Abstract

In this chapter, I argue that genuinely abstract images do not depict but have aboutness, nevertheless. All images have aboutness in virtue of the visual configurations on their surfaces: it is through those configurations that they can convey something – they can mean something, represent something, express something, and so on. On the one hand, in depictive images, the visual configurations on the images’ surfaces depict visible objects while abstracting completely from some of their visual proper- ties. In Giovanni Bellini’s Portrait of Doge Leonardo Loredan (1501), for instance, the visual configurations on the pictorial surface depict Doge Loredan’s head and torso, as seen frontally. The image, however, com- pletely abstracts from, e.g., Doge Loredan’s legs, nape, and back. On the other hand, as I shall argue, when the visual configurations on a two- dimensional surface do not depict anything at all but have aboutness in ways other than the depictive, that two-dimensional surface is a genu- inely abstract image. As I shall show, all genuinely abstract images entirely abstain from depicting but can nevertheless abstract in different measures from the visual properties of objects. The first step for an account of genuinely abstract images is to distin- guish accurately between depictive images and genuinely abstract ones. For this, one needs an account of depiction – this is provided in the first section of this chapter. In the second section, different kinds of depictive images are singled out: this facilitates focusing on images that qualify as genuinely abstract. In the third section, four ways in which genuinely abstract images have aboutness are discussed: conventionality, indexicality, exemplifica- tion, and expressivity. The fourth section concludes with some general observations on the peculiarities of genuinely abstract images.