Darren Hudson Hick. Chronology of Works in Aesthetics and Philosophy of Art

7/17/2019 Darren Hudson Hick. Chronology of Works in Aesthetics and Philosophy of Art

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philosophy.ribeiro.continuumbooks.com© Anna Christina Ribeiro (eds) (2012) The Continuum Companion to Aesthetics

London: Continuum Books

19Chronology of

Works in Aesthetics andPhilosophy of Art

Darren Hudson Hick

Notes on Selection

This chronology, as with this Companion as a whole, focuses on those worksthat contribute to the Western tradition of aesthetics, and, beginning in thetwentieth century, in the analytic current of thought within that tradition (asopposed to the Continental one). As with the history of Western philosophy ingeneral, the study of philosophical problems in art and beauty dates back to theancient period, and is influenced by the major philosophical and cultural move-ments through the centuries.

Much of what survives from the ancient to the post-Hellenistic period doesso in fragments or references. In cases where only fragments or references exist,and where dating these is especially problematic, the author or attributed authorand (where available) his dates of birth and death are listed. Where works havenot survived even as fragments, these are not listed. As well, much of what sur-vives up to the medieval period is difficult to date, and is at times of disputableattribution. In these cases, whatever information is available is listed.

Aesthetics in the period between the ancients and the medievals tends to bedominated by adherence to Platonic, Aristotelian, and other theories rooted inthe ancient period, and as such tends to be generally lacking in substantive the-oretical advancements. And while still heavily influenced by ancient thinking,works from the medieval period tend also to be heavily influenced by religiousthinking, and so many issues pertaining to art and aesthetics are intertwined withissues of religion as “theological aesthetics.” Movements in art theory and aes-thetics in the Renaissance, meanwhile, were largely advanced by working artists,and so tend to be couched in observational or pedagogical approaches, rather

than strictly theoretical ones. As such, in these periods and others, works selectedfor inclusion in this chronology are those that either focus largely on issues of aes-thetics or art theory, or those that, while not focused specifically on these topics,have nevertheless been influential in the tradition of Western aesthetics.



The Continuum Companion to Aesthetics



It is in the eighteenth century that Western aesthetics cements itself as a dis-cipline, and philosophers begin to focus their efforts. As such, we find in thisperiod a concerted effort to build what might be called “pure” aesthetics and

philosophy of art, at least conceptually distinct from the concerns to which thestudy had been largely directed in preceding centuries. Given the great prolif-eration of aesthetics literature from the nineteenth to the twenty-first century,some care has been taken to select from among works published in the con-temporary period those that have proven to be particularly influential in thetradition. Any chronology of aesthetics will, of necessity, be selective, and mayleave out figures or works which some would argue are especially important tothe history of aesthetics.

Throughout the chronology, titles of non-English works appear in their orig-

inal languages, except in such cases where English translations of titles have become standard.

My thanks especially to Jeanette Bicknell, Raphael DeClercq, Sherri Irvin, JohnKulvicki, Jerrold Levinson, Paisley Livingston, Joshua Preiss, and Anna ChristinaRibeiro for their very helpful suggestions in the creation of this chronology.

Fifth Century BCE

As Western philosophy is born in Classical Greece, so too is the philosophyof art. Both Plato and Aristotle develop robust theories of art, but manythinkers of the Classical and Hellenistic periods make contributions, thoughoften combined with rhetoric and mathematics.

Democritus (c. 460–370 BCE), fragmentsPolyclitus, Canon (fragments) (date uncertain, probably third quarter of fifth

century BCE)Anonymous, Dissoi Logoi or Dialexeis (c. 400 BCE)

Fourth Century BCE

Aristoxenus, Elementa Harmonica (fourth century BCE)Xenocrates of Chalcedon (c. 396–314 BCE), fragmentsPlato, Hippias Major (c. 390 BCE)Plato, Gorgias (c. 388 BCE)Plato, Symposium (c. 385 BCE)Isocrates, Panegyricus (c. 380 BCE)Plato, Ion (c. 380 BCE)



Chronology of Works in Aesthetics and Philosophy of Art



Xenophon, Memorabilia (or Commentarii) (date uncertain, probably after 371BCE)

Plato, Phaedrus (c. 370 BCE)

Plato, The Laws (c. 360 BCE)Plato, The Republic (c. 360 BCE)Aristotle, Metaphysics (c. 350 BCE)Aristotle, Poetics (c. 350 BCE)Aristotle, De Sensu (c. 350 BCE)Aristotle, Rhetoric (c. 322 BCE)Epicurus (341–270 BCE), fragmentsZeno (c. 334–262 BCE), fragmentsCleanthes (c. 330–230 BCE), fragments

Third Century BCE

Theophrastus (c. 381–287 BCE), On Style (fragments) (probably third centuryBCE)

Neoptolemus of Parium (third century BCE), fragmentsChrysippus (c. 280–207 BCE), fragments

Second Century BCE

From the post-Hellenistic period through the medieval period, a substantialamount of art-theoretical work is produced, with particular efforts by Cicero(first century), Lucian of Samosata (second century), and St. Augustine(fourth century). In large part, however, work produced in these periods isheavily dominated by Platonic and Aristotelian principles.

Crates of Mallos (second century BCE), fragmentsDiogenes of Babylon (c. 230–150 BCE), fragmentsAristarchus of Samothrace (c. 220–145 BCE), fragmentsPosidonius (c. 135–51 BCE), fragmentsDionysius Thrax (attributed), Art of Grammar (second century BCE)

First Century BCE

Philodemus of Garada, On Music (between 70–40 BCE)Philodemus of Garada, On Poems (fragments) (between 70–40 BCE)Cicero, Orator ad M. Brutum (c. 46 BCE)






Cicero, De Finibus Bonorum et Malorum (c. 45 BCE)Cicero, De Natura Deorum (c. 45 BCE)Cicero, De Officiis (c. 44 BCE)

Cicero, Topica (c. 44 BCE)Horace, Ars Poetica (c. 18 BCE)Dionysius of Halicarnassus, On Imitation (fragments) (late first century BCE)Anonymous, Tractatus Coislinianus (date uncertain, possibly as early as first

century BCE)

First Century CE

Pseudo-Longinus, On the Sublime (probably first century CE)Marcus Vitruvius Pollio, De Architectura (The Ten Books on Architecture) (first

century CE)Seneca the Elder, Controversiae (early first century CE)Seneca the Elder, Seusoriae (early first century CE)Pliny the Elder, Historia Naturalis (c. 77 CE)Quintilian, Institutio Oratoria (c. 95 CE)Plutarch, De Audiendis Poetis (late first century CE)Plutarch, Quaestiones Convivales (late first century CE)

Dio Chrysostom, Orations (late first and early second century CE)

Second Century CE

Sextus Empiricus, Adversus Mathematicos (probably second century CE)Lucian of Samosata (attributed), Charidemus (probably second century CE)Lucian of Samosata, Bis Accusatus Sive Tribunalia (second century CE)Lucian of Samosata, Calumniae non Temere Credendum (second century CE)Lucian of Samosata, De Parasito (second century CE)Lucian of Samosata, De Saltatione (second century CE)Lucian of Samosata, Pro Imaginibus (second century CE)Lucian of Samosata, Prometheus es in Verbis (second century CE)Ptolemy, Harmonics (second century CE)

Third Century CE

Demetrius, On Style (probably third century CE)Plotinus, The Six Enneads (c. 250–270 CE)Philostratus the Elder, Imagines (third century CE)






Aristides Quintilianus, On Music (late third or early fourth century BCE)

Fourth Century CE

Philostratus the Younger, Imagines (c. 300 CE)Callistratus, Imagines (probably fourth century CE)St. Augustine of Hippo, De Pulchro et Apto (c. 380 CE)St. Augustine of Hippo, De Ordine (387 CE)St. Augustine of Hippo, De Musica (389 CE)St. Augustine of Hippo, De Vera Religione (391 CE)St. Augustine of Hippo, Confessiones (397–401 CE)

