Arnold Gehlen on Modern Art, Culture and Posthistoire

Daniela Blahutková

Abstract


Arnold Gehlen's use of the term posthistory can be traced back to his writings from the 50s. It occurs also in Zeit-Bilder. Zur Soziologie und Ästhetik der modernen Malerei (1960/1986), where his theory of pictorial racionality in art history is formulated and "peinture conceptuelle" as the key tendency of modern painting is appointed. Focusing on both, Gehlen's aesthetics of modern art and his theorem of posthistory (or crystallization of socio-cultural structures), we try to remind of the conservative thinker's contribution to today's debates of art and art history.


Keywords


Arnold Gehlen; posthistory; sociological theory of art; aesthetics of modern painting

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DOI: https://doi.org/10.5281/zenodo.3666046

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ESPES (ISSN 1339-1119) is published biannually by Society for Aesthetics in Slovakia
Institute of Aesthetics and Art Culture, Faculty of Arts, University of Presov, Slovakia

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