This paper aims to offer an analysis of the different values of ugliness in the art world and, particularly, in the contemporary one. After a brief description of the history of the concept of ugliness in the Western world, I focused on the role it plays during the 20th century, one heavy with events and theories. Through the theory of the analytical philosopher Matthew Kieran, the paper ascribes the artistic values (cognitive, relative, and psycho-social) to ugliness. To this end, the work of Maria Lassnig, who lived from 1919 to 2014, is then analyzed. One of the main outcomes of this work is to point out how ugliness has been reabsorbed in the art world by now, and how, for the most part, it has lost its controversial and negative charge. Recently, in fact, ugliness seems to have been accepted, and it’s now often implemented in contemporary works of art with a certain neutrality.
La tesi propone un’analisi dei diversi valori del brutto all’interno del mondo dell’arte e, in particolare, di quella contemporanea. Dopo una breve descrizione della storia del concetto di brutto nel contesto occidentale, mi sono soffermata sul ruolo che ricopre nel corso del Novecento, un secolo estremamente denso sia dal punto di vista storico che da quello teorico. Tramite la teoria del filosofo analitico Matthew Kieran, la tesi riconosce al brutto i cosiddetti valori artistici: quello cognitivo, quello relativo, e quello psicosociale. Con questa chiave di lettura, viene poi analizzata la produzione dell’artista Maria Lassnig, vissuta tra il 1919 e il 2014. Risultato principale del lavoro è quello di evidenziare come il brutto sia ormai stato riassorbito dal mondo dell’arte, e come abbia, per gran parte, perso la sua carica polemica e negativa. Recentemente, infatti, il brutto sembra essere stato accettato, e viene implementato all’interno delle opere d’arte più contemporanee con una certa neutralità.
Sul valore artistico del brutto. Dal Dadaismo a Maria Lassnig
TOMASELLA, MAIA
2021/2022
Abstract
This paper aims to offer an analysis of the different values of ugliness in the art world and, particularly, in the contemporary one. After a brief description of the history of the concept of ugliness in the Western world, I focused on the role it plays during the 20th century, one heavy with events and theories. Through the theory of the analytical philosopher Matthew Kieran, the paper ascribes the artistic values (cognitive, relative, and psycho-social) to ugliness. To this end, the work of Maria Lassnig, who lived from 1919 to 2014, is then analyzed. One of the main outcomes of this work is to point out how ugliness has been reabsorbed in the art world by now, and how, for the most part, it has lost its controversial and negative charge. Recently, in fact, ugliness seems to have been accepted, and it’s now often implemented in contemporary works of art with a certain neutrality.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/10298