Art as Representation

The concept of "art as representation" has been a cornerstone of aesthetic/art theory since antiquity, evolving significantly from its initial formulation as mere imitation to a more nuanced understanding of "aboutness." The historical development of this theory, primarily drawing upon the insights of Plato and Aristotle, and extend to the contemporary "neo-representational" theory, which seeks to encompass a broader spectrum of artistic expression.

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Art as Representation PDF

The earliest and arguably most enduring theory of art in Western philosophy is the Mimetic Theory of Art, championed by Plato and his student Aristotle. Derived from the Greek word mimesis, meaning "imitation" or "mimicry," this theory posits that art is fundamentally a reflection of nature. For Plato and Aristotle, an artwork must necessarily be an imitation of something—be it a person, place, object, action, or event. The quality of "verisimilitude," or truth-likeness, was highly valued, as exemplified by the ancient Greek stories of the painter Zeuxis, whose painted grapes were so realistic that birds attempted to eat them.

However, Plato's view of art was largely critical. He considered art to be:

Useless: In his metaphysics, art was an "imitation of an imitation," thus far removed from true reality (the Forms). It offered no new knowledge and served no practical purpose, likening it to merely holding up a mirror to the world. This aligns with his "Allegory of the Cave," where prisoners mistake shadows for reality, much like art presents a mere shadow of truth.

Deceptive: Plato argued that artists were unconcerned with facts or truth. The success of their works did not depend on the veracity of their depictions, potentially leading people away from genuine knowledge.

Dangerous: He believed art appealed primarily to the senses and appetites, neglecting the intellect. According to Plato's tripartite theory of the human person (appetitive, rational, spirited), art could disrupt the ideal balance where reason governs, thereby being psychologically destabilising and politically destructive.

Aristotle, while agreeing that art was essentially mimesis, offered a more favourable and nuanced defence. He rejected Plato's notion that mimesis was mere mirroring. For Aristotle, art was not simply a passive copy but the outcome of a complex mental process involving rendering (perception), construing, drawing/illustrating, idealising, and finally, representing. These intellectual acts meant that good art could put forth "ideal truths"—what something ought to be—rather than just what it is.

Furthermore, Aristotle challenged Plato's bias against sensual pleasures. He argued that humans are not just "embodied intellects" but possess other faculties, including emotions. Therefore, art, by engaging the senses, could be a way to acquire knowledge and broaden one's worldview. Crucially, Aristotle introduced the "Doctrine of Catharsis," suggesting that while art might stir up emotions, it also purges them in a harmless and healthy manner. Thus, for Aristotle, art was a natural and beneficial, even therapeutic, part of human life.

Aristotle's reinterpretation transformed the "imitation theory" into a "representation theory." Representation, in this broader sense, means something intended to stand for something else, recognized as such by an audience. It encompasses not just looking like or resembling, but also standing for something or someone, and "re-presenting" it. This expanded view provided greater generality, allowing for art that might not be a direct imitation but still conveyed meaning.

However, even this reconstructed representational theory faced limitations, particularly with the advent of art forms that do not overtly represent or imitate nature. Architecture, for instance, often serves functional and aesthetic purposes without being representational. More significantly, the rise of Abstract Art in the 20th century posed a direct challenge, as many acclaimed abstract works do not depict recognisable objects or scenes.

This challenge led to the development of the "neo-representational theory of art." This advanced theory proposes that to qualify as a work of art, a piece must possess "aboutness." That is, it must have semantic (meaning) content and a subject about which it expresses something. This theory allows for the inclusion of works like Marcel Duchamp's readymades, such as "Fountain" or "In Advance of the Broken Arm." While an ordinary urinal or snow shovel is not "about" anything and is "mute," Duchamp's readymades, by virtue of being chosen and presented by an artist, demand interpretation and possess "aboutness." They shift the viewer's engagement from the purely "retinal" to the "intellectual," prompting questions about their meaning and context.

The theory of art as representation has undergone a significant evolution. From Plato's initial, critical view of art as a deceptive imitation, through Aristotle's more benevolent reinterpretation emphasising art's intellectual and therapeutic benefits, to the contemporary neo-representational theory focusing on "aboutness" and semantic content, the understanding of how art represents has broadened considerably. This progression reflects a continuous effort to define the necessary and sufficient conditions for an item to be considered an artwork, acknowledging the diverse forms and functions of art across history and cultures.

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