ABSTRACT
The appreciation of works of fine art—drawings, paintings, prints and works of sculpture—involves an experiential encounter between a receiver and an artifact that issues from a process of human making. In the case of C1, the relevant literature, as surveyed, is recent empirical work that explores the neurological and psychological dimensions of the experiential engagements with the vehicles of artworks. In the case of C2, the literature is philosophical, involving claims about the bearing of aspects of artistic making on the appreciation of works of art. It is important, however, to distinguish between two kinds of 'non-naivety' in receivers of the manifest results of artistic activity. The work of Ticini et al. indicates that affective responses to evidence of facture do not differ according to one's familiarity with or naivety concerning the general history and practice of an art and the institutional structure of the artworld.
