| Volltext: | Index abstraction, 13, 123, 245 account: experiential, 247; hypothesis, 7, 65, 66, 67, 74n, 247; narrative vs. model, 176; phenomenological, 59, 64 accounts of style: deterministic, 131; generative, 4, 153; realist, 130; taxo-nomical, 4, 78, 81, 153; see individ-ual style; style action: its primacy, 160; refraining from, 143; responsive, 143 advertizing, 91 aesthetic: appreciation, 31, 97; attention 31, 37; education, 9, 158, 161; form, 92; interest, 4, 77, 78, 79, 121, 227, 229; not artistic, 166n; value, 80, 121 aesthetics, 112, 149n; its first question, 152, 154, 157, 158, 161; of painting, 227, 228, 229, 230 affect, 103, 104, 111; in perception of correspondence, 109; imaginative, 236 affinity, 110, 138, 154, 155; see correspondence Alberti, 22, 42, 43, 57n Alpers, Svetlana 10, 55, 73n, 134n, 162, 252, 261 Altaio, V. 178 altar piece 182, 197n amateur, 130; works 128 analogy, 152; between figures, 117; play of, 119; psychological, 200; as rap-port, 116; structural, 54, 246; surface and subject, 114, 115; visual and tactile, 123 animal, 86, 87; imagination, 87; recog-nition, 86 antagonist, 127, 227; and actor, 139, 140; his experience, 136; his identification, 139; his mental life, 139 Antal, 78 anticipation, personal, 145; pro tanto, 143; of recurrence, 140, 142, 144 apostrophe, 214n appreciation of art, 5, 102, 109, 141, 153, 155, 160, 161, 215, 222, 227, 230 appropriate, attribution, 155, experience, 13-16, 24, 26, 36, 190, 193, 243, 244, 247, 248; responsive attention, 127, 217 arbitrary signs, 51, 52, 53 architeetural elements, 191 Art and its Objects, llln, 112, 117, 154, 157 art as communication: modest doctrine, 76; robust reading, 77 art history, 4, 10, 43, 47, 77, 79, 129, 159, 171, 194, 200, 211, 213, 214, 232, 259; development (non-predictable), 81, 242; fragile, 162; (non-)systematic, 81, 78 art: beginning, 7; comprehensibleness, 162; constant renewal, 77; contem-porary, 129, 131; denigrated, 251; development (no laws), 77, 78, 79, 127; ecologically defined, 148n; forms, 142; genesis of, 77; human practice, 131, 242; its nature (es- 272 Index art (cont.) sence), 197, 242; mechanical, agree-able and fine, 91, 92; mere object of interest, 251; persistence of, 7, 77, 242; of (un)stressed edges, 18; value of, 5, 83 artist and patron (negotiation), 81, 173, 242 artist: creative vs. (commercially) suc-cessful, 128, 130; like us, 226; original spectator, 107, 118, 127, 261; persona, 81 artist's intentions, 5, 26-8, 36, 76, 92, 124, 149n, 155-6, 159, 176, 190, 217, 221^1, 241-3, 251, 252, 257; psychological reality (as the Standard), 75, 76, 78, 81; realized/ful-filled/ achieved, 3, 27, 29, 35, 36, 38, 102, 116, 155, 156, 250-1, 254 artist's: attention, 9, 126; control, 83, 137; imagination, 125, 126; position towards the canvas, 10, 149n, 171-6; self-awareness, 130, 194; (stylistic) Intervention, 137, 144; mind, 127, 176; hands, 138, 172, 196; personal features, 133; powers, 196; response, 223; share, overrated, 157; strategy, 256 artistic activity, 126, 127, 261; formula, 128; integrity, 128; merit (value), 95, 123, 126, 160, 196; not graphic, 130; process, 125; technique, 129 artwork as: artist's natural expression, 140; expressive vs. representational, 151-2; iconic, 93; impoverished, 133; intentional, 124; process, 130; prod-uct of human intention, 158; styl-ized, 131; timeless, 128 artwork, its: features, 162; lacunae, 139, 146; meaning, 153, 157, 181; sense, 129; success, 178; unfolding integrity, 127 artworld, 82 aspect (Gestalt) perception, 2, 41, 91, 92; Necker Cube, 41; switching, 33, 41, 93, 94 associations, 68; evoked, 178, 179; not free, 113; psychological, 94, 95; synaesthetic, 232 attention: method (focus), of 130, 234; staged, 181; third form, 259; visual, 215 attitude: aesthetic, 172; intentional, 132; propositional, 64; psychological, 68; social, 93 authenticity, 9, 132 autism, 149n Babel, curse of 49 background knowledge, 7, 9, 27, 35, 36, 62, 102, 159-61, 193, 209, 242; in-nate, 106 Balzac, Honore de: Frenhofer 27 Baxandall, Michael, 10, 55, 57n, 70n, 71n, 72n, 73n, 129, 162, 188n, 260-1 Beckmann, Max, 34 beholder: his inner landscape, 42; his share, 176; hypothetic, 75, 81; (patron) as a plurality, 82 belief-states, 62, 63, 68, 72n; higher-level, 63, 64, 66, 68, 193; percep-tual, 63, 64, 66; recognitional, 65; ordinary, 68 Bell, Clive, 163 Bellini, Giovanni, San Giobbe Madonna, 204, 205f, 207, 212, 213 Bergson, Henri, 86 Bernadete, Jose A., 57n Best, David, 166n Blackburn, Simon, 164n, 165n, 166n Blake, William, 55 Bosanquet, Bernard, 125-6, 134n Bradley, 125 Braque, Georges, 196 Brentano, Franz, 45 Breughel, Pieter, 21 Budd, Malcolm, 7, 8, 17-18, 21, 27n, 28, 32, 37, 58n, 59, 62, 67, 71n, 73n, 153, 165n, 254-5 Byzantine: gold mosaic, 192; icons, 197n; painting, 