ABSTRACT
Richard Wollheim's concept of 'twofoldness' in pictorial representation might be thought to represent his whole account of artistic meaning, and as such would have significant antecedents in the history of aesthetics. But it is only part of his account of artistic meaning, which is in his view typically at least threefold. Wollheim used the term 'twofoldness' in his Mellon Lectures Painting as an Art, delivered in Washington in 1984 and published in 1987, but had already introduced the concept in his 1964 inaugural lecture at University College London, 'On Drawing an Object', which was published in 1965. This passage from Painting as an Art puts Wollheim's conception of twofoldness in its proper context: There are three fundamental perceptual capacities that the artist relies upon the spectator to have and to use. They are … (one) seeing-in: (two) expressive perception: and (three) the capacity to experience visual delight.
