Fig.2 John Constable The Cornfield 1826 National Gallery, London Born into a prosperous family in the village of East Bergholt, Suffolk, Constable’s early display of aptitude and passion for painting ...
In 1886 the philosopher Friedrich Nietzsche declared the sublime out of date. A number of artists of early and mid-twentieth century continued to engage with concepts of the sublime, though often in ...
Contemporary artists have extended the vocabulary of the sublime by looking back to earlier traditions and by engaging with aspects of modern society. They have located the sublime in not only the ...
Edmund Burke’s Philosophical Enquiry (1757) connected the sublime with experiences of awe, terror and danger. Burke saw nature as the most sublime object, capable ...
The sublime in art, it has often been suggested, starts with Edmund Burke’s Philosophical Enquiry (1757). Before this, so the conventional narrative goes, the sublime was a notion that applied only to ...
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In this minimal study, loose areas of grey and yellow washes are activated by the delicate application of a cluster of thin blue strokes applied wet in wet at the centre to evoke a formation of high ...
The works in this display reveal Gaudier-Brzeska’s constant impulse to capture movement and life in real time Movement is the translation of life, and if art depicts life, movement should come into ...
Andrew Cummings reports on a talk by the artist Tehching Hsieh, featuring a response from Amelia Groom (editor of Time in the Documents of Contemporary Art publication series) and a discussion ...
Keen to present the latest American painting to British audiences, the Tate Gallery secured a place for itself in the international tour of an impressive grouping of works drawn from the collections ...