Fifth Century CE

Proclus, Commentary on the Timaeus of Plato (c. 439 CE)Proclus, Commentary on the First Alcibiades of Plato (fifth century CE)Pseudo-Dionysius the Areopagite, On the Divine Names (probably late fifth

century CE)

Sixth Century CE

Manlius Severinus Boethius, De Institutione Musica (c. 500–510 CE)Cassiodorus, De Artibus ac Disciplinis Liberalium Litterarum (c. 560 CE)St. Isidore of Seville, Differentiae (c. 598 CE)St. Isidore of Seville, Sententiae (probably late sixth century CE)

Seventh Century CE

Aldhelm, De Septenario, et de Metris, Aenigmatibus ac Pedum Regulis (seventhcentury CE)

St. Isidore of Seville, Etymologiae (written c. 622–623 CE, published c. 636 CE)

Eighth Century CE

In the eighth century, Byzantine Emperor Leo III begins the iconoclastmovement, and the controversy over heretical art spurs substantial discussionon the nature of art lasting well into the eleventh century. Throughout






the medieval period, concerns with art tend to remain intertwined withreligion.

St. John Damascene, On Holy Images (c. 730 CE)Iconoclast Council at Hieria, The Epitome of the Definition of the IconoclasticConciliabulum (754 CE)

Libri Carolini (c. 790 CE)The Synod of Frankfurt, Canones (794 CE)The Synod of Frankfurt, Mansi (794 CE)

Ninth Century CE

The Synod of Aachen, Mansi (811 CE)The Synod of Tours, Mansi (811 CE)Nikephorus I of Constantinople, Apologeticus Minor (c. 813–814)St. Theodore the Studite, Antirrhetici adversus Iconomachos (early ninth century

CE, after 815)St. Theodore the Studite, Refutatio et Subversio Impiorum Poematum (early ninth

century CE, after 815)The Synod of Aachen, De Cantoribus (816 CE)

Nikephorus I of Constantinople, Apologeticus Major (817 CE)Walafrid Strabo, De Rebus Ecclesiasticis (c. 840 CE)Aurelian of Réôme, Musica Disciplina (c. 850 CE)Anonymous, Musica Enchiriadis (mid- to late ninth century CE)Anonymous, Scolica Enchiriadis (mid- to late ninth century CE)Remigius of Auxerre, Musica (late ninth century CE)

Eleventh Century CE

Alhazen, Book of Optics (1011–21)The Synod of Arras, Mansi (1025)Alberic of Monte Cassino, Breviarium de Dictamine (c. 1075)Aribo Scolactivus, De Musica (1078)

Twelfth Century CE

Averroes (Ibn Rushd), Middle Commentary on Aristotle’s Poetics (twelfthcentury)






Gilbert Foliot, Expositio in Cantica Canticorum (twelfth century)Adelard of Bath, De Eodem et Diverso (c. 1107)Hugh of St. Victor, Eruditionis Didascaliæ, Libri Septem (c. 1125)

Theophilus the Presbyter, De Diversis Artibus (c. 1125)Conrad of Hirsau, Dialogus Super Auctores (c. 1130)St. Bernard of Clairvaux, Sermons on the Song of Songs (1135–53)Anonymous, Isagoge in Theologiam (c. 1148–52)Dominicus Gundissalinus, De Divisione Philosophiae (second half of twelfth

century)Richard of St. Victor, Benjamin Major (c. 1160)Thomas of Perseigne, Commentary on the Song of Songs (c. 1170–98)Matthew of Vendôme, Ars Versificatoria (c. 1175)

Thirteenth Century CE

Albertus Magnus, Opusculum de Pulchro et Bono (thirteenth century)Robert Grosseteste, De Artibus Liberalibus (c. 1200–10)Geoffrey of Vinsauf, Poetria Nova (c. 1210)Eberhard the German, Laborintus (c. 1212)Geoffrey of Vinsauf, Documentum de Modo et Arte Dictandi et Versificandi

(c. 1213)Boncompagno da Signa, Rhetorica Antiqua (1215, revised 1226)Gervase of Melcheley, Ars Poetica (c. 1215)William of Auvergne, De Bono et Malo (c. 1225–28)Robert Grosseteste, De Luce (c. 1230–35)Boncompagno da Signa, Rhetorica Novissima (1235)Robert Grosseteste, Commentary on Pseudo-Dionysius’Divine Names (c. 1240)Robert Grosseteste, Hexaëmeron (c. 1240)Alexander of Hales and others, Summa Fratris Alexandri (after 1245)St. Bonaventure, Commentary on Peter Lombard’s Sententiae (c. 1250–52)Hermannus Alemannus, Commentary on Aristotle’s Poetics (1256)St. Bonaventure, Breviloquium (before 1257)St. Bonaventure, Itinerarium Mentis ad Deum (c. 1259)St. Thomas Aquinas, Commentary on Pseudo-Dionysius’ Divine Names

(c. 1260–62)Ulrich of Strassburg, Summa de Bono (1265–72)St. Thomas Aquinas, Summa Theologica (1265–74)

Witelo,Optica

orPerspectiva

(1270)St. Bonaventure, On the Reduction of the Arts to Theology (c. 1270)St. Bonaventure, Collationes in Hexaëmeron (1273) John Duns Scotus, Quaestiones Super Praedicamenta Aristotelis (c. 1295)






John Duns Scotus, Opus Oxoniense (c. 1298–1304)

Fourteenth Century CE

As the Renaissance unfolds in Europe, beginning in Italy and spreadingoutwards, both scholars and artists become increasingly interested in thenature of art and beauty, and as art enters this period of rapid development,treatises on art follow suit. Mathematical theories of art and beautyresurface.

Dante Alighieri, De Vulgari Eloquentia (c. 1303)

Dante Alighieri, Convivio (c. 1304–07)Dante Alighieri, Commedia (1308–21)Dante Alighieri, De Monarchia (1312–13)Petrarch, Invectivae Contra Medicum (1355)Petrarch, Epistolae Familiares (collected 1359)Giovanni Boccaccio, De Genealogiis Deorum Gentilium (1360)Petrarch, De Remediis Utriusque Fortunae (1360)Petrarch, Epistolae Seniles (1361–73)Cennino d’Andrea Cennini, Il Libro dell’ Arte (probably late fourteenth or early

fifteenth century)

Fifteenth Century CE

Leonardo Bruni, De Studiis et Litteris Liber (1424)Laurentius Valla, De Voluptate (1431)Leon Battista Alberti, De Pittura (1435)Leon Battista Alberti, De Statua (1436)Lorenzo Ghiberti, Commentarii (c. 1436)Laurentius Valla, Elegantiae Linguae Latinae (c. 1440)Leon Battista Alberti, De Re Aedificatoria (1450)Nicholas of Cusa, De Mente (1450)Denys Ryckel (Dionysius the Carthusian), De Venustate Mundi et Pulchritudine

Dei (c. 1452)Bartholomaeus Facius, De Viris Illustribus (c. 1456)Nicholas of Cusa, Tota Pulchra Es, Amica Mea (1456)

Nicholas of Cusa,De Ludo Globi

(1462–63)Filarete (Antonio di Pietro Averlino), Trattato di Architettura (1464)Marsilio Ficino, Commentarium in Convivium Platonis, de Amore (1469)Piero della Francesca, De Prospectiva Pingendi (c. 1474)






Johannes Tinctoris, Diffinitorum Musices (c. 1475) Johannes Tinctoris, Complexus Effectuum Musices (c. 1474–75)Angelo Poliziano, Penepistemon (1491)

Girolamo Savonarola, “In Apology of the Art of Poetry” (c. 1492)Girolamo Savonarola, De Simplicitate Vitae Christianae (1496)Girolamo Savonarola, Prediche Sopra Ezechiele (delivered 1496–97)Luca Pacioli, De Divina Proportione (written 1496–98, published 1509)

