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This paper presents G.W.F. Hegel’s theory of painting after the lectures on aesthetics he gave at the Berlin University during the winter semester 1828-1829. While testimonies for the lectures given in 1820-1821, 1823 and 1826 are now published, the reader can furthermore have an overview of Hegel’s theory of painting as it appears in the last lecture given by the philosopher. I refer to the unpublished transcript of Adolf Heimann’s Nachschrift. I will show how the empirical encounter with painting and works of art relates to his general philosophical theory. Philosophy of art begins here with speculative considerations on the nature of ideal, of the beautiful, of the idea. This may seem to be an obstacle to a ‘non-metaphysical’ reading of the aesthetics similar to the ‘non-metaphysical’ reading of Hegel’s philosophy in general. This ‘speculative’ approach could, however, be taken as a resource for aesthetics as art theory which can not be dissociated to the phenomenal attitude towards the works of art. The experience of painting is, more specifically, not only determined by a magic encounter with works of art: it is furthermore determined by the encounter with theories which provide a scientific framework to the experience that allows us to speak of an aesthetic experience.
