Kant’s idea of the sublime is that it overwhelms our imagination, one example is the mathematical sublime in which the magnitude is too much for us to comprehend, like unlimited stars in the Universe. It can be argued that postmodern artist Christo’s Umbrellas fit the definition.
In one of the most important aesthetic books, Kant separates the sublime from the senses and art. This is the first in Newberry’s series on Kant, which will cover far-reaching implications.
Giovanni Battista Tiepolo, Rinaldo Enchanted by Armida, 1742 until 1745. Was this the kind of work Kant associated with charms and sensual delights of beauty? Originally published online at The Atlas Society. Making Sense of Kant’s Senseless Sublime In the last decade of the 18th century Beethoven composed his 1st and 2nd piano concertos, Goya …
The experience of the sublime is to be looked for in art. Art integrates senses, emotions, and thought. The sublime in art elevates our sensory experience, heightens and taps our emotional potential, and furthers our knowledge. The sublime in art can give us a moral to the story, a stance towards living. At its best, the sublime in art inspires awe in our human potential and gives us a path to evolve as a whole being and as a species. Michael Newberry
It’s a shame that Duchamp’s cynicism, Kant’s aesthetic nihilism, and the CIA’s misguided and malicious underwriting of Abstract Expressionism and its shills combined to foster hope of greatness to talentless, pretentious hacks. In his frank assessment of his art, Saltz is completely right. Expertise in drawing and painting, a grounding in art history, and vision, all those elements need to be mastered to become a great artist. Yet, instead of doing the massive introspective and technical work necessary, Saltz opts for a scapegoat. Truth is to blame.
I was relieved that my article Pandora’s Box Part III was published in the Free Radical (magazine and online) in 2002, while this Scruton publication was released in November 2009.
The following paintings are all about the individual exploring themes of discovery, exploration, joy, contemplation, contentment, creative focus, being beautiful, pride, acceptance, giving, gratefulness, appreciation, confidence, intention, litheness, and exaltation.
Perhaps the most difficult part is the introspective sorting of the emotions that lead and add up to a celebration of love. And to eliminate the cynical voices that have zero to contribute. And to be sensitive enough to have the “ah ha” moment when I see its manifestation in the models’ poses.
In the mid-20th century these three forces––Kant’s philosophy, abstract expressionists, and the CIA––congealed ostensibly to champion freedom and originality, instead accomplished an undermining of art and consequently humanity. The connections and machinations are so complicated and obtuse it is hard to take them seriously, but it does make a difference in understanding them, at least in the sense of whether or not our culture evolves.
The future awaiting you is to be seen in the art you engage with. Will I have beauty in my life? Am I doomed to depression? Will justice prevail? Will I be happy? Will I be cut up by a chainsaw? Will I throw myself over a cliff or find exaltation in living in the present?