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Incroci ermeneutici. Betti, Sedlmayr e l’interpretazione dell’opera d’arte
Full text linkEven though the past few years have witnessed an increased interest in Emilio Betti’s thought, there are still important aspects of his work that need to be investigated, including his hermeneutics of art. Brief references to it have been made, but there have been only tentative attempts to identify a comprehensive aesthetic approach in Betti’s work.
Of great relevance in this context is the one text where Betti’s hermeneutics has been interpellated in relation to historic and artistic interpretation, that is, a 1965 essay by Hans Sedlmayr, the renowned art historian of the “New Viennese School.” In the vast corpus of Sedlmayr’s works, this is the only text where Betti is mentioned. However, in this essay the references to the theory of the Italian jurist and philosopher are so numerous as to reveal him to be Sedlmayr’s privileged interlocutor. Betti, too, was an attentive reader of Sedlmayr. He even includes the Austrian scholar among the thinkers who were for him a “source of productive inspiration.” The profound impact of this inspiration may be gauged most particularly in Betti’s reflections on modern art in his General Theory of Interpretation.
The present volume focuses on the long-distance dialogue that Betti and Sedlmayr established independently from each other, a dialogue that has previously gone unnoticed. The author, Luca Vargiu, reconstructs this dual, reciprocal reading, reevaluating the contributions of Betti and Sedlmayr to the lively debates in the field of art historical-hermeneutics
Hans Belting and Hermeneutics – Between Unease and Awareness
Full text linkBeginning with an article by Hans Robert Jauss, which detects in Hans Belting some "unease" towards hermeneutics, this paper claims instead that Belting, in his studies, manifests deep hermeneutic awareness, among other things indebted in many respects to Jauss\u27 reception theory itself. Nonetheless, it is still possible to notice some "unease," which emerges in the way Belting considers hermeneutics among the "methods and games" of history of art. In this regard, Belting\u27s analysis – concerning the relationship between iconology and hermeneutics and between philosophical and art historical hermeneutics – appears densely loaded with meaning but also partial. This is due to the fact that he limits himself to critically discussing only one tendency, well represented, in his eyes, by Wilhelm Dilthey, Hans-Georg Gadamer and Hans Sedlmayr, the latter being the only representative of art historical hermeneutics that Belting takes into account
Storia dell’arte contemporanea in Sardegna. Introduzione allo studio
No full textAlla metà del Settecento si trasformano radicalmente tutti gli aspetti della vita europea. È su questo piano che si misurano anche i problemi di un ritardo storico, vero o presunto, dell’arte e della cultura in Sardegna. Avvicinatisi al neoclassicismo negli anni della permanenza della corte sabauda, durante l’Ottocento gli artisti isolani da un lato intensificano gli scambi con il “continente”, dall’altro avviano una riscoperta della storia e delle tradizioni locali. La riflessione sulla specificità si approfondisce man mano che si avanza nel Novecento: nella prima metà essa permea l’apertura alle esperienze nazionali e internazionali – postimpressionismo, liberty, secessione e, in architettura, il razionalismo – mentre dal secondo dopoguerra, facendosi discorso di forme, aiuta a rileggere il rinnovamento in direzione dell’astrattismo e dell’informale. Dopo la stagione di ricerca degli anni sessanta e settanta, gli ultimi decenni sono sempre più dominati dall’eclettismo postmoderno, tanto in architettura, quanto nelle arti visive
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