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Art Past/Art Present's global overview and clear expression are finely tuned to the outlook of our times and to satisfying our curiosity about art from its beginnings to its most current expressions everywhere.
This book reclaims Hegel’s notion of the “end of art”—or, more precisely, of “art’s past character”—not just as a piece of the history of philosophy but as a living critical and interpretive methodology. It addresses the presence of the past character of art in both Hegel and contemporary philosophy and aesthetics. The book’s innovative contribution lies in unifying the Hegelian thesis with discussions of contemporary art and philosophy. The author not only offers a Hegelian exegesis but also applies the idea of the past character of art to themes that are related to both Hegel’s philosophy, such as the French Revolution and the modern state, Kantian aesthetics, and religion and the sacred space disclosed for art, and going beyond Hegel, such as Celan's poetry, Gramsci's criticism of Croce, human rights, and even the grunge rock band Pearl Jam. Conversely, such non-Hegelian explorations will help enlighten what may look like a specific thread of Hegel’s aesthetics, but can be used to shed light on some core motives of his philosophy. The author’s interpretation of art’s past character reclaims the full value, attractiveness, and philosophical soundness of Hegel’s thesis, while rejecting its interpretation in terms of a complete dissolution of the aesthetic element into the philosophical one. Hegel and the Present of Art’s Past Character will be of interest to scholars and advanced students working on Hegel, philosophy of art and aesthetics, history of philosophy, political philosophy, and art theory.
A history of the education of the artist.
The first book to be dedicated to the topic, Patronage and Italian Renaissance Sculpture reappraises the creative and intellectual roles of sculptor and patron. The volume surveys artistic production from the Trecento to the Cinquecento in Rome, Pisa, Florence, Bologna, and Venice. Using a broad range of approaches, the essayists question the traditional concept of authorship in Italian Renaissance sculpture, setting each work of art firmly into a complex socio-historical context. Emphasizing the role of the patron, the collection re-assesses the artistic production of such luminaries as Michelangelo, Donatello, and Giambologna, as well as lesser-known sculptors. Contributors shed new light on the collaborations that shaped Renaissance sculpture and its reception.
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