The work of art as a manifestation of form: Formalistic materialism in the theory of art

Abstract

The basic purpose of this paper is to point out and theoretically illuminate the key moments of transformation and re-constitution of the art theory during the first half of XIX century, taking as its point of departure the role and influence of Organicism as a philosophico-reflexive basis, gnoseological postulate and methodological pattern. Sedlmayr's attempt at foundation of a comparative morphology of architectural styles, taking into account the three constitutive building elements as analytical tools of study of concrete-historical manifestations of style: material structure (building materials), technique and intended usability, is a matter of particular attention of the following analysis. Regarding Viollet-le-Duc, the stress is on the interpretation of his conception of architectural form as the application of logically founded general laws of statics and construction, with a special emphasis on his thesis of logical and purposely-rational correspondence of the outer form and the functional structure of the interior. Finally, an attempt is made at the clarification of the revival of Viollet-le-Duc's explanatory pattern within the dynamic and subjectivistic conceptual transformations of form in Fiedler's, von Hildebrandt's and Focillon's theoretical conceptions.