Sixteenth Century CE

Pomponius Gauricus, De Scultura (1504)

Antonio S. Minturno, De Poeta (1509)Pomponius Gauricus, De Arte Poetica (c. 1510)Pietro Bembo, De Imitatione Libellus (1512)Pietro Bembo, Gli Asolani (1525)Franceso Berni, Dialogo Contro i Poeti (1526)Marco Girolamo Vida, De Arte Poetica (1527)Baldassare Castiglione, The Courtier (Il Libro del Cortegiano) (1528)Albrecht Dürer, Vier Bücher von Menschlicher Proportion (1528)Gian Giorgio Trissino, La Poetica (1529)

Agostini Nifo, De Pulchro (1531)Bernardino Daniello, Poetica (1536)Girolamo Fracastoro, Naugerius Sive de Poetica (c. 1540)Bartolomeo Ricci, De Imitatione Libri Tres (1545)Benedetto Varchi, Lezzione sopra la Pittura e la Scultura (1546)Henry Glarean, Dodekachordon (1547)Agnolo Firenzuola, Delle Bellezze delle Donne (1548)Paolo Pino, Dialogo di Pittura (1548)Francesco Robortello, In Librum Aristotelis de Arte Poetica Explanationes (1548)Michelangelo Biondo, Della Nobilissima Pittura (1549) Joachim du Bellay, Défense et Illustration de la Langue Française (1549)Anton Francesco Doni, Disegno (1549)Benedetto Varchi, Due Lezzioni (1549)Benedetto Varchi, Lezzione della Maggioranza delle Arti (1549)Girolamo Cardano, De Subtilitate Rerum (1550)Giorgio Vasari, Lives of the Most Excellent Painters, Sculptors, and Architects

(1550)

Vincenzo Maggi and Bartolomeo Lombardi,In Aristotelis Librum De Poetica

Communes Explanationes (1550)Francesco Patrizi, Discorso della Diversità de’ Furori Poetici (1553)Alessandro Lionardi, Dialogi della Inventione Poetica (1554)






G. P. Capriano, Della Vera Poetica (1555)Pontus De Tyard, Solitaire Secondon Prose de la Musique (1555) Jacques Pelletier du Mans, Art Poétique (1555)

Lelio Gregorio Giraldi, Dialogi duo de Poetis Nostrorum Temporum (1556)Lodovico Dolce, Dialogo della Pittura Intitolato l’Aretino (1557)Giovanni della Casa, Galateo (1558)Gioseffo Zarlino, Istitutioni Harmoniche (1558)Antonio Minturno, De Poeta (1559)Bernardino Parthenio, Della Imitatione Poetica (1560)Bernardino Tomitano, Della Ligua Toscana (1560)Giambattista Pigna, Poetica Horatiana (1561) Julius Caesar Scaliger, Poetices Libri Septem (published 1561)

Giovanni Andrea Gilio, Dialogo Degli Errori de’ Pittori (1564)Antonio S. Minturno, L’Arte Poetica (1564)Leonardo Salviati, Trattato della Poetica (1564)Lodovico Castelvetro, Parere sopra l’Aiuto che Domandano i Poeti alle Muse (1565)Pierre de Ronsard, Abrégé de l’Art Poétique Français (1565)Benedetto Grasso, Oratione (1566)Vincenzo Danti, Trattato della Perfetta Proporzione (1567)Torquato Tasso, Lezione sopra un Sonetto di Monsignor della Casa (1567–70)Daniele Barbaro, La Practica della Perspettiva (1568)

Tomás Correa, De Toto eo Poematis Genere, Quod Epigramma Vulgo Dicitur (1569)Lodovico Castelvetro, Poetica d’Aristotele Vulagarizzata (1570)Andrea Palladio, Quattro Libri dell’Architettura (1570)Benedetto Varchi, L’Hercolano (1570) John Rainolds, Oratio in Laudem Artis Poeticae (c. 1572)Richard Willis, De Re Poetica Disputatio (1573)Alessandro Piccolomini, Commento Sulla Poetica (1575)Filippo Sassetti, Commentary on Aristotle’s Poetics (c. 1575)Torquato Tasso, Allegoria della Gerusalemme Liberata (1575)Ludovico Castelvetro, Poetica d’Aristotele Vulgarizzata et Sposta (1576)Giacomo Zabarella, Opera Logica (1578)Francisco Buonamici, Discorsi Poetici (1579)Thomas Lodge, Defence of Poetry (1579)Giovanni Antonio Viperano, De Poetica Libri Tres (1579)Michel de Montaigne, Essays (1580)Vincenzo Galilei, Dialogo della Musica Antica e della Moderna (1581)Giordano Bruno, De Umbris Idearum (1582)

Gabriele Paleotti,Discorso Intorno alle Imagini Sacre e Profane

(1582)Raffaele Borghini, Il Riposo (1584)Paolo Lomazzo, Trattato dell’Arte della Pittura (1584)Giordano Bruno, De Gli Eroici Furori (1585)






Antonio Riccoboni, Poetica (1585)Francesco Patrizi, Della Poetica (1586)Leonardo Salviati, Parafrasi e Commento della Poetica d’Aristotile (1586)

William Webbe, Discourse of English Poetrie (1586)Tomás Correa, In Librum de Arte Poetica Horatii Explanationes (1587)Torquato Tasso, Dell’Arte Poetica et in Particolare del Poema Heroico (1587)Giasone Denores, Discorso (1588)Giasone Denores, Poetica (1588)Vincenzo Galilei, Discorso Intorno All’opere Di Messer G. Zarlino (1589)George Puttenham (attributed), Art of English Poesie (1589)Paolo Lomazzo, Idea del Tempio della Pittura (1590)Benedetto Varchi, Libro della Beltà e Grazia (published 1590)

Giordano Bruno, De Vinculis in Genere (1590–91)Giordano Bruno, De Minimo (1591)Gregorio Comanini, II Figino Overo del Fine della Pittura (1591)Tomás Correa, De Eloquentia Libri Quinque (1591) John Harington, Apology for Poetry (1591)Atonio Possevino, Tractatio de Poesi et Pictura Ettnica, Humana et Fabulosa (1593)Cesare Ripa, Iconologia (1593)Philip Sidney, Defence of Poesie (published 1595)Tommaso Campanella, Poetica (c. 1596)

Juan Bautista Villalpando, Ezechielem Explanationes (1596–1604)

Seventeenth Century CE

In the seventeenth century, all manner of thinkers move to weigh in onmatters of art and beauty, including artists (Leonardo da Vinci), naturalphilosophers (Francis Bacon), political philosophers (Thomas Hobbes), andmathematicians (Blaise Pascal, also a philosopher).

Faustino Summo, Discorsi Poetici (1600)Thomas Campion, Observations on the Art of English Poesie (1602)Samuel Daniel, A Defence of Rhyme (1603)Francis Bacon, Advancement of Learning (1605) Jean Vauquelin de la Fresnaye, Art Poétique (1605)Federico Zuccari, The Idea of Painting, Sculpture and Architecture (1607)Lope de Vega, The New Art of Writing Plays (1609)

Pierre de Deimier,L’Académie de l’Art Poétique

(1610)Giovanni Battista Agucchi, Trattato della Pittura (c. 1607–15)Rudolphus Goclenius , Lexicon Philosophicum (1613)René Descartes, Compendium Musicae (1618)






Francis Bacon, De Dignitate et Augmentis Scientiarum (1623)Francis Bacon, “Of Beauty” (1626) Johann Heinrich Alsted, Encyclopaedia (1630)

René Descartes, Letter to Mersenne of March 18 (1630)Vicente Carducho, Diálogo de la Pintura (1633)Marquis de Racan, Harangue Prononcée en l’Académie (1635) Jean Chapelain, Sentiments de l’Académie sur le Cid (1637)Georges de Scudéry, Observations sur Le Cid (1637)Francis Junius, De Pictura Veterum (1637)Hippolyte Jules Pilet de la Mesnadière, La Poétique (1639)Georges de Scudéry, L’Apoligie du Théâtre (1639)Mateo Pellegrini, Trattato delle Acutezze (1639)

