It must have an interpretation that constitutes it as such.
Danto's definition emphasizes the historical relation of a work and its interpretation to other artworks.
A definition that provides necessary conditions that are jointly sufficient for being an artwork.
Danto's theory is historical and functional, while Dickie's is radically afunctional and institutional.
An exciting period roughly between 1880 and 1960.
Romanticism, impressionism, and art-for-art's-sake.
They may include non-art objects that possess aesthetic interest, such as everyday items.
An artwork is something produced with the intention of satisfying aesthetic interest.
Fine art is an aesthetic art where the feeling of pleasure arises from the exercise of imaginative and cognitive powers.
Early definitions, such as those by Hutcheson, Batteux, and Kant, were cast in terms of representation.
Expression looks inward to convey moods and emotions, while representation looks outward to re-present nature and society.
The idea that art is expressive of emotion through possessing expressive properties.
He defines art in terms of an institution rather than historically related works.
The status of being art derives from a work being properly situated in a system of relations, rather than being conferred by authority.
He emphasizes that art status is conferred by the authority of roles within the artworld and that art institutions should be understood historically.
They fail to provide a clear distinction between artworld systems and other systems of artifact production and presentation.
Once art institutions are established, art can evolve in ways that do not require an aesthetic function.
It suggests that art can be defined by a set of properties, none of which are necessary on their own.
Art makes more demands on the intellect but offers deeper satisfactions and is appreciated for its own sake.
To find necessary and sufficient conditions for classifying an item as an artwork.
They wrote about poetry, painting, music, and architecture, which later became classified as fine arts.
Clive Bell (1914) and Roger Fry (1920).
Line and color combined in a certain way.
Circularity and incompleteness, as they do not sufficiently differentiate artworld systems from other status-conferring practices.
It rules out many works normally accepted as art, including Shakespeare's plays, by defining art too narrowly.
The form of the artwork rather than its representational content.
Kant characterized fine art as a mode of representation that advances the culture of mental powers for social communication.
No proposal has been successful in capturing a unique aesthetic experience provided by art.
The possibility of bad art.
Social, historical, institutional, or intentional characteristics of art.
A definition focuses on necessary conditions for being an artwork, while a philosophical theory addresses broader issues, including questions of value.
An intrinsically valuable experience resulting from attention to the sensuous features of an object.
To claim that artworks have a 'significant' aesthetic interest that distinguishes them from non-art objects.
An artist participates with understanding in making a work of art for an artworld public.
An artwork always exists in an art historical context.
A work of art must have a subject, project an attitude, use rhetorical ellipsis, require audience participation, and exist within an art-historical context.
It refers to concepts that do not have fixed criteria for application in every situation.
It is often circular and does not adequately define what constitutes significant form.
It must provide necessary and sufficient conditions for belonging to the category of art.
Art and non-art can be perceptually indistinguishable and cannot be marked off by 'exhibited' properties.
The rejection of simple functionalism in all its forms.
They define art in terms of experiences, properties, or interests that afford intrinsic value.
They should be understood functionally, as their aesthetic value is essential to their function.
An historical relation among the intentions of artists and prior artworks is definitive of art.
Form that imbues what possesses it with a special sort of value, producing aesthetic emotion.
The creation of a work against the background of the artworld, establishing it as an artwork for an artworld public.
By identifying a limited number of proto-systems that develop historically into the artworld.
An activity of clarifying an emotion.
They argue that these works still possess aesthetic properties or experiences.
Art movements like conceptual art question the necessary connection between art and aesthetic interest.
Morris Weitz and Paul Ziff.
Family resemblances, where works are classified based on sets of similarities.
They identify a single valuable property or function of art that qualifies something as art.
He proposed that family resemblance should involve a non-exhibited relation, such as intention or origin.
What one must know to understand an artwork and what constitutes a good interpretation.
Specifying an experience common to all artworks without essential reference to the concept of art.
Something is a work of art if it is an artifact and has been conferred the status of a candidate for appreciation by someone in the Artworld.
By focusing solely on significant form, it ignores other important properties and may exclude great works.
His innovations in the use of color, line, and three-dimensional geometry.
Identifying a relevant sense of 'form' and distinguishing how artworks possess it uniquely.
