From The Art and Popular Culture Encyclopedia

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-	{{Template}}	+	#redirect[[Classificatory disputes about art]]
-	The [[nature of art]] has been described by [[Richard Wollheim]] as "one of the most elusive of the traditional problems of human culture" (''[[Art and its objects]]'', 1980).	+
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-	It has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating [[Formalism (art)|formal elements]] for their own sake, and as ''[[mimesis]]'' or [[Representation (arts)|representation]]. [[Leo Tolstoy]] identified art as a use of indirect means to communicate from one person to another. [[Benedetto Croce]] and [[R.G. Collingwood]] advanced the [[Idealism|idealist]] view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator. The [[theory of art]] as form has its roots in the philosophy of [[Immanuel Kant]], and was developed in the early twentieth century by [[Roger Fry]] and [[Clive Bell]]. Art as ''[[mimesis]]'' or representation has deep roots in the philosophy of [[Aristotle]]. More recently, thinkers influenced by [[Martin Heidegger]] have interpreted art as the means by which a community develops for itself a medium for [[self-expression]] and interpretation. ("[[The Origin of the Work of Art]]", in ''[[Poetry, Language, Thought]]''.	+
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-	== See also ==	+
-	[[Maurice Merleau-Ponty]], "[[Cézanne's Doubt]]" in ''The Merleau-Ponty Aesthetics Reader''	+
-	*Galen Johnson and Michael Smith (eds), (Northwestern University Press, 1994)	+
-	*[[John Russon]], ''[[Bearing Witness to Epiphany]]'', (State University of New York Press, 2009).</ref>	+
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1. redirectClassificatory disputes about art