tore nordenstam explanation and understanding in the history of art

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Fig. 17 Composition, 1916 Oil on canvas, 120 x 75 cm The Salomon R. Guggenheim Museum, New York
Fig. 18 Composition: Checkerboard, Dark Colours Oil on canvas,84 x 102 cm Gemeentemuseum, The Hague
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 and 10: Fig.2 Composition III with blue, ye
Page 11 and 12: The rest of Mondrian’s oeuvre fro
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: Fig. 16 Trees, 1913-14. Sketch-book
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
Page 61 and 62: influence explanations may then be
Page 63 and 64: picturesque - underwent the influen
Page 65 and 66: Fig. 23 Piet Mondrian, Composition
Page 67 and 68: It has been claimed that the intent
Page 69 and 70: 3.1. A pragmatic perspective The in
Page 71 and 72: It can be objected to Apel that the
Page 73 and 74: In a full-fledged case of mastering
Page 75 and 76: concepts which are on principle ina
Page 77 and 78: surroundings in particular ways. Th
Page 79 and 80: Fig. 24 The structure of action sit
Page 81 and 82:
about harmony and counterpoint. Und
Page 83 and 84:
Fig. 25 A picture with a faulty per
Page 85 and 86:
must have the relevant concepts at
Page 87 and 88:
aim. 112 We cannot step outside our
Page 89 and 90:
One commentator (Erik Kruskopf) cha
Page 91 and 92:
Fig. 28 Piet Mondrian, Devotion, 19
Page 93 and 94:
phenomena of intense color luminosi
Page 95 and 96:
point. “We may say that for Kandi
Page 97 and 98:
interpenetrate and achieve balance
Page 99 and 100:
4. INTENTION AND WORK Die Absicht i
Page 101 and 102:
But it has also been forcefully arg
Page 103 and 104:
elations to the other strands in th
Page 105 and 106:
private intention which happens to
Page 107 and 108:
ehaviour (in some sense of the word
Page 109 and 110:
model. 144 It seems reasonable to a
Page 111 and 112:
If one makes the distinctions betwe
Page 113 and 114:
the master of a pictorial practice
Page 115 and 116:
”At present, the new plastic is s
Page 117 and 118:
explanation in history is like caus
Page 119:
CONCLUSION In the beginning of this
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tore nordenstam explanation and understanding in the history of art

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