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ISBN: 0812695402 / ISBN-13: 9780812695403

The Abuse of Beauty: Aesthetics and the Concept of Art

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In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers ... Show synopsis

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  • The Abuse of Beauty: Aesthetics and the Concept of Art (Open Court Publishing Company) – Trade paperback (2003)
    by Arthur Coleman Danto

    The Abuse of Beauty: Aesthetics and the Concept of Art

    Trade paperback, Open Court Publishing Company
    2003
    English
    21st New ed.
    167 pages

    ISBN: 0812695402
    ISBN-13: 9780812695403

    Danto simply and entertainingly traces the evolution of the concept of beauty over the past century and explores how it was removed from the definition of art. Beauty then came to be regarded as a serious aesthetic crime, whereas a hundred years ago it was almost unanimously considered the supreme purpose of art. Beauty is not, and should not be, the be-all and end-all of art, but it has an important place, and is not something to be avoided.Danto draws eruditely upon the thoughts of artists and critics such as Rimbaud, Fry ... Show more

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Reviews of The Abuse of Beauty: Aesthetics and the Concept of Art

Overall customer rating: 5.000
Vladimir

Philosopher with an Eye

by Vladimir on Aug 21, 2007

For a philosoper Danto displays a surprising degree of visual intelligence. This means that he can be read by even such non-philosophical creatures as practicing art historians. To them, he has however little to say. We all know from our daily experience that art is a matter of form endowed with content (or meaning, or, to quote Danto?s truly beautiful concept of endowed meaning), and that beauty (whatever it may be, as we all have our own individual vision of ?beauty?) is an option and not a necessary condition in a work of art, yet an option ?too humanly significant?to vanish from life?? Having said that I wholeheartedly recommend the book to anyone who truly likes fine arts and would like to have a rather consistent explanation (to be sure, not the only possible one) of some, apparently disturbing, features of the visual arts of the last fifty years or so. Danto writes with gusto and flair (just see his wonderful analysis of the art in a ?resentful world,? pp. 123-124, or of a painting by Joachim Wtewael, yes, spelling is correct, on pp. 139-142) with wit and style. Almost too good to be philosophy. And if you wonder about the title, I wonder if it may not announce a return of beauty.

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