In the matter of colorful painting: from Hegel, Goethe and Diderot

Authors

  • Marco Aurélio Werle Universidad de São Paulo
  • Carlos Enrique Restrepo Universidad de Antioquia

Keywords:

Hegel, Diderot, Goethe, painting, subjetivity.

Abstract


The consideration of Colouring presented by Hegel to establish a superior category of it over Drawing or Sketching is based in the fact that the latter two are not substantial in Pictorial Representation. Hegel establishes a point of turn in respect to ideas about the supremacy of Form over Colouring that were set forth by authors such as Immanuel Kant or Johan J. Winckelmann. Hegel approaches the Conceptions of Color of Goethe and Diderot to be able to grasp the subjective character of these, where Color is given in the Realm of Human Perception independently of any other Objective Theory, but at the same time it remains reluctant to Universal Laws of Harmony that are the basis of the Goethian Theory which works only for Natural Philosophy but not for Artistic Philosophy such as it is reflected in the Theory of Diderot and in Flemish painting.

|Abstract
= 40 veces | PDF (ESPAÑOL (ESPAÑA))
= 19 veces|

Downloads

Download data is not yet available.

Metrics

Metrics Loading ...

Author Biographies

Marco Aurélio Werle, Universidad de São Paulo

Departamento de Filosofía Universidad de São Paulo São Paulo, Brasil E-mail: mawerle@usp.br

Carlos Enrique Restrepo, Universidad de Antioquia

Instituto de Filosofía Universidad de Antioquia Medellín, Colombia E-mail: alteridad@quimbaya.udea.edu.co

References

ARGAN, C. (1999). Clássico e anticlássico, O renascimento de Brunelleschi a Bruegel, trad. de Lorenzo Mammi, São Paulo, Companhia das Letras, p. 263-272.

BEUTLER. (1965). Schriften zur Kunst, hrsg, Zürich, Artemis, 2. ed., p. 206. 3. CASSIRER, E. (1991). Freiheit und Form, Studien zur deutschen Geistesgeschichte, Darmstadt, WBG, 5. Ed., pp.193-196.

CHOUILLET, J. (1973). La formation des idées esthétiques de Diderot, Paris, Colin, p. 553-594.

COLLENBERG-PLOTNIKOV, B. (1992). “Hegels Konzeption des Kolorits in den Berliner Vorlesungen über die Philosophie der Kunst” In: Phänomen versus System, hrsg. von A. Gethmann-Siefert, Hegel-Studien, Beiheft 34, Bonn, Bouvier

DIDEROT, D. (1993). Ensaio sobre a pintura, introd. y notas de Enid Abreu Dobransky, Campinas, Papirus, p. 49.

FRIEDLÄNDER, W. (2001). De David a Delacroix, trad. de Luciano Machado, São Paulo, Cosac & Naify.

GOETHE, J. W. (1956) Zur Farbenlehre. Konfession des Verfassers. In: Schriften zur Naturwissenschaft. Vermischte Schriften, hrsg. p. 1236-37.

GOETHE, J. W. (1965). “Diderots Versuch über die Malerei” In: Schriften zur Kunst, Zürich/Stuttgart, Artemis, 2. ed. p.246.

GOETHE, J. W. (1965). Schriften zur Farbenlehre, In: Naturwissenschaftliche Schriften, Zürich, Artemis, 2 ed. p. 756.

GOETHE, J. W. (1993). Doutrina das cores, trad. de Marco Giannotti, São Paulo, Nova Alexandria, p.44.

GOETHE, J. W. (1999). Viagem à Itália, trad. de Sérgio Tellaroli, São Paulo, Companhia das Letras, p. 102.

GOMBRICH, E.H. (1977). “Hegel und die Kunstgeschichte”, in: Neue Rundschau, Frankfurt, Fischer, Heft 2, p. 202-219

HEGEL, G.W.F. (1986). Vorlesungen über die Ästhetik I-III, vol. 13-15, Werke [in 20 Bänden], Frankfurt am Main, Suhrkamp.

HEGEL, G.W.F. (s.f). Ästhetik nach Prof. Hegel im Wintersemester 1828/29. Libelt (Cuaderno de Libelt: Manuskript der Biblioteka Jagiellonska, Kraków), p. 134.

JUSTI, K. (1983). Winckelmann und seine Zeitgenossen, Zürich, Olm, (reimpresión de la 4a ed. de 1943; 1a ed. de 1872, p.433)

KANT, I. (1995). Crítica da faculdade do juízo, trad. de Valério Rohden y Antônio Marques, Rio de Janeiro, Forense Universitária, 2a Ed. p. 71.

LUKÁCS, G. (1978).c “O problema estético do particular no Iluminismo e em Goethe”, En: Introdução a uma estética marxista, trad. de Carlos Nelson Coutinho y Leandro Konder, Rio de Janeiro, Civilização Brasileira, p. 142

PETRY, M. J. (1987). “Hegels Verteidigung von Goethes Farbenlehre gegenüber Newton” In: Hegel und die Naturwissenschaften (hrsg. von M. J. Petry), Stuttgart, Fromman-Holzboog.

SCHELLING, F. W. J. (2001). Filosofia da arte, intr., trad. y notas de Márcio Suzuki, São Paulo, Edusp, §87, p.173.

SCHOPENHAUER, A. ( 1988). “Über das Sehen und die Farben” In: Kleinere Schriften, Band III/Werke in fünf Bänden, hrsg. von Ludger Lütkehaus, Zürich, Hafman

SULZER, J. (1792). Allgemeine Theorie der Schönen Künste: Colorit, S. 12. Digitale Bibliothek Band 67: Sulzer: Allgemeine Theorie der schönen Künste, p. 836 (vgl. Sulzer-Theorie Bd. 1, p. 212)].

SZONDI, P. (1974). Poetik und Geschichtsphilosophie I, Frankfurt am Main, Suhrkamp, p. 37-38

WINCKELMANN, J. J. (1993). Geschichte der Kunst des Altertums, Darmstadt, WBG, p. 148.

WINCKELMANN, J. J. (1995). Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst, Reclam, Stuttgart, p. 62-63.

WOLFFLIN, H. (2000). Conceitos fundamentais da história da arte, trad. de João Azenha Jr., São Paulo, Martins Fontes, 4 ed., p.12

WÖLFFLIN, H. (2000). Renascença e barroco. Estudo sobre a essência do estilo barroco e sua origem na Itália, trad. de Mary Amazonas Leite de Barros e Antônio Steffen, São Paulo, Perspectiva, p. 44.

WOLFGANG, N. (2000). Hegels Philosophie, hrsg. von Herbert Schnädelbach, Darmstadt, WBG, vol. 3, p. 175.

Published

2012-01-08

How to Cite

Werle, M. A., & Restrepo , C. E. (2012). In the matter of colorful painting: from Hegel, Goethe and Diderot. Estudios De Filosofía, (45), 123–148. Retrieved from https://revistas.udea.edu.co/index.php/estudios_de_filosofia/article/view/13480

Issue

Section

Original or Research articles

Similar Articles

1 2 3 4 5 6 7 8 9 10 11 > >> 

You may also start an advanced similarity search for this article.