By Miguel Beistegui

This ebook makes a speciality of a measurement of artwork which the philosophical culture (from Plato to Hegel or even Adorno) has continually missed, such was once its dedication – particular or implicit – to mimesis and the metaphysics of fact it presupposes. De Beistegui refers to this size, which unfolds outdoors the gap that stretches among the practical and the supersensible – the distance of metaphysics itself – because the hypersensible and exhibit how the operation of artwork to which it corresponds is better defined as metaphorical. The circulate of the publication, then, is from the classical or metaphysical aesthetics of mimesis (Part One) to the aesthetics of the hypersensible and metaphor (Part Two). opposed to a lot of the heritage of aesthetics and the metaphysical discourse on paintings, he argues that the philosophical price of artwork doesn’t consist in its skill to bridge the gap among the practical and the supersensible, or the picture and the assumption, and exhibit the practical as proto-conceptual, yet to open up a special feel of the practical. His goal, then, is to shift the place and role that philosophy attributes to paintings.

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Spirit is the true artist, which is at work in nature as well as art: spirit meditates and dreams in the products of nature. Nature is itself already a poem, which art makes explicit. In that respect, there is a superiority of art over nature. Art is the “the world of ideas entirely open” (V, 631), whereas Nature lacks a voice. We find something very similar in Schopenhauer, for whom the artist, “by recognising in the individual thing its Idea . . understands nature’s half-spoken words. 3 Let me add, in passing, that whereas for Schopenhauer the genius is driven by Ideas, which are a matter of pure perception, imitators and mannerists are driven by concepts, which, as abstractions generated by our faculty of reason, belong not in art, but in science.

Yet that conception, against which Nietzsche fought all his life, is precisely not the one that I want to retain, nor that with which Chillida confronts us. With its emphasis on that “one eye of the world [das eine Weltauge],”38 on the supersensible and the metonymic behind the phenomenal, it leaves no room for the discovery in the sensible of what I shall call the hypersensible, or the conception of art as the double vision of metaphor. Thinking art at the limit of metaphysics, and developing an aesthetics freed from any residual Platonism, means acknowledging a different sense of the sensible, and sensation, as well as a different sense 38 Aesthetics After Metaphysics of vision.

The classical notion of genre was abandoned and replaced with a conception of the landscape as the sublation, to use a Hegelian term, of all the genres. ”47 Our place within nature thus understood is precisely that of the spectator, as we see from Friedrich’s Woman Before Sunset: the woman is facing nature, rather than the artist and the viewer, yet not in an attitude of defiance and conquest, but of surrender, with her arms and hands open, as if bowing before its beauty and infi nity. It is, in a way, the representation of the unrepresentable, the intuition of a beautiful totality accessible only to our imagination.

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