Abstract

Heidegger has no particular sympathy for Schopenhauer’s philosophy, which occupies an infinitely less place in his work than, for example, Nietzsche. This devaluing attitude has aroused the reactions of Schopenhauer-Forschung, according to which a more careful analysis leads to the detection of important convergences between the Daseinsanalytik of Being and Time and the Anthropologie des Willens of The World as Will and Representation. However, these studies have mostly remained within a comparison between Schopenhauer and the «existentialist» Heidegger, while they have not deepened the analogies between the concepts of art of the two authors, for which art is understood as a place of knowledge and truth, distinct from scientific knowledge and alternative to them from both a theoretical and practical point of view. The comparison allows us to ascertain both the limits of Schopenhauer’s Heideggerian reading, and the hermeneutic relevance of the latter’s reflection on art, disproving the idea that his philosophy has undergone, after the first edition of the World, a turning point or drift scientist and materialist, to the detriment of his underlying metaphysical inspiration