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THE DEFINITION OF THE ART WORK: ONTOLOGICAL ASPECTS

Marina Morari1

n acest aticol, pe baza dezvoltrilor teoretice se define te opera de art din perspectiv ontologic i se identific calit ile/nsu irile date operei de art: ca proces i produs

spiritual, unitar i multiplu. Opera de art este rezultatul mai multor variabile, care decurg din: tipul de gndire, modulde ac iune, complexitatea personalit ii artistice, interac iunea subiectului cu mediul cultural i societatea. Opera de art se propune experien ei artistice, la captul creia se constituie obiectul estetic purttor de valori.Cuvinte cheie: opera de art, principii de organizare a operei de art, experien estetic

Based on the theoretical developments, the article hereb defines the art !or" from theontological perspective and identifies the #ualities/features given to the art !or": as spiritual,unitar and simple process and product.

$he art !or" is the result of man variables, resulting from: the tpe of thin"ing, the !a ofaction, the complexit of the artistic personalit, the interaction of the sub%ect !ith thecultural environment and the societ. $he art !or" is proposed to the artistic experience, t theedge of !hich the aesthetic ob%ect is constituted as value carrier.

Key Words: the !or" of art, principles of organizing the art !or", aesthetic experience

Art is a dimension by which the establishment of the man in the society istaking shape in a totally specific way. The work of art is the mans mostdetermined modality of expression. From Parmenide and Aristotel to Hegel andHeidegger the important landmarks of the identity interpretation of the art workare b!lleted. "ignificant contrib!tions keeping to a great extent their topicalityha#e been bro!ght by the $omanian philosophical schools% &!cian 'laga T!dor(ian! )onstantin *oica.

'y means of arts the person transforms the o!ter and the inner world as+ob,ect of his spirit!al conscience- in which as ./. Hegel notes recogni0esown ego and looks at it from the eternity perspecti#e 2 p. 234. $eferring to theessence of art ./. Hegel in a metaphysical light remarks the idea accordingto which the artistic creation does not p!rchase anymore the spirit!alsatisfactions expected from it by the other5cent!ry people idem p.134. 6n theopinion of the same thinker 7the work of art is not a prod!ct of nat!re b!t it is

reali0ed by the h!man acti#ity- +is essentially done for the man and namely itis more or less taken from what is sensiti#e for his senses-8 +anyway b!t thework of art is not only for the sensiti#e perception as sensiti#e ob,ect b!t itsstate is in s!ch a way that being something sensiti#e it is at the same timesomething essential for the spirit- ibidem p. 21 914.

The work of art is the prod!ct created in the acti#ity of creation whichconstit!tes the starting point of the +creation- and the +creator-. As M.

1Associate Professor :octor of Pedagogy

-Alec! $!sso- "tate ;ni#ersity 'alti $ep!blic of Moldo#a mmmorari

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Heidegger states the origin of the work of art is art% +The artist and the workare, each in itself and in their correlation thro!gh a third term which indeed isthe first one as well namely thro!gh the something from which the artist and thework of art take their names% thro!gh art- 9 p. 134. 6n other words none of

these terms can exist one witho!t the other. +Art is nothing else that a word towhich nothing real belongs anymore- idem4. As a way of being the work of artis an ob,ect +something made- according to M. Heideggers expression withlots of attrib!tes and determinations thro!gh which it differentiates from anyother type of work at the same time marking its identity. The origin of the workof art sho!ld be searched in the origin of its essence +the work is born from andthro!gh the acti#ity of the artist- 94. &ooking for an answer to the =!estions%what is and how exactly is a work of art where and how does the art exist M.Heidegger thinks that the essence of art cannot be ac=!ired by a comparati#eresearch of the existing works of art b!t by determining the direct and f!llreality of the work of art. '!t by comparing the work of art with a thing M.Heidegger clearly reaches two ideas 9 p. 9>4% 1. The means by which the workof art catches the reality are entirely special they seem +both ade=!ate-8 ?. Thesomething which constit!tes the content of the art work does not belong to thework itself as the artist transposes into its str!ct!re +the way he concei#es thework-. From here the work incl!des +the opening for the establishment of

being- 9 p. 994. The word openingnecessarily corresponds to the being in theHeideggerian meaning and the discover necessarily belongs to theestablishment. The being opens as soon as the establishment is disco#ered. For a

reality to be disco#ered by the man it sho!ld obligatorily enter in the field of theh!man being opening. A person which disco#ers one thing@a work is the one thatattracts the work@creation in the opening field of own being and in s!ch a wayabsorbing him in his own field of interest he confers a being to the thingnamely a meaning a #al!eB which it is ac=!iring only now.

