Abstract

Croce’s reflections on art are essentially regarded by Alberto Caracciolo as an indication of his distance from the idealistic tradition, which he primarily saw as constituted along the axis Fichte-Gentile. Croce in fact – according to Caracciolo – goes much further than Fichte in recognizing a cognitive value to art, which, as an elaboration and transfiguration of particular data, is bound to presuppose the autonomy and anteriority of those data in relation to that same process of elaboration