A1 Refereed original research article in a scientific journal
Georges Bataille, Manet ja modernin taiteen synty
Authors: Roni Grén
Publisher: Suomen Semiotiikan Seura; Suomen Estetiikan Seura
Publishing place: Helsinki
Publication year: 2013
Journal: Synteesi
Number in series: 1/2013
Issue: 1/2013
First page : 6
Last page: 17
ISSN: 0359-5242
Abstract
What was at stake when French writer Georges Bataille (1897-1962) declared that Édouard Manet was the originator of modern art? And what kind of vision of modernity was inherent in the discourse Bataille was producing? In this article it will be argued that the often misrepresented view of Bataille was tightly woven into the philosophical and art historical context of his time. Actually, he made Manet’s art a propagator of an aesthetics of confusion that was almost surrealist in its method. Bataille’s arguments had as their primary targets the phenomenological interpretations of art (on a philosophical level), the existentialist cultural policy (on a political level), and the questions raised about the birth of modern art in the art historical works of André Malraux (on a historiographical level). Thus, the conversation was condensed around the questions of self-consciousness, of artistic signification and its utility (in relation to the romantic view of artistic revolution), and of the primacy of vision.
What was at stake when French writer Georges Bataille (1897-1962) declared that Édouard Manet was the originator of modern art? And what kind of vision of modernity was inherent in the discourse Bataille was producing? In this article it will be argued that the often misrepresented view of Bataille was tightly woven into the philosophical and art historical context of his time. Actually, he made Manet’s art a propagator of an aesthetics of confusion that was almost surrealist in its method. Bataille’s arguments had as their primary targets the phenomenological interpretations of art (on a philosophical level), the existentialist cultural policy (on a political level), and the questions raised about the birth of modern art in the art historical works of André Malraux (on a historiographical level). Thus, the conversation was condensed around the questions of self-consciousness, of artistic signification and its utility (in relation to the romantic view of artistic revolution), and of the primacy of vision.
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