An Aesthetics Path From Giorgione's Joie de Vivre to Callas' Cinematographic Opera

Aesthetics as a transcendental experience is a rare privilege of Art. It is the ultimate expression of Humanity, to the point that it was Stendhal who coined the impression he suggested. It was with him, and his own name, with whom the Stendhal Syndrome was coined precisely for this reason: the effects of the sublime of the work of Art in the spiritual and in the physical in equal parts. This was not an exclusive observation of the 19th century, nor was it a theorization of the 20th century. It is an element that is the fruit of genius and that has acquired a value of increasing dimensions throughout History, being studied, assimilated, considered and used in order to give ornament and splendor for prestige and interest in the public and social spheres. This article is focused precisely on that journey and on the values that were added over time to the concept of "aesthetics." The decision to start this journey from the Renaissance is based on the fact that it was from the sixteenth century when the idea of artistic patronage, splendor and liberality linked to a city or surname, took on a new facet. Of course, this already appeared since Antiquity, but since the fifteenth century such issues began to play a proactive role in what was the birth of the Modern Era. This role was to create an aura that conveyed an idea of taste, but then it morphed into something more: a sense of style, of proceeding, of high-mindedness. Such was its relevance that it maintained its validity, leaving its mark in new artistic media such as cinema and in those, such as opera, in which very different artistic branches meet.