As a constit!ent of the work of art the artistic comes as something elseto which art is in beside work. The opera is a symbol. The general representationin the perspecti#e of which the art work characteri0ing is mo#ing for a longtime are the allegor and the smbol. These characteristics of the work are a

kind of s!pport in the work of art and this is what indeed co!nts. +The work ofart opens in a specific way the establishment of the being- the artist of thework tho!gh is the one to 7sacrifice himself-. 6n relation to the opera the artistis an indifferent element C one point which destroys itself while creating lettingthe creation pass onto the foregro!nd. The work of art ex-posesist&ufstellendBa world +by rising in itself the work opens a world and keeps it in a permanentso#ereignty- 9 p. >?4. The world which M. Heidegger speaks abo!t is thecontent of the image of the works of art which may become an + opening- forthe art recei#er +a necessity of closeness- +a directing to high-. 6n the process

of making 'erstellungB the work is prod!ced for this or that material d!e tofact that the nat!re of the opera implies the character of pro-posal itself ist

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'erstellendB. 6t means that the essence of the work refers to two feat!resmaking a common body% thepro(posalof a material and ex(posureof a world.The work of art contains the tr!th occ!rrence M. Heidegger says. Th!s thewor !e"o#$%& o' the wor is one of the ways for the tr!th to become and

occ!r. P!tting the tr!th into the creation means +p!t on mo#e and make thenat!re of the work appears- 9 p. DE4. M. Heideggers point of #iew is alsorele#ant according to which not the work creation only b!t also +its storage andconfirmation- are both important. The phrase +confirming storage- in M.Heideggers concept 9 p. 14 probably designates the act of recei#ing the workof art a kind offoundationwith three meanings% as offering a gift )chen"enB asfo!ndation *r+ndenB as beginning &nfangen. $he gift andfoundationincl!deimmediacy which M. Heidegger calls beginning. The role of art being!nderlined by the fact that as many times as art occ!rs +when a beginningstarts History knows an imp!lse History starts or re#i#es-. The word +History-here does not represent a series of e#ents occ!rring in time b!t it identifies itselfwith a nation that +happens by ins!ring themsel#es into what they ha#e beenconferred- 9 p. 24. M. Heidegger states that a meditati#e acknowledgement it

prepares the space for the work the path for the creators their own place for thekeepers5confirmersB indispensable to art it may reali0e by a raise onlyleis!rely and they may decide whether art can be an originating %umpand afterthat become a predictive %ump or maybe it sho!ld come in the end so that itaccompanies !s as a simple phenomenon belonging to c!lt!re.

The tr!ly #al!able art M. Heidegger is saying by which it represents in

itself and its essence has been estranged from the man sei0ed to f!lfill its d!tiesin the mans existence. 9 p. 1GD4. The philosopher considers that the art can be!nderstood not only as expression of the bea!ty in itself or of the li#ing b!t itm!st be looked at as a tr!th expression of the being. )onse=!ently art can bein#estigated as an aesthetic fact and artistic phenomenon at the intersection ofthe aesthetics with arts and #al!e philosophy. The gro!nds of the theoreticalde#elopments from the book $he Origin of the &rt -or" by M. Heideggerwhich 6 synthesi0ed more concisely abo#e e#en today keeps its power toexpress meanings in forms addressing o!r sensiti#eness and constit!tes the

f!ndamental meaning in which the work of art re#eals its hidden.6n another order of ideas T!dor (ian! re#eals the work of art as a n!cle!s

of its aesthetic system o!tlining the work of art regarded in it the process of itsprod!ction and reception. 6n essence +the artistic creation is in fact intentional.6t awaringly heads towards the prod!ction of the work- 11 p. ?134 of anentirely new world against what we ha#e in the nat!ral and existential premisesin general. The work of art is the res!lt of a procession +a special way oforgani0ing the material and composition of the conscience data-. 6n the operaresearch we sho!ld differentiate between the processed material and the act of

organi0ation.