Peter Paul Rubens, “De Imitatione Statuorum” (before 1640)Baltasar Gracián, Arte de Ingenio. Tratado de la Agudeza (1642)Thomas Hobbes, Elementa Philosophiae (1642–58)Gerhard Vossius, De Artis Poeticae Natura (1647)Baltasar Gracián, Agudeza y Arte de Ingenio (1648)Abraham Bosse, Sentimens sur la Distinction des Diverses Manières de Peinture,

Dessein et Gravure (1649)René Descartes, Les Passions de l’Âme (1649)Francisco Pacheco, Arte de la Pintura (1649)

Fréart de Chambray, Parallèle de l’Architecture Antique et de la Moderne (1650)Leonardo da Vinci, Trattato della Pittura (published 1651)Thomas Hobbes, Leviathan (1651)Pierre Mambrun, Dissertatio Poetica de Epico Carmine (1652)Blaise Pascal (attributed), Discours sur les Passions de l’Amour (c. 1652–53)Blaise Pascal, Pensées (c. 1654–62)François Hédelin d’Aubignac, Pratique du Théâtre (1657)Pierre Nicole, Traité de la vraie et de la fausse beauté dans les ouvrages d’esprit et

particulièrement dans l’épigramme (1659)Pierre Corneille, Discours de l’Utilité et des Parties du Poème Dramatique (1660)Fréart de Chambray, Idée de la Perfection de la Peinture (1662)Giovanni Pietro Bellori, Ideal in Art (1664)Gian Lorenzo Bernini, Journal de Voyage du Cavalier Bernini en France (1665)Paul Fréart de Chantelou, “Diary of the Cavaliere Bernini’s Visit to France”

(1665)André Félibien, Entretiens sur les Vies et les Ouvrages des Plus Excellens Peintres

(1666–85)

Charles LeBrun,Conferences sur l’Expression des Differents Caracteres des Passions

(1667)Charles du Fresnoy, De Arte Graphica (1668)Charles du Fresnoy, L’Art de la Peinture (1668)






Charles LeBrun, Méthode pour Apprendre à Dessiner les Passions (1668) John Dryden, Defence of an Essay of Dramatic Poesy (1668) John Dryden, Essay of Dramatic Poesy (1668)

Emanuele Tesauro, Il Cannocchiale Aristotelico (1670)Dominique Bouhours, The Conversations of Aristo and Eugene (1671)Giovanni Pietro Bellori, The Lives of the Modern Painters, Sculptors, and Architects

(1672)Roger de Piles, Dialogue upon Colouring (1673)Claude Perrault, Les Dix Libres de Vitruve (1673)Nicolas Boileau , Art Poétique (1674) Jacques-François Blondel, Cours d’Architecture (1675)René le Bossu, Traité du Poème Épique (1675)

René Rapin, Réflexions sur la Poétique de ce Temps et sur les Ouvrages des Poètes Anciens et Modernes (1675)

André Félibien, Treatise on Architecture, Sculpture, Painting and the Other Arts (1676)

Henri Testelin, Préceptes (1679)Dominique Bouhours, La Manière de Bien Penser dans les Ouvrages d’Esprit

(1687) Jean de La Bruyère, Les Caractères (1687)Charles Perrault, Parallèle des Anciens et des Modernes (1688)

John Dryden, A Discourse Concerning the Original and Progress of Satire (1693)

Eighteenth Century CE

The eighteenth century represents the birth of modern aesthetics—both asthe term itself is coined by Alexander Baumgarten, and as theoretical campsdevelop, primarily in Britain and Germany, with concerted effort placed onunderstanding the nature of taste and of beauty.

John Locke, An Essay Concerning Human Understanding (1700) John Dennis, The Advancement and Reformation of Modern Poetry (1701) John Dennis, A Large Account of the Taste in Poetry, and the Causes of Degeneracy

of It (1702) John Dennis, The Grounds of Criticism in Poetry (1704)Dominique Bouhours, The Art of Criticism (1705)Charles de Saint-Évremond, Œuvres Mêlées (published 1705)

Ludovico Antonio Muratori,Della Perfetta Poesia Italiana

(1706)Gerard de Lairesse, The Great Book on Painting (1707)André Félibien, L’Idée du Peintre Parfait (published 1707)Gian Vincenzo Gravina, Della Ragion Poetica (1708)






Ludovico Antonio Muratori, Riflessioni sopra il Buon Gusto (1708)Giambattista Vico, De Nostri Temporis Studiorum Ratione (1709)Anthony Ashley Cooper, Third Earl of Shaftesbury, Characteristics of Men,

Manners, Opinions, Times (1711)Alexander Pope, Essay on Criticism (1711) Joseph Addison, “Essay on the Pleasures of the Imagination” (1712)Sébastien Le Clerc, Traité d’Architecture avec des Remarques et des Observations

Très Utiles (1714) Jean-Pierre de Crousaz, Treatise on Beauty (1715)Gian Vincenzo Gravina, Della Tragedia (1715) Jonathan Richardson, Essay on the Theory of Painting (1715)Antonio Palomino y Velasco, The Pictorial Museum and Optical Scale (1715–24)

Richard Blackmore, Essays upon Several Subjects (1716) Jean-Baptiste du Bos, Critical Reflections on Poetry, Painting and Music (1719) Jonathan Richardson, The Science of a Connoisseur (1719)Antoine Coypel, Discours Prononcés dans les Conferences de 1’Academie Royale de

Peinture (1721)Francis Hutcheson, An Inquiry into the Original of Our Ideas of Beauty and Virtue

(1725) Jonathan Richardson, “An Essay on the Theory of Painting” (1725)Francis Hutcheson, An Essay on the Nature and Conduct of the Passions and

Affections (1727) Johann Ulrich König, Untersuchung von dem guten Geschmack in der Dicht- und

Redekuns (1727)Charles-Etienne Briseux, L’Architecture Moderne (1728)Yves-Marie André, Essay on Beauty (1731)Comte de Caylus, “On Drawings” (1732)Lambert Hermanson ten Kate, “The Beau Ideal” (1732)Alexander Gottlieb Baumgarten, Reflections on Poetry (1735)Alexander Gottlieb Baumgarten, Metaphysica (1739)David Hume, “Of Beauty and Deformity” (1739) Johann Jacob Breitinger, Critische Dichtkunst (1740) John Turnbull, “A Treatise on Ancient Painting” (1740) Johann Jakob Bodmer, Kritische Betrachtungen Über die Poetischen Gemälde der

Dichter (1741)David Hume, “Of the Delicacy of Taste and Passion” (1741) Joseph Trapp, Lectures on Poetry (1742) James Harris, Three Treatises (1744)

Ludovico Antonio Muratori,Della Forza della Fantasia

(1745)Charles Batteaux, Les beaux Arts réduits à un même principe (1746) John Baillie, “An Essay on the Sublime” (1747)Georg Friedrich Meier, Anfangsgründe aller Schönen Wissenschaften (1748)






Alexander Gottlieb Baumgarten, Aesthetica (1750)Comte de Caylus, “On Composition” (1750) Jean-Jacques Rousseau, “Discourse on the Arts and Sciences” (1750)

Jonathan Edwards, “The Beauty of the World” (c. 1750)Charles-Etienne Briseux, Traité des Proportions Harmoniques (1752)Charles-Etienne Briseux, Traité du Beau Essentiel dans les Arts Appliqué

Particulièrement à l’Architecture (1752)Charles Avison, An Essay on Musical Expression (1753)William Hogarth, The Analysis of Beauty, Written with a View of Fixing the