191 Index 273 canvas with paint, 158, 172 capacities: suitable, 7; retentional, 86 caricatures, 66 Cassirer, Ernst, 88 categorization: perceptual, 66, 67, 73n; conceptual, 67; everyday, 68 causal: effect on viewer, 244, 248; no-tions and persons, 252 cave paintings, 19, 49, 54 Cavell, Stanley, 122, 159 ceiling painting, 195 Cezanne, Paul, 132 charcoal, 122 Chardin, Jean Baptiste Simeon, Return from the Market (La Pourvoyeuse), 55, 232, 234, 235f children, 9, 98, 118, 119, 138; coordi-native activity, 88; development, 119; experience, 117; drowning, 143; learning, 88; mimicking and varying, 119; paintings by, 4; recognitional skills, 15; vision, 233 chimpanzee's paintings, 4 Classification, 129 codes, 53, 83 Cognition: deliberate, 65, 89; imaginative, 117; objective, 89 cognitive: account of pictorial, 39; dis-crimination, 87, 89; capacities, 197; stock, see background knowledge cognizing subject: its unity, 89 colour, 147, 186 comics, 31, 244 common sense, 161; psychology, 78; re-flective, 162 communication, 7, 43, 45, 46, 52, 56, 76, 241^13; a bürden, 242; intended emotional, 156; linguistic, 39, 45; pictorial, 47, 48, 49, 52, 53, 57; suf-ficient condition, 242; of thought, 39; with responding person, 120 compensation, 123 composition, 129, 202, 204, 208, 212, 213, 259; achievement, 114; dynam-ics, 183; near-centralized, 210; strat-egies, 92 concept, 88; and percept, 194; applica-tion, 87, 89, 90, 91; of art (regulative), 78, 153, 160, 162, 163n; formation, 96; recognitional, 65 conceptualization, 59, 68, 72n, 148n conditions: internal, 119; psychological, 152, 154; social or cultural, 131; viewing, 13 conduit between artist and spectator, 45, 56, 124, 126, 133n, 251 configurational, 194, 195, 196; and recognitional (representational) aspects, 20, 29, 31, 33, 59, 61, 66, 71n, 114, 117, 190 consciousness, 31, 32, 97; of seif, 90, 96 constraints: a priori vs. a posteriori, 252; practical, 88, 143, 252; real-life vs. representational, 146 constructivity: robust, 162 content, 83; access to, 233; and form, 31, 178; change, 222; of experience, 25, 36; expressive, 216, 217, 218, 219, 220; in excess of represented, 179, 200, 201, 204, 207, 213, 222, 227, 258; (non)conceptual, 65, 247; painterly, 121; pictorial, 30, 31, 32, 121, 126, 215, 216, 217, 218, 219, 220, 223, 224, 229, 231n, 257; representational, 69, 94, 95, 103, 107, 179, 208, 246, 259 context of production, 156 Conventions, 45, 51, 53, 74n, 95, 83, 141, 181, 243; iconographic, 67; representational, 122; general, 142 copying: painting, 198n; style, 132 Corot, Camille, 172 correctness: Standard of, 3, 30, 35, 36, 102, 116, 117, 118, 159, 217 correspondence, 5, 22, 102, 103, 104, 108, 109, 154, 156; between internal and external, 101, 107, 135, 255; ex-perienced, 102, 106, 110; made vs. found, 155, 158; to emotional State, 106, 117, 152 274 Index Correspondence, Projective Properties and Expression, 101, 104, 117 craft: art and, 79 creative process, 3, 5, 127, 173, 176; as symbol of freedom, 131 criteria of success, 75, 193, see correct-ness Criticism as Retrieval, 6, 176 criticism, 167n; of art, 10, 55, 75, 127, 129, 137, 157, 159-62, 171, 232, 236-7; perceptiveness, 160; rational-ity "case-by-case" 161 Croce, Benedetto, 125 Crowther, Paul, 8, 72n, 73n, 149n, 248-9 Currie, Gregory, 140, 141 Damann, Richard, 244 Davies, Stephen, 138 De Kooning, Willem, 34 depictional, 151 depth appearance, 74n description, 129, 179, 233; of style, 130 developmental forces: endogenous psy-chological vs. exogenous sociologi-cal, 78 diachronic issues, 78, 83, 242 diagrams, 54 Dickie, George, 164n Diderot, Denis, 184 difference, 176 differential (dual) attention, 40-2, 46 drawing, 46, 54, 55, 56, 57 115, 119, 129, 247; scientific, 47 dreams, 85, 87, 210; day-, 85 dualism: perceptual, 96, 97, 215 Dubuffet, Jean, 34 duck-rabbit picture, 2, 3, 20, 40, 91 egocentrism: irrelevant, 225 Eldridge, Richard, 37 emergence of content: experiential, 97; from form, 95, 96; from surface, 215 emotion, 9, 67, 102, 103, 107, 145, 217; affinity with, 8, 103; and behaviour, 178; corresponding, 104, 135; cur-rent (actually feit), 105, 108, 109, 110; expressed, 254; inward properties, 117; negative, 138; real-ized but not feit, 108 Emotivism, 146 empathy, 138, 146, 253; and expression, 144; and imagination, 145, 150n, 180; crude models of, 158; inade-quate, 225; its second-person reci-procity, 145; its subjectivity, 180; natural, egocentric, 145, 146; response, 140; subjectivity, 181; vs. mere acknowledgement, 145; with character, 139 empathy, artistic, 146; no action, 145 Empson, William, 58n epistemic role of experience, 254 epistemological perspective, 141, 149n, 252 escapist, 91 evaluation, 126, 127, 129, 132, 133, 157, 158 everyday domesticity, 232 evocation, 1 Evocationalism, 146 