Article ID: CBB804298788

Adorno and Schelling on the Art–Nature Relation (2018)


When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s conception of this relationship. The article focuses on the similarities between Schelling’s notion of nature’s productivity and Adorno’s understanding of natural beauty. It concludes with a discussion on Adorno’s re-evaluation of the reconciliatory power of the exemplary unity of the artwork in conjunction with Schelling’s comparison between artwork and organism, as well as his concept of the construction of nature.

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Authors & Contributors
Sandkühler, Hans Jörg
Schmied-Kowarzik, Wolfdietrich
Gloy, Karen
Baum, Manfred
Krohn, Wolfgang
Vidoni, Ferdinando
British Journal for the History of Philosophy
Studies in History and Philosophy of Science
Studies in Romanticism
Biology and Philosophy
Annals of the History and Philosophy of Biology
Physis: Rivista Internazionale di Storia della Scienza
Cambridge University Press
State University of New York Press
Nature and its relationship to culture; human-nature relationships
Science and literature
Kant, Immanuel
Hegel, Georg Wilhelm Friedrich
Schelling, Friedrich Wilhelm Joseph von
Fichte, Johann Gottlieb
Darwin, Charles Robert
Bacon, Francis, 1st Baron Verulam
Time Periods
19th century
18th century
20th century, early
17th century
Central Europe: Germany, Austria, Switzerland
United States
Great Britain

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