 Art as Experience early on had the misfortune of receiving two reviews that negatively impacted its reception. The first, by an avowed follower, Stephen Pepper, complained that it was not truly pragmatist and that Dewey had reverted to an earlier Hegelianism (Pepper 1939). The second, by Benedetto Croce, seemed to confirm this (Croce 1948). Croce, widely seen as Hegelian himself, saw so many similarities between Dewey’s work and his own that he accused Dewey of lifting his ideas. Dewey (1948) insisted otherwise, but the sense that there was something too Hegelian in Art as Experience remained. This did not stop many philosophers, educators, and other intellectuals from producing works in aesthetic theory that were strongly influenced by Dewey. Even before Art as Experience Dewey’s writings on aesthetics and art influenced, and were influenced by, such writers as Mary Mullen (1923), who taught seminars on aesthetics and was Associate Director of Education for the Barnes Foundation; Lawrence Buermeyer (1924), who was another Associate Director of Education at the Barnes Foundation; Albert Barnes himself (1928); and Thomas Munro (1928). After the book’s publication his followers included Irwin Edman (1939), Stephen Pepper (1939, 1945, 1953), Horace Kallen (1942), Thomas Munro again (numerous books) and Van Meter Ames (1947, 1953). Art historian Meyer Schapiro was one of his students.