Biography of Esteban de Arteaga (1747-1799)

Spanish Jesuit dedicated to aesthetics. He/She was born in Moraleja de Coca (Segovia), and not in Madrid, although the author would like to be called matritense, December 27, 1747 and died in Paris on 30 October 1799. After being expelled from Spain with his order, he/she settled in Bologna, where he/she studied philosophy. In 1769, he/she left the order without receiving the priestly order. He/She then lived in Venice and Rome, although it was in Bologna, where he/she published his main work in 1783: Le dalla rivoluzione Italian musicale Theater sua origine fino to present, work that falls squarely in the controversy over the nature of the music and its role in the theater, there was so much importance have in the development of music in later stages. It is one of the most spacious and commented on the matter of Arteaga.

Located on the line of the sensualist and the empiricists, Locke, especially proposes Arteaga music that remains in the service of the text without trying to reach excessive prominence. In its opposition to the use of music as a stand-alone language, intuits that possible musical development Arteaga, against which fights as harmful for men, instead of thinking with text, limited to feel the music. This way, set forth clearly, albeit to ban it, the ideal of the romantic music that, through the philosophy of Kant, enters the field of composition already in the final stage of the critical Clasicismo.La of Arteaga encompassed also the opera as it was at that time in Italy: as a sum of numbers isolated rather than as a developed plot from beginning to end. With this, and notwithstanding the foregoing, anticipated the idea of opera as a total work of art that appeared during the Romanticismo.Pensionado by the Crown and protected by the Spanish Ambassador to the Holy See, José Nicolás de Azara, protector of many Jesuits who left the company, traveled with him by Italy during the years of the Napoleonic invasion andlater, to France, where he/she died suddenly.However, Arteaga work is not limited to musical aesthetics, although this is the aspect that has most of its production. Other works are: the present taste in Italian letteratura (1784); Dialoghi tra il signore Stefano Arteaga e Andrea Rubini in difesa della letteratura Italian (1786); Letter to D. Antonio Ponz on the philosophy of Pindar, Virgil, Horace and Lucan (1789); Della influenza degli arabi sull' origine della modern poetry in Europe (1791); Paintings Antonio Allegri, named the fixed, existing in Parma in the monastery of San Pablo (1800); Lettera dell' abate Stefano Arteaga alla contessa Isabella Teotochi Albrizzi intorno myrrh and, above all, his philosophical research on ideal beauty considered as object of all the arts of imitation (1789), work that, despite his valuable insights, did not succeed in Europe, perhaps by the poor knowledge of the Spanish. The work starts from mimesis, understood as recreation, not copy, to distinguish two concepts of beauty: the generic, comprehensible, and which becomes the archetypal model for the arts. It is the second that concerns to Arteaga, but to deny it. Arteaga changed the concept to admit possibilities as the influence of the personality of the author or of the environment they live, the possibility of finding artistic field in the ugly and the reprehensible, or criticism to rationalism that, together with the assessment of the sentiment, extends the possibilities of the art, and sensed, as it happened with reviews on music, which will be the Romanticismo.Todo aesthetics it, despite its importance, does not constitute but marginal comments showing Arteaga as a child of the century, with an open mind to the possibilities of the art displayed in the synthesis of Neoplatonism, sensismo and pre-romanticism which takes place in the development of his thought.