example, 124, 218, 219, 228, 229, 230; importance of, 13, 25 exemplariness, 92 exemplification: metaphorical, 136; as reference, 137 exhibiting devices, 42 expectations (Pavlov's dogs), 146, 193 experience: achieved 96; aesthetic, 59; its affective element, 108; apprecia-tive, 30; artistic, 152, 156; caused to appear in beholder, 146, 155; consti-tutive of meaning, 246, 254; of expression, 1, 5, 58n, 97, 117, 254; falsely fabricated, 133; holistic, 92; imagined, 43; (im)possible, 250; (narrative) coherence, 66, 91, 93; of painting, 211, 227; perceptual, 25, 61, 64, 193, 259; phenomenal, 66, 147; represented, 146; similar, 138; single, 61; sublime, 185; suitable, 7; of time, 89; triple-aspect, 102; types Index 275 (kinds) of, 44, 45, 105; visual, 13, 57, 189, 200, 217 explanation, 167n expression of: emotion, 108; environ-ment, 136; events, 136; internal phe-nomena, 135; pictures, 147; seif, 196 expression, 101-11, 125, 151-63,252-6; as comparison, 138; as disposition, 139; (contingently) psychological, 137; defined, 144, 146; facial and gestural, 145; intended, 254; natural and artistic, 139, 140, 252; as pro-jection, 4, 6, 10, 101; and/as repre-sentation, 9, 119, 135-50, 252, 254; and response, 137; two elements, 152 expression, artistic, 4, 101, 109, 138 144, 146, 152, 154, 158, 160, 164n, 166n; and individual style, 9; non-egocentric, 146 expression, natural, 152; depicted, 136, 138, 140, 144; causally connected to mind, 136; egocentric, 145; of real persons, 139 expressive perception, 102, 104, 105, 106, 107, 135, 137, 152, 154, 217, 219, 220, 221, 224, 225, 232, 236, 237, 254, 255; affective, 103, 107, 110, 111; and its object, 139; 'key' to correspondence, 255; of nature, 109, 254; ordinary, 65; perceptual, 107; phenomenological vs. causal account, 117; projective, 42 expressive, 139; experience, perceptual, 8; gesture or cry, 152; possibilities, 122; process, 127; vision, 180 expressiveness, 57n, 69, 112, 117, 155, 157; its explanation, 159; of physical objects, 158; of pictures and music (and poetry), 119, 139; its possibil-ity, 158 external and internal, pass into each other, 119 external spectator, 5, 6, 10, 25, 7In, 133n, 179, 180, 184, 201, 204, 207- 8, 212, 219, 221-5, 227, 228, 247, 256; acknowledged, 212; actual, 182; intended (addressed), 8, 212, 243, 251; disoriented, 209; embodied, 228; engaging, 177, 181, 257, 260; experience, 17, 18, 251; identity, 222; repertoire, 10, 25, 155, 221, 224, 253; viewpoint (position), 157, 158, 185, 207, 213; non-involved, 179; suitable (appropriate), 7, 13, 15, 16, 18, 24, 25, 26, 27, 34, 35, 36, 38, 39, 102, 124, 139, 155, 160, 194, 195, 223, 230, 241, 250, 254; third mode, 182 externalism, 153, 164n eye: disembodied, 229, 232; embodied, 259; immediate engagement, 232; moving, 234 facile technique, 128 facture, 41, 53, 55, 56; see making of art fantasy, 8, 51, 148, 149n; and imagina-tion, 142 Feagin, Susan, 7, 10, 243-4 fiction, 34, 51, 52, 141, 183 figuration, 151, 184 first-person privilege, 145, 147 flatness, 236 Fodor, Jerry, 7In foreshortening, 204, 212 forgery, 9, 198n; its limitations, 132-3 form of life, 153; three misreadings, 153-4 form, 129; total, 234 formal critics, 162 formalism, 159 fourfoldness, 94, 249 fovea, hyperacute part of retina, 234, 236 frame, 42, 68, 195, 199n Fried, Michael, 184, 188n Friedrich, Caspar David, 6, 182, 183, 187, 201, 208, 209, 211, 229; Rückenfiguren, 186; The Cross in the Mountains (Tetschen altarpiece), 204, 206f, 207, 212 276 Index Fry, Roger, 21, 27n function, 189; transcendental, 96; of trompe l'oeil vs. painting, 194 funny expression, 158, 167n Gainsborough, Thomas, 22 genre, 174 gestures, 152, 158; vocalizations, move-ments, 119 Gombrich, Ernst, 19, 27n, 32, 40-2, 57n, 91, 92, 93, 94, 112, 114, 214n Goodman, Nelson, 23, 27n, 49, 57n, 136-7, 141, 144, 149n grammar, 52; generative, 51 Grice, Paul: his "sheep-dog" 155, 164n, 165n, 166n Grosz, Georges, 34 Ground, Ian, 153 guiding the beholder, 143 Hacker, Peter, 164n hallucination, 32, 85 Hals, Frans, 229 handling: of (figure and) space, 201, 202, 207, 208, 210, 212; of materi-als, 95, 121, 122, 123, 129, 131, 175; predictable (habitual), 127; somatic, 133; of zips, 185 Harris, Roy, 57n Harrison, Andrew, 7, 72n, 241, 245-7, 248, 249, 251 Hauser, A., 78 Hendrickje Stoffels, 174, 175 historical: era 93; conditions, 93, 212 historicism, 162 Hitchcock, Alfred, 57n Hochberg, Julian, 237n Hollbein, Hans, 3 homomodal recurrence, 140-1, 143, 144, 147, 252, 253; of the mental, 146 Hopkins, Robert, 10, 62, 67, 256-8 human, 158; artifice, 92; experience, 98, 163n; expressiveness, 159; mind, 125; psychology, 193 humanist tradition, 131 humanity, 152, 153, 157, 160; repre-sented, 237 Hume, David, 165n, 166n Hume, Gary, 122 Husserl, Edmund, 45 hypothesis, 65; accompaniment of