Tate Papers ISSN 1753-9854

Tate Papers no.13 Spring 2010

The sublime evokes experiences of awe-inspiring grandeur, vastness or beauty. Explore the varied ways in which the sublime has been interpreted from the seventeenth century to today in this issue. Anna Cutler writes about learning in cultural institutions, and John Stack publishes Tate’s online strategy for 2010–12.

In this issue

What Is To Be Done, Sandra? Learning in Cultural Institutions of the Twenty-First Century

Anna Cutler
‘Behold the Buffoon’: Dada, Nietzsche’s Ecce Homo and the Sublime

Christine Battersby
The Arctic Fantasies of Edwin Landseer and Briton Riviere: Polar Bears, Wilderness and Notions of the Sublime

Diana Donald
The Seventeenth-Century Sublime: Boileau and Poussin

Emma Gilby
The Sublime Plurality of Worlds: Lucretius in the Eighteenth Century

Anne Janowitz
Psychosis and the Sublime in American Art: Rothko and Smithson

Timothy D. Martin

The Sublime Object
Milton, Lucy Hutchinson, and the Lucretian Sublime: The Sublime Object

David Norbrook
Wild Geese Over the Mountains: Melodrama and the Sublime in the English Imaginary 1933–9

Ian Patterson

The Sublime Object
Stubbs, Walpole and Burke: Convulsive Imitation and ‘Truth Extorted’

Aris Sarafianos

The Sublime Object
The Psychiatric Sublime: The Sublime Object

Nicholas Tromans
Tate Online Strategy 2010–12

John Stack

See also

The Sublime Object: Nature, Art and Language

A research project investigating the concept and cultural practice of the sublime in nature, art and language.