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The beauty Art and the sublime Art by Rosângela Vig

Posted by: Artworks in Art, Columns, Highlights, Art History Category 27 of May of 2014 67 Comments 7,299 Views

You can also listen to this article in the voice of own Plastic Artist Rosângela Vig:

Rosângela Vig is a Visual Artist and Teacher of Art History.

It’s through the artist’s hands, that the white space turns into Art. First the shapes, and then the colors, and the images outline the Art, which is the product of a thought, a world and a time. The impressions, sensations and moments, left there will never be the same. From the author, came the freedom and the boldness to create, nd to define the styles that served as a pattern for each period. To the viewer, should be delighted, or astonished when facing the artistic work.

Flamenco in Red and Black by Rosângela Vig

It’s through the contemplation, hat the Art will awake feelings in the person, from the game left by the artist. It’s not possible to give a complete definition of contemplation here, since it is subject to another article, but it’s possible to say that it’s the same as to permeate the work. And even more than that, it’s the same as to uncover it, aprehending its smells, its warmth or its coldness, and the fabric of everything placed there, as they were real, and we could touch them. Then the spectator leaves his sensibility outcrops, and goes freely through the sensations provoked in his mind. Such impressions provided by the Art, and manily by the Great Art, can lead the person to feeling related to the beauty or the sublimity.

Kant, from the Age of Reason, clearly defined it, as follows:

Castle in Perugia by Rosângela Vig

The night is sublime, the day is beautiful. (…) The radiante day provokes an active effort and a feeling of happiness. The sublime moves, the beauty fascinates, the expression of the person who is dominated by the sublime is sometimes serious, sometimes, and haunted. The sublime shows, on the other hand, different ways. Sometimes there is a kind of terror, or melancholy; in some cases, here is a smooth astonishment and in some, a kind of sublime arrangement. (KANT, 1942, p. 6 – 7).

Melted City by Rosângela Vig

While the beautiful work leads to an unlimited understanding, the sublime leads to the pure reason, what the author says as reaching an entire comprehension. The beautiful work can delight, through its simplicity and serenity, it’s delightful, bucolic; and pleases the feelings, through its innocence. The sublime work, otherwise can, on the other hand, the impressions of terror, desolation, and discomfort, but also the enjoyable, it can amaze for the astonishment, or surprise. While the beauty is relaxing, the sublime is uncomfortable.

Café Paris by Rosângela Vig

The sublime can be, seen on a raw shape of a Cubist Art, instance, when it shows another dimension, in which the angles, the shapes and the colors associate, in a species of an inverted aesthetic perfection, connected to the greatness and the possibilities of understanding. The same can be seen in the works that imitate the reality as Las Meninas, by Velázquez, from 1656, that allows untold readings to the viewer, related to the people, to the way that the artist and, the objects are positioned on the painting. It’s still necessary to remember, that the word Art, mentioned here, refers to, the painting, but it includes the other ways the humankind found to exteriorize the feelings, and can enclose the Sculpture, the Literature, the Music and the Architecture, for example.

Church in Santiago by Rosângela Vig

Through the fruition, the sublime brings, the idea of limitless and magnificence, Otherwise the beauty, brings the pleasant sensations of pleasure. In both cases, however, there is a relation, of such impulses with the fondness for the work, which will be different for each one. And this, on the other hand, not connected to the shape or to any a priori or a posteriori, knowledge, but to an empirical Science related to the imagination, what is subjective. And, even if the appreciation of the Great Art is contrary, to the spectator, he needs the spirit to be as free as the author was, in order to seize the meanings and to extract new cognition from it. This will allow him to transform his being, His mind must be opened to the unknown, and to the new and, even if it’s unlike to him, it can provide learning, capable of improving his ethics and feature. This is allowed by the Art.