per-ception, 248; of encapsulation, 63, 74n; perceptually driven, 59, 69, 248; recognitional, 65, 67, 247; see ac-count iconography, 133n Idealist theories of art, 124-6, 127 identification: imaginative, 186, 202, 213, 213, 218, 219, 225; perceptual, 65, 186 idiosyncracies, 225, 228, 230 illusion, 6, 10, 74n, 114, 187, 190, 191, 193, 196, 212, 243; Mueller-Lyon, 193, 243; non-deceptive, 42; optical, 94; of space, 191, 204; theories, 63, 64 illustrations, 31, 43 images, 172, 236; artistic, 97, 127; ex-periential aspects, 136; mental, 93, 126, 236; track the depicted, 141; volitional generation of, 92 imaginary, 119; experience, 25; seeing, 25, 61 imagination, 1, 6, 7, 8, 25-7, 36, 42, 43, 44, 57, 60, 68, 72n, 89, 135, 142, 145, 186, 202, 221, 225, 237, 249; attentive, 124; autonomous, 225; of beholder, 139, 146; capacity to generate/visualize images, 85, 87-8, 179; constitutive, 139, 146, 147, 150n; empiricist theories of, 52; and habit-memory, 86-8; individual, 126; mode of perception, 9, 24, 147, 148, 149n, 248; necessary for experience, 86; non-ostensively rigid, 91, 93; permeable by thought, 24; projective Visual, 40, 96; recruited, 257; robust, 35; scope of, 26; and temporal flow, 90; transcendental significance, 8, 86, 89, 90-3, 97, 98; visual, 236, 248; volitional, 88-9, 248 Index 277 imaginative: enactment, 260, engage-ment (its scope), 202, 221, 223, 224, 225, 227, experience, 233; percep-tion, 73n; recurrence, 141; repertoire, 227; response, 222, 230; subjectivity, 181; use of the representation, 113 imagined: events, seen, 201; spatial re-lations, 221, 222 imagining, 61, 66, 219, 226; as higher-level thinking, 63, 64, 69, 7In; central vi. acentral, 6, 25, 26, 180, 200, 201, 204, 207, 213, 225, 232, 233, 234, 256; engaging with the de-picted, 221, 222, 227, 228, 230, 256, 258; indeterminate, 225; seeing, 24, 29, 32, 37, 60; undergoing an emotion, 108; Visual, 259 immobility: perceived, 196 indexicality, 147 individual style, 4, 5, 9, 129, 130, 131, 134n, 143, 146; its psychological re-ality, 4, 7, 130, 131, 156; as compe-tence, 130; as second nature, 130; see accounts of style; style infant: see children inference, 16, 22, 62, 66, 68, 153, 249, 251; to the best explanation, 259; perceptual, 35 information, 32; visual, 32, 37; Channels, 236 Ingres, Dominique, 22, 34 installation art, 177-9, 180, 181, 260; and painting, 185 institution of art, 77, 79, 80, 82 institutional theory of art, 79, 153, 162 intelligibility question (re depiction), 147 intention (intentionality), 46, 117, 123, 154, 190, 257; artistic, 126, 140, 153; located in artist, 252; metaphysical, 258; open-ended, 223, 224; simplici-ter, 250, 251; vs. natural (causal), 141, 159; see artist's intention intentional object, 44, 45, 46; fallacy, 139; structure and force, 145 intentionalism, 35, 153, 155, 156, 197n; hypothetical, 156 intentionality of experience, 106 interest: in a picture, 46; artistic, 132; higher-level, 234 interference: direct, 143 interior wall painting, 190 internal spectator, 5, 8, 10, 25, 26, 96, 179, 180, 186, 187, 200, 202, 204, 207, 208, 210, 211, 212, 216-30, 232, 233, 234, 237, 256, 257-9; identification with, 259, 260; func-tion, 218; repertoire, 180, 182, 201, 209, 210, 218, 224-30, 256, 260; prowling, 210; unrepresented, 179, 183, 200, 201, 231n internalism, 155 interpretation, 27, 41, 62, 67, 74n, 90, 129, 133n, 198n, 209, 212; charity, 163n; psychological, 213; visual, 93 intimating a kind (history) of experience, 104, 105-7, 110, 138, 165n, 255; its truth value, 106 intimation (representation of experien-tial), 144, 150n introspection, 41, 44, 45, 46, 48, 54, 71n intuition, 13, 15, 97, 117, 135, 142, 164n, 245; in the artist's mind, 125 isomorphism, 32, 67, 7In; structural, 28; a degree notion, 28; causal precondi-tion of seeing-in, 29 Jaar, Alfredo, 177-9, 180 Japanese prints: formal qualities, 132 judgement, 129, 158; responsive, 128 Kant, Immanuel: on imagination, 8, 85, 86, 89, 91, 92, 98, 149n, 197 Kiefer, Anselm, 122 Kirchner, Ernst Ludwig, 34 kitsch, 91 Klee, Paul, 34 Kooning, willem de, 124 Kristeva, Julia, 181 landscape: as melancholy, 109; Dutch, 182; painting, 1, 183; "with ruins" 23^1, 34, 142, 148n, 250 278 Index language, 48, 49, 121, 151, 167n; vs. pictures, 40, 51, 53, 245, 247; as transparent medium, 125; 'on holi-day,' 137 learning to see, 153 Leonardo da Vinci: Angel of the Annun-ciation, 202, 212 Lessing, Gotthold Ephraim, 23, 148n, 220, 232 Levinson, Jerrold, 7, 8, 37, 70n, 138, 151, 156, 243-5, 246, 249-51 licensed imagining, 219, 221, 227, 230, 256; see correctness light, depicted, 72n likeness, 116 line, drawn, 115, 119, 122, 161, 247; its impulse, 119 linguistic, 43; communication, 39; com-petence, 51; meaning, 247; reduc-tionism, 98; turn, 171; understand-ing, 7, 40 localization, 