Is it possible to describe the foundations of aesthetic criticism of plastic works of art?
No, unless you are an artist.
Nonetheless, it is difficult to discriminate between the aesthetic stimuli of art itself and those of the raw experience of the “artist's eye” in the creative process, contemplating the source of his creations. However, this subjective glow of perception is not limited to the artistic class.
The British art historian Ernst Gombrich (1999, p.15) takes an ambiguous view about the enigmas of art when he declares, "There are no societies without art in the world" and "nothing really exists that one could call Art ", as "only artists can be said to exist".
Theoretical physicist Richard Feynman recognized aesthetic properties in biochemical processes "During an interview with the British Broadcasting Company (BBC) in 1981 entitled “The Pleasure of Finding Things Out [1], the renowned scientist [2] saw in the beauty of a flower, an idea that illustrates the deficiency of an aesthetic based only on appearances. Feynman stated that an artist, like anyone else, could see the beauty of a flower, but that scientists are also enchanted by the systemic aesthetics of the underlying process.
Likewise, when Fotini Kalamara declared that “Theoretical Physics is quite similar to Art", the highly respected physicist evoked a creative process that helped her to establish analogies between relativity theory and quantum mechanics - assuring that the cause precedes the effect, "it’s like taking some clay and modeling something from nothing, which works from any angle"[i].
The creative process in the arts often implies identifying problematic situations that the artist needs to define. Moreover, the singularities of artist’s methods can pose difficulties in establishing scientific criteria to justify the art.
The instability that results when artists couple the means for constructing art to their immediate needs and to the eventual functions of the object is a decisive mechanism that establishes an evolution in the multiple forms of artistic representation. The ongoing battle that marks the interaction between the methods and functions of artistic work is pertinent to understanding creative processes, as both the construction and finality of art have changed their form and interpretation in the hands and minds of divergent people and cultures.” (Chapman, Michael. A Creative Process Iin Science and Art. 16° Encontro Nacional da Associação Nacional de Pesquisadores de Artes Plásticas Dinâmicas Epistemológicas em Artes Visuais – 24 a 28 de setembro de 2007 – Florianópolis).
[i] Kalamara interviewed by Amanda Geffer. Scientific American - Brazil, n. 15, 2003.
[1] FEYNMAN, Richard. The Pleasure of Finding Things Out: The Best Short Works of Richard P. Feynman. New Ingram Publishing Services, New York, 2005 (Transcript).
[2] Richard Feynman 1918 -1988: The American scientist received the Nobel Prize for physics in 1965 for his work on the reconstruction of the Theory of Quantum Electrodynamics, jointly with Sin-Intiro Tomanaga and Julian Schwinger.
Thank you for this response, which made me very happy, but it was not a sufficient answer to my question
This would be a lengthy formal discussion. I would like to leave you with a formal analysis of the work from the Brazilian painter Iberê Camargo, given in English by the leading German scholar and critic Robert Kudielka, who was also my professor of Art Theory when I was a student at the University of Art - Berlin, in the early 1980´s. I hope you like it.
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