Abstract
AbstractThis essay links Jean‐Luc Marion's phenomenology of fine art to his description of Christian love. It does so by carefully showing how Marion's overall project is closely related to Kant's well‐known account of the relationship between aesthetics and morality. While Kant and Marion both believe that aesthetic experience can lay the groundwork for moral action, their contrasting views of morality lead them to very different articulations of such a relationship. While Kant sees encounters with fine art as preparing individuals for the particular kinds of disinterested judgments characteristic of moral decision‐making, Marion sees artwork as preparing the subject for the openness toward intuitive excess that is necessary for love.
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