3, 22, 64, 66; spatial, 35 location: of painting, 204, 213; in paint-ing, 212; of spectator, 233 looking: at a painting, 143, 216; at a woman, 124; at things depicted, 216; its experience, 129; its method, 127, 132; mere, 1, 2; temporal, 132, 181; through binoculars, 143 Lopes, Dominique, 37, 73n Lord, Catherine, 57n Lumiere, Louis (train as depicted), 142 Iure, 232, 234, 236 make-believe theory, 59, 60, 64, 65, 70n making of art, 39, 46, 54, 55, 56, 57, 121, 123, 153, 176, 190, 243; satis-faction, 80; see facture Manet, Edouard, 6, 25, 94, 95, 201, 260, 261; single-figure paintings, 208, 210, 219, 222, 225, 228, 229, 234; distracted, 219, 220, 224; glassy stare, 220 Mannerism, 130, 131 Mantegna, Andrea, 191, 243, 244 maps, 13, 54, 58n Marr, David, 72n material (adv.): workings, 124; nature of things, 126; properties, 157 McDowell, John, 164n McFee, Graham, 9, 57n, 252, 253—4 meaning, 211, 246; interpretative, 15; created, 201; embodied, 130; excess v.v. incompleteness, 202; expressive, 159, 251, 254; intensional and exten-sional, 135-6; its levels, 178; of painting, 121, 180, 259; pictorial, 27, 38, 53, 152, 213, 237, 261; its primary determinants, 133n; primary vs. secondary, 176, 261; psychologi-cal process, 211; representational, 38, 247, 254; scope, 254; seen-in, 143; symbolic or iconological, 121; as use, 259 means and ends, 128 media, 179; coverage, 178; mass, 179 medium (material (noun)), 31, 32, 122, 123, 125, 127, 130, 133, 136, 211; its effects, 129; its idea, 121; its ho-mogeneity, 116; of paint, 124; its possibilities and constraints, 127; ar-tistic, 128, 159, 198n; responsive to, 132; and subject, 117; treatment of, 140 memory, 232; habit-, 86; images, 90, 93; experiential, 98; personal, 145; Visual, 236 mental states, 32, 248; subdoxastic, 32; processes, 127; represented, 140, 146 Merleau-ponty, Maurice, 181 metaphor, 43, 44, 58n, 72n, 163n; its indeterminacy, 116 metaphorical, 152; possession, 137; clues, 137 middle position, 227-8, 230, 256 Millet, Jean-Frangois, 132 minimal requirement (of theories of rep-resentation), 13, 141; skeletal, 13-6, 18; amplified, 16-9 minimalism, 219-21, 226, 23In, 256 Miro, Juan, 34 Index 279 mobilizing: cognitive stock in experi-ence, 160, 161, 253 model (sitter), 54, 208; and painter, 174-6 Modernism, 194, 196 Modularity theory, 63, 74n Monet, Claude, 18 monolithic theorie of expression, 108, 150n, 254 morality, 128 motivation, 83, 253 movement, 236; physical and affective, 179, 259; imagined, 222 movies, 31, 140, 142, 244 Mowbray, H. Siddons, 192 narrative, 174, 211, 212, 261; biblical 173; of Bathsheba, 174, 176 naturalist, 22; representation, 135, 140; of the experiential, 147 nature: as nalure, 108; its affective qualities, 109; its expressiveness, 159 neoclassicism, 192 Newman, Barnett, 10, 94, 151, 260; Vir Heroicus Sublimus, 185-7 non-communication thesis, 83; weak, strong, 83 non-ocular contribution, 259 objectivity, 211 objects: ordinary, 126; sensuous 152; viewing, making, 172 ocular contribution, 233, 234, 236, 237; attracted fixation, 234, 236 of a piece: nature with emotion, 103, 107, 118, 154, 156 onomatopoeia, 58n ontology, 149n, 183 Opposition argument (re expression), 136-8 opticality, 142; of pictorial art, 13; see ocular contribution orientation, 186 original, 91, 92, 132; vs. derivative, 130 ostensively rigid (or not), 87, 91 pain: bodily, 106 paint: sensual qualities, 123 painter, 122; his aims, 130; hypotheti-cal, 75; viewpoint, 213; who is no artist, 130; see artist painterly; activity, 122, 123; presenta-tion, 126; interest, 132 paint-figure relation, 115 Painting as an Art, 101, 104, 109, 153, 154, 157, 200, 211 painting, 112-20, 121, 132, 141, 176, 197n; adding bits of paper, 196; con-cept of, 77; different aspects, 120; its dilemma, 261; experience sui ge-neris, 112; internal coherence, 8, 112, 115, 117, 119, 123, 186; limi-ting condition, 114; lured into, 210; mode of representing, 116; portions, 196; size, 185; twentieth Century, 196 painting; as activity, 128; as art, 189; visual, 260 Parmiggiano, 22 Patterns of Intention, 260 Peacocke, Christopher, 7, 17-8, 27n, 59, 62, 67, 71n, 73n Peale, Raphaelle: Venus Rising from the Sea, 194-5, 198n perception of pictures, 91, 141; no second-person reciprocity, 145 perception, 64, 68, 118, 147, 186; ac-tual, 181; affectless, 107, 108; causal, 164n; concept-mediated, 159; of correspondence, 104, 105, 107, 108, 109, 117, 255; its depths, 97; its different means, 150n; embodied, 9, 141, 186; everyday, 114, 141, 143; fully 3D, 236; general account of, 13, 63; higher-level, 74n; as hypotheses-forming, 72n; and imagi-nation, 26, 142, 210, 248, 256; as inferential, 72n; of nature (vs. art), 108; (non-)egocentrical, 140-1, 143, 252, 253; of paintings (pictures), 109, 146; permeated by