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Kategoria wzniosłości w malarstwie Caspara Davida Friedricha

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Demkowicz-Dobrzańska K.
Colloquium Wydziału Nauk Humanistycznych i Społecznych AMW
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2013
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issue 3
99-120
EN
The purpose of this article is to consider the category of sublime in the painting of the German romantic artist, Caspar David Friedrich refered to the Kantian idea of sublime, formulated in the Critique Power of Judgment. The basic thesis is, that interpretation of creation of the excellent German lanscapes’ painter in context Kant’s theory of sublimity characterizes this turning point in art of early XIX-Century. Although its proper meaning was discovered just in modern art. The explication of Friedrich’s painting through such unique aesthetic category like sublimity seems to be also a terse description of romantic art.
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Wzniosłość w XVII w. na przykładzie refleksji o sztuce we Francji – Nicolasa Boileau-Despreaux recepcja traktatu Pseudo-Longinosa Peri hypsous

100%
Demkowicz-Dobrzańska K.
Filo-Sofija
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2012
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vol. 12
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issue 2(17)
111-119
EN
There are three basic texts on the sublime: Longinus’ Peri hypsous, Edmund Burke’s Philosophical Enquiry into the Origins of our Ideas of the Sublime and Beautiful and Immanuel Kant’s Critique of Judgment. The work of the ancient author is the most essential on this subject; it elaborates the theoretical rules of rhetoric. Because of qualitative similarity of the beautiful and the sublime, the latter was for a very long time considered a sort of beauty. Both modern texts discuss the beautiful and the sublime as opposite categories; that is new and announces romanticism with some changes in the aesthetic paradigm. The work of the seventeenth-century art theoretician, Nicolas Boileau-Despreaux, was a turning point in understanding the old category of the sublime. His French translation of the ancient treatise and his study of the seventeenth-century sublime are landmarks in modern recognition of the importance of this aesthetic idea. Boileau worked on a general theory that could be applied to various arts. That indicates a special concern for the sublime as a category that can cope with the challenge of modern art without losing the value of ancient art.
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