Abstract

In this article, I focus on Nietzsche’s critique of genius in Human, all too human (1878) and on the redetermination of his approach to artistic phenomena in Mixed opinions and maxims (1879) in order to highlight the unique perspective Nietzsche develops in these texts on the relationship between work and author. By criticizing the excessive place given to the artist in the «superstition of genius», and then by formulating a conception of art on the basis of the rejection of the primacy of works of art, Nietzsche avoids breaking the bond tying the author to his work in order to make the bond itself the object of his reflection, in a view of art as transfiguration applied to one’s own existence. In this study I propose a new reading of his critique of genius, which places it within the continuity of his reflection on art and which highlights the transformations undergone by the two functions, cognitive and palliative, that Nietzsche first attributes to art and genius in keeping with Schopenhauer and Wagner.