Paul Smith is Chair of the History of Art department at the University of Warwick. His previous publications include Impressionism: Beneath the Surface (1995), Interpreting Cézanne (1996) and Seurat and the Avant-Garde (1997). Carolyn Wilde is now retired and was formerly Senior Lecturer in Philosophy at the University of Bristol. Her publications include articles on philosophical aesthetics, the most recent of which is 'Style and Value in the Art of Painting' in Richard Wollheim on the Art of Painting, edited by Rob van Gerwen, 2001.

• Plates ixNotes on Contributors xPreface xviPart I: Tradition and the Academy 1Introduction: Alberti and the Formation of Modern Art Theory 3Carolyn Wilde1 The Classical Concept of Mimesis 19Göran Sörbom2 Medieval Art Theory 29Hugh Bredin3 Neoplatonist Aesthetics 40Suzanne Stern-Gillet4 Renaissance Art Theories 49François Quiviger5 Touch, Tactility, and the Reception of Sculpture in Early Modern Italy 61Geraldine A. Johnson6 The Spiritual Exercises of Leonardo da Vinci 75Robert Williams7 Academic Theory 1550–1800 88Paul Duro8 Rhetorical Categories in the Academy 104Caroline van Eck9 The Picturesque and its Development 116Andrew BallantynePart II: Around Modernism 12510 The Aesthetics of Kant and Hegel 127Jason Gaiger11 E. H. Gombrich and the Tradition of Hegel 139David Summers12 German Romanticism and French Aesthetic Theory 150Wendy S. Mercer13 Expression: Natural, Personal, Pictorial 159Richard Shiff14 Reading Artists’ Words 173Richard Hobbs15 Nietzsche and the Artist 183Michael White16 Wittgenstein, Description, and Adrian Stokes (on Cezanne) 196Paul Smith17 Modernism and the Idea of the Avant-Garde 215Paul Wood18 On the Intention of Modern(ist) Art 229Fred Orton19 Anti-Art and the Concept of Art 244Paul N. Humble20 Marcel Duchamp’s Readymades and Anti-Aesthetic Reflex 253David HopkinsPart III: Critical Theory and Postmodernism 26521 Marxism and Critical Art History 267David Craven22 Walter Benjamin and Art Theory 286Howard Caygill23 Bakhtin and the Visual Arts 292Deborah J. Haynes24 Peirce’s Visuality and the Semiotics of Art 303Michael Leja25 Conceptual Art 317Charles Harrison26 Barthes on Art 327Margaret Iversen 27 Foucault and Art 337Roy Boyne28 Derrida and the Parergon 349Robin Marriner29 What Consciousness Forgets: Lyotard’s Concept of the Sublime 360Renée van de Vall30 Deleuze on Francis Bacon 370Ian Heywood31 Feminisms and Art Theory 380Marsha Meskimmon32 Psycho-Phallus (Qu’est-ce que c’est?) 397Mignon NixonPart IV: Interpretation and the Institution of Art 40933 The Rules of Representation 411John Willats34 Gombrich and Psychology 426Richard Woodfield35 Hermeneutics and Art Theory 436Nicholas Davey36 Reciprocity and Reception Theory 448Michael Ann Holly37 The Paradox of Creative Interpretation in Art 458Carl Hausman38 Interdisciplinarity and Visual Culture 467Charlotte Klonk39 Against Curatorial Imperialism: Merleau-Ponty and the Historicity of Art 477Paul Crowther40 The Institutional Theory of Art: Theory and Antitheory 487Garry L. HagbergIndex 505

Paul Smith is Chair of the History of Art department at the University of Warwick. His previous publications include Impressionism: Beneath the Surface (1995), Interpreting Cézanne (1996) and Seurat and the Avant-Garde (1997). Carolyn Wilde is now retired and was formerly Senior Lecturer in Philosophy at the University of Bristol. Her publications include articles on philosophical aesthetics, the most recent of which is 'Style and Value in the Art of Painting' in Richard Wollheim on the Art of Painting, edited by Rob van Gerwen, 2001.

