Description
This study of innovation in the Western European practice of picture-making using framed pictorial space offers a fresh approach to the sociology of the arts. It integrates Wollheim’s substantive aesthetics with Durkheimian and Pragmatic social theory to theorise arts as embodied and fully sociable practices, while avoiding sociological reductionism. It examines the emergence of framed picture-making itself, showing the framed picture-space emerging in 13th century Italy, before accounting for the changing output of Turner.
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