De la pathétique artistique à l’émotion esthétique

Emotions have a decisive place in the humanist theory of arts that reigns in Europe between the 16th and 18th centuries. They are not only objects of representation (we have to recall that the « expression » of passions is a part of painting, just like drawing, composition or colours), but also its...

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Main Author: Carole Talon-Hugon
Format: Article
Language:fra
Published: Centre de Recherches Historiques
Series:L'Atelier du CRH
Subjects:
Online Access:https://journals.openedition.org/acrh/7301
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author Carole Talon-Hugon
author_facet Carole Talon-Hugon
author_sort Carole Talon-Hugon
collection DOAJ
description Emotions have a decisive place in the humanist theory of arts that reigns in Europe between the 16th and 18th centuries. They are not only objects of representation (we have to recall that the « expression » of passions is a part of painting, just like drawing, composition or colours), but also its purpose : movere constitutes, with docere and placere the triple goal of the painter and of the poet. Yet, during a particular period of the western history of arts, starting in the 2nd half of the 19th century and ending a century later, the link between arts and emotion was interrupted. Modernist esthetics refused the idea that arts should represent the emotions, provoke them, or that they provide models of passional behaviour. In the same time, a new philosophem triumphed : that of a specifically esthetic emotion. This article, dedicated to the case of painting, exposes the passage from classical and romantic pathetic to the modernist esthetic emotion, by studying its reasons and causes.
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spelling doaj.art-7e7e9067de314d9e8821221bf38b8d872024-02-13T14:00:07ZfraCentre de Recherches HistoriquesL'Atelier du CRH1760-79141610.4000/acrh.7301De la pathétique artistique à l’émotion esthétiqueCarole Talon-HugonEmotions have a decisive place in the humanist theory of arts that reigns in Europe between the 16th and 18th centuries. They are not only objects of representation (we have to recall that the « expression » of passions is a part of painting, just like drawing, composition or colours), but also its purpose : movere constitutes, with docere and placere the triple goal of the painter and of the poet. Yet, during a particular period of the western history of arts, starting in the 2nd half of the 19th century and ending a century later, the link between arts and emotion was interrupted. Modernist esthetics refused the idea that arts should represent the emotions, provoke them, or that they provide models of passional behaviour. In the same time, a new philosophem triumphed : that of a specifically esthetic emotion. This article, dedicated to the case of painting, exposes the passage from classical and romantic pathetic to the modernist esthetic emotion, by studying its reasons and causes.https://journals.openedition.org/acrh/7301SelflessnessEsthetic emotionsExpressionFormalismMovereLe Brun (Charles)
spellingShingle Carole Talon-Hugon
De la pathétique artistique à l’émotion esthétique
L'Atelier du CRH
Selflessness
Esthetic emotions
Expression
Formalism
Movere
Le Brun (Charles)
title De la pathétique artistique à l’émotion esthétique
title_full De la pathétique artistique à l’émotion esthétique
title_fullStr De la pathétique artistique à l’émotion esthétique
title_full_unstemmed De la pathétique artistique à l’émotion esthétique
title_short De la pathétique artistique à l’émotion esthétique
title_sort de la pathetique artistique a l emotion esthetique
topic Selflessness
Esthetic emotions
Expression
Formalism
Movere
Le Brun (Charles)
url https://journals.openedition.org/acrh/7301
work_keys_str_mv AT caroletalonhugon delapathetiqueartistiquealemotionesthetique