ABSTRACT This paper involves the psychoanalytic and iconological analysis of two paintings by the Romantic artist Carl Alexander Simon held at the Schlossmuseum in Weimar: Selbstbildnis mit ...Tirolerhut and Die Braut des Künstlers. Simon produced these paintings in 1830, almost 20 years before travelling to South America, where he continued his artistic career and carried out an ambitious colonisation scheme. This is the first study to scrutinise these paintings. This essay’s primary purpose is to unveil overlooked aspects of Simon’s works, determining the extent to which intricate personality traits began to emerge in these works. The central argument is that various features of these paintings are early instantiations of a messiah complex which will be determinant to understanding his colonising endeavour in Chile.
In 1822, the German Romantic painter Johann Moritz Rugendas undertook his famed three-year journey across Brazil. Later, between 1831 and 1846, encouraged by Alexander von Humboldt and other Romantic ...artists, he would make a second trip through Mexico and South America. In 1832, Eugène Delacroix started a six-month journey to Spain and North Africa as a part of a diplomatic mission. Both artists profusely translated their travels into words and rich images of tropical America and the Orient. Their paintings and illustrations of remote lands and people became milestones in their respective careers while being prime examples of how Europe viewed and perceived the rest of the world in the nineteenth century. In hindsight, they were not only mere agents and promoters of two crucial aesthetic trends of that time: Orientalism and Tropicality but the embodiment of two ways of seeing and imagining the Others. This article places these two artists against each other, contrasting the set of ideas and cultural preconceptions resting behind a sizeable number of paintings, drawings, and illustrations of their Eastern and South American experiences. The central argument is that Tropicality and Orientalism were comparable phenomena based on similar tropes and assumptions. It brings forward recurring themes of Rugendas and Delacroix’s works, such as the eroticisation of female bodies and the linkage between South America and the East with everlasting ideas of violence, adventures, and savageness to prove such an equivalence.
This paper involves the psychoanalytic and iconological analysis of two paintings by the Romantic artist Carl Alexander Simon held at the Schlossmuseum in Weimar: Selbstbildnis mit Tirolerhut and Die ...Braut des Künstlers. Simon produced these paintings in 1830, almost 20 years before travelling to South America, where he continued his artistic career and carried out an ambitious colonisation scheme. This is the first study to scrutinise these paintings. This essay’s primary purpose is to unveil overlooked aspects of Simon’s works, determining the extent to which intricate personality traits began to emerge in these works. The central argument is that various features of these paintings are early instantiations of a messiah complex which will be determinant to understanding his colonising endeavour in Chile.
Inmanencias Caceres, Miguel Gaete
Aura (Tandil),
11/2023
17
Journal Article
Peer reviewed
Este artículo aborda la problemática transición de la teoría estética de lo sublime desde el período romántico al siglo XX y las vanguardias. A partir de la idea de “inmanencia”, analizo cómo lo ...sublime siguió operando en el arte y el pensamiento moderno y posmoderno como una reacción contra la belleza, potenciada principalmente por lo informe y la monstruosidad revelada tras Auschwitz y el totalitarismo del siglo pasado y la posterior instauración de una sentimiento de “tedio del mundo”. Algunos de los puntos clave sobre los que indaga este artículo son el predominio del espíritu romántico posterior al siglo XIX, la crítica anti-civilizatoria y cómo los diferentes postulados sobre la muerte del arte asumidos por los artistas de vanguardia fueron desencadenados por lo sublime.
El presente texto es un estudio que ofrece una revisión crítica al concepto de lo sublime basándose en la teorización clásica de esta idea, es decir, la adjudicada a Longino, Edmund Burke e Immanuel ...Kant. A partir de aquí, se intentará descubrir la presencia de lo sublime como un factor relevante en la configuración cultural del mundo contemporáneo, pasando por su presencia innegable en el arte de las vanguardias o en la concepción de la Naturaleza y el entorno. Finalmente, el objetivo central de este escrito es demostrar como lo sublime ofrece también una alternativa para comprender el problema de "lo infinito" y "lo ilimitado" en el marco de las tecnologías, la eclosión de las grandes ciudades y su filtración en el sustrato retórico del capitalismo, ofreciendo así una vía diferente en el estudio de este tema clásico de la estética.
