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Adorno, T. W. (1970) Ästhetische Theorie, Frankfurt: Suhrkamp; trans.
R.
Hullot-Kentor, Aesthetic Theory, London: Athlone Press
1997. (Highly influential attempt to articulate the place, significance and proper ambitions of art (in all its forms) in the modern world. The book’s style and organisation make it a highly challenging read.) |
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Baxandall, M. (1985) Patterns of Intention, New Haven, CT: Yale University Press. (Chapter 3 contains a useful discussion of painting’s ability to explore the nature of visual experience.) |
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Greenberg, C. (1961) Art and Culture: Critical Essays, Boston, MA: Beacon Press. (‘Towards a Newer Laocoon’ and ‘Modernist Painting’ provide particularly clear and vivid statements of Greenberg’s fundamental views.) |
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Hopkins, R. (1997) ‘Pictures and Beauty’, Proceedings of the Aristotelian Society
97 (2): 177–194. (Shows how to preserve what is right in Lessing’s idea that painting inherits the beauty of its objects; addresses some of the issues sketched in §8.) |
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Hopkins, R. (2010) ‘Inflected Pictorial Experience: Its Treatment and Significance’, in C.
Abell and K.
Bantinaki (eds) Philosophical Perspectives on Depiction, Oxford: Oxford University Press. (A critical assessment of the nature of inflection, whether the phenomenon obtains, and its significance for the aesthetics of painting.) |
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Langer, S. K. (1953) Feeling and Form, New York: Charles Scribner’s Sons. (Offers distinct aesthetics for painting, sculpture and architecture, integrated into a general theory of art.) |
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Lessing, G. E. (1766) Laocoon, trans.
E. A.
McCormick, Indianopolis, IN: Bobbs-Merrill. (A seminal piece, from the errors of which much can be learned.) |
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Lopes, D. M. (2006) Sight and Sensibility, Oxford: Clarendon Press. (A sustained exploration of the value of pictures that relies at key points on the idea of inflection.) |
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Podro, M. (1998) Depiction, Cambridge, MA: Harvard University Press. (An exploration of the phenomenon of inflection in all its forms, with many illuminating discussions of particular works of art.) |
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Ruskin, J. (1843–60) Modern Painters, 5 vols, London: Smith, Elder & Co.; repr. London: J. M. Dent & Co., 1906. (A magisterial, insightful and idiosyncratic exploration, both critical and theoretical, of painting, with special reference to the work of Turner.) |
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Wollheim, R. (1987) Painting as an Art, London, Thames & Hudson. (As well as providing the archetype for all accounts of pictorial experience which acknowledge both aspects of pictures, this is the most extensive, sophisticated and accomplished attempt to answer our question.) |