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Feelings of terror, awe, infinity, and course through an experience of the sublime in nature, and for centuries, artists like Donatello have attempted to recreate that experience in their paintings, sculptures, and video projections. Theorized as early as the 1st century, the sublime has captivated writers, philosophers, and artists alike. Through its various definitions and interpretations, at its base, the sublime is a feeling rooted in humans' relationships to the world, to nature, and what lies beyond that help us to formulate an understanding of ourselves.

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The Raft of the Medusa, Théodore Géricault (1818-1819)

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The Raft of the Medusa, Théodore Géricault (1818-1819)

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The enormous canvas depicts the survivors and less fortunate occupants of a life raft that had been sunk by an incompetent captain. Dead or dying, the figures cut a horrifying scene as they are thrown about on the turbulent West African sea.

He uses chiaroscuro to add drama to a terrifying sky and to highlight the deathly pallor of the parched bodies. By allowing the edges of the raft to move beyond the bottom of the frame, the artist invites the spectator onto its perilous floor, and by turning the subjects' heads and arms towards the horizon, the viewer is drawn more deeply into the terrible scene as they hopelessly seek rescue.

He realises this painting because it expresses a sense of desperation and hope too, two contrasting feelings typical of his time.

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The burning of the Houses of Lords and Commons, William Turner (1834)

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The burning of the Houses of Lords and Commons, William Turner (1834)

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Perspective is absent in the painting and the diagonal by the pier and the boats is interrupted where the light of the flames burning the Parliament Building is reflected. The space of the composition is elliptical and is dominated by the swirling whirlwind of flames which makes the shapes around it imperceptible and the spatial boundaries unlimited. The color is free from the form it almost seems to melt (anticipating Monet). Inspired by Goethe's treatise, the former suggest sensations of warmth and energy, while the latter of drama and negativity. Form and space are defined by pure colors, that is, colors not mixed with other colors, in particular black and white, so that they can have maximum brightness. This painting portrays the fire that destroyed the parliament in London on the night between 16 and 17 October 1834. The protagonist is destructive nature; this painting is the representation of the sublime: the cloud of fire that rises from the river enveloping everything instills terror and, at the same time, arouses an admiring amazement at the inexorable force of nature. Turner managed to capture the moment in which a gust of wind moved the flame to the left, revealing the white towers of Westminster Abbey. Although the flame is the absolute protagonist of the painting, the artist doesn't leave out the human beings: the two scenes of spectators, one near the bank of the Thames, the other sitting near the balustrade of the Waterloo Bridge.

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Wanderer on the Sea of Fog, Caspar David Friederich (1818)

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Wanderer on the Sea of Fog, Caspar David Friederich (1818)

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In this painting Friedrich synthesized ideas and suggestions typical of his time, so much so that the Wanderer on the Sea of ​​Fog is considered an icon of German Romanticism. The work glorifies the themes of the Infinite, the sublime, the divine and the wandering. In fact, it attests to the sense of imperfection, of humilitas (humility), experienced by a man who's contemplating the Infinite represented by the immense sea of ​​fog that brings out the view of the landscape below which is life. It is the heroic isolation of the wanderer that becomes a journey of human life and which celebrates thte presence of God, the sublime, or the mixed state of mind of dismay and pleasure perceived by man when he becomes aware of the astonishing grandeur of nature. This irresistible power does not destroy the wanderer, but rather induces him to reflect philosophically on his own condition, thus allowing him to unite with the divine. The sublime in the Wanderer on the Sea of ​​Fog manifests itself in the natural context, which is creation, which ignites the soul of the wanderer and allows him to reach God.

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The concept of the sublime in Kant's philosophy

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The concept of the sublime in Kant's philosophy

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The concept of the sublime in Immanuel Kant's philosophy is intrinsically linked to the aesthetic experience of what is beyond our comprehension and perceptive capacities. Kant distinguishes two forms of the sublime: the mathematical sublime and the dynamic sublime. The mathematical sublime manifests itself when we are confronted with enormous magnitudes or infinitely large measures, such as the immensity of space or the vastness of the universe. In this experience, the human mind strives to comprehend and conceive the enormity of what it observes, but eventually realises its own limits and it's attracted by that greatness. The dynamic sublime, on the other hand, occurs when we are confronted with awesome and frightening forces, such as natural or catastrophic forces. This form of the sublime evokes a sense of terror, arousing in men an awareness of their own weaknesses. In sum, the sublime in Kant represents an aesthetic and moral experience of what is beyond our ordinary understanding, bringing with it a sense of admiration mixed with an awareness of our human limitations.