Fluctuating Ideas of Time (1753)Allan Ramsay, Dialogue on Taste (1755)Edmund Burke, A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime

and Beautiful (1757)Charles-Louis de Secondat, Baron de Montesquieu, “An Essay on Taste” (1757)David Hume, “Of the Standard of Taste” (1757)David Hume, “Of Tragedy” (1757)Voltaire, “Essay on Taste” (1757)Moses Mendelssohn, Ueber das Erhabene und Naïve in den Schönen Wissenschaften

(1758)Alexander Gerard, An Essay on Taste (1759) Joseph Priestley, A Course of Lectures on Oratory and Criticism (1759)

Etienne Falconet, “Reflexions on Sculpture” (1761) Johann Georg Hamann, Aesthetica in Nuce (1762)Henry Home, Lord Kames, Elements of Criticism (1762)Anton Raphael Mengs, Reflections on Beauty and Taste in Painting (1762)Denis Diderot, “Salon of 1763” (1763) Johann Gottfried von Herder, Fragments of a Treatise on the Ode (1764)Immanuel Kant, Beobachtungen über das Gefühl des Schönen und Erhabenen (1764)Charles Batteux, Cours de Belles Lettres (1765)Denis Diderot, “Notes on Painting” (1765)Gotthold Lessing, Laocoön (1766)William Duff, An Essay on Original Genius (1767)Moses Mendelssohn, Phaedon oder über die Unsterblichkeit der Seele (1767) Jean-Jacques Rousseau, Dictionnaire de Musique (1767)Gotthold Lessing, Hamburg Dramaturgy (1767–69) James Usher, Clio: or, A Discourse on Taste (1769) Johann Gottfried von Herder, Critical Forests, or Reflections on the Science and Art

of the Beautiful (1769)

Johann George Sulzer, Allgemeine Theorie der Schönen Künste

(1771) Johann Wolfgang von Goethe and Johann Gottfried von Herder, Of GermanCharacter and Art (1773)

Charles Batteux, Principes de la littérature (1774)






Alexander Gerard, An Essay on Genius (1774)Thomas Reid, Lectures on the Fine Arts (1774) James Beattie, Essay on Poetry and Music as They Affect the Mind (1776)

Joshua Reynolds, Discourses on Art (1776) Jean-Jacques Barthélemy, Entretiens sur l’État de la Musique Grecque au QuatrièmeSiècle (1777)

Johann Gottfried von Herder, On the Effect of Poetic Art on the Ethics of Peoples in Ancient and Modern Times (1778)

Johann Gottfried von Herder, On the Influence of the Beautiful in the HigherSciences (1781)

James Beattie, Dissertations Moral and Critical (1783)Martin Gerbert, Scriptores Ecclesiastici de Musica Sacra (1784)

Comte de la Cépède, La Poétique de la Musique (1785)Karl Philipp Moritz, “Versuch einer Vereinigung aller Schönen Künste” (1785)Thomas Reid, Essays of the Intellectual Powers of Man (1785)Frances Reynolds, An Enquiry Concerning the Principles of Taste (1785)Archibald Alison, Essays on the Nature and Principles of Taste (1790)Karl Heinrich Heydenreich, System der Aesthetik (1790)Immanuel Kant, The Critique of Judgment (1790)William Gilpin, Three Essays (1791)Uvedale Price, An Essay on the Picturesque, as Compared with the Sublime and

Beautiful (1794)Christian Gottfried Körner, “Ueber Charakterdarstellung in der Musik” (1795)Adam Smith, “Of the Nature of That Imitation which Takes Place in What are

Called the Imitative Arts” (1795) Johann Christoph Friedrich von Schiller, On the Aesthetic Education of Man in a

Series of Letters (1795) Jean Baptiste Leclerc, Essai sur la Propagation de la Musique en France (1796)Novalis (Georg Philipp Friedrich Freiherr von Hardenberg), Das Allgemeine

Brouillon (1798–99) Johann Wolfgang von Goethe, Der Sammler und die Seinigen (1799)

Nineteenth Century CE

Due largely to the influence of Kant’s third Critique (1790), nineteenth-century aesthetics grows rapidly, particularly along paths set out by Hegel,Schelling, and Schopenhauer. A number of artists, art critics, and historians

also produce treatises on art theory. Johann Gottfried Herder, Kalligone (1800)Friedrich Wilhelm Joseph Schelling, System of Transcendental Idealism (1800)






Friedrich Schlegel, Gespräch Über die Poesie (1800)William Wordsworth, Preface to Lyrical Ballads (1800)August Wilhelm von Schlegel, Vorlesungen über Schöne Literatur und Kunst

(1801) Jean Nicolas Louis Durand, Précis des Leçons d’Architecture (1802)Friedrich Wilhelm Joseph Schelling, Philosophie der Kunst (1802–03) Jean Paul Richter, Vorschule der Ästhetik (1804)Aubin Louis Millin, Dictionnaire des Beaux-Arts (1806) Johann Friedrich Herbart, Sämtliche Werke (1808)August Wilhelm von Schlegel, Vorlesungen über Dramatische Kunst und Literatur

(1808)Dugald Stewart, “On Taste” (1810)

Dugald Stewart, “On the Beautiful” (1810)Dugald Stewart, “On the Sublime” (1810) Johann Wolfgang von Goethe, Theory of Colors (1810)Francis Jeffrey, Lord Jeffrey, “Alison on Taste” (1811) Jean Rondelet, Traité de l’Art de Bâtir (1812) Johann Gottfried Herder, Allgemeine Musikalische Zeitung (1813)Anne Louise Germaine de Staël, De L’Allemagne (1814)Francis Jeffrey, Lord Jeffrey, “Essay on Beauty” (1816)Samuel Taylor Coleridge, Biographia Literaria (1817)

Arthur Schopenhauer, The World as Will and as Representation (1819)Friedrich Schleiermacher, Lectures on Aesthetics (1819–33)Georg Wilhelm Friedrich Hegel, Lectures on Aesthetics (Lectures delivered

1820–29; published posthumously)Hermann Friedrich Wilhelm Hinrichs, Aesthetische Vorlesgungen über Goethe’s

Faust (1825)François-Joseph Fétis, Revue Musicale (1827–35)Hermann Friedrich Wilhelm Hinrichs, Das Wesen der Antiken Tragödie (1827) James Mill, An Analysis of the Phenomena of the Human Mind (1829)F. R. de Toreinx, L’Histoire du Romantisme en France (1829)William Crotch, Substance of Several Courses of Lectures (1831) Johann Friedrich Herbart, Kurze Encyclopädie der Philosophie (1831) John Stuart Mill, “What Is Poetry?” (1833)Victor Cousin, Du Vrai, du Beau et du Bien (published 1836) John Ruskin, The Poetry of Architecture: Cottage, Villa, etc., to Which Is Added

Suggestions on Works of Art (1837–38)Friedrich Schleiermacher, Hermeneutics and Criticism (1838)

Robert Zimmermann, Asthetik

(1838)Edgar Allan Poe, “The Philosophy of Composition” (1846)Friedrich Theodor Vischer, Aesthetik, oder Wissenschaft des Schönen (1846–57) John Ruskin, Modern Painters (1846–60)






John Ruskin, The Seven Lamps of Architecture (1849)Richard Wagner, “The Art-Work of the Future” (1849)Arthur Schopenhauer, Parerga and Paralipomena (1851)

Richard Wagner, Opera and Drama (1851)Eduard Hanslick, On the Beautiful in Music (1854) John Ruskin, Architecture and Painting (1854) John Ruskin, “A Joy Forever” and Its Price in the Market, or The Political Economy

of Art (1857) John Ruskin, The True and the Beautiful in Nature, Art, Morals and Religion (1858)Alexander Bain, The Emotions and the Will (1859)William Hamilton, Lectures on Metaphysics (published 1859)Charles Lévêque, La Science du Beau Étudiée dans ses Applications et dans son