affective, 229; psychology of, 3, 20, 46, 56; 280 Index perception (cont.) representational, 2, 7, 9, 137; sec-ondary, 2D 236; straightforward, 85; of subject, 116; veridical, 110; see twofoldness; expressive perception perceptual: apparatus, 146, 197; contri-bution, affective, 233; features, 156, 161; Solution, 210; Stimuli, low-level, 63, 66 perceptualism, 153, 155, 157, 164n, 233 periphery: low-definition, 234, 236 Persona accounts (re expression), 138— 40 persona: no full-fledged psychology, 139; ontology, 139; dramatis, 184 personal, 155, 164n; features, minimiz-ing vs. utilizing, 133; experience, 155, 237 perspective, 95, 187n, 212; linear, 202, 204, 213; as a rhetorical device, 10; single-point, 197n; spatial, 215 perspectivism: Cartesian, 180, 187n phenomena, 64 phenomenal, 59, 60, 61, 69, 72n, 89, 147; flux, 96; integration, 60; con-sciousness, 65; first-person, 145; in perception and empathy, 146 phenomenology, 45, 69, 145, 217; of experience (of painting), 19, 20, 48, 54, 112, 156, 190, 253, 254; general specifications, 144; of non-egocentric address, 146; of seeing-in, 24, 31, 44, 62, 64, 68, 73n, 74n, 135; of (simple) perception, 42, 43, 141, 193 philosophy (analytical), 49, 39, 78, 79, 83, 97, 112, 159, 255; anthropology, 248; of painting, 261; and psychology, 211 photography, 31, 47, 244; newspaper, 179; (non-)transparency, 149n physical, 94; and spiritual, 194; embod-iment, 125; nature of canvas, 152; object, weakened thesis, 151 physiology and anatomy, 152 Picasso, Pablo, 34, 196 pictorial: art, 151; effect, 236; means, 208, 209; "mesh" 7,47-8, 52, 55, 56,58n, 248; narrative, 43, 53; Organization, 126; reference, 141; shapes, 65, 207; significance, 21, 22; structure, 14 picture, 197n, 227; as communication, 45; as imaginary window, 42, 44; flatness, 68; psychological life, 237; representational, 245; surface, 9,31, 32, 64, 65, 66, 69, 236 transitional space, 119; vs. description, 148n Pictures and Language, 49-54 Pierpont Morgan library, 198n pigments, 122 Plato, 193 pleasure, 124, 129 Podro, Michael, 8, 55, 58n, 72n, 73n, 74n, 248, 249, 252, 255-6 poetry, 160 point of view: external, 208; high, 201, 207; in mid-air, 204; manipulated, 208, 211, 212; occupied, 182; physical vs. spiritual, 201 Pollock, Jackson, 94 Portrait, 174, 175, 208 postcards, 31, 244 postmodern, 179 Poussin, Nicolas: St. John on Patmos, 250 Pozzo, Andrea, 195 pre-linguistic, 88 presence (absence), 90, 93, 94, 174, 178, 208; of expressed mind, 138, 143; imaginative, 202, 211; literal 119; one's own, 185; of represented mind, 140; of spectator, 184, 212; substan-tial, 190; to the senses, 85, 89, 90, 146, 147 presentation and representation, 10, 178, 190, 243; functions, 192, 194, 195, 196, 197n probity, 127; as a virtue, 133 problem: artistic, 130; of attitude, 64, 69; of bricoleur, 167n; of coherence, 60- 2, 66, 67, 69; of location, 64, 69, 70n, 71n Index 281 projection, 89, 102, 105, 106, 135, 137, 154, 157, 163n, 165n, 234, 237, 256; and affinity, 5, 6; its appropriateness, 138; of the artist, 176; complex (vs. simple), 103, 104, 105, 106, 109, 110, 118, 138, 154, 155, 255; com-monsense view, 164n; developmental, 165n; experiential, 64; of future, 93; iconic, 90; and introjection, 118; nar-cissist, 181; not free, 113; perception of, 6; psychology of, 5; synaesthetic, 236 projective properties, 102, 103, 104, 108, 110, 154, 156-9, 166n; percep-tual and affective, 164n projectivism, 163n, 164n; in philosophy of understanding, 165n, 166n properties: affective vs. perceptual 4, 118; "animistic" 118; of artworks, 158, 218; of the canvas, 1; expressive, 4, 9, 118, 119, 147, 152, 156, 157, 164n, 255-6; formal, 94, 96; in-stantiated, 7In; of nature, 154; objec-tive, 256; physiognomic, 94, 256; pictorial, 17, 65, 66, 152; "read into" 155; relational, 102; of the repre-sented, 2; of sentient beings, 118; re-sponse- dependent, 158, 165n; sensa-tional, 17; structural, 247; valuational, 164n; see projective properties; qualities protagonist; repertoire, 227, 228, 229 protoconcepts, 86, 87 Proust, Marcel, 232 psycho-analysis, 9, 106, 112, 153, 154, 156, 157, 159, 162, 163n, 164n, 208 psychological: account, 121, 124, 130, 137, 201, 209, 213; attitudes, 62; dis-connectedness, 210; narrative, 139; phenomena, 137; reality, 83; repertoire, 145 psychology; cognitive, 67; faculty, 161; genetic, 157; gestalt, 91; perceptual, 245; vi. ontology, 141 psychology: of the artist, 26, 78, 80; of picture-beholding, 44; projector, 156; of Visual imagination, 40; as uniform, 226 quadratura, 191 qualities: secondary, 4, 64, 118, 139, 140, 147, 158, 164n, 166n; secondary and primary, 66, 113; formal, '249; literal or objective vs. inward, 117, 118; of medium, 125; phenome-nal, 96; sensory (sensuous), 90, 124; stylistic, 123; tactile, 187; temporal, 