RICHARD WOLLHEIM | Painting AS AN ART | 1st Ed. Hardcover

Description: • For Your Consideration: • A (RARE) First Edition HARDCOVER of: • “PAINTING AS AN ART:The A.W. MELLON LECTURES in the FINE ARTS, 1984” (Princeton University Press, 1987) (Hardcover, First Edition) • BY RICHARD WOLLHEIM • “In PAINTING AS AN ART, which began as the 1984 Andrew Mellon Lectures at the National Gallery of Art in Washington, D.C., philosopher RICHARD WOLLHEIM transcended the boundaries and habits of both philosophy and art history to produce a large, encompassing vision of viewing art.... In order to fully appreciate a work of art, WOLLHEIM argued, critics must bring to the understanding of a work of art a much richer conception of human psychology than they have in the past: ‘Many [critics]…make do with a psychology that, if they tried to live their lives by it, would leave them at the end of an ordinary day without lovers, friends, or any insight into how this came about.’”—THE PUBLISHER • “A philosopher whose aesthetic insights are considered among the more profound of the postwar era… He coined the term Minimalism in his 1965 essay ‘Minimal Art’…. A larger and much acclaimed accomplishment of WOLLHEIM was developing a new method and vocabulary for experiencing art. PROFESSOR WOLLHEIM, exploring the ideas of WITTGENSTEIN and FREUD, claimed that art could be understood only within its total context, from history to the nature of the surrounding community, to the viewers’ and artists’ emotional dispositions and needs.” —LISA SANGOI, PHILOSOPHY NOW • “The most impressive interpreter of FREUD to emerge from analytical philosophy.”—HAROLD BLOOM • WOLLHEIM “is one of those supreme observers who we feel is presenting things as they actually were and not as they emerge from the alembic of memory.” —JOHN BANVILLE, THE NATION • “WOLLHEIM was a man whose passions—philosophy, art, and, in particular, painting, and an examination of the mind and self through the lens of psychoanalysis—led him to write some of the 20th century’s most eloquent essays about aesthetics.”—SHEILA HETI, NEW YORK REVIEW OF BOOKS • “This handsomely and profusely illustrated book…RICHARD WILLHEIM’s PAINTING AS AN ART is a monumental achievement and on hardly knows where to begin in attempting to give an idea of its breadth of scope, magisterial style, and in interpretive richness.” —JERROLD LEVINSON, JOURNAL OF AESTHETIC EDUCATION • WOLLHEIM has “done no less than recover for psychology its obvious and irresistible place in the explanation of what is most profound and subtle about paintings."—DANIEL A. HERWITZ, LOS ANGELES TIMES • “The philosopher RICHARD WOLLHEIM…belonged in the top echelon of thinkers who redefined the practice of his subject in Britain and the United States after the second world war. In terms both of the clarity of his writing and the acuity and ingenuity of his arguments, he embodied the intellectual virtues of analytical philosophy…. He wrote widely and brilliantly about the artists he admired, such as POUSSIN and INGRES, MANET and BELLINI, as well as those artists whose work best fitted the conception of painting that he evolved in PAINTING AS AN ART—painters in whose work the universal human nature, in which he believed, was palpably present…. The heart was really the focus of his thought, in life and in philosophy, and it was the heart, above all, that he sought in the painting about which he was so passionate. The heart has not been the favoured organ of philosophical interest since perhaps PASCAL, and it is this that set WOLLHEIM apart from his peers in a discipline to which he brought originality and distinction.”—ARTHUR DANTO, THE GUARDIAN • “RICHARD WOLLHEIM was one of the most original and courageous philosophers of his time. At a period when most of his colleagues considered aesthetics and psychoanalysis marginal or suspect, he made them central to his analytical investigations.”—JOHN RICHARDSON, THE INDEPENDENT (UK) • “PROFESSOR WOLLHEIM’s book is not only exceptional for its interest in its artistic worth but it also impresses through its sweep, its scholarship, and the sheer love of the art of painting it evinces. Among WOLLHEIM’s study are original and challenging interpretations of paintings by such artists as MANET, POUSSIN, and PICASSO, among others. These interpretations invite us to reflect deeply on the real content of these artists’ works and to reconsider the nature of the imaginative activity required to perceive them.”—THE EDITOR, JOURNAL OF AESTHETIC EDUCATION • “A philosophy professor whose writing on visual art and psychoanalysis made him one of the field’s most innovative thinkers.”—LOS ANGELES TIMES • “RICHARD WOLLHEIM was one of the most important philosophers of art of the 20th century and, for all intents and purposes, an art historian in his own right.” —WHITNEY DAVIS, CHAIR, HISTORY OF ART DEPARTMENT, UC BERKELEY • “He, more than anyone in the post-World War II generation, brought the study of aesthetics and painting back into the mainstream of Anglo-American philosophy.” —ALAN CODE, CHAIR, PHILOSOPHY DEPARTMENT, UC BERKELEY • “RICHARD WOLLHEIM…was one of the leading philosophers writing on art and on the mind in the twentieth century.”