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Article ID: CBB467378463

La estructura de las revoluciones científicas según Thomas Kuhn en el análisis de la historia del arte (2017)

Rabadán Villalpando, María Eugenia (Author)

Arbor: Ciencia, Pensamiento y Cultura
Volume: 193
Issue: 783
Pages: 372

URI: http://arbor.revistas.csic.es/index.php/arbor/article/view/2178

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Este texto plantea problemas teórico metodológicos relativos a una particular investigación sobre paisajismo moderno y contemporáneo. En él se trazan algunas cuestiones relativas a procesos dinámicos de cambios teóricos, epistemológicos y de forma en las artes visuales S. XX-XXI. El análisis, basado en el estructuralismo de las revoluciones científicas de Thomas Kuhn, tiene contenidos que responden al cuestionamiento sobre la articulación de paradigmas según Kuhn en historia de la ciencia, en vez de articulación de estilos según Heinrich Wölfflin, Meyer Schapiro o, entre otros, Ernst Gombrich en historia del arte, dado que ciencia y arte son empresas de distinta naturaleza. El acercamiento de Kuhn a la historia del arte, particularmente a la obra de Gombrich, nos llevó a trazar un paralelismo de ciencia y arte en Kuhn y al estudio de textos en los que trata la posibilidad de articulación de paradigmas en historia del arte. [English abstract] This article offers some solutions to problems relating to the theory and methodology of a particular piece of research into modern and contemporary landscaping. It concerns the dynamic processes of theoretical, epistemological and formal changes in the visual arts in the 20th and 21st centuries. The analysis, based on the structuralism of scientific revolutions first published by Thomas Kuhn, offers some answers to the debate on the articulation of paradigms in the history of science, according to Kuhn, instead of the articulation of styles in art history, according to Heinrich Wölfflin, Meyer Shapiro and Ernst Gombrich, among others, considering science and art as entities of a different nature. Kuhn’s approach to art history, particularly to the work of Gombrich, leads us to draw a parallel between science and art in Kuhn’s work, where he attempted to articulate paradigms in art history.

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