why he remains such a rewarding writer today. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Newton’s Opticks was in no way directed at artists, but the great prestige of its author, as well as its proposal of possible principles of color-harmony, and its establishment of the circle as the most graphic format for illustrating color-relationships, ensured the book a place in the repertory of coloristic art-theory from the eighteenth century until the present day. And, although it was implicit rather than explicit in the Opticks, the idea of complementarity continued to fascinate painters well into the (...) twentieth century. But in painting, the long-standing focus on chiaroscuro as the essential basis of pictorial structure inhibited the acceptance of the notion that colors are inherent in light alone; and Newton’s theory failed to make much headway against the traditional Aristotelianism, which was revived most eloquently by Goethe at the close of the eighteenth century. It was only two centuries later, in the new light-based art of holography, that the Opticks again became a text to conjure with. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Rembrandt BookProfessor Emeritus John Adkins RichardsonThe Rembrandt Book by Gary Schwartz. New York: Harry N. Abrams, 2006, 384 pp. $40.95, cloth.This truly is the Rembrandt book. Substantial in every way, it is physically imposing, magnificently printed on heavy, glossy stock and profusely illustrated with splendid color reproductions of all the master’s major works and many sketches and preparatory drawings, as well as etchings and dry-point engravings. (...) Gary Schwartz, who studied art history at New York University and Johns Hopkins University, is now living in the Netherlands. The merits of his book are enormous. Not only is it filled with magnificent reproductions, there are tables and graphs detailing such things as the number of Rembrandt paintings in catalogues from 1836 to 1992; analyses of the artist’s borrowings and adaptations in five-year periods; key dates in the life of the man; Rembrandt’s relation to the forms of sale for paintings in the Dutch seventeenth century; and so on. There is even a computer rendering of the famous depiction of Captain Banning Cocq’s Company of Guards at the Gates of Amsterdam (popularly called The Night Watch), specifying the weapons shown and identifying all present, either by name and title or by a description, such as “girl in gold and blue,” “pikeman,” “musketeer,” etc.A sampling of the chapter headings and subcategories suggests just how comprehensive is Schwartz’s treatment: 1. Introduction, 2. A Dutch Artist’s Life, 3. Family, Loved Ones, Households, 4. Craft, 5. Earning and Spending, 6. Patrons, 7. Landscape, 8. Humankind, 9. Man and God. Just the specifics of the last chapter are remarkably capacious: Holy Family; Christ’s Ministry; Passion, Death and Afterlife; Divine Intervention; Holy People; Moral Examples from the Old Testament; The Man of God, Simeon; Afterlife; and Rembrandt as a Christian Rhetorician of the Brush. It’s hard to imagine a better reference for the lay reader than The Rembrandt Book.The book is also full of interesting contrasts of opinion as well as some surprising remarks. As for one of the latter, Schwartz writes that Rembrandt’s “portraits are said to be more ‘psychological’ than those of his contemporaries. What this might mean I frankly do not understand” (213). He goes on to note that the field of psychology did not exist in Rembrandt’s time. However, from long before its invention people spoke of Rembrandt’s ability to reveal the soul of the sitter. Indeed, the reason I was not surprised, although somewhat distressed, when the Rembrandt Research Project—a group of connoisseurs set up in 1969 with the explicit charge of authenticating all works ascribed to the master—announced in 1985 that The Man with a Golden Helmet in Berlin was not by the master at all, was that I had all along been troubled by this face that lacked the quality of animation in repose so [End Page 115] characteristic of Rembrandt portraits. Schwartz thinks the artist would have to have relied upon the ancient theory of the humors to do “characterological descriptions” of his sitters, and that in portraiture, “such characterizations would quickly resemble caricatures.” And, indeed, they do, but in profoundly subtle ways, much as someone like the popular illustrator Norman Rockwell employed tiny caricature-like distortions to project a kind of homely Americanism. I’m not comparing Rockwell to Rembrandt but choosing a realistic illustrator in whose work the trick is more apparent. Caricature can be as broad as it is in Jacques Callot, William Hogarth, or Honoré Daumier and yet be a feature of true art. Or so it seems to me, admittedly, a sometimes cartoonist as well as painter and engraver.Schwartz’s completeness of coverage leads him to include, in addition to superb drawings and prints, some that are so careless and hasty as to make one doubt their authenticity. One of the works of marginal quality is an etching of Six’s Bridge, which is said to have been created outdoors, hastily, on the site. This is a hotly debated issue. Rembrandt is known to have carried “varnished”—that is, grounded—copper etching plates, so there wouldn’t seem much reason to... (shrink)

