Though our time is often said to be post-religious and post-metaphysical, many continue to seek some encounter with otherness and transcendence in art. This book deals diversely with the issues of art, origins, and otherness, both in themselves and in philosophical engagements with the works of Plato, Kant, Hegel, Schopenhauer, Nietzsche, and Heidegger. Addressing themes such as eros and mania, genius and the sublime, transcendence and the saving power of art, William Desmond tries to make sense of the paradox that too much has been asked of art that now almost nothing is asked of it. He argues that there is more to be said philosophically of art, and claims that art has the power to open up mindfulness beyond objectifying knowledge, as well as beyond thinking that claims to be entirely self-determining.
This site presents some of the best-known and most important works of art from the Italian Renaissance period. It is intended to serve students, art lovers, and the general public and provide answers to many fundamental questions about the beloved works from this era. Take a look at some of the featured articles on ItalianRenaissance.org:
The Renaissance transformation of the medieval artisan into someone closer, though not identical, to the modern conception of the artist is a swelling leitmotif in this unit. The Renaissance marks an important transition in the perception of the artist and the growing acceptance of the artist’s work as being on a par with philosophy, literature, rhetoric, and the other liberal arts. This unit explores artistic training and practices; the organization of workshops, guilds, and academies; and (most importantly) the creation of an entirely new way of looking at art and artists.
Daniel Arasse, dans ce quatrième entretien, revient sur l’invention de la perspective et son succès dans la peinture florentine à partir de 1420. Il insiste sur la dimension politique, idéologique et philosophique de ce bouleversement complet des scènes de représentation.