In this 2002 book, Paul Crowther explores the philosophy of visual art and its history.In The Transhistorical Image: Philosophizing Art and its History Paul Crowther seeks to establish a set of a priori conditions of pictorial art and, more generally, of visual art. He also explores systematic alternatives to them and discusses ways of bringing recent modes of visual art (such as photomontage and digital image transformation) within their scope. His treatment of these important questions will be of wide interest to philosophers of art and art historians.In The Transhistorical Image: Philosophizing Art and its History Paul Crowther seeks to establish a set of a priori conditions of pictorial art and, more generally, of visual art. He also explores systematic alternatives to them and discusses ways of bringing recent modes of visual art (such as photomontage and digital image transformation) within their scope. His treatment of these important questions will be of wide interest to philosophers of art and art historians.Paul Crowther seeks to establish a set of a priori conditions of pictorial art and, more generally, of visual art. He explores systematic alternatives and discusses ways of bringing recent modes of visual art (such as photomontage and digital image transformation) within their scope. Crowther's treatment of these important aesthetic questions is of interest to philosophers of art and art historians.Introduction; Part I: 1. Formalism, art history and effective historical differences; 2. More than ornament: Riegl and the problem of style; 3. The objective significance of perspective: Panofsky with Cassirer; Part II: 4. The fundamental categories of art history; Part III: 5. The abstract image: a theory of non-figurative art; 6. The containment of memory: Duchamp, Fahrenholz and the Box; Conclusion: Conceptual art, even ... (fundamental categories thereof); Appendix. The logical basis of pictorial representation. [A]n impressive case. Philosophy in Revil—