Dino Formaggio y el problema de la Estética como <<Ciencia General del arte>>. Regresando sobre una siempre nueva cuestión.

Abstract

Dino Formaggio's work is characterized

mainly by its achievements in opening a broad

and complex speculative path in the field of

aesthetics and art theory of the twentieth

century. Beyond just proposing a specific

theory of art, which remains anyway an

argument that this author hinted several times

in his studies related to specific artists, in his

long career, Formaggio tried to put the

theoretical basis of a phenomenological

aesthetics, the science of an aesthetic logos,

whose arrival point became, in the seventies,

the central concept of body. The aim of this

article is to describe the process from his first

considerations of the Banfi’s “idea of

aestheticism” and the allgemeine

Kunstwissenschaft of Max Dessoir, until the

latest thinking about the relationship between

art, body and shape.