Before proceeding to the arguments of the judgment for the artwork mentioned previously, let us first define some words in view of the fact that philosophical arguments are quite hard to understand because they employ words differently, deeply and more specific than our simple thinking. Hence, words such as art, pleasure, disinterest, and others will first be defined philosophically. The main philosophers to be included in this study are Plato, one of the philosophers responsible for the notion of mimetic art; and Immanuel Kant, the philosopher accountable for the Critique of Judgement.
In order to judge the subject with efficiency, the researcher will also first investigate the description of the latter to identify its identification.…show more content… Whatever these properties may be, we would expect them to be ones conferring aesthetic value on the work. The distinctive manner in which they are realized in painting will form part of an account of painting as an art apart from the other arts. However, some philosophers have proposed that something is not a work of art because of any intrinsic feature, but because it is appropriately related to a larger historical, institutional or theoretical context,” (Lopes,…show more content… Morris Weitz (1956) argues that art works are united by web of family resemblances, not by kind of essence sought by a real definition. The problem with this claim is that everything resembles, or can be made to resemble, every other thing, so the invocation of resemblance cannot explain the unity and integrity of any concept. Weitz also maintains that definitions apply only to closed, unalterable concepts, and that this shows that art, with its changing unpredictable future, cannot be defined.” (Davies, 170-171).
For this reason, a person could tell that perhaps judgements of beauty vary because of the art’s changing and unpredictable future. And that people born from different period with different concept of art currently live together in the present time.
Fruitfully, the subject is now identified as an art work.
The artwork “Girl with Mandolin by Pablo Picasso” on the cover page is an image of a painting given the definition from the book, The Routledge Companion to Aesthetics, “painting...refer to any picture whose surface is made up of a pattern of marks inscribed by movements of the artist’s body... it includes drawing and much printmaking...painting need not contain a recognizable image... appreciating a painting partly involves an appreciation of the painter’s purposive marking up of the paint surface,” (Lopes,