While Hegel’s influence on Arthur Danto has been examined in relation to specific parts of his thought, an overall analysis of said influence is still wanting. In this article, I analyze the presence of Hegelian influence in Danto’s complete thought from three perspectives: (1) Danto’s acceptance of Hegelian assumptions when it comes to the conception of history, narrative realism and historical progress, which allows him to combine timeless essentialism with historicism, (2) the cognitive aspect of art and the conception of (...) art as an embodied symbol, as well as the historical quality of said embodiment, and (3) the assumption that art’s trajectory coincides with the Hegelian prophecy that art will give way to philosophy, on which Danto’s “end of art” thesis is based. This examination not only illuminates the interrelation between the different parts of Dantian philosophy, but also reveals its systematic character. (shrink)

Danto’s philosophy of history of art has undergone several transformations. It is possible to distinguish three “phases”: in the first, history is considered an a posteriori construction (see Analytical Philosophy of History). In the second phase, history becomes an internal development within art itself. In this case, with the end of history, art dissolves into its own philosophy (see The Philosophical Disenfranchisement of Art). In the third phase, history is still an internal development, but now, with the end of history, (...) art and philosophy become independent of each other (see After the End of Art). This essay focuses on two issues: first, on the difficulties of an art history after the end of the history of art; secondly, for what reasons Danto claims that the history of art is ended. Danto has explained the “political” reasons for this choice, namely the attempt to free art from the repressive and disenfranchising moves of philosophy. This essay aims to outline the epistemic reasons: the history of art “must” end, because only on this condition is an essentialist definition of art really possible. (shrink)

The article aims to provide a point of view for understanding the conceptual genesis of ‘post-history’, the key idea of Danto’s theory of contemporary art. To do this, reference is made to an essay from Beyond the Brillo Box which analyzes the various forms the past has assumed in the Western tradition, from the point of view of the influence exerted from narrative structures on artists and their practices. Danto’s argument will be clarified through the notion of ‘regime of historicity’ (...) (Hartog). Based on this, the article discusses three different paradigms of the historicity of art: each is the expression of a specific experienced mediation between the temporal dimensions of the past, present and future. First of all: the relationship of imitative recovery of the past, corresponding to the pre-modern scheme of history understood as exemplary and repeatable. Later, the article focuses the link of transformation/negation of the artistic past, both corresponding to the modern, linear and vectoral view of history. Finally, it will emerge the spatialized exploration of the past, that is, a neutral relationship with it no longer marked by the principle of authority: Danto’s post-history points out a situation in which the historical past of art is an available repertory of styles to be used. (shrink)

Danto inicia su filosofía de la historia del arte con un núcleo problemático que inaugura el modernismo: una obra de arte llega a ser indiscernible de una mera cosa, en la medida en que es el resultado lógico de la narrativa de un cierto periodo. Hablar sobre el fin del arte es hablar de las razones que sustentan esa narración y de la posibilidad de su culminación. Se propone una crítica, a partir de la relación entre esencialismo, historicismo y pluralismo, (...) para examinar su controversial tesis sobre la clausura histórica del arte por agotamiento de su impulso cognitivo. Danto begins his philosophy of the history of art with the problematic issue that characterizes modernism: a work of art becomes indiscernible from a mere thing insofar as it is the logical result of the narrative of a certain period. To speak of the end of art is to speak of the reasons that support such narrative and the possibility of its culmination. The article proposes a critique on the basis of the relation among essentialism, historicism, and pluralism, in order to examine Danto's controversial thesis regarding the historical end of art due to the exhaustion of its cognitive impulse. (shrink)