Page 16 - Darla Farner : Vibrant Abstrac

Undoubtly it is a required condition to seek the reasons why imagination; but the importance of Vico’s aesthetics is linked to
a work of art becomes a subject of knowledge, a phenomenon, two fundamental themes: the relationship of art with myth and
or an idea because any artistic creation can not be considered the identification between art and language as rules.
separately, but should be thought of as a moment and a result of They were the first to analyze critically these themes,
historical - artistic process in whose context we will be able to nowadays extremely topical in the artistic phenomenology
understand its full meaning. In this way the history of art itself and in the specify of literary poetics, with special attention to
becomes a way of researching and of viewing the world. the synergism that exists among art, myth and symbol. These
Among these considerations of a general nature the more themes include the concept of art as creation, as expression and
strictly aesthetical question can not be left in the background: as communication, which are to be developed by the idealistic
how we can identify the nature of the beautiful and the nature and neo-idealistic aesthetics of Benedetto Croce.
of art? Kant laid the premise for the affirmation of the subjective
In fact since Plato and Aristotle the problem of nature-art moment over the objective one of beauty and therefore for the
relation has taken on specific and fundamental valences. The identification of natural beauty and artistic beauty.
concept of imitation and the purifying-or rather educational- According to him, the basis of beauty is the aesthetical feeling
role of art that was constitutional to ancient Greek philosophy which is the feeling of pleasure aroused by the inner harmony
changed into medieval and Renaissance speculation. The between nature and spirit, between the world of necessity
Middle Ages emphasized the nature of the subordination of and moral need. Then Schiller will entrust art with the task
beauty to truth and justified art as an allegory; the Renaissance of educating without any constraint and the whole romantic
gave more autonomy to natural beauty but it always considered aesthetics, and subsequently Schelling will make of art the
art as imitation, and the principle of verisimilitude as its it’s supreme degree of knowledge. Idealistic-romantic aesthetics
fundamental rule. were succeeded by positivism, which conceived aesthetics as a
Vico and Kant laid the fundamentals of modem aesthetics. study and production of forms-an aspect already singled out by
Vico claimed that the autonomy of art is a form of pre- Hegel-aimed mainly to classify empirically the different arts in
logical, intuitive knowledge, the creative faculty of which is their specify, too.

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