Authors
Rachel Zuckert
Northwestern University
Abstract
I present and analyze J.G. Herder’s aesthetics of sculpture, as an art form directed toward and appreciated by the sense of touch. I argue that Herder is unsuccessful in his attempt so to define sculpture, but his account is nonetheless fruitful, both in making salient and explaining signal aspects of sculptural appreciation and criticism and, more broadly and quite innovatively, in proposing an aesthetics of touch, even an embodied aesthetics.
Keywords philosophy of art  sculpture  Herder  aesthetics
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DOI 10.1111/j.1540-6245.2009.01359.x
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