A Young Girl Reading. 1776
Chalk Cliffs at Rugen. 1818
The Last Kiss of Romeo & Juliet. 1833
Liberty Leading the People. 1830
Johann Heinrich Wilhelm Tischbein Goethe
A London Slum, from Gustave Dore & William Blanch…
Napoleon on Northumberland
Fig. 16
Hanuman Temple
Plate 1
Plate 9
Welcome shoppers
Plate 12
Figure 42
Fig. 50
Fig.51
Plate 10. Ad Reinhardt, “How to Look at Modern Ar…
Plate 11. A detail from Brad Paley's conceptual m…
Place 4. Haeckel's art
Fig. i
Notticelli: Adoration of Magi
The Print Shop
ARTIC SHIPRECK. 1823
Wanderer Above the Sea of Fog. 1818
Young Ladies on the Banks of the Seine. 1857
Dante Gabriel Rossetti, Laly Lilith, 1867
The Blond Bather 1882
Photo montage for an Olivetti Calendar 1934
The Train passing. 1879
Sacco (Sack)
Venus Restored, 1936
Illustration of The Beatles in Yellow Submarine, 1…
The Kiss. 1859
Rita Hayworth
The Steamer 'Berenice'
The Swing. 1767
Charles Townley & his friends in the Part Street G…
The Bimaran Casket
An attendant of the Buddha, from Hadda
Medallion of a young man from Bagram
The Wonder of Bamiyan: One of Masson's sketches
Lady Hemilton
Moon rising over the sea, 1822
See also...
Keywords
Authorizations, license
-
Visible by: Everyone -
All rights reserved
-
37 visits
- Keyboard shortcuts:
Jump to top
RSS feed- Latest comments - Subscribe to the comment feeds of this photo
- ipernity © 2007-2024
- Help & Contact
|
Club news
|
About ipernity
|
History |
ipernity Club & Prices |
Guide of good conduct
Donate | Group guidelines | Privacy policy | Terms of use | Statutes | In memoria -
Facebook
Twitter
These ideas, which were to nourish the Romantic sensibility, were later taken up and elaborated in diverse ways by a variety of authors throughout the eighteenth century. For Schiller, the Sublime is an object of representation in the presence of which our physical nature becomes aware of its own limitations, in the same way as our reasonable nature feels itself o be superior to and independent of all limitations (On the
Sublime). For George Wilhelm Friedrich Hegel it was an attempt to express the infinite without finding an object in the realm of phenomena that might prove itself i=fit for this representation (Aesthetics: Lectures on
Fine Art II, 2, 1835)
Sign-in to write a comment.