Subjectivity in Art History and Art Criticism

Abstract

Art history and art criticism belong in a wider sense to the humanities, whose aim is the interpretation and comprehension of human actions and intellectual work. Both fields draw their basic methodological tools from the hermeneutical tradition. Their central analytic category is comprehension (verstehen) that seeks to ascribe meaning to the spirit of these actions, or to works of art. The intention of the art historian is to analyse and integrate artistic works in a wider intellectual and social frame, while the aim of the art critic is to examine the values connected with artistic creations. Their roles are not always distinguishable, as analysis, comprehension, interpretation and evaluation often co-exist in the studies of both fields. However, the approach of the art historian should have a scientific character, aiming at objectively valid formulations, while the critic should give equal consideration to subjective factors, acknowledging international artistic values, often taking on the additional role of philosopher or theorist of art. In my paper I examine the varying degrees of subjectivity in the approaches of art historians and art critics. I give emphasis to the methods and language both use, while I approach the categories of artistic values (aesthetic, moral, cognitive) according to their subjective usage, but also to their role in the comprehension and evaluation of art. My conviction is that art history and art criticism are complementary activities, as the former creates fertile conditions for the latter’s complete and essential evaluations.

Keywords

• Subjectivity
• Art History
• Art Criticism