Histoire (1861)Charles Lévêque, Le Spiritualisme dans l’Art (1864)Herbert Spencer, Essays: Moral, Political and Aesthetic (1865)Hippolyte Taine, La Philosophie de l’Art (1865)Hippolyte Taine, Philosophie de l’art en Italie (1866)Hippolyte Taine, L’Idéal dans l’Art (1867)Hippolyte Taine, Philosophie de l’art dans les Pays-Bas (1868)Hippolyte Taine, Philosophie de l’art en Grèce (1869)Charles Lévêque, Les Harmonies Providentielles (1872)

Friedrich Nietzsche, The Birth of Tragedy (1872)Robert Vischer, Das optische Formgefüehl. Ein Beitrag zur Ästhetik (1873) Josef Durdik, Všeobecná Aesthetika (1875)Théodore Simon Jouffroy, Cours d’Esthetique (published 1875)Gustav Theodor Fechner, Vorschule der Ästhetik (1876)Grant Allen, Physiological Aesthetics (1877) John Ruskin, Fiction, Fair and Foul (1880)Emile Zola, “The Experimental Novel” (1880)Emile Zola, “Naturalism in the Theatre” (1881) Josef Durdik, Poetika (1882)Friedrich Nietzsche, “Attempt at a Self-Criticism” (1886)K. Heinrich von Stein, Die Entstehung der Neuren Ästhetik (1886)Konrad Fiedler, Über den Ursprung der künstlerischen Tätigkeit (1887)Oscar Wilde, The Decay of Lying (1889)Theodor Lipps, Ästhetische Faktoren der Raumanschauung (1891)Wilhelm Dilthey, “Three Epochs in Modern Aesthetics and Its Present Task”

(1892)

Karl Gross,Einleitung in die Ästhetik

(1892)Konrad von Lange, Die bewusste Selbsttäuschung als Kern des KünstlerischenGnusses (1895)

George Santayana, The Sense of Beauty (1896)






Leo Tolstoy, What Is Art? (1896)Theodor Lipps, Raumästhetik und geometrisch-optische Täuschungen (1897)Clementina Anstruther-Thomson and Vernon Lee, Beauty and Ugliness (1897)

Carl Georg Lange, Bidrag til Nydelsernes fysiologi som grundlag for en rationelæstetik (1899)

Twentieth and Twenty-First Centuries CE

At the turn of the twentieth century is a concerted effort to define art,from Tolstoy to Croce to Bell to Dewey and beyond. Philosophers begin tospecialize in aesthetics, and midway through the century, academic journals

devoted to aesthetics are established. Subspecialties within aesthetics beginto emerge.

Yrjö Hirn, Origins of Art (1900)August Kirschmann, Concepts and Laws of Aesthetics (1900)Konrad von Lange, Das Wesen der Kunst (1901)Benedetto Croce, Aesthetic as Science of Expression and General Linguistic (1902)Karl Groos, Der ästhetische Genuss (1902)Theodor Lipps, Ästhetik (1903–06)George Santayana, “What is Aesthetics?”

(1904)Sigmund Freud, Der Witz und seine Beziehung zum Unbewussten (1905)George Santayana, Reason in Art (1905)Max Dessoir, Aesthetik und allgemeine Kunstwissenschaft in den Grundzuegen

(1906)Paul Claudel, Art Poétique (1907)Waldemar Conrad, “Der ästhetische Gegenstand: eine phänomenologische

Studie” (1908–09)A. C. Bradley, Oxford Lectures on Poetry (1909)Broder Christensen, Philosophie der Kunst (1909)Edward Bullough, “‘Psychical Distance’ as a Factor in Art and as an Aesthetic

Principle” (1912)Benedetto Croce, Breviario di estetica (The Essence of Aesthetic) (1913)Vernon Lee, The Beautiful: An Introduction to Psychological Aesthetics (1913)Eleanor Rowland, The Significance of Art: Studies in Analytic Esthetics (1913)Clive Bell, Art (1914)Bernard Bosanquet, Three Lectures on Aesthetic (1915)

Viktor Sklovskij, “Art as Device” (1916)T. S. Eliot, “Tradition and the Individual Talent” (1920)Lascelles Abercrombie, An Essay Towards a Theory of Art (1922)






C. K. Ogden, I. A. Richards, and James Wood, The Foundations of Aesthetics (1922)

Gustav Spet, Aesthetic Fragments (1922–23)

Henri Bergson, Le rire (1924) J. A. Smith, The Nature of Art (1924)Samuel Alexander, Art and the Material (1925)R. G. Collinwood, Outlines of a Philosophy of Art (1925)I. A. Richards, Principles of Literary Criticism (1925)Louis Arnauld Reid, “Artistic Experience” (1926)Paul Valéry, The Art of Poetry (1928)Benedetto Croce, Aesthetic (1929)C. J. Ducasse, The Philosophy of Art (1929)

D. W. Prall, Aesthetic Judgment (1929)Etienne Souriau, L’Avenir de l’esthétique (1929)Roman Ingarden, The Literary Work of Art (1931)Paul Valéry, Aesthetics (1931)Nicolai Hartmann, Das problem des geistigen Seins (1933) John Dewey, Art as Experience (1934)H. S. Goodhart-Rendel, Fine Art (1934)Walter Benjamin, “The Work of Art in the Age of Its Mechanical Reproduction”

(1935)

Jan Mukarovsky, Aesthetic Function, Norm and Value as Social Facts (1935)Paul Valéry, Notion générale de l’art (1935)Benedetto Croce, La Poesia (1936)D. W. Prall, Aesthetic Analysis (1936)George Boas, A Primer for Critics (1937)Stephen C. Pepper, Aesthetic Quality: A Contextualist Theory of Beauty (1937)R. G. Collingwood, The Principles of Art (1938)Paul Valéry, Degas, danse, dessin (1938)George W. Beiswanger, “The Esthetic Object and the Work of Art” (1939)Igor Stravinsky, “Poetics of Music” (1939–40)Helge Lundholm, The Aesthetic Sentiment (1941)Paul Valéry, Bad Thoughts and Others (1942)Paul Claudel, L’Œil Écoute (1946)Arnold Isenberg, “The Technical Factor in Art” (1946)C. I. Lewis, An Analysis of Knowledge and Valuation (1946)Stephen C. Pepper, The Basis of Criticism in the Arts (1946)W. K. Wimsatt, Jr. and Monroe C. Beardsley, “The Intentional Fallacy” (1946)

Ētienne Souriau,La correspondance des arts: éléments d’esthétique comparée

(1947)Arnold Isenberg, “Critical Communication” (1949)Thomas Munro, The Arts and Their Interrelations (1949)Richard Rudner, “The Ontological Status of the Esthetic Object” (1950)






C. L. Stevenson, “Interpretation and Evaluation in Aesthetics” (1950)Henry Aiken, “The Aesthetic Relevance of Belief” (1951)Paul Ziff, “Art and the ‘Object of Art’” (1951)

Stuart Hampshire, “Logic and Appreciation” (1952)R. S. Crane, The Languages of Criticism and the Structure of Poetry (1953)Mikel Dufrenne, La phénoménologie de l’expérience esthétique (1953)Nicolai Hartmann, Ästhetik (1953)Susanne K. Langer, Feeling and Form (1953)Harold Osborne, Theory of Beauty (1953)Andrew Paul Ushenko, Dynamics of Art (1953)Paul Ziff, “The Task of Defining a Work of Art” (1953)Rolf Ekman, Estetiska Problem (1954)

Margaret Macdonald, “The Language of Fiction” (1954)W. K. Wimsatt, Jr., The Verbal Icon (1954)Emilio Betti, Teoria Generale della Interpretazione (1955)Stephen C. Pepper, The Work of Art (1955)Leonard B. Meyer, Emotion and Meaning in Music (1956)Morris Weitz, “The Role of Theory in Aesthetics” (1956)Étienne Gilson, Painting and Reality (1957)Susanne K. Langer, Problems of Art (1957)C. L. Stevenson, “On ‘What Is a Poem?’” (1957)

