The sublime was meant as an aesthetic quality in nature that was both beautiful and terrible, horrible and harmonious, appreciating the unexpected and dangerous forms found in nature that had been avoided in literature and art through the concepts of a more tamed and friendly environment. German philosopher Immanuel Kant reflects on the concept of boundaries between beauty and the sublime in his Critique of Judgment written in 1790. Distinguishing between the differences of beauty versus the sublime, beauty is connected with the form of the object, respecting the object's boundaries whereas the sublime is found in a formless object, boundless, unfamiliar and unexpected. The Romantic Period revealed a shift from the picturesque paintings of a controlled and safe landscape to paintings depicting the grotesque and beautiful as found in works such as Frederic Edwin Church's Cotopaxi , oil on canvas 1826, an opposition to the classical ideals of
The sublime was meant as an aesthetic quality in nature that was both beautiful and terrible, horrible and harmonious, appreciating the unexpected and dangerous forms found in nature that had been avoided in literature and art through the concepts of a more tamed and friendly environment. German philosopher Immanuel Kant reflects on the concept of boundaries between beauty and the sublime in his Critique of Judgment written in 1790. Distinguishing between the differences of beauty versus the sublime, beauty is connected with the form of the object, respecting the object's boundaries whereas the sublime is found in a formless object, boundless, unfamiliar and unexpected. The Romantic Period revealed a shift from the picturesque paintings of a controlled and safe landscape to paintings depicting the grotesque and beautiful as found in works such as Frederic Edwin Church's Cotopaxi , oil on canvas 1826, an opposition to the classical ideals of