We propose that the value of art is registered by the emotion of wonder. Departing from some standard approaches in empirical aesthetics, we focus on the appreciation of art as art rather than mere aesthetic preference. We analyze wonder and emphasize three subemotional components: cognitive perplexity, perceptual engagement, and a sense of reverence (Joerg Fingerhut)
The history of the classification of the arts is complicated for several reasons but chiefly because the idea of art has changed. The classical idea differed from ours in at least two respects. First, it was concerned not with the products of art but with the act of producing them and in particular the ability to produce them; e.g., it pointed to the skill of the painter rather than to the picture. Second, it embraced not only ‘artistic’ ability but any human ability to produce things so long as it was a regular production based on rules (Wladyslaw Tatarkiewicz)
April 2024
– The Good House, ca. 1926, Gustave De Smet
– Felix Gonzalez-Torres titled "Untitled" (Perfect Lovers)
– Wassily Kandinsky (1866-1944), Small Worlds II
– Funerary Relief of Publius Aiedius Amphio and his wife Aiedia Fausta Melior; Rome (Italy), Via Appia; 30 BC
– Camille Pissarro (1830–1903), The Boulevard Montmartre at Night
– Umberto Boccioni, The City Rises, 1910
– Salvador Dalí's 1929 painting "The Great Masturbator"
– La calavera Oaxaqueña calavera del montón. Número 1, José Guadalupe Posada (1852-1913)
– The Last Day of Pompeii, Karl Briulov, 1828
– Anders Zorn, Midsummer dance 1903
– Painting by the Chinese Ming Dynasty artist Chen Hongshou (1599-1652)
– Bobo. Mask (Nyanga), early 19th century
– Johannes Vermeer, Girl with a Pearl Earring, c. 1665
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