Abstract
The article outlines what is required for a theory of art in the late work of Max Raphael, by showing that it is a response to a problematic first formulated, but left unanswered, by Marx, and which can be seen as developed by Raphael in his writing, especially the text he devoted to a dialectic interpretation of Greek art, with special reference to temple architecture. In detailing this latter study it is possible to see how Raphael’s understanding and analysis is guided by his account of an empirical theory of art, and contributes to its further elaboration.
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