Philosophical reception in modern art history
This article explores the applicability of philosophical reception in terms of analysis of the phenomenon and the essence of art and artworks. The goal of this research lies in substantiation of the need for proliferation of the philosophical reception in art history for the holistic study of art in the aspect of its “ontologization”. Emphasis is placed on the fact that modern art history sets the tone in examination of the formal and substantive sides of art, its types and genres. Methodological and theoretical framework for art history is the philosophy of art, which recently however does not hold the leading position in the analysis of art, and even yields to aesthetics. The problem of comprehending the essence of art and the value role of artwork in life of a person and society remains open. It is rather not the subject of close attention of the art historians, but may become such. Thus, the art history analysis should be complemented with the philosophical reception. Namely this aspect is given special attention in this research. Philosophical reception is a peculiar algorithm for understanding the meanings and ideas of the artwork, as well as realization of the essence of this phenomenon. Art is often viewed as one of the forms of collective consciousness (along with science, mythology, etc.); however, the philosophical reception helps to establish the value-semantic nature of art that prevails over the social and aesthetic. Comprehension of any genre or type of art through the prism of art history is essentially refracted in the philosophical reception. In this case, the researcher is able not only assess the style and genre nature of the artwork, but also to trace its position in the turn of eras, personality concepts, ideologies, and worldviews. It is undoubtedly gives an apparent advantage to any modern researcher who aims to perceive the essence of art.