The most recommended books on aesthetics

Most studies of child art describe development towards realism. Artful Scribbles is one of the first accounts to focus on the expressiveness and aesthetics of child art. Developmental psychologist Howard Gardner discusses in depth the puzzle of why the flowering of children’s art (as valued in the West in the last century) does not last. While drawings of 8- or 9-year-olds are more realistic and “accurate” than those of preschoolers, they seem to have lost the exploratory freshness of the art of younger children. This is one of the earliest studies of children’s art to take seriously the idea of the child as an artist and to consider the relationship between child art, modern art, and the art of adolescents and of mature artists.  

Written in 1997, this was the first of many books (including the others on my list here) that united my experience in sound design, music, and neuroscience.

In an elegant and entertaining style, Jourdain embraces the theme from Pink Panther by Henry Mancini and illustrates the continuum of musical experience in tone, melody, harmony, rhythm, composition, listening, and understanding while revealing the hows and whys our brains perceive, integrate and elicit emotion. 

I keep referring to this seminal work, which helped me write my own book, and I feel grateful for Jourdain’s groundbreaking entry into this field.

This book is an absolute must-read for all painters. Kandinsky is known as the father of modern art who brought abstract painting into the realms of art history. As an important aside, there is now controversy over his title, as new information has come up about a woman painter Hilma af Klint, that preceded Kandinsky for abstract painting ideas. Even so, Kandinsky was the first to write about spirituality and art for painters. His ideas still feel fresh on how color plays an integral role to express emotion in painting. He originally wrote this book in German, and so the translation to English along with his determination to express inner motivation for painters, makes this read a bit of a challenge. A worthy task guaranteed to surprise even the savviest painter, on how Kandinsky points out our inner thoughts as contemporary painters, but more than a century ago.

They say that travel opens the mind in ways that staying home doesn’t. Books can take you places you can’t otherwise go. So with Yanagi, I got to visit the mind of an early 20th-century Japanese craft connoisseur who looked at thousand-year-old (plain and unassuming) tea bowls and wondered why they’re utterly beautiful and treasured (the best fetch huge sums at auctions–$25million recently for one). Yanagi’s exploration of how the hands of craftsmen can unknowingly and unintentionally create objects of great beauty was both fascinating as it was challenging. It made my shop work a hundred times more enjoyable.

Because of his prior reputation as a metaphysician and epistemologist, when Nelson Goodman turned his attention to the philosophy of art, he lent unprecedented prestige to aesthetics. In his book, Goodman treats art as a matter of symbol systems whose major structures include representation, exemplification, and expression. Given his emphasis on symbolism, Goodman regarded artistic projects, like picturing, as conventional and he maintained that our conviction of the realism of pictorial representations was merely an affair of our habituation to various styles. Languages of Art is a book noteworthy for its bold and bracing literary style.

This book explores music in a delightfully refreshing way where the author considers music essentially an activity and develops his concept of ‘musicking’ or ‘doing music’ in all its various ways. He gives much confidence to those who may think ‘they are not very good at music’ to take part in a much more enthusiastic and practical way. It’s a lovely way in to the exploration of this wonderful art.

I was desperately waiting for Lanzoni’s book to come out, being certain that it would be the key to displacing an all-too-easy tendency, among scientists, scholars and the general public alike, to make empathy the hardwired mechanism that defines humanity.

It frankly amazes me how quickly the fortunes of empathy rose in the second of half of the twentieth century when, fundamentally, nobody has been able to say precisely what it is, where it is, how it works or what its limits might be.

I loved Lanzoni’s book for laying it all out. Down with empathy!

This book was instrumental in introducing the English-speaking world to Modern Art. As criticism, it taught readers how to appreciate Neo-Impressionism. But it was also a seminal contribution to Anglo-American philosophy. By demanding an answer to the question “What is Art?” Bell set the agenda for subsequent philosophers who sought to develop a definition of art in response. Bell’s own answer is that something is art if and only if it possesses significant form which itself is the cause of aesthetic emotions. Bell’s emphasis on significant form earned him a reputation as one of the foremost Philosophical Formalists.

Okakura links Taoist and Zen philosophy to the tangible world by way of the aesthetics of tea, which are actually the aesthetics of life itself.  The title of this slim volume is disarmingly understated, then. It is the most approachable book on aesthetics I know.

I find this book's range amazing. This slim but engrossing volume reveals new and invigorating ways of “reading” shadow images as the author discusses topics as diverse as food, cosmetics, architecture, jade, and even toilets.

Tanizaki also tackles the sociological differences in shadow interpretation across cultural divides, lamenting the loss of a more traditional interest in the ambiguous shadow as darkness gives way to a Westernization of Japanese culture that brings illumination in its wake.

While I didn’t always agree with his conclusions, they were always interesting, and got me thinking about why I look at shadows the way I do.