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ne of the ideas most characteristic to T. (ian! is that +the material- ofarts is not !nexpressi#e b!t +lit and percei#ed by the significance of certain#al!es- the origin of which is +in the artists so!l in its way of !nderstandingand experiencing the world and life-% the feelings of the artist are not simple

acc!m!lations of facts and images they are also their appreciation and selectionas +prior to being an artist the art creator is a man able to express the world in apersonal way and each of his experiences has a moral or political theoretical orreligio!s meaning- 11 p. ?294. :ifferent +#al!es interlaced in its !nity- of theworkB the hierarchical str!ct!re representing +s!bs!mption of m!ltiple #al!es!nder the large category of the aesthetic #al!e- C finally contrib!tes to ac=!iring+ spirit!al depth-. +The work has its own life- not beca!se + it is g!ided by agoal chosen by the creator- g!idance which is possible namely beca!se the#al!e is +another attrib!te characteristic to the work- 11 p. >?1 >?4.

A notable contrib!tion constit!tes the comprehensi#e definition gi#en tothe work of art by T. (ian! being #ery general it can be applied to all the arts%art $s a wa( o' or&a%$)$%& the #ater$al a%* *ata o' the "o%s"$e%"e 11 p.1234.The work of art !nderstood as a whole a final and perfect cosmos to orfrom which yo! cannot add or take anything T. (ian! recogni0es an eternalexistence of the work of art ins!red by its aesthetic feat!re. This feat!re gi#esthe work the power to chronologically transgress time and establish itself in thetime as s!ch !nderstood as a form of the !ni#ersality by which Platon called+the aion pict!re- meaning thro!gh eternity. At the same time the wor o' art$s *$re"tl( relate* to the e%t$re so"$et(+ !( $ts extraasthet$" ,ales which it

s!ms !p and s!pposes to its !nity. The extraaesthetic content itself gi#esexpressi#eness to art and makes it participati#e in the dynamism of the historiclife and excises a great force of infl!ence on the society. As pr$%"$ples o'or&a%$)at$o% o' the wor o' art according to T. (ian! are well recogni0ed11 p.1234%aB Isolat$o%. The first constit!ent moment of the work of art isolation C flowsfrom characteri0ing the aesthetic #al!e as a goal in itself and allows the isolationof the work from the complex of phenomena compiling the field of practicalexperiences. The isolation modalities #ary each time. Th!s the silence

preceding the beginning of a m!sical creation or of a theatre representationworks in these arts as an isolation framework. The silence preceding the m!sic isnot only a psychological condition for its good reception b!t also an aestheticconstit!ent moment. That which is represented by the silence and darkness inm!sic is the framework in painting. There is no work of art which by its way ofrepresentation does not display its feat!re of being isolated against the rest of thereality.

bB Or*er$%&. For a conscience which is not g!ided either by the scientificdiscipline or by the art the impressions penetrate in it in a completely cas!al

manner. The world icon can be p!t in order b!t !nlike science art does not need

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to sacrifice its sensiti#e =!alities. /e may say +art remains in all circ!mstancesthe world ordering as an image-.cB Clar$'$"at$o%. /hile knowing the world we can disting!ish a percepti#e anda normati#e content its aspect and significance. )larification as an art

constit!ent moment for its works does not in#ol#e the obligati#ity to representclear creations only meaning well o!tlined and well lit.6n painting for example the representation of the chiarosc!ro comes off froms!ggested elements in m!sic and poetry the states of spirit are expressed withno well determined shape.dB I*eal$)at$o%. 'y the operation of isolation ordinance and clarification the

piece of material or the gro!p of facts of the conscience processed by the artistmay ac=!ire an ideal feat!re which compiles the fo!rth constit!ent moment ofthe art work. The art work may be considered independent of the conscience itreflects to be able to determine this way the pec!liarities of its ob,ecti#estr!ct!re. Art always remains correlated with the h!man spirit. 'eing a way ofappearing it is a way of appearance for the h!man science. The pec!liarities ofits str!ct!re are constantly adapted to the conscience f!nctions. 6solated fromamidst the world not conditioned by that simple appearance we sho!ld admitits ideal feat!re. )onse=!ently merging the axiological point of #iew T. (ian!B with the!nderstanding of the work in the ontological perspecti#e brings !ndo!btedly anincrease of clarity and st!dy in the field of o!r topic of research !sef!l intackling the artistic phenomenon in ed!cation.

