The Origin of the Work of Art

Truth happens in the temple's standing where it is. This does not mean that something is correctly represented and rendered here, but that beings as a whole are brought into unconcealment and held therein. To hold [halten] originally means to take into protective heed [hüten]. Truth happens in Van Gogh's painting. This does not mean that something at hand is correctly portrayed, but rather that in the revelation of the equipmental being of the shoes beings as a whole—world and earth in their counterplay—attain to unconcealment.

Thus in the work it is truth, not merely something true, that is at work. The picture that shows the peasant shoes, the poem that says the Roman fountain, do not simply make manifest what these isolated beings as such are—if indeed they manifest anything at all; rather, they make unconcealment as such happen in regard to beings as a whole. The more simply and essentially the shoes are engrossed in their essence, the more directly and engagingly do all beings attain a greater degree of being along with them. That is how self-concealing Being is cleared. Light of this kind joins its shining to and into the work. This shining, joined in the work, is the beautiful. Beauty is one way in which truth essentially occurs as unconcealment.

We now, indeed, grasp the essence of truth more clearly in certain respects. What is at work in the work may accordingly have become clearer. But the work's now visible work-being still does not tell us anything about the work's closest and most obtrusive reality, about the thingly aspect of the work. Indeed it almost seems as though, in pursuing the exclusive aim of grasping the work's independence as purely as possible, we had completely overlooked the one thing, that a work is always a work, which means that it is something effected. If there is anything that distinguishes the work as work, it is that the work has been created. Since the work is created, and creation requires a medium out of which and in which it creates, the thingly element, too, enters into the work. This is incontestable. Still the question remains: How does being created

Martin Heidegger (GA 5) The Origin of the Work of Art - Basic Writings (1993)