- Page 1 and 2: TORE NORDENSTAM EXPLANATION AND UND
- Page 3 and 4: NOTE ON THE INTERNET EDITION A long
- Page 5 and 6: 1. THE MEANING OF MONDRIAN It would
- Page 7 and 8: The picture is signed with the init
- Page 9: Fig.2 Composition III with blue, ye
- Page 13 and 14: Fig. 6 New York City, 1942 Oil on c
- Page 15 and 16: In the Broadway Boogie-Woogie, one
- Page 17 and 18: To realize “a true vision of real
- Page 19 and 20: interpretation. 13 If we are intere
- Page 21 and 22: Fig. 8 Landscape near Amsterdam, ca
- Page 23 and 24: Fig. 10 Trees on the banks of the G
- Page 25 and 26: Fig. 12 The red tree, 1909-10. Oil
- Page 27 and 28: Fig. 14 Trees in blossom, 1912 Oil
- Page 29 and 30: Fig. 16 Trees, 1913-14. Sketch-book
- Page 31 and 32: Fig. 18 Composition: Checkerboard,
- Page 33 and 34: proposal lies a Wittgenstein-inspir
- Page 35 and 36: 2. PATTERNS OF EXPLANATION Sage, wa
- Page 37 and 38: Example 1. Commenting on Mondrian
- Page 39 and 40: of the painting, whereas the color
- Page 41 and 42: Example 5. In his book Pictures as
- Page 43 and 44: Geistesmenschen in die geistige Wel
- Page 45 and 46: and the laws. A valid deductive arg
- Page 47 and 48: Towards the and of the 1950s, a num
- Page 49 and 50: The phrase “the right thing to do
- Page 51 and 52: But is it possible to interpret the
- Page 53 and 54: particularly for explaining actions
- Page 55 and 56: (P3) “Normal conditions” obtain
- Page 57 and 58: indications to the contrary have be
- Page 59 and 60: 2.4. Influence explanations Von Wri
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influence explanations may then be
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picturesque - underwent the influen
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Fig. 23 Piet Mondrian, Composition
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It has been claimed that the intent
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3.1. A pragmatic perspective The in
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It can be objected to Apel that the
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In a full-fledged case of mastering
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concepts which are on principle ina
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surroundings in particular ways. Th
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Fig. 24 The structure of action sit
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about harmony and counterpoint. Und
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Fig. 25 A picture with a faulty per
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must have the relevant concepts at
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aim. 112 We cannot step outside our
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One commentator (Erik Kruskopf) cha
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Fig. 28 Piet Mondrian, Devotion, 19
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phenomena of intense color luminosi
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point. “We may say that for Kandi
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interpenetrate and achieve balance
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4. INTENTION AND WORK Die Absicht i
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But it has also been forcefully arg
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elations to the other strands in th
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private intention which happens to
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ehaviour (in some sense of the word
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model. 144 It seems reasonable to a
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If one makes the distinctions betwe
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the master of a pictorial practice
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”At present, the new plastic is s
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explanation in history is like caus
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CONCLUSION In the beginning of this