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A Mediated Presence: Uncovering Nietzsche in Art History from Its Foundations to Contemporary Anglo-American Curricula

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A Mediated Presence: Uncovering Nietzsche in Art History from Its Foundations to Contemporary Anglo-American Curricula Université de Montréal A Mediated Presence: Uncovering Nietzsche in Art History from its Foundations to Contemporary Anglo-American Curricula par Natalie Vansier Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de Maîtrise des Arts (M.A.) en histoire de l’art Août 2015 © Natalie Vansier, 2015 Résumé La pensée de Nietzsche a joué un rôle déterminant et récurrent dans les discours et les débats qui ont formé et continuent de façonner le domaine de l’histoire de l’art, mais aucune analyse systématique de cette question n’a encore vu le jour. L’influence de Nietzsche a été médiée par divers interlocuteurs, historiens de l’art et philosophes, qui ont encadré ces discussions, en utilisant les écrits du philosophe comme toile de fond de leurs propres idées. Ce mémoire souhaite démontrer que l’impact de Nietzsche dans le champ de l’histoire de l’art existe mais qu’il fut toujours immergé ou éclipsé, particulièrement dans le contexte anglo-américain, l’emphase étant placée sur les médiateurs de ses idées en n’avouant que très peu d’engagement direct avec son œuvre. En conséquence, son importance généalogique pour certains fondateurs de la discipline reste méconnue; sa présence réellement féconde se traduit plutôt comme une absence ou une présence masquée. En vue de démontrer ce propos, nous regardons donc le contexte nietzschéen qui travaille les écrits de certains historiens de l’art, comme Jacob Burckhardt et Aby Warburg, ou des philosophes et d’écrivains ayant marqué la discipline de l’histoire de l’art (plus particulièrement dans le cadre de l’influence de la « French Theory » sur l’histoire de l’art anglo-américaine depuis la fin des années 1970) : Martin Heidegger, Michel Foucault, Jacques Derrida, Gilles Deleuze et Georges Bataille. Nous examinons certaines voies par lesquelles ses idées ont acquis une pertinence pour l’histoire de l’art avant de proposer les raisons potentielles de leur occlusion ultérieure. Nous étudions donc l’évolution des discours multiples de l’histoire comme domaine d’étude afin de situer la contribution du philosophe et de cerner où et comment ses réflexions ont croisé celles des historiens de l’art qui ont soit élargi ou redéfini les méthodes et les structures d’analyse de leur discipline. Ensuite nous regardons « l’art » de Nietzsche en le comparant avec « l’art de l’histoire de l’art » (Preziosi 2009) afin d’évaluer si ces deux expressions peuvent se rejoindre ou s’il y a fondamentalement une incompatibilité entre les deux, laquelle pourrait justifier ou éclairer la distance entre la pensée nietzschéenne sur l’art et la discipline de l’histoire de l’art telle qu’elle s’institutionnalise au moment où le philosophe rédige son œuvre. Mots clés : Nietzsche, histoire de l’art, historiographie, Aby Warburg, Jacob Burckhardt, transmission culturel, anachronisme, French Theory, philosophie de l'art. i Abstract Nietzsche’s philosophy has played an active role in many recurring art historical debates that have permeated the discipline since its inception, yet there exists no systematic analysis of his impact. His influence has been mediated through various interlocutors, art historical and other, that have framed these discussions, while using his writings as an intellectual backdrop to their own ideas. This thesis attempts to show that Nietzsche’s engagement with art history has been submerged or overshadowed by an emphasis on the mediators of his thought with little direct engagement with his work, particularly so in the Anglo-American context. The consequence of this is that his genealogical importance for many of the founders of the discipline is left unacknowledged; hence, his actually potent presence is translated as an absence or oversight. In order to demonstrate this, we explore the Nietzschean heritage that informed the works of art historians like Jacob Burckhardt and Aby Warburg, and that of philosophers and writers who have marked the art historical discipline (particularly so with the surge of “French Theory” in Anglo-American art history as of the late 1970s): Martin Heidegger, Michel Foucault, Jacques Derrida, Gilles Deleuze and Georges Bataille. Once we have identified some of the trajectories on which his ideas have gained relevancy for art history, we look at the potential reasons for their subsequent occlusion. In order to do this, we begin by examining the evolving methodologies in historiography so as to situate his contribution to this domain of study and see where these reflections have intersected with those of art historians who either broadened or reshaped the methods and analytical structures of their own discipline. We finally compare Nietzsche’s 'art' to the “art of art history” (Preziosi 2009) and determine whether these two expressions can be bridged or whether there is a fundamental incompatibility that may explain the discrepancy between his treatment of art and that which concerned art history at the moment of its contemporaneous institutionalisation. Keywords: Nietzsche, Art History, historiography, Aby Warburg, Jacob Burckhardt, cultural transmission, anachronism, French Theory, philosophy of art. ii Table of Contents Résumé ......................................................................................................................................... i Abstract ....................................................................................................................................... ii Table of Contents ....................................................................................................................... iii Figure List ................................................................................................................................... v List of Abbreviations ................................................................................................................ vii Acknowledgements .................................................................................................................. viii Introduction ............................................................................................................................... 1 Context ........................................................................................................................................ 1 Existing Scholarship ................................................................................................................... 2 (Inter-)Disciplinary Context ........................................................................................................ 4 Contribution to Discourse ........................................................................................................... 6 The Problem of Methodology ..................................................................................................... 8 Paper Structure ............................................................................................................................ 9 Chapter One: Art History as History .................................................................................... 13 What is History? ....................................................................................................................... 14 Professionalization of History ................................................................................................... 15 Jacob Burckhardt and Cultural History ..................................................................................... 18 Burckhardt and Nietzsche: Untimely Historians ...................................................................... 20 Culture as the 'End' of/for History ............................................................................................ 22 "Mythistory" ............................................................................................................................. 24 The Critique of Causality .......................................................................................................... 24 Historical Anachronism or the Ahistorical ............................................................................... 27 The Absolute Value of History for Contemporary Society ...................................................... 28 'Bildung' in Burckhardt, Nietzsche and Warburg ..................................................................... 31 Towards a Dionysian Historiography? ..................................................................................... 36 iii Chapter Two: Art History as Art .......................................................................................... 42 Which 'Art'? .............................................................................................................................. 43 'Birth of Tragedy out the Spirit of Classicism' .......................................................................... 44 Warburg: Dionysus and the Visual Arts ................................................................................... 48 Apollo vs. Laocoön ................................................................................................................... 50 The Serpent and Self-Overcoming ............................................................................................ 55 Heterogeneous Becoming in the Artist/Thinker: Christ vs. Dionysus ...................................... 59 Critique of Romanticism and the
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