Sublime : Contemporary Works From The Collection

It is through distinctively visual representations and graphic depiction that allows the audience to develop a sense of

Students through the process of art appreciation will build connections through the exploration of textures, lines, colour and shape when describing, analysing, interpreting and judging the artworks before them (3 chosen images). They are asked to describe what they see, the artist’s use of colour, lines, shapes and texture. They then move onto analysing; what catches their eye, is the composition balanced and do the paintings look flat or do they have depth. The discussion then progresses onto interpretation where students are able to express what type of emotion they feel when looking at the pictures, perhaps the kind of sounds they might hear if they could step into it, and why they think the artist chose this particular subject to paint and what may have inspired the artist.

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

We figured out how diverse societies think and how they see the world and its qualities. Expressions assume a substantial part in the declaration of our internal musings and excellence in our life. From move and music to digest workmanship our idea of life is appeared through the different routes in which we translate it. From move and music to extract craftsmanship our idea of life is appeared through the different courses in which we translate it. We utilize the Arts as a method for touching that a portion of us that we can't reach with Physical Science, Social Science, or any of alternate humanities. Expressions of the human experience permit us to be as particular or as unique however we see fit. It helps us turn out to be nearer to ourselves and to others around us. In spite of the fact that there has been a considerable measure of disarray with respect to what the genuine meaning of "a masterpiece  is, the manner by which we indicate others what is happening in our psyches and inward souls can't be judged, reviewed, scrutinized or reconsidered by anybody other than ourselves. Human expressions assume an esteemed part in making societies and creating and archiving civic establishments. Human expressions show us how to convey through innovative expression. Demonstrate to us industry standards to comprehend human encounters, over a significant time span. Everybody has a voice, and

Edmund Burke a theorist stated in his works that, "…Whatever is fitted in any sort to excite the ideas of pain and danger; that is to say, whatever is in any sort terrible, or is conversant about terrible objects or operates in a manner analogous to terror, is a source of the sublime" [2] . The critic attempts to assemble an authoritative definition of the sublime here.

The analysis of art and visual culture has many analysts divided into different camps. From formalists to Marxists, there are as many different forms of art analysis as there are art movements. Different forms of analysis can divide theorists, driving them further apart. But different analyses can actually collaborate to create a stronger analysis. In Marina Abramovic’s piece Dragon Heads, different forms of analysis open the work up to deeper meaning. New meanings and interpretations are formed through the process of various different forms of analysis.

Burke's sublime is separated into distinct categories. He categorizes objects of experience by the way in which they impact the senses. Burke associates qualities of "balance," "smoothness," "delicacy" and "color" with the beautiful, while he speaks of the sublime in terms such as "vastness" and "terror" (Burke, 325). Instead Kant dissevers the sublime into the mathematical and the dynamical, where in the mathematical aesthetical comprehension are not a consciousness of a mere more preponderant unit, but the notion of absolute greatness not inhibited with conceptions of constraints. The dynamically sublime is nature considered in an aesthetic judgment as might that has no ascendancy over us and an object can engender a fearfulness without

This is an exploratory workshop which I aim through to stimulate and foster qualitative analysis of a part of my visual data from my on going PhD study. I am looking for western perspectives; academics who are interested in/familiar with European paintings e.g. 19th cent era (no expertise required). A number of C3RI scholars from different fields are invited. Your contribution is much appreciated, and will be acknowledged in my thesis. It shall take1.5 to 2 hours, refreshments are provided

Upon initial glance of this beautiful painting, one may feel overcome with the abundance of variety in life that so majestically expands toward all directions of light. Immediately revealing to the observer a very prominent sense of fullness within the boundaries of the wooden panel. This artwork’s size

