Page 6 - World of Art magazine (2000)
P. 6

andrea PaGnes

                and the nature oF art

                                                              a  correct  under-
                                  keys For  standing oF a work
                                  oF  art  and  suggestions  For  a  thorough
                                  investigation oF artistic phenoMenology’s,
                                  in  order  to  acquire  a  broader  and  More
                                  exhaustive knowledge oF the poetics and
                                          the ideologies innate in theM.
          firMLY considerinG art a   the means of expression. There-  their connection and in their   logical, intuitive knowledge, the
         human activity ’based on expe-  fore it is unthinkable to study   development in time.  creative faculty of which is imag-
         rience, on quality and on par-  a work of art by trying to ascer-  Undoubtly it is a required con-  ination; but the importance of
         ticular aptitudes, on talent and   tain “what is being said, who   dition to seek the reasons why   Vico’s aesthetics is linked to two
         on individual ingeniousness, any   says it, to whom and what the   a work of art becomes a subject   fundamental themes: the rela-
         critical estimations of artistic   effects are.”     of knowledge, a phenomenon, or   tionship of art with myth and
         works must necessarily take   In fact art is a form of Man’s   an idea because any artistic cre-  the identification between art
         account of their development   activity which is intended as a   ation can not be considered sep-  and language as rules.
         through various periods, of their   confirmation or exaltation of his   arately, but should be thought of   They were the first to analyze
         complexity with special ref-  creative skill and of his capacity   as a moment and a result of his-  critically these themes, nowa-
         erence to their own stylistic   of expression, therefore he mod-  torical - artistic process in whose   days extremely topical in the
         expression, to the time when   ifies himself and the natural   context we will be able to under-  artistic phenomenology and in
         they were created, to their place   environment according to a dra-  stand its full meaning. In this   the specify of literary poetics,
         of origin.                matic, ironical etc. connection   way the history of art itself   with special attention to the syn-
          However it is not sufficient to   which goes with the individual   becomes a way of researching   ergism that exists among art,
         pass judgment on a work of art   or social needs of a logical or   and of viewing the world.  myth and symbol. These themes
         simply explaining its origin or   moral nature.       Among these considerations of   include the concept of art as
         the essence of its various stylistic   Through the qualities of a   a general nature the more   creation, as expression and as
         forms; we need to try to under-  work of art, criticism should find   strictly aesthetical question can   communication, which are to be
         stand art as an aspect of human   essential the definition and real-  not be left in the background:   developed by the idealistic and
         and social life and, particularly,   ization of the nature and origi-  how we can identify the nature   neo-idealistic aesthetics of Bene-
         to study the influence of art on   nality of an artist, with a con-  of the beautiful and the nature   detto Croce.
         man and on society, on the artis-  stant reference to the general   of art?      Kant laid the premise for the
         tic awareness and culture educa-  concepts of imitation, simulation   In fact since Plato and Aristotle   affirmation of the subjective
         tion, on the contacts, on the civil   and the singular artifices of the   the problem of nature-art rela-  moment over the objective one
         and social conflicts that art rep-  technical and stylistic particu-  tion has taken on specific and   of beauty and therefore for the
         resents, reproduces or is ahead   larities. Then the investigation   fundamental valences.  identification of natural beauty
         of.                       and study of the aesthetical   The concept of imitation and   and artistic beauty.
          The birth, the development   qualities of a work of art will   the purifying-or rather educa-  According to him, the basis of
         and the decadency of the social   allow us to understand exhaus-  tional-role of art that was con-  beauty is the aesthetical feeling
         institutions of art are defined by   tively the processes of transfor-  stitutional to ancient Greek phi-  which is the feeling of pleasure
         the kinds of organization and by   mation and transfiguration of   losophy changed into medieval   aroused by the inner harmony
         the social groups, which influ-  reality or of a certain ideas   and Renaissance speculation.   between nature and spirit,
         ence artistic creations. It is not   developed by an artist.  The Middle Ages emphasized the   between the world of necessity
         an easy task at all, but such   tHe eLaBoration of philo-  nature of the subordination of   and moral need. Then Schiller
         an approach can make possible   sophical concepts and of Man’s   beauty to truth and justified art   will entrust art with the task
         methodologies for a wider inter-  thought follows the course of   as an allegory; the Renaissance   of educating without any con-
         pretation of a work of art with a   the whole history of art, from   gave more autonomy to natural   straint and the whole romantic
         precise reference to human per-  ancient times to the present day:   beauty but it always considered   aesthetics, and subsequently
         sonality.                 therefore it is necessary to search   art as imitation, and the prin-  Schelling will make of art the
          art Gives rise to and estab-  for the links among the various   ciple of verisimilitude as its it’s   supreme degree of knowledge.
         lishes new forms of behavior   classical branches of knowledge   fundamental rule.  Idealistic-romantic aesthetics
         especially if it is considered from   in order to interpret artistic   Vico and Kant laid the funda-  were succeeded by positivism,
         the point of view of propaganda,   movements and the works which   mentals of modem aesthetics.   which conceived aesthetics as
         of the distribution, of the pro-  characterize them critically and   Vico claimed that the auton-  a study and production of
         cess of communication and of   correctly considering them in   omy of art is a form of pre-  forms-an aspect already singled

         4      world of art     spEcial issuE 2000
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