Willy Nus Sublime

This particular artwork is an appropriation of the rather majestic painting ‘North- East view from the northern top of Mount Kosciusko’ by Eugene von Guerard, produced in 1863. Tillers has re-contextualised the work and given it added value for the present time. ‘Mt Analogue’ explores ideas of authorship and originality through his use of appropriation. He has

The sublime is a feature present in many art works. It is an aesthetics category that, unlike other categories such as beauty or the picturesque, examines great and awe-inspiring phenomena. The sublime is an aesthetic notion that describes the emotions of awe that people experience when they encounter the immense, powerful, and even terrifying forces of the natural world. Like all aesthetic notions, the sublime produces various emotions with the persons viewing a piece of art. Moreover, many works of art that depict industrial landscapes or scenes rely upon the sublime to communicate to the viewer the sublime nature of modern industry. Indeed, artistic depictions of technology in industrial paintings reflection aesthetic concept of sublime by the scale and focal point in paintings.

Although examining art requires a huge knowledge, my intention in this essay is to analyze a piece of art, besides lyrics and the context, I’m going to examine it by following the steps presented by Alain de Botton.

The Romantic era ascribed to the idea of the sublime - an idea that human emotions, all human emotions including horror, fear, and pain, produced an exhilarating thrill. In order to experience the full gamut of human emotion and the resultant high, the Romantics believed people should embrace all emotions, including the dark ones. However, experiencing horror and pain first hand were clearly detrimental, as witnessed with the mass executions of the French Revolution, but viewing these emotions from a removed setting, such as in art, poetry, and literature, allowed people to experience the thrill and complete exhilaration offered by the human experience. Often art and literature of the Romantic era depicted both horror and delight to offer a complete thrill and exploration of the human psyche. Henry Fuseli’s 1781 painting The Nightmare nicely embodies the idea of exploring both horror and sensuality. The subject of the painting is a young woman sleeping. On her chest sits a demon, gazing searchingly at the viewer as a ghostly horse looks on the scene in the background. Fuseli offers a bizarre image that so captivated his contemporaries that he painted several variations on the theme and the imagery continues to fascinate viewers 200 years later. Instead of cringing in horror at the demon on her chest, the woman’s back is arched sensuously, her arms hanging from her sleeping couch in complete surrender, yet

During this class, I have learned much that I was surprised of some of the information that was delivered. While I slightly knew what I might have expected to see during the course, the concepts that were introduction were fascinating and I was shocked that I didn’t know a few beforehand. One such important concept was the idea of the sublime.

Museums add new context for artworks, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. When looking at “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis will describe the artwork, analyze the formal elements used, and how the formal elements of the work and display affects the viewer.

This emphasis illuminates how weighty perspective is when determining perceived masterpieces across cultures. She does so by tactfully offering Cameron’s comparison of the Lega’s material distinctions with European (p. 24). Hypothetically, a nation located in a place devoid of rocks may find a lump of coal to be the most artistically valued piece in the community while foreign appraisers may overlook, or even overestimate, its importance. Had history been different, so would

Nature is beautiful and alluring. There is an architectonic complexity in sinuous curves. Whether smooth or rough; its beauty is sleek. The structure of frivolous iron provides a trendy and exuberant touch of the bark on the branches. Utilitarian and modern. Alexandre can transition in any style setting with its mix of mid-century influences, rustic finishes and traditional qualities.

First thing that I noticed about this gorgeous oil and tempera on panel painting was the precise emotional aspect: romantic and simple, yet so exceptionally lifelike. This work surely shows a development from the powerfully

Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own

Another way in which the story may correspond with the sublime is Sierva's long red hair that had not been cut from the day she was born until the end of her excorcism. Wordsworth says, about the sublime, "Even in the scenes drawn from ordinary life, [the authors] would throw over them a certain coloring of the imagination" (qtd. in Sander 60). This effect is exactly what Marquez does with Sierva's hair. He alluded that there may be something supernatural about it. "The sublime affirm[s] a spiritual dimension to fantasy and explores, through fantastic images, the meaning and existence of spirit" (Sandner 145). Transformation, another sublime characteristic, is used to show how one's perception of something changes (qtd in Sandner 51). Instead of being just hair, it was a promise to Dominga's god. Defamiliarization, which is a characteristic of both the sublime and magical realism (Simpkins 150), is used in Of Love and Other Demons. It focuses one's attention on something, such as hair, that he or she would normally think nothing

A painting that portrays the sublime is Mercker’s Copper Mill at Duisburg on Rhine River (Türk, 2003, p. 266). The painting shows a large factory that is right on a river, and the machines present in the painting

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.

One of the key themes within the idea of Romanticism is ‘the artist’. Taking Lowy and Sayre’s definition of romanticism into account, this figure could be described as

“Modern painting, breaking through old conversation, has released countless suggestions which are still waiting to be used by the practical world.”(Gropius) The birth of modernism and modern art goes back to the Industrial Revolution, a period that lasted from the 18th to the 19th century, in which rapid changes in manufacturing, transportation, and technology profoundly affected the social, economic, and cultural conditions of life in Western Europe, North America, and eventually the world. Before the 19th century, artists created art pieces for wealthy people and institution places like the church where they can create art works about storytelling of religious or mythological scenes . These arts were there to instruct the viewers.However, this changed when during the 19th century many artists began to create works that were about people, places, or ideas that interested them, and of which they had direct experience. With the popularization of the idea of a subconscious mind, many artists began exploring dreams, symbolism, and personal iconography as avenues for the depiction of their subjective experiences.Challenging the notion that art must realistically depict the world, some artists experimented with the expressive use of color, non-traditional materials, and new techniques and mediums.