• Plates ixNotes on Contributors xPreface xviPart I: Tradition and the Academy 1Introduction: Alberti and the Formation of Modern Art Theory 3Carolyn Wilde1 The Classical Concept of Mimesis 19Göran Sörbom2 Medieval Art Theory 29Hugh Bredin3 Neoplatonist Aesthetics 40Suzanne Stern-Gillet4 Renaissance Art Theories 49François Quiviger5 Touch, Tactility, and the Reception of Sculpture in Early Modern Italy 61Geraldine A. Johnson6 The Spiritual Exercises of Leonardo da Vinci 75Robert Williams7 Academic Theory 1550–1800 88Paul Duro8 Rhetorical Categories in the Academy 104Caroline van Eck9 The Picturesque and its Development 116Andrew BallantynePart II: Around Modernism 12510 The Aesthetics of Kant and Hegel 127Jason Gaiger11 E. H. Gombrich and the Tradition of Hegel 139David Summers12 German Romanticism and French Aesthetic Theory 150Wendy S. Mercer13 Expression: Natural, Personal, Pictorial 159Richard Shiff14 Reading Artists’ Words 173Richard Hobbs15 Nietzsche and the Artist 183Michael White16 Wittgenstein, Description, and Adrian Stokes (on Cezanne) 196Paul Smith17 Modernism and the Idea of the Avant-Garde 215Paul Wood18 On the Intention of Modern(ist) Art 229Fred Orton19 Anti-Art and the Concept of Art 244Paul N. Humble20 Marcel Duchamp’s Readymades and Anti-Aesthetic Reflex 253David HopkinsPart III: Critical Theory and Postmodernism 26521 Marxism and Critical Art History 267David Craven22 Walter Benjamin and Art Theory 286Howard Caygill23 Bakhtin and the Visual Arts 292Deborah J. Haynes24 Peirce’s Visuality and the Semiotics of Art 303Michael Leja25 Conceptual Art 317Charles Harrison26 Barthes on Art 327Margaret Iversen 27 Foucault and Art 337Roy Boyne28 Derrida and the Parergon 349Robin Marriner29 What Consciousness Forgets: Lyotard’s Concept of the Sublime 360Renée van de Vall30 Deleuze on Francis Bacon 370Ian Heywood31 Feminisms and Art Theory 380Marsha Meskimmon32 Psycho-Phallus (Qu’est-ce que c’est?) 397Mignon NixonPart IV: Interpretation and the Institution of Art 40933 The Rules of Representation 411John Willats34 Gombrich and Psychology 426Richard Woodfield35 Hermeneutics and Art Theory 436Nicholas Davey36 Reciprocity and Reception Theory 448Michael Ann Holly37 The Paradox of Creative Interpretation in Art 458Carl Hausman38 Interdisciplinarity and Visual Culture 467Charlotte Klonk39 Against Curatorial Imperialism: Merleau-Ponty and the Historicity of Art 477Paul Crowther40 The Institutional Theory of Art: Theory and Antitheory 487Garry L. HagbergIndex 505

Paul Smith is Chair of the History of Art department at the University of Warwick. His previous publications include Impressionism: Beneath the Surface (1995), Interpreting Cézanne (1996) and Seurat and the Avant-Garde (1997). Carolyn Wilde is now retired and was formerly Senior Lecturer in Philosophy at the University of Bristol. Her publications include articles on philosophical aesthetics, the most recent of which is 'Style and Value in the Art of Painting' in Richard Wollheim on the Art of Painting, edited by Rob van Gerwen, 2001.

• Plates ixNotes on Contributors xPreface xviPart I: Tradition and the Academy 1Introduction: Alberti and the Formation of Modern Art Theory 3Carolyn Wilde1 The Classical Concept of Mimesis 19Göran Sörbom2 Medieval Art Theory 29Hugh Bredin3 Neoplatonist Aesthetics 40Suzanne Stern-Gillet4 Renaissance Art Theories 49François Quiviger5 Touch, Tactility, and the Reception of Sculpture in Early Modern Italy 61Geraldine A. Johnson6 The Spiritual Exercises of Leonardo da Vinci 75Robert Williams7 Academic Theory 1550–1800 88Paul Duro8 Rhetorical Categories in the Academy 104Caroline van Eck9 The Picturesque and its Development 116Andrew BallantynePart II: Around Modernism 12510 The Aesthetics of Kant and Hegel 127Jason Gaiger11 E. H. Gombrich and the Tradition of Hegel 139David Summers12 German Romanticism and French Aesthetic Theory 150Wendy S. Mercer13 Expression: Natural, Personal, Pictorial 159Richard Shiff14 Reading Artists’ Words 173Richard Hobbs15 Nietzsche and the Artist 183Michael White16 Wittgenstein, Description, and Adrian Stokes (on Cezanne) 196Paul Smith17 Modernism and the Idea of the Avant-Garde 215Paul Wood18 On the Intention of Modern(ist) Art 229Fred Orton19 Anti-Art and the Concept of Art 244Paul N. Humble20 Marcel Duchamp’s Readymades and Anti-Aesthetic Reflex 253David HopkinsPart III: Critical Theory and Postmodernism 26521 Marxism and Critical Art History 267David Craven22 Walter Benjamin and Art Theory 286Howard Caygill23 Bakhtin and the Visual Arts 292Deborah J. Haynes24 Peirce’s Visuality and the Semiotics of Art 303Michael Leja25 Conceptual Art 317Charles Harrison26 Barthes on Art 327Margaret Iversen 27 Foucault and Art 337Roy Boyne28 Derrida and the Parergon 349Robin Marriner29 What Consciousness Forgets: Lyotard’s Concept of the Sublime 360Renée van de Vall30 Deleuze on Francis Bacon 370Ian Heywood31 Feminisms and Art Theory 380Marsha Meskimmon32 Psycho-Phallus (Qu’est-ce que c’est?) 397Mignon NixonPart IV: Interpretation and the Institution of Art 40933 The Rules of Representation 411John Willats34 Gombrich and Psychology 426Richard Woodfield35 Hermeneutics and Art Theory 436Nicholas Davey36 Reciprocity and Reception Theory 448Michael Ann Holly37 The Paradox of Creative Interpretation in Art 458Carl Hausman38 Interdisciplinarity and Visual Culture 467Charlotte Klonk39 Against Curatorial Imperialism: Merleau-Ponty and the Historicity of Art 477Paul Crowther40 The Institutional Theory of Art: Theory and Antitheory 487Garry L. HagbergIndex 505