The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings

Cosmos and History 12 (1):218-237 (2016)
  Copy   BIBTEX

Abstract

Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent.

Author's Profile

Erman Kaplama
Yasar University

Analytics

Added to PP
2016-05-24

Downloads
1,298 (#7,278)

6 months
258 (#6,666)

Historical graph of downloads since first upload
This graph includes both downloads from PhilArchive and clicks on external links on PhilPapers.
How can I increase my downloads?