9/SM1 - Journal of Art Historiography

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Stefan Muthesius Towards an ‘exakte Kunstwissenschaft‘(?) presentation by reflecting, in his fictional history, on his rejection [Ablehnung] of the search for influences, the rejection of compilation and of the busy search for documents: Velasquez met neither a Poussin, nor a Bernini, nor a Pietra da Cortona in Rome, not even an aged modish painter, such as the Cavalliere d’Arpino. The picture which, for reasons of conducting a dialogue, is central in the dialogue, the Guadalupe de Ynsausti, is of little art historical significance, as are, in the letter, the miniature carvings of Sigmund Laire or the lost comedies of Sancho de Paz. What really lends explanatory force to the two passages is the fact that Justi lent them a double-coding. They fulfil in a strategic academic [wissenschaftliche] way the function of safeguarding the researchachievement against unauthorised appropriation/invasion [Zugriff] from outside. By fictionalising contingent and relegated [ausgeschiedenes] material the historical principles of source-critique were ironised, so that any form of adaptation would be directed against the person who adapted them. On the other hand, the fictionalisation had in fact become, for Justi, a necessity which resulted from a qualitative, internal criterion of presentation, in the way it became a part of the representational [darstellerischen] strategy for the conquering of contingency. The occasionalistic [okkasionalistisch]-biographical linking of the individual substance and the accidental causes [äusseren Gelegenheitsrursachen], which for epistemological reasons could not be identified, could, in the last instance, only brought to a complete and plausible comprehension / reenactment [Nachvollzug], by giving the accidental happening [Zufall] the place which it was denied by strictly scientific standards: that of fiction. 173 Stefan Muthesius taught at the University of East Anglia and published on 19 th and 20 th century architecture and design in England, Germany and Poland. His latest book is The Poetic Home. Designing the 19 th Century Domestic Interior, Thames and Hudson 2009. s.muthesius@uea.ac.uk 173 Rößler, 254. German Version In Appendix 34
Stefan Muthesius Towards an ‘exakte Kunstwissenschaft‘(?) Appendix: Prange pp 94-5 Zusammenfassung Der heutzutage wieder zur Diskussion gestellte autonome Kunstbegriff entstand im 18. Jahrhundert. Er war das Ergebnis einer neuen Wissenschaft der Wahrnehmung und des Schönen, die Baumgarten als neue Disziplin der Philosophie einfu hrte und >Ästhetik< nannte. Hatte die antike und neuzeitliche Wissenschaftslehre dem rationalen Erkennen und Wissen stets eindeutig Vorrang vor der sinnlichen Erfahrung verliehen, emanzipiert die Ästhetik das Sinnliche zu einem intellektuellen Vermögen, das zugleich den Menschen sittlich >bessern< sollte. Die ästhetische Erfahrung begann damit die Stelle der Religion einzunehmen; Kunst und Bildung wurden zu exemplarischen bu rgerlichen Werten erhoben. Im wesentlichen hat sie Kant mit seiner Theorie des Geschmacksurteils und des Genies philosophisch begru ndet. Die Autonomie der >schönen Kunst< ist ein Ergebnis seiner >Kritik der Urteilskraft
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9/SM1 - Journal of Art Historiography

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