| Larry Shinier fp del iarte Una historia culturalLe ver La invenci6én del arte La idea de que el arte comenzé en la Antigua Grecia, o quizasen el Renacimiento, y de que su progreso puede rastrearse a lo largo de una protonaada serie de obras maestras, nos preduce una enorme satistaccién. Con mayor firmeza aun creomos en la idea de que ol arto os trascondente y universal. Con La invencién del arto Larry Shiner pone on tola do juicio estos articulos de fe y nos invita a reconsiderar la historia del arte en su conjunto. AAfirma que la categoria de las bellas artes es una invenclén moderna, y que Ia linea que separa ol arte y Ia artesan(a fue resultado de cruciales transformaciones sociales que tuvieron lugar en Europa alo largo del siglo XVII Para demostrar tode esto, Shiner estudia la obra de pensadores tan variados come Hogarth, Rousseau, Wollstonecraft, Emerson, Marx, Dewey © Benjamin. ¥, en altima instancia, muestra cémo el sistema moderno sostiene su hegemonia asimilando a los artistas y a los misicos que le ofrecen resistencia y trazando una estricta distincién entre artistas y artesanos, arte culto y artesania. Larry Shiner es profesor de Filosofia en la Universidad de Illin on Springfield y autor de The Secularization of History y The Secret Micror. wrww.paidos.com ISBN 84-499-1640-5Paidds Estetica 18. Rainy Grant el ncn tre dia pnt HN Breen Vista co ers 12 OSes Brandis ooboaote 1b Rit Vee alee 1a Eee Pune eda pac A MME Roncyels da canta Eetrncave! 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Scent tan a Larry Shiner LA INVENCION DEL ARTE Una bistoria cuteirat yD parpés“Trulo orig: Phe entton fart Publicado ceignalnente en inh, ex 2001, por The University W Chicaga Pros, chicago Traduccin de Edaanlo Hyeley Ehsan Julber Covert de Maro Esker |© 2001 by The Uaherskr of Chis AM Rights Reserved 2004 de tooas tis ecitiomes en calla Tediciones Paidds theca, SA Martane Cuby, 92 = 08021 Barcelona Iiap. sw puidos.com 5X: 8403-16405 Deepdsie legal: B. 41546-2004 Impresi on Grafiques 92 ‘Avs Cin Suearate, 91 OSIM Rubi Barcelona) presi en Espa - Pineda Spain SUMARIO list de dustraviones Preficio Iruroduceisn La gran dlvisidn Palabras e insituciones Puweea Parre ANTES DE LA DISTINCION ENTRE BELLAS ARTES Y ARTESANIA Presentacisin 3 eenreiaa 4. Los gnegos no tentan una palabra para are ane, tochné, as Flanesino atista Belleea y funeivn i EERE 2 La navaja del Aquinate 4 i De las artes seniles- a las artes mmecanicas Anutices Li ides de beller 4. Miguel Angel y Shakespeare: et despantar del ance Hl inicio de las antes lberales Rice El cambio en la condicién de los artesanos artistas « Las cualidades ieleales del aresanovanista Shakespeare, Jonson sla Obra: Una proto-ewieics 4. Laalegoria de Amemisia:ef ante en transicion n 15 2 3 461a pefsistene hut del anesano/anista por elevar su propia sea, festivals y muscos 288 condicion social 7 El colapso del mecensago a 236 La imagen del aresano/anista 105 Los festiviles revolucionarios 238 Hacia la categoria de las bellas artes: 107 La musica revolucionana . . ~ 23 HL papel del gusta ua a Revolucion y el Museo... ee 8 BARE Guarns Pau E DINIDIDO LA APOTEOSIS DEL ARTE Presentaeién sas: i) Presentation 27 5. Anes bien edwcadas para la clases bien eens. 0.6 128 At Slane conieines wcoutialenteha 259 1 conseuecion de la categoria de las bells artes Ba lane se convierte en un dominio independiente 250 Las nuevas insttuctiones de las bells ates - 1a elevacion espitiial del ane 265 El puevo publico de ane 10 11, Bl artista una Lamada sageada diese 6. EL amit, [1 obra y el mercado 199 eitiggen exalar cel oes 2 14 separacion ene aria y atesino 9 El descenso del atesano 2 imagen seal del asta 164 12, Silencios: el triunfo de lo esto : 21 El destino del aresano 170 El aprencizaje de la seitud esetca - m2 El pénero del genio... 