Dialettica - Tesina

La sintesi

La dialettica: da concetto filosofico all’applicazione nell’arte

ASUS55

Indice dei paragrafi

• Introduzione pg. 1
• Is taste innate or can taste be learned? The “taste” theory of Hume and the “instinct” theory of Conniff pg. 2–3
• Perché studiare l’arte del passato? Imitare ≠ copiare pg. 3–4
• La figura del genio pg. 4–5
• La dialettica di Hegel pg. 5–6
• Mies Van der Rohe «Il padiglione di Barcellona» pg. 7–9
• La villa Rotonda pg. 10–12
• Herzog & de Meuron pg. 13
• La conclusione: lo studio della storia dell’arte non è condizione necessaria né sufficiente per diventare artisti pg. 14
• Bibliografia e sitografia pg. 14

Introduzione

La tesina illustra l’applicazione del ‘’metodo’’ dialettico hegeliano nell’ambito artistico (in particolare architettonico, citando degli esempi) per avvicinare alla possibile soluzione dei seguenti dibattiti:

Il gusto estetico è innato oppure può essere acquisito?

E’ necessario studiare storia dell’arte per diventare un’artista? 1

Is taste innate or can taste be learned? How do we evaluate art?

Is genius born or can it be learned? Does any amount of study help we get better at what we do?

In 1757, Scottish philosopher David Hume published “Of the Standard of Taste”, an essay on the nature of aesthetic judgment. Hume based his idea of “taste” on the premises that evaluating art is a learned skill. Hume emphasized education and experience: he acknowledged that individuals have unique preferences, but he was confident that educated men, so-called “men of taste”, would acquire certain abilities that lead to agreement about which authors and artworks are the best, a general consensus of what a good art is.

On the other hand, Richard Conniff, an American writer, specializing in human and animal behavior, he presented his theory in “The Natural History of Art” in 1999: “Beauty is not just in the eye of the beholder. It's embedded in our genes”.

That is why certain characteristics—water, open grassy spaces, scattered groves of trees, elevation changes, winding trails, bright clearings—are almost universally preferred in art and in habitat.

“We respond to our visual world as animals.”

An example of this disagreement is American pop artist Jim Dine’s “Technicolor Heart”. Washington State University Pullman campus << Technicolor Heart>> 2004

When it first appeared there in 2004, the heart received a large number of negative comments. From Conniff instinct perspective, perhaps this outcry is related to the heart’s location: a clearing-like grassy space with an uphill path and a few branchy trees. Perhaps those who disliked the heart were responding to innate indignation that it violated their ideal landscape. In addition, such bright and startling colors are only present in nature on poisonous creatures. poison dart frog of South America

2

A student of the WSU said: “It should have been painted green and stuck between some bushes”.

On the other hand, Keith Wells, the WSU Museum of Art curator commented: “You should have some sort of background in art—especially modern art. I really like the piece, it’s stunning and it has a little bit of everything”.

(Quotes from student newspaper of Washington State University in Pullman,www.dailyevergreen.com)

Art critics and museum curators are equivalents to Hume’s educated men.

A foundational figure, Johan Joachim Winckelmann (1717-1768), a German art historian and archaeologist, he was a big advocate of the fact that taste could be learned.

Conoscere la storia dell’arte è il primo passo per diventare un artista?

Winckelmann, il teorico del neoclassicismo, fu il primo ad adottare il criterio dell’evoluzione degli stili cronologicamente distinguibili l’uno dall’altro, così egli fu considerato il fondatore della disciplina storia dell’arte.

Secondo Winckelmann, l’arte greca aveva raggiunto il massimo grado di armonia e perfezione formale, nessuno avrebbe potuto superarla o fare di meglio. Infatti, imitare gli antichi è unico modo per diventare grande e consiste nell’osservare e cercare di capire la vera essenza dell’arte antica.

La sua venerazione per la statuaria greca veniva dimostrata nel suo saggio: Pensieri sull’imitazione delle opere greche nella pittura e nella scultura