Titlebook: Maritain’s Ontology of the Work of Art; John W. Hanke Book 1973 Martinus Nijhoff, The Hague, Netherlands 1973 Benedetto Croce.Fine Art.Phi

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Book 1973al product of the artist‘s labors which exists spatially "outside of" and independently of artist and beholder? Or does it exist only "in the mind" of the beholder or the artist? Is it either one perception of a beholder or a series of his perceptions? Or is it the class of all percep­ tions of eith

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Signs,nscious awareness, of the appearances of things around us. Following this, we must examine the matter of signs in general and of the ontological status of whatever is signified insofar as it takes its place in the whole aesthetic experience.

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Introduction, what its mode of being is — has come to occupy a central place in the philosophy of art. Moreover, a particular conception of the identity of art objects is at present a driving force in some quarters of the art world itself. As Harold Rosenberg so well points out, Minimalist or Reductive Art has a

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Signs,derstanding the latter requires that the work function as a sign. If it must signify, then an exploration of the ontology of signs should be a means of gaining valuable insight into the ontology of the work. We will begin, then, with a look at Maritain’s views on the signcharacter of the work — that

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