Autor(en)

Ortega y Gasset, José:

Verlag / Jahr

New York: W. W. Norton & Company, Inc., 1972.

Format / Einband

Leinen / Cloth. 142 p.: ill.

Sprache

Englisch

Gewicht

ca. 550 g

Bestell-Nr

1195906

Bemerkungen

Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Altersbedingt leicht vergilbt, Einband etwas bestoßen, sonst guter Zustand / Slightly yellowed due to age, binding somewhatg scuffed, otherwise in good condition. - Introduction Here for the first time in English all the significant writings on art of the Spanish philosopher Ortega y Gasset are gathered together. The visual arts were only one of a variety of topics to which Ortega applied his highly individual, unorthodox approach. It was fundamental to his ‘living’ system of philosophy, that it should embrace all human activity, and part of the appeal of his discourses and reflections on any subject is that they are rarely narrowly confined. To Ortega, the understanding of any human activity could only be approached through a study of individuals in relation to their particular circumstances of time and place. A work of art was a part of the life of an individual; each brushstroke implied a human intention and action; and to understand a work of art, it was necessary to see the man, as it were, at work; to know his aspirations and intentions, and what his activity meant to him. The work of art could only be approached through a biography ‘in depth’ of the artist. To Ortega, indeed, the biography was the highest form of literature ; but his idea of the biography was something very distinct from the traditional one. Whether or not we follow Ortega in his individual mode of approach, the thoroughness of his enquiry, and of his analysis and interpretation, has set an example that cannot be ignored. Ortega was attracted to an investigation of the visual arts early in his career. It was an activity distinct from that of his own discipline as a philosopher, which demanded precise definition and exposition; in contrast, a painting, by its very nature, seemed to invite ‘perpetual interpretation’. Reflecting upon the place of the visual arts in Spain, Ortega was struck by the fact that a country ‘so little gifted for the visual arts’, as its history has shown, should have produced two painters who, each in his particular age, were so in advance of any other artist that it is only more recently that we have been able to understand something of their essentially new approach to their art. Of the two ‘biographies’, Velazquez’ is the more searching and complete, and Ortega’s reinterpretation of the artist’s life and work forms the basis of much of our present-day knowledge and understanding of the artist.

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