Abstract

This is a confusing attempt to reconcile realist philosophy with an aesthetic stand. The book includes a discussion of the contributions of artists, philosophers, and critics to the formulation of an aesthetic viewpoint; a brief history of idealistic aesthetic theory embodied in the ideas of Kant, Hegel, Croce, and Tolstoy; a definition and defense of "excellence" as the criterion in the evaluation of art; and a justification for the continued inclusion of aesthetics as a philosophical endeavor. Realists, with their emphasis on the scientific approach, verification, and measurement have always had a certain amount of understandable trouble with the arts, a field known for its fluidity and willful perversity regarding attempts to establish permanent, stable criteria of evaluation. Gibson draws heavily on Wittgenstein's idea of "family resemblances" and Weitz's application of that idea to art. In doing so, however, he ignores Weitz's warning that since art has no set of necessary properties and since, therefore, it is impossible to formulate theoretical definitions of it, aestheticians might better spend their time on other issues. Gibson builds his case around a family resemblance of various, so-called permanent excellences such as "significant form," "expressiveness," and "communicative efficacy" which, he insists, just happen to converge together in "great" works of art. With this statement, as well as others concerning the effect great art must produce in the beholder, Gibson has returned to the idea of an Absolute definition which, though pluralistic in scope, is still as rigid, exclusive, and closed a concept as the ones he denounces, despite his statements of "proof" to the contrary. Mention should also be made of the weakness of the overall structure of the book. Ideas and explanations become confusing when they are dropped in driblets throughout diverse chapters. This book adds nothing to the ideas of Wittgenstein or Weitz while, at the same time, detracting considerably from the clarity and logic of their concepts.--B. T.