This paper proposes a comparison between the myth of Prometheus and Pliny the Elder’s account of the origins of painting to assess the technical characterof images. Such a character is seen as a precondition for understanding their epistemological value, as well as for supporting the need for hermeneutics at any level of artificial intervention. Finally, part of Horst Bredekamp’s work will be presented as an example of a methodology that combines hermeneutics and iconology based on such a technical character.

This chapter examinates the concept of Baroque habits in its various declensions, dwelling in particular on aesthetic habits through the case study of Guarino Guarini’s Chapel of the Holy Shroud in Turin. In the first part three declensions of Baroque habits, linked together by profound implications, are identified: habits of knowledge, referred to the ideal of Baroque encyclopedism; moral habits, framed in the Baroque practices of government of affects; and aesthetic habits, consisting in regimes of or- dering of sensible experience (...) which finds in the Wunderkammer one of its highest manifestations. In the second part of this chapter, these concepts are applied and further elaborated in the light of one of the greatest results of European Baroque, the Guarinian Chapel. Through the example of the Turinese architecture it is demon- strated how Baroque representative practices perform a gesture of immanentization of the transcendent principle by composition of light and application of geometry. Such “sensible metaphysics” is aimed at both the government of affects and at the creation of a habitable space of experience, where the infinite transcendence of Christian divinity becomes source and object of habits. (shrink)

The paper aims to understand whether morphology can be framed as a language for aesthetics. In particular, whether Olaf Breidbach’s contribution can determine its fundamental terms. These are related to the notion of forms and images. Hence, the paper is structured into three parts: i) framing of research on morphology in Ger-many; ii) analysis of Goethe’s method and vocabulary from an aesthetic standpoint; iii) presentation of Breidbach’s proposal in relation to Goethe.

Gli studi visuali hanno dato un fondamentale contributo alla comprensione del valore e del ruolo delle immagini nelle nostre società. Partendo dalla prospettiva della storia dell’arte e dei suoi strumenti interpretativi, il pensiero di Horst Bredekamp ne rappresenta uno degli snodi critici più significativi. Questo saggio percorre il suo itinerario teorico e si interroga sulla questione principale che lo orienta: quella del potere delle immagini, la cui posta in palio è la possibilità di una educazione dello sguardo e una diversa (...) organizzazione della cultura. È questo il punto in cui la nuova iconologia di Bredekamp rivela la sua affinità con la morfologia e da qui muove la ricostruzione del suo lavoro. (shrink)