The appearance of cyberspace in the 1960s and their ongoing development nowadays, has posed questions and theorisations of various types about its nature and future progression. This paper proposes ...the sublime as a crucial and valid concept to comprehend both the theoretical and aesthetic development of this phenomenon. In so doing, this research looks back at the origin of the sublime. Thus, Longinus, Burke and Kant's considerations about this concept are the main grounds upon which this investigation stands. Likewise, historic Romanticism and an iconic painting by Caspar David Friedrich serve to shed light on the aspects that cyberspace takes from a worldview that struggled with the surrounding in manners not so different from ours. Keywords: sublime, cyberspace, Romanticism, technoromanticism
This thesis examines three of German Romanticism's fundamental pictorial topics in Chile: portraits of people, landscape painting, and nature illustrations. It proposes a new interpretation of ...paintings, drawings, and illustrations by six German Romantic artists and scientists: Johann Moritz Rugendas (1802-1858), Carl Alexander Simon (1805-1852), Otto Grashof (1812-1876), Theodor Ohlsen (1855-1913), Eduard Poeppig (1798-1868) and Rudolph Amandus Philippi (1808-1904). The first part of this investigation unravels the underlying discourses in many depictions of Indigenous populations rendered by German Romantics in Chile between 1800 and 1899. It explores the impact of contentious and deep- rooted conceptions of race prompted by phrenology, anthropology, and comparative anatomy - the so-called "Romantic sciences" - on the portrayal of Indigenous people and mestizos of Chile. The second part enquires into the different factual and symbolic forms of exerting dominion over the territory through landscape paintings and mapping operations. Three main matters are at the centre of this discussion: the representation of topographical landscapes in which German artists adopted a cultural and physical vantage point to represent the surroundings, the projection of an idea of Paradise onto natural settings, and the impact of scientific disciplines such as geology, geography, and anthropology on two fundamental aesthetic categories of landscape: the picturesque and the sublime. The last part of this research focuses on the Germans' universalising model of classifying and depicting Chile's nature using taxonomic schemes and poetic rhetoric. In this section, nature illustrations are scrutinised under the postulate that far beyond being an anodyne form of craft, these images were loaded with ideological presumptions not always evident at first glance. In other words, they would have operated as artifacts to the impose Western episteme systematically. Throughout this research, the analysis of these subjects is connected with the German colonisation of the south of Chile, which started in the mid-nineteenth century, playing a fundamental part in Germans' visual and written representation of the country. Overall, this investigation seeks to shed new light on the intricate cultural exchanges between Germany and Chile throughout an era obsessed with progress, racial origins, evolution, and the cataloguing of nature. With this, it aims to contribute to a broader understanding of how Romantic explorers, by means of the sciences and arts, forged the image of Chile and South America two centuries ago.
El presente escrito trata sobre el fotógrafo Lewis Hine y su particular mirada del progreso y la ciudad de Nueva York. Esto se relacionará con una idea fundamental dentro de la estética, como es lo ...sublime, trazando paralelismos entre lo planteado por diversos autores como Edmund Burke e Immanuel Kant con la imagen más conocida del fotógrafo estadounidense. A partir de aquí, se intentará desvelar la presencia de lo sublime en la lógica del capitalismo y en la construcción de las ciudades modernas, analizando su pervivencia en un modelo ideológico que derruye la idea del límite y promulga lo infinito como una condición sine qua non del progreso y el desarrollo.
El presente texto es un estudio que ofrece una revisión crítica del concepto de lo sublime basándose en la teorización clásica de esta idea, es decir, la adjudicada a Longino, Edmund Burke e Immanuel ...Kant. A partir de aquí, se intentará descubrir la presencia de lo sublime como un factor relevante en la configuración cultural del mundo contemporáneo, pasando por su presencia innegable en el arte de las vanguardias o en la concepción de la Naturaleza y el entorno. Finalmente, el objetivo central de este escrito es demostrar cómo lo sublime ofrece también una alternativa para comprender el problema de "lo infinito" y "lo ilimitado" en el marco de las tecnologías, la eclosión de las grandes ciudades y su filtración en el sustrato retórico del capitalismo, ofreciendo así una vía diferente en el estudio de este tema clásico de la estética.
Lewis Hine y la ciudad sublime Miguel Ángel Gaete
Poièsis (Niterói, Rio de Janeiro, Brazil),
09/2018, Volume:
15, Issue:
23
Journal Article
Peer reviewed
Open access
El presente escrito trata sobre el fotógrafo Lewis Hine y su particular mirada del progreso y la ciudad de Nueva York. Esto se relacionará con una idea fundamental dentro de la estética, como es lo ...sublime, trazando paralelismos entre lo planteado por diversos autores como Edmund Burke e Immanuel Kant con la imagen más conocida del fotógrafo estadounidense. A partir de aquí, se intentará desvelar la presencia de lo sublime en la lógica del capitalismo y en la construcción de las ciudades modernas, analizando su pervivencia en un modelo ideológico que derruye la idea del límite, y promulga lo infinito como una condición sine qua non del progreso y el desarrollo.
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