J. O. Urmson, “What Makes a Situation Aesthetic?” (1957)Monroe Beardsley, Aesthetics: Problems in the Philosophy of Criticism (1958)William E. Kennick, “Does Traditional Aesthetics Rest on a Mistake?” (1958)Ruby Meager, “The Uniqueness of a Work of Art” (1958–59)O. K. Bouwsma, The Expression Theory of Art (1959)Frank Sibley, “Aesthetic Concepts” (1959)Hans-Georg Gadamer, Wahrheit und Methode (1960)E. H. Gombrich, Art and Illusion (1960)Clement Greenberg, “Modernist Painting” (1960) John Cage, Silence: Lectures and Writings (1961) J. L. Austin, How To Do Things with Words (1962)Emilio Betti, Die Hermeneutik als Allgemeine Methodik der Geisteswissenschaften

(1962) John Hospers, “The Ideal Aesthetic Observer” (1962)Isabel Hungerland, “The Logic of Aesthetic Concepts” (1962)Roman Ingarden, Untersuchungen zur Ontologie der Kunst: Musikwerk, Bild,

Architektur, Film (1962)Virgil C. Aldrich, Philosophy of Art (1963)Ētienne Gilson, Introduction aux arts du beau (1963)Francis Sparshott, The Structure of Aesthetics (1963)Frank Cioffi, “Intention and Interpretation in Criticism” (1963–64)






R. G. Collingwood, Essays in the Philosophy of Art (1964)Arthur C. Danto, “The Artworld” (1964)George Dickie, “The Myth of the Aesthetic Attitude” (1964)

Roman Ingarden, “Artistic and Aesthetic Values” (1964)Susan Sontag, “Against Interpretation” (1964)George Dickie, “Beardsley’s Phantom Aesthetic Experience” (1965)Maurice Mandelbaum, “Family Resemblances and Generalization Concerning

the Arts” (1965) Joseph Margolis, The Language of Art and Art Criticism (1965)I. A. Richards, The Philosophy of Rhetoric (1965)Ronald Hepburn, “Contemporary Aesthetics and the Neglect of Natural

Beauty” (1966)

Meyer Schapiro, “On Perfection, Coherence, and Unity of Form and Content”(1966)

R. K. Elliott, “Aesthetic Theory and the Experience of Art” (1967)E. D. Hirsch, Jr., Validity in Interpretation (1967)Leonard B. Meyer, Music, the Arts and Ideas (1967)Roland Barthes, “The Death of the Author” (1968)Nelson Goodman, Languages of Art (1968)Roman Ingarden, Vom Erkennen des literarischen Kunstwerks (1968)Richard Wollheim, Art and Its Objects (1968)

Stanley Cavell, “Aesthetic Problems of Modern Philosophy” (1969)George Dickie, “Defining Art” (1969)Michel Foucault, “Qu’est-ce qu’un auteur?” (1969)Göran Hermerén, Representation and Meaning in the Visual Arts (1969)Theodor W. Adorno, Ästhetische Theorie (1970)Monroe C. Beardsley, “The Aesthetic Point of View” (1970)Monroe C. Beardsley, The Possibility of Criticism (1970)Harold Osborne, The Art of Appreciation (1970)Siegfried J. Schmidt, Ästhetische Prozesse (1970)Kendall L. Walton, “Categories of Art” (1970)Roland Barthes, “De l’oeuvre au texte” (1971)Alan Tormey, The Concept of Expression: A Study in Philosophical Psychology and

Aesthetics (1971)Max Black, “How Do Pictures Represent?” (1972) Julian Hochberg, “The Representation of Things and People” (1972)Monroe C. Beardsley, “What Is an Aesthetic Quality?” (1973)Arthur C. Danto, “Artworks and Real Things” (1973)

Arnold Isenberg, Aesthetics and the Theory of Criticism

(1973)Richard Wollheim, On Art and the Mind (1973)Arthur C. Danto, “The Transfiguration of the Commonplace” (1974)George Dickie, Art and the Aesthetic: An Institutional Analysis (1974)






Francis J. Kovach, Philosophy of Beauty (1974) Joseph Margolis, “Works of Art as Physically Embodied and Culturally

Emergent Entities” (1974)

Roger Scruton, Art and Imagination (1974)Frank Sibley, “Particularity, Art and Evaluation” (1974)P. F. Strawson, “Aesthetic Appraisal and Works of Art” (1974)Thomas G. Pavel, “‘Possible Worlds’ in Literary Semantics” (1975)Colin Radford, “How Can We Be Moved by the Fate of Anna Karenina?”

(1975) John Searle, “The Logical Status of Fictional Discourse” (1975)Guy Sircello, A New Theory of Beauty (1975)Nicholas Wolterstorff, “Toward an Ontology of Artworks” (1975)

Ted Cohen, “Notes on Metaphor” (1976) Jack Glickman, “Creativity in the Arts” (1976)E. D. Hirsch, Jr., The Aims of Interpretation (1976) Joseph Margolis, “Robust Relativism” (1976)Mark Sagoff, “Aesthetic Status of Forgeries” (1976)Timothy Binkley, “Piece: Contra Aesthetics” (1977) Joseph Margolis, “The Ontological Peculiarity of Works of Art” (1977)Robert J. Matthews, “Describing and Interpreting a Work of Art” (1977)Monroe C. Beardsley, “Metaphorical Senses” (1978)

Nelson Goodman, Ways of Worldmaking (1978)David Lewis, “Truth in Fiction” (1978)Mark Sagoff, “On Restoring and Reproducing Art” (1978)Eva Schaper, “Fiction and the Suspension of Disbelief” (1978)Guy Sircello, Mind and Art (1978)Kendall L. Walton, “Fearing Fictions” (1978)Kendall L. Walton, “How Remote Are Fictional Worlds from the Real World?”

(1978)Monroe C. Beardsley, “In Defense of Aesthetic Value” (1979)Allen Carlson, “Appreciation and the Natural Environment” (1979)Robert Howell, “Fictional Objects: How They Are and How They Aren’t”

(1979) Jerrold Levinson, “Defining Art Historically” (1979)Roger Scruton, The Aesthetics of Architecture (1979)R. A. Sharpe, “Type, Token, Interpretation, and Performance” (1979)William Tolhurst, “On What a Text Is and How It Means” (1979)Stanley Fish, Is There a Text in This Class?: The Authority of Interpretive Communities

(1980)P. D. Juhl, Interpretation (1980)Peter Kivy, The Corded Shell (1980) Jerrold Levinson, “Autographic and Allographic Art Revisited” (1980)






Jerrold Levinson, “What a Musical Work Is” (1980) Joseph Margolis, Art and Philosophy (1980)David Novitz, “Fiction, Imagination and Emotion” (1980)

Nicholas Wolterstorff, Works and Worlds of Art (1980)Allen Carlson, “Nature, Aesthetic Appreciation, and Knowledge” (1981)Allen Carlson, “Nature, Aesthetic Judgment, and Objectivity” (1981)Arthur C. Danto, The Transfiguration of the Commonplace (1981)Peter Lamarque, “How Can We Fear and Pity Fictions?” (1981)Monroe C. Beardsley, “Intentions and Interpretations: A Fallacy Revived”

(1982)Marcia Eaton, “A Strange Kind of Sadness” (1982)E. H. Gombrich, The Image and the Eye. Further Studies in the Psychology of Pictorial

Representation (1982) Jerrold Levinson, “Aesthetic Supervenience” (1982)Anthony Savile, The Test of Time (1982)Francis Sparshott, The Theory of the Arts (1982)Monroe C. Beardsley, “An Aesthetic Definition of Art” (1983)Peter Kivy, “Platonism in Music: A Kind of Defense” (1983)Philip Pettit, “The Possibility of Aesthetic Realism” (1983)Roger Scruton, The Aesthetic Understanding: Essays in the Philosophy of Art and

