Hedwig Conrad-Martius on Color, Light, and the Irreality of the Artwork

Abstract

ABSTRACTIn her article “Die Irrealität des Kunstwerkes,” first published in 1938, Hedwig Conrad-Martius delves into the question of the artistic representation of the real reality of the world, which basically concerns the classical distinction between art and nature. It is in this context that Conrad-Martius rejects idealism and the concomitant assumption that an artwork imitates the “living reality” of Nature. She clearly distinguishes between the task of phenomenology and that of art: while phenomenology should surpass the sphere of mere sensuous appearances and inquire into the “real reality” (wirkliche Wirklichkeit) of the world, phenomenological aesthetics should conversely deal with the expressive character of appearances and assume their inherent “irreality” (Irrealität), such that phenomenological ontology and aesthetics involve distinctive ontological realms that vary according to the subject-matter. However, while she clearly distances herself from Husserl’s phenomenology in her search for the consciousness-independent facticity of the world, she concurs with him in her eidetic enquiries and in the assertion of the creative potential of art, which lies in the creation of a new, even “irreal,” world. For this purpose, I will explore confluences and divergences between their respective conceptions.