The Still Life as a Personal Object—A Note on Heidegger and van Gogh

  • Meyer Schapiro

Abstract

In his essay on The Origin of the Work of Art (3, 4), Martin Heidegger interprets a painting by van Gogh to illustrate the nature of art as a disclosure of truth.1

Keywords

Fatigue Corn Ghost Shoe 

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References

  1. 1.
    Gauguin, P. Natures Mortes. Essais d’art libre, 1894, 4, 273–275.Google Scholar
  2. 2.
    Hamsun, K. Hunger. Translated by G. Egerton. New York: Knopf, 1941.Google Scholar
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    Heidegger, M. Der Ursprung des Kunstwerkes. In Holzwege, Frankfurt a.M.: Klostermann, 1950, pp. 7–68. Reprinted as a book, with an introduction by H.-G. Gadamer, Stuttgart: Reclam, 1962.Google Scholar
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    Heidegger, M. The origin of the work of art. Translation of (3) above by A. Hofstadter. In A. Hofstadter and R. Kuhns, Philosophies of Art and Beauty, New York: Random House, 1964, pp. 649–701.Google Scholar
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    Heidegger, M. An Introduction to Metaphysics. Translated by R. Manheim. New York: Anchor Books, 1961.Google Scholar
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    La Faille, J. B. de, Vincent van Gogh. Paris, 1939.Google Scholar
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    Rotonchamp, J. de, Paul Gauguin 1848–1903. Paris: G. Crès, 1925, 2nd edition.Google Scholar
  8. 8.
    Van Gogh, Vincent. Verzamelde brieven van Vincent Van Gogh. Amsterdam, 1952–1954. Four volumes.Google Scholar

Copyright information

© Springer Science+Business Media New York 1968

Authors and Affiliations

  • Meyer Schapiro
    • 1
  1. 1.New YorkUSA

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