By Miguel Beistegui
This booklet specializes in a size of paintings which the philosophical culture (from Plato to Hegel or even Adorno) has constantly neglected, 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 open air the distance that stretches among the practical and the supersensible – the gap of metaphysics itself – because the hypersensible and express how the operation of artwork to which it corresponds is better defined as metaphorical. The circulation 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 historical past of aesthetics and the metaphysical discourse on paintings, he argues that the philosophical price of paintings doesn’t consist in its skill to bridge the gap among the practical and the supersensible, or the picture and the belief, and display the practical as proto-conceptual, yet to open up a special feel of the practical. His target, then, is to shift the place and role that philosophy attributes to paintings.
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Additional info for Aesthetics After Metaphysics: From Mimesis to Metaphor
35 To this pure type of perception, this “clear eye of the world,”36 directed towards essences and ﬁ xed identities, I will oppose the mixed vision of art as presentation of the hypersensible. 37 Such is the reason why Schopenhauer values Dutch still lives and tranquil landscapes: they calm the will, and reveal the pleasure that we can gain by contemplating the most ordinary things, so long as we see them as the expression of an Idea. Aesthetic pleasure follows only from the forgetting of oneself as individual and will, as temporal and spatial, and the ability to immerse ourselves in the beauty of things qua Ideas.
This is how, in a lecture delivered at the Hampstead Assembly Rooms in June 1833, Constable pays tribute to the naturalism of Venetian renaissance, which he opposes to “the vacant school of idealism” of the late renaissance and Neoclassicism: It was, however, at Venice, the heart of colour, and where the true art of imitation was ﬁrst understood [my emphasis], that landscape assumed a rank and decision of character that spread future excellence through all the schools of Europe. Giorgione and Titian, both historical painters, were early disciplined in the schools of the brothers Bellini, where they were taught to imitate nature in what has been termed a servile manner [my emphasis].
10 Whereas schematism, as the mode of presentation of the pure concepts of the understanding, is direct, the mode of presentation of the ideas of pure reason can only be indirect, insofar as no sensible intuition can ever correspond to them. The mode in question can only ever be analogical, or symbolic. This is how we are able to represent a monarchical state ruled in accordance with laws internal to the people as an organic body. A state ruled by a single absolute will, on the other hand, might be represented by a mere machine (like a hand mill).
Aesthetics After Metaphysics: From Mimesis to Metaphor by Miguel Beistegui