199n; tertiary, 118, 139, 158; of things (represented), 123; see properties quasi-realism, 166n quietism, 162 Quine, Willard van Orman, 45 Raphael, 119, 192 realism, 9, 153, 155, 156, 166n, 256, 257; re artistic or moral value, 167n reality: and appearanc,e 194 reasoning, 68; higher-level, 62, 69 reciprocity of expression and empathy: real-life vs. representation, 144 recognition, 29, 49, 51, 56, 67, 73n, 87, 113, 115 116, 119, 120, 197n, 249; perceptual, 53; depictive, 56; its de-velopment, 117; of expression, 137; of faces, 67; initial, 119; of subject-matter, 112; through difference, 113; transcendence, 154; unimodal, 9; Visual, 48; vs. representation, 116 recognitional skills, 13, 18, 19, 141; ac-quiring, 15-6, 20 reconstitution, 123 re-enactment, 146 referring: indirect, 155; seif- 194, 196 relativism, 133n Rembrandt van Rijn, 10; Bathsheba, 10, 55, 171, 173f-6, 261 reminded by things, 249 Renaissance, 192, 194, 197n representation of: all things of a certain kind, 23; content, 209; (experiential) events, 22, 143, 144, 146, 252; kinds 282 Index representation of (cont.) of objects or events, 22; objects, 22, 135; particular objects or events, 22; responses to events, 228; space, 222 representation, 117, 118, 143, 252; arti-fact, 190; artistic, 91, 92, 94, 96, 97, 98, 244; cross-modal, 141; defined (necessary and sufficient conditions), 140, 141, 143; descriptive, 7; illu-sionistic account of, 27n, 28; in-cluded in seeing-in, 117; linear and painterly modes, 18; mechanical, agreeable, 93; modes of, 91, 178; musical, 149n; nature of, 15, 27, 117; non-egocentric, 142; outside art, 246; perceptual, 13, 141, 245; pictorial, 7, 112, 189, 193, 197n, 245; Schemas of, 122; scope of, 20, 22-5, 245; spa-tio- temporal coherence of, 95; types of, 149n; vs. real-life, 142 reproduction, 122 Resemblance Theory, 16-9, 66, 7In, 114, 138 resemblance, 51, 95, 113, 114, 141; ac-tual, 16, 141; anticipated, 9; experi-enced, 7, 9, 16-8, 19, 20, 21, 22, 36, 64, 73n; experiential, 66; formal, 66, 67; in shape, 18, 64; in structure, 18, 64; mere, 54; (non-)symmetrical, 16, 49, 114; relational and comparative, 28; suitable, 215, 216; visual, 49 respect for a person's singularity, 176 response, 160, 178, 217; emotional, 97; (in)voluntary, 234; perceptual, 216 Reynolds, Joshua, 134n rhetoric, 10, 134n Riegl, Alois, 77 rituals, 70n rock art, see cave paintings Roelofs, Monique, 7, 247-8, 254 Romanticism, 126, 131 Rosch, Eleanor, 73n Rothko, Mark, 94, 151 routine, 130 rules and Conventions (codes), 14, 15, 83, 133n; generative scope, 83 samples: of colours vs. mind, 147 satisfaction, 125 Savile, Anthony, 7, 8, 241, 242 scanning, 234 scene, 215; and (face-to-face) response, 216; depicted, 217, 222, 225, 259 schematization, 90, 93, 132 Schier, Flint, 60, 70n schizophrenics; drawings by, 4 scrutiny of works, 124 Scruton, Roger, 149n sculpture, 260 seeing: actor vs. antagonist, 140, 253; animistic, 256; as-if 32, 33, 38, 245; distinct species, 143; (non)egocentric, 145, 252; face-to-face (piain, simple, natural), 2, 23, 24, 29, 32, 37, 38, 44, 69, 220, 223, 244, 245, 253; from, 37; pictorial, 244; primordial, 256; pro-jective, 40; representational, 152; scope, 220 seeing-as, 2, 3, 65, 69, 74n; configura-tional aspect, 69 seeing-in, 2, 6, 7, 8, 10, 19, 25, 26, 28, 29, 30,31,33,35, 37, 39, 40, 116, 117, 123, 135, 141, 152, 192, 195, 208, 217, 219, 220, 221, 223, 224, 249, 254, 259, affirmative, 64; its conceptual content, 24; as imagina-tion, 248; imaginative, 181; and (in-cludes) representation, 19, 117, 244; includes twofoldness, 244; innate ca-pacity, 116; kinds of, 142; not uni-vocal across instances, 35; of objects, individuals of a kind, particular indi-viduals, events, 34, 35; perceptual, 8, 60, 245; its permeability to thought, 24, 35; prior to experienced resemblance, 21-2, 28; projective, 42, 48, 56, 64; its recognitional aspects, 65; responsive to detail, 249; scope of, 20, 22-5, 29, 34, 66, 67, 91, 249; simple w. pictorial, 31, 32, 37, 244; unsuccessful, 221; without representation, 116; see hypothesis view seeming, 37 Index 283 segmentation of picture: systematic, 21 seif: consciousness 96; his interests, 93; resolution, 176; imagining re, 223, 224, 227 Semiotic theory, 14-6, 19, 133n; its lin-guistic variety, 14, 15, 21; and per-ception, 15; structure, 98 Semper, 78 Sensation, 125; and imagination, 147 sense of place: direction, 185 sense: modalities, 8, 9, 97, 119, 135, 142, 144, 148, 252; of vision (every-day), 146, 147, 185 sentimentality, 126, 132 Shearman, John, 202, 211-4, 258, 259 The Sheep and the Ceremony, 101, 104, 109 signature, 4 silver point, 122 similarity; see resemblance Simulation, 26 simultaneous perception, 33, 91 skill (craft, virtuosity), 86, 131, 133, 194, 196, 197; amazement re, 193; rv. art, 190 