The object of art: the theory of illusion in eighteenth-century France

New York: Cambridge University Press (1982)
  Copy   BIBTEX

Abstract

Are works of art imitations? If so, what exactly do they imitate? Should an artist remind his audience that what it is perceiving is in fact artifice, or should he try above all to persuade it to accept the illusion as reality? Questions such as these, which have dominated aesthetic theory since the Greeks, were debated with extraordinary vigour and ingenuity in eighteenth-century France. In this book Dr Hobson analyses these debates, focusing in turn on painting, the novel, drama, poetry and music. In each case she relates theory to contemporary works of art by Watteau, Chardin, Diderot, Beaumarchais, Gluck and many others. She shows that disputes within the theory of each art centred upon the nature of the perceiver's attention. Dr Hobson provides a method of mapping the changes in artistic style which took place as the century advanced. In discussing such conceptual transformations Dr Hobson opens an important perspective for the study of Romanticism and Realism.

Links

PhilArchive



    Upload a copy of this work     Papers currently archived: 92,873

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Analytics

Added to PP
2009-01-28

Downloads
49 (#332,405)

6 months
8 (#411,508)

Historical graph of downloads
How can I increase my downloads?

Citations of this work

The paradox of virtuosity in the practical arts.Neil C. M. Brown - 2004 - Educational Philosophy and Theory 36 (1):19–34.
The Paradox of Virtuosity in the Practical Arts.Neil C. M. Brown - 2004 - Educational Philosophy and Theory 36 (1):19-34.

Add more citations

References found in this work

No references found.

Add more references