In an entry in his Diari 1952-1960, Joan Fuster asked himself, “Is it permissible for us to ‘talk’ about music?” and soon extended his reflection to other arts. With him, we wonder if it is possible to reduce works of art such as a symphony, a painting or a sculpture to mere “concepts”. Can words convey the visual or auditory sensations we experience when we contemplate or listen to a work of art? Fuster himself, as a poet, tried this with several compositions that evoked a specific work of art or imitated the music of a composer. However, he eventually abandoned poetry to devote himself to the essay, and it is in this genre that we find most of his writings on art, including two books dedicated exclusively to the subject. Fuster relied on the essay to approach this ideal. Much earlier, but in the same tradition, art criticism had found in Diderot one of the first defenders of a writing style that seeks to transcribe the emotions and sensations of the spectators rather than the production technique of the work.
Please find more information here.