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" The Origin of the Work of Art " ( German: Der Ursprung des Kunstwerkes) is an essay by the German philosopher Martin Heidegger. Heidegger drafted the text between 1935 and 1937, reworking it for publication in 1950 and again in 1960.
- Martin Heidegger
- 1950
In order to discover the nature of art that really holds sway in the work let us approach the actual work and ask it what and how it is. Everyone is familiar with artworks. One finds works of architecture and sculpture erected in public places, in churches, and in private homes. Art-works from the most diverse ages and peoples are housed in ...
13 sept. 2012 · The translation of ‘The Origin of the Work of Art’ is by Albert Hofstadter; it appeared originally in Poetry, Language Thought, New York, Harper & Row, 1971. I once had the opportunity of talking about the difficulties of Heidegger’s text with Professor Hofstadter at the University of California.
- Patrick Hutchings
- sophia@philosophy.unimelb.edu.au
- 2012
20 juin 2024 · “The Origin of the Work of Art”, begun in 1935 but not published in full until 1960 – in other words, it spans the whole of the period in question – is Heidegger's most sustained treatment of art, and it is that text that this chapter focuses on. “The Origin of the Work of Art” comprises three lectures, an Epilogue and an ...
- Jonathan Dronsfield
- 2009
flicted about contemporary art. In "The Origin of the Work of Art," Heidegger wrote not about Picasso or Braque but more about Greek temples and vases. He did speak briefly about Van Gogh (as depicting the reliability of the earth on the mud of peasant shoes), ultimately telling us that art was about understanding the interrelations joining
29 août 2011 · History of the Ontology of Art. First published Mon Aug 29, 2011; substantive revision Thu Apr 11, 2024. Questions central to the ontology of art include the following: what sort of things are works of art? Do all works of art belong to a single category of entities? Do they have multiple instances?
1 ‘The Origin of the Work of Art’ 1. As mentioned in the introduction, Heidegger first turned to extended thinking about art in the mid-1930s.1 In close proximity to each other he produced the lectures on Hölderlin’s ‘Germania’and ‘The Rhine’(GA 39) of 1934–5, the Introduction to Metaphysics (IM) of 1935, in which art