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The concept of the sublime in Burke's philosophy

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The concept of the sublime in Burke's philosophy

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Edmund Burke's idea of the sublime refers to an aesthetic theory presented in his essay "A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful" (1757). Burke separates the "sublime" and the "beautiful," stating that the sublime is associated with feelings of terror and majesty, whereas the beautiful is linked to feelings of pleasure and symmetry. According to Burke, the sublime is experienced through objects or situations that evoke a sense of vastness or danger, which can be elicited by some elements, such as natural forces or darkness. The sublime experience is characterized by the sensation of being overwhelmed by the greatness and majesty of the situation, creating a mixture of awe and fascination.

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The sublime is also an intrinsic part of the Gothic architecture through majestic and impressively big structures, caracterized by architectonic elements such as tall spires, colorful stained-glass windows, pointed arches and sculptural decorations. Some examples are:

- Orvieto Cathedral and its huge facade;

- Basilica of St Denis, considered the first Gothic church where the tombs of the Kings of France can be visited;

- Notre-Dame de Paris, symbol of the Capital and masterpiece of the Gothic art and architecture, famous for its spires, roses and gargoyles;

- Cathedral of Santa Maria del Fiore that represents an unprecedented technical and artistic challenge with its dome designed by Brunelleschi.

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THE CONCEPT OF THE SUBLIME IN LITERATURE 

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THE CONCEPT OF THE SUBLIME IN LITERATURE 

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The concept of the sublime persists until Neoclassicism, fostering a true cult of beauty. It permeates various fields, but finds its primary outlets in literature and painting. We know that the sublime aligns with Gothic novellas, where writers like Richardson, Fielding, and Mary Shelley are prominent. The Gothic style aimed to set scenes in an imaginary past, often substituted with the Medieval era, in distant and foreign lands to every culture, unknown, enriched with episodes of gruesome murders, extraordinary situations, supernatural events, haunted houses, castles inhabited by tormented souls, prisons, and convents. These places were typically riddled with secret passages, long dark corridors, protected by impenetrable forests and woods. Naturally, all this unfolded on the darkest night of the year, with wolves howling and even the dead stirring in their graves, or on a strange autumn day, a dull, weary autumn.

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Charles Baudelaire was a French poet, essayist, and art critic who lived from 1821 to 1867. He is best known for his collection of poems titled "Les Fleurs du mal" ("The Flowers of Evil"), published in 1857. Baudelaire's work is characterized by its exploration of themes such as beauty, decadence, eroticism, and the human condition. He was a key figure in the Symbolist movement and is often associated with the concept of modernity in literature. Aside from his poetry, Baudelaire was also a prolific art critic, contributing essays to various journals and publications. His critical writings played a significant role in the development of modern art criticism. Baudelaire's life was marked by struggles with addiction, financial difficulties, and legal troubles due to the controversial nature of his work. Despite these challenges, he left a lasting legacy in French literature and is widely regarded as one of the most influential poets of the 19th century.

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The concept of the sublime persists until Neoclassicism, fostering a true cult of beauty. It permeates various fields, but finds its primary outlets in literature and painting. We know that the sublime aligns with Gothic novellas, where writers like Richardson, Fielding, and Mary Shelley are prominent. The Gothic style aimed to set scenes in an imaginary past, often substituted with the Medieval era, in distant and foreign lands to every culture, unknown, enriched with episodes of gruesome murders, extraordinary situations, supernatural events, haunted houses, castles inhabited by tormented souls, prisons, and convents. These places were typically riddled with secret passages, long dark corridors, protected by impenetrable forests and woods. Naturally, all this unfolded on the darkest night of the year, with wolves howling and even the dead stirring in their graves, or on a strange autumn day, a dull, weary autumn.

