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The Sublime, Romanticism & Hegel
Transcript of The Sublime, Romanticism & Hegel
Caspar David Friedrich (1774-1850), The Wanderer above the Sea of Fog (1818) John Martin (1798-1854), The Bard (1817) John Martin (1798-1854), The Great Day of His Wrath (1851-3) J.M.W. Turner (1775-1851), Snow Storm: Hannibal and his Army Crossing the Alps, exhibited 1812 JMW Turner (1775-1851), Snow Storm - Steam-Boat off a Harbour's Mouth, exhibited 1842 what is significant about aesthetic experience does not lie in imitation
the limits of representation are intrinsically worthy of consideration
☛G.W.F. Hegel (1770-1831)
French Revolution and Napoleonic wars = historical process of mind
Reason's transformation of the world into its image
history is the process of expression of our capacity for rational thought
Napoleon is the bearer of revolutionary freedom
transformation of material world in the service of an idea Jean Auguste Dominique Ingres (1780-1867), Napoleon I on his Imperial Throne (1806) Symbolic Art
brute materiality of nature = obstacle to technology
nature is fetishised for size, resistance and form
deity resides in brute materiality of nature William Blake (1757-1827),
annotated print (1826-7) of Laocoön (c.42 to 20 BCE)
solves technical limitations that result in abstraction
shows agreement between form and idea
the expression and representation of rational mind
an ideal because it shows harmony of body and mind Romantic Art?
material world subordinate to expression of ideas
the end of traditional art
a form in which spirit or mind is free from plastic expression
Romantic art ‘celebrates its triumph over the outer world.’ ? Art is autonomous
Art is a copy of natural beauty
Art is an end in itself
Aesthetic judgment is disinterested
Art evolves historically according to a determinable pattern
Art history is the developing relationship between form and theme
Art is a dialogue between artist and culture
Art is a mirror of history
This period is one in which art has reached its end