Artist in the history: Konrad Fiedler

During the past century it was usual consider the artist as a kind of human that lived in the his word, where he imagined and created, independently from other causes form himself; nothing was more false of this concept and idea, because the artist was in the history, in the town, in the word and he was attentive to gain an job, costumers and other; hence the artist was the human that was present in the history; its natural, following the comments, but a historical art man as Roberto Longhi(1890-1970), at last in Italy, was the idealist exponent, although didn’t declared, of this address, that has took directly from Hegelian philosophy, and the in literature, was exponent otherwise idealist Benedetto Croce(1866-1952). But we can consider that sometime also a historical art man as Konrad Fiedler(1841-1895), that was born and grown up in the moment influenced from Hegel(1770-1831), and his idealism he, in the principal book Uber den ursprung der kunstlerisschen tatigkeit, has ascertained that that the artist is in the history, and these words are the proof: “These stressed the rapport of man to word that surrounded. Because if every explication about the nature of creation of art are unsatisfactory, the unique hope of find a new solution to this old problem, it is to go back to rapport of man to the external word…”; it is certainly isn’t a daily problem, but purely intellectual and directly reportable to the critic of art; but who has read the art history during years and has read sometime, no certainly always, the ideal consideration of artist, it is an ease and surprise, because it preview usually that the idealization of artist is usual as false consideration. This new address of interpretation of art history, in opinion of Fiedler: “It want above all a change from origin in the conception of man to external word…”; it is further ascertainment of the artist is a man. I must also consider that this concept is repeated constantly for the book, and from original it become boring, but we must also think that the originality of this idea, then, was very important and represented a novity, because contrasted the dominant Hegel’s Idealism; and we can also consider that this consideration of humanity and historic nature of artist, Fiedler has translated in more interpretation, because he took the element of feel, this is sensation: “The human gender is able of sensations and perceptions, and he took only effects that he transformers to goods of conscience.”, it is the preclara indication that the humanity of artist, fortunately, is present and the artist, as everybody, is subject to feel and emotion, that he takes also from the society, that Fiedler not mentions but when he talks of artist in the history, he implied the society, hence the human gender.

Alessandro Lusana