Abstract

A curious feature in Immanuel Kant’s account of the mathematical sublime is the choice of examples, namely, the Pyramids of Egypt and St. Peter’s Basilica. In the paragraph following these examples, Kant suggests that the sublime does not exhibit itself in works of art. This ambiguity has led scholars to question the possibility of “artistic sublimity.” The scholarship has prompted discussions about whether works of art that evoke the sublime feeling are genuine sublime experiences. A representational account of artistic sublimity restricts the sublime to experiences in raw nature. Art can depict the sublime stylistically; however, it cannot evoke the feeling of sublimity. On an opposing interpretation, the sublime occurs because of a conflict between imagination and reason; any work of art that provokes this conflict is sublime. As a result, the power of the sublime overrides and annihilates determinate ends, allowing pure aesthetic judgments. The alleged contradiction in Kant’s account of the mathematical sublime is also read as an interpretive issue regarding purity, prompting the pure-impure distinction. Art that has the power to evoke the feeling of sublimity is deemed “impurely sublime” because of the admixture of interest. Alternatively, if aesthetic judgments of the sublime are satisfied irrespective of the object, then art is purely sublime without needing a further determination. Following Henry Allison, I defend the view that we should preserve a pure–impure distinction. A concept of impure sublimity allows us to account for an emotionally motiving satisfaction akin to the sublime in the presence of some works of art while maintaining a close reading of the Kantian account of pure sublimity as an exclusive consequence of raw nature.