space: actual, 180, 181, 186, 187, 204; and scale, 236; and time, 96, 141, 143 144, 252; complexity, 145; real vs. pictorial (liminal), 191, 204, 209, 212, 213; represented, 96, 136, 183, 187, 204, 256, 257, 258; Virtual, 179, 180, 181, 182, 236 spatial: ambiguity, 209; continuum, 204; disorientation, 207; effect of paintings, 185; Organization, 132, 208 spectator: drifting, 233; excluded, 213; full-body, 233, 260; implicit, 216; implied, 200, 202, 204, 211-2, 216, 23In, 258-9; see extemal spectator; internal spectator spontaneity: unselfconscious, 113 Staging of spectatorship, 10, 178-82, 185, 204, 209 stereotypes, 68 Stern, Daniel, 119, 120 structuralism, 133n style, 33, 58n, 93, 121, 131; of another painter, 132; artist's (personal), 4, 129; its formative elements, 132; as function of attention, 132; general, 4, 131; generic, 78, 81, 123; as a method of looking, 124; as a mode of making, 134n; painterly, 48; of (a) painting, 124, 127; period, 134n; restrained, 48; and stylishness, 130 see accounts of style; individual style stylistic: change, 77; effects, 126; fea-tures, 131; technique, 129; concerns, 130; disposition, 130 subject: embodied, 181 subjective, 179, 219; vs. public, 131 subjectivism, 166n subject-matter, 96, 136, 190; completed in spectator, 202; complication, 119; of expression, 147; psychological, 210 sublime, 185-6, 197 Substitution, 123 surface: bearer of meaning, 156; differ-entiated, 245; marked, 23, 40, 44, 54, 55, 123, 135, 143, 215, 216, 248; painted, 114, 124, 236; pictorial, 17, 19, 20,21,22, 24, 25, 37, 38, 183, 196, 220, 224, 259; and subject, indeterminable border, 115 symbol, 141, 172; system, 133n symbolic articulation, 87, 89 syntax: pictorial, 7, 48, 51, 53, 54 Taine, 78 taste and value, 80 technology, 122 television, 31, 179, 244 theatre, 253 Theory of Mind, 149n theory: descriptive vs. evaluative, 5; of art, 245 theses: hypothetical, 157 third-person: access to mind, 145; perspective on the sensuous, 147 284 Index thought, 151; content, 106; creative, 127; experiment, 250; objective (objectify-ing), 118, 256; permeability by, 35; pictorial, 39, 48, 53; practical, 128; role of, 15; unconscious, 153, 164n; visual, 56 Thurber, James, 38 Titian, 122 tonal modelling, 129 tradition, 131; and genre, 128 traffic signs, 13 transfer, 51, 52 transfiguration by art, 47 transgression, 143 transitional objects, 172; and expression, 9, 119 transitivity, 212, 214n; work and specta-tor, 202 trompe l'oeil 10, 13, 29, 30, 36, 37, 189- 99, 243^4; surface, 244; temporal factors, 195, 196 truth (conditions), 39, 127, 151, 153, 166n, 197n Turner, Joseph Mallord William, 22 twofoldness, 3, 6, 7, 8, 19, 20, 29, 30, 31, 33, 35, 37, 39-58, 69, 74n, 86, 91, 92, 93, 94, 95, 98, 114, 116, 117, 118, 135, 137, 142, 143, 152, 180, 181, 210, 244, 245, 246, 248; dualis-tic, 96, 97 unconscious, 103, 164n; intention, 154, 156 understanding, 159; aesthetic/artistic, 41, 157, 162; depictive methods, 54; expression, 146; moral, 164n; nonverbal, 162; painting, 259; people, 145; pictorial, 40, 42, 44, 46, 56, 143, 146, 153, 233, 258; poetry, 160; v.r. explaining, 129 unrepresented, 209 use of art: diagnostical, 129 using: the hand, 133; the medium, 121, 126; recognition to imagine, 117; re-minding things, 249; trompe l'oeil, 197 value: of picture qua representation, 215, 216, 229; relative, 233 van de Vall, Renee, 10, 7In, 73n, 259- 60 van Dongen, Kees, 32 van Eck, Caroline, 10, 258 van Gerwen, Rob, 8, 9, 58n, 74n, 248, 252-3 van Gogh, 132, 171; Sunflowers, 60 varnish: part of painting, 199n Vasari, Giorgio, 77, 126 Vermazen, Bruce, 138 Vermeer, Johannes, 172 Verrocchio, Andrea del; Christ and St. Thomas, 202, 203f Victorian prints, 131 viewing position: close vs. distanced, 96, 232, 236 Viollet-le-Duc, 78 virtue: moral and artistic, 128 visibility, 21, 22, 23, 142, 232; vs. imag-ination, 142 visual, 147, 260; awareness, 16, 22, 30, 32, 37; clue 180; culture, 178; delight, 135, 232, 233; dynamics, 181, 187; engagement, 221; field, 7, 17-8, 28, 36, 7In, 195; nature of de-piction, 13; non-conceptual, 148n; or-dering, 123; puns, 194, 196; System, 232 Wallis, Alfred, 131 Walton, Kendali, 24, 27n, 29, 32, 37, 59, 60, 61, 70n, 71n Weyden, Rogier van der, 171 Wiggins, David, 155, 162, 166n, 167n Wilde, Carolyn, 9, 73n, 159, 241, 251-2 Winckelmann, 77 Winnicott, D. W., 120 Winters, Edward, 167n Wittgenstein, Ludwig, 2, 19, 27n, 40, 134n, 148, 158, 159, 160, 164n, 166n, 167n, 168n, 248, 252; as an anti-realist, 153; Philosophical Inves-tigations, 19 Index Wölfflin, Heinrich, 4, 18, 27n, 77, 159 world: depicted, 216; experience, of 117; extemal physiognomic, 118, 155; features, 215; inanimate, 118; insen-sate, 118; natural, 119, 156; prepicto-rial, 113, 116 Wright, Crispin, 164n, 167n X-ray evidence, 175 zips, 186 |