A different position is taken by the direction of eorg &!kIcs who b!ildsthe ontology of the work foc!sing on the meaning of the creating s!b,ecti#ity.The merits of . &!kIcs lie in the elaboration of the re'le"t$o%"o%"ept and its!ltimate application $% the st*( o' the art wor. +J#en we cannot indicate in

principle any determined ob,ect in the existing world in itself able to be+imitated- by a determined ob,ect in an art work it certainly doesnt meancancellation of its character of reflecting the reality- E p.?324. As +the art worknat!rally and primarily constit!tes for !s C !s in the aesthetic reflection not for!s C which directly meets the important characteristics of the self- E p. ?3E4.

The exemplarity of the work is obser#ed by . &!kIcs thro!gh the fact that it isnot a copy based on the specific of the creation% the connection between+existence and perfection- b!t also +,!st of a determined way of performance-E p. ?D1 ?D?4. Against + all the other ob,ectifications- the art creation is +the

being for itself- which res!lts into +a direct action of the s!b,ectification on thewhole and an all the parts of the art work- as +the existence for itself- it +is +aworld- a kind of ob,ecti#e self which stands in front of the recepti#e ones KBin a gro!nded need- E p. ?D94. Thro!gh these #ery significances the workappears as a +s!preme way the richest and most !nfolded of display of the

h!man s!b,ecti#ity. 6ts power of making the s!b,ecti#ity reach the people inexpression towards flo!rishing is limitless in itself. '!t this power is of an

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ob,ectification one of p!tting of the new conception and in no case of as!b,ectL E p. ?D>4.

6n search of a definition of the art work $oger Pro!#et settled threeconditions 1G p.1G4% 1. $he onditions of the ntelligibilit when the definition

is comprehensible witho!t the mediation of an art theory8 ?. $he ondition of0eutralit when the definition does not constit!te a preliminary ,!dgment of#al!es artistic@aestheticB8 2. $he ondition of 1niversalit when the definitionis applied to the ma,ority of the things we call art creations. Preocc!pied byfinding a definition reported to the abo#e mentioned conditions $. Pro!#etidentifies the extrinsic and relational feat!res in the art creation classifying allthe attempts of defining the art work in more gro!ps idem pp. 925E24%1. :efinitions by representations form or expression the theory of the creationas representation C Platon8 the theory of the arts expressi#eness C $obin eorge)ollinwoodB8?. The definition thro!gh the aesthetic experience Monroe 'eardsley *oel)arrollB82. The proced!ral and instit!tional definition the instit!tional theory of the art 5eorge :ickie Arth!r :antoB89. The historic and intentional definition errold &e#insonB8>. The f!nctional and s!bstantial definition Aristotel *elson oodman $ogerPro!#etB.E. The definition as an art fact!al s!bstance erard enette :a#id AmstrongA. :enkenB.

6mposing as a methodological filter the intelligibility ne!trality and!ni#ersality $. Pro!#et describes analy0es and tests the main definitions of theart work in circ!lation% some of them en#oking extrinsic andrelationalproperties definitions by representation form or expressiondefinitions in terms of aesthetic experience others incl!ded in proceduralhistoric and intentional arg!ments. To come to a reasonable definition $.Pro!#et considers that we sho!ld o#ercome three diffic!lties re=!iring a#oidingeliminating the role of the context and dissol#e the ontology of the art work !sethe concept of the art work within e#al!ating terms8 not to excl!de the ob,ects

and e#ents from the category which we call art.Almost all the works of $. Po!i#et are characteri0ed by two ass!mptions% 1B

+no aesthetics exists witho!t ontology- and ?B any aesthetics sends towards acertain metaphysical position. The tentati#e to define the art work relates to thespecific of a strictly philosophical enterprise. The ontological problems regardthe way of existence of the art works or the meaning of their +nat!re-. $.Po!i#et in#okes +the manner of being- or the +way of existence- +the way off!nctioning- or + specific f!nctioning-B in order to characteri0e that whichmakes the art work be taken as s!ch 1G4. There are two s!ppositions common

almost to all the creations of $. Pro!i#et% 1B +there is no aesthetics witho!tontology- and ?B any aesthetic sends to a certain metaphysical position. The

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tentati#e to define the art work refers to the specific of an enterprise strictlyphilosophical. The definition is determining the significance or the concept!alcontent of a term or expression +/hat is ArtsN-B. 6t can be implied realnominal con#entional ostensi#e context!al nominal rec!rsi#e stip!lation

pers!asi#e ... ften tho!gh the definitions are #ag!e partial or obsc!re. Theydo not necessarily express themsel#es !pon the ontological stat!te of a thing+what does a work of art consist inN-B. 6n an almost scholastic manner$.Pro!#et states that the +art creation is an art fact!al s!bstance the aestheticf!nctioning of which determines its specific nat!re- 1G p. 3>4.

