Can painting transform philosophy? In Inventing Falsehood, Making Truth,
Malcolm Bull looks at Neapolitan art around 1700 through the eyes of
the philosopher Giambattista Vico. Surrounded by extravagant examples of
late Baroque painting by artists like Luca Giordano and Francesco
Solimena, Vico concluded that human truth was a product of the
imagination. Truth was not something that could be observed: instead, it
was something made in the way that paintings were made--through the
exercise of fantasy. Juxtaposing paintings and texts, Bull
presents the masterpieces of late Baroque painting in early
eighteenth-century Naples from an entirely new perspective. Revealing
the close connections between the arguments of the philosophers and the
arguments of the painters, he shows how Vico drew on both in his
influential philosophy of history, The New Science. Bull suggests
that painting can serve not just as an illustration for philosophical
arguments, but also as the model for them--that painting itself has
sometimes been a form of epistemological experiment, and that, perhaps
surprisingly, the Neapolitan Baroque may have been one of the routes
through which modern consciousness was formed.
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