de Medio Aevo 14:117-129 (2020)

David Torrijos-Castrillejo
Universidad Eclesiástica San Dámaso
This article aims to address the widespread thesis according to which medieval scholastics would not handle the idea of fine art. Based on a suggestion by Anzulewicz, the author shows how Albert the Great did understand the peculiarity of fine arts and put them in close relationship with liberal arts. There are fine arts, such as music, which are sought after for their own sake and can, therefore, be considered as fully liberal. In contrast to them, there are other arts called mechanical, whose purpose is utilitarian. In the third place, there are other arts which, although also possessing some utility, are chosen for their own sake and are therefore partly liberal; we should place fine arts such as architecture in that group. The more art participates in reason and the beauty of the soul, the more it will be fine and liberal. The product is called to be a metaphor for the honest good of virtue. The very contemplation of this beauty embodied by art evokes an aesthetic enjoyment. In this way, we can see that Albert, no less than Aquinas, speaks of the pleasure linked to the contemplation of beauty.
Keywords Beauty  Fine Arts  Aesthetics  Scholastic Philosophy  Albert the Great  Thomas Aquinas  Aesthetic Pleasure  Transcendentals  Temperance
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References found in this work BETA

Aesthetics.John Marenbon - 2011 - In H. Lagerlund (ed.), Encyclopedia of Medieval Philosophy. Springer. pp. 26--32.
La Beauté, Propriété Transcendantale Chez les Scolastiques.H. Pouillon - 1946 - Archives d'Histoire Doctrinale et Littéraire du Moyen Âge 15.

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