Max Raphael, de ‘ibVon Monet to Picasso’/ib à ‘ibhowe a work of art?’/ib Esquisse d’une théorie normative de l’art
Article
French
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10670/1.kh28cj>
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Abstract
Since Von Monet zu Picasso (From Monet to Picasso, 1913), Max Raphael has continually reassessed the concepts of his aesthetic theory. He tested his method by questioning the future of art from the point of view of Cubism and by multiplying the historical examples adapted to his powerful descriptions. In his formal analyses, Gestaltung holds a special place which takes shape as he changes over time. Raphael’s dialectical style also allows him to modulate the semantics of the Kunstbetrachtung, delving into the legacy of Wölfflin and Simmel in an innovative way.