PHILOSOPHY OF BEAUTY

The social role of painting art

Many intellectuals believe that:
Art, as social production, has no impact on other forms of social life. Artistic creation does not alter social, political or economic systems; Whereas the reverse is very possible. Art, as a human practice, does not change the spectators who receive it. Art does not educate men, refines their personalities and does not remove them from violence; One can appreciate Raphael and participate in a genocide.

But why did all the dictatorships of history put art under surveillance? (Medieval Europe, Nazi Germany, Soviet Union, current Middle East …)
There’s a reason for sure.
Arthur Coleman Danto (American, philosopher and art critic, 1924-2013) Had written in his article « After the end of art, 1996 » his famous phrase: « Art is dangerous ». He recalls a remark by Kant that ugly things can be objects of beautiful representations. « The furies, the diseases, the devastation of war, etc. » Can, as harmful things, be described beautifully and can even be represented by paintings. « 

Behind every artistic work, there exists a committed artist. A work like Guernica by Pablo Picasso, was the paradigm of the work committed, those who will admire it are already republicans.
  There is a closeness between art and rhetoric, both work in the realm of plausibility and seek persuasion as a result. Art is not directly effective as a material cause, but it is not without its effects on the subjects acting; Which explains the fundamental role that art of painting had played in the European revival of the 16th century.

« The danger to be avoided lies in aesthetic contemplation » (Marcel Duchamp, painter, plastic artist, French man of letters, 1887-1968)
  Art can have lasting effects on man, and not only be the cause of a passing pleasure. More than an imitation of nature, we must see in art the greatest realization of human freedom.
Man is also a being of nature, a sensitive being: art throws a bridge between nature and freedom; It reconciles the body and the mind in man by developing  a sensibility which has nothing animal, it is properly aesthetic.

Art must use industry and philosophy to surpass them. Art must improve the feelings, tastes and freedom of man.
The creator who does not have a socio-cultural objective, who has no epistemological basis, and who has no humanistic and futuristic role, is not an artist, he is a craftsman.                                                                ALOZADE A.