Abstract
Form theories in Hofmannstahl’s aesthetic program aim at a reciprocal empowerment of life and art. Titian’s last painting in Tod des Tizian (1892) has to express a concept of unity and totality of all living things. Most disciples are not able to understand this, as they can’t get free of the model of existence of the aesthete, who rejects life, perceiving it as abandoned to chaos and disorder, but is incapable of replacing it with any other form because he exalts art as an object of mere idolatry, as a pure and simple instrument of defence from the pitfalls of life.
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