/e s!pport the #ision of Petr! 'e,an 14 according to whom thisdefinition does not answer the !ni#ersal exigence as it lea#es o!tside the artisticexperience where the message is important not its +creation- =!ality.

regory )!rrie mentioned that what we lack is not information for!nderstanding and e#al!ating the work b!t the elements from which the artwork is constit!ted Ap!d% 1G p. 114% the processHB thro!gh which an artistreached the discover:B of a certain str!ct!re"B at a certain momenttB all ofthese forming a type of action or e#ent. The form!la s!ggested by . )!rrie 5 x" H D O4 the artistic creation as an event(tpe is the ensemble of theseelements. This form!las is inspired from the theor( o' e,e%ts proposed byaegwon im thro!gh which is reali0ed the passing from the concept of thecreation as an ob,ect to the concept of the creation as an e#ent. 6n this respectthe creation is the creating acti#ity as a property of the artist reali0ation of theartist disco#ering something the art creation cannot be translated excl!si#ely in

e#ent terms as . )!rrie arg!es./e sho!ld remember the obser#ation of (. Morar D p.124 according to

which the art works besides the s!bstit!ted format of words so!ndsmo#ements lines #ol!mes colors etc. we find a meaning we cannots!bordinate to a concept or to a link of precise concepts a richer meaning andwhich contin!o!sly o#erflowing the concept pro#okes the limitless work of themeaning reestablishment. "o the artistic symbol is limited. The artisticoriginality is not only imm!table b!t also limitlessly symbolic. /e can say thatthe work is the finalist prod!ct endowed with #al!e of a moral creator who

!sing material and integrating m!ltiplicity introd!ced in reality a =!alitati#elynew ob,ect. This =!alitati#ely new ob,ect is original and symbolic in case of theworks of philosophy and science. 6t is imm!tably original and limitlesssymbolically in case of the works of art. Along with the appearance of the post5modern art they stress the interestfor the reform!lation of the working definition of the art creation. The

postmodern thinking is characteri0ed according to ean5FranQois &yotard 34by a #i#id homology with the modern art seen as a#angarde of thetransformations in society and thinking. More than that as arts in general may

be considered an -elementary school of the pl!rality7 /elschB the aestheticparadigm becomes the model according to which they reflect general

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philosophical orientations for example post5heideggerian and post5gadamerianhermene!ticsB and c!rrents coming from the science like the constr!cti#istthinking which some place in parallel with the postmodern thinking. 6n this order of ideas we sho!ld mention the #ision of MRdRlina :iacon! ?

p. E24 thro!gh which they refer to the reasons that led to re#ising the definitionof the art work from the perspecti#e of the modern arts. Th!s for example thecontemporary plastic arts gi#es an extremely large field of #erification more ofinfirmationB of the !s!al beliefs abo!t the identity and !nity of the art work as itis destroyed by a collage and by the proced!re of the collecti#e creation8 thecreation is not working anymore it becomes an e#ent or a lifestyle 5 -thesc!lpt!re of itself7 planned by Michel nfray following Fo!ca!ltB if it does notremain a simple mental pro,ect8 also they c!lti#ate the conf!sion oftencalc!lated between nat!re and artifacts. Art $s w$th*raw$%& 'ro# a% o!/e"t-pro*"$%& a"t$,$t( $%to a prel(

sp$r$tal o%e as the re#erie and meditation following amongst other thingsthe correlation of the artistic practice with the existence of the artist. Th!s theyconsider that art sho!ld become a goal in itself a tool of the existentialf!lfillment first of all of the artist and then e#ent!ally of the recei#er. "hesho!ld reconcile the man and nat!re from which he broke !p by his scientificmentality and techni=!e and to re5teach him the -li#ing7 to help him find thefeeling of intimacy with the world. ther artists !se the art as an experience ofdisco#ering the otherness of the ob,ects which can be interpreted either

positi#ely as reco#ery of a meaning of the +wonderf!l7 and of the +mirac!lo!s7

or negati#ely as expression of the alienation."o starting from the tra%s'or#at$o%s o' the art wor "o%"ept in the

a#ang!arde mo#ements dissol!tion of the work !nity of the a!thor in collages!sing as creating agent of the ha0ard in dadaism or of the inconscientio!s ins!prarealismB passing from happening and thro!gh those trials where therecei#er acti#ely contrib!tes to theproductionof the work of the str!ct!re or ofits config!rationB and ending with the radical experiments like the concept!al artand2and &rtor with the most recent of the digiti0ation C all these contest theconcept of creation.

