A1 Vertaisarvioitu alkuperäisartikkeli tieteellisessä lehdessä
Georges Bataille, Manet ja modernin taiteen synty
Tekijät: Roni Grén
Kustantaja: Suomen Semiotiikan Seura; Suomen Estetiikan Seura
Kustannuspaikka: Helsinki
Julkaisuvuosi: 2013
Journal: Synteesi
Numero sarjassa: 1/2013
Numero: 1/2013
Aloitussivu: 6
Lopetussivu: 17
ISSN: 0359-5242
Tiivistelmä
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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