When Swiss artist Paul Klee died in 1940, he left behind not only paintings that are a testament to his prodigious skill and vision but also a trove of writings and lectures that highlight his impressive intellectual prowess. _Paul Klee: Philosophical Vision: From Nature to Art_ is the fully illustrated catalog accompanying an eponymous exhibition opening in 2012 at the McMullen Museum of Art that focuses on the philosophical depth of Klee’s art. Demonstrating how ideas developed in Klee’s written work (...) are realized in his paintings, Paul Kleeputs a keen emphasis on the artist as philosopher, both in his theoretical writings and in his artistic works. Klee’s philosophy of nature and of the genesis of natural things is explored, as are the ways in which Klee translated these ideas into form, line, and color. His paintings are also decoded to reveal Klee as an astute critic of modern society, taking up topics as various as the impact of technology on art and the political failures of Germany that led to the rise of Hitler and Nazism. The exhibition and catalog will also look at twentieth- and twenty-first-century philosophers who have discussed Klee’s work, including Benjamin, Heidegger, Foucault, and Merleau-Ponty, and will articulate the broad impact that Klee’s art has had on recent philosophical thought. This book brings together contributions by an international group of scholars and also includes a new translation of Klee's "On Modern Art." A beautiful and rigorous treatment of one of the twentiethcentury’s most famous painters, _Paul Klee _not only reveals the man himself as a thinker and artist, but also creates a larger paradigm for how philosophical ideas shape art, and vice versa. (shrink)

I would like to celebrate this beautiful setting, which has been set into the work of one of England's foremost painters, set beautifully, I would want to say. I would like in deed to celebrate it by setting what I shall say within the orbit of a word used by Plato to refer to the beautiful, one to which Heidegger has paid special attention, the word τò εxφαvεστατov, in German, das Hervorscheinendste, in English, the most radiant, that which most shines (...) forth.1 I would like also to offer most sincere thanks to David Krell for arranging this colloquium in this lovely setting; also for many other things, not the least being the phrase that I have borrowed from him and used as the first of the two titles for this lecture, a debt on which I have now, however inadequately, to try to make good. (shrink)

A sustained account of Taggart's (English, Shippensburg U.) personal and poetic experience of A Woman in the Sun by American painter Edward Hopper (1882-1967).

Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...) removed from reality and since a painter’s chair is imitation of a carpenter’s chair, it is twice removed from reality. Thus, the artist deals in illusion. Plato thus rejected imitative art on the foundation that it is a copy or imitation of the unreal. We may ask; if the Carpenter makes a chair, what does he imitate? And if he imitates reality, can we call him an artist of a kind? This article therefore argues following Plato’s analogy that carpentry is an art of a kind and a carpenter is capable of knowing reality as against the notion that only philosophers are suitable for such a task. (shrink)

This article reports research in three Nottingham schools, concerned with (1) 'The school as fertile ground: how the ethos of a school enables everyone in it to benefit from the presence of artists in class'; (2) 'Children on the edge: how the arts reach those children who otherwise exclude themselves from class activities, for any reason' and (3) 'Children's voices and choices: how even very young children can learn to express their wishes, and then have them realised through arts projects'. (...) The research methodology was rooted in two modes of inquiry, philosophical investigation and action research. The article draws on this research to argue that arts-based work in school has helped disadvantaged and/or disaffected children to engage in activities (both arts-based and others), and to be able to lay the groundwork for exercising voice and agency as they did so. If social justice is to flourish there is a need for particular kinds of public spaces and a need to create conditions such that children can learn to participate in those spaces, whether or not they are comfortable with the usual settings for 'rational argument' or 'deliberative democracy'. It is suggested that arts-based education, in some forms, is one good way of creating these conditions. (shrink)