6 El ascenso de la estetiny al dedtve de la bellen - 29 Elideal dela obra de are ee eee v9 El problema del ane ane yl sociadse 302 Del mecenazgo al mereada apne 3 7. Del gusto ao esti : 1 Fl nprensizae dela conduc estetica oe. wt | ‘Quiet Par Fl pblico de ane y el problema del gusto =. 15, MAS ALLA DE TAS BELLAS ARTES Y 14 ARTRSAN Los element de le eétion Be 200 ant y Seller consuman lo eséico isco MT Presentacidn 43, asimulacion y rsisench 1a ssinilacon dela fotografia Teucvia Pare YVanedscles de Ia resistencia: Emerson, Stax, Ruskin, Moms CONTRACORRIENTES 1 Novimieato de las Anes y Oticios 1, Modemiced. AncrAne y Bauhaus Presertaciin . 25 1 modemicad y ka purcza 8. Hogarth, Rousseau y Wollsioneeraft ‘ 219 Elawo de ba fotografia 1 estética hedonist de Howarth. - 219 ! Pace Lt exctca de los festvales de Rousens < .- an YaBeshans Walstonecralty la ellera de ls justicin 29 ‘Tres fidsofor-sticos sobre la divsin del ae 8 tarewlutiin eos x 235 1La moderna y el formalism ttunfances a »15, ;Ativalla del ane y de la antes? Are primitives 1a aniesanga vom ane {La arquitectora como ane El auge de lu fotografia como ante dl amuere de la iteratura? Arie de mast Ane y vida Ane piblico Conclusion Referencias biblingrficas indice analiieo y de nombres 6 363 st a7 381 su 389 300 309 407 LSTA DE ILUSTRACIONES Figure 1. Casone lorntine enn ua panel dondese mucet a conguiss de Trebisondls,reaizacin de Marco de Buono Giambert y Appellonie i Giovanni de Torso (siglo XV). ‘ Figuce 2, Viva de losasentor, Teno de Donso, Areas. Figure 3. Cops bvitsnica ales dl siglo XV. Figura 4. Leonardo da Vins, Virgen le a Roca (1483) Figuta 5 Benvenuto Callin, Slee (lero): Neto eae Tl er) (1540-43), ... i Figue 6, Alberio Dare, Auoretrato a los einocho ator de edad con abrige de ello de pices (1500). i Figars 7, Sofoniba Anguiisola, duorremee (ca 1593). Figura. Willa Shakespeare, porads de Ronve y fala (Londes, 1597). See Bink nase pater of Bex ‘onsen (Londres, 1616). Figura 10, Paolo El Veronés, puerts de un drgano (Crs cusndose las brid panel (Natividad) (1560), Iplests de Sap Sebasttin, Veneei Figura 1]. Artemisia Geotileichi, Autorrnnato como alegoria dela pinnura (64 1830). csessveers Figura 12. Ditga Vlioqun, Caz Moninaso La Foil de Felipe 1V (1665), Figars 13, Claude Peeranlt, Louis Le Vau y Charles Lawn, fichada ese dl Louvre (1657-74). . Figira 14, Lady Mary Weoth, pagina de porada de The Conmtcie of Monte gonerin Urenia 1621), Figars 15, Ephrim Chambers, cuadeo del conacimi (1728. Figura 16. Denis Digewr y Jean le Rond d’Alembor, cuadro cel conc rento, Bugulypéie (1752) ade la elapedia 2 6 38 7 75 86 9 92 12 104 126 130 unFigure 17. Cura del conocimienta, Enea oerdon, Sea (1770. Figura 8, esac Cruikshank, The Lending Livery (cs. 1800-1810. Fgura 19, Gabriel de Sai Aubin Vcd Selon de Hausen are 1793 Figura 20, Thomas Rowlndson Jains de Vaushal (cu 1784). Figura 21, Willa Hogarth, Feria de Sourheark 733). Figura 22. Willan Hogath, Tle Cook (1759). aves Fie 23 Jean ms agent hi Thad de rs de Velie Pavshéon 179), Figura 24, Johann Zong, Lo miembroy dele Real Academia (177 172) Figura 25, Jeon Antoine Ware, Ede send de Grin 1720)- Figuea 26. Augusin de Saint Aubin, fiospgio,cadlogs de vents 737. : Fgura 27. Hienne-Louis Boule, Cone per Neweon (1784). Figs 28. Thormas Rowandson, Fate ysu edo Libero (1784). Figura 28. JeneRapriste Greve, AngeLaurent de Lie de Jali (1759). Figura 30. Frangis Rolie, Geog Friedrich Mandel \1798) Figus 31. Willan Hoge, pase degerade (1740). Figura 32, Jocah Wedgwood, Vw de Pld (1790). Figura 38. Joxph Wright, a criads coin (1782-8) Figac S4 Paul Sandy, Mier dilajende (a 1760-70, Figura 35. Angatin de Sant Aubin, Le Concered Madine Le Comese de Se Brion 38), Fig 36, Jews Mickel Mores cl joven La Pet Lage (1777. - Figura 37. Wiliam Horch, La pera del mendign (1 (1725). Figura 38. Witian Gilpin, atoio de Oberon reelrio Whe 0782). Figura 39. Jen-Honoré Fragonaid, Mula endo (1770. +- Figura 40. Pio Anconio Martini, Le Sali di Cuore 1785... Danis! Chadowieck, Seinen curl fica (17 Figies 42. Daniel Chodowiech, Conoiient nasuray aide de 1179). Figura 43, Wiliam Hogarth, sib oma dels cubic de Ai de 1 Belle (1753). 