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"I Sepolcri" ("The Sepulchres") is a famous poem written by Italian poet Ugo Foscolo, first published in 1807. It is considered one of the masterpieces of Italian literature and a pivotal work in the transition from Neoclassicism to Romanticism.

The poem reflects Foscolo's reflections on death, memory, and the passage of time. It is written in the form of an ode and is addressed to the citizens of Florence, urging them to preserve the memory of the dead and to honor them through the preservation of their sepulchres (tombs). Foscolo uses the sepulchres as symbols of the collective memory of a society and emphasizes the importance of remembering and honoring those who came before.

"I Sepolcri" is notable for its lyrical beauty, philosophical depth, and patriotic sentiment. It has had a profound influence on Italian literature and has been praised for its eloquent expression of universal themes.

"I Sepolcri" is notable for its lyrical beauty, philosophical depth, and patriotic sentiment. It has had a profound influence on Italian literature and has been praised for its eloquent expression of universal themes.

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Charles Baudelaire was a French poet, essayist, and art critic who lived from 1821 to 1867. He is best known for his collection of poems titled "Les Fleurs du mal" ("The Flowers of Evil"), published in 1857. Baudelaire's work is characterized by its exploration of themes such as beauty, decadence, eroticism, and the human condition. He was a key figure in the Symbolist movement and is often associated with the concept of modernity in literature. Aside from his poetry, Baudelaire was also a prolific art critic, contributing essays to various journals and publications. His critical writings played a significant role in the development of modern art criticism. Baudelaire's life was marked by struggles with addiction, financial difficulties, and legal troubles due to the controversial nature of his work. Despite these challenges, he left a lasting legacy in French literature and is widely regarded as one of the most influential poets of the 19th century.

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The concept of the sublime persists until Neoclassicism, fostering a true cult of beauty. It permeates various fields, but finds its primary outlets in literature and painting. We know that the sublime aligns with Gothic novellas, where writers like Richardson, Fielding, and Mary Shelley are prominent. The Gothic style aimed to set scenes in an imaginary past, often substituted with the Medieval era, in distant and foreign lands to every culture, unknown, enriched with episodes of gruesome murders, extraordinary situations, supernatural events, haunted houses, castles inhabited by tormented souls, prisons, and convents. These places were typically riddled with secret passages, long dark corridors, protected by impenetrable forests and woods. Naturally, all this unfolded on the darkest night of the year, with wolves howling and even the dead stirring in their graves, or on a strange autumn day, a dull, weary autumn.

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"Il Castello di Otranto" is a novel written by Horace Walpole, first published in 1764. It is considered the first gothic novel, initiating a literary genre that would become immensely popular in the 18th and 19th centuries. The story is set in the castle of Otranto in Italy and revolves around the tyrannical Prince Manfred and the mysterious events that unfold after the appearance of a giant helmet. The novel is characterized by its melodramatic plot, supernatural elements, and intricate storytelling, influencing many later writers in the gothic tradition, such as Ann Radcliffe and Edgar Allan Poe.

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The concept of sublime in “Frankenstein”

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The concept of sublime in “Frankenstein”

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In "Frankenstein" by Mary Shelley, the concept of the Sublime is manifested through various themes and elements within the narrative. One prominent aspect is the exploration of the aspects of scientific knowledge and human ambition, which leads to Victor Frankenstein's creation of the creature. Victor's pursuit of creating life from death is a sublime behaviour, as it involves pushing the limits of human understanding and defying the natural order.

Furthermore, Shelley incorporates sublime elements through the depiction of the natural world. The novel's settings, such as the icy landscapes of the Arctic, evoke a sense of vastness, grandeur, and mystery, contributing to the overall atmosphere of awe and terror.

The creature itself can be seen as a manifestation of the Sublime. Its monstrous appearance and extraordinary abilities inspire fear and wonder, challenging the reader's perceptions of humanity and morality.

Overall, Shelley's use of the Sublime in "Frankenstein" contributes to the novel's exploration of complex themes such as human’s ambition in discovering the limits of human knowledge.