In the pages that follow I looked closely at two major paintings by Gustave Courbet : the After Dinner at Ornans, perhaps begun in the small town of the title but certainly completed in Paris during the winter of 1848-49; and the Stonebreakers, painted wholly in Ornans just under a year later. The After Dinner and the Stonebreakers are the first in a series of large multifigure compositions--others are the Burial at Ornans and the Peasants of Flagey Returning from the (...) Fair —that mark not only Courbet's maturity as an artist but his emergence as a disruptive force, almost a one-man wrecking crew, in the cultural politics of his time. They are also those works in which his self-declared identity as a Realist first becomes manifest, and probably the chief concern of the most interesting recent scholarship on Courbet has been to try to decode that epithet in social-historical terms, or at any rate to situate his activity as a painter during the years 1848-55 in the context of the social and political struggles that accompanied the creation of the Second Republic and its subversion by Louis Bonaparte.2 At the core of that tradition, motivating and, as it were, mobilizing it, is the demand that the painter succeed in placing in abeyance the primordial convention that paintings are made to be beheld—that he contrive in one way or another to establish the fiction, the meta-illusion, that the beholder does not exist, that there is no one standing before the picture. From Greuze through Gèricault, this was chiefly to be accomplished in and through the medium of visual drama, that is, by representing figures so deeply absorbed in their actions, emotions, and states of mind and furthermore so efficaciously bound together in a single comprehensive dramatic situation that they would strike one as absolutely immured in the world of the painting and a fortiori as oblivious to the very possibility of being viewed. And one way of describing the crisis that I believe overtook French painting by the 1820s and '30s is to say that the dramatic as such came more and more to be revealed as inescapably theatrical—that the array of conventions that once had served to establish the meta-illusion of the beholder's nonexistence now seemed merely to attest to his controlling presence.1. The present essay is adapted from a book-length study, in progress, of Courbet's art. Recent books and articles emphasizing social and political considerations include Linda Nochlin, Gustave Courbet: A Study of Style and Society ; T.J. Clark, "A Bourgeois Dance of Death: Max Buchon on Courbet," Burlington Magazine 111 : 208-12, 282-89, and Image of the People: Gustave Courbet and the Second French Republic, 1848-51 ; Jack LIndsay, Gustave Courbet: His Life and Art ; Klaus Herding, ed., Realismus als Widerspruch: Die Wirklichkeit in Courbets Malerei ; Herding, "Les Lutteurs 'détestables': Critique de style, critique sociale," Histoire et critique de l'art 4-5 : 94-122; and James Henry Rubin, Realism and Social Vision in Courbet and Proudhon .2. For an account of the early evolution of that tradition, see my Absorption and Theatricality: Painting and Beholder in the Age of Diderot , as well as the essays on Courbet cited in n. 3.Michael Fried, professor of humanities and the history of art at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on a book on Courbet. (shrink)

John Constable is one of England’s best-known landscape painters and greatest artists. While few will object to this statement, what it means will depend on when it was made. In the 150 years since his death in 1837, the terms of Constable’s greatness have shifted several times. In the nineteenth century his scenes of the Stour Valley in Suffolk were valued as images of a particularly English countryside: the placid river with its locks and barges, great overhanging trees, and (...) distant green water-meadows beneath massive cloudy skies. In this century, though the popular conviction of his Englishness persists, Constable is better known as “The Natural Painter.”1 As modernism rewrote the history of art, Constable was rediscovered as the man who excited Eugène Delacroix and other French artists in the 1820s: the natural painter whose freedom of technique, color, and chiaroscuro suggested a new way of representing the truth of landscape. The happy accident of his reception in France in the 1820s anchors English claims to participate in the development of an international style that moves through impressionism toward the more purely painterly and formal values of modernism. This Constable probably still dominates contemporary critical discussions of his work: the truthful student of nature who is also a painter’s painter.2 There is more than a little chauvinism in this view of Constable, but it is the national feeling of a less confident age, always looking over its shoulder to other countries like France. 1. This is the title of Graham Reynolds’ seminal book, Constable, the Natural Painter .2. See, for example, Malcolm Cormack’s recent book, Constable ; hereafter abbreviated C. Elizabeth Helsinger is professor of English at the University of Chicago and coeditor of Critical Inquiry. Her Ruskin and the Art of the Beholder was published in 1982. This essay is part of a book in progress on representations of the rural scene in Victorian England. (shrink)

Though the revised edition of A Theory of Justice, published in 1999, is the definitive statement of Rawls's view, so much of the extensive literature on Rawls's theory refers to the first edition. This reissue makes the first edition once again available for scholars and serious students of Rawls's work.

