| Titre | Le sublime et le pittoresque | |
|---|---|---|
| Auteur | Francis D. Klingender | |
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Revue | Actes de la recherche en sciences sociales |
| Numéro | vol. 75, no. 1, 1988 | |
| Rubrique / Thématique | Sur l'art |
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| Page | 2-13 | |
| Résumé |
uvre dans la représentation d'une nature romantique envahie par les "horreurs" industrielles. Enfin, la transmission du sublime au romantisme apparaît dans la transformation des représentations du travail industriel, désormais axées sur l'alliance harmonieuse entre le passé et le présent, entre la nature et la technique. Source : Éditeur (via Persée) |
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| Résumé anglais |
The Sublime and the Picturesque. In this extract from Art and the Industrial Revolution, Francis D. Klingender relates the aesthetic theories of the sublime, the picturesque and Romanticism, to the various representations of industrial activity in 18th and 19th century England, including technological designs, naive expressions of local pride in technology, and the works of confirmed artists. Reference to the aesthetic of the picturesque, formulated by William Gilpin and Uvedale Price, enabled artists and their patrons to represent industrial activity while divesting it of its most sinister aspects : machines and mines were allowed in as elements of decor so long as they presented all the signs of age and dilapidation. Through the example of Coalbrookdale, a centre of the industrial revolution and a major source of inspiration for artists, it can be seen how Edmund Burke's theories of the sublime are at work in the depiction of a romantic nature invaded by industrial "horrors". Finally, the transmission of the sublime to Romanticism can be seen in the transformation of images of industrial labour, which now hinge on the harmonious alliance between past and present, nature and technology. Source : Éditeur (via Persée) |
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| Article en ligne | http://www.persee.fr/web/revues/home/prescript/article/arss_0335-5322_1988_num_75_1_2864 |
