Controfigure e contraddizioni. Bourdieu e il doppio legame tra arte e sociologia

The chapter deals with the relationship between Bourdieu and art history. Central in this regard is the important volume on Manet published posthumously, which represents a sort of methodological self-portrait of Bourdieu himself, not as a romantic reverie around the idea of creator or creation, but as an explicit desire to make the idea of symbolic revolution intelligible. If in Manet we can see brushstrokes, repentance, apparent improvisation, false repetition, brute colour, and here and there the compact thickness of painting, through him we can enter Bourdieu's atelier, who compared what happened in a research laboratory to what happened in a painter's workshop. Moving from the norm-anomy articulation, Bourdieu - whom museology and art criticism regularly mentions more for his L'Amour de l'art than for other texts that, in a more subtle way, problematise the art-sociology relationship, starting with Distinction and some of the texts proposed for the first time in an Italian version within this volume, to which particular attention has been paid - is placed in dialogue with a series of authors, writers, philosophers, psychologists (from Duranty to Mallarmé, from Proust to Bernhard, from Flaubert to Goodman, from Freud to Piaget and Arnheim) and art historians and critics (from Gombrich to Panofsky, from Berne-Joffroy to Longhi, from Previtali to Fossati, from Stoichita and Freedberg to Hans Belting) with whom he could have had a fruitful dialogue, discussion and, beyond the apparent contradictions, make them authentic stand-ins, or doubles, of his anthropological and dispositionalist aesthetics.