La trasfigurazione del banale 5 likes. Book. : La trasfigurazione del banale. Una filosofia dell’arte ( ) and a great selection of similar New, Used and Collectible Books. La trasfigurazione del banale. Una filosofia dell’arte: Arthur C. Danto, S. Velotti: : Books.

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He made stencils of the large photographs that appeared on the front page of tabloid newspapers. Lucija rated it it was amazing Mar 16, His approach throughout the book is to compare artworks with what he calls mere real things, when both are indiscernibly alike.

Arthur Danto – Wikiwand

Moreover, Danto would maintain that all art, representational or not, has been tending this way since before, but especially since, the time when a main theme of art became the investigation of itself, what some would call the onset of Modernism. This illusion was conceived of more or less as a stage animated by visual incident, and the surface of the picture as the window through which one looked at the stage.

Danto doesn’t think “representation” is comprehensive enough because, perhaps atomically, not everything in the work, be it every note or brushstroke, can have a one to one correlation in a representative fashion there’s far more to it, but this will suffice.

Danto has a great deal of regard for Andy Warhol-his latest book being entirely about that artist-and he has described how he experienced something of an epiphany when first viewing Brillo Boxes.

I had an Aesthetics course this semester past, and though this text mis-translates a Borges story, it still manages to be very good. It is easy to see how much of the concept of art as it grew by accrual over the millennia is in the end not part of the definition, since something lacking it can still be an art work according to the two criteria I felt resisted counter-exemplification. But, overall, it is a good read and fairly entertaining.


I am not sure if the two ontological realms are as separate as his tropes imply, for his argument proceeds by making nice distinctions between, first, a representation and an object, and, then, between a representation and an artistic representation. In many art schools, for example, skills were no longer taught.

All this had vanished. Were they art — or were they real cartons? Starting from the historical importance which the photographic experiments of Eadweard Muybridge had for painting and not onlyArthur Danto once again comes to wonder about the famous Brillo Box of Andy Warhol, demonstrating how, in the face of different avant-guard artistic movements of the early Sixties specially in the usait is indeed philosophy that questions itself, reconsidering its own concept of the eternity of art and the way in which works of art must be interpreted.

Mar 05, Kristina rated it it was amazing.

I’ll be sure to check out more Danto soon. It is not just, as is so often said, that metaphors go stale; they go dead in a way that sometimes require scholarly resurrection.

Testo integrale PDF k Invia tramite e-mail. The gallery was entered through a baronial mahogany door to your left, which opened onto what looked like the store room of a supermarket. If a man is a system of representations, his style is the style of these. Apart from the change of question, there is a change of answer to the question, since nothing the two perceptually similar objects have in common can be part of what makes only one of them a work of art. For a time, one and only one sort of art seem historically correct.


The student was treated from the beginning as an artist, and the faculty existed to help the students realize their ideas.

The Transfiguration of the Commonplace: A Philosophy of Art

As a definition, mine could have been thought of at any time. Wow, this shows just how long ago I’ve looked at this site.

Jul 20, Dec Lloyd rated it liked it. One could not avoid that question. The artist performs a transfiguration of the commonplace when he makes of his materials a work of art. La trasfigurazione del banale.

Titians, battle scenes, Hudson River School waterfalls. He brings abstractions about art down-to-earth using real or hypothetical examples. Danto thinks it is closer to say it’s a mode of expression, in which there is a joining between metaphor, rhetoric, and style. There was no one correct way to make art. But I was the only one interested in it who was also interested in the ontological dimension of the philosophy of history, of knowledge of action, of mind, and of religion at the same time, and where anything not bearing on this was of interest to be sure, but not of great interest ontologically speaking.

The art world itself has no center.