Bъзвишеното като феномен на визуалните изкуства в европейския модернизъм (XIX–XX век)
The Sublime as a Phenomenon of the Visual Arts in European Modernism (19th–20th centuries)

Summary/Abstract: Art in history has gone through many transitions and metamorphoses. The most saturated moment of transformations that gave impetus to its modern versions was experienced in the modernity of the twentieth century. The concentrated beginnings in its concepts developed into new autonomous arts. In this context, painting, photography, and cinema, along the way of their genealogy and development, are considered in the article as main points of reference towards one goal – that of the new sensibility. Photography, with its mechanical copying, diverts the focus from the mimesis in painting. The painter arrives at the motive for creating a work of art when he or she is attracted by the transcendental and empirical knowledge in the sensible world, but later it is the movement that reflects this longer process. The article traces the key forms on the path of striving for the sublime. It follows the philosophical premises from the Kant’s idea about the sublime which leads to the abstractionism in art conceived in Kandinsky’s theories, until it reaches the point where timeline is added to the picture space, seen through the eyes of Wim Wenders and his attitude. The analysis juxtaposes the figurative language and the game as aesthetic phenomena in the three media.

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