—ARTFORUM • “RICHARD WOLLHEIM is one of that rare species—a philosopher who has a deep understanding of psychoanalysis from the inside…. WOLLHEIM believes strongly that philosophy cannot be separated from other disciplines and most particularly not from psychology.”—DAVID BELL, PSYCHOANALYSIS (WEBSITE, UK) • “It is one of the achievements of RICHARD WOLLHEIM’s superb book that it offers an extremely subtle sense of the mind's functioning, while providing a theory of critical relevance: it shows how psychological and cultural factors enter a painting's content, and how arguments on relevance can be conducted in difficult cases.” —MICHAEL PODRO, TIMES LITERARY SUPPLEMENT (UK) • “His searching philosophical style – following the subject wherever it led him – combined with his wide and deep knowledge of painting to illuminate both the creator’s and the beholder’s involvement with works of art.”—BRUCE VERMAZEN, AMERICAN SOCIETY FOR AESTHETICS • “WOLLHEIM seems incapable of writing a bad sentence….”—MICHAEL J. LEWIS, WALL STREET JOURNAL • “His prose is the verbal equivalent to Pre-Raphaelite painting, crowded with lovingly observed and richly colored detail….”—LITERARY REVIEW • “There are books aplenty on painting and art, but this is the first to explain seriously what makes painting an art, and it is our good luck to have it from a notable philosopher who is also on an intimate footing with the tradition of Western painting and who knows how to stand in front of a painting and spin tales that sparkle with truth…. MR. WOLLHEIM’s interpretations are bold, revisionary and cogent. Only a philosopher of his rare gifts, and a connoisseur with his command of the art-historical tradition, could possibly have the confidence to bring off his feat of virtuoso interpretation.” —FLINT SCHIER, NEW YORK TIMES BOOK REVIEW • “It’s a well-kept secret, but we’re living in a golden age of philosophical art criticism…. One of the most distinguished of these philosopher-critics is RICHARD WOLLHEIM. In his 1984 Mellon Lectures, published in 1987 as PAINTING AS AN ART, he offered fresh, compelling, intricately crafted readings of such painters as POUSSIN, INGRES, MANET, and PICASSO, and he used these readings to present and defend a distinctive account of the nature and sources of pictorial meaning, an account he continues to defend and refine.”—DAVID HILLS, NORTE DAME PHILOSOPHICAL REVIEWS • “I evolved a way of looking at paintings which was massively time consuming and deeply rewarding. For I came to recognise that it often took the first hour or so in front of a painting for stray associations or motivated misperceptions to settle down, and it was only then, with the same amount of time or more to spend looking at it, that the picture could be relied upon to disclose itself as it was. I noticed that I became an object of suspicion to passers-by, and so did the picture that I was looking at.”—RICHARD WOLLHEIM • • For other details about this book, please see below. • SERIES: “BOLLINGEN SERIES XXV•33 | PRINCETON” TITLE: “PAINTING AS AN ART: THE A.W. MELLON LECTUREES IN THE FINE ARTS, 1984” AUTHOR: RICHARD WOLLHEIM COVER ART: NICOLAS POUSSIN ILLUSTRATED: 386 ILLUSTRATIONS; 30 IN COLOR TYPE: HARDCOVER PAGES: 384 PUBLISHER, LOCALE, & YEAR: Princeton University Press (New Jersey), 1987 PRINTED IN: GREAT BRITAIN ON ACID-FREE PAPER EDITION: First Edition, First Printing* *RE: On the Copyright Page, no later editions are listed. NOTE: This copy is NOT ex-library NOR a book-club edition. ISBN: 0-691-09964-2 CONDITION OF DUST JACKET: • VERY GOOD PLUS. Per university press style, a price was not printed on the DJ. Bottom corner, back, has minute chipping; other corners bumped. Spine tips are rubbed. Light shelf-wear at edges. Faint scratching & smudging on sides. All else: Bright & clean. (Now protected in a Brodart archival cover.) CONDITION of BOOK ITSELF: VERY GOOD PLUS. Book is square. Cover boards are clean. Faint scuffing on bottom corners; top ones fine. Spine is tight—and uncreased—with a bumped top tip. Two faint ink-stains on fore edge & light smudging at bottom corner. On the top edge, there is a speck—otherwise textblock edges are fine. Endpapers fine. Pages are very bright & clean—with no writing, no doodling, no tears, no stains, no foxing, etc. LOOKS UNREAD. ••• SHIPPING NEWS: This book will be wrapped with care before being shipped in a cushioned and sturdy box. THANK YOU! ********************** /\___/\=•ᆺ•= “We believe it’s good business to be good to our customers.” *********** FLAPPINCAT’s HOUSE RULES ***********1. GENERAL TREATMENT. We enjoy treating FLAPPINCAT customers with honesty & respect & warmth because that’s how we like to be treated when we buy things on eBay.2. GENERAL ATTITUDE. 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Price: 89.99 USD

Location: Chapel Hill, North Carolina

End Time: 2024-12-17T16:35:28.000Z

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