The Importance of High Art Has to Remove Speculation About Its Level of Efficacy

journal article

The Artist's Intentions and the Intentional Fallacy in Fine Arts Conservation

Journal of the American Institute for Conservation

Vol. 35, No. iii (Fall - Wintertime, 1996)

, pp. 197-218 (22 pages)

Published By: Taylor & Francis, Ltd.

https://doi.org/10.2307/3179782

https://www. jstor .org/stable/3179782

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Abstract

A formal claim was made in the mid-20th century that the goal of art conservation is to nowadays the artwork as the creative person intended it to exist seen. Dispute over this merits amid conservators and fine art historians involved differences of perspective on the relative roles of science and art history in the interpretation of artist'south intent. A dissever merely concurrent debate amid philosophers, art critics, and literary critics was sparked by publication of "The Intentional Fallacy," a scholarly article discrediting appeals to the intentions of artists and authors in fine art and literary criticism. In this divide debate, difficulty in the evaluation and awarding of artist's intent was traced to ambiguity of the term "intent." The author discusses eleven variations of its meaning and puts the problems surrounding artist'due south intent together in the contexts of art conservation. He besides presents more recent viewpoints in the social sciences that associate bug of artist'southward intent with the office of the artist in the continued existence of the artwork. The writings of contemporary philosophers contribute useful perspectives on the essential nature of fine art and the autonomy of artworks from their creators. The author finds that the interpretation and application of artist's intent is an interdisciplinary task and that its evaluation in conservation contexts is limited to consideration of distinctive stylistic characteristics that demonstrate the correlated individuality of artists and their work. /// [French] Au milieu du 20e siècle, on prétendait que l'objectif de la restauration était de rendre aux oeuvres d'art 50'attribute que fifty'artiste avait voulu leur donner. La controverse qui s'en suivit parmi les restaurateurs et les historiens d'art suscita des différences de considération sur les rôles relatifs de la science et de l'histoire de l'art dans l'interprétation de fifty'intention de 50'artiste. United nations débat séparé mais parallèle parmi les philosophes, les critiques d'fine art et les critiques littéraires fut déclenché par la publication d'united nations article érudit intitulé "The Intentional Fallacy," qui s'opposait à cette référence aux intentions des artistes et des auteurs dans la critique artistique et littéraire. Dans ce débat particulier, la difficulté de l'évaluation et de l'application de l'intention de l'artiste provenait de l'ambiguïté même du terme "intention." L'auteur examine eleven significations différnetes de ce mot, et il pose le problème de l'intention de l'artiste dans les contextes liés au domaine de la restauration. En outre, il présente des points de vue plus recénts, tirés des sciences sociales qui associent les problèmes de fifty'intention de l'artiste à celui de son rôle dans 50'existence continue de l'oeuvre d'art. Les ouvrages des philosophes contemporains apportent des perspectives utiles sur la nature essentielle de 50'art et de l'autonomie des oeuvres vis-à-vis de leurs créateurs. Fifty'auteur pense que l'interprétation et l'étude des intentions de l'artiste est une tâche interdisciplinaire, et que son évaluation dans les contextes de la restauration doit être limitée à la considération des caractéristiques stylistiques particulières qui démontrent l'individualité corrélative des artistes et de leurs oeuvres. /// [Castilian] A mediados del siglo 20 fue hecha una afirmación formal acerca de que el objetivo de la conservación de arte es presentar la obra para que sea vista de acuerdo a la intención del artista. La disputa sobre esta afirmación entre conservadores e historiadores del arte comprendió diferencias de perspectiva sobre los roles relativos de la ciencia y la historia del arte en la interpretación de la intención del artista. Un debate entre filósofos, criticos de arte y críticos literarios, generado en forma independiente pero concurrente con esta disputa, fue encendido por la publicación de "La Falacia Internacional," un artóculo erudito que desacredita el recurso de apelar a las intenciones de los artistas y autores en las críticas del arte y la literatura. En este debate independiente, la dificultad en la evaluación y aplicación de la intención del artista fue adjudicada a la ambigüedad del término "intención." El autor discute xi variaciones en el significado de este término, y coloca conjuntamente las cuestiones que rodean a la intención del artista dentro de los contextos de la conservación de arte. También presenta puntos de cista mas recientes en el campo de las ciencias sociales que asocian las cuestiones relativas a la intención del artista con el rol que éste tiene en la existencia perdurable de la obra de arte. Los escritos de filósofos contemporáneos contribuyen con perspectivas útiles acerca de la naturalcza esencial del arte y la autonomía de las obras de arte respecto de sus creadores. El autor encuentra que la interpretación y aplicación de la intención del artista es una tarea interdisciplinaria, y que su evaluación en contextos de conservacíon esta limitada a consideraciones sobre caractéristicas estilísticas distintivas, que demuestran la correlativa individualidad de los artistas y sus obras.

Journal Information

The Periodical of the American Institute for Conservation (JAIC) is an international peer-reviewed periodical for the art conservation profession. The Journal publishes articles on handling case studies, current problems, materials research, and technical analyses relating to the conservation and preservation of historic and cultural works. The topics encompass a broad range of specialties including architectural materials, archeological objects, books and newspaper, ethnographic materials, objects, paintings, photographic materials, sculpture, and wooden artifacts. Started as the Bulletin of the International Institute for Conservation-American Group (IIC-AG), in April 1961, the Journal matured into its current course in 1977. Since that fourth dimension JAIC has become a repository for the core torso of conservation information through its documentation of new materials, irresolute methods, and developing standards in the conservation profession. The 4-color publication is distributed three times a year to AIC members and museum, library, and university subscribers.

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Edifice on two centuries' feel, Taylor & Francis has grown rapidlyover the last two decades to get a leading international academic publisher.The Group publishes over 800 journals and over 1,800 new books each twelvemonth, coveringa wide variety of bailiwick areas and incorporating the journal imprints of Routledge,Carfax, Spon Press, Psychology Press, Martin Dunitz, and Taylor & Francis.Taylor & Francis is fully committed to the publication and dissemination of scholarly information of the highest quality, and today this remains the primary goal.

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