The sublime turmoil in recent paintings by Philip Badenhorst

Abstract

This article presents a reading of a selection of paintings by Philip Badenhorst (1957-) made during 2007 for the solo exhibition titled A circle had closed; and another had opened again. I briefly revisit the development of his visual language since 2003 to indicate consistencies and shifts in his approach. Relevant tenets of the theory of the Romantic sublime as defined by Burke in 1757 and Kant in 1764 are introduced and then applied in an exploration of elements of specific works by Badenhorst. Focussing on his landscapes and figures, parallels are drawn between Badenhorst's contemporary vision and 18th century aesthetics to make evident that his works have strong ties with this specific tradition, yet to indicate that as a contemporary artist his work departs from the paradigms of Romanticism to arrive at a postmodern sublime. The similarities and differences between Badenhorst's iconic images created through intuitive painterly mark and the influence of the Romantic painters are highlighted to reveal new associations, which contribute to a wider understanding of Badenhorst's oeuvre. I suggest that the artist presents a South African contemporary sublime. This particular analysis of the theory of sublime-aesthetics has not previously been applied to Badenhorst's work.

DIE SUBLIEME ONRUS IN ONLANGSE SKILDERYE DEUR PHILIP BADENHORST. Hierdie artikel bied 'n interpretasie van geselekteerde skilderye deur Philip Badenhorst (1957-) aan wat gemaak was tydens 2007 vir die solo tentoonstelling getiteld 'n Sirkel het gesluit; en 'n ander het weer oopgegaan. Ek heroorweeg die ontwikkellling van sy visuele taalgebruik sedert 2003 om ooreenkomste en verskuiwings in sy benadering uit te wys. Toepaslike beginsels van die teorie van die Romantiek se sublieme soos gedefmieer deur Burke in 1757 en Kant in 1764 word ingelei en toegepas word op aspekte van spesifieke werke van Badenhorst. Terwyl daar gefokus word op landskappe en figure, word 'n parallel getrek tussen Badenhorst se hedendaagse visie en 18e eeuse estetiek om sterk bande met die tradisie aan te dui, maar om uit te wys dat as kontemporere kunstenaar sy werk af wyk van sienswyses van die Romantisisme deur 'n postmoderne sublieme te verbeeld. Die ooreenkomste en verskille tussen Badenhorst se ikoniese beelde geskep deur intuitiewe skildermerke en die Romantiese skilders word onder die kollig geplaas om nuwe verwantskappe uit te lig, en sodoende by te dra tot 'n breer insig van Badenhorst se oeuvre. Hierdie spesifieke analise van die subliem-estetiek is nog nie voorheen toegepas op Badenhorst se werk nie.