Die Wahrheit des Bildes. Heideggers Auffassung der „Versinnlichung“ des Seins

Throughout his path of thinking, Heidegger assigns to image a particular role in knowing and sheltering of truth. He already considers Marc’s Roes as “sensibilization” of the understanding of Being by analysing Kant’s first Critique, whereas he values Dürer’s Hare as manifestation of the essence of the painted being by interpreting Kant’s third Critique and Schiller’s Letters. Since the mid-1930s, Heidegger estimates arts as an eminent way of happening of truth, which he originally understands as “enowning” of Being and human being either and as “fourfold” of world by clarifying van Gogh’s Shoes, Raffaello’s Sistine and Klee’s paintings. Heidegger finally attributes to word an “iconic” character, thanks to which Being gives itself to man, if this preserves it both “poetically” and “thoughtfully”.