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250 Books “kingdom of freedom.” .., In these circumstances man regains, or becomes, his species being from which for Marx he has been alienated.’ (p. 179). Wolterstorff devotes space to a firm polemic against humanism, especially as he discerns it in Malraux’s The Voices of Silence, and one might expect him to disdain such bait as Taylor’s ‘Theultimate formula for the conquest of nature is a material world controlled by human volition’, (p. 170)rather than to fish with it himself when he writes: ‘the artist, when he brings forth order for human benefit or divine honor, shares in man’s vocation to master and subdue the earth.’ (p. 77). The theological niceties really lie outside the scope ofart theory, andseem to have been settled by both writers independently of their present writings. The fact that such issues surface so conspicuously in the discussion of art testifies at least to the determination of both authors that art shall not be displaced to the periphery of major human concern. In both books considerable attention is paid to the conception of representation in the ‘worlds’ ofart and in the ‘as-ifness’ that goes (so it is claimed) beyond art. And if Taylor’s ideological stance in EeyondArt is only fully comprehensible in the light of his earlier book, so too is Wolterstorffs position on representation only spelled out in full in his later Works and Worlds o f Art. To sketch the main arguments of either book-or, more comprehensively, all four-is beyond the scope of ‘a short review. It will have to be sufficient to remark that they contribute positively to the new literature of Art Theory as it has developed in the last five or ten years, between Art History and the traditional style of Aesthetics. Both writers combine philosophical sophistication with a more than casual acquaintance with art. Taylor is more appreciated of so-called ‘popular culture’, and when he refers to ‘Reubens’ we must assume that the printer could not read his manuscript. In any case, his argument proceeds as briskly ‘as if‘ there had been such a painter. A Giacometti Portrait. James Lord. Faber & Faber, London, 1981. 117 pp.. illus. Paper, €2.25. ISBN: 0-571-1 168-X. Reviewed by Kenneth R. Adam* This is a beautiful and unique book. Lord makes a portrait of Giacometti by describing how Giacometti made a portrait of Lord. Lord’s narrative simply records the 18 times he sat for Giacometti, how Giacometti proceeded with the painting, and their sporadic conversations. He reveals a deep acceptance of Giacometti’s often wayward acfs, along with a ruthlessly realistic tact in countering Ciacometti’s apparently self-destructive tendencies. The relationship between the two men, their mutual affection and engagement in a joint enterprise becomes the subject of the book; and the credit for the completion of both the painted and written portraits seems to belong equally to both men. Lord made unobtrusive records for this account. He took his photographs after each session with a casual air, and he seized on Giacometti’s brief absences from thestudio to write his notes. It is worth quoting his reasons: ‘The somewhat surreptitious character of my notetaking was not motivated by a fear that he would disapprove of what I was doing. In fact, I think he will be very curious.. . I did not want him to be able to feel in any way that 1 thought of him as a specimen under observation. I didn’t. And yet somehow I did. To me Albert0 is, of course, first of all a friend for whom I feel great affection and esteem. But he is also a great artist ...As for the written portrait, it’s a paltry thing compared to the real person. But Giacometti is, after all, the first to understand that a portrait can achieve only a semblance of reality. Therefore, I hope that he will consider this one with indulgence’ (pp. 115-1 17). As for the painted portrait, Giacometti’s repeated and compulsive reduction of his painting to a rudimentary state was ultimately terminated by Lord’s game of first postponing and then refusing to postpone his departure for America...

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