PEDRO HENRIQUE MARQUES SILVA MAUAD

This research aims to investigate and characterize the paradoxical connections that emerge at the intersection of art and politics at the dawn of artistic modernity (late 18th to early 19th century) and discover what such connections can teach us about the concept of actuality, both in art and consequently in politics. With Hegel's historical diagnosis of a 'post-art' era as a backdrop, the research explores how this diagnosis aligns with another perspective, that of Rancière. Despite the apparent contradiction between a diagnosis positing the exhaustion of the art form and another identifying precisely in this exhaustion the beginning of a new period inaugurating what we now understand as art, the aim is to identify in the key founding works of this new period, such as Stendhal's "The Red and the Black" and Courbet's "The Stonebreakers," as well as in works considered by Hegel as precursors to this new stage of art, such as Dutch genre painting and Murillo's paintings, what Hegel terms actuality and how this informs us about art and politics.