Category Archives: Part 1 – Beauty and the Sublime

A Personal View of the Sublime

After spending so long looking at the historic and contemporary view of the Sublime I spent a little time looking back through my own work to identify a few photographs that might represent some traditional Burkian Sublime attributes. They are from … Continue reading

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1.6 The Sublime in Contemporary Art

Fascination with the Sublime is as great today as it was in the eighteenth century and visual artists across all mediums continue to use an aesthetic that generates Burke’s astonishment and awe. Much time and energy is expended discussing photography’s links … Continue reading

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The Historical Sublime

Philip Shaw, who has written extensively on the subject of the Sublime, describes it as “a term that has been debated for centuries amongst writers, artists, philosophers and theorists” but is still often labelled “indescribable” (1) ; a less than encouraging … Continue reading

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1.4 Marius de Zayas: Photography and Artistic Photography

Marius De Zayas, a Mexican born illustrator and caricaturist, was closely associated with Alfred Stieglitz in the years between his arrival in New York on 1907 and the closure of Stielglitz’s gallery, “291”, in 1916. (i) In 1913 Camera Work … Continue reading

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1.3(b) The Influence of Landscape Painting on Photography

In the second part of this exercise I will look at a number of historical and contemporary photographs that strongly reference the visual conventions of the eighteenth and nineteenth century. Some of these photographers have been directly influenced by painters, for example Scott McFarland revisited … Continue reading

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1.3(a) The Conventions of 18th and 19th Century Landscape Art

Rococo In the early eighteenth century the Baroque movement was superseded by Rococo, a style that would dominate European art for most of that century.  Rococo was much lighter and more frivolous than Baroque and whilst it continued to feature … Continue reading

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1.2 Rosalind Krauss and Timothy O’Sullivan: Photography’s Discursive Spaces

In 1982 Roslind Krauss, art critic and art history teacher, wrote Photography’s Discursive Spaces: Landscape / View (1); an essay that challenged whether the survey photographs of Timothy O’Sullivan (i) should be discussed in the context of art, in essence whether they … Continue reading

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