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.