Wollheim on art's historicity: an intersection of theoretical art history and the philosophy of art

Art and its Objects by Richard Wollheim had a major impact on aesthetics and the philosophy of art when it was first published in 1968. Of the arguments offered in response to Wollheim's essay, Jerrold Levinson's intentional-historical theory of art has been one of the most enduring. Levinson was influenced by three key sections of Wollheim's enquiry: Section 40, which considers the claim that works of art fall under a concept of art, or that we are disposed to regard certain things as works of art; and Sections 60 and 61, which deal with art as a historical phenomenon, and problems arising from its identification and interpretation. To date, these claims have been raised as points of contention in the philosophy of art. This paper takes a different perspective. Wollheim's understanding of art's historicity draws explicitly on the literature of theoretical art history. Via Wollheim, old art-historical problems will reappear as new philosophical questions.

Automated summary

Art and its Objects by Richard Wollheim, published in 1968, had a significant impact on aesthetics and the philosophy of art. Jerrold Levinson's intentional-historical theory of art, influenced by Wollheim's ideas, has remained influential. Wollheim's understanding of art's historicity draws on the literature of theoretical art history, bringing old art-historical problems into the realm of philosophy.