Culture (1983)

Susan L. Feagin, “The Pleasures of Tragedy” (1983)Ted Cohen, “Jokes” (1983)Philip Alperson, “On Musical Improvisation” (1984)Allen Carlson, “Nature and Positive Aesthetics” (1984)Arthur C. Danto, “The End of Art” (1984)George Dickie, The Art Circle (1984)Peter Kivy, Sound and Semblance: Reflections on Musical Representation (1984)Mary Mothersill, Beauty Restored (1984)Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures

(1985)Malcolm Budd, Music and the Emotions (1985)Gregory Currie, “What is Fiction?” (1985) Jenefer Robinson, “Style and Personality in the Literary Work” (1985)Gregory Currie, “Fictional Truth” (1986)Arthur C. Danto, The Philosophical Disenfranchisement of Art (1986)Alexander Nehamas, “What an Author Is” (1986)Bruce Vermazen, “Expression as Expression” (1986)George M. Wilson, Narration in Light (1986)Stephen Davies, “Authenticity in Musical Performance” (1987)Ian Jarvie, Philosophy of the Film (1987)Alexander Nehamas, “Writer, Text, Work, Author” (1987)






David Novitz, Knowledge, Fiction and Imagination (1987)Richard Wollheim, Painting as an Art (1987)George Dickie, Evaluating Art (1988)

Lubomír Doležel, “Mimesis and Possible Worlds” (1988)Peter Kivy, Osmin’s Rage (1988)Linda Nochlin, “Women, Art, and Power” (1988)Kendall L. Walton, “What Is Abstract About the Art of Music?” (1988) James O. Young, “The Concept of Authentic Performance” (1988)Christine Battersby, Gender and Genius (1989)Gregory Currie, An Ontology of Art (1989) Jerrold Levinson, “Refining Art Historically” (1989) Joseph Margolis, “Reinterpreting Interpretation” (1989)

Noël Carroll, The Philosophy of Horror or Paradoxes of the Heart (1990)Gregory Currie, The Nature of Fiction (1990)Umberto Eco, The Limits of Interpretation (1990)Peter Kivy, Music Alone (1990)Karen Hanson, “Dressing Down Dressing Up: The Philosophic Fear of Fashion”

(1990)Martha Nussbaum, Love’s Knowledge: Essays on Philosophy and Literature (1990)Kendall L. Walton, Mimesis as Make-Believe: On the Foundations of the

Representational Arts (1990)

Stephen Davies, Definitions of Art (1991)Kathleen Higgins, The Music of Our Lives (1991)Alex Neill, “Fear, Fiction and Make-Believe” (1991)Noël Carroll, “Art, Intention, and Conversation” (1992)Ellen Dissanayake, Homo Aestheticus (1992)David Novitz, The Boundaries of Art (1992) Jeremy Stolnitz, “On the Cognitive Triviality of Art” (1992)Paul Thom, For an Audience: A Philosophy of the Performing Arts (1992)Malcolm Budd, “How Pictures Look” (1993)Noël Carroll, “Historical Narratives and the Philosophy of Art” (1993)Randall R. Dipert, Artifacts, Art Works, and Agency (1993)Berys Gaut, “Interpreting the Arts: The Patchwork Theory” (1993)Hilde Hein, “Refining Feminist Theory: Lessons from Aesthetics” (1993) John Morreall, “Fear without Belief” (1993)Stephen Davies, Musical Meaning and Expression (1994)Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy

of Music (1994)

Jenefer Robinson, “The Expression and Arousal of Emotion in Music” (1994)Peter Lamarque and Stein Haugom Olsen, Truth, Fiction and Literature (1994)Malcolm Budd, Values of Art (1995)Peter Kivy, Authenticities (1995)






Noël Carroll, “Moderate Moralism” (1996)Noël Carroll, Theorizing the Moving Image (1996)Theodore Gracyk, Rhythm and Noise: An Aesthetics of Rock (1996)

Peter Lamarque, Fictional Points of View (1996) Jerrold Levinson, The Pleasures of Aesthetics: Philosophical Essays (1996)Dominic M. Lopes, Understanding Pictures (1996)A. D. Nuttal, Why Does Tragedy Give Pleasure? (1996) Jean-Marie Schaeffer, Les Célibataires de l’art: pour une esthétique sans mythes

(1996)Peter Kivy, Philosophies of Arts (1997) Jerrold Levinson, Music in the Moment (1997)Colin Lyas, Aesthetics (1997)

Preben Mortensen, Art in the Social Order (1997)Roger Scruton, The Aesthetics of Music (1997)Robert Stecker, Artworks: Definition, Meaning, Value (1997)Noël Carroll, A Philosophy of Mass Art (1998)Berys Gaut, “The Ethical Criticism of Art” (1998)Stan Godlovitch, Musical Performance (1998)Robert Hopkins, Picture, Image and Experience (1998)Derek Matravers, Art and Emotion (1998)Yuriko Saito, “The Aesthetics of Unscenic Nature” (1998)

Carolyn Korsmeyer, Making Sense of Taste (1999)Richard Shusterman, “Somaesthetics: A Disciplinary Proposal” (1999)Amie Thomasson, Fiction and Metaphysics (1999)Karol Berger, A Theory of Art (2000)Ellen Dissanayake, Art and Intimacy (2000) Julien Dodd, “Musical Works as Eternal Types” (2000)Berys Gaut, “‘Art’ as a Cluster Concept” (2000)Noël Carroll, Beyond Aesthetics (2001)Marcia Muelder Eaton, Merit, Aesthetic and Ethical (2001)Elaine Scarry, On Beauty and Being Just (2001)Nick Zangwill, The Metaphysics of Beauty (2001)Malcom Budd, The Aesthetic Appreciation of Nature (2002)Noël Carroll, “The Wheel of Virtue: Art, Literature, and Moral Knowledge”

(2002)Gregory Currie and Ian Ravenscroft, Recreative Minds (2002)Paisley Livingston, “On an Apparent Truism in Aesthetics” (2003)Guy Rohrbaugh, “Artworks as Historical Individuals” (2003)Robert Stecker, Interpretation and Construction: Art, Speech, and the Law (2003)Aaron Meskin and Jonathan Weinberg, “Emotions, Fiction, and Cognitive

Architecture” (2003)Gregory Currie, Arts and Minds (2004)




David Davies, Art as Performance (2004)Stephen Davies, Musical Works and Performances: A Philosophical Exploration

(2004)

Gary Iseminger, The Aesthetic Function of Art (2004)Carolyn Korsmeyer, Gender and Aesthetics (2004)Aaron Ridley, The Philosophy of Music (2004)R. A. Sharpe, Philosophy of Music (2004)Matthew Kieran, Revealing Art (2005)Paisley Livingston, Art and Intention: A Philosophical Study (2005) Jenefer Robinson, Deeper than Reason: Emotion and Its Role in Literature, Music,

and Art (2005) John Hyman, The Objective Eye (2006)

Peter Kivy, The Performance of Reading: An Essay in the Philosophy of Literature (2006)

John Kulvicki, On Images: Their Structure and Content (2006) Jerrold Levinson, Contemplating Art: Essays in Aesthetics (2006)Dominic Lopes, Sight and Sensibility (2006) Julian Dodd, Works of Music (2007)Berys Gaut, Art, Emotion and Ethics (2007)Alexander Nehamas, Only a Promise of Happiness: The Place of Beauty in a World

of Art (2007)

Yuriko Saito, Everyday Aesthetics (2007)Rachel Zuckert, Kant on Beauty and Biology: An Interpretation of the Critique of

Judgment (2007)Kendall Walton, Marvelous Images (2008) James O. Young, Cultural Appropriation and the Arts (2008)Glenn Parsons and Allen Carlson, Functional Beauty (2008)

Documents

Darren Hudson Hick. Chronology of Works in Aesthetics and Philosophy of Art