By Lucian Krukowski
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Additional info for Art and concept: a philosophical study
I would like here to acknowledge my debt to him. " The problems I take up in this book, then, come out of my efforts as an artist and a philosopher. This stance, however, while it may identify a basis and reason for theorizing, carries no inherent value claims. I do not take my history to be a proper part of my work, nor do I take my dual activities as imparting a special value to each other simply through their propinquity. Whatever value any of these works may have is the discrete concern of the viewer or, as in this case, the reader.
In such "tradi- Page 19 tional" paintingsfor our purposes, Western painting between Giotto and Courbetthe use of perspective schemata in representation presumes a holistic, invariant state of affairs in which depicted objects are located in an optically three-dimensional space. If we disregard certain stylistic and iconographic variations, we can interpret all such objects as occurring in that given space at the same time. The scanning of a perspective schema discloses rules for determining relative size and position in simultaneous occurrences.
The value of late art rests in what it presents, but this value is a function of historical position, of whatat different timescan be presented. The "incompleteness" of late art is found in its striving to remain a viable symbol despite the historical ascendancy of verbal over auditory and plastic form. Hegel, as we know, stacks his three stages of artistic evolutionsymbolic, classic, and romanticand identifies poetry as the highest form of the late (romantic) stage. However, discourse is the medium of cognitive thought as well as poetry.
Art and concept: a philosophical study by Lucian Krukowski