2 Figura 44, John Opie, Mary Walleonerf les. 179090. gua 45. Refine paris (ox 1792-93) Figura 46, Juramenr cic del ala de N. ‘an fiber de 1700: dedicads os be alderman Figura 47 Peril dele Libera. 15 de abide 1792, + 203 152 154 155 7 159 1G 13 2 174 175 7 + 188 ~ 189 190 2 194 197 208 eel 230 +236 40 at Figura 48. Detalles dela ceremonia del 8 de junio... 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Asi comp el Renaciariento cancel de nuestra actual categoria de ame 0 de nuestro ideal de antsa o compositor autSnomi, ambien cae reed del modern concepto de lo eseico entendido como conten) ‘ein de obras autos lest vineulada a lo tt, pom en el Renacimiento Ia musica, Le poesia y Ja pintura zambien eran consideradas en viruid de so utiided, Es verdad ‘que durante el Renacimiento twvo lugar un ampli desarrollo de i rn fenies. Por su propia raturaleza, ka arguitectora sicu no religios, pero la mayor parte de las piezas musicales permane- sicron cstrictamente vinculadas al texto ¥ 8 funciones espeificas, Vin ccenzo Galilei (el pace de Galles) escrbk’s Si un mnisieo carece del poder de disiir Hs menies de quienes to eseuchan pa beneficio de tells, su cencia o tumocimiento seran mulos y-vanos, puesto que el age {de la musica no ha sido consituido © ncorporad a las artes lberales para ningun otro propesito que de: (Strunk, 1950, 319). Lo mismo que li mayor pare de la midsiea servia para acompafiar ceremonias 0 situa clones, Ia mayor parte de la poe: ‘ecasional: y el conocido, moiia horaciano que habla de scomplacer e instru prevaleets. En Defense of Poeiry (1585) sie Philip Skney hacia hincapie en que la utilidad moral de Ia poesia consist en ensenaros por medio de ejemplos en lugar de usar preeeptos. Como la mayoria de ‘ngsolras hemos tenide acceso ala poesia senaventista a través de anto- Togiaso citas, no tenemns presente ol hecho de que muchas poemes re- igs un funcin social y polis muy determinida. 1 tipict amtologe movema, 0 bien omite los poems mis evidentemente ocasionales, 0 bien ftacasa a la hora de apuntar el propeisito criginal de los textos in ‘luis en la antologia. lo cual produce un efecto semejante al que ex Pefimearames cuando contemplamas jos retablos ee fos altares, os co fresco balcagquinos ca ‘bras sutdnosis en el musen. En efecto, estamos tan avcstumbrados 3 ver las pinturas renacenti: {as en las panedes de un musco, en ls reproduccioness de (os libros ¢ en slapositvas, uc tencmios que hacer un eslucrzo para recor cue cs tealo To qe hoy en dia guardan nuestnis museos se blzn originakmen- feporencargo y fue a menudo disefudo pura un lugar espeeifica, En el ‘natoo de un maseo es muy dif imaginar al eontexto original de las fobnis religiosas, que estaban rodeadas por pantalls, huldaquinos, an soles volidores, velas y Limparas (Kempers, 1992, 11). En algunas de las iglesias mis pequedlas de Venecia, como fa de San Sehustitn, don- de FI Veronés decors el tevh, } friso, el coro, el presbkterio, Was per tas y 4 organo, parece como sf ead ceniimetro de la superficie hubieve sido tribajado v east cida capila aparece eolmada de estatuas, pinruras, lallas, mosaics. fnos candelabros, custodias y relicaries (Fig. 102. Inch so obras menos teligiosis como las que cuelesin de las parecies y los te hos de las salas de consejo florentinas c venecianas pocas Veccs aps recen en nuestos libs de arte en el marco en que estin staadas. 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