Though the revised edition of A Theory of Justice, published in 1999, is the definitive statement of Rawls's view, so much of the extensive literature on Rawls's theory refers to the first edition.

John MacFarlane explores how we might make sense of the idea that truth is relative. He provides new, satisfying accounts of parts of our thought and talk that have resisted traditional methods of analysis, including what we mean when we talk about what is tasty, what we know, what will happen, what might be the case, and what we ought to do.

This book holds classical liberalism responsible for an American concept of beauty that centers upon women, wilderness, and machines. For each of the three beauty components, a cultural entrepreneur supremely sensitive to liberalism’s survival agenda is introduced. P.T. Barnum’s exhibition of Jenny Lind is a masterful combination of female elegance and female potency in the subsistence realm. John Muir’s Yosemite Valley is surely exquisite, but only after a rigorous liberal education prepares for its experience. And Harley Earl’s 1955 Chevrolet (...) Bel Air is a dreamy expressionist sculpture, but with a practical 265 cubic inch V-8 underneath. Not that American beauty has been uniformly pragmatic. The 1950s are reconsidered for having temporarily facilitated a relaxation of the liberal survival priorities, and the creations of painter Jackson Pollock and jazz virtuoso Ornette Coleman are evaluated for their resistance to the pressures of pragmatism. The author concludes with a provocative speculation regarding a future liberal habitat where Emerson’s admonition to attach stars to wagons is rescinded. (shrink)

For this second edition, the editors have returned to Austin's original lecture notes, amending the printed text where it seemed necessary.

Much as we would like to conceive empirical thought as rationally grounded in experience, pitfalls await anyone who tries to articulate this position, and ...

Challenging new atheist history -- The twentieth century -- Europe 1600 to 1900 -- Europe to 1600 -- Back to the present -- What's at stake.

What psychological and philosophical significance should we attach to recent efforts at computer simulations of human cognitive capacities? In answering this question, I find it useful to distinguish what I will call "strong" AI from "weak" or "cautious" AI. According to weak AI, the principal value of the computer in the study of the mind is that it gives us a very powerful tool. For example, it enables us to formulate and test hypotheses in a more rigorous and precise fashion. (...) But according to strong AI, the computer is not merely a tool in the study of the mind; rather, the appropriately programmed computer really is a mind, in the sense that computers given the right programs can be literally said to. (shrink)

Normative requirements are often overlooked, but they are central features of the normative world. Rationality is often thought to consist in acting for reasons, but following normative requirements is also a major part of rationality. In particular, correct reasoning – both theoretical and practical – is governed by normative requirements rather than by reasons. This article explains the nature of normative requirements, and gives examples of their importance. It also describes mistakes that philosophers have made as a result of confusing (...) normative requirements with reasons. (shrink)

This book is the one to put into the hands of those who have been over-impressed by Austin 's critics....[Warnock's] brilliant editing puts everybody who is concerned with philosophical problems in his debt.

This new edition of the classic Contemporary Theories of Knowledge has been significantly updated to include analyses of the recent literature in epistemology.

Herbert Spencer's Evolutionstheorie - Dargestellt, beurteillt und mit einer Ubersicht uber die Geschichte des Entwicklungsbegriffes versehen ist ein unveranderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1896. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernahrung, Medizin und weiteren Genres.Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur.Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitaten erhaltlich. Hansebooks verlegt diese Bucher neu und tragt damit zum Erhalt selten (...) gewordener Literatur und historischem Wissen auch fur die Zukunft bei.". (shrink)

In this collection, the editors again bring together papers that either exemplify the crossing of disciplinary boundaries, or that allow us to do so in and through the conversations they create. The chapters were chosen based on their relevance to similar themes as were discussed in the first volume. By reviewing historical developments in the literature around gender and organization, and by drawing on recent scholarship that disrupts the traditional masculine imaginaries that plague leadership constructs, this book challenges us to (...) radically revise our gendered thinking about leading in organizations. The authors included in this volume offer alternative, interdisciplinary perspectives on the gender constructs that inform the organizing that takes place in business and society. The book delves deeply into how ‘relationality’, as concept and practice, can help us frame a more inclusive approach to gender within contemporary organizations. (shrink)