This chapter serves as an introduction to a carefully planned research and mutually curated volume on the relationship between Pop art initiator Eduardo Paolozzi and celebrity philosopher Ludwig Wittgenstein. Mantoan and Perissinotto argue that this peculiar encounter between an artist and a philosopher—both as a man and as far as his philosophy is concerned—was a “kind of happening”, which took place years before the generation of future conceptual artists had even entered art school. Not only was Paolozzi the first and (...) perhaps still is the only artist who devoted a substantial part of his oeuvre to the Austrian philosopher, but his works also impress even a philosophically qualified audience for the level of expertise and intuitiveness with which the writings of Wittgenstein are handled. Hence, Mantoan and Perissinotto pursue a twofold aim: on the one side, to present the artist Paolozzi as a precursor in reading Wittgenstein in the field of contemporary art, influencing or forestalling the then upcoming generation of conceptual artists; on the other side, to demonstrate how the reader Paolozzi may even be seen as a precursor as regards the interpretation of Wittgenstein’s philosophy. (shrink)

This impressive edited collection investigates the relationship between British Pop Art pioneer Eduardo Paolozzi and the philosopher Ludwig Wittgenstein. At this time, when Paolozzi’s oeuvre is in the process of being rediscovered, his long-time fascination with Wittgenstein requires thorough exploration, as it discloses a deeper understanding of his artistic production, further helping to reassess the philosopher’s actual impact on visual arts and its theory in the second half of the 20th century. With 13 diverse and comprehensive chapters, bringing together philosophers (...) and art historians, this volume aims at retracing and pondering the influence of Wittgenstein on the idea of art in Paolozzi, thus giving an unprecedented insight into Wittgenstein’s philosophy as employed by contemporary artists. (shrink)