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The Insistence of Art The Insistence of Art Aesthetic Philosophy after Early Modernity Paul A. Kottman, Editor Fordham University Press New York 2017 Copyright © 2017 Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Publication of the images in “Goya: Secularization and the Aesthetics of Belief” was supported by a subvention from the University of California, Berkeley. Fordham University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Fordham University Press also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Visit us online at www.fordhampress.com. Library of Congress Cataloging-in-Publication Data available online at catalog.loc.gov. Printed in the United States of America 19 18 17 5 4 3 2 1 First edition contents Introduction. The Claim of Art: Aesthetic Philosophy and Early Modern Artistry paul a. kottman 1 1. Allegory, Poetic Theology, and Enlightenment Aesthetics victoria kahn 31 2. Object Lessons: Reifi cation and Renaissance Epitaphic Poetry rachel eisendrath 55 3. How Do We Recognize Metaphysical Poetry? andrew cutrofello 77 4. Literature, Prejudice, Historicity: The Philosophical Importance of Herder’s Shakespeare Studies kristin gjesdal 91 5. Reaching Conclusions: Art and Philosophy in Hegel and Shakespeare paul a. kottman 116 6. “All Art Constantly Aspires to the Condition of Music” —Except the Art of Music: Reviewing the Contest of the Sister Arts lydia goehr 140 7. The Beauty of Architecture at the End of the Seventeenth Century in Paris, Greece, and Rome maarten delbeke 170 8. Strokes of Wit: Theorizing Beauty in Baroque Italy jon r. snyder 194 9. Goya: Secularization and the Aesthetics of Belief anthony j. cascardi 227 v vi Contents 10. Remembering Isaac: On the Impossibility and Immorality of Faith j. m. bernstein 257 List of Contributors 289 Index 293 introduction The Claim of Art: Aesthetic Philosophy and Early Modern Artistry Paul A. Kottman Considering the attention paid to artists from the early modern period by philosophers working in what we now recognize as “aesthetics,” considering the extent to which artworks and practices of the fi fteenth through the eighteenth centuries were accompanied by an immense range of discus- sions about the arts and their relation to one another, and considering above all the sheer breadth and scope of the artistic achievements in the period, it is striking that so little recent effort has been made to understand the connection between early modern artistic practices and the emergence of aesthetics as a branch of philosophy over the course of the eighteenth century.1 It is striking, that is, how seldom nowadays specifi c artworks and artistic practices are seen as explaining, clarifying, requiring, or embodying the distinctive set of concerns articulated in that philosophical discipline we call aesthetics.2 Art is more often taken by philosophers and historians as a “stand-in” for, or refl ection of, some other question, historical event, or social event of signifi cance, rather than as being the phenomenon itself. The ten essays in this volume attempt to remedy this. Each essay included suggests ways in which the artworks and practices of the early modern period show the essentiality of aesthetic experience 1 2 Paul A. Kottman for philosophical refl ection, and in particular for the rise of aesthetics as a philosophical discipline, while also showing art’s need for philosophy. Each contribution teaches us by example how we might better grasp central artistic and philosophical preoccupations of the preceding centuries and our own time, by asking after both early modern art’s claim on philosophy and philosophical realizations of the claim of art. This broad historical framing—“early modern art” and “modern aesthetics” —implies some delineations concerning, for instance, the divide that separates the cultures of the fi fteenth, sixteenth, and seventeenth centuries in Venice, Florence, London, or Amsterdam from the eighteenth century in Königsberg, Weimar, or Berlin. Each essay in this volume ar- ticulates that frame in its own way. Overall, however, making sense of this framing is understood here not just as a matter of establishing or gathering facts that might help us determine whether, say, Hegel ever laid eyes on a particular painting or how well Herder may have grasped Shakespeare’s English—though gathering these facts, too, is an ineliminable part of our collective work. Rather, since we do not doubt that artworks and practices from the early modern period exist alongside works of aesthetic philosophy from the eighteenth century, what we really want to know is whether these two existences are connected in some essential way. By “essential way” I do not just mean a further fact— or a so-called “smoking gun”— but something like what Hegel might have called the Wirklichkeit, or what earlier philosophers might have called the logos (the actuality or reality) of a connection between early modern art and aesthetic philosophy. Put another way, we want to know what reasons we might have for reconsider- ing the stories we already tell ourselves about early modern art and philosophical aesthetics. We want to know how, whether, and why we should reconsider the intellectual histories that have prevented these two historical phenomena from being considered together as part of our collective inheritance. As Richard Rorty once pointed out, the German way of doing intellectual history—“starting with the Greeks and working down through, for example, Cicero, Galileo and Schelling before saying anything off your own bat—is easily parodied.”3 But, as Rorty went on to note, this kind of approach helps us conscientiously clarify what we might otherwise take for granted, or carelessly assume. After all, we “all carry some potted intellectual history around with us, to be spooned out as needed. Such stories determine our sense of what is living and what is dead in the past, and thus of when the crucial steps forward, or the crucial mistakes or ruptures, occurred.”4 And those of us who do not undertake the historians’ legwork Introduction: Aesthetic Philosophy and Early Modern Artistry 3 ourselves generally borrow a story from someone else—Karl Marx, say, or Hans Blumenberg. Taking the spirit of Rorty’s remark—that we would do well to be more vigilant when it comes to the histories in view of which we understand our present—the fi rst thing this Introduction will do is consider what, in our “potted histories,” has been blocking, or effacing, a clearer view of the connection between early modern artistic practices and aesthetic philosophy. There are a number of these, of course. However, I think we can use- fully identify four narratives—sections 1– 4 below—that have arguably contributed the most to obscuring our view of the relation between early modern artworks and aesthetic philosophy. First, there is a story according to which art proper, the fi ne arts, or notions of aesthetic autonomy, took shape only in the eighteenth century. Second, we fi nd aesthetic philosophy’s self-articulation over the course of the eighteenth century and its introduction of an apparently new set of issues and questions for the hu- man sciences. Third, there is the concurrent emergence of art history as an academic discipline in the work of J. J. Winckelmann especially and its predominant focus on ancient artworks rather than on the art of the early modern period (as had been the case in the work of Giorgio Vasari, for instance).5 Fourth, the establishment of the “Renaissance,” the “Baroque,” or the early modern period itself, as objectively distinct, was in part predi- cated on scholarly methods and apparatuses that took shape in the late eighteenth century. Let me briefl y describe each of these by trying to lay bare the “potted history” implied or contained in each, in order to make clearer how they tumble into and compel questions under investigation in this volume. I then turn to a discussion of the essays included here. 1 One history that is commonly borrowed to explain the emergence of aesthetics in the eighteenth century was infl uentially told by Paul Oskar Kri- stel ler, a German scholar of Renaissance humanism (who emigrated to the United States in 1939), in a two-part article he published in the Journal of the History of Ideas in 1951–52, titled “The Modern System of the Arts: A Study in the History of Aesthetics.”6 There Kristeller argued that the “system of the fi ve major arts, which underlies all modern aesthetics and is so familiar to us all, is of comparatively recent origin and did not assume defi nite shape before the eighteenth century, although it has many ingre- dients which go back to classical, medieval and Renaissance thought.”7 4 Paul A. Kottman These fi ve arts—painting, sculpture, architecture, music, and poetry— began to set themselves apart as art proper, according to Kristeller, by virtue of being distinguished from other crafts and sciences, and thus by acquiring a kind of independence from instrumental aims, ritual function,

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