Beauty's Appeal: Measure and Excess (Analecta Husserliana) by Anna-Teresa Tymieniecka

By Anna-Teresa Tymieniecka

Beauty fulfils human lifestyles. because it registers in our aesthetic adventure, attractiveness complements nature’s appeal round us and our inward event lifting our soul towards ethical elevation. This selection of art-explorations seeks the fundamental ties of the Human . It endeavors to give an explanation for the relation of attractiveness and human lifestyles, and explores a few of the facets of beauty.

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13 Hauser, Arnold, The Social History of Art, (London: Routledge, 1984), Vol. II, p. 105. 14 On Caravaggio’s ‘modernity,’ see Baldacchino, Easels of Utopia, pp. 86ff. 15 Montale, “Potessi almeno costringere,” in Montale, op. , “Mediterraneo” (8). My English translation. 16 Montale, “Noi non sappiamo quale sortiremo,” in Montale, op. , “Mediterrane” (6). My English translation. 17 Kant, Immanuel, Critique of Judgement, trans. J. H. Bernard (New York: Hafner Press, Collier-Macmillan, 1974), pp. 45–46.

A split between art and beauty by no means dooms this state of affairs. Rather, the expectation of redemption (as articulated by Michelangelo’s salvific narrative) is made robust by the intellectual and ethical sobriety that the distinct positions of art and beauty help us to achieve. 14 In Caravaggio’s Mannerist context, history must appear in its horrendous truth. Even when Caravaggio verges on the heretical, his art remains true to history and in turn true to the redemptive dilemmas where the beauty of God’s salvation remains true to the horrors of the death of God’s only begotten Son.

After Michelangelo, the dialectical relationship between art and beauty has no choice but to be seen in its historic truth—thereby as a negative and nonidentitarian truth (to use Adorno’s and Nietzsche’s terms) and thus defined by its paradoxical nature. In the humanized polity of Michelangelo’s art, there is no hope for a synthesis between art’s aesthetic deed and beauty’s salvific narrative. A split between art and beauty by no means dooms this state of affairs. Rather, the expectation of redemption (as articulated by Michelangelo’s salvific narrative) is made robust by the intellectual and ethical sobriety that the distinct positions of art and beauty help us to achieve.

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