6n contemporary art the creation is !nderstood on one hand as a proposalthat can be accepted changed or e#en declined by contemplators in their

position of participants to the -co5creation7 art being transformed in an actionessentially social and comm!nicational ? p. E4. n another hand it falls intothe opposite side by absol!ti0ing the creation into its reic character and wespeak instead of +art work7 by )t+c"or 3i4ce. ther pr!dently ad#ance #ag!esol!tions of the type that this concept that became problematic sho!ld belimited extended or eliminated. 6n other words we sho!ld choose betweenlimiting it by !sing it only for the J!ropean art between $enaissance and the

second half of the S6Sth cent!ry and !se it in a #ery broad meaning and atleast apparently neb!lo!sB as +e#erything that refers to history and the present

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of any c!lt!re and which is displayed in m!se!ms and exhibitions or is st!diedin sciences78 finally it co!ld be eliminated when they describe the contemporaryart ? p. 1D34. 6n the speciali0ed literat!re we cannot find appreciationsregarding the need of s!ch radical sol!tions. Probably the c!rrent

transformations in the art field regard the concept of the art creation in generalb!t as a one of its #ariants.As 6 ha#e mentioned the "o%testat$o% o' the theoret$"al pr$#a"( o' the

art wor comes today especially from the plastic arts. The fact can act!ally beexplained as most of aesthetics so far applied an ontological model from thefield of the plastic arts and calked in its t!rn by the work paradigm. Th!s theart work is considered a physical ob,ect endowed with the aesthetic #al!eobtained by processing a material of creati#e spirit!ality called artist. He had anideal content b!t a material shape the two aspects being indissol!bly linked.This is where the importance of the theory of the symbol for aesthetics comesfrom as the symbol was the nod!le linking two worlds that of the spirit and thematerial. '!t the work has a closed !nity that of the s!bstance8 the fact that itenters the b!dding and that its accidents #ary in time does not hinder it fromkeeping to a constant and contin!ity in other words a static identity.

"o the tra*$t$o%al *es$&% o' the art "reat$o%lea#es from certain ontologybased on a determined !nderstanding of the identity. The latter is characteristicto the common sense and that is why it roots deep in o!r c!rrent way of tacklingany ob,ect of the knowledge or action being defined as% nat!ral process contin!ed on the spirit!ality plan . "UaillesB delirio!s act e#en insane or mystical imp!lse of the :i#inity PlatonB sensiti#e expression of the Absol!te 6dea . HegelB spirit!al prelogical and immoral acti#ity '. )roceB p!re re#elation A. 'rUmondB s!blimated compensation or manifestation of the instinct!al discharge ".

Fre!dB a pathological prod!ct ). &ombrosoB or of the a!tomatic dictation A.

'rUtonB

free act random or simple game . rossB expression of the harmonio!s and s!perior synthesis of the #ital

a#ailabilities . M. !ya!B the art fact!al s!bstance the aesthetic f!nctionality of which determines its

specific nat!re ha#ing a relation between the non5aesthetic properties andthe aesthetic properties which co5#ary $. Pro!#etB.

The aestheticians see in these transformations a radically new beginning in thearts history as they p!t !nder =!estion a f!ndamental concept of the arts theoryso far C the art creation. As a sol!tion they s!ggest that the aesthetics takes as

an ob,ect the aesthet$" exper$e%"enot the "reat$o%. 6n this meaning the workthe process of creation@the artistic act and the personality of an artist@receptor of

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arts are coherent and parties of a !nitary whole like a li#e being C expressionsof an indi#id!ali0ed way of thinking of reporting to c!lt!re society the historice#ol!tion of the artistic phenomenon.

0$!l$o&raph$"al Re'ere%"es:

1. 'e,an P. ?G1GB $e5definiri ale artei. Vn% )on#orbiri literare. An. 199 *r.11 p. 1D151D2.

?. :iacon! M. ?GG1B ntologia operei de artR Wn l!mina principi!l!iidentitR ii Jdit!ra )artier '!c!re ti.

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