Otherness and Modern Art: Insights from Kant, Schopenhauer and Nietzsche

Various approaches can be employed to analyze developments in the visual arts, each offering unique insights into studying of artistic expression. One prevalent method involves the concept of ‘realism,’ which assesses different artistic styles based on their representation of reality. This approach categorizes artistic movements according to the level of realism achieved and the techniques utilized to depict the world. Realism, in its various forms, has played a crucial role in shaping the trajectory of art history, particularly during periods when artists sought to mirror the world around them as accurately as possible. While this method is relatively effective in elucidating artistic styles prior to the modern era, it falls short in addressing the complexities and nuances of modern art movements, which often challenge traditional notions of representation. This study aims to introduce the concept of the ‘otherness’ as a significant factor in the evolution of aesthetic perspectives. By doing so, it seeks to demonstrate how advancements in the visual arts, particularly during the modern period, are deeply rooted in the notion of the ‘otherness’. Often, the term ‘otherness’ is interpreted in a Hegelian context, where it is seen as a necessary stage and a fundamental component in the pursuit of knowledge across various domains. In this philosophical framework, the ‘otherness’ is essential for the formation and construction of the ‘self’, providing a point of contrast and opposition. This dialectical relationship highlights the interdependence of the ‘self’ and the ‘otherness’ suggesting that ‘self’ cannot exist without the ‘otherness’. Conversely, Kant's notion of the ‘self’ remains static and unaltered, presenting a different perspective on identity and its development. This essay seeks to present the ‘otherness’ from Kant's point of view, illustrating how the ‘self’ actively seeks the affirmation of the ‘otherness’ within aesthetics. This pursuit ultimately leads to artistic pluralism. In the Third Critique, Kant, after dismissing the objective universality of aesthetic judgments, advocates for their subjective universality. According to this article, subjective universality represents an expectation for the acceptance and affirmation of the ‘otherness.’ Thus, aesthetic principles can be viewed as inherently containing the ‘otherness’ and its approval. Consequently, the role of ‘otherness’ becomes evident in the emergence of various artistic schools and styles. These ‘others’ surged through art history with vigor following the rise of Impressionism and the decline of objective representation principles in the late nineteenth century. This period marked a significant turning point, resulting in a proliferation of new schools and styles that challenged conventional artistic norms. Simultaneously, a philosophical movement that seeks to explain art and artistic enjoyment by dissolving the ‘otherness’ finds expression in the philosophies of Schopenhauer and Nietzsche. This movement remains defined in relation to the ‘otherness’, emphasizing the importance of this concept in understanding the complexities of artistic creation and appreciation. The philosophical doctrines of Schopenhauer and Nietzsche offer a valuable framework for understanding the impact of the ‘otherness’ on artistic expression, particularly in abstract art. As this article illustrates, their ideas also establish an ontological foundation for interpreting these works.