The decline of interest in the liberal and fine arts is widely lamented. At issue is why this decline happened and how we might restore qualitative standards by which to live. Arthur Pontynen argues that cultural decline is the consequence of a tragically anti-intellectual academic tradition and its alternative is the cosmopolitan pursuit of wisdom and beauty. Pontynen writes that the liberal and fine arts are justified by their attempt to understand the material realization of wisdom, of that which is true and good in reality and life. The current decline marks a denial that such qualitative aspirations are realistic. Instead of understanding art as the intellectual pursuit of ontological perfection, perfection is subjectified as willful preference or experience. Consequently, the liberal and fine arts have been displaced by a naturalistic social science and a relational existentialism. This reduction denies qualitive thoughts, words, and deeds. Pontynen establishes that the arts are not obsolete, merely subjectivist, or limited to a brutal (de)constructivism. He argues for a renewed idealism that is neither reductionist, trivializing, or brutalized. Pontynen offers an alternative, global narrative that is both realistic and idealistic; one that permits us to distinguish between the trivial, the brutal, and the profound.

For most of the last century the methodology of art history has followed a positivist approach, emphasizing form and style, fact and history as the means of studying works of art. By contrast the philosophical pursuit of truth, once central to the fine arts and humanities has largely been abandoned. In For The Love of Beauty, Arthur Pontynen offers a searching and ambitious critique of modern aesthetic practice that aims to restore the pursuit of the knowledge of reality--Being--to its rightful place. Pontynen begins by addressing the question of why the pursuit of truth (be it called Dao, Dharma, God, Logos, Ideal, etc.) is no longer acceptable in academic circles even though it has been intrinsic to the purpose of art at most times and in most cultures. Lacking the pursuit of truth, of some degree of knowledge of what is true and good, the humanities necessarily lack intellectual and cultural grounding and purpose. Fields of study such as philosophy, music, art, and history are therefore trivialized and brutalized. Pontynen's focus on the study of the visual arts details the how the denial of purpose and quality in modernist and postmodernist aesthetics has denied art any possibility of transcending entertainment, therapy, or propaganda. In place of the established narratives, Pontynen offers a counter-narrative based on a cross-cultural pursuit of the good, the true, and the beautiful. He recognizes that substantively different cultural traditions exist and that the truth claims of each may be valid in whole or in part. He shows how the history of art parallels the intellectual history of Western culture and how these parallels affect both aesthetics and ethics. Pontynen engages with those elements of modernist and postmodernist thought that might be true. His purpose is not simply to deny their validity but to engage a viewpoint that does not privilege the notion of a purposeless cosmos. For the Love of Beauty will be of interest to art historians, students of aesthetics, ethics, and intellectual historians.

For most of the last century the methodology of art history has followed a positivist approach, emphasizing form and style, fact and history as the means of studying works of art. By contrast the philosophical pursuit of truth, once central to the fine arts and humanities has largely been abandoned. In For The Love of Beauty, Arthur Pontynen offers a searching and ambitious critique of modern aesthetic practice that aims to restore the pursuit of the knowledge of reality--Being--to its rightful place.

Pontynen begins by addressing the question of why the pursuit of truth (be it called Dao, Dharma, God, Logos, Ideal, etc.) is no longer acceptable in academic circles even though it has been intrinsic to the purpose of art at most times and in most cultures. Lacking the pursuit of truth, of some degree of knowledge of what is true and good, the humanities necessarily lack intellectual and cultural grounding and purpose. Fields of study such as philosophy, music, art, and history are therefore trivialized and brutalized. Pontynen's focus on the study of the visual arts details the how the denial of purpose and quality in modernist and postmodernist aesthetics has denied art any possibility of transcending entertainment, therapy, or propaganda.

In place of the established narratives, Pontynen offers a counter-narrative based on a cross-cultural pursuit of the good, the true, and the beautiful. He recognizes that substantively different cultural traditions exist and that the truth claims of each may be valid in whole or in part. He shows how the history of art parallels the intellectual history of Western culture and how these parallels affect both aesthetics and ethics. Pontynen engages with those elements of modernist and postmodernist thought that might be true. His purpose is not simply to deny their validity but to engage a viewpoint that does not privilege the notion of a purposeless cosmos. For the Love of Beauty will be of interest to art historians, students of aesthetics, ethics, and intellectual historians.