There is, however, a deficiency in this threefold scheme. It leaves
out expressive portrayal which strictly is neither just description nor
just interpretation nor just evaluation, taking each of these in its
technically restricted sense. However, if "description" is given a subtle
extension, expressive portrayal falls under it, as we shall see. The logic
of expressive portrayals is quite crucial for philosophy of art. This point
will be developed in this section which, after all, I call description, and
in which I treat a number of distinct concepts under that general head.

This whole question of the logic of talk about art I have post-
poned till the end, to make room first for consideration of art itself.
It has recently become the fashion to minimize the discussion of art
in favor of the logic of the language of art criticism. And one must
grant that talk about art itself is indeed perplexing, often just florid
and flamboyant--purple is the word--enough to incline anyone seriously
concerned with understanding art to turn hungrily to the logical con-

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