Works are beautifully organized in two halls of the building, making it very easy for the public to move around. There is no decorations, just plain white walls. Known for being intimidating and intrusive at times, white background in case of this exhibition helps to direct viewer attention to Celmins’ works, erasing all possible disturbances between art pieces and person, who’s observing them. Indeed every work exists in its own “space”, which allows viewer to have almost personal connection to each object. Placement of the paintings far away from each other creates unique

Many different natural and manmade things can be interpreted as aesthetically sublime. Things that are sublime are all around, and they attract a lot of attention from the public. Most tourist attractions are considered sublime. The sublime portrays the strong emotions of awe that people have when they see powerful forces of the natural world. Along with tourist attractions being sublime, most art pieces, especially paintings, are sublime. While some artists paint natural, sublime scenes like mountains, volcanoes, and waterfalls, the artists Erich Mercker, Hans Müller, and Fritz Gärtner demonstrate the sublime by painting industrial scenes that are immense in size and contain bright orange molten metal which creates feelings of power and fear.

In aesthetics, the sublime is defined as “the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic.” The term is used to describe greatness beyond any possibility of quantification, imitation, or containment. The sublime has been a topic in philosophical discussions since Ancient times, first studied by Longinus. Since then, many great philosophers such as Edmund Burke, Arthur Schopenhauer, and Immanuel Kant have pressed the concept further, distinguishing beauty and the sublime as separate entities. Kant’s sublime exists in oscillation between pleasure and fear, beauty that might frighten you to death. Where, if anywhere, is there an overlap between the beautiful and the sublime?

I spent four years of my childhood in Emilia-Romagna, Italy. I witnessed how the incredibly rich artistic heritage of the region did not only grace its landscape and streets: these artworks created a historical consciousness amongst people, which was very strongly tied into their sense of identity. Understanding the amount of impact an artistic movement or even a single artwork can have on a society has fed my natural interest in art history and led me to study this subject on my own. While Gericault’s The Raft of the Medusa was an evitable piece when studying the launch of French Romanticism, it wasn’t until I stood on the polished floors of Louvre and admired its rich brushstrokes that I understood why so many artists throughout time have been inspired by this piece.

Visit any major museum of art, at any given time, and one could find an abundance of monumental names listed on tiny plaques hanging next to even more recognizable works of art. The excitement felt by any art enthusiast when walking into these buildings of time and creation, is undeniable and especially unique. Could it be the atmosphere of the building, the presence of artwork, the people, possibly the grandeur of the space, or perhaps, could it be the spirit of the artists themselves, peering through the work they created?

They are perhaps most prevalent in the world of nature. The beauty in that is readily found in nature has been the subject of intrigue from mankind since the beginning of time. It is discussed and portrayed through a vast array of mediums. When thinking of the beauty in nature one usually thinks of an everyday beauty, such as the blooming of a flower early on a spring morning. It is things such as these that we have been taught from a young age to possess beauty. It is in nature that we perhaps can find the most examples of the sublime, things we simply cannot begin to apprehend but must simply admire. Things such as the rising and setting of the sun we have grappled with for millennia, yet still cannot fully appreciate. The same can also be said for passing overhead of huge cloud formations, which have the ability to both frighten and delight. The sheer scale of many things in nature is enough for them to be classed as sublime, for example the Himalayas mountain range is something that is almost impossible for us as human beings to comprehend. In terms of art, the beautiful and sublime are often what are present in great works. Beauty is perhaps the thing that is most associated with famous works of art. Masterpieces such as Michelangelo’s ‘David’ or his work in the Sistine Chapel are striking examples of the beauty that is prominent in the world of art. The beauty in these works is easily recognisable, as one shows an immediate appreciation for the quality that is present. The sublime is also widely present in the world of art. The work by Caspar David Friedrich ‘Moonrise on the Seashore’, is an example of the mathematical sublime, as it attempts to portray the insignificance of human beings in the overall scheme of life. J.M.W.’s ‘Snow Storm: Hannibal and his Army Crossing the Alps’ is an example of the dynamical sublime. The work portrays the sheer power of nature, along