Dates: 1889-1976

Nationality: German

Martin Heidegger (September 26, 1889 – May 26, 1976) was an influential German philosopher. His best known book, Being and Time, is considered to be one of the most important philosophical works of the 20th century. Heidegger remains controversial due to his involvement with National Socialism.

The Origin of the Work of Art is the title of an article by German philosopher Martin Heidegger. Heidegger drafted the text between 1935 and 1937, reworking it for publication in 1950 and again in 1960. Heidegger based his article on a series of lectures he had previously delivered in Zurich and Frankfurt during the 1930s, first on the essence of the work of art and then on the question of the meaning of a “thing,” marking the philosopher’s first lectures on the notion of art.In his article, Heidegger explains the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which “that which is” can be revealed. Works of art are not merely representations of the way things are, but actually produce a community’s shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.

Heidegger begins his essay with the question of what the source of a work of art is. The artwork and the artist, he explains, exist in a dynamic where each appears to be a provider of the other. “Neither is without the other. Nevertheless, neither is the sole support of the other.” Art, a concept separate from both work and creator, thus exists as the source for them both. Rather than control lying with the artist, art becomes a force that uses the creator for art’s own purposes. Likewise, the resulting work must be considered in the context of the world in which it exists, not that of its artist. In discovering the essence, however, the problem of the hermeneutic circle arises. In sum, the hermeneutic circle raises the paradox that, in any work, without understanding the whole, you can’t fully comprehend the individual parts, but without understanding the parts, you cannot comprehend the whole. Applied to art and artwork, we find that without knowledge of the essence of art, we cannot grasp the essence of the artwork, but without knowledge of the artwork, we cannot find the essence of art. Heidegger concludes that to take hold of this circle you either have to define the essence of art or of the artwork, and, as the artwork is simpler, we should start there.

Artworks, Heidegger contends, are things, a definition that raises the question of the meaning of a “thing.” As this concept is so broad, he narrows down the definition to “mere things,” meaning inanimate objects. He then chooses to examine a pair of shoes painted by Vincent Van Gogh, looking to the work to establish a distinction between artwork and other “things.” This was actually typical of Heidegger as he often chose to study shoes and shoe maker shops as an example for the analysis of a culture. Heidegger explains the viewer’s responsibility to consider the variety of questions about the shoes, asking not only about form and matter—what are the shoes made of?—but bestowing the piece with life by asking of purpose—what are the shoes for?

Next, Heidegger writes of art’s ability to set up an active struggle between “Earth” and “World.” “World,” represents the essence of Being, the sum of all that is ready-to-hand for one being. So a family unit could be a world, or a career path could be a world, or even a large community or nation. “Earth”, meaning something more along the lines of objective “existence”, instead represents nature, and all that is outside the ready-to-hand, and importantly, that which the ready-to-hand cannot make intelligible. Both are necessary components for an artwork to function, each serving unique purposes. The artwork is inherently an object of “world”, as it creates a world of its own; it opens up for us other worlds and cultures, such as worlds from the past like the ancient Greek or medieval worlds, or different social worlds, like the world of the peasant, or of the aristocrat. However, the very nature of art itself appeals to “Earth”, as a function of art is to highlight the natural materials used to create it, such as the colors of the paint, the density of the language, or the texture of the stone. In this way, “World” is revealing the unintelligibility of “Earth”, and so admits its dependence on the natural “Earth”. It can be seen that here a struggle ensues, as for “Earth” to become “World”, it must be stripped of its unintelligible nature, yet “World”, and the culture it perpetuates, requires the natural materials. The existence of truth is a product of this struggle–the process of art–taking place within the artwork.

Heidegger uses the example of a Greek temple to illustrate his conception of world and earth. Such works as the temple help in capturing this essence of art as they go through a transition from artworks to art objects depending on the status of their world. Once the culture has changed, the temple no longer is able to actively engage with its surroundings and becomes passive—an art object. He holds that a working artwork is crucial to a community and so must be able to be understood. Yet, as soon as meaning is pinned down and the work no longer offers resistance to rationalization, the engagement is over and it is no longer active. While the notion appears contradictory, Heidegger is the first to admit that he was confronting a riddle—one that he did not intend to answer as much as to describe in regard to the meaning of art.

Wikipedia contributors, ‘The Origin of the Work of Art’, Wikipedia, The Free Encyclopedia, 2 December 2010, 05:56 UTC, <>

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